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Old days Photo - Trees Scenery - Vintage Photo - Mid-20th Century

Mid-20th Century

The Forest is a Photograph silver salt print, dedicated to Mrs. Ferrari on paper in the early 20th Century Signed on the lower. Good conditions. Glued on...

Old Days  - Landscape is a vintage black and white photograph realized in the Early 20th Century. Good conditions.

Old days Photo - The Tree is a black and white vintage photo, realized in the mid-20th century. Good conditions and aged. It belongs to a historical and Nostalgic album including h...

Old days Photo - Landscape is a black and white vintage photo, realized in the early 20th century. Good conditions and aged. It belongs to a historical and Nostalgic album includin...

This artwork "Lanscape with Trees" 1976 is color photograph by American photographer Steve Solinsky, b.1945. It is hand signed, dated and numbered 121/125 in pencil by the artist. Th...

The mat measures 21 X 16 the images are around 12 X 9 inches. They bear the blindstamp of the American Colony Jerusalem. I am not sure if these are hand colored but they are from th...

archival inkjet print on watercolor paper 10 x 13 inches unframed 2016 Photographed in Maine, this black and white archival pigment print by Betsy Weis captures a trees in a meadow. The serenity of the sky and grassy meadow in soft grays are contrasted by the leafy tress in the distance. This photograph is available unframed. The image measures 10 x 13 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: For the last two years Mark and Kristen have collaborated using one of the earliest photographic methods, collodion wet plate to create ambrotypes on glass and tintypes on aluminum. They use a 1860 style view camera to create one-of-a-kind images, which become windows into an intimate, romantic, and beautiful world of faces, still lives, nudes, and landscapes. In this demanding process, the collodion coated tin or glass plates are immersed in a silver nitrate solution, and then they must be exposed in the camera and developed while still wet. Serendipitous flaws and beautiful imperfections are an inevitable part of this imprecise hands-on process. This show includes a combination of 24 tintypes and ambrotypes, which are 8x10 and smaller in size. Their intimate sizes ask the viewers to look closer and spend more time with these photographs to fully appreciate their power. — A welcome antidote to today's nonstop, ¬instantaneous imagery. Paradoxically, this intersection of past and present gives these pieces an unmistakably contemporary feel. The two collaborators deliberately play up the ambiguity of time. The nudes (some recalling E.J. Bellocq's alluring portraits of New Orleans prostitutes in 1912) are suffused with freshness and sensuality, even eroticism at times, with nearly all of them coming off as refined rather than crass. Fredrick Scott Archer developed the collodion process in 1851. Artists such as Julia Margaret Cameron, Lewis Carroll, William Henry Jackson and Civil War photographer Mathew Brady used the process, due to its cost and versatility advantages. In addition Sink and Hatgi’s work can also be seen revived in contemporary artists work...