To view larger images click on the thumbnails. Prices are available on request.
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ANONYMOUS. (American). Homestead Works of US Steel Munhall, Pennsylvania, Gelatin Silver print, 9 1/4 x 8" |
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ANONYMOUS. (American) Oil Well Supply company. Dallas TX, Richi Photo. Workmen place pipes in an oil well. Gelatin Silver print, 9 3/4 x 7" |
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ANONYMOUS. Assassins. Ca 1920 Photo collage. 6 1/8 x 5 1/2" Juges et Assassins. |
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CATALA' I PIC, Pere. Sast 1931. Bromide Print Photomontage. 22 x 15.5 cm. Pere Catala I Pic Fotografia y Publicidad p.39 PL 38. |
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CATALA' I PIC, Pere. Fototecnica publicitaria PIC, c. 1932. Bromide Print Photomontage. 11 x 7 cm. Pere Catala I Pic Fotografia y Publicidad p.54 PL 59. |
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D'OLIVIER, Louis-Camille. Stereo Card Ca 1855. Stereoscopic card on colored glossy papyrus paper made from a wet-glass plate collodion process negative. 3 3/8 x 6 3/4" Early Erotic Photography p.142 Etude D'Apres Nature: 19th Century Photographs in Relation to Art p.77 PL 140. |
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DISDERI, A.A. Mosaique - Opera and Dance. Ca 1862. Albumen print, carte de visite, 4 1/8 x 2 1/2" Similar carte de visite in A. A. E Disderi and the Carte De Visitem Portrait Photographn Elizabeth Anne McCauley p.95. |
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ESCHER, Karoly (1890-1966). Tramway. Ca 1929. Gelatin Silver print. First in HUngarian Photography to produce images that are not sharp and never uses a flash. 6 3/4 x 9" Exhibitions: 1938 - Venice Biennale (Wins Silver Medal). 1965 - Retrospective, National Gallery, Budapest. 1995 - Howard Greenberg Gallery, "The Hungarian Circle". |
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G.E (Handcolored photo of young woman in kimono) Oct 6 1906, 3 1/2 x 5 1/2" |
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GROEBLI, Rene. Untitled, (locomotive and train coming down the tracks), from the series Rail Magix, 1949. Gelatin Silver Print; printed c. 1949 9 1/4 x 11 3/8 inches. Signed, dated, print number, and annotations in pencil with photographer's credit stamp on print verso. |
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JAHAN,
Pierre. Composition depicting French and Oriental Manuscripts arranged
as a still life. 1942. Vintage gelatin silver print, 13 x 17"
Signed P. Jahan in the photograph. Pierre Jahan’s photographic work encompassed the documentary tradition of French photography as well as 1930’s Surrealism. In 1937, he exhibited with Man Ray and Henri Cartier-Bresson. During the war Jahan turned his camera to important documentary work by creating powerful photographs of the removal of statues from Paris by the Germans. In 1949 Jahan and Jean Coctau collaborated on the book La Mort et les Statues to commemorate this desctruction. |
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KOLLAR, Francois. La Couture Nature. 1930. Signed and dated. Gelatin Silver print, 10 5/8 x 8 5/8" This photograph is reproduced in the book 25 Photos de Francois Kollar 1934. Ref: 25 Photos de Kollar. 1934 Privately printed. |
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MARTON, Ervin. Lace Glove. Ca 1930. Vintage photogram. Artist and copyright on verso, 7 x 9 1/2" |
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RENGER-PATSCH,
Albert. Untitled 1925-30.Gelatin Silver print, 8 7/8 x 6 3/8". Printed on Verso: Upper right hand corner: Stamped A. RENGER-PATSCH, Wamel-Dorf Ober Sest I.W.Bottom Center: Bedingt Frel! Ingolstadt. Provenance: Ludwig Museum, Cologne. |
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SMELOV, Boris (1951-1998). Rooftop, St. Petersburg. Gelatin Silver print. This image is printed with a small black border. Exhibition: Boris Smelov Retrospective 20 March 2009-28 June 2009 at The State Hermitage Museum. Boris Smelov became a legend of St.Petersburg’s photography during his lifetime. He was a living classic who evoked veneration from all who were somewhat connected to the art of ‘photography’. |
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SMELOV,
Boris (1951-1998). Still life with Iron Mug, 1996, St. Petersburg.
Gelatin Silver print, 10 1/2 x 10 1/2" image, paper 16 x 12".
Edition 6/15. Signed in ink by the artist. This image is printed with a
small black border. Exhibition: Boris Smelov Retrospective 20 March 2009-28
June 2009 at The State Hermitage Museum. Boris Smelov became a legend of
St.Petersburg’s photography during his lifetime. He was a living classic
who evoked veneration from all who were somewhat connected to the art of
‘photography’. Boris Smelov Retrospective, The State Hermitage
Museum Kat. 216 Cat p. 422-423 |
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SMELOV,
Boris (1951-1998). Twilight, 1994. St. Petersburg, Gelatin Silver
print, 10 1/2 x 10 1/2" image, paper 16 x 12". Edition 7/15. Signed
in ink by the artist. Exhibition: Boris Smelov Retrospective 20 March 2009-28
June 2009 at The State Hermitage Museum. Boris Smelov became a legend of
St.Petersburg’s photography during his lifetime. He was a living classic
who evoked veneration from all who were somewhat connected to the art of
‘photography’. Boris Smelov Retrospective, The State Hermitage
Museum Kat. 190 Cat p. 390-391 |
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STASTNY, Bohumil. Factory, Prague Ca 1940. Gelatin Silver print, Stamped verso, ca 5 1/4 x 4 6/8" Handcut by Artist, Czech Vintage collection. |
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VILENSKY, Dimitri. Red Return Home. 1984. 1/4 from Red City Collection.12
x 10 5/8" (b. Leningrad 1964) Photographs in permanent Collections:
State Russian Museum. The Museum of St. Petersburg History. Yivo Institute
for Jewish Research. Since the winds of perestroika began to blow communism
away in 1989, Dimitri Vilensky has been a driving force in St. Petersburg's
contemporary photography scene: writing articles, organizing exhibitions
and creating haunting images of his beautiful, majestic and decayed hometown. |
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VILENSKY,
Dimitri. Lost Overcoat. 1987. 1/2 from Red City Collection. 9
3/4 x 11 5 ( b. Leningrad 1964) Photographs in permanent Collections:
State Russian Museum. The Museum of St. Petersburg History. Yivo Institute
for Jewish Research. Since the winds of perestroika began to blow communism
away in 1989, Dimitri Vilensky has been a driving force in St. Petersburg's
contemporary photography scene: writing articles, organizing exhibitions
and creating haunting images of his beautiful, majestic and decayed hometown. |
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VILENSKY,
Dimitri. Mannequin, 1982. From Red City Collection 1/1. (b. Leningrad
1964) Photographs in permanent Collections: State Russian Museum. The
Museum of St. Petersburg History. Yivo Institute for Jewish Research.
Since the winds of perestroika began to blow communism away in 1989, Dimitri
Vilensky has been a driving force in St. Petersburg's contemporary photography
scene: writing articles, organizing exhibitions and creating haunting
images of his beautiful, majestic and decayed hometown. |
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VILENSKY,
Dimitri. City's Impression in brown tone.1990 (1982). Two Figures
at Fire-proof wall. 1/3. (b. Leningrad 1964).Photographs in permanent
Collections: State Russian Museum. The Museum of St. Petersburg History.
Yivo Institute for Jewish Research. Since the winds of perestroika began
to blow communism away in 1989, Dimitri Vilensky has been a driving force
in St. Petersburg's contemporary photography scene: writing articles, organizing
exhibitions and creating haunting images of his beautiful, majestic and
decayed hometown. That energy and vision have earned him an international reputation as one of Russia's leading fine-art photographers. He has since settled and Germany which is where he continues to live and work. |
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ZIMIN, Georgij. Pierrot and Two Dancers, Ca 1920s. Vintage Gelatin Silver print, 9 1/2 x 7 1/4". Zimin received his training at the Stroganov Art School in Moscow and later at Vkhutemas, the bastion of Avant-garde art instruction whose teachers included Kliun, Malevich, and Rodchenko. While a student, Zimin worked on the monumental panneau for the festive days of the Moscow streets. He later worked in theatrical design, and book and exhibitiion design. Zimin is especailly well-known, however, for his work with experimental photograms. Íee: “Fotogramm, Kunsthaus, Zurich March 1990 - May 1990. “The Great Utopia”, The Russian Experiment in Russian and Soviet Avant-Garde, 1915-1932. Guggernheim Museum. Sept. 1992 p 468-471. Provenance: Avant-Garde Gallery, Berlin. |
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