Ruth Bernhard Art

Kate #3, 2002 by American photographer Leonard Freed is in the photographer's series "Kate." This is an 11" x 14" gelatin silver photograph signed verso (back of photo) by the Freed ...

Rider’s Field Boot from Claremont Riding Academy on the Upper West Side of Manhattan in the 1990s was photographed for City Riders (Macmillan, 1997) by Roberta Fineberg. From the bo...

Leonard Freed's stamped vintage (verso), 14" x 11," gelatin silver signed print, Kate Bending, is from the Kate series, 2002. A photographer herself, model Kate remains complicit in ...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

Silver gelatin print, 19cm x 19cm (print size), (50cm x 40cm in mount), unframed, but contained within archive quality mount. Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels...

Contemporary figurative sepia toned photograph of nude male model Sepia toned silver gelatin print, edition 3 of 25 Image size: 8 x 8 inches 17.5 x 16.5 x 1 inches framed with 8-ply ...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

"Nisa Triptych," an original Silver Gelatin Print by photographer Greg Gorman, is a piece for the true collector. Gorman's exceptional ability at capturing the essence of his subjects is confirmed in this fantastically executed piece. Both Gorman's technical talent as a photographer and his choreography pair perfectly. This piece of art would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for black and white photography, nudes, or figurative works. This work is #2 of the small edition size of 15. Greg Gorman is one of the most well-known and sought-after celebrity photographers, having photographed countless stars, such as Al Pacino, Mark...

Gelatin silver print (Edition of 20) Signed and numbered on label, verso From the series, "Before the Camera" This artwork is offered by ClampArt, located in New York City. Chuck S...

Kate #3, 2002 by Leonard Freed is a 10” x 8” hand printed, signed by the photographer black and white photograph, stamped "vintage" by the Freed estate on verso (back of photograph)....

Detail of Neptune’s Head, Neptune and Triton, Gian Lorenzo Bernini (1598-1680), National Collection of Sculpture, Victoria and Albert Museum © Victoria and Albert Museum, London Pho...

Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...