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Michael JacksonM2018
2018
$4,000
£3,029.63
€3,479.02
CA$5,605.72
A$6,096.83
CHF 3,231.10
MX$73,052.81
NOK 41,065.61
SEK 37,621.68
DKK 26,004.29
About the Item
This is a one of a kind luminogram
- Creator:Michael Jackson (1958, British)
- Creation Year:2018
- Dimensions:Height: 20 in (50.8 cm)Width: 16 in (40.64 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Sante Fe, NM
- Reference Number:1stDibs: LU13423577072

About the Seller
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Located in Sante Fe, NM
This is a one of a kind luminogram
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2010s Black and White Photography
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By Zoë Zimmerman
Located in Sante Fe, NM
Put simply, I have begun to look inward to find my images. As I began using large format cameras and utilizing antique and obsolete photographic processes, I also began to reject the...
Category
21st Century and Contemporary Contemporary Black and White Photography
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Malcolm Lubliner was in the right place at the right time. The artist had been working and teaching in Southern California for a number of years before he became a full-time photographer in 1968. Entrenched in Los Angeles’s burgeoning art scene, Lubliner was hired as a contract photographer for the publishing workshop Gemini G.E.L. to document its behind-the-scenes activities. He would later become the official photographer for the Art and Technology Program at the Los Angeles County Museum of Art (LACMA), which paired artists with technology companies in the region.
Lubliner’s collection of negatives, contact sheets, and prints—newly catalogued as part of the special collections at the Getty Research Institute—showcases some of the 20th century’s most notable artists and demonstrates his insight into their artistic processes.
Lubliner photographed the technical and collaborative efforts that went into producing iconic works such as Jasper Johns’s Numerals, Claes Oldenburg’s Giant Ice Bag, and Frank Stella’s Protractor series, while also creating intimate portraits of the individual artists as the driving forces behind them. He captured artists such as Roy Lichtenstein, Robert Rauschenberg, Robert Irwin, Richard Serra, John Altoon, and Sam Francis at work both at Gemini and in their own studios. Also present in many of the photographs are staff members of Gemini, including Kenneth Tyler and Stanley Grinstein.
An equally important part of the collection are Lubliner’s photographs of social events that were held by Los Angeles’s prominent art collectors and dealers. Accomplished and rising artists alike mingled and celebrated with the art world’s movers and shakers, such as Leo Castelli, Betty Asher, and Maurice Tuchman, establishing partnerships that would help define their careers.
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1962 MFA Degree, Otis Art Institute, Los Angeles, Ca
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2013 The Automotive Landscape, St. Mary’s College Art Gallery, Moraga, CA
2011 Anxious Landscape, Richmond Art Center, Richmond, CA.
2011 Pacific Party Time, Craig Krull Gallery and Getty Foundation, Los Angeles, CA
2010 Garden of Arbitrary Volition, Togonon Gallery, San Francisco, CA
2008 Tableaus, City Hall Rotunda, Walnut Creek, CA
2007 Portraits of American Artists, The 8 Gallery, San Francisco, CA
2003 Significant Places, Fresno Museum of Art, Fresno, CA
2003 Significant Places, Bedford Gallery, City Council Chambers, Walnut Creek, CA
2001 Significant Places, Point of View, College of Marin, Kentfield, CA
2001 Osceola Gallery Emeryville, CA
1999 Sixteen Tableaus, Berlex Corporation. The Richmond Art Museum
1995 Sixteen Tableaus, The Collectors Gallery, Oakland Museum of California Oakland, CA
1995 Sixteen Tableaus, University of Alabama at Tuscaloosa 1988 Introductions
1988, Vision Gallery, San Francisco, CA 1988 Mitzie Landau Gallery, Solo Exhibition, Los Angeles, CA
1975 Automotive Research, The Comsky Gallery, Los Angeles, CA
EXHIBITION HISTORY, GROUP
2014 Pilot Project at the Richmond Art Center Annual Members Show, June 14 to August 22
2013 Me Two, Self portrait, Syracuse University permanent collection, Syracuse, NY
2009 Seduction of Duchamp, Slaughterhouse Space, Healdsburg, CA
2009 Glimpses in Time, National Competition, Joyce Gordon Gallery, Oakland CA
2009 Anxious Landscape, Togonon Gallery, San Francisco, CA
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2006 The 8 Gallery, Inaugural exhibition, San Francisco, CA
2006 Rush Creek Editions Gallery, Inaugural exhibition, Santa Fe, NM
2006 Transmissions Gallery, Berkeley CA
2005 The Bedford Gallery, Dean Lesher Center, Walnut Creek, CA
2003 Grabado sin Fronteras, Kala Art Institute, Berkeley, CA , Mission Cultural Center, San Francisco, CA and Estamperia of Quito Ecuador.
2002 Crocker Art Museum, Crocker-Kingsley 73rd Biennial Exhibition Sacramento,CA
1997 Oakland Museum of California, “In Front of the Lens” Photographers Portraits and Self Portraits, Oakland, CA
1996 Photographing The L.A. Art Scene 1955-1975, Group exhibition at The Craig Krull Gallery, Los Angeles
1994 Living in Balance, Richmond Art Center, Richmond, CA
1993 36th Annual Chautauqua National Exhibition of American Art, Chautauqua, N.Y.
1993 Third Annual Juried Exhibition, Sid Jacobson Jewish Community Center, East Hills, N.Y.
1993 4th Annual Art Equinox, Paris Gibson Square Museum of Art, Great Falls, Montana.
1993 Portraits in Black and White, ZYZZYVA benefit, Edith Caldwell Gallery, San Francisco, CA
1993 Long Beach Arts 89th Open Exhibition, Long Beach, CA
1993 Fort Worth Arts Festival, Fort Worth, TX 1989 A Special Photographers Co., Group Exhibition, London, GB
1988 The Print Club, 64th Annual International Competition, Philadelphia, PA
1985 SNAP Photographic Competition, San Francisco Arts Commission Gallery San Francisco, CA
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1981 Architecture de Tour, Centre George Pompidou, Paris, France
1967 California Dreamin’, Los Angeles County Museum, Barnsdall Park. Los Angeles, CA
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2006 Vallejo Artist’s Guild, Vallejo, CA – First and second cash prizes
1997 Miranda Leonard Purchase Grant, Gift of four photographs to San Francisco Museum of Modern Art.
1994 California Exposition & State Fair, AWARD, Sacramento, CA
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1962 All City Competition, AWARD, LA County Museum of Art, Barnsdall Park, Los Angeles, CA
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The Lafayette Library and Learning Center, Lafayette, CA.
The National Portrait Gallery, The Smithsonian Institution, Washington, DC
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The Bancroft Library, Berkeley, CA
San Francisco Museum of Modern Art
San Francisco Arts Commission
Oakland Museum of California
The Los Angeles County Museum of Art
The Fresno Museum of Art
The California Museum of Photographic Arts, San Diego, CA.
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Image size: 40.6 x 30.5 cm
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Unique
Series: The Self Representation of Light
Signed and dated in pen on verso
© Michael Jackson
The Luminograms are made from the most simple of procedures - directing light onto silver gelatin photo paper. However, it is that simplicity that allows Jackson to adapt his own way of thinking into the making of the finished piece. As he says, it's as close as he can get in photography to painting.
After moving to Wales in 2007, Michael Jackson spent the next eight years creating an extensive study of a single local beach - Poppit Sands. After years of examining the beach, he realised that in effect he was studying himself and his reaction to the beach - rather than the physical landscape. He then started looking at the beach as simply a way of dividing up the camera frame - the lines and curves and focal points. It was during the long period of producing Poppit Sands prints in the darkroom that he discovered how to start making luminograms.
"I feel strongly that the luminograms represent a form of moulded light. You use your process to direct and mould the light and the paper receives it in its own magical way and translates that into a form that seems fantastical but also it has one foot in reality. The piece itself so often seems like a photograph of a sculpture, when it fact it is neither. I imagine that I am taking something that you cannot feel and I am making it appear in a seemingly three dimensional form that is balanced and controlled. Just like sculpting clay." Michael G Jackson...
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Man Ray, Rayograph, from Electa Editrice, 1980 (after)
By Man Ray
Located in Southampton, NY
This exquisite heliogravure after Man Ray (1890–1976), titled Rayograph, originates from the 1980 folio Man Ray, Electa Editrice Portfolios. Published by Gruppo Editoriale Electra, Milano, and printed by Gruppo Editoriale Electra, Milano, 1980. This image exemplifies Man Ray’s pioneering “rayograph” technique—a cameraless photographic process in which objects were placed directly onto photosensitive paper and exposed to light, creating luminous abstract compositions that fused chance, intuition, and surrealist invention. Through this groundbreaking process, Man Ray transformed photography into pure visual poetry, redefining its potential as a form of modern art.
Executed as a heliogravure on velin paper, this work measures 15.75 x 11.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Gruppo Editoriale Electra, Milano.
Artwork Details:
Artist: After Man Ray (1890–1976)
Title: Rayograph
Medium: Heliogravure on velin paper
Dimensions: 15.75 x 11.75 inches (40.01 x 29.84 cm)
Inscription: Unsigned and unnumbered as issued
Date: 1980
Publisher: Gruppo Editoriale Electra, Milano
Printer: Gruppo Editoriale Electra, Milano
Condition: Well preserved, consistent with age and medium
Provenance: From the folio Man Ray, Electa Editrice Portfolios, published and printed by Gruppo Editoriale Electra, Milano, 1980
Notes:
Excerpted from the folio (translated from Italian), Limited edition of M examples, drawn in heliogravure on special paper, designed specifically for the Portfolios Electa. Gruppo Editoriale Electra/Milan. Printed in Italy.
About the Publication:
The Man Ray, Electa Editrice Portfolio (1980) was published by Gruppo Editoriale Electra in Milan as part of the distinguished Electa Portfolios series, which celebrated the masters of 20th-century photography through the artisanal process of heliogravure printing. This edition was dedicated to Man Ray’s seminal body of photographic work from 1920 to 1934—an era in which he redefined modern image-making through technical invention, surrealist experimentation, and intellectual daring. Produced in collaboration with leading photographic historians and Italian master printers, the portfolio was printed on specially manufactured velin paper designed exclusively for the Electa Portfolios, ensuring tonal precision and textural depth true to the artist’s originals. The publication represents one of the most refined posthumous tributes to Man Ray’s legacy, combining Italian craftsmanship with avant-garde vision to preserve the luminous complexity of his photographs. Created with the same devotion to innovation and elegance that characterized Man Ray’s own practice, this edition remains an important intersection of fine art publishing and modernist history.
About the Artist:
Man Ray (1890–1976) was an American-born painter, sculptor, photographer, filmmaker, and conceptual visionary whose radical imagination and technical innovation transformed modern art and established him as one of the leading figures of the 20th century. Born Emmanuel Radnitzky in Philadelphia, he became a central force in both the Dada and Surrealist movements, defying artistic boundaries and redefining the relationship between art, technology, and the unconscious. After early involvement in New York’s avant-garde with Francis Picabia and Marcel Duchamp, Man Ray moved to Paris in 1921, where he joined a revolutionary circle of artists including Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, and Marcel Duchamp. There, he pioneered the “rayograph,” or photogram—a cameraless photographic technique that used light and shadow to create ethereal abstract compositions—and produced some of the most iconic images in art history, including Le Violon d’Ingres (1924) and Noire et Blanche (1926). His photography, distinguished by its fusion of elegance, surrealism, and psychological depth, captured the essence of modernist Paris and immortalized creative icons such as Kiki de Montparnasse, Gertrude Stein, and James Joyce. At the same time, Man Ray’s experimental films, including Le Retour a la Raison (1923) and L’Etoile de mer (1928), and his sculptural works like The Gift (1921) and Object to Be Destroyed (1923), expanded the possibilities of art itself, transforming ordinary objects into symbols of mystery and desire. His conceptual approach—viewing art as an idea rather than an object—anticipated later movements such as Pop Art, Minimalism, and Conceptual Art, profoundly influencing artists like Andy Warhol, Robert Rauschenberg, Jasper Johns, and Joseph Beuys, as well as photographers Helmut Newton, Guy Bourdin, Cindy Sherman, and Richard Avedon. Even in exile during World War II, while working in Los Angeles, he continued to innovate, blending Surrealist fantasy with the luminosity of the California landscape before returning to Paris, where he spent his final decades refining his poetic, intellectual, and sensuous vision. Exhibited in major institutions such as the Museum of Modern Art, the Tate Modern, and the Centre Pompidou, Man Ray’s work remains foundational to modern art history—bridging painting, photography, film, and sculpture in a body of work that continues to shape the language of visual culture. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, and Marcel Duchamp, Man Ray endures as one of the most original and influential artists of the modern era. His highest auction record was achieved by Noire et Blanche (1926), which sold for 3.13 million USD at Christie’s, Paris, on November 9, 2017, confirming his status as a timeless innovator whose genius continues to inspire artists, collectors, and dreamers worldwide.
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Frame with the classic museum style mount board and black frame/ Print can be shipped unframed - options available with more shipping prices available - please message us for more info/
This is a Unique piece
Series: The Self Representation of Light
Signed and dated in pen on verso, Certificate of Authenticity provided
The Luminograms are made from the most simple of procedures - directing light onto silver gelatin photo paper. However, it is that simplicity that allows Jackson to adapt his own way of thinking into the making of the finished piece. As he says, it's as close as he can get in photography to painting.
"I don't really see photography and pottery or painting or music to really be different to each other. Some are more immediate, some are more subtle. Music seems to be able to control emotions, photography seems to create a satisfying pleasure from just a tonal flat surface. Same with painting. One of the biggest mysteries for me is why all these things manage to control us in some way." - Michael G Jackson...
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