Bloomsbury Fine Art Antiques Black and White Photography

This 2009 photograph by legend photographer, John Stoddart depicts “The Swan with Leda.” It was inspired from the mythology of the Greek story of Leda and the Swan, when the God Zeus...

This 2009 photograph by legend photographer, John Stoddart depicts “The Swan with Leda.” It was inspired from the mythology of the Greek story of Leda and the Swan, when the God Zeus...

East of Lancaster, CA by Robbert Flick is a 16 x 20 in silver gelatin print. This print features 49 small images of black and white landscapes presented in a grid. Each image measures 1 5/8 x 2 1/8 inches. This print is from Robbert Flick's Sequential Views series from his America Roads Portfolio. It is signed, titled and dated by Robbert Flick. Robbert Flick, Professor Emeritus, is a Southern California artist who uses photography as his primary medium. He has been exhibiting his photographs for over 50 years and his work has been shown and collected by numerous private and public venues both nationally and internationally. He is the recipient of multiple fellowships and in 2001 was the recipient of a Guggenheim Fellowship in Creative Arts. The retrospective Robbert Flick: Trajectorieswas shown at the Los Angeles County Museum of Art in 2004 accompanied by a comprehensive exhibition catalog co-published by LACMA and Steidl. In 2016 Nazraeli Press published “Robbert Flick LA Diary”. He is represented by ROSE Gallery in Santa Monica and Robert Mann...

Gelatin Silver Print 22 x 28 in. Edition of 75 Numbered and signed by Christo. Frame included. Black frame: 22 3/8 x 28 3/4 x 1 1/8 in Ugo Mulas is born on August 28, 1928 in Pozzol...

Los Carpinteros (Cuban, 1992-present). Silver gelatin print photograph, large format. From the series "Tuneles Populares" (The People's Tunnels) 1999 Edition 1/5 Provenance: Bliss Fi...

Edition of 125 Signed in ink on print margin. Photograph is from The New Mexico Portfolio published in 1976 by the Center of the Eye Photograp...

Los Carpinteros (Cuban, 1992-present). Silver gelatin print photograph, large format. From the series "Tuneles Populares" (The People's Tunnels) 1999 Edition 1/5 Provenance: Bliss Fi...

Signed, titled, and dated. Gelatin silver print 20 x 16 in.

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 11-1-120 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 17,9 x 13 cm (7 x 5 1/8 in.) Unique Print only Tichý, pract...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 3-8-431 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 15 x 9,8 cm (5 7/8 x 3 7/8 in.) Unique Print only Tichý, pra...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 9-1-56 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 28,4 x 19,5 cm (11 1/8 x 7 5/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-8-73 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 29,3 x 19,7 cm (11 1/2 x 7 3/4 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...