Vaclav Chochola Art

'White Andalusian Horse' by Baldur Tryggvason A beautiful close up image of a white Andalusian horse dramatically silhouetted against a black backgro...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. 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. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Black and white photograph of Edward Weston's desk, by Kim Weston (American, b. 1953). This photograph was taken in the former home of Edward Weston, Kim We...

Formalist sepia toned still life photograph of white lily flowers and brown plantains on a tabletop Lilies and Plantains, by David Halliday, printed in 2003 Sepia toned silver gelati...

This vintage silver gelatin print is signed in pencil on the front of the mount.

Sepia toned silver gelatin print, edition 4 of 25 Custom black stained wood molding with visible grain 8-ply antique white mat with AR non glare glass. 4.5 x 4.5 inches unframed, 17 x 17 inches framed This square sepia toned silver gelatin print of a Victorian spiraling staircase...

This depicts a chair in the manner of Mexican surrealist modernist Pedro Friedeberg with a dried flowers. It is a hand signed, titled and dated vintage silver gelatin print photograph. and bears the artists studio stamp verso. Naomi Siegler Savage (1927 – 2005) was an American woman photographer. A native of Princeton, New Jersey, Naomi Savage was the niece of artist Man Ray. She first studied photography under Berenice Abbott at the New School for Social Research in 1943, following this with studies in art, photography, and music at Bennington College from 1944 until 1947. The next year she spent in California with her uncle, studying his techniques. When she returned to New York in 1948, she combined her love of music with her skill in photography by taking portraits of the best known composers of day: Aaron Copland, John Cage, Virgil Thomson, etc. (over 30 in all). In 1950 she married the architect and sculptor David Savage, with whom she moved to Paris, living there for some years. During her career Savage received an award from the Cassandra Foundation in 1970, and a photography fellowship from the National Endowment for the Arts in 1971. In 1976 she received the silver award from the Art Directors Club. Later in life, Savage returned to live in Princeton, where she died. Savage was heavily influenced by her uncle, the avant garde artist Man Ray, prompting her to experiment with the medium of photography, combining traditional techniques with more unusual processes, including some of her own design. She worked extensively with photogravure and photoengraving, transforming these mechanical printing techniques to be used for aesthetic effects rather than duplication. Unlike many photographers, Savage considered the metal plate that photographs are etched on to be a work of art in its own right. She pioneered the use of using the photographic metal plate to produce a three dimensional form with a metallic surface. Savage explored variations in color and texture in her work often by using inked and intaglio relief prints. Many of her works were created by combining media such as collage, negative images, texture screening, multiple exposure, photograms, solarization, toning, laser printing on metallic foils. Her works focus on a variety of subject matter and imagery, which has included portraits, landscapes, human figures, mannequins, masks, toys, kitchen utensils, dental and ophthalmological equipment. Her approach represents an involvement with "process as medium," and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles. She has experimented extensively with photogravure and photoengraving, employing these mechanical printing techniques for aesthetic effects rather than duplication. Savage uses inked and intaglio relief prints to explore variations in color and texture, and considers the metal plate on which the photograph has been etched to be a work of art in its own right. She has also combined media--collage, negative images, texture screening, multiple exposure, photograms, solarization, toning, printing on metallic foils--and made laser color prints. Several of her pieces are owned by the Museum of Modern Art, and she is represented as well in the collections of the Art Institute of Chicago, the International Center for Photography, the Fogg Art Museum, the Museum of Fine Arts, Houston, and the Madison Art Center. A photo engraved mural depicting the life of Lyndon Baines Johnson is a centerpiece of the Lyndon Baines Johnson Library and Museum. A collection of her papers relating to the life of Man Ray is held by the Archives of American Art at the Smithsonian Institution. She was included in the show Making Space at MoMA in 2017. It shone a spotlight on the stunning achievements of women artists between the end of World War II (1945) and by Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition also featured treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, Naomi Savage, Ruth Asawa, Carol Rama, and Alma Woodsey Thomas...

Black and white still life photograph of a white shell on a simple white background "Shell", photographed by David Halliday in 2003 Sepia toned silv...

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lora Webb Nichols Sweet Peas, 1907 15 x 12 inch gelatin silver print Image Size: 14 x 8.5 inches Frame size: 22.5 x 17.5 x 2 Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. 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. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Mauretania - Silver Gelatin Fibre Print (Photo by Topical Press Agency/Getty Images) The Cunard superliner Mauretania being refitted in the dry dock at Southampton. Additional I...