Maine - Photography

Evans, Walker (American, 1903–1975). JAMES AGEE, OLD FIELD POINT, LONG ISLAND, NEW YORK, 1937. Gelatin silver print. This example was offerd at Christies in 2018; catalogued by the...

Unknown Photographer. SIGNED ORIGINAL PHOTOGRAPH OF ORSON WELLES. Photographer not known, no date, but circa 1937/8. Silver Gelatin Photograph, 7 x 5 i...

Marshall, Jim. JANIS JOPLIN BACKSTAGE AT THE WINTERLAND, SAN FRANCISCO. Photograph, 1968, printed later. Gelatin Silver print on glossy paper. Unsigned. 17 7/8 x 12 1/4 inches, 455 x...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist. The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Lewis, Martim (American, born Australia, 1881-1962). ICE CREAM CONES. McCarron 78. Drypoint, 1928. Edition of 75, of which only 70 were printed. Signed in pencil, lower right. 9 3/4 ...

Smith, W. Eugene (American, 1918-1978). SPANISH WAKE. Gelatin Silver, 1951 (printed later). Titled and signed in pencil on the mount. 8 5/8 x 13 1/8 inches. In excellent condition.

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Gwathmey, Robert. NON-FICTION. Color screenprint, 1941 (Williams, 5). Signed "Gwathmey" in ink within the image, lower left. Edition size not known. 16 7/8 x 13 1/2 inches, 427 x 34...

Greenhaus, Ben (American, 1908-1951). WENDELL WILLKIE STEPPING OUT OF A CAR. Mounted gelatin silver photograph of Willkie, presumably during the campaign of 1940. c. 12 x 10 inches. ...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Anonymous WILLIAM JENNINGS BRYAN. ELECTION POSTER. Lithograph, 1900 . Poster for Bryan's candidacy for President in 1900. He ran, with Adlai E. Stevenson as Vice President, against W...

Laurent, Juan (French, ). SPAIN. Folio (14 x 18 inches), morocco, gilt title, 50 leaves with 130 albumen photos on both sides depicting Spanish buildings and landscapes, artwork, armor, and other objects, all edges gilt. Not dated but circa 1870s-1880s. Ex collection Samuel Mather, with his bookplate. The photos, mostly about 13 1/2 x 9 7/8 inches, some about 5 1.2 x 7 1/4 inches, all in excellent conditionthe; binding with an expertly rebacked spine in well-matched morocco, and stabilization of the edges by Green Dragon Bindery. Jean Laurent, (French, 1816-1886) was a French photographer who worked mostly in Spain. He photographed architecture and landscape scenes throughout Spain, and sold the images separately, so that it is likely that our album was created for the buyer from images he had chosen. Laurent was the official photographer to the Queen of Spain and to the Prado Museum. Samuel Mather (American 1851-1931) was an Industrialist and philanthropist who was descended from Cotton Mather...

Marshall, Jim. JIMI HENDRIX AND BRIAN JONES, MONTEREY POP FESTIVAL. Photograph, 1967, printed later. Gelatin Silver print on glossy paper. Inscribed "4058...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Abbott, Berenice. WASHINGTON SQUARE LOOKING NORTH. Vintage Gelatin Silver print, 1936. Stamped verso "Federal Art Project/"Changing New York"/Photograp...

Avedon, Richard. RICHARD AVEDON - CENTER FOR CREATIVE IMAGING. Poster, 1991. Signed in ink by Avedon. Captioned " Gordon Stevenson, drifter Interstate 90 Butte Montana...

Thomson, Virgil (American, 1896-1989. THE MOTHER OF US ALL. Music Press, NY, 1947. Quarto, cloth, 157pp. The limited edition of 55 copies on special paper, signed on the colophon pag...

Shorey, Charles Urban. WARREN G. HARDING SIGNED, INSCRIBED AND DATED PHOTOGRAPH. Original gelatin silver photograph, 1921. Inscribed and signed on the p...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Unknown Photographer. ROBERT PEARY, THE LORD MAYOR OF MANCHESTER, ENGLAND AND OTHERS. Gelatin silver print, 1910. The image shows Commander Peary with Cha...

Prince, George WILLIAM HOWARD TAFT AND JAMES S. SHERMAN CAMPAIGN POSTERS, 1908. The Taft with edge losses and a black line running from Taft's head to the right edge; the Sherman wit...

Prince, George WILLIAM MCKINLEY AND THEODORE ROOSEVELT CAMPAIGN POSTERS. Lithographs, 1900. With Prince's copyright, lower left, and Litho by Julius Bien NY, lower right. The McKinle...

Walker, James Perry (American, born 1945). MISSISSIPPI RIVER BRIDGE, HELENA, AR 1991. Gelatin Silver print, 1991. A beautiful and haunting portrait o...

Van Vechten, Carl. PAUL BOWLES. Gelatin Silver photograph, 1958. With the photographer's blind stamp, recto and his stamp and annotations, verso. 10 x 7 3/4 inches. In excellent condition. Paul Bowles (American, 1910-1999) was an author, composer and translator, who lived most of his life, and did most of his work in Tangier, Morocco. He is best known for the novel "The Sheltering Sky."

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Much of Keith Hamilton's work is a comment on human perception: how our mind tries to recognize patterns and make sense of a complex world. Because context greatly influences how we ...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

A Flickering Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, ba...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist. The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...