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Olivier Richon | With Sheep - Animals Looking Sideways Series
Olivier Richon
With Sheep - Animals Looking Sideways Series
C-Type Color Photograph
2000, printed later
37 3/4 x 45 1/4 inches

Signed, dated, and editioned 2/3 on verso.

Olivier Richon | With Geese - Animals Looking Sideways
Olivier Richon
With Geese - Animals Looking Sideways Series
C-Type Color Photograph
2000, printed later
45 3/4 x 36 1/2 inches

Signed, dated, and editioned 2/3 on verso.

Olivier Richon | With Pigs - Animals Looking Sideways
Olivier Richon
With Pigs - Animals Looking Sideways Series
C-Type Color Photograph
2000, printed later
46 x 36 3/4 inches

Signed, dated, and editioned 2/3 on verso.

Olivier Richon | With Turkey - Animals Looking Sideways
Olivier Richon
With Turkey - Animals Looking Sideways Series
C-Type Color Photograph
2000, printed later
45 3/4 x 37 inches

Signed, dated, and editioned 2/3 on verso.

Olivier Richon | With Hen - Animals Looking Sideways
Olivier Richon
With Hen - Animals Looking Sideways Series
C-Type Color Photograph
2000, printed later
37 1/2 x 45 1/4 inches

Signed, dated, and editioned 2/3 on verso.

Olivier Richon | Arkwright Mills at Night, After Joseph Wright of Derby
Olivier Richon
Arkwright Mills at Night, After Joseph Wright of Derby - Imitatio Sapiens Series
C-Type Color Photograph
1987, printed later
37 x 44 1/2 inches

Signed, dated, and editioned 2/5 on verso.

Olivier Richon | The Buurkerk at Utrecht, After Pieter Saenredam
Olivier Richon
The Buurkerk at Utrecht, After Pieter Saenredam - Imitatio Sapiens Series
C-Type Color Photograph
1987, printed later
36 1/4 x 42 1/4 inches

Signed, dated, and editioned 2/5 on verso.

Paulette Tavormina - Plums and Chinese Walnuts, After G.G.
Paulette Tavormina
Plums and Chinese Walnuts, After G.G.
Archival Pigment Photograph, Mounted on Black Sintra
2013
24 x 24 inches

Signed, titled, dated, and numbered 1/7 on label on mount's verso.

Paulette Tavormina - Figs, After G.F.
Paulette Tavormina
Figs, After G.F.
Archival Pigment Photograph, Mounted on Black Sintra
2009
48 x 32 inches

Signed, titled, dated, and numbered 5/5 on label on mount's verso.

Paulette Tavormina - Blackberries and Butterfly, After A.C.
Paulette Tavormina
Blackberries and Butterfly, After A.C.
Archival Pigment Photograph, Mounted on Black Sintra
2015
22 1/2 x 30 inches

Signed, titled, dated, and numbered 1/7 on label on mount's verso.

Paulette Tavormina - Italian Plums, After G.G.
Paulette Tavormina
Italian Plums, After G.G.
Archival Pigment Photograph, Mounted on Black Sintra
2015
22 1/2 x 30 inches

Signed, titled, dated, and numbered 4/7 on label on mount's verso.

Paulette Tavormina - Blueberries and Apricots, After G.G.
Paulette Tavormina
Blueberries and Apricots, After G.G.
Archival Pigment Photograph, Mounted on Black Sintra
2013
24 x 24 inches

Signed, titled, dated, and numbered 2/7 on label on mount's verso.

Paulette Tavormina - Botanical VII, Tulips
Paulette Tavormina
Botanical VII, Tulips
Archival Pigment Photograph, Mounted on Black Sintra
2013
36 x 36 inches

Signed, titled, dated, and numbered 2/5 on label on mount's verso.

Paulette Tavormina - Botanical VI, Juliet Roses
Paulette Tavormina
Botanical VI, Juliet Roses
Archival Pigment Photograph, Mounted on Black Sintra
2013
36 x 36 inches

Signed, titled, dated, and numbered 3/5 on label on mount's verso.

John Dugdale | Farmhouse Inverted in Venini Vase
John Dugdale
Farmhouse Inverted in Venini Vase
Van Dyke Brown Photograph
c. 1993, printed 2008
10 x 8 inches

Signed, titled, dated and # 1/12 on artist's piece label.

John Dugdale - The One Who Awakens
John Dugdale
The One Who Awakens
Albumen Photograph
2002
10 x 8 inches

Signed, titled, dated and #2/12 on verso.

John Dugdale - Untitled, Statue
John Dugdale
Untitled (Statue)
Van Dyke Brown Photograph
2008
10 x 8 inches

Signed, titled, dated and # 1/12 on artist's piece label.

John Dugdale - Saved
John Dugdale
Saved
Cyanotype Photograph
1998
10 x 8 inches

Signed, titled, dated and #3/12 on verso.

John Dugdale - Madonna Lilies
John Dugdale
Madonna Lilies
Cyanotype Photograph
1998
14 x 11 inches

Signed, titled, dated, and # 5/12 on verso.

John Dugdale - Spirits
John Dugdale
Spirits
Cyanotype Photograph
2009, Printed 2009
20 x 16 inches

Signed, titled, dated and # 1/6 on verso

John Dugdale - Cascade
John Dugdale
Cascade
Cyanotype Photograph
1999
14 x 11 inches

Signed, titled, dated, and # 1/12 on verso

Ben Schonzeit - Watteau
Ben Schonzeit
Watteau
Cibachrome Photograph
2005
36 x 47 7/16 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Zebra Stripe
Ben Schonzeit
Zebra Stripe
Cibachrome Photograph
2004
30 1/2 x 44 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Silver Blue Vase
Ben Schonzeit
Silver Blue Vase
Cibachrome Photograph
2004
35 1/2 x 35 inches

Signed and editioned out of 15 on print verso.

Ben Schonzeit - Peonie Dark Dots
Ben Schonzeit
Peonie Dark Dots
Cibachrome Photograph
c. 2000

Signed, dated, and # 1/15 on print verso.

Ben Schonzeit - Burbank Samurai, Mix Media Collage Series
Ben Schonzeit
Burbank Samurai, Mix Media Collage Series
Archival Pigment Photograph
2015
32 3/4 x 14 inches

Signed, dated and editioned 1/5 in pencil on recto.

Ben Schonzeit - To The Contrary, Mix Media Collage Series
Ben Schonzeit
To The Contrary, Mix Media Collage Series
Archival Pigment Photograph
2015
Image: 33 x 14 inches, paper: 35 x 17 inches

Signed, dated and editioned 1/5 in pencil on recto.

Ben Schonzeit - Mr. Livingston (Paris Hatters), Mix Media Collage Series
Ben Schonzeit
Mr. Livingston (Paris Hatters), Mix Media Collage Series
Archival Pigment Photograph
2015
Image: 30 3/4 x 14 inches, paper: 35 x 17 inches

Signed, dated and editioned 1/5 in pencil on recto.

Edward Weston - Pepper No. 30
Edward Weston
Pepper No. 30
Silver Gelatin Photograph
1930, Printed in 1971 by Cole Weston
9 3/8 x 7 3/8 inches

Signed, titled, dated, numbered '30P' by Cole Weston in pencil, credit stamp, number '6' of set '44' in ink on a portfolio label affixed (on the reverse of the mount).

Edward Weston - Kale Halved
Edward Weston
Kale Halved
Silver Gelatin Photograph, Printed Later by Cole Weston
1930, Printed Later
7 1/2 x 9 1/2 inches

Signed, titled, dated, numbered '35V' by Cole Weston in pencil and credit stamp (on the reverse of the mount).

Edward Weston - Fungus
Edward Weston
Fungus
Silver Gelatin Photograph
1932, Printed c.1970
8 x 10 inches

Negative by Edward Weston with his hand stamp, Cole Weston's signature, title, and date in pencil on mount verso.

Edward Weston- Toadstool
Edward Weston
Toadstool
Silver Gelatin Photograph
1931, Printed Later by Cole Weston
9 x 7 inches

Stamped, photographer's handstamp and Cole Weston's signature on mount verso.

Imogen Cunningham - Magnolia Blossom
Imogen Cunningham
Magnolia Blossom, Tower of Jewels
Silver Gelatin Photograph
1925, Printed mid-1970s
10 1/4 x 13 1/4 inches

Cunningham's signature and date, in pencil, on mount recto and a photostatic copy of her Green Street label on mount verso.

Imogen Cunningham - Two Callas
Imogen Cunningham
Two Callas
Silver Gelatin Photograph
1929, Printed Later
13 1/2 x 10 1/2 Inches

Signed and dated in pencil on the mount, the photographer's 862 Folsom Street, San Francisco, California 94107' label on verso.

Flor Garduño - Cacao, Mexico (Cocoa)
Flor Garduño
Cacao, Mexico (Cocoa)
Silver Gelatin Photograph
2000
16 x 20 inches

Signed, titled and dated on verso.

Edward Weston- Toadstool

Still Life - The Pleasure of Stopping Time

11/12/2016 - 12/7/2016

“Still Life – The Pleasure of Stopping Time” surveys the manners in which photographers have explored and refreshed the great traditional genre from early in the twentieth century to innovative practices of today. Within photography, still lives have served as both conventional and experimental forms across many periods of significant aesthetic and technological change. By using straightforward as well as latent symbolism such as the motif of memento mori, or the impermanence of life, the camera came to be regarded as more than a straight recorder of objects. It came to express the ambiguous nature of the world and the individual’s role in perceiving it. Considering the amount of control exerted over still life arrangements, photographers would create deeply personal compositions. Modernists, as well as pioneers of twentieth century photography, would experiment with elements of pure form, arrangement, and lighting in order to create an aesthetic emotional response within the artist and the viewer.

Two such seminal Modernists were Edward Weston and Imogen Cunningham. Weston began making still lives during the late 1920s, emphasizing a kind of “pure” photography with an emphasis on form through his compositions deftly using balance, viewpoint, and lighting. Cunningham’s pictures stylistically explored the sensuous shapes of flowers and nudes with subtleties in depth of field and unconventional shadowing and framing of the subject. During the post-war period, Jan Groover would create pioneering kitchen still lives by employing color and a large format as dynamic and integral elements of her work imbuing energy in inanimate objects. The revival of interest in the genre at the turn of the twenty-first century comes as the digital age is transforming the medium with contemporary still life photographers modernizing the classic tradition.

Olivier Richon’s color work that has preoccupied him since the 1980s focuses on staged portraits of animals and still lives, subjects that recall the classical allegorical tradition yet confuse conventional meanings. Richon often references Old Masters through his highly adept understanding of perspective, composition, and chiaroscuro lighting while also employing elements such as draped material that recall traditional still life painting. Approaching from a painterly and occasionally surreal direction, Richon’s photographs appear to imply highly specific meanings but resist simple interpretation. A Swiss born artist, today he is head of the graduate school of photography at London's Royal College of Art and continues to probe the possibilities of the genre.

Paulette Tavormina’s lush still life photographs of flora and fauna directly reference the lavish detail of Old Master painters of the genre. Through her use of the medium of photography to capture the Baroque style, her painterly work hovers between past and present in a way that is both stunning and somewhat perplexing. Tavormina delicately unites the visual and symbolic connections between quotidian objects to produce images of powerful emotional resonance. She scours farmers’ markets and flower shops for the “perfectly imperfect” subjects for her lavish arrangements that can take a week to perfect. Tavormina began photographing in the 1980s and today is based in New York City where she continues to create enduring and meticulous still lives.

Ben Schonzeit is a multi-dimensional artist who has been called the best photographer to emerge from the 1970s Photorealist painting movement. Originally he created hyper-realistic paintings of perfectly rendered arrangements of fruits, vegetables, flowers, and other objects that were enlargements based on his own photographs. In the mid 1980’s, Schonzeit began photographing still lives of flowers that he would artfully arrange in front of both his own paintings and reproductions of master works by such artists as Claude Monet and Joan Miro. The prints that used the alternative process of the cibachrome formed an artistic dialogue between art historical painting in various genres and contemporary still life.

John Dugdale approaches photography with a nineteenth century sensibility incorporating still life to emphasize the poetic transcendence of time and place. Unconventionally for today, he works with some of photography’s first techniques of “fixing” a photographic image by employing large format cameras and creating cyanotype prints, platinum prints, and using the albumen process. This contributes to his historically referential work that looks back to the original masters of the medium who placed much importance on their work with still lives. His highly personal images in which he presents still lives are all reflections on domestic life and the close connections that can develop with objects, often basing his work on allegories and poetry.

Since still lives have served so well as both conventional and experimental forms in the past, they may well be the anchor that allows photographers to explore new and yet unimagined territory. The subject of the still life allows the artist the ability to comment on a larger world while bracketing, organizing, controlling, and commenting on specific objects and establishing relationships within a time and space continuum.

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