Florida - Portrait Photography

The photo represents a synthesis of Americana. Jazz meets the Statue of Liberty during a perfect sunset. Signed, dated lower and numbered 3/25 lower right recto, unframed, printe...

Dollhouse, by Léa Bon Archival pigment print on Harman Glossy 260 g paper. Image size: 29.53 in H x 19.68 in W Edition 2/6 2012 All sizes signed, titled, date...

Soñar Que Tiene Las Manos Muy Grandes, 2014 Found images transferred to acetate film, collage, acrylics, and graphite. Mixed Media on %100 Cotton Paper Imag...

Weifang Sun, 2017, by Hunter & Gatti From the series of Nothing Stays Still Acrylic on acetate print. Image size: 29.5 cm H x 21.7 cm W Signed front and signed back with a date. UNFR...

Raphael Macek Domino, 2020 Afresco series Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one....

Raphael Macek Volent IV (Horse Portrait, Afresco series) 71 x 48 inches Archival Pigment Print Edition of 7 Framed Large-scale photograph from the Equine Beauty series. The legend...

Gelatin silver print. Hand signed and numbered by the artist. Image size: 30.75 x 25 in. Sheet size: 40 x 30 in. Frame size: approx. 52 x 39 in. Edition of 25. Artwork is in excellen...

The artwork of Jacques Beneich is an ever renewed exploration of his passion for fashion photography, black and white movies, and music, re-visited with an explosion of colors as a tribute to life. While working as a fashion photographer with the most well known magazines and companies, Jacques Beneich started working as a portraitist. In 1989 he signed one of the most famous series of portraits of some of the greatest jazz and blues musicians including Miles Davies, Fats Domino...

Greg Lotus Through the window, 2019 Fashion Photography Greg Lotus is an American fashion photographer based between Miami and New York. His work can be found regularly in the pages...

Raphael Macek Volent IV, 2020 Afresco series 60 x 40 inches Archival Pigment Print Edition of 7 Framed Large-scale photograph from the Equine Beauty series. The legendary and comp...

Mutilation, by Léa Bon Archival pigment print on Hahnemühle Photo Rag® Ultra Smooth Image size: 29.53 in H x 19.68 in W Edition 1/6 Unframed 2017 All sizes signed, titled, dated, an...

White Blood, by Léa Bon Archival pigment print on Harman Glossy 260 g. paper 35.43 in. H x 23.62 in. W Edition 1/3 2018 All sizes signed, titled, dated, and numbered on artist label...

Capoeira / Bahia, 2009, 2010 by Guilherme Licurgo Image size: 35 in. H x 23 in. W Edition of 10 + 2 AP Unframed From the Homage to Bahia series. Other sizes are available. All Pri...

About Informal Photography, by Léa Bon Archival pigment print on Hahnemühle Photo Rag 308 g. paper Image size: 32.68 in. H x 21.65 in. W Edition 1/6 2018 All sizes signed, titled, d...

Bruno Mars, 2017 by From the series of Nothing Stays Still Acrylic on gliceée print. Image size: 29.5 cm H x 21.7 cm W Signed front and signed back with a date. UNFRAMED This piece...

Kaaling Pharrell, 2017 by Hunter & Gatti From the series of Nothing Stays Still Acrylic on gliceée print. Image size: 29.5 cm H x 21.7 cm W Signed front and signed back with a date. ...

Raphael Macek Domino, 2020 Afresco series 60 x 40 inches Archival Pigment Print Edition of 10 Framed Large-scale photograph from the Equine Beauty series. The legendary and comple...

Eternal & Ethereal, by Léa Bon Archival pigment print on Harman Glossy 260 g. paper 25.59 in. H x 21.65 in. W Edition 1/6 2017 All sizes signed, titled, dated...

Gabriel Wickbold I am online #10, 2015 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature La...

Honeymoon by Léa Bon Archival pigment print on Hahnemühle Photo Rag Ultra Smooth 305 g. paper 17.71 in. H x 11.81 in. W Edition 1/6 2016 All sizes signed, titled, dated, and numbere...

Boderline, 2018 by Léa Bon Archival pigment print on Harman Glossy 260g paper Image size: 29.53 in H x 19.68 in W Edition 1/3 Unframed All sizes signed, title...

Jacques Lowe stamp and various inscriptions on print verso. Sheet size 11 x 13.9 inches. Image size approx 9 x 13 inches. Frame size approx 18.5 x 22.5 inches. Certificate of authen...

Greg Lotus Summer Day, 2019 Fashion Photography Greg Lotus is an American fashion photographer based between Miami and New York. His work can be found regularly in the pages of Ital...

Domina, by Léa Bon Archival pigment print on glossy paper 35.43 in. H x 23.62 in. W Edition 1/6 2017 All sizes signed, titled, dated, and numbered on artist label verso All Prices a...

Gabriel Wickbold Naive #27, 2018 44 x 44 inches 110 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Gabriel Wickbold I am online #8, 2015 44 x 64 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Lab...

Oxygen of Sleep by Léa Bon Archival pigment print on Harman Glossy 260 g. paper Image size: 29.53 in. H x 19.68 in. W Frame size: 31 in. H x 21 in. W x 1.5 in. D Edition of 2/6 2013 ...

Dollhouse II, by Léa Bon Archival pigment print on photo baryta 315 paper Image size: 29.53 in. H x 19.68 in. W Edition 1/6 2012 All sizes signed, titled, dat...

Bioluminic II, by Léa Bon Archival pigment print on glossy paper 35.43 in. H x 23.62 in. W Edition 1/6 2018 All sizes signed, titled, dated, and numbered on artist label verso All P...

Violonchelo by Léa Bon Archival pigment print on Hahnemühle Photo Rag Ultra Smooth 305 g. paper 21.65 in. H x 17.72 in. W Edition 1/6 2018 All sizes signed, titled, dated, and numbe...

Orphan, by Léa Bon Archival pigment print on Harman Glossy 260 g. paper 35.43 in. H x 23.62 in. W Edition 1/6 2018 All sizes signed, titled, dated, and numbered on artist label ver...

Mood, by Léa Bon Archival pigment print on Harman Glossy 260 g. paper Image size: 47.24 in. H x 31.50 in. W Edition of 2/6 2018 All sizes signed, titled, dated, and numbered on arti...

Insane, by Léa Bon Archival pigment print on glossy paper 35.43 in. H x 23.62 in. W Edition 1/6 2018 All sizes signed, titled, dated, and numbered on artist label verso All Prices a...

Hand signed front lower margin by Andy Warhol. hand signed by Paul Weiss on print verso. Sheet size 15.75 x 19 inches. Frame size approx 28 x 31 inches. Artwork is in excellent cond...

Gabriel Wickbold I am online #14, 2015 44 x 64 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature La...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Gabriel Wickbold I am online #11, 2015 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature La...

Invacuo Project #19, 2016 by Koray Erkaya From the series of Invacuo Project Hahnemühle Photo Matt Fibre Duo 210 Image size: 16 in. H x 24 in. W (40 cm H x 24 cm W) Edition of 10 Work is also available framed at an additional cost. All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________ JAZZ AND GAS Joyful humour characteristic of the pro-democracy environmentalist Gezi Park protests in June 2013. People of all ages, students, writers, artists, actors, musicians, LGBT activists, Anti-Capitalist Muslims, Marxists, Anarchists, Kurdish and Turkish nationalists were peacefully together in the heart of modern Istanbul: Taksim Square. Then the police attacked with tear gas and their usual equipment. But if they use uneven brutal force, then we use uneven intelligence and creativity: “We are fair: Their gas is fresh air.” Such sarcastic slogans multiplied echoing the positive, hopeful, unyielding and determined character of the our jazz like plural harmony. If Sultanahmet Square is the heart of Classical Istanbul with its Byzantine and Ottoman heritage, Taksim Square represents the modern city: the central statue representing the national liberation war and the formation of the Turkish Republic, Gezi Park, Ataturk Cultural Centre, big hotels, and the historic Istiklal (Independence) Street. Eyes shed tears not only because we laughed due to high quality satirical slogans but also because of the harmful gas and the deaths of several youngsters. Numerous citizens lost an eye or arm. Thanks to international media coverage, the inspiring Gezi Park resistance (or “June Movement”) in Turkey drew attention all over the world -while the pro-government media kept silent. Whether on purpose or not, tear gas –and its canisters at close range- took several lives. Don’t let anybody fool you: Tear gas may kill. And it did. Though “as a nation” we had been used to gas in previous demonstrations, one point was unique: The whole city was gassed. Babies, old people and citizens with asthma suffered in their homes. Before the police attack, maybe most of the young protesters were “merely” environmentalists without a major political orientation. Tear gas brutality transformed most of them into political activists. Since that June, our lungs, souls and future have been full of that gas. Tear gas has been used not only in Turkey but in many other countries as well –since the 1990s. We tend to think that “Every soul shall taste it,” –sounding like a statement from a holy book. The situation is unacceptable: A child on the way to get bread for breakfast may die –in fact be killed by the police using tear gas without proper concern and care. Tear gas is a chemical weapon. It’s vital to comprehend that. The marketing is well-phrased but misleading: “Made from fruit and vegetables, wholly organic.” But when it is used at close range, its metal canister becomes a bullet. Fifty years ago, in late 1960s, 90 countries signed a petition against the usage of tear gas. Our country signed the 1997 Convention on Chemical Weapons, which states that tear gas is considered to be a chemical weapon when it is used in closed places, at close range or in a crowd. Despite this, it has been used time and again in Brasil, Chile, Egypt, Germany, Gaza, Iraq, Ireland, Israel, Panama, the Philippines, South Korea, UK, USA, and Vietnam. The Association of Turkish Medical Doctors and the Initiative Against Tear Gas have been working and reacting diligently on this issue. “But the label says it’s harmless,” say some. But the firms that produce gas bombs put labels according to the demands of governments. Are you Shocked? Global trade has priority over humanitarian concern. But why this introduction? Don’t we all know all these things? We certainly do, but the “agenda” changes so fast that our knowledge does not find time to unite with our action in order to change the ongoing chain of events. Enter arts. With the mission of contributing to collective memory, Artist Koray Erkaya creatively documents experience. In his new photographic art series, Erkaya revolts against individual and social de-sensitivisation. In order to address the memory and to increase awareness, he uses “gas” against everyone –without discrimination. He tests his models with gas in the specifically prepared labyrinth made of mirrors. But of course, the gas he uses is not one of the types of tear gas labeled OC, CS or CN. In any case, the violence the people suffer is not limited to the content of the gas. When he started his voyage to display the violence, loneliness, nakedness, helplessness, spiritual and physical isolation of women, children, gays, transsexuals -all the humiliated people under some form of gas, Erkaya began working with models from various nations in Istanbul. Now he is on his way to show that this issue is a problem for all who live on the same planet. When we see ourselves in the eyes of the models in the mirrors...

Sweet Dream, by Léa Bon Archival pigment print on Harman Glossy 260 g. paper 35.43 in. H x 23.62 in. W Edition 1/6 2019 All sizes signed, titled, dated, and numbered on artist label...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Underworld Love, by Léa Bon Archival pigment print on Hahnemühle Photo Rag 308g paper Image size: 41.34 in. H x 27.56 in. W Edition 2/6 2018 All sizes signed, titled, dated, and num...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Tibor De Nagy - October 11 1960 Photographer is Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson, Jasper Johns, Franz Kline), actors (Dustin Hoffman, Robert De Niro on the set of “Taxi Driver”), musicians (Janis Joplin, Alice Cooper, Bob Dylan) and documentary images of early happenings and performances (Yayoi Kusama, Charlotte Moorman, Al Hansen, Jim Dine, Nam June Paik). The many images of Andy Warhol include the well-known one with his Brillo boxes at the Stable Gallery in 1964. Woody Allen, Diane Arbus, W. H. Auden, Francis Bacon, Joan Baez, Louise Bourgeois, David Bowie, Jimmy Breslin, William Burroughs, John Cage, Leo Castelli, Christo, Leonard Cohen, Merce Cunningham, William de Kooning, Jim Dine, Mark di Suvero, Marcel Duchamp, Bob Dylan, Federico Fellini, Allen Ginsberg, Robert Indiana, Mick Jagger, Jasper Johns, Kusama, John Lennon, Sol Lewitt, Roy Lichtenstein, Nam June Paik, Elvis Presley, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Lou Reed, James Rosenquist, Mark Rothko, Ed Ruscha, Robert Smithson, Susan Sontag, Andy Warhol, and others. McDarrah’s prints have been collected in depth by the J. Paul Getty Museum and the National Portrait Gallery, Washington. His work is in numerous public and private collections. Tibor de Nagy founded an eponymous Gallery involved in the discovery of many of the Second Generation Abstract Expressionist Movement artists and also representational artists of the era including Nell Blaine, Grace Hartigan, Alfred Leslie, Helen Frankenthaler, Jane Freilicher, Paul Georges, Red Grooms, Ian Hornak, Kenneth Noland, Fairfield Porter and Larry Rivers and established emerging artists including Carl Andre, Helen Frankenthaler, Jane Wilson...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Fuchsine, 2017 by Hunter & Gatti From the series of Nothing Stays Still Acrylic on gliceée print. Image size: 29.5 cm H x 21.7 cm W Signed front and signed back with date. UNFRAMED ...

Gabriel Wickbold I am light #55, 2014 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Leto's Daughter, 2019 by Hunter & Gatti Acrylic And Oil Pastel On Pigment Print Image size: 36 cm. H x 28 cm. W UNFRAMED This piece is part of the H&G series titled "Nothing Stays S...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Gabriel Wickbold I am light #14, 2019 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Gabriel Wickbold Sans Tache, 2014 32 x 72 inches 83 x 183 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certif...

Gabriel Wickbold I am online #3, 2015 44 x 64 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Lab...

Gabriel Wickbold I am online #12, 2015 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature La...

Gabriel Wickbold I am online #25, 2015 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature La...

Gabriel Wickbold I am light #1, 2018 64 x 44 inches 160 x 110 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenticity

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Lawrence Lipton May 17 1965 photographer Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmod...

Gabriel Wickbold Steve Sans Tache, 2014 32 x 72 inches 83 x 183 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authenti...

Gabriel Wickbold Gabriel Sans Tache, 2014 32 x 72 inches 83 x 183 cm Edition of 5 Archival Pigment Print Framed (Matt Black) Signed on verso + Signature Label Certificate of Authen...