George Tice (b. 1938)
Petit's Mobil Station, Cherry Hil, New Jersey, 1974
platinum print
20 x 24 in. (50.8 x 61 cm), edition 27 of 30
And 8 x 10 inches
George Tice’s most iconic photograph, Petit’s Mobil Station recalls the magnificent abandon of an Edward Hopper painting and has become emblematic of the quintessential American urban landscape. Tice photographed Petit’s Mobil Station on route to visit his girlfriend at the time. Exiting the New Jersey turnpike around dusk, Tice propped up his camera on the side of the road and set a 2 minute exposure. To preserve the scene’s serene emptiness — one where the flat top sedan is the only sign of human activity— Tice covered the lens every time a new car pulled up to the pump. The platinum and palladium that Tice used to print the photograph evokes the richness of light, giving the station an unexpected gravitas.
George Tice (b. 1938)
Esso Station and Tenement House, Hoboken, NJ, 1972
Platinum palladium print
13 3/4 x 11 in. (34.9 x 27.9 cm)
36 x 28 in. (91.4 x 71.2 cm), ed. 2 of 15
Before there was Exxon, there was Esso. Tice has revealed the unmistakable essence of American post-war design in this photograph: from the aquiline neon sign, to the glistening chrome that frames the 1970s Chevy Impala. The bright, springy neon shimmers before a background of melodramatic sky and architecture. Printed from three negatives in double-coated platinum palladium, Esso Station is a true masterpiece.
George Tice (b. 1938)
Lincoln Motel and Abe's Disco, Newark, New Jersey, 1981
Selenium waxed gelatin silver print
13 1/8 x 10 3/8 in. (33.3 x 26.4 cm)
Lincoln Motel and Abe’s Disco, an unassuming motel sign that George Tice encountered while stepping out of the Newark Museum one evening, inspired the artist to embark on a search across America for Abraham Lincoln and the ways he has been memorialized. Tice’s unusual framing for his Lincoln photographs, such as in Lincoln Motel and Abe’s Disco, celebrate Lincoln as an iconic symbol of emancipation and monumental hope — and also the often humdrum realities of contemporary US life. But Tice does not denigrate the everyday. Rather he sees the prosaic as worthy of memory, and masterfully captures American life as it truly is.
George Tice (b. 1938)
Country Road, Lancaster, Pennsylvania, 1961
Selenium toned gelatin silver print
5 3/16 x 9 3/8 in. (13.2 x 23.8 cm)
George Tice captured Country Road while working on his 1970 series Fields of Peace: A Pennsylvania German Album, which records the relics and everyday practices of the primarily Mennonite and Amish communities near Lancaster, Pennsylvania. Tice was standing on the edge of a field and waiting for a horse and buggy to come by when he shot Country Road. A VW bug passed by instead, but the light at sunset was just right, so he took the photograph. Tice has magnificently printed the light reflecting off the asphalt — but the road, in itself, fascinated the artist. In Fields of Peace, Tice writes: “In Lancaster County change is more resisted, and the roads, though paved, tend to have the old curves, and on their blacktops one sees the anachronism of horse droppings. A road may go under a row of trees, originally planted to protect against the sun or to provide a windbreak, or just for the love of trees and shadow. Then it may come out on a rise or slope from which the great country view opens, the textured fields, fences, pastures broken by a stream where occasional wild duck may linger or a kingfisher may sit watchfully on a wire or tree branch — floods of swallows or chimney swifts skimming the low ground or circling the sky. But the overall, overriding impression is of order: fields, clean white or red buildings (or bursts of unlimited and uninhibited color — purples, yellows, blacks, blues on porch pillars and cornices, but all carefully painted), sheds, barnyards, barnyard walls with rigid coping, even flower beds whose canna lilies, phlox, and zinnias are arranged in geometric designs.”
Alexey Titarenko (b. 1962)
Vasileostrovskaya Metro Station (Variant 2 Crowd 2), St. Petersburg, 1992
From the series City of Shadows (1991-1994)
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned in pencil by the artist on verso
12 x 12 inches, edition of 10
18 x 18 inches, 46 x 45.5 cm, edition 5 of 5
The City of Shadows series was Titarenko’s instinctive response to an atmosphere of deterioration and despair unfolding in St. Petersburg, the years immediately after the fall of the Soviet Union. Through the method of long exposure, Titarenko transformed the swarm of Russian people pushing their way through a metro station, into a ghost-like haze. Reflecting a decade later, Titarenko wrote that “all these people conditioned by propagandistic models of representation, a palpable ensemble of smiling faces, were becoming wandering shadows.”
Alexey Titarenko (b. 1962)
Vasileostrovskaya Metro Station (Variant 3 Crowd 2), Saint Petersburg, 1992
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 inches, edition of 10
Alexey Titarenko (b. 1962)
Domino Factory, New York, 2011
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
10 x 10 inches, edition of 10
Domino Factory, New York, 2011, frames the iconic Domino Sugar Refinery in Williamsburg, Brooklyn, against the backdrop of the Williamsburg Bridge and the skyline of lower Manhattan. Shot less than ten years ago, this image already captures so much that no longer exists — the factory, built in 1856, is currently being redeveloped, and the skyline is now all but remade by the presence of the mammoth tower at One World Trade Center. Titarenko’s masterful palette is on full display here, from the pure but muted highlights in the snow and in the wake of the passing tugboat to the myriad shades of the skyline and clouds. Notable, too, is Titarenko’s command of texture, which allows him to evoke in a visceral way both the coarse, aging brick of the refinery as well as the silvery sheen of the East River.
Alexey Titarenko (b. 1962)
New York Public Library, New York, 2017
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 in. (30.5 x 30.5 cm), edition of 10
16 x 16 in. (40.6 x 40.6 cm), edition of 10
After spending over thirty years photographing the cities of St. Petersburg, Venice, and Havana, in the early 2000s, Titarenko turned his lens toward a very different place: New York City. In all his series, Titarenko crafts each print by hand in his darkroom, producing a rich, subtle range of tones that renders each print unique. The prints from his New York series are notable for his application of partial bleaching and selective sepia, selenium, and gold toning, as well as for the use of the nineteenth-century Sabattier effect, also known as pseudo-solarization. The toning is seen here in the soft warmth of the lampposts on the snow-covered pavilion outside the iconic New York Public Library building. Titarenko’s masterful printmaking also helps to highlight his longtime interest in water and its relationship to the city, bringing out the texture and reflective quality of snow and rain and infusing each image with moisture and light. A print from this edition can be found in the collection of the Museum of the City of New York.
Alexey Titarenko (b. 1962)
Bell Tower, Venice, 2006
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 in. (30.5 x 30.5 cm), edition of 10
16 x 16 in. (40.6 x 40.6 cm), edition of 10
Alexey Titarenko (b. 1962)
Gondolas, Venice, 2001
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
16 x 16 in. (40.6 x 40.6 cm)
Edition of 10
Alexey Titarenko (b. 1962)
Piazzetta San Marco, Venice, 2001
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 in. (30.5 x 30.5 cm), edition of 10
16 x 16 in. (40.6 x 40.6 cm), edition of 10
Lucretia Moroni (b. 1960)
Oak Tree, 2020
Palladium on 22 karat gold leaf
11 1/2 x 11 1/2 inches
5 1/2 x 5 1/2 inches
Signed and dated under the image on recto
Ann Rhoney (b. 1953)
Silk Dress Coming, 1982
Gelatin silver print with applied oil paint
Image: 13 1/8 x 8 7/8 in. (33.3 x 22.5 cm)
Paper: 14 x 11 in. (35.6 x 27. 9 cm)
The catalog for the Metropolitan Museum of Art’s 2012 exhibition Faking It wrote on Silk Dress Coming, “…the silver dress undulates like molten steel, and its carefully positioned streaks of rust and lavender rhyme with those of the admirer’s übermasculine conveyance. The chromatic affinities allowed Rhoney to propose a narrative relationship to which the ‘natural’ color of commercially available film would have been indifferent.”
Ann Rhoney (b. 1953)
Chrysler Gargoyle Overlooking the East River, 1997
Gelatin silver print with applied oil paint
Image size: 5 1/2” x 11”
Paper size: 11”x 14”
The adventurous Rhoney, climbing out the window on the 61st Floor of the iconic Chrysler Building, captured a striking closeup of one of the Gargoyles. A photograph, reminiscent of the one by Margaret Bourke-White, concentrates on the majestic eagle head. Rhoney enhances the glowing of the stainless steel sculpture by applying a subtle range of colors from purple to green.
Ann Rhoney (b. 1953)
Flatiron, New York, 1997
gelatin silver print with applied oil paint
Image: 12 1/2 x 8 1/4 in. (31.8 x 21.0 cm)
Paper: 14 x 11 in. (35.5 x 27.9 cm)
Ann Rhoney (b. 1953)
Raoul's, 1980s
Gelatin silver print with applied oil paint
Image: 7 1/2 x 5 1/4 in. (19.1 x 13.3 cm)
Paper: 10 x 8 in. (25.4 x 20.3 cm)
Ingar Krauss (b. 1965)
Untitled (Black locust blossom), Zechin, 2014
Gelatin silver print with applied oil paint
17 3/8 x 20 1/2 in. (44 x 52 cm)
Edition of 8
"As every gardener wants to put nature in his special order I also try to compose plants and animals in the pictures, transforming their potential and idiosyncrasies in such a way that they seem new and strange and also, as for the first time, completely themselves. Thus every still-life becomes a poetic test field."
Ingar Krauss (b. 1965, Berlin)
Fishhead, Rantum, 2011
Gelatin silver print with applied oil paint
17 3/8 x 20 ½ in. (44 x 52 cm)
Edition 2/8
Krauss carefully arranges his pears, quinces, lilacs, and taxidermied animals in stage-like boxes of his own construction, then shoots the composition under natural light and creates a gelatin-silver print to which he applies a delicate glaze of oil paint. Sometimes he also uses dead birds or other animals that he finds around the garden or which he gets from old men in the neighborhood who were hunting and fishing. Some subjects are positioned in the foreground against a deep, darkening depth of field, echoing the work of the dramatic Baroque Spanish still-life painter Juan Sánchez Cotán (1560-1627).
Pentti Sammallahti (b. 1950)
Helsinki, 2005
Gelatin silver print
Paper: 8 x 10 inches
Pentti Sammallahti (b. 1950)
Lake Numakawa, Japan, 2005
Toned gelatin silver print
Signed and dated in pencil on recto
Image: 9 7/8 x 8 in. (25.1 x 20.3 cm)
Paper: 11 7/8 x 9 1/2 in. (30.2 x 24.1 cm)
Image: 7 7/8 x 6 3/8 in. (20 x 16.2 cm)
Paper: 9 7/8 x 8 in. (25.1 x 20.3 cm)
Pentti Sammallhti (b. 1950)
Ristisaari, Finland (frog in water), 1974
Gelatin silver print
Signed and dated in pencil on recto
Image: 7 7/8 x 6 3/8 in. (20 x 16.2 cm)
Paper: 9 7/8 x 8 in. (25.1 x 20.3 cm)
Pentti Sammallahti (b. 1950)
Varanasi, India, 1999
Gelatin silver print
Signed and dated in pencil on recto
8 1/2 x 6 inches
and 5 13/16 x 4 1/4 inches
Pentti Sammallahti (b. 1950)
Mt. Etjo, Namibia (flamingos), 2005
Gelatin silver print
Signed and dated in pencil on recto
Image 6 x 6 3/4 (15.2 x 17.1 cm)
Paper 8 x 10 in. (20.3 x 25.4 cm)
Pentti Sammallahti (b. 1950)
Pécs, Hungary (two horses), 1979
Gelatin silver print
Image 6 7/8 x 6 7/8 in. (17.5 x 17.5 cm)
Paper 10 x 8 in. (25.4 x 20.3 cm)
Pentti Sammallahti (b. 1950)
Solovki, White Sea, Russia, 1992
Gelatin silver print
Signed and dated in pencil on recto
Image: 6 1/2 x 14 in. (16.5 x 35.6 cm)
Paper: 9 1/2 x 15 7/8 in. (24.1 x 40.3 cm)
Pentti Sammallahti (b. 1950)
Helsinki, Finland (dog stretching), 1982
Gelatin silver print
Signed and dated in pencil on recto
Image: 6 x 6 5/8 in. (15.2 x 16.8 cm)
Paper: 8 x 10 in. (20.3 x 25.4 cm)
Image: 4 3/8 x 5 1/8 in. (11.1 x 13 cm)
Paper: 6 x 8 in. (15.2 x 20.3 cm)
Pentti Sammallahti (b. 1950)
Western Cape, South Africa (bird and dog), 2002
Gelatin silver print
Signed and dated in pencil on recto
Image: 3 5/8 x 5 in. (9.2 x 12.7 cm)
Paper: 4 7/8 x 7 in. (12.4 x 17.8 cm)
Image: 6 1/4 x 8 3/4 in. (15.9 x 22.2 cm)
Paper: 7 7/8 x 9 7/8 in. (20 x 25.1 cm)
Pentti Sammallahti (b. 1950)
Hydra, Greece (dog in window), 1975
Gelatin silver print
Paper 10 x 8 in. (25.4 x 20.3 cm)
