Victorian Photography

Inspired by Victorian era taxidermy dioramas, 'Dark Flora' is a series of photographs using wild plants and flowers in a curated yet naturalistic arrangement. The plants are foraged ...

Dark Flora #4 - Autumn Weald: An arrangement of cloth of gold, pine, beech, and bracken surrounding a nest of exquisite blue eggs. Archival Pigment Print, Mounted on Aluminium, in bespoke Oak Framed, Edition 3/8 Print size: 75 x 54 cm Framed: 80 x 60 cm approx. Inspired by Victorian era taxidermy dioramas...

Hand-coloured portrait of a bird-like spirit, immobilised in marble, cleansing in a spring-time bath. A character formed from Naiads (a Greek nymph of flowing water), and exploring the idea of a ritualistic cleansing to wash away sombre deeds. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Hand-coloured tableau of a weeping spirit and her guardians, immobilised in marble. A disjointed narrative looking at recovery and protection, the angels shield the spirit with tender embraces and cry for her when alone. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical...

Vintage still life photograph of a white antique corset on black "My Grandmother's Corset" by David Sokosh 17 x 11 inches unframed - Wet Plate Collodio...

Still Life Black and White Photograph of Vintage Men's Striped Swimwear on Mannequin Wet plate collodion on aluminum, unique 6 x 4 inches unframed, 11.75 x 9.75 inches in vintage walnut frame with AR non-glare glass Wire backing, ready to hang Signed, front (lower right) This one-of-a-kind figurative photograph of a vintage men's swimsuit was made by Hudson Valley photographer, David Sokosh, in 2018. The artist uses a Victorian camera to capture images directly on aluminum using the 19th century wet plate collodion photographic process. This image is unique and complimented with a vintage walnut wood frame. More about the work: The self-proclaimed “geeky scientist”, David Sokosh, has long held a fascination with vintage technologies...

C-type archival print, edition of 10 12 x 16 inches, edition of 10, $1500 35 x 40 inches, edition of 3, $3500 20 x 24 inches, edition of 7, $1800 This sepia-toned antique-style figurative photograph was created by London-based photographer Nick Simpson. Here, the artist exemplifies steampunk style with a steam-powered rhinoceros of his own invention. Much of the photograph is staged, with real sets, props, and models wearing elaborate costumes, while other details are rendered in a photo-editing program. About the work: London-based artist Nick Simpson is celebrated for his fictional series entitled The Bumforth Man Collection. The series consists of archival prints inspired by a mythical story concerning a quantity of glass photographic plates discovered in an old oak chest on the Bumforth Manor estate in rural England, the family home of the Gascoigne-Simpsons for over nine generations. These plates, which had laid gathering dust for over a hundred years, were supposedly the work of Simpson’s great grandfather, Samuel Heracles Gascoigne-Simpson, a disciple of William Henry Fox Talbot, commonly considered to be the father of photography. To bring this story to life, Simpson starts by building a set, authentically styled and dressed to re-create the Victorian photographic salons of the late 1900s. This becomes the stage upon which he places his eclectic choice of models and actors, all following his original tight narrative to create a richly detailed tableau. The scene is then captured in a single sitting using an original 1867 'Petzval' lens mounted on a mahogany plate camera...