Photography

Daniel Videtich Peter with Jesus and Mary Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and fram...

Tim Pott Central Avenue Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal bl...

Tim Pott Peter’s Neighborhood Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a mini...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own." Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...

Twins Entwined, 1991: Photographed by Ron Baxter Smith. Identical Twins, Mark and Ian, shot together in a studio portrait. Shot with 4 x 5 Polaroid Type 55 Positive/Negative; Sinar &...

Project home supervisor with ribbons won at Phillips Co. Fair, Lakeview Coop. Assn., Arkansas December 1938/printed later Stamped “Reproduced from the Collection of the Library of C...

Hand printed silver gelatin photography by artist. Steamy girl in shower.

Gelatin silver print, printed later signed in pencil, stamped photographer's copyright credit, stamped title and date, and stamped 'Printed for the/Center for Photographer Art/Collec...

Warhol superstar Joe Dallesandro the iconic nude portrait taken during the photo session for After Dark magazine, 1970, shortly after starring in Andy Warhol's 'Trash'. Vintage 11 x ...

Warhol superstar Joe Dallesandro photographed nude for After Dark magazine, 1970, shortly after starring in Andy Warhol's 'Trash'. Vintage 11 x 14 inch silver gelatin exhibition phot...

Warhol superstar Joe Dallesandro the iconic portrait taken during the photo session for After Dark magazine, 1970, shortly after starring in Andy Warhol'...

Andy Warhol superstar Candy Darling ‘After Dark’ this is the iconic cover shot, vintage 11 x 14" silver gelatin photograph, 1971, the actual photo scanned for the magazine cover. Sig...

11 x 14" vintage silver gelatin exhibition photograph of Warhol Superstar and Vogue model Jane Forth & Joe Dallesandro, stars of Warhol's 'Trash' for 'Afte...

Beautiful dream like image. Taken in the early morning light, Big Sur California. Hand printed silver gelatin photograph. From film photography Archival. Dry mounted to mat board.

16" x 20", signed limited edition print of David Bowie, titled "I Saw You Again in the Rainbow Theater", 1972 by Masayoshi Sukita Limited edition number 7/30 - signed and numbered ...

Vintage Photo. The Italian actress Laura Belli in a scene from "Gamma", by Salvatore Nocita.

Vintage Photo. Sissi Spacek, Diane Keaton and Jessica Lange in a scene from the Movie "Crimes of the Heart".

Katie Eleanor, ‘Your Hand, Your Tongue III’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Peter Beard Portraits of classical concert pianist Concert Pianist Chau-Giang Thi Nguyen in artists frame, 2006 Four (4) separate Chromogenic prints (c-print) in artist's frame. Hand signed Signed and dated boldly in green marker by Peter Beard lower right Original artist's frame included This unique set of four works by the late Peter Beard features Vietnamese concert pianist Chau-Giang Thi Nguyen - one of Beard's muses. Peter Beard is well-known as one of Andy Warhol's friends and artistic collaborators during the Studio 54 and Factory days. But of all his many achievements, including his critically acclaimed wildlife photography, Beard is perhaps best known as the photographer who famously discovered the model Iman in Somalia, and whose images of her helped catapult her to international superstardom. Iman would later marry rock star David Bowie. In a similar vein, this set of intimate, posed photographic portraits depicts Vietnamese concert pianist Chau-Giang Thi Nguyen (also known as Cho-San Nguyen), founder of the American Vietnamese Friendship Organization (AVFO). Taken in 2006, the works show her seductively posing against a stylized backdrop of portraits of famous composers. In addition to her musical accomplishments and charitable ventures, Cho-San Nguyen is also quite the socialite herself, and in those years, she frequently appeared in the tabloids for a different reason: she was rumored to be one of the many alleged mistresses (or muses) of the very married, and very influential Google billionaire Eric Schmidt...

Homecoming - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-935. Not mo...

Malina (Stranger than Paradise) - 1997 43x59cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Invento...

This Limited Edition Photograph was authorized by the Ben Martin Estate. Ben Martin was TIME Magazine’s first New York Bureau staff photographer covering wars, fashion, politics, art...

Nick Vedros Bed Gnomes, Honey I’m Home Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 14x12in Edition: 12 Signed, dated and numbered by hand on label Sta...

Michael Mardikes Benton on the Couch (Thomas Hart Benton Plate #28) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Size: 19x13.5 in Paper Size: 22x17 in Edition: 10 (9 Mon...

Gerald Berghammer - Limited Edition 1/9 Archival Pigment Ink Print, Printed 2022 Signed, numbered, dated by Artis. Handmade wood frame, black, natural white archival Passepartout, an...

Michael Mardikes Tom & Rita (Thomas Hart Benton Plate #10) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Image Size: 14.5x14.5 in Paper Size: 22x17 in Edition: Unique Sig...

This unique object features a wet plate collodion print framed in a handmade sunken cypress frame lined with gold leaf. Cecilia Montalvo & Charlie McCullers are a collaborative tea...

This unique object features a wet plate collodion print framed in a handmade sunken cypress frame lined with gold leaf. Cecilia Montalvo & Charlie McCuller...

ISABELLE VAN ZEIJL "Serenity Portrait" (2022) C-Print Mounted on Dibond Perspex Face in Tray Frame, Ed 2 of 6 44.5 x 40.5 in. Framed ____________ R...

ISABELLE VAN ZEIJL "For Me" (2019) C-Print Mounted on Dibond Perspex Face in Tray Frame, Ed 5 of 7 44.5 x 40.5 in. Framed ____________ Recognized f...

A beautiful and mysterious underwater black and white photograph of a young naked woman ascending from the bottom of her pool toward the air and light. This photograph is a part of...

The Girl II (The Girl behind the White Picket Fence) - 2011 128x125cm. Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and certif...

The way we were (Till Death do us Part) - 2005 20x24cm, Edition of 10, archival C-Print print, based on the Polaroid Certificate and Signature label...

The other day I was sure I knew what is good and what is bad (The Girl behind the White Picket Fence) - 2015 20x20cm, Edition of 10, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 13866. Not mounted. Offered is a piece from the movie: The Girl behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10 acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004, when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck, if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love...

Model Michael Findlay, nude portrait study, 1970. This is a vintage silver gelatin photograph made by hand by master photographer Jack Mitchell. Comes ...

Adult film star Cal Culver (AKA Casey Donovan) 'After Dark' magazine nude study, photographed in 1972. This is a vintage gelatin silver print, selenium t...

Warhol superstar Ultra Violet, art dealer Jason McCoy and art historian Ron Caran photographed nude for 'After Dark' magazine in 1971. This is a vintage gelatin silver print, made b...

Unidentified male model, multiple exposure with plant leaves, 1971. This is a vintage silver gelatin photograph made by hand by master photographer Jack Mitchell. Comes directly from...

Paul Morrissey, director of ‘Trash’, photographed nude for Vogue magazine on September 21, 1970. This is a vintage gelatin silver print, made by hand by...

Harkness Ballet dancer nude portrait study, 1972. This is a vintage silver gelatin photograph made by hand by master photographer Jack Mitchell. Comes ...

Husband and wife Marcus and Debbie Williamson photographed nude for 'After Dark' magazine in 1973. This is a vintage gelatin silver print, made by hand by master photographer Jack Mi...

Warhol superstar Eric Emerson, the iconic portrait photographed for 'After Dark' magazine in 1971. This is a vintage gelatin silver print, made by hand by master photographer Jack Mi...

Adult film star Cal Culver (AKA Casey Donovan) 'After Dark' magazine iconic nude study, photographed in 1972. LGBTQ+ Pride This is a vintage gelatin silver print, selenium toned, mad...

Nude portrait study of Paris Opera Ballet dancer Patrick DuPond for 'After Dark' magazine, 1983. This is a vintage silver gelatin photograph made by...

Italian actor Giancarlo Giannini star of 'Seven Beauties', iconic portrait for 'After Dark' magazine feature article in 1976. This is a vintage gela...

The other day I was sure I knew what is good and what is bad (The Girl behind the White Picket Fence) - 2015 50x50cm, Edition of 10, plus 2 Artist Proofs. Digital C-Print, based o...

Portrait of a seated couple by Imogen Cunningham (American, 1883). Signed and dated "Imogen Cunnungham 1957" in the lower right corner below the photo. Information about subjects wr...

Hillview Motel (Stranger than Paradise) - triptych, 2003 Edition 6/10, 183x56cm installed, 58x56cm each, 3 analog C-Prints, hand-printed by the artist, based on the 3 original Pol...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

11 x 14" vintage silver gelatin photograph of twin brothers Jay and Jed Johnson photographed for 'After Dark' magazine on June 8, 1970. Comes dire...

Point-Aven is a vintage poster realized by Michel Tersiquel in 1972. Black and white colored offset print. The artwork represented a phothograph poster of a child portrait. Exce...

I swing to see the world upside down - 2020 - 40x33cm, Edition of 10, plus 2 Artist Proofs. Photograph printed on Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant...

An underwater black and white photograph of a beautiful topless young woman, Apriel swimming in the pool. Original gallery quality archival pigment print - signed by the artist. Limited edition of 24 Paper size: 36x44...

Composer/Conductor Leonard Bernstein, photographed in 1977. Vintage silver gelatin photograph signed (printed in his own hand) by Jack Mitchell. Phot...