Man Ray Photography of a Woman

Man Ray photography of a manikin, circa 1970. Framed on a 19th century frame. Printed by Pierre Grassmann, circa 1970. Gelatin silver bromide. Born (Philadelphia, 1890 - Par...

Woman photographed by Man Ray. A posthumous print from the original negative around 1970 by Pierre Gassmann. Gelatin silver bromide. Stamped in the back with Man Ray Paris Stam...

Immerse yourself in the surrealist world of Man Ray with this framed black and white photograph, a masterpiece of surrealist art. Printed in heliogravure, this artwork is part of a l...

Step into the enigmatic world of Man Ray, a trailblazer in the realms of Dada and Surrealism, through this exceptional black and white photograph. Carefully framed in an early 20th-c...

A fantastic vintage Boho original photograph. A chic 1960s fashion image of a young model. Acquired from a Palm Beach estate.

Black and White Photograph of Female Nude Artist, Subject and Date are Unknown "Nude" in the style of Alfred Stieglitz image 10.75" x 13.75" - mounted matte: 16" x 20" "matte is l...

Modernist nude photogravure. Circa 1910. Nicely framed and matted. Silver leaf frame.

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. "I follow fashion. I have closets literally full of clothes. I am a full-blown Comme des Garçons and Prada freak. I love clothes themselves as objects, and I also love the glossies – my love of fashion is how I discovered Wallpaper magazine" Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...