Derek Sullivan 'After the Life for the Most Part 'G'' Silkscreen, 2014

Bronze sculpture book by Alexander Calder for Perl's Galleries. Manufactured in New York, circa 1950. In good original condition, with cons...

Karl Blossfeldt Photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 74. In original condition, with minor wear consistent with age and us...

Karl Blossfeldt photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 32. 'Chrysanthemum macrophyllum. Großblätterige Wucherblume. Teil einer...

Karl Blossfeldt Photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 75. In original condition, with minor wear consistent with age and us...

Christo / The Pont Neuf Wrapped / Project for Paris, 1984 / Collage En Deux Partes Offset lithograph in colors on woven paper, published by Nouvelles Ima...

Possibility of laminated on dibond, with metal structure, on request. Depth 3 cm for lamination otherwise photograph sent in roll - Printing in seven copies. CEDRIC ROULLIAT (Bor...

"Print Philippe Vogelenzang - The Neck" White wooden frame clear glass Dimensions : Lengh: 104 / Height: 124 / Depth :6 cm.    

Robert Frank Untitled from the Americans, 1958, Beats Culture, Black & White. Photogravure print, mid-century, France,wax tissue mounted on conservation matboard. Influenced by the work of Jakob Tuggener and Bill Brandt, as well as Walker Evans, Frank, a native of Switzerland, Frank was fascinated by documentary photography and the notion and image of "America." Frank secured a Guggenheim fellowship in 1955 to do something new and unconstrained by commercial diktats. "The Americans" was first published in 1958 in France, before its first run in the US in 1959. The photographs were shocking and notable for their distanced view of both high and low strata of American society, creating a complicated portrait of a period that was, then and now, considered to be a skeptical portrait of post-WWII American values but also deeply empathetic and profoundly evocative of ubiquitous loneliness. Frank found a tension in the gloss of American culture and wealth over race and class differences, which gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques. Shortly before the book was published in France, Frank returned to the US (1957) and met Jack Kerouac on the sidewalk outside a party. They started chatting. Frank showed him some of his photographs. Kerouac immediately told Frank "Sure, I can write something about these pictures." Kerouac would write the introduction to the American edition of the book, published two years later. Sociologist Howard S...