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Medium: Dye Transfer
Precipice
Located in Brooklyn, NY
Shot on a dramatic plateau high above the Atlantic Ocean north of Lisbon, Portugal. Available in a wide variety of size, mount, printing and framing options.
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

Dye Transfer Study
Located in Roma, IT
Dye Transfer Study is an original artwork realized by Robert Graham in 1970. It is a silver print photographic contact sheet, handcolored with pink acryli...
Category

1970s Contemporary Dye Transfer Nude Photography

Materials

Dye Transfer

The Mermaid, Weeki Wachi Springs - Florida Lifestyle Landscape Interior Design
Located in Brighton, GB
"The Mermaid. Weeki Wachi Springs. 2017" is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist Proofs in this size. Brown completed Si...
Category

21st Century and Contemporary Contemporary Dye Transfer Nude Photography

Materials

Dye, Color, Photographic Paper, Dye Transfer

"Missed Connection"- Black White Nude Photo, Brooklyn, NY
Located in Brooklyn, NY
Shot in Brooklyn on an elevated subway platform during a snowstorm in 17 degree weather. Sometimes ya just gotta go for it! Fine art photo mounted on di-bond aluminum. Custom print...
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

"Day Is Done"- Black White Silhouette, Sensual Photo, Holbox, Mexico
Located in Brooklyn, NY
Shot on Holbox Island, Mexico. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing options available upon request.
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

"Suspended"- Colorful Nude in Water Photo
Located in Brooklyn, NY
Shot in a cenote in Tulum, Mexico. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing options available upon request.
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

"Torso in Reeds"- Black White Abstract Nude in Nature
Located in Brooklyn, NY
Abstract view of the female body, shot amongst the cattails in Long Island, NY. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing options available upon r...
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

"Edge of the World"- Black White Photo, Sensual Silhouette, Holbox, Mexico
Located in Brooklyn, NY
Dusk on the island of Holbox, Mexico. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing options available upon request.
Category

2010s Contemporary Dye Transfer Nude Photography

Materials

Metal

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20th Century Modern Dye Transfer Nude Photography

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Alessandra, Dye Transfer Print, 1986
By Frank Horvat
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Alexandra, 1986 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated in pencil on verso Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
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20th Century Modern Dye Transfer Nude Photography

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Dye Transfer, Archival Pigment, Color

Aurelia, Dye Transfer Print, Framed, 1984
By Frank Horvat
Located in Miami Beach, FL
Aurelia, 1984 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W Signed, titled and dated in pencil on verso ____________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Dye Transfer Nude Photography

Materials

Dye Transfer, Archival Pigment, Color

Marie-Paule, Dye Transfer Print, 1984
By Frank Horvat
Located in Miami Beach, FL
Marie-Paule, 1984 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated in pencil on verso. Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Dye Transfer Nude Photography

Materials

Dye Transfer, Archival Pigment, Color

Alexandra, Dye Transfer Print, 1982
By Frank Horvat
Located in Miami Beach, FL
Alexandra, 1982 by Frank Horvat Dye Transfer Print Image size: 9.38 in. H x 14 in. W Sheet size: 19.5 in. H x 22.63 in. W Signed, titled, and dated in pencil on verso. Unframed Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid-1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Dye Transfer Nude Photography

Materials

Dye Transfer, Archival Pigment, Color

Sophie, Dye Transfer Print, Framed, 1981
By Frank Horvat
Located in Miami Beach, FL
Sophie, 1981 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W Signed, titled and dated in pencil on verso Framed _____________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Dye Transfer Nude Photography

Materials

Dye Transfer, Archival Pigment, Color

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