Text Photography

Computer, from Richard Heeps Bletchley Park series. Richard photographed Bletchley Park in partnership with Hertfordshire University and Bletchley Park Trust, to document Alan Turing’s historic past at Bletchley. He was privileged to gain access not open to the public. This World War II German Enigma Machine...

11 x 14" vintage silver gelatin photograph of composer David Del Tredici, photographed nude - an extremely unusual multiple exposure with his music, in 1973. Signed by Jack Mitchell ...

A Very Short Version of his Story, Black and White Nude Photography, Badertscher 1999 Signed, titled, dated twice, and inscribed in black ink, recto; Also signed, dated, and inscrib...

Published by Aperture in 1992, this portfolio includes three gelatin-silver prints and a cover page all in a cloth-covered clamshell case. Each of the 3 prints are hand signed, dated, titled and numbered on verso. The prints are 1. Christina, Misty Dawn...

Ravello Cathedral, Rome-  Vintage Photo is a black and white photograph realized in the early 20th century. Good conditions, aged with foxing.

Kamakura, Japan Year 2015 Pages [96] p. Dimensions 18.8 x 19.9 cm Cover Hardback - Board Binding Glue Bound, Stitch Bound Process Offset Printed, Screen Print Color Mixed Edition Size 1000 “The subject Teenage Smokers has always fascinated me. When I was young, for a very short period I thought it might be “cool” to smoke. I ripped a piece of paper down to the size of a cigarette and pulled some grass from our front lawn and rolled it into the paper and lit it on fire and took a puff. It felt like inhaling shards of glass and I coughed uncontrollably doubled over in pain. My friend’s mother (a smoker herself) said to me, “Yeah, that’s how smoking feels.” And that was enough for me. I was never going to smoke. So when I would see young people smoking I would always marvel at them. They are the ones who wanted to look cool so badly that they overcame the pain of starting smoking. They also overcame the logic of why it’s a bad idea. Since my profession took me all over the world skateboarding, I was always surrounded by young skaters and, inevitably, teenage smokers… The idea for this book sprang from finding the original boxes of Polaroid’s that started this whole series, shot in 1994 at my local skateboard park in Huntington Beach, California. I would be skating there when the kids finished school and they would collect there to hang out and smoke. One day I brought a Polaroid camera to the park and started asking all of them for a portrait while smoking. Those first Polaroid’s were the photos that Aaron Rose saw when I did an exhibition at his Alleged Gallery in 1999. With the limited money he had we made the original book Teenage Smokers that sold out immediately and is now a collectors’ item. The photos in this book are a continuation of that series that I have been shooting non-stop since ‘94 to the present. All photos are shot on film.” - Ed Templeton...

Amour - Limited edition archival pigment print , Edition 1 of 15 Custom size possible Handwritten on a Parisian pavement, Paris, France. Landscape format. This print that is being...

Men, photograph by Richard Heeps, from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and is typical of R...

Tom Hegen provides with his aerial photographs an overview of places where the relationship between humans and nature becomes visible. Often choosing dramati...

Led Zeppelin, The Kingdome, Seattle, WA 1977 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned digital pigment prints are...

Dolly Parton, Executive Inn Rivermont, Owensboro, KY 1983 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned digital pigme...

Paris Walks - Contemporary Black & White Polaroid Original Photograph Framed Pia Clodi’s works encompass moments and mementos from her countless walks through cities as well as nat...

Portrait of Marty 1999 Titled, dated and inscribed in black ink, recto; Also signed, dated, numbered, and inscribed in black ink, verso Gelatin silver pr...

Marilyn Monroe by Bert Stern (19642 wine on the bed circa 2009 hand double signed and dated by Bert Stern COA hand signed by bert stern edition of 72 perfect condition

SEE PA STORY "WEDDING REGISTER" TIMED 1620 UPT OUR MARRIAGE REGISTER SIGNATURES มันใจ 29%2 2981 PAP 193000-52-(0-F) London, Wednesday, PA: The official entry in the St Pan1"g Cathedr...

The Beatles, Candlestick Park, San Francisco, CA 1966 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned digital pigment p...

The protest - Historical photograph about the feminist movement is an original black and white photograph realized by an anonymous photographer ...

Beastie Boys "Licensed to Ill". Cassette Tape Created in 2019. Signed Limited Edition photograph. Signed by photographer

Lake Tahoe Ladies A group of young women in their bathing suits on the Nevada side of Lake Tahoe, 1959. Paper size 16 x 16" inches / 41 x 41 cm Estate Stamped Collection Edition...

Each print is signed and numbered in pencil, verso Portfolio of 28 archival pigment prints (Edition of 10) 14 x 11 inches This artwork is offered by ClampArt, located in New York City. “Figures M: Photographs,” 2003-2013 This carefully chosen collection of 28 photographs represents a span of ten years, from 2003 to 2013, a period in which Jason Langer...

Twenty One Fence Posts, Shirogane, Hokkaido, 2004 Signed, dated and numbered in pencil on recto. Signed, dated, numbered and titled in pencil on verso Gelatin Silver Print Edition o...

Children - Vintage Photo is a black and white photograph of the 1970s. Good conditions.

"Schnitzel Please!" This timeless, charming photo of a town favorite Dresden Dog, was captured by New York based photographer Fernando Natalici in Germany...

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot wit...

Signed Keith Haring poster 1985: A highly collectible hand-signed 1985 Keith Haring exhibition poster published on the occasion of: Keith Haring Painting...

Keith Haring Tony Shafrazi Gallery New York circa 1983: Rare original Keith Haring artist biography sheet & timeline produced by...

Window Display (Hairdresser's), Paris [Vitrines, (Salon de Coiffure), Paris], c. 1935 Unique silver gelatin contact print, printed c.1935 2 x 2 1/4 inches Provenance: The Estate of ...

Signed Daido Moriyama artist book: Daido Moriyama Farewell Photography: Daido Moriyama’s 1972 photobook Farewell Photography was one of the most influential photography books ever released. This striking, beautifully rendered re-publication, designed by Satoshi Machiguchi in close cooperation with Moriyama, makes for a timeless, limited edition Moriyama collector's piece. The book includes a companion magazine with a retrospective essay by Moriyama as well as details and backgrounds for each single photobook (compiled exclusively for this publication). The English edition of the companion magazine opens with an edited English translation of Daido Moriyama’s conversation with Takuma Nakahira, originally included in Japanese in the 1972 release and never before translated. Photo book...

Sunday Coffee, New York, NY 1996 photographed by downtown New York art scene photographer, Fernando Natalici. Archival Inkjet Print, 11 x 14 inches. Hand signed on the verso from an edition of 50. Obtained directly from artist. Excellent condition. New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Fernando’s photo archive and art design were recently featured in two highly regarded New York shows: “Area” at The Hole Gallery NYC (2014) & “Downtown New York Film” at The Museum of The Moving Image (2015). Recent Publications & Exhibits Jim Jarmusch...

An exceptional opportunity to own an edition of one of the most celebrated photographs in Hollywood history. Captured by legendary British photographer Terry O’Neill on the morning o...

Marilyn Monroe by Bert Stern (1964) passed out on the bed circa 2009 hand double signed and dated by Bert Stern COA hand signed by bert stern edition of 72 perfect condition

"#10, ICE" is part of Jerry Siege's ongoing "Black Belt Color" series. This photograph was taken during his quarantine in Selma during the COVID-19 pandemic. It features rich hues of...

Edition out of 12

Oasis XI (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #301...

Tom Hegen provides with his aerial photographs an overview of places where the relationship between humans and nature becomes visible. Often choosing dramati...

JOHN Yuyi (*1991, Taiwan) Just Do It, 2018 Archival Pigment Print Sheet 90 x 120 cm (36 x 48 in.) Edition of 3, plus 1 AP; Ed. no. 3/3 John Yuyi (*1991, Ta...

Group of original vintage color and black and white photographs related to Grandma Moses. Dimensions: Largest is 6 X 8 with mat. the rest are smaller. There are a total of photos. most with hand inscriptions and dated verso. They are not signed. Provenance: the collection of the Beers family and is from the estate. Anna Mary Robertson Moses (1860 – 1961), or Grandma Moses, was an American folk artist. She began painting in earnest at the age of 78 and is a prominent example of a newly successful art career at an advanced age. Moses gained popularity during the 1950s, having been featured on a cover of Time Magazine in 1953. She was a subject of numerous television programs and of a 1950 Oscar-nominated biographical documentary. Her autobiography, titled My Life's History, was published in 1952. She was also awarded two honorary doctoral degrees. She embroidered pictures with yarn, until disabled by arthritis. In her 1961 obituary, The New York Times said: "The simple realism, nostalgic atmosphere and luminous color with which Grandma Moses portrayed simple farm life and rural countryside won her a wide following. She was able to capture the excitement of winter's first snow, Thanksgiving preparations and the new, young green of oncoming spring ... In person, Grandma Moses charmed wherever she went. A tiny, lively woman with mischievous gray eyes and a quick wit, she could be sharp-tongued with a sycophant and stern with an errant grandchild." Moses's work has been a subject of numerous museum exhibitions worldwide and has been extensively merchandised, such as on greeting cards. In 2006, her 1943 painting titled Sugaring Off was sold at Christie's New York for US$1.36 million, setting an auction record for the artist. Her work is fundamental for any Naive art or Americana collection. She was known as either "Mother Moses" or "Grandma Moses", and although she first exhibited as "Mrs. Moses", the press dubbed her "Grandma Moses", and the nickname stuck. As a young wife and mother, Moses was creative in her home; for example, in 1918 she used house paint to decorate a fireboard. Beginning in 1932, Moses used yarn to embroider pictures for friends and family. She created quilt objects, a form of "hobby art". Lucy R. Lippard stated in "The Word in Their Hands" that she found "hobby art" to be "an activity so 'low' on the art lists that it still ranks way below 'folk art'". She found that hobby art often involves reuse of otherwise discarded objects. Moses painted scenes of rural life from earlier days, which she called "old-timey" New England landscapes. Moses said that she would "get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live." From her works of art, she omitted features of modern life, such as tractors and telephone poles. Her early style is less individual and more realistic or primitive, with a lack of knowledge of, or perhaps rejection of, basic perspective. Initially she created simple compositions or copied existing images. As her career advanced, she created complicated, panoramic compositions of rural life. During a visit to Hoosick Falls in 1938, Louis J. Caldor, an art collector who worked as an engineer in the state of New York, saw paintings made by Moses in the window of a drug store. He bought their supply and ten more from her Eagle Bridge house for $3 or $5 each. The next year, three Grandma Moses paintings...

Gay Liberation 2015 Signed and numbered, verso Archival pigment print 12 x 18 inches (Edition of 5) $3,500 This work is offered by ClampArt in New Y...

Cy Twombly (1928-2011) Virginia/ New York / Italy Image Size: 16 x 11 Visible inside matboard is 12 x 11 Frame Size: 21.5 x 19 Medium: Photograph Edition 1/12 Signed with the edition number "Black and White" 1954 This is an original. The same photo in the Twombly book is a dry point on cardboard but is unsigned by hand. Cy Twombly (1928-2011) Following is the obituary of the artist by Randy Kennedy, The New York Times, July 5, 2011 Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83. His death was announced by the Gagosian Gallery, which represents his work. Mr. Twombly had battled cancer for several years. In a career that slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism, Mr. Twombly was a divisive artist almost from the start. The curator Kirk Varnedoe, on the occasion of a 1994 retrospective at the Museum of Modern Art, wrote that his work was "influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well." The critic Robert Hughes called him "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg." Mr. Twombly's decision to settle permanently in southern Italy in 1957 as the art world shifted decisively in the other direction, from Europe to New York, was only the most symbolic of his idiosyncrasies. He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th century abstraction, though he lived long enough to see it arrive there. It didn't help that his paintings, because of their surface complexity and whirlwinds of tiny detail — scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks — lost much of their power in reproduction. But Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity. "I had my freedom and that was nice," he said in a rare interview, with Nicholas Serota, the director of the Tate, before a 2008 survey of his career at the Tate Modern. The critical low point probably came after a widely panned 1964 exhibition at the Leo Castelli Gallery in New York. The artist and writer Donald Judd, who was hostile toward painting in general, was especially damning, calling the show a fiasco. "There are a few drips and splatters and an occasional pencil line," he wrote in a review. "There isn't anything to these paintings." But by the 1980s, with the rise of neo-Expressionism, a generation of younger artists like Jean-Michel Basquiat found inspiration in Mr. Twombly's skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Twombly's, like Joseph Beuys, the newfound attention brought him a kind of critical favor he had never enjoyed before. And by the next decade, he was highly sought after not only by European museums and collectors, who had discovered his work early on, but also by those back in his homeland who had not known what to make of him two decades before. In 1989, the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, Fifty Days at Iliam, based on Alexander Pope's translation of The Iliad. (Mr. Twombly said that he purposely misspelled Ilium, a Latin name for Troy, with an "a," to refer to Achilles.) That same year, Mr. Twombly's work passed the million dollar mark at auction. In 1995, the Menil Collection in Houston opened a new gallery dedicated to his work, designed by Renzo Piano after a plan by Mr. Twombly himself. Despite this growing acceptance, Mr. Varnedoe still felt it necessary to include an essay in the Modern's newsletter at the time of the retrospective, titled "Your Kid Could Not Do This, and Other Reflections on Cy Twombly." In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said. The process stood in stark contrast to the detached, effete image that often clung to Mr. Twombly. After completing a work, in a kind of ecstatic state, it was as if the painting existed but he himself barely did anymore: "I usually have to go to bed for a couple of days," he said. Edwin Parker Twombly Jr., was born in Lexington, Va., on April 25, 1928, to parents who had moved to the South from New England. His father, a talented athlete who pitched a summer for the Chicago White Sox and went on to become a revered college swimming coach, was nicknamed Cy, after Cy Young, the Hall of Fame pitcher. The younger Mr. Twombly (pronounced TWAHM-blee) inherited the name, though he was much more bookish than athletic as a child, with stooped shoulders and a high ponderous forehead. He read avidly and, discovering his calling early, he worked from art kits he ordered from the Sears Roebuck catalog. As a teenager, he studied with the Spanish painter Pierre Daura, who had left Europe after the Spanish Civil War and settled in Lexington. Daura's wife, Louise Blair, studied cave paintings and may have sparked Mr. Twombly's early interest in Paleolithic art. In 1947 he attended the Boston Museum School, where German Expressionism was the rage, but Mr. Twombly gravitated to his own interests, like Dada and Kurt Schwitters and particularly to Jean Dubuffet and Alberto Giacometti, two important early influences. He moved back to Lexington in 1949 and studied art at Washington and Lee University, where his talent impressed teachers. By 1950, he was in New York, the recipient of a scholarship to the Art Students League. Later in his life, he cited visiting Willem de Kooning's studio and seeing an Arshile Gorky retrospective at the Whitney Museum of American Art as important moments in his young painting life. But he also came to New York at the heyday of the New York School and was exposed to the work of almost all its giants in the city's galleries. He turned down an offer for a solo show of his paintings at the Art Students League in 1950, saying that he felt it was too early for him. He met Rauschenberg, a fellow student at the league, during his second semester, and Rauschenberg later persuaded Mr. Twombly to enroll at Black Mountain College in North Carolina, which had become a crucible for the American avant-garde, with John Cage, Merce Cunningham, Ray Johnson, Dorothea Rockburne and John Chamberlain among its faculty and students. Mr. Twombly, who studied with Ben Shahn, stayed at the college only briefly and was a bit of an outsider even then. As he told Mr. Serota: "I was always doing my own thing. I always wondered why there are books with photographs of all the artists of that period and I was only in one! I thought: 'Where was I?' " In the summer of 1952, after receiving a grant from the Virginia Museum of Fine Arts, Mr. Twombly traveled to Europe for the first time and met up with Rauschenberg. The two wandered through Italy, North Africa and Spain, an experience that later yielded some of the first paintings to be considered a part of Mr. Twombly's mature work. "Tiznit," made with white enamel house paint and pencil and crayon, with gouges and scratches in the surface, was named for a town in Morocco that he had visited, and the painting's primitivist shapes were inspired by tribal pieces he saw at the ethnographic museum in Rome, as well as by artists like Dubuffet, de Kooning and Franz Kline. The painting, along with another based on tribal motifs, was exhibited in 1953 at Eleanor Ward's Stable Gallery on West 58th Street along with monochromatic paintings by Rauschenberg. The show was generally savaged. (Early this year, the Museum of Modern Art acquired "Tiznit," along with another early work, which Mr. Twombly had kept in his personal collection.) Mr. Twombly was drafted and spent more than a year in the Army, where he was assigned to cryptography work in Washington. On weekends and leaves, he continued to paint and draw, sometimes at night with the lights out to try to lose techniques he had learned in art classes and to express himself more instinctively. After receiving a medical discharge and teaching for a time in Virginia, Mr. Twombly returned to New York and worked in a studio on William Street, near both Rauschenberg and Johns, who helped choose titles for his paintings during this period. Mr. Twombly tried without success for several months to get a grant to go back to Europe and in 1957, with Ward's help, he spent several months in Italy, where he met Tatiana Franchetti...

Catherine Wilke Catherine Wilke joins the topless sunbathers on the island of Capri. Paper size 16 x12" inches / 40 x 30 cm Estate Stamped Collection Edition to 150 Photo by ...

By photographer Burt Glinn a black-and-white 12" x 8" vintage gelatin silver photograph of Editor-in-chief Hugh Hefner who founded, edited, and wrote for Playboy. An historical photo...

"Cecil Beaton (1904-1980)", Published by Electa Editrice Portfolios, 16.25 x 12.50, 1982 A portfolio of twelve heliogravure plates with tissue guard-leaves and limitation leaflet wi...

The first Playboy Club in London opened in 1965, following legalisation of gambling in the United Kingdom. Herrmann was dispatched by the Sunday Times to take fly-on-the-wall documen...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

Andy Warhol (1928-1987) Cuvaison Chardonnay (circa 1980) Screenprint in colors on museum board 10.25 x 12.5 in (26 x 31.8 cm) Unsigned Authenticated by the Authentication Board of ...

Tupac Shakur in Harlem. New York flashing his “Thug Life tatyoo, 1994. Photo by Globe Archives Paper size 40 x 40" / 101 x 101cm Unframed Archival Pigment Print Certificate of auth...

Autographed photograph of the POP singer Lena Biolcati. Excellent condition.

Keith Haring at the Stedelijk Museum, Amsterdam, Netherlands, March 15th – 12th May, 1986: Signed Keith Haring Stedelijk Museum exhibitio...

David Bowie, Cleveland Public Auditorium, Cleveland Ohio, Sunday November 26th 1972 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” The...

Open and Limited Edition 
Silver Gelatin Prints
Hand Signed by Bob Gruen Please contact us for inquiries of desired size: 8" x 10" Unframed
Open Edition 11" x 14" Unframed
Open Edit...

Bob Dylan & The Band, Hollywood Sportatorium, Pembrook Pines, FLA 1974 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned ...

By American photographer Burt Glinn a black-and-white 14" x 11" photograph on fiber paper (gelatin silver print) of Editor-in-chief Hugh Hefner who wrote for the magazine he founded,...

Elton John, Dodger Stadium, Los Angeles, CA. 1975 Print Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned digital pigment...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. Johnson Hs. & Guest Hs. is an exact replica of an art history slide made in the 1950s picturing Philip Johnson’s Glass House. The slide has been replicated digitally on a much larger scale (23” x 23”) and like the original is made of a cardboard mount that contains a color transparency. The original slide is faded from years of use and most of the color, other than red, has been bleached out. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

'Eldorado Auto Skooter, Coney Island New York' is a black and white archival inkjet print by Morgan Silk. It is available in this size of 18" x 18" in a limited edition of 10. The...

Plaisir de France II Edition of 25 signed and numbered by the artist Plaisir de France was a French magazine owned by the Groupe L'Illustration, owned by the Baschet family, with it...

ABOUT THIS ARTIST: Max Wanger constructed his first camera out of paper and scotch tape when he was seven years old. To this day, he is fond of simplicity a...

The Church S. Restituita, Naples, Vintage photo  is a photo realized in the 1886 ca., by F.lli Alinari. The photo depicts the Church S. Restituita in Naples, the marble bas-relief w...

Photo-eye editions is pleased to announce our second publication, Suo Sarumawashi by Hiroshi Watanabe. Sarumawashi, "monkey dancing," has been in existence for over a thousand years ...

A black and white photograph from the 1950s capturing the famed cinema director Otto Preminger reading the publication Variety. Otto Preminger, 1959 by Burt Glinn is a gelatin silv...