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elliott erwitt

Soulcatcher Studio is honored to present the photography of legendary Magnum photographer Elliott Erwitt. A leading photographer of his generation and a member of the prestigious Magnum Agency, Erwitt has been making photographs all over the world since the late 1940s. Known for spontaneous, often humorous snaps, along with poignant documentary studies, he has spent the last sixty years capturing the famous and the ordinary, the remarkable and the mundane, often using the camera to express his unique sense of humor. In the process he has produced some of this past century’s most beloved and enduring images. He is without a doubt one of the era’s finest image-makers.

Born in 1928 in Paris of Russian parents, Erwitt emigrated to the United States with his family in 1939. He studied photography in Los Angeles City College (1942-1944) then film at the New School for Social Research (1948-1950). As a young man, Edward Steichen helped Erwitt get his first commercial photography job. From 1950 to 1952, Erwitt was a freelance photographer for Collier’s, Look, Life and Holiday. He became a Magnum Agency associate in 1953 and a full member in 1954. Today his original photographs reside in most all major museum collections.

Please inquire if you have other favorite images by this artist, as we can offer his entire portfolio of work for sale.

Print Information: All photographic prints are archivally processed gelatin silver prints made from original photographic negatives, printed by Elliott Erwitt or under his direct supervision. Prints are unmounted. No digital manipulation is used at any stage of the process.

Prints are available in four standard paper sizes: 11×14″, 16×20″, 20×24″ and 30×40″. For both technical and aesthetic reasons, not all images are available in all sizes (please inquire). Actual image sizes vary from that of the standard paper size. For instance, a horizontal 16×20″ print has an image size of approx. 12×17.5″. All prints are signed, titled and dated (with the negative date) in pencil, au verso.

Prints are produced in an open, unnumbered edition. Current prices start at $3,000.00, depending on the individual image and print size.

Click here to view our exhibition and sale, “Elliott Erwitt: Personal Best ~ A Retrospective”.

Click here to view our exhibition and sale, “Elliott Erwitt: Unseen Ironic Iconic”.

All artwork is copyright © of the respective artist or estate.
All other material copyright © Soulcatcher Studio. All rights reserved.
Contact us by Email
Or call 505-310-SOUL (7685)

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Michael Donnor 

Michael Donnor (born 1981) found photography in college and it has taken him on a non-stop adventure ever since. He graduated from the University at Buffalo in 2006 with a Bachelor of Arts in Fine Art Photography. Immediately after he was hired by the Santa Fe Photographic Workshops as a teaching assistant. Working there four seasons, he was constantly assisting some of the world’s premier photographers, such as Keith Carter, Karen Kuehn, Joe McNally, David Alan Harvey and Doug Beasley, during weeklong classes. This carried him to Mexico where his work continued and his vision expanded. Since then he has moved on with personal endeavors which included consulting in San Francisco, CA and Chapel Hill, NC. Recently he moved to a quiet farmhouse in Western New York and opened Donnor Photographic; where he continues to explore his art, and passion for photography.

Donnor works in the traditional wet darkroom method. The process begins with the negative; the decision of how to destroy it and decay it is about looking further than when the shutter was released. He manipulates each film negative using a number of techniques to further convey the concept of each image; including freezing, melting, scratching, cutting and re-taping to name a few. Once the negative is finished, the control of depth of field is done through the enlarger, allowing the choice in each print of where the focus will be. The finished gelatin silver print photographs are then toned in tea and selenium and signed, titled, dated and editioned in ink using the artist’s own hand-lettering technique. The paper edges are then burned and encaustic is applied in layers, finishing each piece from conception to print. They are one of a kind within an edition; from the tones to the lettering, burning and encaustic finish. No two prints are the same.

Donnor states, “I have always been fascinated with the idea that people are not as they seem. My self-included? I believe it is a rare happening that the true self is shared, and even more rare that when true self is shared it is seen. Instead what is shown to the world is a projection of the blurred truth of self; a projection of how people think they should be seen.

Curiosity leads me down this path like the curiosity to know what is behind a closed door. What is behind the door of a blurred projection of self? I always find the answer to this though is not as amazing as is the way a person builds their façade. We have marvelous tools of ego architecture that allow us to construct these grand fortresses that protect the fragile truth inside.

It is these fortresses of ego that I am at wonder about. To know a truth about someone and watch them from behind the stage, as the lights go on, and the curtain goes up; to see the performance, a great one at that. Knowing I am the only one realizing… what a show it is.

This project is my exploration from behind the stage of the greatest show of all… us. It is my view of false projections, fortresses of a facade, and the egos that stand upon them. From a self conscious but studious creature of that ego found in Mr. Peabody, to a children’s theatre where dreams were born and died at Korner’s folley; the tools and structures that we use to create our facades can be seen.

The fragile truth that is covered up can be many things: a secret best not shared, an event best forgotten, a failure best not remembered, or perhaps a dead dream that will not rest. Whichever the case, they are all a part of us that we will carry; the past that is a silent moan.”

Print Information: The finished gelatin silver print photographs are then toned in tea and selenium and signed, titled, dated and editioned in ink using the artist’s own hand-lettering technique. The paper edges are then burned and encaustic is applied in layers, finishing each piece from conception to print. They are one of a kind within an edition; from the tones to the lettering, burning and encaustic finish. No two prints are the same.

All gelatin silver print photographs are produced in a limited edition in three individual print sizes: 15×15″ – edition of ten, 20×20″ – edition of five, and 30×30″ – edition of three prints (plus three, two, and one Artist Proofs respectively). Print prices are set by the artist and start in each size as follows: 15×15″ – $1,000.00; 20×20″ – $1,500.00; and 30×30″ – $4,000.00. Print prices increase as the edition sells out and are subject to change without prior notice. Please contact Soulcatcher Studio for current pricing information.

Please inquire if you have other favorite images by this artist, as we can offer his entire portfolio of work for sale. Please contact us for complete information.

Click here to view Silent Moan, our exhibition and sale of fine art photography by Michael Donnor.

All artwork is copyright © of the respective artist or estate.
All other material copyright © Soulcatcher Studio. All rights reserved.
Contact us by Email
Or call 505-310-SOUL (7685)

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Bruce Davidson

Print Information: All photographic prints are archivally processed gelatin silver prints made from original photographic negatives, printed by Bruce Davidson or under his direct supervision. Prints are unmounted. No digital manipulation is used at any stage of the process.

Prints are available in five standard paper sizes: 11×14″, 16×20″, 20×24″, 30×40″ and 40×60″. For both technical and aesthetic reasons, not all images are available in all sizes (please inquire). Actual image sizes vary from that of the standard paper size. All prints are signed in ink by the artist on the lower right hand corner of the print margin.

Prints are produced in an open, unnumbered edition. Current prices start at $4,000.00. Prices range depending on the individual image and print size. Please inquire if you have other favorite images by this artist, as we can offer his entire portfolio of work for sale.

Signed monographs by this artist are available in our bookstore.

All artwork is copyright © of the respective artist or estate.
All other material copyright © Soulcatcher Studio. All rights reserved.
Contact us by Email
Or call 505-310-SOUL (7685)

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In Mr. Curtis we have both an artist and a trained observer, whose work has far more than mere accuracy, because it is truthful. …because of his extraordinary success in making and using his opportunities, has been able to do what no other man ever has done; what, as far as we can see, no other man could do. Mr. Curtis in publishing this book is rendering a real and great service; a service not only to our own people, but to the world of scholarship everywhere.“

~ Theodore Roosevelt, October 1st, 1906. Excerpt from the foreword to Volume I of Curtis’ masterwork, The North American Indian.

In 1901 Edward S. Curtis set out to produce what the New York Herald would later call “The most gigantic undertaking in the making of books since the King James edition of the Bible.” His magnum opus, entitled The North American Indian, would be a set of books consisting of twenty volumes of immensely detailed ethnographic text, accompanied by twenty portfolios and 2,222 photoengravings. More than eighty Native American tribes from throughout the Western United States and Canada would be represented.

It was an undertaking the likes of which the publishing world had ever seen. The twenty volumes would document in detail the lifeways, mythology and ceremonies of over eighty tribes, illustrated with the highest quality, hand-pulled photoengravings taken from Curtis’ glass plate negatives. Each of the volumes would contain seventy-five photogravures and would be accompanied by a portfolio of thirty-six larger, loose images. The papers used for printing would also be of the finest quality: a Dutch etching stock by Van Gelder, a Japanese vellum and a finely-made translucent Japanese rice paper. The entire set would be beautifully bound in Moroccan leather. To fund the publication, Curtis would sell five hundred subscriptions and offer a complete set at a base subscription price of $3,000. At the time Curtis began the project he estimated that it would take five years to complete at a cost of $25,000. In reality it would take Curtis thirty years and cost him his health, his marriage and nearly one and a half million dollars.

Click here to view a detailed chronological biography on the life of Edward Sheriff Curtis.

Recommended Reading: The North American Indian: The Complete Portfolios, by Edward S. Curtis, TASCHEN, paperback published July 1997. This is the most complete volume of Curtis’ photographs to appear since the original publication of The North American Indian. Edward S. Curtis: Coming to Light, by Anne Makepeace, National Geographic Society, hardcover published November 2001. Edward Curtis: The Master Prints, by Clark Worswick, Arena Editions, hardcover published October 2001. Edward S. Curtis and the North American Indian Incorporated, by Mick Gidley, Cambridge University Press, hardcover published in 1998, now available in paperback. Edward S. Curtis: The Life and Times of Shadow Catcher, by Barbara Davis, Chronicle Books, hardcover published in 1985, now out-of-print. Edward Sheriff Curtis: Visions of a Vanishing Race, by Florence Curtis Graybill and Victor Boesen, Thomas Y. Crowell Company New York, hardcover published in 1976. Recommended Viewing: Coming to Light: Edward S. Curtis and The North American Indians. A film by Anne Makepeace. Available on DVD from www.makepeaceproductions.com. In the Land of the War Canoes: A Drama of Kwakiutl Life. Motion picture directed and produced by Edward S. Curtis in 1914. Available on DVD from www.image-entertainment.com. Please visit the links page for some very interesting and helpful information on Edward S. Curtis and The North American Indian.

All artwork is copyright © of the respective artist or estate.
All other material copyright © Soulcatcher Studio. All rights reserved.
Contact us by Email
Or call 505-310-SOUL (7685)

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August 22, 1908 ~ August 3, 2004

“In whatever one does, there must be a relationship between the eye and the heart. With the
one eye that is closed, one looks within, with the other eye that is open, one looks without.”
~Henri Cartier-Bresson

Click here to read a biography of the artist.
Image: “Provence, France, 1999” (self portrait)

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Paul Caponigro (born 1932) stands among the foremost landscape photographers of our century. He is an artist who places technical perfection in the service of an intense, mystical sensibility. He once stated that, “photography is a medium, a language, through which I might come to experience directly, live more closely with, the interaction between myself and nature.” In the late 1950s Caponigro studied with Minor White, finding in White’s teaching both an inspiration and a challenge to pursue his own vision. For Caponigro this would mean not only refining his craft to its highest potential, but learning to approach nature receptively, intending, in his own words, “to sense an emotional shape or grasp some inner visitation.”

Caponigro’s first one-man exhibition took place at the George Eastman House in 1958. In 1960, Caponigro became a consultant for Polaroid Corporation in the photo-research department. During this time, he also began teaching photography part-time at Boston University. Since that time he has exhibited and taught workshops throughout the United States and abroad. Today his original photographs reside in most all major museum collections.

Mystery infuses his images, whether of New England’s dark woodlands, the brooding megaliths and Celtic stone crosses of Britain and Ireland, or desert landscapes in the Southwest transfigured by the sun. He states, “At the root of creativity is an impulse to understand, to make sense of random and often unrelated details. For me, photography provides an intersection of time, space, light, and emotional stance. One needs to be still enough, observant enough, and aware enough to recognize the life of the materials, to be able to ‘hear through the eyes’.”

Caponigro is also a dedicated pianist, and considers his life with music to be essential to his photographic imagery. He once described the greatest lesson ever taught to him by his piano teacher, the late Alfredo Fondacaro, as follows: “…that the effort, diligence, and care required in practicing must be quickly suspended when pressure coming from anxiety or a desire for fast results causes them to degenerate.” Looking at his photographs, it becomes clear that this lesson has had a profound impact on his life’s work.

Two Guggenheim Fellowships and three grants from the National Endowment for the Arts have been awarded to Caponigro over the course of his photographic career in recognition of his singularly masterful and uncompromising artistry. He continues to delight the photographic community with his glorious photographic dreamscapes, most recently producing a compelling series of still life studies.

Print Information: All photographic prints are archivally processed gelatin silver prints made from original photographic negatives by Paul Caponigro. Prints are dry-mounted on 4-ply, acid-free mat board. They are window matted and signed in pencil on the front of the overmat at the lower right corner of the print, and are ready to frame. No digital manipulation is used at any stage of the process.

Prints are available in four standard paper sizes: 8×10″, 11×14″, 16×20″ and 20×24″. For both technical and aesthetic reasons, not all images are available in all sizes (please inquire). Actual print sizes will be slightly smaller than stated due to the proportions of the image and trimming of borders.

Prints are produced in an open, unnumbered edition. Print prices are set by the artist and start at $6,000.

Click here to view Paul Caponigro: Veiled Yet Revealed ~ Masterworks from Fifty Years,
our special retrospective exhibition and sale of Paul Caponigro’s fine art photographs.

Click here to view Paul Caponigro: Of the Earth, Still Life Studies 2001~2004,
our exhibition and sale of a brand new body of work by Paul Caponigro.

All artwork is copyright © of the respective artist or estate. All rights reserved. Biographical information from the book, The Wise Silence: Photographs by Paul Caponigro, by Paul Caponigro and Marianne Fulton. Copyright © New York Graphic Society Books; Little, Brown and Company, Boston; International Museum of Photography at George Eastman House, 1983. All rights reserved.

Contact us by Email
Or call 505-310-SOUL (7685)

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