A personal history of photography

A personal history of photography

Collector’s Room Update #3 Anamorfose photo gallery 30 November 2012 – 30 March 2013

Cover illustration: Nasa, Apollo 8, Earthview, colorprint, 1968 Back cover illustration: Bruno Vermeersch, V2/34, Inktjet print on fibre base silk paper (scan from the original bromoil), 2009

Exhibition catalogue “Collector’s room update #3: A personal history of photography” 30 November 2012 – 30 March 2013

AnamorFose.be Nieuwstraat 11 B-8870 Izegem Belgium Phone: + 32 476 49 19 71 xavier@anamorfose.be www.anamorfose.be © 2012 - 2013 Xavier Debeerst

A personal history of photography Photography is malicious and dark

Following two historical Collector’s Room Updates (pictorialism and modernism) the third Update is a unique perspective on photography and its history with images exploring the boundaries of conventional photography.

Photography as a medium explodes and loses its traditional connotations.

Historically accurate but not educational.

A thematic group exhibition with original photographs by: E.E. Barnard (USA), Nikolaï Kossikoff (BE/RU), Isaac Roberts (UK), NASA (USA), Roscosmos (RU), Alan A. Dutton (USA), Anthony Beresford-Cooke (UK), Puiseux & Loewy (FR), Marcel Mariën (BE), Bruno Vermeersch (BE), Germaine Krull (DE), Mount Palomar Observatory (USA), anonymous Chinese and Russian photographers.

“Collector’s Room Update #3: A personal history of Photography” is a playful and fresh exhibition about the dark side of photography. Nothing is what it seems and yet everything is real. The photograph creates the story? Or the spectator thinks to have a story? But is his story the same as the photograph’s story? Or is it his own story? No, it is the hidden story projected by the photograph.

Photography isn’t always straightforward. A picture can be really stubborn, not immediately revealing its story. But a picture does always have a story. Even though this story was not the photographer’s intention. Photography is very patient. Much more patient than the photographer, the subject or the spectator.

Don’t consider a picture as something transparent and straightforward. It can be capricious and sometimes even manipulative.

The exhibition is based on the speech by François Arago in 1839 in the French Senate and the L’Académie des Sciences announcing and predicting the future of photography.

It is definitely not veracious. Although we would love to think so.

In the beginning there was only the light of the stars Not the pictures of celebrities from the catwalk but deep sky objects that are invisible to human eye.

In its early days (around 1839) photography had a hard time breaking through.

Luckily the astronomers were there to give photography a boost.

The astronomers were there when Daguerre’s and Nièpce’s discoveries were announced in the French parliament. François Arago, French member of parliament and astronomer, granted both discoverers their pension but at the same time he stated that the primary mission of photography was to support astronomers in their discoveries.

François Arago was visionary about the possibilities and the impact photography could have on the sciences and especially on astronomy.

He announced the moon photography and the possibility of a photographic moon atlas.

About sixty years later the French astronomers Moritz Loewy and Pierre-Henri Puiseux made the first photographic moon atlas (1894). A fine example of a photo of the moon by Loewy and Puiseux can be seen in the exhibition.

François Arago also spoke about the possibility to take photos of the stars and discover worlds beyond the naked eye.

Under the impulse of Admiral Amédée Mouchez, again a French astronomer, the major observatories worldwide started the ambitious project to photograph all the stars. The idea of the Carte Photographique du Ciel (1911 – 1940) was born.

The Royal Observatory of Belgium was one of these observatories. The project failed but was a milestone in astronomy.

At the same time the American Astro-photographer Edward Emerson Barnard (1857-1923) was working on his “Atlas of Selected Regions of the Milky Way”.

Edward Emerson Barnard was one of the most important pioneers in astrophotography. The Atlas is a very rare and important milestone published in limited edition.

The exhibition shows one of the few still available copies of the “Photographic Atlas of Selected Regions of the Milky Way” (1927) and the Carte Photographique du Ciel from the Royal Observatory of Belgium.

There was a third field of interest that François Arago talked about in his announcement speech: solar photography. At the time there was still a lot to discover about the composition of the Sun.

In the exhibition you can discover photos of solar eclipses and a tribute to the forgotten Australian CSIRO Solar Observatory.

Solar eclipses have always been a photogenic subject. Amateur as well as professionals made lots of photos of eclipses. Photographing a solar eclipse is a challenge to render the solar atmosphere visible.

Both this historical relationship and our personal interest in the subject have resulted in a strong focus in the exhibition on this unique marriage between science and art.

A photograph of something invisible, can only be honest and correct.

The truth of photography The camera obliges the photographer to lie. He has no choice. The photographer is subject to the dictatorship of the viewfinder and the image size.

Only when a photographer realizes this and has come to a modus vivendi with his camera, he can become a good photographer.

In the other case, he is just the ignorant slave of his camera.

For François Arago photography was the answer to all doubts. No place for interpretation. The photograph was the representation of the truth.

But Arago was also aware of the artistic possibilities of this new medium. He knew that there was a lot to discover before photography would be able to be a better observer than the human eye.

Nowadays documentary photography and press photos are a hype.

This is, however, the most misleading form of photography there is. The true, dark side of photography is most explicit in documentary photography. In this case the spectator is most susceptible to the manipulative side of photography.

Photographs can play a vicious game with the spectator’s memory. The memory is being misled.

A press photo of something that happened 40 years ago can be interpreted differently in the present because of a minor detail that had in the heat of the moment escaped the spectator’s attention. Today’s spectator will see an event of 40 years ago in a different perspective and the picture gets a different meaning.

Compare the famous photograph of the astronaut of Apollo 11 Buzz Aldrin on the Moon made by Neil Amstrong in 1969 with the original press photo and the souvenir photo of 1999. Which picture is the original one? Which picture is the memory?

Politicians and regimes are very aware of the power of photography. On the one hand they are scared of the power of photography but on the other hand they use it in the realization of their goals.

Let’s go back to our example of the space exploration photos. Especially the manned space exploration. There are doubts about the scientific value of the Apollo missions. Were they scientific missions or merely a propaganda stunt for the USA? The photos from the Apollo missions are icons and part of the common history.

But they don’t have much scientific value.

The same goes for the Russian manned space fligths. The difference between the NASA and Roscosmos is the marketing department. Roscosmos didn’t publish as much as the NASA. Perhaps the astronauts were better photographers than the cosmonauts?

More explicit are the documentary photos from Russia and China from the Sixties and Seventies. They use the language of the photojournalist but are pure propaganda photos.

Compare the Chinese propaganda photos with the photos made by the English photographer Anthony Beresford-Cooke (1943-1977). In the Sixties Anthony Beresford-Cooke took the Trans Siberian Express to discover Russia and China.

His view of China is very different. Here we meet authentic people in their daily life. We see poverty and the captions talk about the doubts for the future. Again this isn’t an objective image of China. The photographer takes the photos from a Western point of view. He can’t deny his origin.

Germaine Krull (1897-1985) was a very famous photojournalist and political activist. The photos we show in the exhibition are made in Gabon in 1940. At first sight these are great examples of documentary photography. But if you know that these photos were made for the Free French Forces, the French Resistance, you look at them differently.

Two very large photos by the Belgian – Russian photographer Nikolaï Kossikoff (1898-1975) take a central place in the exhibition setup. Two views of a print shop in Paris in the Fifties. Great prints with a lot of ambiance. The size of the prints is very unusual. These rare prints were part of the peculiar shop windows Kossikoff made in his photo shop in the Sint-Pietersnieuwstraat in Ghent. The

people from Ghent knew Kossikoff as a portrait photographer and a photographer of communion pictures. But in fact Kossikoff was a very unique photographer with his own technique and style which had very little to do with the standard work in his photo shop.

Being the photographer of the Ghent port, he was a real innovator. But then again this is an interpretation.

In the exhibition you discover the photos in the original environment of a print shop‌

Liberating expression The pioneers of photography realised very quickly that photography was the ideal means for personal expression. In 1855 Oscar Gustave Rejlander made the first photo montages : combining two different images in 1 photograph. A technique which is easily but mostly also tastelessly applied in digital photography. It was a real relief to see the photo montages by Rejlander. He used the technique to create allegoric photos.

In this same tradition, with a touch of surrealism, we have the photo montages by the American photographer Allen A. Dutton (1922). Allegoric creatures composed with female body parts. The body parts are formed with chirurgical precision.

The Belgian surrealist photographer Marcel MariĂŤn (1920-1993) with his surprising photo montages is a good counterbalance to Allen A. Dutton.

Misleading seduction By way of exception we have invited a contemporary photographer. It is certainly a risk to include a contemporary amateur photographer in the history of photography. The result of their work can be very misleading. Be warned.

Bruno Vermeersch is an exception. He is an extremely talented amateurphotographer with a solid knowledge of the photo history who succeeds in capturing more than 100 years of photo history in one single image.

Shots of trivial, everyday subjects and situations made with a simple digital camera or mobile phone and then processed as a bromoil and digitally enlarged and printed. A noble process going back to the pictorialists.

Bruno Vermeersch doesn’t make a vintage or nostalgic image but he creates a new imagery based on ancient techniques. As such he is one of the few contemporary photographers going beyond the trivial image using ancient printing techniques.

His images are an unreal mix of atmosphere and confrontation. They give a new dimension to the concepts of vintage and vernacular photography.

A. Le Vengeur d’Orsan, Our Satellite: a Selenography According to the Present State of Science 1862, UK Albumen print photo album, First edition, Good 43 x 33,5cm 2.000Euro

Isaac Roberts, Nebula M74 Piscium 09/12/1893, UK Vintage silver print, Good (marks of an older mounting on the cardboard, the photo is in excellent condition) 20.2 X 15 cm 650Euro

Puiseux & Loewy, Plate XII;, Corne Australe, VallĂŠe de Rheita - Petravius 07/03/1897, France Heliogravure, Excellent 57,5 (70) X 47 (56) cm 1.900Euro

Royal Observatory of Belgium, Carte Photographique du Ciel 1911 - 1940, Belgium Photogravure, Excellent 39 X 38,5 cm 3.000Euro

E. E. Barnard, A Photographic Atlas of Selected Regions of The Milky Way (first edition) 1927, United States Vintage silver print, Excellent 25,2 X 27,5 cm 7.000 Euro

CSIRO Solar Observatory, Large chromospheric flare 09/06/1968, Australia Vintage silver print, Very Good 24,2 X 19,1 cm 650Euro

Kitt Peak Observatory, Tifid Nebula photo taken with the Mayall Telescope +/- 1975, United States Colorprint, Excellent 25,2 X 20 cm 350Euro

NASA, Apollo 11, Astronaut Edwin Aldrin.

(69-H-1255) 1969, United States Vintage silver print, Excellent 24,1 X 19,2 cm 1.500Euro

Roscosmos, Salyut – Soyuz – Progress 1986, Russia Color print (photo album), Excellent 29 X 27 cm 2.000Euro

Unknown photographer, Inside a steelfoundry +/- 1975, Russia Color print, Good 41 X 30 cm 650Euro

Unknown photographer, Chinese girls cleaning the windshield of a bus +/-1975, China Vintage silver print, Very Good 23,7 X 30,3 cm 450Euro

Anthony Beresford-Cooke, Destitute Chinese construct shelters out of many available materials +/- 1967, China Vintage silver print, Very Good 28,5 X 20 cm 850Euro

Germaine Krull, Gabon. Jeune femme Banzabi 1942, France Vintage silver print, Very Good 16,5 X 11 cm 600Euro

Nikolai Kossikoff, Interior of a print shop (very large print) +/- 1950, Belgium Vintage silver print, Very Good 78 X 118 cm 3.200Euro

Allen A. Dutton, Surrealist photomontage #4 1970, United States Vintage silver print, Very Good 22,7 X 17,7 cm 450Euro

Bruno Vermeersch, VZ/34 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 59,5 X 44,5 cm 2.000Euro

Catalogue

Marie-Auguste Morel François Arago, Les contemporains, (id 2426,0) +/- 1894, France Bookprint, Very Good 25.5 X 18 cm 75,0 Euro "La publication des Contemporains - disait en saluant les débuts de cette oeuvre M. l'abbé Simonis, ancien député alsacien au Reischtag allemand - nous présente les hommes en un court résumé de leur vie et de leur action. Elle nous donne leur portrait physique et leur portrait moral. Elle nous fait connaitre le personnage, comprendre les événements, aimer passionnément le bien, hair ardemment le mal. Avant peu, nous aurons là une galerie incomparable. Ce sera un musée vivant et parlant".

A. Le Vengeur D'Orsan Our Satellite: a Selenography According to the Present State of Science, (id 5082,0) 1862, UK Albumen print, Good 43 X 33,5 cm 2000,0 Euro Rare and unique complete copy with the stamp of the British Astronomical Association.

Nothing is known of the author, but he had grand plans for his part-work, which he intended to issue in quarterly parts for three years. After the first part appeared, D'Orsan was shown to have pirated images taken by De La Rue, and the publisher Bennett suspended publication (The Photographic News, February 27, 1863, p 107).

Part 1 only (all published). Folio (430 x 335 mm). viii, 9-38 pp. Illustrated with 9 mounted albumen prints (the largest 220 x 180 mm and on lithographed background, but mostly much smaller), one lithographed plate. Unbound (as issued?), ornate printed upper board, prospectus loosely inserted. Dust-soiling, very heavy at ends, a few edge tears and creases.

James Nasmyth and James Carpenter Full Moon, exhibiting the bright streaks radiating from Tycho, (id 2331,0) 1871, UK Woodbury type, Excellent 13 X 10 cm 250,0 Euro Plate number XIX from “The Moon: Considered as a Planet, a World, and a Satellite” Having made his fortune as an industrialist and inventor with his Bridgewater Foundry in Manchester, the mechanical engineer James Nasmyth was able to retire in his late forties, in 1856, in order to devote himself to his longstanding passion for astronomy. His main astronomical project, from 1842, had been a sustained series of lunar observations, culminating in this publication.

Among the reasons Nasmyth's book is noteworthy is that it was one of the first books to be illustrated by photomechanical prints. This new technique allowed photographs to be published through standard industrial print processes using permanent carbon-based inks, and represented a significant improvement upon the more laborious and fugitive silver-chemistry darkroom processes used in the

James Nasmyth and James Carpenter Picture map of the moon Plate V, (id 2388,0) 1871, UK Woodbury type, Excellent 11.4 X 11.4 cm 250,0 Euro Plate number V from “The Moon: Considered as a Planet, a World, and a Satellite” Plate number V from “The Moon: Considered as a Planet, a World, and a Satellite”

James Nasmyth Plato, (id 3940,0) 1885, UK Woodbury type, Excellent 12,8 X 14,6 cm 300,0 Euro Photo of a plaster model of the Moon crater Plato and the Alpes.

Page from “The Moon: considered as a Planet, a World an a Satellite, 1885”.

James Nasmyth Portion of the Moons surface, (id 3941,0) 1885, UK Woodbury type, Excellent 12,7 X 9,2 cm 300,0 Euro Two Woodburry Types mounted together on one page.

Photos of plaster models of the Moon.

Page form “The Moon: considered as a Planet, a World an a Satelite, 1885”.

Henry Brothers (Attr.)

Moon 1876, (id 5108,0) 1/07/1876, France Albumen print, Poor (faded and the left upper corner is damaged) 17.8 X 12.8 cm 750,0 Euro Early large print of the moon. Unfortunately there is a small crease at the left upper corner. This photo is a historically important print.

Under the photo there is a small handwritten caption (see photo) mentioning Lerebours.

The Lerebours were a family of optical instrument makers working in Paris, France. Noël Jean Lerebours (1762-1840) originated the business in the 1780s and began making optical and scientific instruments of exceptional quality. His son Noël Marie Paymal Lerebours (1807-1873) took over the business in 1840; in 1845 the firm became Lerebours et Secretan.

Isaac Roberts Nebula M74 Piscium, (id 2318,0) 09/12/1893, UK Vintage silver print, Good (marks of an older mounting on the cardboard, the photo is in excellent condition) 20.2 X 15 cm 650,0 Euro Sir Isaac Roberts (1829 - 1904) was one of the leading amateur astronomers of 19th century England.

He was also one of the pioneers of astrophotography.

It is uncertain whether this is an original image or a later reprint.

Puiseux & Loewy Plate XII;, Corne Australe, Vallée de Rheita - Petravius, (id 5106,0) 07/03/1897, France Heliogravure, Excellent 57,5 (70) X 47 (56) cm 1900,0 Euro Plate XII from "L'Atlas photographique de la Lune" published by the Observatoire de Paris.

This atlas is one of the first photographic moon atlases made.

Loewy and Puiseux worked 14 years at this atlas between 1896 and 1910. After the death of Moritz Loewy Charles Morvan finished the atlas.

Puiseux & Loewy Albategnius – Hipparque – Hyginus, (id 3778,0) 1894, France Photogravure, Very Good 57,5 X 48 cm 1900,0 Euro

E.E. Barnard Nubela in Ophiuchus, (id 2305,0) +/-1895 (later print), United States Vintage silver print, Very Good 8 X 8.5 cm 150,0 Euro Edward Emerson Barnard (1857 - 1923) is one of the most important astronomers of the twentieth century. He was one of the first astronomers to use photography as the observing aid.

He discovered a lot of deep sky objects. The nebula photographed is IC 4603 surrounding the star Rho Ophiuchus.

Barnard worked at the Yerkes Observatory.

Mount Wilson Observatory M33, Triangulum Spiral Nebula, (id 4747,0) 05/08/1910, United States Vintage silver print, Excellent 23 X 17,6 cm 750,0 Euro

Max Wolf Starfield (negative print) #2, (id 2320,0) +/- 1910, Germany Vintage silver print, Excellent 17 X 12 cm 250,0 Euro Max Wolf (1863 - 1932) earned his Ph.D. at the University of Heidelberg, studied in Stockholm for two years, and then returned to spend the rest of his life at Heidelberg, where he founded and directed the Kรถnigstuhl Observatory and served as professor of astrophysics. He used wide-field photography to study the Milky Way and used statistical treatment of star counts to prove the existence of clouds of dark matter. He was among the first astronomers to show that the spiral nebulae have absorption spectra typical of stars and thus differ from gaseous nebulae. He discovered hundreds of asteroids, the first of which he named Brucia in honor of the donor of his 16-inch double telescope, Catherine Wolfe Bruce. He discovered the first Trojan asteroid, Achilles, as well as thousands of nebulae and galaxies. A co-developer of the stereocomparator, Wolf also suggested the idea of the modern planetarium while advising on the new Deutsches Museum in Munich.

Royal Observatory of Belgium Carte Photographique du Ciel, (id 4938,0) 1911 - 1940, Belgium Photogravure, Excellent 39 X 38,5 cm 3000,0 Euro Unique set of 550 photogravures from the legendary Carte Photographique Du Ciel made by the Royal Observatory of Belgium.

Only 50 copies of this atlas were printed.

The Carte Photographique Du Ciel was a huge photographic project to map the complete sky undertaken by 25 observatories world wide.

Unfortunately the project was never completed.

Mount Wilson Observatory Star Cluster M22 Sagitarii, Exposure 3 1/2 hours, (id 4287,0) 6/8/1918, United States Vintage silver print, Excellent 17 X 16,7 cm 550,0 Euro

Mount Wilson Observatory Irregular Nebula M 17 Sagittarii (Omega), (id 3776,0) 28/07/1919, United States Vintage silver print, Excellent 19 X 20,2 cm 340,0 Euro

Unknown photographer Eclipse of the sun (2 snapshots), (id 5086,0) 19/04/1921, UK Vintage silver print, Very Good 10,7 X 8,2 cm 850,0 Euro

Mount Wilson Observatory Irregular Nebula M 20 Sagittarii (Trifid), (id 3777,0) 1921, United States Vintage silver print, Excellent 25 X 20 cm 550,0 Euro

Unknown photographer Solar Eclipse, (id 2820,0) 1925, United States Vintage silver print, Excellent 40 X 29 cm 750,0 Euro

E. E. Barnard A Photographic Atlas of Selected Regions of The Milky Way (first edition), (id 4940,0) 1927, United States Vintage silver print, Excellent 25,2 X 27,5 cm 7000,0 Euro Edward Emerson Barnard’s A Photographic Atlas of Selected Regions of the MilkyWay was originally published in two volumes in 1927. Together, these volumes contained a wealth of information, including photographic plates of the most interesting portions of the Milky Way, descriptive text, charts, and data. Only 700 copies were printed, making the original edition a collector’s item.

Two volumes first edition with 52 original photos.

Mount Wilson Observatory Rapid evolution of a solar prominence, (id 5060,0) 18/6/1929 (later print), United States Vintage silver print, Excellent 20,8 X 16 cm 250,0 Euro

Mount Wilson Observatory The 100-foot Dome from 150-foot Tower, (id 5076,0) +/- 1930, United States Vintage silver print, Excellent 18,1 X 23,5 cm 150,0 Euro

Lick Observatory Pluto showing motion in 1day - Crossley reflector, (id 1868,0) 1934 (printed in 1970), United States Vintage silver print mock up, Good (edge wear,a few surface scratch indents on left side ) 30 X 40 cm 250,0 Euro Pluto photo mock up (cut and pasted photo on to heavy block card stock) form NASA JPL (Jet Propulsion Laboratory)

Kitt Peak Observatory Trifid Nebula photo taken with the 2m telescope, (id 5062,0) +/- 1950, United States Vintage silver print, Very Good 18,1 X 10,5 cm 350,0 Euro This photo was published by Larousse, France.

Ealing School of Art Solar Eclipse of 1954, (id 5107,0) 30/06/1954, UK Vintage silver print, Good 23,8 X 18,9 cm 550,0 Euro 2 vintage gelatin silver prints mounted together on a carboard.

Each photo measures 23,8 X 18,9cm.

Mount Palomar Mount Palomar Sky Survey #2, (id 1784,0) 1954, United States Vintage silver print (negative print), Excellent 22.5 X 22.2 cm 200,0 Euro

Mount Palomar Mount Palomar Sky Survey #3, (id 1785,0) 1954, United States Vintage silver print (negative print), Excellent 22.5 X 22.2 cm 200,0 Euro

Mount Palomar Mount Palomar Sky Survey #5, (id 1787,0) 1954, United States Vintage silver print (negative print), Excellent 22.5 X 22.2 cm 200,0 Euro

Mount Palomar Observatory Palomar Observatory Sky Survey #7, (id 4930,0) 1954, United States Vintage silver print (negative print), Excellent 22,5 (30,2) X 22,2 (24) cm 200,0 Euro

Mount Palomar Observatory Palomar Observatory Sky Survey #8, (id 4931,0) 1954, United States Vintage silver print (negative print), Excellent 22,5 (30,2) X 22,2 (24) cm 200,0 Euro

Mount Palomar Observatory Palomar Observatory Sky Survey #9, (id 4932,0) 1954, United States Vintage silver print (negative print), Excellent 22,5 (30,2) X 22,2 (24) cm 200,0 Euro

Mount Palomar Observatory Palomar Observatory Sky Survey #10, (id 4933,0) 1954, United States Vintage silver print (negative print), Excellent 22,5 (30,2) X 22,2 (24) cm 200,0 Euro

Mount Palomar Observatory Palomar Observatory Sky Survey #11, (id 4934,0) 1954, United States Vintage silver print (negative print), Excellent 22,5 (30,2) X 22,2 (24) cm 200,0 Euro

Lick Observatory 3 meter telescope mirror aluminized, (id 5077,0) +/- 1960, United States Vintage silver print, Excellent 24 X 19,2 cm 120,0 Euro

CSIRO Solar Observatory Culgoora Solar Observatory, (id 5014,0) 01/12/1965, Australia Vintage silver print, Very Good 18,9 X 24,3 cm 750,0 Euro

CSIRO Solar Observatory Small Prominences, (id 5001,0) 01/06/1967, Australia Vintage silver print, Very Good 19,1 X 24,1 cm 650,0 Euro Caption: “Small prominences seen at the edge of the Sun. Note how their lower portions are obscured by the chromospheric layers, here seen side-on.�

CSIRO Solar Observatory Sunspot in the light of Hydrogen Alpha, (id 5026,0) 24/03/1967, Australia Vintage silver print, Very Good 18,9 X 24,5 cm 650,0 Euro

CSIRO Solar Observatory Large chromospheric flare, (id 5027,0) 09/06/1968, Australia Vintage silver print, Very Good 24,2 X 19,1 cm 650,0 Euro Caption: “Large chromospheric flare partially covering an associated sunspot.”

CSIRO Solar Observatory Solar disc #1, (id 5013,0) 28/08/1968, Australia Vintage silver print, Very Good 19,2 X 23,2 cm 650,0 Euro

CSIRO Solar Observatory Magnetogram of the Sun using the Ramsay Filter, (id 4541,0) 24/10/1969, Australia Vintage silver print, Excellent 11,7 X 15,9 cm 550,0 Euro Very rare experiment.

A magnetogram is not a "picture" of the Sun which you might see with your eyes. Rather, it's an image taken by an instrument which can detect the strength and location of the magnetic fields on the Sun. In a magnetogram, grey areas indicate that there is no magnetic field, while black and white areas indicate regions where there is a strong magnetic field. (Any colors could have been chosen; the grey-black-white is just a common convention, or choice.)

The above magnetogram shows the surface distribution and polarity of the Sun's magnetic fields and sunspots at a very active time during its sunspot cycle. When the Sun is very active. The number of sunspots is at a maximum, and solar magnetism is dominated by large biopolar sunspots within two parallel bands oriented in the east-west direction.

CSIRO Solar Observatory Solar prominence, (id 5000,0) 20/11/1970, Australia Vintage silver print, Very Good 8,2 X 8,9 cm 450,0 Euro

CSIRO Solar Observatory Large sunspot, (id 5029,0) +/-1970, Australia Vintage silver print, Very Good 19 X 24,3 cm 650,0 Euro Caption: “Large sunspot photographed in the wing of hydrogen alpha line. This shows the sunspot as it appears at the chromospheric as opposed to the photospheric level.�

CSIRO Solar Observatory CSIRO Solar Observatory (8 colour photos), (id 5033,0) +/-1970, Australia Colorprint, Very Good 19,2 X 24 cm 950,0 Euro

CSIRO Solar Observatory Chromospheric flare, (id 5031,0) +/-1970, Australia Vintage silver print, Very Good 19 X 24,2 cm 650,0 Euro Caption: “Chromospheric flare photographed in hydrogen light. The bright flare filaments pass between sunspots of opposite magnetic polarity”

High Altitude Observatory The total Solar Eclipse of 30 June 1973, (id 4542,0) 30/06/1973, United States Vintage silver print, Excellent 16,8 X 24 cm 650,0 Euro

CSIRO Solar Observatory Solar granulation, (id 5016,0) 18/08/1975, Australia Vintage silver print, Very Good 19 X 24,3 cm 650,0 Euro Caption: “Solar granulation photographed with the 30-cm telescope of the CSIRO Solar Observatory, Culgoora, N.S.W. Each granule represents the top of a rising column of hot gas.”

CSIRO Solar Observatory Whole-disk photograph of the sun, (id 5018,0) 05/1975, Australia Vintage silver print, Very Good 19,6 X 19,6 cm 650,0 Euro Caption: “Whole-disk photograph of the sun, taken in hydrogen light with the flare patrol telescope of the CSIRO Solar Observatory”

Kitt Peak Observatory Tifid Nebula photo taken with the Mayall Telescope, (id 5064,0) +/- 1975, United States Colorprint, Excellent 25,2 X 20 cm 350,0 Euro This photo was published by Larousse, France.

Photo taken by William Schoening.

CSIRO Solar Observatory 30cm solar telescope (5 polaroids), (id 5012,0) 1984, Australia Polaroid, Very Good 10,8 X 9 cm 250,0 Euro

CSIRO Solar Observatory Example of H-alfa observation of the sun, (id 4539,0) 1986, Australia Vintage silver print, Excellent 20 X 25 cm 450,0 Euro

European Southern Observatory Last Plate before the Supernova Explosion in LMC, (id 5083,0) 23/02/1987, Chili Colorprint, Excellent 20 X 25,2 cm 450,0 Euro Published in “L’Univers et la Terre”, page 75.

NASA Gemini 7, Rendez-vous, (id 2797,0) 15/12/1965, United States c-print, Excellent 26.6 X 20.5 cm 900,0 Euro Stamp of the McDonnell Aircraft Corporation on the back of the photo

NASA Lunar Orbiter I, Worlds first photo of an earth rise (66-H -1325), (id 5068,0) 20/12/1966, United States Vintage silver print, Excellent 24 X 19,4 cm 750,0 Euro

NASA Apollo 8, earthview (AS08-16-2593), (id 5057,0) 1968, United States Colorprint, Good 36,8 X 28,8 cm 350,0 Euro A striking view from the Apollo 8 spacecraft showing nearly the entire Western Hemisphere, from the mouth of the St. Lawrence River, including nearby Newfoundland, extending to Tierra del Fuego at the southern tip of South America.

Central America is clearly outlined. Nearly all of South America is covered by clouds, except the high Andes Mountain chain along the west coast. A small portion of the bulge of west Africa shows along the sunset terminator.

Some marks on the photo surface.

NASA Apollo 11 crew (69-H-730), (id 1855,0) 05/1969, United States Vintage silver print, Excellent 19,5 X 24,3 cm 250,0 Euro

NASA Apollo 11, Astronaut Edwin Aldrin. (69-H-1255), (id 5067,0) 1969, United States Vintage silver print, Excellent 24,1 X 19,2 cm 1500,0 Euro Set of 3 photos showing the evolution of this iconic photo throughout time.

NASA (Niel Armstrong) Apollo 11, Edwin E. Aldrin poses for a photograph (69-HC -1253), (id 5074,0) 1969, United States Vintage silver print, Excellent 24 X 19,1 cm 950,0 Euro Two versions of this photo showing the evolution of this photo in time.

NASA Apollo 11, One small step, (id 5099,0) 20/07/1969 (printed 07/1998), United States Copyproof, Good 21,4 X 25,5 cm 75,0 Euro Press print to celebrate the 20th anniversary of the first man on the moon.

NASA Apollo 11, Neil Armstrong playing the ukelele, (id 2767,0) 24/07/1969, United States Vintage silver print, Excellent 16.4 X 23.6 cm 150,0 Euro NASA number 69-H-1218

NASA Apollo 15, Astronaut Irwin uses scoop. (71-H-1422), (id 5059,0) 1971, United States Vintage silver print, Excellent 19,1 X 19,4 cm 300,0 Euro

Unknown photographer Apollo 11, television photos of the astronauts on the Moon., (id 5084,0) 13/08/1969, United States Vintage silver print, Poor 25 X 15,6 cm 100,0 Euro

NASA Apollo 15, Astronaut Irwin saluting beside the flag. (71-H -1414), (id 5091,0) 1971, United States Vintage silver print, Excellent 19,4 X 20,1 cm 300,0 Euro

NASA Apollo 15, TV picture, (id 2781,0) 01/08/1971, United States Vintage silver print, Excellent 19.5 X 24.5 cm 250,0 Euro NASA number 71-H-1390

NASA Apollo 16, Astronaut Thomas Mattingly performs EVA during Apollo 16 transEarth coast., (id 2777,0) 25/04/1972, United States c-print, Excellent 17.6 X 24 cm 350,0 Euro NASA number S-72-37001

NASA Apollo 17, orange soil, (id 2770,0) 12/12/1972, United States c-print, Very Good 18.1 X 17.9 cm 150,0 Euro NASA number AS-17-137-20989 The image is in perfect condition. In the border there are 3 perforations who don’t affect the image.

NASA Mariner 10, The first picture taken with the tv-camera shows Earth with the terminator. (73-H-1072), (id 5065,0) 3/11/1973, United States Vintage silver print, Excellent 24,6 X 19,5 cm 450,0 Euro

NASA Skylab II, The orbiting workshop looks like a large insect., (id 5105,0) 28/07/1973, United States Vintage silver print (Press photo), Good 16,5 X 13 cm 100,0 Euro

NASA Apollo - Soyuz, Coming in for linkup, (id 5104,0) 17/07/1975, United States Vintage silver print (Press photo), Excellent 16,6 X 13 cm 200,0 Euro

NASA Mariner 10, A look-back at Mercurt, (id 5100,0) 05/04/1974, United States Vintage silver print (Press photo), Excellent 19 X 14 cm 100,0 Euro

NASA Landsat 2, greater Washington, DC area (4 photos), (id 5080,0) 30/06/1978, United States Vintage silver print, Excellent 38 (51) X 38 (41) cm 2000,0 Euro The four large photos merged together give an overview of the greater Washington, DC area.

Unique document.

Roscosmos Salyut – Soyuz – Progress, (id 4945,0) 1986, Russia Colorprint, Excellent 29 X 27 cm 2000,0 Euro The Mir-to-Salyut-7-and-back flyacross by Soyuz T-15 After the emergency medical evacuation of Salyut-7 in November 1985 there was unfinished business aboard that space station. However, there was political pressure to launch the new Mir space station (Mir was launched on 19 February 1986 at 2128:23 UT) and put cosmonauts on it promptly. To reconcile these two conflicting demands, Soviet space planners pulled off a really magnificent space operation: sending a crew first to Mir, then setting off for Salyut-7, staying there for 50 days and completing the military experiments with the TKS-M (a.k.a. Kosmos-1686) and then flying back to Mir. Album with 17 photos of this unique space adventure

Roscosmos Soyuz 22, (id 4946,0) 1976, Russia Colorprint, Excellent 29 X 27 cm 2000,0 Euro Documentation of Soviet manned spaceflight Soyuz 22, 1976 signed by cosmomauts on frontisValery Bykousky and Vladimir Aksyonov.

The above spent a week in orbit pioneering photography of earth with a specially built camera.

10 vintage colour prints

Roscosmos Image of Halley’s Comet taken by the soviet Vega probe, (id 5095,0) 03/1986, Russia Vintage silver print, Very Good 30 X 39,6 cm 450,0 Euro

Roscosmos Salyut 7: Kieim, Soloviev and Atkov ready for take off, (id 5096,0) 1984, Russia Vintage silver print, Very Good 30,2 X 40 cm 450,0 Euro

Roscosmos Russian cosmonauts after the landing, (id 5097,0) +/- 1985, Russia Vintage silver print, Very Good 30,2 X 39 cm 550,0 Euro

Roscosmos Russian cosmonauts before the take off, (id 5098,0) +/- 1985, Russia Vintage silver print, Very Good 39,4 X 30,4 cm 350,0 Euro

Roscosmos Soyuz 19, First Soviet-American meet in space., (id 5101,0) 17/07/1975, Russia Vintage silver print (Press photo), Excellent 12 X 16 cm 250,0 Euro

Roscosmos Soyuz 16, Soviet spaceship crew in training, (id 5102,0) 02/12/1974, Russia Vintage silver print (Press photo), Excellent 13 X 19 cm 250,0 Euro Cosmonauts N. Rukvishnikov (left) and A. Filipchenko.

Roscosmos Soyuz, Muscovites watch televised program from Baikonur., (id 5103,0) 15/07/1975, Russia Vintage silver print (Press photo), Excellent 12,3 X 18,8 cm 250,0 Euro Cosmonaut Alexei Leonov.

Unknown photographer Manifestation on the Red Square, Moscow, (id 5058,0) +/-1975, Russia Colorprint, Good 30 X 39 cm 350,0 Euro Some corner wear and light surface damage

Unknown photographer Peace manifestation in Russia, (id 5063,0) +/- 1975, Russia Vintage silver print, Very Good 29,5 X 39,8 cm 250,0 Euro

Unknown photographer Inside a steel-foundry, (id 5071,0) +/- 1975, Russia Colorprint, Good 41 X 30 cm 650,0 Euro

Unknown photographer Industrial harvest, (id 5078,0) +/- 1975, Russia Colorprint, Good 30 X 39,7 cm 350,0 Euro Some minor corner wear

Unknown photographer Industrial harvest, (id 5079,0) +/- 1975, Russia Colorprint, Good 30 X 40 cm 350,0 Euro

Unknown photographer Happy factory workers, (id 5085,0) +/- 1975, Russia Vintage silver print, Very Good 28 X 39,8 cm 250,0 Euro

Unknown photographer Kamaz Truck factory in Naberezhnye Chelny, (id 5092,0) +/- 1975, Russia Vintage silver print, Very Good 30,3 X 39,8 cm 250,0 Euro

Unknown photographer Large 6 meter telescope made by Lomo Optics, (id 5094,0) 1976, Russia Vintage silver print, Good 28,2 X 39,5 cm 100,0 Euro Minor corner wear.

Unknown photographer Chinese Communist Party Congress with portraits of Mao and Zhou Enlai, (id 5061,0) +/- 1975, China Vintage silver print, Very Good 20,2 X 28,6 cm 250,0 Euro

Unknown photographer Chinese workers meeting #2, (id 5066,0) +/- 1975, China Vintage silver print, Very Good 21 X 31 cm 250,0 Euro

Unknown photographer Chinese workers meeting #1, (id 5070,0) +/- 1975, China Vintage silver print, Poor 21,2 X 31 cm 100,0 Euro

Unknown photographer Chinese girls cleaning the windshield of a bus, (id 5081,0) +/-1975, China Vintage silver print, Very Good 23,7 X 30,3 cm 450,0 Euro

Unknown photographer Manifestation of Chinese workers 2, (id 5088,0) +/- 1975, China Vintage silver print, Very Good 18,6 X 30,8 cm 250,0 Euro

Unknown photographer Chinese girls inside a bus, (id 5089,0) +/- 1975, China Vintage silver print, Very Good 25 X 31 cm 250,0 Euro

Unknown photographer Manifestation of Chinese workers, (id 5090,0) +/- 1975, China Vintage silver print, Good 30,3 X 22,2 cm 250,0 Euro

Unknown photographer Chinese workers inside a factory, (id 5093,0) +/- 1975, China Vintage silver print, Very Good 23 X 30,5 cm 250,0 Euro

Anthony Beresford-Cooke Children move to the Chinese mainland, (id 4957,0) +/- 1967, China Vintage silver print, Very Good 19 X 26,9 cm 850,0 Euro

Anthony Beresford-Cooke Grandmother takes care of her two grandchildren, (id 4964,0) +/- 1967, China Vintage silver print, Very Good 26,8 X 18,6 cm 850,0 Euro

Anthony Beresford-Cooke The older and younger generation, (id 4972,0) +/- 1967, China Vintage silver print, Very Good 28,5 X 20 cm 850,0 Euro

Anthony Beresford-Cooke Children steal baby crows, (id 4975,0) +/- 1967, China Vintage silver print, Very Good 27,7 X 20 cm 850,0 Euro

Anthony Beresford-Cooke Sans -pans and junks, (id 4978,0) +/- 1967, China Vintage silver print, Very Good 18,5 X 27,7 cm 850,0 Euro

Anthony Beresford-Cooke Some of the older children look after their baby brothers, (id 4980,0) +/- 1967, China Vintage silver print, Very Good 27,4 X 20,2 cm 850,0 Euro

Anthony Beresford-Cooke Fatalistic attitude of the Chinese towards the future of Hong Kong, (id 4981,0) +/- 1967, China Vintage silver print, Very Good 28,5 X 20 cm 850,0 Euro

Anthony Beresford-Cooke A typical squatter area, Shanty settlement, (id 4989,0) +/- 1967, China Vintage silver print, Very Good 28,7 X 20,1 cm 850,0 Euro

Anthony Beresford-Cooke Destitute Chinese construct shelters out of many available materials, (id 4993,0) +/- 1967, China Vintage silver print, Very Good 28,5 X 20 cm 850,0 Euro

Anthony Beresford-Cooke Water taps for the squatters, (id 4994,0) +/- 1967, China Vintage silver print, Very Good 28,4 X 19,7 cm 850,0 Euro

Anthony Beresford-Cooke Night life in Japan 1, (id 4958,0) +/- 1967, Japan Vintage silver print, Very Good 17,9 X 20,3 cm 650,0 Euro

Anthony Beresford-Cooke In his Japanese friends room, (id 4959,0) +/- 1967, Japan Vintage silver print, Very Good 20,1 X 21,9 cm 500,0 Euro

Anthony Beresford-Cooke Streetscene in Japan 1, (id 4960,0) +/- 1967, Japan Vintage silver print, Good 14,9 X 25 cm 500,0 Euro Some surface dammage

Anthony Beresford-Cooke Shrine visit, (id 4961,0) +/- 1967, Japan Vintage silver print, Good 17,1 X 16 cm 500,0 Euro Emulsion dammage left upper corner.

Anthony Beresford-Cooke At home in Japan, (id 4962,0) +/- 1967, Japan Vintage silver print, Good 20,8 X 19,8 cm 500,0 Euro some surface dammage

Anthony Beresford-Cooke Street scenes with restaurants, (id 4963,0) +/- 1967, Japan Vintage silver print, Very Good 22,2 X 20,1 cm 650,0 Euro Handwritten printing instructions on the back

Anthony Beresford-Cooke Great deal of attention is given to whitening the neck, (id 4965,0) +/- 1967, Japan Vintage silver print, Very Good 28,3 X 19,6 cm 900,0 Euro

Anthony Beresford-Cooke Entrance to department store, (id 4966,0) +/- 1967, Japan Vintage silver print, Very Good 29,3 X 20,3 cm 650,0 Euro

Anthony Beresford-Cooke A girl prepares newly caught fish for breakfast, (id 4967,0) +/- 1967, Japan Vintage silver print, Very Good 19,4 X 27,2 cm 850,0 Euro

Anthony Beresford-Cooke Paying respects at a grave, (id 4968,0) +/- 1967, Japan Vintage silver print, Very Good 24,1 X 17,2 cm 650,0 Euro

Anthony Beresford-Cooke Streetscene in Japan , (id 4969,0) +/- 1967, Japan Vintage silver print, Very Good 19,5 X 19,3 cm 650,0 Euro

Anthony Beresford-Cooke Common Room, (id 4970,0) +/- 1967, Japan Vintage silver print, Very Good 20,1 X 21,6 cm 500,0 Euro

Anthony Beresford-Cooke Preparing dinner, (id 4971,0) +/- 1967, Japan Vintage silver print, Good 20,5 X 20,3 cm 650,0 Euro Surface dammage.

Anthony Beresford-Cooke Tony’s friends house, (id 4973,0) +/- 1967, Japan Vintage silver print, Very Good 23,5 X 19,7 cm 650,0 Euro

Anthony Beresford-Cooke Night scene in Japan 3, (id 4974,0) +/- 1967, Japan Vintage silver print, Very Good 17,8 X 26,5 cm 650,0 Euro

Anthony Beresford-Cooke Casting written oracles (omikuji) at a shrine, (id 4976,0) +/- 1967, Japan Vintage silver print, Very Good 23,2 X 18,3 cm 650,0 Euro

Anthony Beresford-Cooke At home in Japan 2, (id 4977,0) +/- 1967, Japan Vintage silver print, Good 20,8 X 19,9 cm 500,0 Euro Some corner wear in right under corner.

Anthony Beresford-Cooke Winter/ New Year shrine visit, (id 4979,0) +/- 1967, Japan Vintage silver print, Very Good 15,2 X 20,7 cm 650,0 Euro

Anthony Beresford-Cooke University Students, (id 4982,0) +/- 1967, Japan Vintage silver print, Very Good 20,3 X 21,3 cm 650,0 Euro

Anthony Beresford-Cooke Japanese students, (id 4983,0) +/- 1967, Japan Vintage silver print, Very Good 21,2 X 20,3 cm 650,0 Euro

Anthony Beresford-Cooke During one of the national holidays, (id 4984,0) +/- 1967, Japan Vintage silver print, Very Good 27,7 X 20,4 cm 850,0 Euro

Anthony Beresford-Cooke Streetscene in Japan, (id 4985,0) +/- 1967, Japan Vintage silver print, Very Good 13,9 X 20,5 cm 650,0 Euro

Anthony Beresford-Cooke Young women in kimono being photographed during a shrine visit, (id 4986,0) +/- 1967, Japan Vintage silver print, Very Good 24,3 X 19,6 cm 650,0 Euro

Anthony Beresford-Cooke The children prepare and serve lunch to the younger ones, (id 4987,0) +/- 1967, Japan Vintage silver print, Very Good 18,3 X 27,4 cm 850,0 Euro

Anthony Beresford-Cooke Night life in Japan 2, (id 4988,0) +/- 1967, Japan Vintage silver print, Very Good 26,4 X 16,7 cm 650,0 Euro

Anthony Beresford-Cooke Family life in Japan, (id 4990,0) +/- 1967, Japan Vintage silver print, Very Good 26,7 X 18,9 cm 650,0 Euro

Anthony Beresford-Cooke Streetscene in Japan 9, (id 4991,0) +/- 1967, Japan Vintage silver print, Good 24,5 X 20,2 cm 500,0 Euro Surface dammage in the right under corner.

Anthony Beresford-Cooke New Year shrine visit, (id 4992,0) +/- 1967, Japan Vintage silver print, Very Good 18,5 X 25,3 cm 650,0 Euro

Anthony Beresford-Cooke Living on the streets of Japan, (id 4995,0) +/- 1967, Japan Vintage silver print, Good 15,5 X 18,1 cm 650,0 Euro Corner wear left under corner.

Anthony Beresford-Cooke Official portrait of Lenin , (id 5069,0) +/- 1967, Russia Vintage silver print, Very Good 17,7 X 26 cm 750,0 Euro

Germaine Krull Gabon, l’Ogooué à l’entrée de Lambaréné, (id 2544,0) 1942, Gabon Vintage silver print, Very Good 10.9 X 17.5 cm 400,0 Euro

Germaine Krull Gabon, passage de camion au bac de Nianga, (id 2545,0) 1942, Gabon Vintage silver print, Very Good 11.1 X 17.3 cm 400,0 Euro

Germaine Krull Gabon. Femme et enfant Banzabis, (id 2546,0) 1942, France Vintage silver print, Very Good 11,1 X 14,8 cm 500,0 Euro

Germaine Krull Gabon. Indigènes Assango à Lebamba, (id 2547,0) 1942, France Vintage silver print, Very Good 10,9 X 16,2 cm 500,0 Euro

Germaine Krull Gabon. Hôpital Schweitzer Lambaréné., (id 2563,0) 1942, France Vintage silver print, Very Good 17,4 X 12 cm 400,0 Euro

Germaine Krull Gabon. Femmes indigènes venant du marché de Mouila, (id 5054,0) 1942, France Vintage silver print, Very Good 10,5 X 17,4 cm 400,0 Euro

Germaine Krull Gabon. Mission protestante de N’Gômô, (id 5055,0) 1942, France Vintage silver print, Very Good 10,5 X 17,4 cm 400,0 Euro

Germaine Krull Gabon. Jeune femme Banzabi, (id 5056,0) 1942, France Vintage silver print, Very Good 16,5 X 11 cm 600,0 Euro

Nikolai Kossikoff Interior of a print shop (very large print), (id 4943,0) +/- 1950, Belgium Vintage silver print, Very Good 78 X 118 cm 3200,0 Euro Very large print originally mounted on a Unalit board.

Nikolai Kossikoff Window of a print shop (very large print), (id 4944,0) +/- 1950, Belgium Vintage silver print, Very Good 78 X 118 cm 3200,0 Euro Very large print originally mounted on a Unalit board.

Allen A. Dutton #11 “Guess and know - they are”, (id 3956,0) 1970, United States Vintage silver print, Very Good 11 X 23,3 cm 450,0 Euro Surrealist weirdness from this prolific, eccentric 86-year-old Arizonian, who first came to prominence with an extensive series of elaborate photocollages involving his own nude figure, the nude bodies of various models, explosions, and various abandoned structures and natural features of the landscape of the southwest U.S.

Allen A. Dutton #29 “Soaring Conjugated”, (id 3959,0) 1970, United States Vintage silver print, Very Good 17,4 X 18,8 cm 450,0 Euro

Allen A. Dutton #39 “she said she did”, (id 3968,0) 1970, United States Vintage silver print, Very Good 14,8 X 22,5 cm 450,0 Euro

Allen A. Dutton #6 “Bestriding two Pecdelts�, (id 3961,0) 1970, United States Vintage silver print, Very Good 23,4 X 17,6 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #1, (id 3947,0) 1970, United States Vintage silver print, Very Good 22,6 X 17,3 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #10, (id 3962,0) 1971, United States Vintage silver print, Very Good 15 X 22,9 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #11, (id 3965,0) 1971, United States Vintage silver print, Very Good 16 X 24 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #2, (id 3948,0) 1970, United States Vintage silver print, Very Good 18,5 X 22,5 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #4, (id 3958,0) 1970, United States Vintage silver print, Very Good 22,7 X 17,7 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #5, (id 3957,0) 1971, United States Vintage silver print, Very Good 8,5 X 23,2 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #6, (id 3955,0) +/- 1970, United States Vintage silver print, Very Good 23,3 X 15,5 cm 450,0 Euro

Allen A. Dutton Surrealist photomontage #7, (id 3954,0) +/- 1970, United States Vintage silver print, Very Good 23 X 18 cm 450,0 Euro

Allen A. Dutton symbolic nude, (id 3969,0) 1965, United States Vintage silver print, Very Good 16 X 15 cm 450,0 Euro

Marcel Mariën Verborgen Sarabande (4/10), (id 5073,0) 1989, Belgium Vintage silver print, Excellent 36,5 X 26,7 cm 1950,0 Euro Antwerpen, Persona, 1989. 36,5 x 26,7 cm, loose sheets in grey box with black lettering. In an edition of 135 copies, this being one of 10 copies on BFk Rives with 2 colour silkscreens and 2 signed black and white photos. Perfect copy.

Marcel Mariën No title, (id 5075,0) +/- 1985, Belgium Vintage silver print, Excellent 23,9 (36) X 17,7 (25) cm 1450,0 Euro

Marcel Mariën La Bonne Lorraine (5/5), (id 5087,0) 1983, Belgium Vintage silver print, Excellent 40 (60) X 32 (50) cm 1300,0 Euro

Bruno Vermeersch VM/020B, (id 4950,0) 2006, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 57,7 X 45,1 cm Euro

Bruno Vermeersch 3D/31, (id 5039,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 38,5 X 60 cm Euro

Bruno Vermeersch FR/02, (id 5042,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 37 X 56,2 cm Euro

Bruno Vermeersch S3D/42, (id 5049,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 44,3 X 59,3 cm Euro

Bruno Vermeersch VH/45bis, (id 5050,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 57,3 X 42,9 cm Euro

Bruno Vermeersch VS/006B, (id 5046,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 58,6 X 39,4 cm Euro

Bruno Vermeersch WS/04, (id 5045,0) 2007, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 54,4 X 43,1 cm Euro

Bruno Vermeersch AP/09, (id 5051,0) 2008, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 46,1 X 58,8 cm Euro

Bruno Vermeersch GV/12, (id 4952,0) 2008, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 45,8 X 58,5 cm Euro

Bruno Vermeersch RSP/16, (id 5034,0) 2008, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 44,9 X 57?4 cm Euro

Bruno Vermeersch TZ/14, (id 5035,0) 2008, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 46,3 X 59,1 cm Euro

Bruno Vermeersch VB/06, (id 4948,0) 2008, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 59 X 39 cm Euro

Bruno Vermeersch MW/001B, (id 5044,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 43,3 X 58 cm Euro

Bruno Vermeersch PM/03, (id 5041,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 37,4 X 56,4 cm Euro

Bruno Vermeersch RK/019B, (id 5040,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 39,4 X 58,7 cm Euro

Bruno Vermeersch VL/026B, (id 4953,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 58,8 X 39,7 cm Euro

Bruno Vermeersch VZ/34, (id 5048,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 59,5 X 44,5 cm Euro

Bruno Vermeersch ZC/024B, (id 5047,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 46 X 58,5 cm Euro

Bruno Vermeersch ZF/37, (id 5037,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 59 X 44,1 cm Euro

Bruno Vermeersch ZM/014B, (id 5038,0) 2009, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 58,9 X 46,1 cm Euro

Bruno Vermeersch BB/36, (id 4951,0) 2010, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 58,6 X 43,5 cm Euro

Bruno Vermeersch BV/021B, (id 5052,0) 2010, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 58,3 X 45,9 cm Euro

Bruno Vermeersch RT/005B, (id 5036,0) 2010, Belgium Inkjet print on fibre base silk paper (scan from the original bromoil), Mint 43,2 X 58 cm Euro

Sales Terms & Conditions The photos can be ordered by e-mail (xavier@anamorfose.be) or in the Collector’s Room.

The photos can be picked up at the Gallery in Izegem, Belgium or are shipped with registered mail.

We have been searching for a shipping method which guarantees the best security at the most interesting cost. We have the best experiences with Registered Mail by the Belgian Post.

Other shipping methods are possible. Please contact us prior to your order.

All photographs are available for inspection on our premises by appointment, or at your location through special arrangement.

The availability of photographs is subject to prior sale. All prices are subject to change without notice.

All photographs are returnable within seven (7) days of their delivery date, packed carefully in the same packing material in which they were received and insured for their full value.

All prices are in Euro and do not include shipping. Payment is required in Euro either by PayPal or by Direct Bank Transfer. All transactions are confidential and, unless specifically authorized, credit card details are deleted from our records when transactions are complete. Items will be dispatched following payment authorization. Order acknowledgments and invoices will be e-mailed unless an alternative is requested. A "no quidable" refund (minus shipping charges) is offered for items safely returned within seven days of receipt.

Payment must be made in Euro, payable in a Belgian bank. Institutions will be invoiced net thirty (30) days. In such cases, shipping charges will appear as a separate amount on the invoices.

Foreign orders are sent by registered mail, unless otherwise specified by prior arrangement. Foreign shipments are subject to the customs regulations of the country to which they are sent. AnamorFose is not responsible for any violation of these regulations, nor for securing import licenses. It is the responsibility of the buyer to handle any customs questions or to settle any official actions taken as a result of an attempt to deliver the purchases.

Belgian sales tax of 6% will be collected where applicable. European residents holding valid tax exempt numbers should include these numbers on their orders.

Any sale of these photographs does not constitute an implied sale of the copyright, or rights to reproduce the photograph in any way. AnamorFose makes no statement or claim concerning copyrights for any photographs sold through its Virtual Gallery. Anyone wanting to use any of the photographs displayed here for any purpose other than viewing them on this site must receive specific permission in writing from AnamorFose.

Anamorfose Photo Gallery Š 2012 - 2013