I note that on the iPhone only 80% of the image can be seen. Full screen views can be seen on my Facebook artist page. You will also find lengthier thoughts about each piece there. Use the contact form below or email me with questions, comments, or requests. This work is all from 2014 - 2017, in no particular order. All are archival pigment prints on BFK Rives paper in editions of 12. The models for all were statues from the 18th to 20th centuries (well, a couple have an image from my trove of black and white negatives in there somewhere). The dates that are part of the titles are the years when they sat or stood for their likenesses in stone.
A teenage girl innocent of life's slings and arrows, hair abundant and face shining. She was a "Girl named Dawn, April 16, 1900, after Puech". 2016, 18 x 27"; $1000. I've borrowed the nimbus idea from Grunewald's Eisenheim altarpiece of 1536. The marble statue is in the Musee d'Orsay in Paris where I photographed her.
At about 40, "Elisabeth Kaiserin (Sisi), 1877, after Bitterlich" felt herself a stranger in all places, alone in the crowd: anorexic, probably bulimic, certainly obsessed with her figure. The last Kaiserin of the Austro-Hungarian empire, she felt she had little control over her life, and was assassinated in 1898 in Geneva. My model here was the 1907 monumental statue of her in Vienna's Volksgarten, made for those who mourn her still. While she mainly wore black, one ivory and lavender outfit was among her effects. She never did lose her slender figure. 2016, 26 x 39"; $2000.
Elsie Gumpel survived her mother by six years, dying in 1922 at 38 years of age in New Orleans. Her image, in granite, rests against her parents' tomb in Metairie Cemetery there, and has done since her father died in 1905. She's of granite as she was one of the (slightly heavy) redheads, VERY freckled, who are quiet by nature, but when they have determined their will, others do best to not be in the way. 18 x 27" archival pigment print, VERY limited edition of 50, 2016; $1000
He imagines he is the defender; should he be bested, an attacker will find out what real fury is. I've been unable to find out who the model for her was, a comfortable woman in her late 20s. She wouldn't have been the first to also be the sculptor's lover.... Part of the project is to bring the women to life but also to find out who they were. 'Her coiled fury, after Boisseau, 1887" 18 x 27" $1000
"Nina, mad from love, aftter Galli, 1854." 26 x 39 inches, or .6 meter x 1 meter. Archival pigment print on BFK Rives paper to last for centuries. $2000; VERY limited edition of 12. My model is the marble in the Palazzo Reale in Milan by Galli. It's in splendid perfection 163 years after Galli sculpted her. Little is recorded of his life, less of who he used for a model here. Her sheer dress would have indicated her purity and innocence. It's a story from an opera of the 1700s: shocked into a break by the news of her lover's death in a duel, she reels backward in vertiginous peril.
I have been unable to find out who modeled for Pietro Magni's marble statue which I photographed in Lisbon this year, some say this depicts Angelica of Orlando Furioso, some say this is Andromeda; in both cases, being chained to a rock and menaced by a sea monster were the condition from which a hero would rescue her. Here, she's not certain it will turn out so well. "Angelica in chains, 1868, after Magni" 12 x 18" $500
"Solidea Taiuti in the garden, 1941, after Tommasi"" 8 x 12" $250 Edition of 12 archival pigment prints That's a lamb on her shoulders. I found the sculptor's granddaughter on the Internet; she writes that yes indeed, Solidea sat as live model for this marble in the late 1930s, the young wife of her grandfather's friend; she'd be in her late 90s now.
"Ludovica Albertoni dying, 1674, after Bernini" 18 x 12" $500 Archival print on BFK Rives paper, edition limited to 12. Ludovica died in 1533 at 60, of an unspecified fever, after a life spent scourging, denying the flesh, and so on. Bernini had a model who was sensual and enjoyed life, here in her late 50s. He'd used her previously as St. Teresa when she had been about 30. The body writhes as her soul leaves.
"Gisèle Arnold at 13, 1923/28, after Arnold" 12/7/17 edition 12 $1000 18 x 27 inches. Henry Arnold sculpted his 13 year old daughter (the very picture of innocence) in marble in 1923, then made a number of bronze castings, this one in 1928. I photographed her in Cascais, Portugal in August 2017. Her entire life went by while we were busy; she'd be 107 years old this year, but passed away in the 1970s.
St. Teresa of Avila , actually her name was Teresa Sánchez de Cepeda y Ahumada in 1545, as imagined by Bernini in 1647, as she would have appeared in ecstasy in 1545 at 30 years of age. It's a small piece, 8 x 12 inches, $250, edition of 12. I'm thinking a lot about Caravaggio's foreshortened faces. "Bernini's Teresa, 1647"
Leaving the world: she was Rufina Cambacérès, who died in Buenos Aires on her 19th birthday in 1902, or so had been thought. It's a long tragic story of delusion, loss, sedation, overdose, and finally premature burial. A large print, .66 x 1 meter (26 x 39 inches). "Leaving the world: Rufina Cambacérès at 19, 1902, after Aigner" 6 January 2018 $2000
Pietro Canonica sculpted her in plaster from a photograph, which I photographed in Rome in November 2017; she wasn't entirely happy, pretending to have been playing in her new dress. The bronze from the plaster is on her grave in Turin, she died of typhoid there in 1907 at age nine. "Laura Vigo at nine, 1907, after Canonica" 18 x 27" 1/23/2018 $1000
Daughter of the sculptor's friend, who called Carpeaux mad when the sculptor asked if he might marry the girl; she remained a favorite muse for him for decades. He used another woman's body to go with the portrait face, likely a dancer from the Paris ballet. I photographed the marble in August 2017 in Lisbon, Portugal. An intimate portrait, "Anna Foucart at 14, 1860, after Carpeaux" 1/7/2018, 8 x 12"; $200
Isabella Brioschi Casati bled out and died in childbirth, in 1889 at 24. Her husband commissioned Butti to memorialize her; he sculpted his lover Virginia Sevesi, nude in a bed, symbolizing all women who died for having loved and having been loved. I photographed the lifesize bronze of her in Milan's monumental cemetery in 2016.