Currently hanging in the gallery
Christiane Feser, Loops 2, 2023
Photo object with archival pigment prints, 27 7/8 x 20 3/8 x 2 in. (71 x 52 x 5 cm)
Edition 2 of 3
8338
$7,000
Signed, titled, dated and numbered in pencil on mount verso.
Framed in acrylic box frame.
Christiane Feser, Loops 3
Photo object with archival pigment prints, 27 7/8 x 20 3/8 x 2 in. (71 x 52 x 5 cm)
Edition 2 of 3
8339
$7,000
Signed, titled, dated and numbered in pencil on mount verso.
Framed in acrylic box frame.
Christiane Feser, Untitled 3, 2002
Pigment print and sewing pins, unique, 27 1/2 x 21 1/4 x 1 1/8 in. (70 x 54 x 3 cm)
8341
$9,500
Signed, titled and dated in pencil on mount verso.
Framed with Tru Vue Optium acrylic.
Christiane Feser, Untitled 2, 2022
Pigment print and sewing pins, 27 1/2 x 21 1/4 x 1 1/8 in. (70 x 54 x 3 cm)
Edition 1 of 3
8340
$7,000
Signed, titled, dated and numbered in pencil on mount verso.
Framed with Tru Vue Optium acrylic.
Harry Callahan, Chicago, c. 1955
Vintage gelatin silver print, 6 7/16 x 9 1/2 in. (16.4 x 24.1 cm)
8292
$20,000
Trimmed to image and mounted on Brundo board 7 x 9 7/8 inches.
Signed in pencil on mount recto with notations in pencil on mount verso.
Roger Mayne, Teddy Boy and Girl, Petticoat Lane, London, 1956
Vintage gelatin silver print, 10 11/16 x 14 11/16 in. (27.1 x 37.3 cm)
framed in warm white aluminum with Artglass AR92
8289
$10,400
Signed, titled “Teddy Boy and Girl (Petticoat Lane)” and dated with “vintage print c'58”
and image number “HM 34” in pencil on print verso.
Illustrated: The Street Photographs of Roger Mayne. The Victoria & Albert Museum, 1986, p. 8. Also illustrated on the 1965 ICA show invitation card. Roger Mayne: Photographs. Jonathan Cape, 2001, p. 63.
Roger Mayne, Teddy Girls, Battersea Fun Fair, 1956
Vintage gelatin silver print, 22 7/8 x 17 1/16 in. (58.1 x 43.3 cm)
framed in warm white aluminum with TruVue Optium acrylic
8277
$14,650
Signed, titled "Teddy Girls, Battersea Fun Fair" and dated with "vintage print 1967" in pencil and image number "5213" and "V&A" in ink on print verso.
Illustrated: Roger Mayne: Photographs. Jonathan Cape, 2001, p. 61.
Roger Mayne, Teenagers, Soho, London, 1959
Vintage gelatin silver print, 14 3/4 x 21 1/16 in. (37.5 x 53.5 cm)
framed in warm white aluminum with Artglass AR92
8279
$12,450
Signed, titled and dated with “vintage print early '60s” and image number “LG9” in pencil on print verso.
Illustrated: Roger Mayne: Photographs. Jonathan Cape, 2001, p. 68.
Roger Mayne, Girls Gambling, Southam Street, North Kensington, London, 1956
Vintage gelatin silver print, 15 7/8 x 19 15/16 in. (40.3 x 50.6 cm)
framed in warm white aluminum with Artglass AR92
8285
$14,450
Signed, titled “Girls Gambling, Southam Street, N. Kensington” and dated with “vintage print c '59” and image number ”5276” and other notations in pencil and photographer's “photograph by” and “Addison Avenue” stamps on print verso.
Illustrated: The Street Photographs of Roger Mayne. The Victoria & Albert Museum, 1986, p. 57. Roger Mayne: Photographs. Jonathan Cape, 2001. p. 63.
Dieter Appelt, Image de la vie et de la mort, 1981
4 gelatin silver prints from 16 mm film, 80 x 6 1/8 in. (203.2 x 15.6 cm)
Image of Life and Death
8313
$20,000
Edition 7/10.
Signed in ink verso.
Link to film
Other works from this edition reside in the following museum collections: Collection du Centre national des arts plastiques, Museum of Fine Arts, Boston, Museum of Fine Arts, Houston, Museum of Modern Art, New York, National Galleries Scotland
From The Walther Collection:
Many of Dieter Appelt’s works address his traumatic post-World War II experience of Germany through a series of photographed performances or “actions”—as he calls them, after Joseph Beuys. This emphasis on dramatic performance may stem from the fact that Appelt was trained as an opera singer, and worked with the Deutsche Opera Berlin for eighteen years before turning to photography in 1979. Focusing on detailed photographic studies of elements of his body in performance, he utilizes extreme physicality and labored temporality to allude to issues of death, decay, rebirth, and the ephemeral. “I want to unmask time in a picture,” Appelt has said. “I’m interested in having a succession of movements layered in one image. I use time like a mechanic, permanently layering memories and actual experiences … like a time montage.”
