{"title":"Rare and Vintage Prints","description":"","products":[{"product_id":"dancer-sskirtatafair-seville-spainingemorath","title":"Dancer’s skirt at a fair, Seville, Spain","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1987\u003cbr\u003eGelatin silver print\u003cbr\u003eImage size: 8 ½ x 13 inch \u003cbr\u003eSigned and annotated, in pencil, au verso \u003cbr\u003e87-12-2-4 \u003cbr\u003ePrinted circa 1987 \u003cbr\u003eUnframed\u003cbr\u003eImage credit: © The Inge Morath Foundation\/Magnum Photos\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eInge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues.\u2028\u2028\u003cbr\u003e\u003cbr\u003eA friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.\u2028\u2028\u003cbr\u003e\u003cbr\u003eIn the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.\u2028\u2028\u003cbr\u003e\u003cbr\u003eMorath was at ease anywhere. Some of her most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places: her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, artists' studios and cemetery memorials are permeated with the spirit of invisible people still present. Inge Morath died in New York City on 30 January 2002.\u2028\u2028\u003cbr\u003e\u003cbr\u003e- Source:\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003ca href=\"http:\/\/pro.magnumphotos.com\/C.aspx?VP3=CMS3\u0026amp;VF=MAGO31_10_VForm\u0026amp;ERID=24KL53Z47M\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eMagnum Photos\u2028\u003cbr\u003e\u003cbr\u003e\u003c\/a\u003e\u003c\/span\u003eRead our blog post about Inge Morath\u003cspan\u003e \u003ca href=\"https:\/\/ffotoimage.com\/spotlight-inge-morath\/\"\u003eHERE\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_CV_Inge_Morath.pdf?12540808915712628065\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Inge Morath - Artist CV\"\u003eArtist CV\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e(PDF)\u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Bio_Inge_Morath.pdf?12540808915712628065\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Inge Morath - Artist Bio\"\u003eArtist Bio\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(PDF)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003ca href=\"https:\/\/www.magnumphotos.com\/theory-and-practice\/learning-from-the-master\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Extraordinary Life and Work of 20th - Century Photographer Inge Morath\u003c\/a\u003e - AnOther Magazine, November 2018\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/ffoto-com.myshopify.com\/admin\/products\/%E2%80%A8https:\/\/www.theguardian.com\/artanddesign\/gallery\/2018\/nov\/23\/from-llamas-to-lefties-the-intrepid-inge-morath-in-pictures\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFrom llamas to lefties: the intrepid Inge Morath - in pictures \u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e-The Guardian, November 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/nov\/23\/quiet-brilliance-of-inge-morath-biography-linda-gordon\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe quiet brilliance of Magnum photographer Inge Morath\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, November 2018\u003c\/span\u003e\u003c\/p\u003e\nLearning From The Master\u003cspan class=\"s2\"\u003e - Magnum Photos, October, 2018\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_DW.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - DW\"\u003eMaking llamas feel more glamorous than Marilyn Monroe: Inge Morath's iconic works\u003c\/a\u003e\u003c\/span\u003e (PDF) - DW, April 2018\u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_The_Guardian.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The Guardian\"\u003e\u003cbr\u003eThe female gaze through 70 years of Magnum\u003c\/a\u003e (PDF) - The Guardian, April 2017 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_British_Journal_of_Photography.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The British Journal of Photography\"\u003e\u003cbr\u003eDanube Revisited: The Inge Morath Truck Project goes on show\u003c\/a\u003e (PDF) - British Journal of Photography, March 2017 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_HuffPost.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Huffington Post\"\u003e\u003cbr\u003eIn Inge Morath's Photographs, Womanhood Is Beautiful And Urgent\u003c\/a\u003e (PDF) - Huffington Post, September 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Slate.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Slate\"\u003e\u003cbr\u003eThe Unmistakable Style of Inge Morath, One of Magnum’s First Female Photographers\u003c\/a\u003e (PDF) - Slate, September 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Aperture.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Aperture\"\u003e\u003cbr\u003eAdventure on the Danube\u003c\/a\u003e (PDF) - Aperture, April 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Time.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Time\"\u003e\u003cbr\u003eDanube Revisited: Nine Photographers Retrace Inge Morath's Legendary Journey\u003c\/a\u003e (PDF) - Time, May 2014 \u003cbr\u003e\u003ca href=\"https:\/\/ffotoimage.com\/wp-content\/uploads\/2017\/11\/fFOTOIMAGE_Inge-Morath_The-Guardian_2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cbr\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_The_Guardian_2.pdf?14150699169605611324\" title=\"FFOTO - Press - Inge Morath - The Guardian\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e'A wide-eyed view of a crazy country'\u003c\/a\u003e (PDF) - The Guardian, November 2006 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_New_York_Times.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The New York Times\"\u003e\u003cbr\u003eInge Morath, Photographer With a Poetic Touch, Dies at 78\u003c\/a\u003e (PDF) - The New York Times, January 2002\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 x 14 inch","offer_id":12373874114625,"sku":"SBG-MAG-IM-0013-C","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Inge-Morath_Dancers-skirt-at-a-fair_Seville_Spain_1987.jpg?v=1554155724"},{"product_id":"olmecsculptureonparkavenue-newyorkcityingemorath","title":"Olmec sculpture on Park Avenue, New York City","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1965\u003cbr\u003eGelatin silver print\u003cbr\u003ePhotographer’s stamp and Magnum agency stamp, in ink, and annotated, in pencil, au verso \u003cbr\u003eMagnum log reference 19274 \u003cbr\u003ePrinted in 1965 \u003cbr\u003eUnframed\u003cbr\u003e Image credit: © The Inge Morath Foundation\/Magnum Photos\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eInge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues.\u2028\u2028\u003cbr\u003e\u003cbr\u003eA friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.\u2028\u2028\u003cbr\u003e\u003cbr\u003eIn the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.\u2028\u2028\u003cbr\u003e\u003cbr\u003eMorath was at ease anywhere. Some of her most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places: her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, artists' studios and cemetery memorials are permeated with the spirit of invisible people still present. Inge Morath died in New York City on 30 January 2002.\u2028\u2028\u003cbr\u003e\u003cbr\u003e- Source:\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003ca href=\"http:\/\/pro.magnumphotos.com\/C.aspx?VP3=CMS3\u0026amp;VF=MAGO31_10_VForm\u0026amp;ERID=24KL53Z47M\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eMagnum Photos\u2028\u003cbr\u003e\u003cbr\u003e\u003c\/a\u003e\u003c\/span\u003eRead our blog post about Inge Morath\u003cspan\u003e \u003ca href=\"https:\/\/ffotoimage.com\/spotlight-inge-morath\/\"\u003eHERE\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_CV_Inge_Morath.pdf?12540808915712628065\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Inge Morath - Artist CV\"\u003eArtist CV\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e(PDF)\u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Bio_Inge_Morath.pdf?12540808915712628065\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Inge Morath - Artist Bio\"\u003eArtist Bio\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(PDF)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"http:\/\/www.anothermag.com\/art-photography\/11322\/the-extraordinary-life-and-work-of-20th-century-photographer-inge-morath\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Extraordinary Life and Work of 20th - Century Photographer Inge Morath\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - AnOther Magazine, November 2018\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/ffoto-com.myshopify.com\/admin\/products\/%E2%80%A8https:\/\/www.theguardian.com\/artanddesign\/gallery\/2018\/nov\/23\/from-llamas-to-lefties-the-intrepid-inge-morath-in-pictures\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFrom llamas to lefties: the intrepid Inge Morath - in pictures \u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e-The Guardian, November 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/nov\/23\/quiet-brilliance-of-inge-morath-biography-linda-gordon\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe quiet brilliance of Magnum photographer Inge Morath\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, November 2018\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_DW.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - DW\"\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.magnumphotos.com\/theory-and-practice\/learning-from-the-master\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eLearning From The Master\u003c\/a\u003e\u003cspan class=\"s2\"\u003e - Magnum Photos, October, 2018\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_DW.pdf?14150699169605611324\"\u003e\u003cbr\u003eMaking llamas feel more glamorous than Marilyn Monroe: Inge Morath's iconic works\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e (PDF) - DW, April 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_The_Guardian.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The Guardian\"\u003eThe female gaze through 70 years of Magnum\u003c\/a\u003e (PDF) - The Guardian, April 2017 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_British_Journal_of_Photography.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The British Journal of Photography\"\u003e\u003cbr\u003eDanube Revisited: The Inge Morath Truck Project goes on show\u003c\/a\u003e (PDF) - British Journal of Photography, March 2017 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_HuffPost.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Huffington Post\"\u003e\u003cbr\u003eIn Inge Morath's Photographs, Womanhood Is Beautiful And Urgent\u003c\/a\u003e (PDF) - Huffington Post, September 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Slate.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Slate\"\u003e\u003cbr\u003eThe Unmistakable Style of Inge Morath, One of Magnum’s First Female Photographers\u003c\/a\u003e (PDF) - Slate, September 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Aperture.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Aperture\"\u003e\u003cbr\u003eAdventure on the Danube\u003c\/a\u003e (PDF) - Aperture, April 2016 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_Time.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - Time\"\u003e\u003cbr\u003eDanube Revisited: Nine Photographers Retrace Inge Morath's Legendary Journey\u003c\/a\u003e (PDF) - Time, May 2014 \u003cbr\u003e\u003ca href=\"https:\/\/ffotoimage.com\/wp-content\/uploads\/2017\/11\/fFOTOIMAGE_Inge-Morath_The-Guardian_2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cbr\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_The_Guardian_2.pdf?14150699169605611324\" title=\"FFOTO - Press - Inge Morath - The Guardian\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e'A wide-eyed view of a crazy country'\u003c\/a\u003e (PDF) - The Guardian, November 2006 \u003cbr\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Inge_Morath_New_York_Times.pdf?14150699169605611324\" target=\"_blank\" rel=\"noopener noreferrer\" title=\"FFOTO - Press - Inge Morath - The New York Times\"\u003e\u003cbr\u003eInge Morath, Photographer With a Poetic Touch, Dies at 78\u003c\/a\u003e (PDF) - The New York Times, January 2002\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 ¼ x 13 ¾ inch","offer_id":12373878145089,"sku":"SBG-MAG-IM-0007-C","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Inge-Morath_Olmec-sculpture-on-Park-Avenue_New-York-City_-1965.jpg?v=1530898411"},{"product_id":"cycloneride-twohumps-coneyislandalexanderartway","title":"Cyclone Ride, two humps, Coney Island","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12969\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, in ink, au verso \u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. 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They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ½ x 3 ¼ inch (11.43 x 8.26 cm) image | 5 x 3 ¾ inch (12.70 x 9.53 cm) paper","offer_id":12975906717761,"sku":"SBG-AAR-0001-CF","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/95a9d18afdb83c0caee672818eac8ac2j.jpg?v=1554155722"},{"product_id":"lookingtowardhellgatebridgefromroofofradiocityalexanderartway","title":"Looking toward Hell Gate Bridge from roof of Radio City","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12734\u003cbr\u003eGelatin silver print\u003cbr\u003eAnnotated, \"#4-10s\", with artist stamp, in ink, au verso \u003cbr\u003ePrinted circa 1934\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. 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He photographed nearly compulsively for about 15 years and only slowed down after the birth of his first child. In Philadelphia he became a true family man, and the photographs after 1942 are reflective of Artway’s new identity.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely Artway could have imagined the form which his photographs now take. For him, they were a record of his life, of the compositions he saw around him, of a life well-­‐lived. Now they form the Alexander Artway Archive made up of 4,000 negatives and 3,000 prints all neatly organized in plastic sleeves and black boxes. These are his legacy to his daughter Jeanette. The photographs from Russia, the portraits of his family and friends have become her heritage and her link to a family she’s never known. Now, as we begin to share these images with the public, we hope the photographs will become the heritage of many others. They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"3 x 4 ½ inch (7.62 x 11.43 cm) image | 3 ½ x 4 ¾ inch (8.89 x 12.07 cm) paper","offer_id":12975906750529,"sku":"SBG-AAR-0002-CF","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/27a381191b68579159c7e84c433a466fj.jpg?v=1533136194"},{"product_id":"lewisonstatiumtraviataalexanderartway","title":"Lewison Statium (Traviata)","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12991\u003cbr\u003eGelatin silver print\u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. 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Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. 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Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. He recorded these buildings from every angle and rooftop, and perhaps even from airplanes. He attended and taught at NYU, taking a degree in architecture in 1934.\u003c\/p\u003e\n\u003cp\u003eBefore going to NYU (with the aid of an organization called the Russian Student Fund) he joined the Merchant Marines. He later became a captain of ships and sailed around the world taking pictures of the foreign lands he visited. There are many beautiful studies of skies, clouds, and the ocean. (It appears he may have studied Stieglitz, Abbott, etc.) He saw much more of the world than the average person of these times and led an unconventional life.\u003c\/p\u003e\n\u003cp\u003eHe documented New York City life yet avoided photographing people he did not know. He recorded city streets, friends, his love life, animals, churches, and of course, architecture. His eye was unique, and his negatives are marked by a modernist aesthetic with a touch of pictorialist romanticism. He photographed nearly compulsively for about 15 years and only slowed down after the birth of his first child. In Philadelphia he became a true family man, and the photographs after 1942 are reflective of Artway’s new identity.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely Artway could have imagined the form which his photographs now take. For him, they were a record of his life, of the compositions he saw around him, of a life well-­‐lived. Now they form the Alexander Artway Archive made up of 4,000 negatives and 3,000 prints all neatly organized in plastic sleeves and black boxes. These are his legacy to his daughter Jeanette. The photographs from Russia, the portraits of his family and friends have become her heritage and her link to a family she’s never known. Now, as we begin to share these images with the public, we hope the photographs will become the heritage of many others. 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He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. 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They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¼ x 6 ¼ inch (10.8 x 15.88 cm) image | 4 ½ x 6 ½ inch (11.43 x 16.51 cm) paper","offer_id":12975909929025,"sku":"SBG-AAR-0034-CF","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/f5d00d06bb2eff33ae33077dc88f9e66j.jpg?v=1533136199"},{"product_id":"lowermanhattanfrombrooklynbridgealexanderartway","title":"Lower Manhattan from Brooklyn Bridge","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12966\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, in ink, au verso\u003cbr\u003e Printed circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. He recorded these buildings from every angle and rooftop, and perhaps even from airplanes. He attended and taught at NYU, taking a degree in architecture in 1934.\u003c\/p\u003e\n\u003cp\u003eBefore going to NYU (with the aid of an organization called the Russian Student Fund) he joined the Merchant Marines. He later became a captain of ships and sailed around the world taking pictures of the foreign lands he visited. There are many beautiful studies of skies, clouds, and the ocean. (It appears he may have studied Stieglitz, Abbott, etc.) He saw much more of the world than the average person of these times and led an unconventional life.\u003c\/p\u003e\n\u003cp\u003eHe documented New York City life yet avoided photographing people he did not know. He recorded city streets, friends, his love life, animals, churches, and of course, architecture. His eye was unique, and his negatives are marked by a modernist aesthetic with a touch of pictorialist romanticism. He photographed nearly compulsively for about 15 years and only slowed down after the birth of his first child. In Philadelphia he became a true family man, and the photographs after 1942 are reflective of Artway’s new identity.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely Artway could have imagined the form which his photographs now take. For him, they were a record of his life, of the compositions he saw around him, of a life well-­‐lived. Now they form the Alexander Artway Archive made up of 4,000 negatives and 3,000 prints all neatly organized in plastic sleeves and black boxes. These are his legacy to his daughter Jeanette. The photographs from Russia, the portraits of his family and friends have become her heritage and her link to a family she’s never known. Now, as we begin to share these images with the public, we hope the photographs will become the heritage of many others. They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America..\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¼ x 3 inch (10.8 x 7.62 cm) image | 4 ¾ x 3 ½ inch (12.07 x 8.89 cm) paper","offer_id":12975909961793,"sku":"SBG-AAR-0040-CF","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/FFOTOIMAGE_AlexanderArtway_LowerManhattanfromBrooklynBridge1935.jpg?v=1533243318"},{"product_id":"empirestatebuilding-39thst-5thave-alexanderartway","title":"Empire State Building, 39th St. \u0026 5th Ave.","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12930\u003cbr\u003eGelatin silver print\u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. He recorded these buildings from every angle and rooftop, and perhaps even from airplanes. He attended and taught at NYU, taking a degree in architecture in 1934.\u003c\/p\u003e\n\u003cp\u003eBefore going to NYU (with the aid of an organization called the Russian Student Fund) he joined the Merchant Marines. He later became a captain of ships and sailed around the world taking pictures of the foreign lands he visited. There are many beautiful studies of skies, clouds, and the ocean. (It appears he may have studied Stieglitz, Abbott, etc.) He saw much more of the world than the average person of these times and led an unconventional life.\u003c\/p\u003e\n\u003cp\u003eHe documented New York City life yet avoided photographing people he did not know. He recorded city streets, friends, his love life, animals, churches, and of course, architecture. His eye was unique, and his negatives are marked by a modernist aesthetic with a touch of pictorialist romanticism. He photographed nearly compulsively for about 15 years and only slowed down after the birth of his first child. In Philadelphia he became a true family man, and the photographs after 1942 are reflective of Artway’s new identity.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely Artway could have imagined the form which his photographs now take. For him, they were a record of his life, of the compositions he saw around him, of a life well-­‐lived. Now they form the Alexander Artway Archive made up of 4,000 negatives and 3,000 prints all neatly organized in plastic sleeves and black boxes. These are his legacy to his daughter Jeanette. The photographs from Russia, the portraits of his family and friends have become her heritage and her link to a family she’s never known. Now, as we begin to share these images with the public, we hope the photographs will become the heritage of many others. They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¼ x 2 ¾ inch (10.8 x 6.99 cm) image | 4 ¾ x 3 ¼ inch (12.07 x 8.26 cm) paper","offer_id":12975909994561,"sku":"SBG-AAR-0041-CF","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/FFOTOIMAGE_AlexanderArtway_EmpireStateBuilding39thSt5thAve1935.jpg?v=1554156019"},{"product_id":"untitledstatueinnewyorkcityalexanderartway","title":"Untitled (Statue in New York City)","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1935\u003cbr\u003eGelatin silver print\u003cbr\u003eAnnotated, \"18 ¾ f8 proxar 1m 45s V. Proj #3, 23 f8 no proxar 40s + 10s - 20s, Bros. Med, try Bros hard\", in ink, au verso \u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. He was the youngest child of nine children. His prosperous family educated him in the gymnasium (prep school) where his older brother was the principal. Russia was in great turmoil in 1917, and Alexander, as well as so many others, was caught up in these changing times. He fought as a young teenager in the White Army. He said he liked the uniform and had to do this for his family’s land and property. In the army he was wounded in his left leg, which gave him trouble all his later life. He fled and went into exile for many years in Europe (Belgrade, Prague, Paris), until he was able to enter America. He arrived at Ellis Island in June of 1922 under the name Alexander Artway.\u003c\/p\u003e\n\u003cp\u003eFor the next 18 years Artway remained in New York City. He had to learn a new life; adjusting from living on a sprawling Russian farm to very close urban quarters. He worked more with his hands than with his mind, since his European degrees were meaningless in the United States. Away from all family but his brother John (Sergei), Alexander had to seek out new connections. He found Lena, a woman whose family was still in Ukraine. The two explored the city together and carried on an affair that lasted many years.\u003c\/p\u003e\n\u003cp\u003eFrom his photographs it appears he was both excited and lonely. From his letters we can see that he was very attached to his mother and family back home. In fact, he returned to Russia in 1936 and ’37 to see them, a very risky business. The photographs from this trip to Gomel are touched by a tenderness and nostalgia found nowhere else in his work; they paint a picture of a man returning to his true roots. Even though he is pictured in these photographs in his New York City fine suits and hats, hair-­‐line receding, one can spot a little boy’s grin in the photographs of Alex and his mother.\u003c\/p\u003e\n\u003cp\u003eIn New York, Artway was very fascinated by the skyscrapers going up. He recorded these buildings from every angle and rooftop, and perhaps even from airplanes. He attended and taught at NYU, taking a degree in architecture in 1934.\u003c\/p\u003e\n\u003cp\u003eBefore going to NYU (with the aid of an organization called the Russian Student Fund) he joined the Merchant Marines. He later became a captain of ships and sailed around the world taking pictures of the foreign lands he visited. There are many beautiful studies of skies, clouds, and the ocean. (It appears he may have studied Stieglitz, Abbott, etc.) He saw much more of the world than the average person of these times and led an unconventional life.\u003c\/p\u003e\n\u003cp\u003eHe documented New York City life yet avoided photographing people he did not know. He recorded city streets, friends, his love life, animals, churches, and of course, architecture. His eye was unique, and his negatives are marked by a modernist aesthetic with a touch of pictorialist romanticism. He photographed nearly compulsively for about 15 years and only slowed down after the birth of his first child. In Philadelphia he became a true family man, and the photographs after 1942 are reflective of Artway’s new identity.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely Artway could have imagined the form which his photographs now take. For him, they were a record of his life, of the compositions he saw around him, of a life well-­‐lived. Now they form the Alexander Artway Archive made up of 4,000 negatives and 3,000 prints all neatly organized in plastic sleeves and black boxes. These are his legacy to his daughter Jeanette. The photographs from Russia, the portraits of his family and friends have become her heritage and her link to a family she’s never known. Now, as we begin to share these images with the public, we hope the photographs will become the heritage of many others. They tell the story of the trials and triumphs of an adventurous immigrant forging a life in America.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ½ x 3 ½ inch (11.43 x 8.89 cm) image | 4 ¾ x 3 ¾ inch (12.07 x 9.53 cm) paper","offer_id":12975910027329,"sku":"SBG-AAR-0043-CF","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/FFOTOIMAGE_AlexanderArtway_UntitledStatueinNewYorkCitycirca1935.jpg?v=1533244130"},{"product_id":"sunraysheadon-toohighup-grandcentralalexanderartway","title":"Sun rays head on, too high up, Grand Central","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e13019\u003cbr\u003eGelatin silver print\u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. The youngest of nine children, as a teenager he fought in the White Army and was wounded in his left leg. He fled and went into exile in Europe (Belgrade, Prague, Paris) for years until he was able to enter America. He entered on Ellis Island in June of 1922 under the name Alexander Artway. He remained and photographed in New York City for the next 18 years. He joined the Merchant Marines and later became a captain of ships and sailed around the world taking pictures.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¼ x 3 ¼ inch (10.8 x 8.26 cm) image | 4 ½ x 3 ¼ inch (11.43 x 8.23 cm) paper","offer_id":12975910092865,"sku":"SBG-AAR-0049-CF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/4638f63e1a0a5781e2360a49aa8e7868j.jpg?v=1533136204"},{"product_id":"churchcloseup-wallstreetalexanderartway","title":"Church (close up), Wall Street","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e12923\u003cbr\u003eGelatin silver print\u003cbr\u003eAnnotated \"7s #4\", in pencil, au verso \u003cbr\u003ePrinted circa 1935\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlexander Artemiev was born March 25, 1903 in Gomel, Belarus, Russia. The youngest of nine children, as a teenager he fought in the White Army and was wounded in his left leg. He fled and went into exile in Europe (Belgrade, Prague, Paris) for years until he was able to enter America. He entered on Ellis Island in June of 1922 under the name Alexander Artway. He remained and photographed in New York City for the next 18 years. He joined the Merchant Marines and later became a captain of ships and sailed around the world taking pictures.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eArtway’s vintage prints have recently been organized by his daughter and have been shown successfully at art fairs in Los Angeles as well as in New York City.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 x 3 inch (10.16 x 7.62 cm) image | 4 ¼ x 3 ½ inch (10.80 x 8.89 cm) paper","offer_id":12975910125633,"sku":"SBG-AAR-0053-CF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/53eb2143179f5b5679f7de0c7813da8aj.jpg?v=1554155705"},{"product_id":"weir-sclosealvinlangdoncoburn","title":"Weir’s Close","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1905\u003cbr\u003ePhotogravure on tissue\u003cbr\u003ePublished in Camera Work (15:5), July 1906\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in Boston and eventually becoming a British citizen, Alvin Langdon Coburn (June 11, 1882 – November 23, 1966) was an early 20th-century photographer who became a key figure in the development of American pictorialism. He became the first major photographer to emphasize the visual potential of elevated viewpoints and later made some of the first completely abstract photographs – Vortographs – using a kaleidoscope-like attachment that he invented for the camera.\u003cbr\u003e\u003cbr\u003eWhile still a young man, his photography attracted the attention of Alfred Stieglitz, who included Coburn’s compositions in editions of his seminal photography journal,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamera Work\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Issue Nos. 3, 15, \u0026amp; 21). Cultural luminaries were captivated by his photographs, with George Bernard Shaw declaring in 1907 that the 24-year-old Coburn was, in his opinion, “the greatest photographer in the world”.\u003cbr\u003e\u003cbr\u003eBy 1930, as mysticism and Freemasonry gained a greater hold on Coburn’s attention, he lost almost all interest in photography. That year he destroyed practically all his life’s work – approximately 15,000 glass and film negatives – and donated his extensive collection of contemporary and historical photographs to the Royal Photographic Society.\u003cbr\u003e\u003cbr\u003eDespite dedicating his focus towards a spiritual life after 1930, Coburn would still occasionally make photographs. These rare, later photographs are highly sought after by collectors.\u003cbr\u003e\u003cbr\u003eAdapted from\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Alvin_Langdon_Coburn\" target=\"_blank\"\u003e\u003cspan\u003eWikipedia.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eIn September 1905, Coburn took a break from the portrait project he was pursuing in London and visited J. Craig Annan in Edinburgh. There, he saw not only Annan’s work but also photographs by the pioneering painter\/photographer team of David Octavius Hill and Robert Adamson—portraits and city views taken in 1840s Edinburgh and originally printed in shades of ruddy brown with strong contrasts of light and shadow, an aesthetic echoed in Weir’s Close. In his 1966 autobiography, Coburn recalled another influence on such pictures: Robert Louis Stevenson’s Edinburgh: Picturesque Notes (1879). “For over fifty years I have followed lovingly in his footsteps, endeavouring to see it as I thought he saw it.”\u003cbr\u003e\u003cbr\u003eThis photogravure was originally included in a copy of Issue No. 15, July 1906, of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamera Work\u003c\/em\u003e, Alfred Stieglitz’s ground-breaking photography journal.\u003cbr\u003e\u003cbr\u003eSource:\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/267599\" target=\"_blank\"\u003eMetropolitan Museum of Art\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"7 ⅞ x 6 ¼ inch (20.00 x 15.88 cm) image | 11 ¾ x 8 ¼ inch (29.85 x 20.96 cm) tissue","offer_id":12975910846529,"sku":"SBG-ACO-0002-CF","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Alvin-Langdon-Coburn_Weirs-Close_circa-1905.jpg?v=1533244228"},{"product_id":"thebridge-sunlightalvinlangdoncoburn","title":"The Bridge – Sunlight","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1905\u003cbr\u003ePhotogravure on period paper\u003cbr\u003ePublished in Camera Work (15:7), July 1906\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in Boston and eventually becoming a British citizen, Alvin Langdon Coburn (June 11, 1882 – November 23, 1966) was an early 20th-century photographer who became a key figure in the development of American pictorialism. He became the first major photographer to emphasize the visual potential of elevated viewpoints and later made some of the first completely abstract photographs – Vortographs – using a kaleidoscope-like attachment that he invented for the camera.\u003cbr\u003e\u003cbr\u003eWhile still a young man, his photography attracted the attention of Alfred Stieglitz, who included Coburn’s compositions in editions of his seminal photography journal,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamera Work\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Issue Nos. 3, 15, \u0026amp; 21). Cultural luminaries were captivated by his photographs, with George Bernard Shaw declaring in 1907 that the 24-year-old Coburn was, in his opinion, “the greatest photographer in the world”.\u003cbr\u003e\u003cbr\u003eBy 1930, as mysticism and Freemasonry gained a greater hold on Coburn’s attention, he lost almost all interest in photography. That year he destroyed practically all his life’s work – approximately 15,000 glass and film negatives – and donated his extensive collection of contemporary and historical photographs to the Royal Photographic Society.\u003cbr\u003e\u003cbr\u003eDespite dedicating his focus towards a spiritual life after 1930, Coburn would still occasionally make photographs. These rare, later photographs are highly sought after by collectors.\u003cbr\u003e\u003cbr\u003eAdapted from\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Alvin_Langdon_Coburn\" target=\"_blank\"\u003e\u003cspan\u003eWikipedia.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eIn 1902, Alvin Langdon Coburn became a member of Alfred Stieglitz’s Photo-Session movement. In 1903, Coburn joined the British group, the Linked Ring. Fascinated by spirituality, mysticism and ritual, he came to be influenced by the Symbolist movement – especially the paintings of James McNeil Whistler – and began work on a series of atmospheric views of London. A handful of Coburn’s numerous photographs of London first appeared in a 1906 issue of \u003cem\u003eCamera Work\u003c\/em\u003ebefore being catalogued and compiled in his book, \u003cem\u003eLondon, 1909\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eThis photogravure of London Bridge is sourced from an original edition of Issue No. 15, July 1906, of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamera Work\u003c\/em\u003e, Alfred Stieglitz’s ground-breaking photography journal.\u003cbr\u003e\u003cbr\u003eSource:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/267599\" target=\"_blank\"\u003e\u003cspan\u003eMetropolitan Museum of Art\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"7 ⅞ x 6 ¼ inch (20.00 x 115.88 cm) image | 8 ⅛ x 6 ¾ inch (20.64 x 17.15 cm) paper","offer_id":12975912255553,"sku":"SBG-ACO-0003-CF","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Alvin-Langdon-Coburn_The-Bridge-Sunlight_circa-1905.jpg?v=1533243901"},{"product_id":"juliamarloweopheliaarnoldgenthe","title":"Julia Marlowe (Ophelia)","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1916\u003cbr\u003eWarm-toned silver bromide print hinged with linen to period board\u003cbr\u003eSigned, in ink, au recto Provenance: David Mirvish Gallery, 1977 \u003cbr\u003ePrinted circa 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eArnold Genthe (1869-1942) was a German-born, American photographer. He is best known for his photographs of San Francisco’s Chinatown, the 1906 San Francisco earthquake, and for his portraits of notable people of the era: politicians, socialites, celebrities, and literary figures.\u003cbr\u003e\u003cbr\u003e– Adapted from \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Arnold_Genthe\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWikipedia\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThis is a portrait of the famed actress Julia Marlowe, active from the early 1890s until retiring in 1924. She is best known for her performances in productions of Shakespeare’s plays. This warm-toned print softens the directness of Marlowe’s stare, capturing the angst of her portrayal as Hamlet’s Ophelia.\u003c\/p\u003e\n\u003cp\u003eGenthe signed the print, expertly, directly on the portrait in the lower right hand portion of the image, offering added authenticity to a type of photograph that is more often seen in cheap reproductions.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"8 x 6 inch (20.32 x 15.24 cm) print | 14 ½ x 12 inch (26.83 x 30.48 cm) board","offer_id":12975914025025,"sku":"SBG-AGE-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/FFOTOIMAGE_ArnoldGenthe_JuliaMarloweOphelia_circa1916.jpg?v=1554156107"},{"product_id":"29152andrekertesz","title":"29152","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e29152\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated, in pencil, au verso \u003cbr\u003eEstate # SX 352 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975915860033,"sku":"SBG-AKE-P-0108-CF","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/2feefe940678c71c6052297b3428eefdj.jpg?v=1554155617"},{"product_id":"29121andrekertesz","title":"29121","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e29121\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated, in pencil, au verso\u003cbr\u003e Estate # SX 537 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975917531201,"sku":"SBG-AKE-P-0110-CF","price":6000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/992e0f0fa1bbb39e0ed3d66839b07b57j.jpg?v=1554155614"},{"product_id":"29131andrekertesz","title":"29131","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e29131\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated and annotated, \"11R P 67 (44) VV\", in pencil, au verso \u003cbr\u003eEstate # SX 1265 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975918219329,"sku":"SBG-AKE-P-0124-CF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/382cfec5494c6dfa1e7577d653c5832cj.jpg?v=1554155615"},{"product_id":"29083andrekertesz","title":"29083","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e29083\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated and annotated, \"11R VV\", in pencil, au verso Estate # SX 1233 Provenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975919530049,"sku":"SBG-AKE-P-0125-CF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/90bb9a737309eb7a465d234c28739abcj.jpg?v=1554155612"},{"product_id":"28982andrekertesz","title":"28982","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e28982\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated and annotated, \"11R -1 VV\", in pencil, au verso \u003cbr\u003eEstate # SX 1232 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003eU\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975920382017,"sku":"SBG-AKE-P-0126-CF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fd2a702e2c11cf45914998af6466b749j.jpg?v=1554155612"},{"product_id":"29134andrekertesz","title":"29134","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e29134\u003cbr\u003ePolaroid SX-70\u003cbr\u003eDated and annotated, \"4R P21 6+\", in pencil, au verso \u003cbr\u003eEstate # SX 1235 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975920414785,"sku":"SBG-AKE-P-0127-CF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/d7fcdb7b04b7f145975fa58e814fa63bj.jpg?v=1554155615"},{"product_id":"untitledandrekertesz","title":"Untitled","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1979\u003cbr\u003ePolaroid SX-70\u003cbr\u003eSigned, in pencil, au verso \u003cbr\u003eEstate # SX 0487 \u003cbr\u003eProvenance: Direct from the Estate of André Kertész, New York\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1925, André moved to Paris to fulfill his dream of pursuing a career as a photographer. After a short period of both artistic and personal struggle, his pioneering vision, brought him great success. His approach to the medium helped to define the shape of photojournalism in Europe, and subsequently America. During the next eleven years, Kertész built an extraordinary body of work, influenced by and influencing the many Artists with whom he interacted in Paris between the wars.\u003cbr\u003e\u003cbr\u003eIn an increasingly competitive world, Kertész found his career began to fade in the mid 1930’s. With his wife Elizabeth, he left Paris for New York in 1936 in hopes of reinvigorating his art.   From the beginning, his career in the United States proved problematic. His vision, personality and artistic temperament never found a home in American photojournalism. Unable to return to a Europe after the outbreak of WWII, Kertész struggled as he was not able to find steady work through freelancing. He finally secured a staff position to work for House \u0026amp; Garden magazine in 1947 where he languished for 15 years creating architectural photographs. Although adored by Conde Nast for shaping the look of the magazine, André defined this period as his “lost years.\"\u003cbr\u003e\u003cbr\u003eIn 1962, at the age of 68, deeply embittered by his lack of artistic and commercial success in America, Kertész broke his magazine contract to pursue his art; consciously redefining himself as an amateur. For the next 23 years, he photographed with the recaptured enthusiasm of his early years in Hungary and France. By the mid 1970's, he had reestablished himself as a major figure in the fledgling fine art photography world. \u003cbr\u003e\u003cbr\u003eJust as Kertész’s reputation began to soar, his wife and lifelong companion, Elizabeth died in 1977 after a long battle with lung cancer. Grief stricken, Kertész turned to the Polaro1d SX-70 camera to express his pain and sadness. Although the elegant images that he produced are quite personal, Kertész’s keen sense of timing and delicate composition transforms these photographs into archetypal imagery capable of making deep emotional statements about the world around him. He created a powerful and voluminous body of work.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"s1\"\u003eU\u003c\/span\u003e\u003cspan class=\"s1\"\u003esing this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis SX-70 work was the subject of a monograph in 2007 by WW Norton: André Kertész The Polaroids, with a forward by Eelco Wolf and an essay by Robert Gurbo.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 1\/2 x 3 1\/2 inch (11.43 x 8.89 cm)","offer_id":12975920447553,"sku":"SBG-AKE-P-0170-CF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/01dc4452ba8caffa844ed29c485a4a98j.jpg?v=1533136220"},{"product_id":"snapshot-inthenewyorkcentralyardsalfredstieglitz","title":"Snapshot: In the New York Central Yards","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1903\u003cbr\u003ePhotogravure\u003cbr\u003eFrom Camera Work (20:45), October 1907\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eAmong the most influential figures of early photography, Alfred Stieglitz was a master photographer as well as being an accomplished printer of photogravures. He was a theorist and, as a gallerist, the founder of CAMERA WORK, a periodical that included important writings on photography and exquisitely made reproductions of photographs.\u003cbr\u003e\u003cbr\u003eSource:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Alfred_Stieglitz\" target=\"_blank\"\u003eWikipedia\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003eAlfred Stieglitz was a major contributor to photography as an image-maker, gallery owner and publisher. Having mastered photogravure printing, he launched a new publication called \u003cem\u003eCamera Work\u003c\/em\u003e. This periodical promoted the art of photography through articles and images by leading makers of the day, whose works were often reproduced as hand-pulled photogravures that were tipped onto pages in the magazine.\u003cbr\u003e\u003cbr\u003eOver the years, due to their high printing quality, these illustration plates have been removed from their original issues to be enjoyed as objects in their own right. This print, taken from \u003cem\u003eCamera Work\u003c\/em\u003e, Issue #20, shows a winter view of a steam engine entering the New York Central rail yards. This is one of three Stieglitz “Snapshots” that appeared in this issue of the journal.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"7 ½ x 6 ¼ inch (19.05 x 15.88 cm) print | 8 x 6 ¾ inch (20.32 x 17.15 cm) original backing, missing","offer_id":12975923757121,"sku":"SBG-ASTI-0006-CF","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Alfred-Stieglitz_Snapshot-In-the-New-York-Central-Yards_1903.jpg?v=1533243692"},{"product_id":"whitepowerbrucelabruce","title":"White Power","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e37104\u003cbr\u003eChromogenic print\u003cbr\u003eSigned, titled, dated, and editioned, in ink, au verso \u003cbr\u003ePrinted circa 2001\u003cbr\u003eEdition of 5 (#3\/5)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eA Canadian actor, writer, filmmaker, photographer and underground adult director, Bruce LaBruce’s work is frequently identified with the 1990’s subversive New Queer Cinema movement. A prolific creator, the consistently graphic quality of his work has kept him in the forefront.\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Bruce_LaBruce\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWikipedia\u003c\/a\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 ½ x 13 ½ inch (24.13 x 34.29 cm) image | 10 x 14 inch (25.4 x 35.56 cm) paper","offer_id":12975924379713,"sku":"SBG-BLB-0001-CF","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/df69b9329894f2fc574bbf1b7995056dj.jpg?v=1533136234"},{"product_id":"leonardcohenbarriewentzell","title":"Leonard Cohen","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1974\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, in ink, au verso Printed circa 1974\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 x 11 1\/2 inch (22.86 x 29.21 cm)","offer_id":12975924609089,"sku":"SBG-BW-11-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_Leonard-Cohen_1974.jpg?v=1554156131"},{"product_id":"rodstewartbarriewentzell","title":"Rod Stewart","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1971\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, and annotated, “Mojo”, in ink, with press annotations, in pencil and ink, au verso \u003cbr\u003ePrinted 17-07-71\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 1\/2 x 9 inch (29.21 x 22.86 cm)","offer_id":12975924641857,"sku":"SBG-BW-14-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_Rod-Stewart_1971.jpg?v=1533243601"},{"product_id":"eltonjohnbarriewentzell","title":"Elton John","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1973\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled, with artist stamp, in ink, press annotations, in pencil and ink, au verso \u003cbr\u003ePrinted in 1973\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e \u003c\/a\u003e- Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 ½ x 9 inch (29.21 x 22.86 cm)","offer_id":12975924871233,"sku":"SBG-BW-20-0001-CF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_Elton-John_1973.jpg?v=1554156018"},{"product_id":"johnlennonbarriewentzell","title":"John Lennon","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1970\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, in ink, au verso \u003cbr\u003ePrinted circa 1970\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio \u003c\/a\u003e(PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 x 11 ½ inch (22.86 x 29.21 cm)","offer_id":12975925395521,"sku":"SBG-BW-22-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_John-Lennon_Circa-1970.jpg?v=1554156103"},{"product_id":"davidbowiebarriewentzell","title":"David Bowie","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1973\u003cbr\u003eGelatin silver print\u003cbr\u003eDated, with artist stamp, in ink, au verso \u003cbr\u003ePrinted 12-05-73\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 ½ x 9 inch (29.21 x 22.86 cm)","offer_id":12975925428289,"sku":"SBG-BW-25-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_David-Bowie_1973.jpg?v=1554155726"},{"product_id":"rogerdaltreybarriewentzell","title":"Roger Daltrey","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1971\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, in pencil, with artist stamp, in ink, au verso \u003cbr\u003ePrinted 25-12-71\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 ½ x 9 inch (29.21 x 22.86 cm)","offer_id":12975925461057,"sku":"SBG-BW-31-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_Roger-Daltry_1971.jpg?v=1533243621"},{"product_id":"mickjaggerbarriewentzell","title":"Mick Jagger","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003cli\u003eArtist Docs\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1971\u003cbr\u003eGelatin silver print\u003cbr\u003eArtist stamp, in ink, au verso Printed circa 1971\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBorn in 1942 in Durham, northern England, Barrie was educated in Kent and London, attending Maidstone Art School in Kent in the late 1950s. His first job at Manhattan Displays on Greek Street in London’s Soho occupied him from 1959 to 1961, during which time he became an avid scrabble player under the tuition of author, performer, wit and philosopher, Quentin Crisp. He continued on to work at Color Applications, a photo studio in the Belgravia area of London learning photography basics from 1961 to 1962. It was then, upon meeting his soon-to-become mentor, photojournalist Maurice Newcombe, that he would be inspired to pursue a photographic career of his own.\u003cbr\u003e\u003cbr\u003eDuring the early 1960s, Barrie began diversifying into the worlds of fashion, music, and advertising. In 1965, he had a chance encounter with the young Diana Ross. The image he made of this yet-to-be global super-star became a riveting front cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eEngland’s most renowned music publication, which caught the attention of Bob Houston, the assistant editor at the time. Houston was to contact Barrie and sign him on as exclusive chief photographer for the paper.\u003cbr\u003e\u003cbr\u003eBarrie went on to shoot for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMelody Maker\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom 1965 until 1975, one of the most important decades in the history of popular music, photographing many unknown musicians who would later become legends and household names.\u003cbr\u003e\u003cbr\u003eCelebrated artists such as Louis Armstrong, Aretha Franklin, Count Basie, Jerry Lee Lewis, Little Richard, Bob Dylan, and Joan Baez and rock-and-roll icons such as The Beatles, The Rolling Stones, The Who, The Kinks, Jimi Hendrix, Eric Clapton, and countless more all have their place in Barrie Wentzell’s vast archive.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMelody Makers, Should’ve Been There\u003c\/em\u003e, is a 2016 documentary featuring interviews with Wentzell and his peers who worked together at the world’s first weekly music magazine during the height of Rock and Roll. Barrie lives and works in Toronto, Canada.\u003cbr\u003e\u003cbr\u003e- Adapted from:\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/barriewentzell.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eBarrieWentzell.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBarrie Wentzell, in his role as Chief Photographer for legendary popular music magazine \u003cem\u003eMelody Maker\u003c\/em\u003e, snapped photos of the biggest names in music between 1965-1975, when the world’s first weekly music publication enjoyed its greatest popularity.\u003cbr\u003e\u003cbr\u003eThis listing is for a rare vintage print, which means that it was made close to the time at which the negative was first exposed, or shortly thereafter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/files\/FFOTO_Wentzell_Barrie.pdf?17295508583027740993\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eArtist Bio\u003c\/a\u003e (PDF)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.theguardian.com\/music\/2018\/sep\/30\/kinks-village-green-exhibition-photographs-50th-anniversary--proud-gallery\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFirst a flop, now a classic: gallery marks 50 years of Kinks' Village Green LP\u003c\/a\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e - The Guardian, September 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"https:\/\/www.cnbc.com\/2018\/02\/24\/david-bowies-life-in-pictures-now-showing-in-ny-los-angeles-and-hawaii.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eDavid Bowie's life in pictures, now showing in NY Los Angeles and Hawaii\u003c\/span\u003e\u003c\/a\u003e - CNBC, February 2018 \u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/613240\/knockout-new-exhibit-features-iconic-photographs-of-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eKnockout New Exhibit Features Iconic Photographs of David Bowie\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, February 2018\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/cornwallfreenews.com\/2016\/01\/11\/legendary-photographer-barrie-wentzell-talks-david-bowie-with-cfn-jan-11-2016\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eLegendary Photographer Barrie Wentzell Talks David Bowie with CFN - Jan 11, 2016\u003c\/span\u003e\u003c\/a\u003e - Cornwall Free News - January 2016\u003cbr\u003e \u003cbr\u003e \u003ca href=\"http:\/\/flavorwire.com\/331683\/intimate-photos-of-rock-stars-from-1960s-and-70s-melody-maker\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan class=\"s3\"\u003eIntimate Photos of rock Stars from 1960s and '70s 'Melody Maker'\u003c\/span\u003e\u003c\/a\u003e - Flavorwire, 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 ¼ x 8 ¾ inch (28.58 x 22.23 cm)","offer_id":12975925690433,"sku":"SBG-BW-38-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Barrie-Wentzell_Mick-Jagger_Circa-1969.jpg?v=1533243343"},{"product_id":"colonnadeclarae-sipprell","title":"Colonnade","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1930\u003cbr\u003eGelatin silver print tipped onto single-ply period paper\u003cbr\u003eSigned, in pencil, on mount recto \u003cbr\u003ePrinted circa 1930\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eClara E. Sipprell (October 31, 1885–December 27, 1975) was a Canadian-born, early 20th-century photographer who lived most of her life in the United States. She was well known for her pictorial landscapes and for portraits of many famous actors, artists, writers and scientists.\u003cbr\u003e\u003cbr\u003eSource: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Clara_Sipprell\" target=\"_blank\"\u003eWikipedia.com\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAlthough her portraits of famous people brought her prominence, landscapes and architectural details remained a fascinating subject matter for Clara Sipprell. As one of the leading pictorial photographers of her day, this view of a colonnade – made at the height of her career – is typical of her output. Evident in the composition is her reliance on natural light and use of a soft-focus lens which results in an atmospheric romanticism.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 ⅜ x 7 ⅜ inch (23.81 x 18.73 cm) print | 13 x 10 ½ inch (33.02 x 26.67 cm) paper","offer_id":12975925788737,"sku":"SBG-CES-0001-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Clara-E-Sipprell_Colonnade_1930.jpg?v=1554155710"},{"product_id":"viewfromaileenpringle-sapartment-227east57thst-carlvanvechten","title":"View from Aileen Pringle’s Apartment, 227 East 57th St.","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1952\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, with artist stamp, in ink, au verso \u003cbr\u003ePrinted circa 1952\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eCarl Van Vechten (June 17, 1880 – December 21, 1964) gained fame as a writer, notoriety as a novelist, and in his later years took up photography and made portraits of notable people. He was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein.\u003cbr\u003e\u003cbr\u003eSource: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Carl_Van_Vechten\" target=\"_blank\"\u003e\u003cspan\u003eWikipedia.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAileen Pringle was an American stage and silent-film actress. Carl Van Vechten met Pringle in the 1920s and cultivated what would become a longstanding friendship with her. By the time Van Vechten made this photograph in 1952, Pringle was retired from acting and living a privileged life on the edge of New York City’s swanky Upper East Side, earning herself the nickname, “the darling of the intelligentsia”.\u003cbr\u003e\u003cbr\u003eThis setting was Van Vechten’s milieu; associating with fashionable and influential people, documenting them and their lives, and participating in the delights available to the city’s adventurous citizens and visitors. Although known primarily for his portraits, this example of Van Vechten’s output – a view over the city he called home, snapped from a friend’s apartment – suggests that this photograph had personal significance to him.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"6 ¾ x 9 ¼ inch (17.15 x 23.50 cm)","offer_id":12975925985345,"sku":"SBG-CVV-0001-CF","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/ad66317d073bba5fdc28dfe87c0ac17e.jpg?v=1533136244"},{"product_id":"kansascity-kansasdaveheath","title":"Kansas City, Kansas","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e24532\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, in ink, au verso \u003cbr\u003ePrinted in February 1968\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¾ x 7 inch (12.07 x 17.78 cm) image | 5 x 8 inch (12.7 x 20.32 cm) paper","offer_id":12975926280257,"sku":"SBG-DH-0115-COF","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/98544cbeb9889ac01a52602d4c6ed8e7j.jpg?v=1554156111"},{"product_id":"dayton-ohiodaveheath","title":"Dayton, Ohio","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist \u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1966\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, in ink, au verso \u003cbr\u003ePrinted in June 1966\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¾ x 7 inch (12.07 x 17.78 cm) image | 5 x 8 inch (12.7 x 20.32 cm) paper","offer_id":12975926444097,"sku":"SBG-DH-0117-COF","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/32b38f5b8e1d7ea5a81c0fdad47dc959j.jpg?v=1554156001"},{"product_id":"st-louis-missouridaveheath","title":"St. Louis, Missouri","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e24532\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, with Proof Print stamp, in ink, au verso \u003cbr\u003ePrinted in October 1968\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¾ x 7 inch (12.07 x 17.78 cm) image | 5 x 8 inch (12.7 x 20.32 cm) paper","offer_id":12975926476865,"sku":"SBG-DH-0159-COF","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/d75d60d579a5db2db19f639333bef6e6j.jpg?v=1533136249"},{"product_id":"newyorkcity-metropolitanmuseumofartdaveheath","title":"New York City, Metropolitan Museum of Art","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1958\u003cbr\u003eGelatin silver print mounted to period board\u003cbr\u003eSigned, titled, and dated, in pencil, artist stamp, in ink, au verso \u003cbr\u003eLP 127.5 \u003cbr\u003ePrinted in 1959\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAmerican Solitude\u003c\/a\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"9 ¾ x 6 ½ inch (24.77 x 16.51 cm) print | 11 x 14 inch (27.94 x 35.56 cm) board","offer_id":12975929458753,"sku":"SBG-DH-0304-COF","price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/d869ca06e1a96fe2b90880ab322537b7j.jpg?v=1533136255"},{"product_id":"washingtonsquare-nycdaveheath","title":"Washington Square, NYC [LP 218.2]","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003ecirca 1960\u003cbr\u003eGelatin silver print mounted to period board\u003cbr\u003eSigned, titled, and dated, in pencil, au mount verso \u003cbr\u003eLP 218.2 \u003cbr\u003ePrinted circa 1960 \u003cbr\u003eSBG-DH-0314-COF \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBeautiful photos of sadness and longing\u003c\/a\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"7 x 9 ¾ inch (17.78 x 24.77 cm) print | 11 x 14 inch (27.94 x 35.56 cm) board","offer_id":12975929655361,"sku":"SBG-DH-0314-COF","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/Dave-Heath_218.jpg?v=1533244173"},{"product_id":"newyorkcitydaveheath","title":"New York City","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e24624\u003cbr\u003eGelatin silver print\u003cbr\u003eTitled and dated, in ink, au verso\u003cbr\u003e Printed in 1968\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"4 ¾ x 7 inch (12.07 x 17.78 cm) image | 5 x 8 inch (12.7 x 20.32 cm) paper","offer_id":12975929753665,"sku":"SBG-DH-0351-COF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/cf35086d1644d1188d4e7f90cc227f48j.jpg?v=1533136260"},{"product_id":"nycdaveheath","title":"NYC","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1960\u003cbr\u003eGelatin silver print\u003cbr\u003eSigned, in ink, au recto \u003cbr\u003eTitled and dated, in pencil, au verso \u003cbr\u003eADWS 7 \u003cbr\u003eLP 86.9 \u003cbr\u003ePrinted in 1962\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e \u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"6 ½ x 8 ½ inch (16.51 x 21.59 cm) image | 8 x 10 inch (20.32 x 25.40 cm) paper","offer_id":12975929786433,"sku":"SBG-DH-0382-COF","price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/Dave-Heath_086.jpg?v=1533243441"},{"product_id":"philadelphiadaveheath","title":"Philadelphia","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1950\u003cbr\u003eGelatin silver print\u003cbr\u003eSigned, titled, and dated, in pencil, au verso \u003cbr\u003eLP 684.1 \u003cbr\u003ePrinted circa 1950\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"p1\"\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"7 ½ x 7 ½ inch (19.05 x 19.05 cm)","offer_id":12975933063233,"sku":"SBG-DH-0467-COF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/a1fd98a8c8ffa6918f8898c75e8cbb6fj.jpg?v=1533136263"},{"product_id":"metropolitanmuseumofart-newyorkcitydaveheath","title":"Metropolitan Museum of Art, New York City","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eArtist News\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1963\u003cbr\u003eGelatin silver print\u003cbr\u003eSigned, in ink, au recto \u003cbr\u003eTitled and dated, in pencil, au verso \u003cbr\u003eLP 65.1 \u003cbr\u003ePrinted circa 1963\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBy the age of four, Dave Heath (1931-2016) had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. Given that only his mother was of the Jewish tradition (yet this is how he was being raised) as well as the lack of any family support, he did not feel that he belonged anywhere.\u003cbr\u003e\u003cbr\u003eHowever, through the study of Jewish history he gained an understanding of a human community and our individual commitments to survival. Coupling this with American history Heath began to lay the groundwork for his belief in a purposeful life. At this early age, Heath knew that he wanted to be an artist; seeing this as the best way to experience the world and come to define himself within it. His commitment to mastering every facet of the medium of photography has earned the respect of connoisseurs for many years.\u003cbr\u003e\u003cbr\u003eDave Heath was a master black \u0026amp; white printer. He essentially stopped printing in the late 1960s when he devoted himself to making slide presentations and, later, Polaroid photographs. Most of Heath’s images exist in 1-2 prints made close to the time of the negative, with the notable exception of images in his sequence \u003cem\u003eA Dialogue With Solitude\u003c\/em\u003e. Before he was able to secure a publisher for this seminal book he endeavoured to make ten examples of each of the 80 photographs to be released as ‘Master Sets’. He seemed to have completed printing about three-quarters of the total by the time a publisher was secured, which brought an end to the production of the ‘Master Sets’. Projects following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eADWS\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere printed similarly, 1-2 first prints, but those making the final edit for a sequence would be printed in editions of 1\/5 or 1\/10; typically dry-mounted to board. His late 1960s ‘Proof Prints’ are mostly unique prints because his eventual solution for presenting the work from that period was a slide show, hence no ‘Master Sets’ were required. Since the late 1960s, until his death in 2016, Heath did not make newer prints from his black \u0026amp; white negatives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.bbc.com\/culture\/story\/20190530-intense-photos-of-love-and-longing\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeautiful photos of sadness and longing\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- BBC, May 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.newswire.ca\/news-releases\/multitude-solitude-the-photographs-of-dave-heath-832100127.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMultitude, Solitude: The Photographs of Dave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- News wire, March 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.ft.com\/content\/92537acc-2f1d-11e9-8744-e7016697f225\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath: an eye for the mournful moment\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Financial Times, February 2019\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2019\/jan\/02\/best-art-and-architecture-2019\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, January 2019\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.bjp-online.com\/2018\/12\/best-of-2018-paper-journal\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eBest of 2018: Paper Journal\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- British Journal of Photography, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/aperture.org\/blog\/dave-heath-violaine-boutet-de-monvel\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Solitude\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- Aperture, December 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.theguardian.com\/artanddesign\/2018\/sep\/09\/the-big-picture-street-corner-civil-rights-chicago-dave-heath-dialogues-solitude\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe big picture: a street corner in civil rights-era Chicago\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Guardian, September 2018\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/david-heath-dialogues-with-solitudes-tt\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDave Heath - Dialogues with Solitudes\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003e- The Eye Of Photography, September 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"6 ½ x 9 ½ inch (16.51 x 24.13 cm) image | 8 x 10 inch (20.32 x 25.40 cm) paper","offer_id":12975933620289,"sku":"SBG-DH-0637-COF","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/ee243cdf15866a802620010822154678j.jpg?v=1533136264"},{"product_id":"animallocomotion-plate225eadweardmuybridge","title":"Animal Locomotion, Plate 225","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1887\u003cbr\u003eCollotype on period paper\u003cbr\u003eAnnotated, \"LL\", in pencil, au recto \u003cbr\u003eTitled, dated, and annotated, with artist's name and image plate number, as part of plate \u003cbr\u003ePrinted in 1887\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEadweard Muybridge (English, 1830-1903) was born Edward Muggeridge to a merchant family in Kingston upon Thames, England. Before his death in 1903, Muybridge would emigrate to America, change his name three times, come close to death and suffer brain damage in a carriage accident. Perhaps most sensationally, he would also be acquitted for the murder of Major Harry Larkyns, his wife’s lover, and the true father of his presumed son Floredo Helios Muybridge.\u003cbr\u003e\u003cbr\u003eMuybridge was instrumental in the development of instantaneous photography. To accomplish his famous motion sequence photography, Muybridge even designed his own high-speed electronic shutter and electro-timer, to be used alongside a battery of up to twenty-four cameras.\u003cbr\u003e\u003cbr\u003eWhile Muybridge’s motion sequences helped revolutionize still photography, the resultant photographs also punctuated the history of the motion picture. Muybridge came tantalizingly close to producing cinema himself with his projection device the ‘Zoöpraxiscope’. With this device, Muybridge lectured across Europe and America, using the Zoöpraxiscope to animate sequences from his motion studies.  \u003cbr\u003e\u003cbr\u003eThe 19th century, undoubtedly one of the most formative of the modern Western world, was as bent on progress, invention and innovation as Muybridge. Muybridge’s capacity for entrepreneurialism and progressive practice meant he invented photographic and moving image projection techniques which helped build the motion picture industry we enjoy today. However, it also meant he documented some of the major events, and more subtly, the cultural and social landscape of the 19th century.  \u003cbr\u003e\u003cbr\u003eThese themes of Muybridge’s photography help us to understand 19th Century life by documenting key events and ideas within it. However, to many theorists of the medium, photographic work not only represents social and political attitudes and occurrences, but also helps form the ideological belief systems which underlie them.\u003cbr\u003e\u003cbr\u003eTo theorists such as Roland Barthes, the reason photography is so good at consolidating or producing beliefs in its viewer is because it appears as a literal, factual representation of the world; something produced mechanically with no room for human error – unlike the painting, which is clearly created by the human hand. The factual appearance of the photograph is said to signify a truth-value which helps produce whatever its subject might be as a fact.\u003cstrong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003eAdapted from: \u003ca href=\"http:\/\/www.eadweardmuybridge.co.uk\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eEadweardMuybridge.co.uk\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThis is an original Collotype print created by Muybridge as part of his monumental project on animal and human locomotion. Although Muybridge used a series of cameras aligned to accurately record his subjects as they passed in front, because he was interested in the final arrangement being aesthetically pleasing, he would often present images out of their sequence so that the final image was a believable rendering of motion. This print projects a rhythm that may not exist in the real world, but is one that is entirely believable as scientific evidence into how this animal reacts in motion.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"6 ¼ x 17 ¾ inch (15.88 x 45.09 cm) print | 18 ¾ x 24 inch (47.63 x 60.96 cm) paper","offer_id":12975937847361,"sku":"SBG-EM-0006-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/3ce54d667917def1ab67f1eefa3f18d3j.jpg?v=1554155644"},{"product_id":"animallocomotion-plate287eadweardmuybridge","title":"Animal Locomotion, Plate 287","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1887\u003cbr\u003eCollotype on period paper\u003cbr\u003eAnnotated, \"LL\", in pencil, au recto \u003cbr\u003eTitled, dated, and annotated, with artist's name and image plate number, as part of plate \u003cbr\u003ePrinted in 1887\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEadweard Muybridge (English, 1830-1903) was born Edward Muggeridge to a merchant family in Kingston upon Thames, England. Before his death in 1903, Muybridge would emigrate to America, change his name three times, come close to death and suffer brain damage in a carriage accident. Perhaps most sensationally, he would also be acquitted for the murder of Major Harry Larkyns, his wife’s lover, and the true father of his presumed son Floredo Helios Muybridge.\u003cbr\u003e\u003cbr\u003eMuybridge was instrumental in the development of instantaneous photography. To accomplish his famous motion sequence photography, Muybridge even designed his own high-speed electronic shutter and electro-timer, to be used alongside a battery of up to twenty-four cameras.\u003cbr\u003e\u003cbr\u003eWhile Muybridge’s motion sequences helped revolutionize still photography, the resultant photographs also punctuated the history of the motion picture. Muybridge came tantalizingly close to producing cinema himself with his projection device the ‘Zoöpraxiscope’. With this device, Muybridge lectured across Europe and America, using the Zoöpraxiscope to animate sequences from his motion studies.  \u003cbr\u003e\u003cbr\u003eThe 19th century, undoubtedly one of the most formative of the modern Western world, was as bent on progress, invention and innovation as Muybridge. Muybridge’s capacity for entrepreneurialism and progressive practice meant he invented photographic and moving image projection techniques which helped build the motion picture industry we enjoy today. However, it also meant he documented some of the major events, and more subtly, the cultural and social landscape of the 19th century.  \u003cbr\u003e\u003cbr\u003eThese themes of Muybridge’s photography help us to understand 19th Century life by documenting key events and ideas within it. However, to many theorists of the medium, photographic work not only represents social and political attitudes and occurrences, but also helps form the ideological belief systems which underlie them.\u003cbr\u003e\u003cbr\u003eTo theorists such as Roland Barthes, the reason photography is so good at consolidating or producing beliefs in its viewer is because it appears as a literal, factual representation of the world; something produced mechanically with no room for human error – unlike the painting, which is clearly created by the human hand. The factual appearance of the photograph is said to signify a truth-value which helps produce whatever its subject might be as a fact.\u003cstrong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003eAdapted from: \u003ca href=\"http:\/\/www.eadweardmuybridge.co.uk\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eEadweardMuybridge.co.uk\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThis is an original Collotype print created by Muybridge as part of his monumental project on animal and human locomotion. Although Muybridge used a series of cameras aligned to accurately record his subjects as they passed in front, because he was interested in the final arrangement being aesthetically pleasing, he would often present images out of their sequence so that the final image was a believable rendering of motion. This print projects a rhythm that may not exist in the real world, but is one that is entirely believable as scientific evidence into how this animal reacts in motion.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"6 ¾ x 18 inch (17.15 x 45.72 cm) print | 18 ¾ x 24 inch (47.63 x 60.96 cm) paper","offer_id":12975938142273,"sku":"SBG-EM-0007-CF","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/cebd01adbc9a45707dcf8b0205e2f0b5j.jpg?v=1554155644"},{"product_id":"assiniboinhunteredwardsheriffcurtis","title":"Assiniboin Hunter","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1926\u003cbr\u003ePhotogravure on Japan Vellum\u003cbr\u003eTitled with copyright, dated, and annotated with printer and plate number as part of printing plate, in ink, au recto \u003cbr\u003ePrinted by Photogravure Suffolk Eng. Co. Cambridge Mass \u003cbr\u003ePlate 630 from the book \"North American Indian\" \u003cbr\u003eEC-039-00 \u003cbr\u003ePrinted\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American peoples.\u003cbr\u003e\u003cbr\u003e– Source: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Edward_S._Curtis\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWikipedia\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward S. Curtis’s project, \u003cem\u003eThe North American Indian\u003c\/em\u003e, was the culmination of 30 years of travel, research, and photography. Sponsored by such luminaries as President Theodore Roosevelt and J. Pierpont Morgan, Curtis visited more than eighty tribes and released his observations, findings, and photographs using a subscription model. Although the goal of 500 subscribers fell short, each of the 20 volumes compiled 75 hand–pressed photogravures and 300 pages of text bound in an impressive book, accompanied by a corresponding portfolio containing at least 36 large format photogravures.\u003cbr\u003e\u003cbr\u003eThe gravures were printed on three different supports, based on the level of subscription. The basic version was on watercolour paper (Van Gelder paper from the Netherlands); a more expensive version was printed on vellum; and the premium subscriptions were printed on Japanese tissue.\u003cbr\u003e\u003cbr\u003eOver the years, many original sets of \u003cem\u003eThe North American Indian\u003c\/em\u003e have been dismantled in order to sell individual prints. In the 1950s, following his death, Curtis’s daughters decided to print the remaining editions but offered those posthumous sets on watercolour paper only.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"15 ½ x 11 ½ inch (39.37 x 29.21 cm) image | 21 ¾ x 17 ¾ inch (55.24 x 45.09 cm) paper","offer_id":12975938666561,"sku":"SBG-ESC-0005-CF","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/f668c6727983a78d6b9f0df8390cfa01j.jpg?v=1554155655"},{"product_id":"assiniboinmotherandchildedwardsheriffcurtis","title":"Assiniboin Mother and Child","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1926\u003cbr\u003ePhotogravure on Japan Vellum\u003cbr\u003eTitled with copyright, dated, and annotated with printer and plate number as part of printing plate, in ink, au recto \u003cbr\u003ePrinted by Photogravure Suffolk Eng. Co. Cambridge Mass \u003cbr\u003ePlate 632 from the book \"North American Indian\" \u003cbr\u003eEC-042-00 \u003cbr\u003ePrinted\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American peoples.\u003cbr\u003e\u003cbr\u003e– Source: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Edward_S._Curtis\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWikipedia\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward S. Curtis’s project, \u003cem\u003eThe North American Indian\u003c\/em\u003e, was the culmination of 30 years of travel, research, and photography. Sponsored by such luminaries as President Theodore Roosevelt and J. Pierpont Morgan, Curtis visited more than eighty tribes and released his observations, findings, and photographs using a subscription model. Although the goal of 500 subscribers fell short, each of the 20 volumes compiled 75 hand–pressed photogravures and 300 pages of text bound in an impressive book, accompanied by a corresponding portfolio containing at least 36 large format photogravures.\u003cbr\u003e\u003cbr\u003eThe gravures were printed on three different supports, based on the level of subscription. The basic version was on watercolour paper (Van Gelder paper from the Netherlands); a more expensive version was printed on vellum; and the premium subscriptions were printed on Japanese tissue.\u003cbr\u003e\u003cbr\u003eOver the years, many original sets of \u003cem\u003eThe North American Indian\u003c\/em\u003e have been dismantled in order to sell individual prints. In the 1950s, following his death, Curtis’s daughters decided to print the remaining editions but offered those posthumous sets on watercolour paper only.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"15 ½ x 11 ½ inch (39.37 x 29.21 cm) image | 21 ¾ x 17 ¾ inch (55.24 x 45.09 cm) paper","offer_id":12975939780673,"sku":"SBG-ESC-0006-CF","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/a75db86f9f85a012eb8cfd9af11ea62ej.jpg?v=1554155656"},{"product_id":"kingislandvillagefromtheseaedwardsheriffcurtis","title":"King Island Village From the Sea","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout the Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1928\u003cbr\u003ePhotogravure on Japanese tissue tipped to single-ply period board\u003cbr\u003eTissue size: 13 ⅜ x 16 ⅝ inch (33.97 x 42.23 cm)\u003cbr\u003eTipped to 15 ¼ x 19 inch (38.74 x 48.26 cm) board\u003cbr\u003ePlate 700, Volume 20 of the North American Indian, published in 1930\u003cbr\u003eUnframed\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American peoples.\u003cbr\u003e\u003cbr\u003e– Source: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Edward_S._Curtis\" target=\"_blank\"\u003eWikipedia\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eOriginal vintage prints by Edward Sheriff Curtis and his studio showcase an expertise with techniques that include fine examples of photogravures, albumen prints, gelatin silver prints, platinum prints, and other processes. Many of these techniques were used in the creation of his life’s work, \u003cem\u003eThe North American Indian\u003c\/em\u003e(1907-1930), a 20-volume project launched with a substantial investment by industrialist J.P. Morgan.\u003cbr\u003e\u003cbr\u003eThis luminous, golden-toned vintage photogravure is from Volume 20, the final volume in \u003cem\u003eThe North American Indian\u003c\/em\u003e. It depicts the harbour at King Island (also known by its Inuit name, Ugiuvak), an island approximately 65km west of Alaska, in the Bering Sea.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"11 ½ x 15 ¼ inch (29.21 x 38.74 cm) image | 13 ⅜ x 16 ⅝ inch (33.97 x 42.23 cm) tissue | 15 ¼ x 19 inch (38.74 x 48.26 cm) board","offer_id":12975939846209,"sku":"SBG-ESC-0007-CF","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/f7a5cbd06f362480c08fa03af5c7eceb.jpg?v=1554156115"},{"product_id":"thebelltowerofacomaedwardsheriffcurtis","title":"The Bell Tower of Acoma","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1904\u003cbr\u003ePlatinum print mounted to period paper\u003cbr\u003eTitled, in white ink, and photographer’s blindstamp, au mount recto \u003cbr\u003ePrinted circa 1904\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEdward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American peoples.\u003cbr\u003e\u003cbr\u003e– Source: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Edward_S._Curtis\" target=\"_blank\"\u003eWikipedia\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"8 x 5 ⅞ inch (20.32 x 14.92 cm) print | 8 ¼ x 6 ⅛ inch (20.95 x 15.56 cm) green paper, decaled edge | 8 ¾ x 6 ⅜ inch (22.23 x 16.19 cm) brown single-ply period paper | 13 x 9 ½ inch (33.02 x 24.13 cm) green single-ply period paper","offer_id":12975939878977,"sku":"SBG-ESC-0008-CF","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Edward-Sheriff-Curtis_The-Bell-Tower-of-Acoma_1904.jpg?v=1533243843"},{"product_id":"altarbeforerotunda-palaceofthefinearts-panamapacificinternationalexpositionfrancisjosephbruguiere","title":"Altar Before Rotunda, Palace of the Fine Arts, Panama Pacific International Exposition","description":"\u003cul class=\"tabs\"\u003e\n\u003cli class=\"active\"\u003eArtwork Info\u003c\/li\u003e\n\u003cli\u003eAbout the Artist\u003c\/li\u003e\n\u003cli\u003eAbout this Photograph\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul class=\"tab-content\"\u003e\n\u003cli class=\"active\"\u003e\n\u003cp\u003e1915\u003cbr\u003eHand coloured gelatin silver print\u003cbr\u003eSigned and dated, in pencil, au mount recto \u003cbr\u003ePrinted circa 1915 \u003cbr\u003ePublished: Watkins to Weston: 101 Years of California Photography 1849-1950, p. 83.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIn 1905, Francis Joseph Bruguière (15 October 1879 – 8 May 1945) became acquainted with photographer and modern art promoter Alfred Stieglitz (who accepted him as a Fellow of the Photo-secession), and set up a studio in San Francisco, recording in a pictorialist style images of the city after the earthquake and fire.\u003cbr\u003e\u003cbr\u003eIn 1918, he moved to New York City where he made his living by photographing for \u003cem\u003eVanity Fair\u003c\/em\u003e, \u003cem\u003eVogue\u003c\/em\u003e, and \u003cem\u003eHarper’s Bazaar\u003c\/em\u003e. Throughout his life, Bruguière experimented with multiple-exposure, solarization, original processes, abstracts, photograms, and the response of commercially available film to light of various wavelengths. Until his one-man show at the Art Centre of New York in 1927, he showed this work only to friends.\u003cbr\u003e\u003cbr\u003eAdapted from: \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Francis_Brugui%C3%A8re\" target=\"_blank\"\u003eWikipedia.com\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThis hand-coloured, vintage print is signed and dated by the artist. The photograph depicts the rotunda of the Panama-Pacific International Exposition, a world’s fair that was held in San Francisco in 1915. The fair was widely viewed as a spectacular showcase following the devastating effects of the earthquake and fire that completely destroyed the city in 1906.\u003cbr\u003e\u003cbr\u003eAn evocative, romantic composition, the photograph presents examples of Bruguière’s use of alternative approaches to making photographic prints. Due to the hand-tinting, this is a unique item.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Stephen Bulger Gallery","offers":[{"title":"13 ½ x 10 ½ inch (34.29 x 26.67 cm) print | 14 ¼ x 11 inch (36.20 x 27.94 cm) single-ply period paper | 20 x 14 inch (50.80 x 35.56 cm) single-ply period paper","offer_id":12975940337729,"sku":"SBG-FJB-0001-CF","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/products\/fFOTOIMAGE_Francis-Joseph-Bruguiere_Altar-Before-Rotunda-Palace-of-the-Fine-Arts-Panama-Pacific-International-Exposition_1915.jpg?v=1554155633"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/9644\/7041\/collections\/Hujar_LarryRee_circa1975_o.jpg?v=1699894908","url":"https:\/\/ffoto.com\/collections\/rare-and-vintage-prints\/still-life-july-2021.oembed","provider":"FFOTO","version":"1.0","type":"link"}