Soil Art

Peace Rock, Palm Springs, CA by William Greiner depicts a vibrant landscape filled with large boulders and desert flora. A graffitied peace sign hides in the shadow covered rock. Ar...

The symmetry of flooded fields on a cold day on the Somerset levels – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt...

The symmetry of flooded fields on a cold day on the Somerset levels – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt...

The symmetry of flooded fields on a cold day on the Somerset levels – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt...

The symmetry of flooded fields on a cold day on the Somerset levels – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt...

Black and white fine art long exposure panorama landscape photography print. Cypress trees in a hilly landscape in the middle of Tuscany, Italy. Archival pigment ink print, edition o...

Powder Basin

Stamped and signed on the back of the mount, Witkin label affixed to the back of the mount. Edition of 55. The Weston Gallery is located in Carmel-by-the-Sea, CA and owned by Matthew...

The present work is from the artist’s “Becoming” series, which consists of 147 photographs documenting the transformation of a green field into Beijing’s new national airport, the la...

Wall sculpture “It has long been known that the Earth is round, but it is only now in the space age that it is really seen to be so. The stunning pictures of the blue planet floatin...

Artist: Robert D. H. Bidner, American (1930 - 1983) Title: Rhinebeck Special Year: 1976 Medium: Acrylic on Panel, signed l.l. Size: 22.5 x 32 in. (57.15 x 81.28 cm) Frame: 23.5 x 33 ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Rebar, Palm Springs, CA by William Greiner depicts a rocky desert landscape with a long wire rod reaching out from the ground. The landscape changes as it stretches out towards the h...

Akuuragna / Pasadena, Huntington Library Parking Lot (Fallen Leaves and Wild Olive Blooms), 2023 A Place Where We Are In The Sun reimagines the complexities brown bodies and the Cal...

Lompo / Lompoc, La Purisima Mission. 1 out of 3 locations of the Chumash revolt of 1824 (Popcorn Flower, Prickly Pear), 2023 A Place Where We Are In The Sun reimagines the complexit...

Lompo / Lompoc, La Purisima Mission. 1 out of 3 locations of the Chumash revolt of 1824 (Popcorn Flower, Prickly Pear), 2023 A Place Where We Are In The Sun reimagines the complexit...

Akuuragna / Pasadena, Huntington Library Parking Lot (Fallen Leaves and Wild Olive Blooms), 2023 A Place Where We Are In The Sun reimagines the complexities brown bodies and the Cal...

Title: Ahu Lani River - 0415.1844 Size: 18 x 24 in Medium: Archival Pigment on Canson Rag Edition of 8 Signed: Verso Print: $1950 unframed Walnut frame available From the series WIT...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 15. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In Gordon’s third exhibition, his remarkable capacity for discovery and self-described “pathological curiosity” makes for an entirely unpredictable series of photographs, while the small size of the gelatin silver prints emphasizes their detailed nature and enhances the mysterious quality generated by his choice in cameras (namely, the increasingly popular Holga film camera). Stettinius’ wry sense of humor, references to popular culture, and use of kitschy subject matter permeate the entire black and white exhibition. The invitational image, “Yoda’s Garden”, is a perfect emblem of the exhibition’s mischievously comedic representation of Americana. In this image, a scarecrow proudly stands at the center of a growing cornfield, a gingham dress wrapping its body and a mask of the popular Star Wars character “Yoda” serving as its head. Although the references to both Star Wars and The Wizard of Oz may appear staged, Stettinius’ photography is anything but. Stettinius frequently finds inspiration in road trips, generating an aesthetic with the satirical playfulness of David Graham or Ralph Meatyard. This spontaneous, anthropological approach to photography can be seen in several of the pieces in Stettinius’ collection. This is perhaps most notably found in “Fast Money...

"Origin" (FRAMED) Black & White Photography 47 x 47 In Ed. 3/7 by StillVika Size framed: 51" x 51" inch Medium: Canson Platine 310GSM Amidst a chaotic world filled with dispiritin...

Bill Owens Before the dissolution of our marriage my husband and I owned a bar. One day a toilet broke and we brought it home, 1971 Print Paper Size: 13 x 17 inches Print Image Size...

Titled with artist's reference number on mount verso. Stamped, '87 Point Lobos’ on mount verso. Labeled ‘Photograph by Edward Weston’ on mount verso. On Cr...

The present work is from the artist’s “Becoming” series, which consists of 147 photographs documenting the transformation of a green field into Beijing’s new national airport, the la...

Initialed and dated front of mount. Negative number annotated on back of mount. Printed in 1938.

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

This vintage silver gelatin print is Initialed and dated in pencil mount recto. Printed by Brett Weston in 1951 for the 50th Anniversary Portfolio.

Silver Gelatine Print by Erich Andres, ca 1950. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

photograph

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

Woman In Meadow - Life in Italy 1960 is a vintage black and white photograph realized in the1960s in Italy. Good conditions an aged.

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

Hot Night in Shanghai Photographed from a fourth floor flat, Shanghai, China Archival Pigment Print Year: 2010 Size: 8" x 84" Signed by the artist

The photographs in Nest are about a primal need to create a home wherever we are. In San Francisco, there are pockets of nature where people and animals seek refuge. Belcher is attracted to wild places, particularly the caves and nests that appear in the overgrown areas of Golden Gate Park...

The photographs in Nest are about a primal need to create a home wherever we are. In San Francisco, there are pockets of nature where people and animals seek refuge. Belcher is attracted to wild places, particularly the caves and nests that appear in the overgrown areas of Golden Gate Park...

Giclée Fine Art Print limited edition 2/10 Printed on FOMEI Collection Baryta Mono 290 gsm/ Museum quality fine art paper Each edition is numbered and signed by the artist...

Boys Play with Hoops 2019 C-Prints printed on FujiFlex Crystal Archive Super Gloss Paper 60 x 40 inches Signed and numbered edition of 10 with certificate...

Land is a photograph taken by Amanda Ludovisi in 2018. It represents a desolated immense flat land in Iceland, with a sharp horizon. This is a giclée ...

Title: Path To The School Medium: Oil on canvas Size: 30 x 22 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2011 Artist: Qingliang...

The harsh, grim landscape of the surface of mars is the subject of Kirill Polevoy's black and white photograph entitled "Mars on Earth, Michigan". By bringing the angle of the photo down to the ground, there is an even greater sparseness to the stark landscape. Yet with a closer look, we see the boulders and sand are actually melted snow piles. This large format photograph is unframed. Please contact the gallery for framing options. Kirill Polevoy Mars on Earth, Michigan archival pigment print 60h x 40w in 152.40h x 101.60w cm 1/20 KIP034 “Through a black and white lens, hidden stories of everyday objects become apparent. The juxtaposition of strong light and dark shadows transform and illuminate detail that would otherwise be dismissed. Diminutive elements become rich in meaning allowing compositions to effortlessly evolve. As I attempt to uncover the hidden truth of the world around me, I am inevitably mesmerized by it and I hope you will be too.” A self-taught photographer, Kirill Polevoy, first started making photographs with an old Russian film camera...

Alternative sizes and media available: 16 x 16 16 x 20 16 x 24 20 x 20 20 x 30 28 x 28 28 x 35 30 x 45 40 x 40 40 x 50 40 x 60 Matte photo paper or canvas available on...

Photographic Fine Art Paper 325 g, ed. 3/7 Luca Battaglia is an Italian architect and photographer born in 1970 who lives and works in Paris, France. Luca met the Italian photograph...

Limestone Walls by Arthur Steel Insheer, the Arran Islands, 1966 All prints are hand signed limited editions, no further prints are produced once sold. paper size - 44 x 33.5 " ...

Violinist is one of the best photo realized by the italian artist Carlo Caboni in 2020. Always passionate about landscapes and photography, the artist then devoted himself to landsc...

Unforgiven Rocks and cacti near a coastline. by Stuart Möller Born in Kabul, part German and Anglo-Indian and having grown up all over the world, Stuart Möller is a fine art phot...

Inisheer Limestone Walls By Arthur Steel Paper size: 44 x 33.5" / 112 x 85 cm Silver Gelatin Print 1960 (printed later) unframed hand signed limited edition of 30 note other pri...

Portrait of Miranda Martino - Vintage Photo is a vintage black and white photograph realized in the 20th Century. Fair conditions with oxidation.

American Coal Field- American Vintage Photograph is an original black and white photograph realized in the U.S in the Mid-20th Century in a series on American life in the 20th Centur...

Man-Made Miracle - American Vintage Photograph is an original black and white photograph realized in the U.S in the Mid-20th Century in a series on American life in the 20th Century....

International Ocean Safety - American Vintage Photograph is an original black and white photograph realized in the U.S in the mid-20th Century in a series on American life in the 20t...

This photograph Tre Archi_09_2021 was taken by the Italian photographer Serena Zeppilli. It is part of the series "Tre Archi 2021". Ink Jet fine art print o...

The Underground Silo- American Vintage Photograph is an original black and white photograph realized in the U.S in the mid-20th Century in a series of American life in the 20th Centu...

Cotton Farmer - American Vintage Photograph is an original black and white photograph realized in the U.S in the mid-20th Century in a series of American life in the 20th Century. W...

Luna Moss 2022 Jarvis Cocker, Pulp photographed by Kevin Westenberg for NME Magazine in Paris in July 1996. by Kevin Westenberg Signed Limited Edition Kevin Westenberg is famed ...

Unforgiven Rocks and cacti near a coastline. by Stuart Möller Born in Kabul, part German and Anglo-Indian and having grown up all over the world, Stuart ...