Baby Photography

This piece is an original photograph printed from the original negative by Milton Greene, 1956. This photograph depicts Hollywood Icon, Marilyn Monroe, who was a close friend and business partner of the artist. This piece is a part of Greene's "The Black Sitting...

Brigitte LUSTENBERGER (*1969, Switzerland) Not titled yet, from the series 'A Gaze of One's Own‘, 2021 Silver gelatin print on Baryta paper Sheet 70 x 70 cm (27 1/2 x 27 1/2 in.) Edition of 5, plus 2 AP; Edn. no. 1/5 print only Born in Zurich, Switzerland, Brigitte studied at Zurich University and received her MA in Social and Photo History in 1996. In the following years she established herself as an fine art photographer. She moved to New York and received her MFA in Fine Art Photography and Related Media at Parsons The New School of Design in 2007. The main issues in her works lie in her interest in the study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory. She explores the media itself and its close connection to themes like decay, memory, death and transitoriness. Brigitte Lustenberger has shown nationally and internationally in both solo and group shows. She had Solo Shows at the Museée de l’Elysée in Lausanne/Switzerland, at Walter Keller’s Scalo Gallery in Zurich and New York, at Le Maillon...

Portrait of Natalia Ginzburg is a vintage black and white photograph realized in the 1960s. Good conditions.

Archival Pigment Print on Cotton Rag Paper Including COA Printed by Eve Arnold's own bespoke printer Danny Pope USA. New York city. Waldorf Astoria Ballroom. Prior to the filming of...

This chromogenic chemical photograph of the sun is mounted onto plexiglass with hanging mechanism on the back. Artist Betsy Kenyon traveled to different parts of the US, using a pinh...

This piece is an original photograph printed from the original negative by Milton Greene, created in 1956. This photograph depicts Hollywood Icon Marilyn Monroe, who was a close friend and business partner of the artist. This piece is a part of Greene's series entitled "The Black Sitting...

Archival Pigment Print on Cotton Rag Paper Including COA Printed by Eve Arnold's own bespoke printer Danny Pope USA. Nevada. While on location in Nevada, John Huston spent long hour...

This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Touching) 2021 Fibre-based silver gelatin print Sheet 90 x 60 cm (35 3/8 x 23 5/8 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 Print only Touc...

'Forest Fire' part of the series 'A girl called N.' - 2019, 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and w...

Bowling - American Vintage Photograph is an original black and white photograph realized in the U.S in the mid-20th Century in a series of American life in the 20th Century. With th...

Rebecca Skinner’s “Sink VI” is an 8 x 12 inch metal print photographed at an abandoned hospital. The color photograph is of a vintage sink against a yellow wall with peeling paint. T...

Old Days - Camping is a vintage photograph realized in the Mid-20th Century.  The photo belongs to Albumen of historical painting, photographs, meticulously captured. Good conditio...

Looking at Fingers by Amy Arbus is a black and white photograph of a baby laying on a black background, looking at his right hand. Gelatin Silver Print 20 x 16 in. Ed. 2/75 Signed, ...

Head to toe by Elmer Batters Black and white Original Print Framed Image Size: 10 H x 7.75 W inches Sheet Size: 23.25 H x 19.25 W inches Frame Size: 24....

Gelatin silver print mounted on board, 7 1/2 x 9 1/2 in. (190 x 241 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland...

Sunbathing in Capri, Catherine Wilke, Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity fr...

From a limited edition of 4 archival photographs Signed and numbered by artist Aaron Knight. Image: 26.7×40 inches/68×102 cm Art-ID: CAR_4306 Aaron Knight is an American visu...

11 x 14" vintage silver gelatin photograph of Adult film star Cal Culver (AKA Casey Donovan) photographed in 1972 for 'After Dark' magazine. Signed by Ja...

"das Solarium" Photography 39" x 31" in Edition of 7 by Kseniya Vashchenko Signed and numbered by the artist. Comes with COA issued by the Artist Not framed. Ships rolled in tube. ...

black + white toy-camera image from the series 'my affair with diana' 10 x 10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo sust...

In this series the artist documents how in the roar of the hills, these two bodies intertwine and connect with each other, forming mountains of desire. The harsh lights and shadows ...

This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...

This work is unique, Provenance: From the estate of the artist, to The Andy Warhol Foundation for the Visual Arts, to private collector, to private collector, to current owner Exh...

Giulietta Masina - Golden Age of Italian Cinema is a vintage black and white photograph realized in the 1970s. Good conditions. Giuliett...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Touching) 2021 Fibre-based silver gelatin print Sheet 90 x 60 cm (35 3/8 x 23 5/8 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 Print only Touc...

A bloomy view - Polaroid Photographic Print Framed by Pia Clodi The blue tones within her work should not be interpreted as coldness, as her works are full of fleeting moments withi...

"Posthumous Remains" (FRAMED) Photography 60" x 40" in Ed. 1/3 by Aaron Mcpolin Archival Giclee Print & Museum Framed Size framed: 61.5" x 41.5" in Signed and numbered by the artist...

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 ...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Touching) 2021 Fibre-based silver gelatin print Sheet 90 x 60 cm (35 3/8 x 23 5/8 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 Print only Touc...

'Atame', 2017, Edition 1/7 plus 2 Artist Proof Based on a Polaroid, digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-178 Kirsten Thys v...

Sean Connery on the Moon, 1971 Silver Gelatin Print Signed and numbered edition of 50 with certificate of authenticity Re-creating astronaut Alan Shepard’s famed golfing on the moon picture, Connery as James Bond plays golf on a deserted film set in Pinewood Studios...

Juan Manuel Fangio, MM, 1955 Gelatin silver print Paper size: 16 x 20 in., Image size: 12 1/2 x 15 3/4 in. Signed by Jesse Alexander Jesse Alexander is considered one of the greatest race car photographers in history. His images of vintage automobiles and the people who gave them life; captured from the European race circuit during the 1950’s and 60’s are collected and exhibited by museums and galleries throughout the world. Jesse Alexander has been involved in photography and especially motorsports photography since the early 1950s when he covered the original Mexican Road Race. He then spent many years in Europe covering Formula One and the famous long distance sports car races, the 24 Hours of Le Mans, the Mille Miglia...

Descent into Fusion is an abstract study of fusion as a universal event: two separate fields drawn into one outcome. Built through layered charcoal on paper, the image follows a clea...

Cy Twombly (1928-2011) Virginia/ New York / Italy Image Size: 16 x 11 Visible inside matboard is 12 x 11 Frame Size: 21.5 x 19 Medium: Photograph Edition 1/12 Signed with the edition number "Black and White" 1954 This is an original. The same photo in the Twombly book is a dry point on cardboard but is unsigned by hand. Cy Twombly (1928-2011) Following is the obituary of the artist by Randy Kennedy, The New York Times, July 5, 2011 Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83. His death was announced by the Gagosian Gallery, which represents his work. Mr. Twombly had battled cancer for several years. In a career that slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism, Mr. Twombly was a divisive artist almost from the start. The curator Kirk Varnedoe, on the occasion of a 1994 retrospective at the Museum of Modern Art, wrote that his work was "influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well." The critic Robert Hughes called him "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg." Mr. Twombly's decision to settle permanently in southern Italy in 1957 as the art world shifted decisively in the other direction, from Europe to New York, was only the most symbolic of his idiosyncrasies. He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th century abstraction, though he lived long enough to see it arrive there. It didn't help that his paintings, because of their surface complexity and whirlwinds of tiny detail — scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks — lost much of their power in reproduction. But Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity. "I had my freedom and that was nice," he said in a rare interview, with Nicholas Serota, the director of the Tate, before a 2008 survey of his career at the Tate Modern. The critical low point probably came after a widely panned 1964 exhibition at the Leo Castelli Gallery in New York. The artist and writer Donald Judd, who was hostile toward painting in general, was especially damning, calling the show a fiasco. "There are a few drips and splatters and an occasional pencil line," he wrote in a review. "There isn't anything to these paintings." But by the 1980s, with the rise of neo-Expressionism, a generation of younger artists like Jean-Michel Basquiat found inspiration in Mr. Twombly's skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Twombly's, like Joseph Beuys, the newfound attention brought him a kind of critical favor he had never enjoyed before. And by the next decade, he was highly sought after not only by European museums and collectors, who had discovered his work early on, but also by those back in his homeland who had not known what to make of him two decades before. In 1989, the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, Fifty Days at Iliam, based on Alexander Pope's translation of The Iliad. (Mr. Twombly said that he purposely misspelled Ilium, a Latin name for Troy, with an "a," to refer to Achilles.) That same year, Mr. Twombly's work passed the million dollar mark at auction. In 1995, the Menil Collection in Houston opened a new gallery dedicated to his work, designed by Renzo Piano after a plan by Mr. Twombly himself. Despite this growing acceptance, Mr. Varnedoe still felt it necessary to include an essay in the Modern's newsletter at the time of the retrospective, titled "Your Kid Could Not Do This, and Other Reflections on Cy Twombly." In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said. The process stood in stark contrast to the detached, effete image that often clung to Mr. Twombly. After completing a work, in a kind of ecstatic state, it was as if the painting existed but he himself barely did anymore: "I usually have to go to bed for a couple of days," he said. Edwin Parker Twombly Jr., was born in Lexington, Va., on April 25, 1928, to parents who had moved to the South from New England. His father, a talented athlete who pitched a summer for the Chicago White Sox and went on to become a revered college swimming coach, was nicknamed Cy, after Cy Young, the Hall of Fame pitcher. The younger Mr. Twombly (pronounced TWAHM-blee) inherited the name, though he was much more bookish than athletic as a child, with stooped shoulders and a high ponderous forehead. He read avidly and, discovering his calling early, he worked from art kits he ordered from the Sears Roebuck catalog. As a teenager, he studied with the Spanish painter Pierre Daura, who had left Europe after the Spanish Civil War and settled in Lexington. Daura's wife, Louise Blair, studied cave paintings and may have sparked Mr. Twombly's early interest in Paleolithic art. In 1947 he attended the Boston Museum School, where German Expressionism was the rage, but Mr. Twombly gravitated to his own interests, like Dada and Kurt Schwitters and particularly to Jean Dubuffet and Alberto Giacometti, two important early influences. He moved back to Lexington in 1949 and studied art at Washington and Lee University, where his talent impressed teachers. By 1950, he was in New York, the recipient of a scholarship to the Art Students League. Later in his life, he cited visiting Willem de Kooning's studio and seeing an Arshile Gorky retrospective at the Whitney Museum of American Art as important moments in his young painting life. But he also came to New York at the heyday of the New York School and was exposed to the work of almost all its giants in the city's galleries. He turned down an offer for a solo show of his paintings at the Art Students League in 1950, saying that he felt it was too early for him. He met Rauschenberg, a fellow student at the league, during his second semester, and Rauschenberg later persuaded Mr. Twombly to enroll at Black Mountain College in North Carolina, which had become a crucible for the American avant-garde, with John Cage, Merce Cunningham, Ray Johnson, Dorothea Rockburne and John Chamberlain among its faculty and students. Mr. Twombly, who studied with Ben Shahn, stayed at the college only briefly and was a bit of an outsider even then. As he told Mr. Serota: "I was always doing my own thing. I always wondered why there are books with photographs of all the artists of that period and I was only in one! I thought: 'Where was I?' " In the summer of 1952, after receiving a grant from the Virginia Museum of Fine Arts, Mr. Twombly traveled to Europe for the first time and met up with Rauschenberg. The two wandered through Italy, North Africa and Spain, an experience that later yielded some of the first paintings to be considered a part of Mr. Twombly's mature work. "Tiznit," made with white enamel house paint and pencil and crayon, with gouges and scratches in the surface, was named for a town in Morocco that he had visited, and the painting's primitivist shapes were inspired by tribal pieces he saw at the ethnographic museum in Rome, as well as by artists like Dubuffet, de Kooning and Franz Kline. The painting, along with another based on tribal motifs, was exhibited in 1953 at Eleanor Ward's Stable Gallery on West 58th Street along with monochromatic paintings by Rauschenberg. The show was generally savaged. (Early this year, the Museum of Modern Art acquired "Tiznit," along with another early work, which Mr. Twombly had kept in his personal collection.) Mr. Twombly was drafted and spent more than a year in the Army, where he was assigned to cryptography work in Washington. On weekends and leaves, he continued to paint and draw, sometimes at night with the lights out to try to lose techniques he had learned in art classes and to express himself more instinctively. After receiving a medical discharge and teaching for a time in Virginia, Mr. Twombly returned to New York and worked in a studio on William Street, near both Rauschenberg and Johns, who helped choose titles for his paintings during this period. Mr. Twombly tried without success for several months to get a grant to go back to Europe and in 1957, with Ward's help, he spent several months in Italy, where he met Tatiana Franchetti...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Diary) 2015 Fibre-based silver gelatin print Sheet 26,75 x 40 cm (10 1/2 x 15 3/4 in.) Edition of 3, plus 2 AP; Ed. no. 2/3 Print only Touc...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

Sepia-toned gelatin silver print Signed and numbered, verso 20 x 24 inches, sheet (Edition of 35) 26 x 39 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...

From a Portfolio with 26 exclusive works of Jeanloup Sieff, limited to 200 copies. The photograph of Jeanloup Sieff has been produced as Collotype under the direct commandment of the...

Surf Wagon, St. Petersburg Beach by Al Satterwhite is a 16 x 20 inch archival pigment print, available in an edition of 25. This photograph features a group of teenagers sitting on top of a car filled with surfboards. The image size is 12 x 17 3/4 inches, the paper size is 16 x 20 inches. This photograph is signed, titled, dated, print date, and numbered by Al Satterwhite. This photograph is available in multiple sizes: 11 x 14 in., Edition of 25 16 x 20 in., Edition of 25 20 x 24 in., Edition of 25 24 x 36 in., Edition of 25 36 x 54 in., Edition of 15 Al Satterwhite started working as a photographer at a major daily newspaper in Florida while in high school, covering major news stories in the Southeast. After a year as the Governor of Florida's personal photographer, he started a career as a freelance magazine photographer. Over the next 10 years he worked on assignment for almost every major magazine (Automobile, Car & Driver, Fortune, Geo, Life, Look, Money, Newsweek, People, Playboy, Sports Illustrated, Time, Travel & Leisure, to name a few). He was a consultant to Kodak for digital imaging for a number of years. He has lectured at Boston University, Brooks Institute of Photography, Hallmark Institute of Photography, ASMP, NYU/Tisch School of the Arts, PhotoExpos in Los Angeles & New York. He has given workshops at Dawson College (Montreal), ICP (NYC), Kauai Photographic (Hawaii), the Maine Workshops, the Missouri Workshops, Palm Beach Photographic Workshops, Santa Fe Workshops & his own studio in New York City. He lectures and holds workshops at various facilities around the U.S. His photographic prints are in the permanent collections of the Smithsonian National Portrait Gallery, Houston Fine Art...

José Sierra painted his body as a tribute to Afro-Colombian and pre-Columbian cultures, documenting the performance in photographs that portray him in erotic and suggestive positions...

Kati Horna Leonora Carrington, from the series 'Ode to Necrophilia', 1962 Signed and stamped with artist's copyright ink stamp on reverse Silver gelatin print, printed later 10 x 8 i...

Nude Portrait - Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) A woman poses for a nude studio portrait. Additional Information: Unframed Paper Si...

Love Love Love Love Love (The Girl behind the White Picket Fence), triptych - 2013 20x82cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 3 original Polaroid...

Archival Pigment Print on Cotton Rag Paper Including COA Printed by Eve Arnold's own bespoke printer Danny Pope USA. Nevada. US actress Marilyn Monroe rest between takes under the s...

Talking in your Sleep (Bombay Beach) - 2023 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventor...

Born in the Highlands of Scotland in 1971, Allan Forsyth is a photographic artist whose practice bridges the boundaries between nature, abstraction, and modernism. Deeply inspired by...

Miles ALDRIDGE (*1964, Great Britain) Better Than Life from the series 'after Miller', 2017 Screenprint in colours with silver ink printed on 410gsm Somerset Paper 75 x 103 cm (29 1/...

"Le Sens" Nude Photography Edition of 25 24" x 36" in by Yevgeniy Repiashenko Photography Edition of 25 (24 x 36 inch) by Yevgeniy Repiashenko Year photo was taken: 2017 This artw...

Sunspots - Signed limited edition archival pigment print - Edition of 10 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free a...

Signed on front of mount. Printed early 1970s. Printed by Michael Kenna - black boarder and signature of his printing. Exhibited at Sonoma Valley Museum Nov-Dec 2016.

Edition 1 of 3 with 2 APs framing is an additional $525 Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien). Their current pho...

Chromogenic print Signed, titled, dated, and numbered, verso 22.5 x 30 inches (Edition of 5 + 2 APs) 45 x 60 inches (Edition of 3 + 2 APs) This artwork is offered by ClampArt, loc...

This work is unique. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Provenance: From the Esta...

Jose Sierra work is deeply influenced by themes of self-representation and a homoerotic gaze. Through his unique aesthetic, he creates abject staged environments that challenge tradi...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Mitchell dry mounted this photograph on archival board for exhibition. Comes directly from the Jack Mitchell Arc...

Muhammad Ali, Fifth Street Gym, Miami by Al Satterwhite is a 20 x 16 inch archival pigment print. This photograph features Muhammad Ali leaning against gym equipment with his arms ra...

Edition of 45 Signed, titled, negative date, print date and numbered. Sepia toned gelatin silver Michael Kenna's black and white photographs are powerful and alluring. His imagery t...

Harry Benson was born near Glasgow, Scotland. The photographer was assigned to travel with the Beatles on their first American tour in 1964. His iconic photograph shows the band in a...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...