Continental US - Photography

Original vintage early 1960s set of 8 gelatin silver photographs by Physique Photographer Pat Milo of model John Haley. Haley was a very popular physique mode...

Springtime (Paris) - 1995 Edition of 5, 50x60cm including white borders. Analog C-Print, hand-printed by the artist and based on the Polaroid. Signature label and Certificate. A...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

This vintage silver gelatin photograph, printed in the late 1920s on Kodak Vitava Athena paper, is signed in pencil beneath the image with a typeset title centered in the lower margi...

observation of a Mediterranean beach scene in Nice, France, on a hazy summer day Nizza by Frank Schott 48 x 75.5 inches (122 x 192cm) signed edition of 7 44 x 69 inches (122 x 17...

Ifa - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-237. Ki...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

"Gymnosomata" Nude Photography 24" x 36" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Edition of 7...

Tessellate - 2023, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2024-007. ...

Handcuffed, New York City, 1978 is a 14" x 11" black and white lifetime print by Leonard Freed. Signed verso (back of photo) by Leonard Freed, with Freed's copyright stamp also verso, the image appears in Leonard Freed's seminal book "Police Work," published in 1980. For several years in the 1970s Leonard Freed worked alongside the New York police...

A 20" x 16" (18.5” x 12.5” image size) gelatin silver print of Andy Warhol, Edie Sedgwick, and Chuck Wein, 1965 by Burt Glinn with the photographer's blind stamp on recto (front lef...

Signed limited edition print of Debbie Harry by Barry Schultz. Taken backstage at a Blondie show at the Starwood Club, Los Angeles in 1978. Available in three sizes: 16” x 20” - Sig...

Artist: Ian Hornak (1944-2002) Title: Les Fleurs à la Manière de Redon #7: Anemones Year: 1998 Medium: Oil on masonite Size: 16 x 13.5 inches Condition: Good Provenance: Estate of Ia...

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...

Nazareno #1, 2002 by Celso José Castro Daza From The series Buscando Papá. Photo Collage One of a kind photo collage Sheet size: 27 in. H x 38 in. W Unframed The root of these uniqu...

Salt, lit by a flashlight

This work is offered by CLAMP in New York City. Slava Mogutin Marko Hands, Berlin 2007 Signed, titled, and numbered, verso Chromogenic print (Edition...

Ghosts of Love If love took form, if we could see it, and if so watch, as it faded, or got lost, or just gave up, slowly softly, disappeared, disillusioned, dejected, I think I saw it, as a tree in the woods, as a pale moth, a boat upturned on a shore, moonlight on ocean, a feather, drifting down, discarded, I looked and, love was everywhere, sighing, trembling, shimmering, fluttering, tender, as it departed, and as I watched...

Jack Mitchell vintage mid-20th Century study of reclining nude male dancer Brian Poer. Photo taken approximately 1971 or 1972 during a photo shoot for After Dark Magazine. Brian appe...

Sugar, salt and coffee lit with a flashlight

Exotic Hair Care 1989 C-print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. A woman combing her hair by a waterfall at Rose Hal...

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

11 x 14" vintage silver gelatin photograph of American Ballet Theater ballerina Lupe Serrano performing in 'Swan Lake', 1966. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. Jack Mitchell, (1925-2013) bulging photographic portfolio of actors, writers, painters, musicians and especially dancers describes a pictorial history of the arts in the late 20th century. Mr. Mitchell, who took hundreds of pictures for The New York Times, was both a portraitist and a capturer of complex motion. An expert in lighting, he worked mostly, though not entirely, in black and white, and he was known — by his subjects, by the magazine and newspaper editors he worked for, and by critics — as someone who could make a photograph reveal character. Jack Mitchell was the official photographer for the American Ballet Theater, and he chronicled the work of the Alvin Ailey American Dance Theater for more than thirty years. When he retired in 1995, he had fulfilled more than 5,000 assignments in black and white, and nearly a thousand in color. He photographed more than 160 covers for Dance magazine, and his photos have appeared in Time, Life, Newsweek, Rolling Stone, Vanity Fair, Vogue and many other publications. Mitchell’s photographs are in the collections of the National Portrait Gallery, the Museum of African American History and Culture, and the Smithsonian Archives of American Art, among others. The 2019 USPS Black Heritage postage stamp honoring American performer Gregory Hines was made from a Jack Mitchell photograph, and a Jack Mitchell photograph of Audre Lorde...

Signed and edition photograph by Paul Fusco titled "Untitled from the RFK Funeral Train". Shot in 1968 and printed in 2008 - 2021 on fujiflex paper. The ...

Gelatin silver print, printed 2005; Printed and signed 'Don Worth' in pencil lower right, dry stamped 'Don Worth...Archival Print by Don Worth' in the lower margin, annotated in penc...

“Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20...

Untitled (Ben) Puerto Vallarta, Mexico 2017-2020 Signed and numbered, verso 40 x 30 inches, sheet 38 x 28 inches, image (Edition of 3) $4,500 28 x 22 inches, sheet 24 x 20 inches,...

"ELM15" Black & White Photography 40" x 40" inch Ed. 1/8 by Giuliano Bekor Title of artwork: Echos of Tomorrow ELM15 The Mermaid Year: 2008 Printed on a high-quality museum-grade ar...

Alas Tres, by Ricky Cohete From the series "Acto Uno" Archival Pigment print Medium size: 24 in H x 36 in W. Edition of 10 + 1AP Unframed 2020 Black and White Photograph All prices...

American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is...

"ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper Framin...

This stunning color action shot features American actor Steve McQueen. Often called "The King of Cool", whose "anti-hero" persona developed at the height of the counterculture of the...

Wise Pack Qaanaaq, Greenland, 2015 24 × 36 in / 61 × 91.4 cm / Edition of 20 - $3,500 31 × 46.5 in / 78.7 × 118.1 cm / Edition of 15 - $7,500 40 × 60 in / 101.6 × 152.4 cm / Edition...

Strange Love - triptych, 3 pieces - 2005 Edition 1/5, 80x80cm each, 80x260cm installed, including gaps, 3 analog C-Prints, hand-printed by the artist, based on the 3 original Pol...

Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

Purchased from Peter Fetterman Gallery - Authorized dealer of Salgado's work. No damage issues. Look print moutned on corners. Over Mat included.

This candid capture features a young Mick Jagger and Keith Richards of The Rolling Stones, sitting with a newspaper circa 1967. The Rolling Stones were at the forefront of the Briti...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Paper Size: 15.75 x 11.75 inches. Notes: From the folio, Erwin Blumenfeld, Electa Editrice Portfolios, 1...

This black-and-white group portrait features some of the greatest stars of the 1920s and 30s all standing together and chatting. From left to right: Bela Lugosi...

Signed limited edition fine art print of Dolly Parton, taken by photographer Charlyn Zlotnik in 1975. Charlyn Zlotnik's prints are available in four sizes 11” x 14” - Open edition ...

Otto Fenn (1913-1983). Andy Warhol, 1956. Gelatin silver print, 9 7/8 x 10 inches; 11 x 14 sheet. Studio stamp, verso. Biography: Otto Fenn photographed fashions, decorations and food for Harper’s Bazaar, Town & Country, Good Housekeeping, Ladies’ Home Journal, McCall’s, House Beautiful and House and Garden magazines. Among the celebrities he photographed were Tallulah Bankhead, Jackie Gleason, Sid Caesar, Bette Davis, Yves Montand and Rosalind Russell. He also did Lord & Taylor’s advertising photography. Mr. Fenn served as chairman of the Sag Harbor Historic Landmarks District. He lived in the Nathan P. Hand house, which dates to the 1600′s and is named for a whaling captain who once owned it. Since 1964 Mr. Fenn and Mr. Krug operated the 1964 Sag Harbor Antiques Shop. Born in Manhattan, Mr. Fenn grew up in Lincoln Park, N.J. He studied at the New York School of Design and taught painting there. Early in his career he made sets for summer theater and backgrounds for fashion sittings and painted murals for the 1939 World’s Fair and the passenger ship America...

This black and white portrait features American actor and dancer James Cagney. Cagney is best known for his consistently energetic performances, distinctive vocal style, and deadpan ...

This silver gelatin print of one of Ansel Adams' most iconic images was printed by an assistant under Adams' supervision in the 1960s. It is signed in full by the artist in ink mount...

Circular color photograph a red mythical figure in an icy Arctic landscape Archival pigment print, ed. of 5 10 inch diameter image on 22 x 17 inc...

Photographed by fellow astronaut Alan Bean, NASA Apollo 12 astronaut and commander Pete Conrad Jr poses with the American flag after he and Bean planted it o...

Archival pigment print Signed and numbered on label, verso 12 x 18 inches (Edition of 10) 24 x 35.5 inches (Edition of 8) From the series, "Him" This artwork is offered by ClampAr...

An insipid notion (The astonished world) is a collection of unreal experiences caused by the feeling of late and inexperienced love, and the inability to fully know the experience of...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Paper Size: 15.75 x 11.75 inches. Notes: From the folio, Erwin Blumenfeld, Electa Editrice Portfolios, 1...

This is a hand-printed photograph using the 170-year-old cyanotype process. This is a negative (reversal of the dark and light tones) of the original photograph of a branch of a magn...

This is a contemporary photograph on archival paper. Shane Russeck is know worldwide for his wild horse imagery. This is one of only 3 color images he created in this series. Edi...

Hand printed silver gelatin photograph by the artist. Edition 1/30

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

"Chrysler Building" Abstract, Expressionist, Photography, Giclee Print, Ltd.Ed. Creator: Hatice Besun Creation year: 2025 Dimension: 42x28" External Dimension( with white border) He...

Wings, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the ...

Edition # 1/10 This is the framed price listed. The photograph is also available unframed in the two additional sizes listed. Heal disguises her contemporary characters in a fict...

"Kate Moss Nr. 3" Photography 58 × 53 1/2 in Edition 1/1 by Kate Garner Signed on the back. High Quality Print on Hahnemuhle paper using archival ink fully covered in diamond dust ...

Rebecca Skinner’s “Lonely Tree” is part of her "Winter Trees" series documenting the beauty of the New England landscape in the winter. A solitary, leafless tree stands on a gently r...

After midnight - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-932. No...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Actor George Hamilton (in blue) takes off in a speedboat with friends Ruth Luthi, Sabine Korte and Mike Belami, during a stay in St Tropez. September 1968. The High Life 1968 C prin...