Tacita Dean Figurative Photography

TECHNICAL INFORMATION Schiller, Lawrence Marilyn Monroe Birthday Cake 1962 / 2007 Silver Gelatin Print 30 x 40 in. Edition of 75 Signed & numbered ...

No Title Nr. 78 Ballet Photography 36 x 36 in Ed. of 28 by Yevgeniy Repiashenko Photography Edition of 28 (36 x 36 inch) by Yevgeniy Repiashenko Year photo was taken: 2017 This pi...

No title (No 77) Ballet Photography 47 x 47 in Ed. of 18 by Yevgeniy Repiashenko No title (No 77) by Yevgeniy Repiashenko Year photo was taken: 2020 Limited Edition of 18 Picture s...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

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...

"Abramson comes much closer to recording the sound of these clubs than we would have any right to expect from a photographer." - Nick Hornby (London, 2009), Light On the South Side, ...

Saul Leiter 2 Merce Cunningham Contact Sheets, 1954 Dated and inscribed by Carolyn Brown on verso Kodak safety film 10 x 8 inches Provenance Estate of Carolyn Brown, New York 2025. Saul Leiter (1923-2013) was born in Pittsburgh to a father who was a well-respected Talmudic scholar. His passion for the arts ignited during his late teenage years, and despite being urged to follow in his father's footsteps to become a Rabbi, he chose to forgo theological studies, moving to New York at the age of 23 to delve into painting. In the city, he formed a friendship with Abstract Expressionist painter Richard Pousette-Dart, who was exploring photography. This connection, along with a subsequent friendship with W. Eugene Smith, deepened his fascination with photography. Leiter's initial black and white images reveal a remarkable talent for the art form. By the 1950s, he also began to explore color, producing a substantial and noteworthy collection during the early stages of this medium. His uniquely muted color palette often imparts a painterly essence that distinguishes his work from that of others in his era. Leiter's inaugural showcase of color photography took place in the 1950s at the Artist's Club, a gathering spot for many Abstract Expressionists of that period. Edward Steichen included twenty-three of his black and white works in the influential 1953 exhibition "Always the Young Stranger" at the Museum of Modern Art and also showcased twenty of Leiter's color photographs during the 1957 MoMA event "Experimental Photography in Color. " In the late 1950s, art director Henry Wolf featured Leiter's color fashion photography...

27 x 36 inches - Edition 1 of 3 with 2 APs framing is an additional $525. Shot in New Orleans in 2011, background illustrated by Marco Ventura Inspired by Manet’s Olympia...

Derby Spectator A spectator looking through binoculars at the Derby horse races, Epsom, Surrey, June 1923. (Photo by Hulton / Getty Archive) Darkro...

Dinner Jazz American Jazz trumpeter and singer Louis Armstrong enjoys a plate of spaghetti in Rome. Slim Aarons silver gelatine fibre based print Printed Later Slim Aarons Estat...

Part of the BLOOMY VIEW series taken in Bern 2020 in collaboration with Heym Collections, the images gained new life in their ambiguity, which often stimulates the viewer to project ...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...