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Bert Hardy  -  Get Together in the Wine Cellar, 1961 / Silver Gelatin Print  -  10 x 14.75

Bert Hardy - Get Together in the Wine Cellar, 1961

Silver Gelatin Print - 10 x 14.75

Manuel Alvarez Bravo  -  Portrait of the Eternal, 1935 / Silver Gelatin Print  -  9.5 x 7.5

Manuel Alvarez Bravo - Portrait of the Eternal, 1935

Silver Gelatin Print - 9.5 x 7.5

Paul Strand  -  George Braque, Varangeville, France, 1957 / Silver Gelatin Print  -  9.25 x 7.25

Paul Strand - George Braque, Varangeville, France, 1957

Silver Gelatin Print - 9.25 x 7.25

Alfred Stieglitz  -  The Steerage 1908 / Photogravure  -  7.25 x 6

Alfred Stieglitz - The Steerage 1908

Photogravure - 7.25 x 6

Ruth-Marion Baruch  -  Boy on Car, San Francisco, 1953 / Silver Gelatin Print  -  9 x 12

Ruth-Marion Baruch - Boy on Car, San Francisco, 1953

Silver Gelatin Print - 9 x 12

Paula, Chamlee  -  Iceland, 2004 / Silver Gelatin Print  -  7.5 x 9.5

Paula, Chamlee - Iceland, 2004

Silver Gelatin Print - 7.5 x 9.5

Paula, Chamlee  -  Iceland, 2004 / Silver Gelatin Print  -  7.5 x 9.5

Paula, Chamlee - Iceland, 2004

Silver Gelatin Print - 7.5 x 9.5

Clive Russ  -  De Normandy Field, Lincoln, MA 1994 / Silver Gelatin Print  -  9 x 13

Clive Russ - De Normandy Field, Lincoln, MA 1994

Silver Gelatin Print - 9 x 13

Clive Russ  -  Lincoln, MA, 1994 / Silver Gelatin Print  -  9 x 13

Clive Russ - Lincoln, MA, 1994

Silver Gelatin Print - 9 x 13

A. J. Meek  -  Country Road, 1980 / Silver Gelatin Print  -  6.75 x 18.75

A. J. Meek - Country Road, 1980

Silver Gelatin Print - 6.75 x 18.75

Robert Weingarten  -  Amish 52, 7:40 p.m., Holmes County, OH, 2002 / Pigment Print  -  12 x 9

Robert Weingarten - Amish 52, 7:40 p.m., Holmes County, OH, 2002

Pigment Print - 12 x 9

Boris Ignatovich  -  Near The Hermitage, 1930 / Silver Gelatin Print  -  10.25 x 15

Boris Ignatovich - Near The Hermitage, 1930

Silver Gelatin Print - 10.25 x 15

Victor Bulla  -  Vladimir Lenin with Elena Stasova at the Second Congress of the Comintern, 1920 / Silver Gelatin Print  -  8.5x6.25

Victor Bulla - Vladimir Lenin with Elena Stasova at the Second Congress of the Comintern, 1920

Silver Gelatin Print - 8.5x6.25

Yevgeny Khaldei  -  Budapest, 1945 / Silver Gelatin Print  -  13.25 x 20

Yevgeny Khaldei - Budapest, 1945

Silver Gelatin Print - 13.25 x 20

Bert Hardy  -  Life of an East End Parson, London, 1940 / Silver Gelatin Print  -  13.5 x 10

Bert Hardy - Life of an East End Parson, London, 1940

Silver Gelatin Print - 13.5 x 10

Yevgeny Khaldei  -  Jewish Couple, Budapest, 1945 / Silver Gelatin Print  -  8.5 x 11

Yevgeny Khaldei - Jewish Couple, Budapest, 1945

Silver Gelatin Print - 8.5 x 11

Yevgeny Khaldei  -  Nuremberg War Crimes Tribunal, 1946, Goring With Lawyer / Silver Gelatin Print  -  8.5 x 11.25

Yevgeny Khaldei - Nuremberg War Crimes Tribunal, 1946, Goring With Lawyer

Silver Gelatin Print - 8.5 x 11.25

Mark Markov-Grinberg  -  Formation of Red Square, 1940s / Silver Gelatin Print  -  16 x 11.25

Mark Markov-Grinberg - Formation of Red Square, 1940s

Silver Gelatin Print - 16 x 11.25

Yevgeny Khaldei  -  Potsdam Conference: Stalin, Truman, Churchill, 1945 / Silver Gelatin Print  -  8x11.25

Yevgeny Khaldei - Potsdam Conference: Stalin, Truman, Churchill, 1945

Silver Gelatin Print - 8x11.25

Georgi Zelma  -  Village Acrobats, 1924 / Silver Gelatin Print  -  22 x 15.75

Georgi Zelma - Village Acrobats, 1924

Silver Gelatin Print - 22 x 15.75

Max Alpert  -  Tadjik Portrait, (Man with Turban), 1931 / Silver Gelatin Print  -  16.5 x 13.5

Max Alpert - Tadjik Portrait, (Man with Turban), 1931

Silver Gelatin Print - 16.5 x 13.5

Georgi Zelma  -  The Sower / Silver Gelatin Print  -  15.5 x 11.5

Georgi Zelma - The Sower

Silver Gelatin Print - 15.5 x 11.5

Paul Strand  -  Tailor's Apprentice, Luzzara, Italy, 1953 / Period Platinum Print  -  8.25 x 6.25

Paul Strand - Tailor's Apprentice, Luzzara, Italy, 1953

Period Platinum Print - 8.25 x 6.25

Aaron Siskind  -  Abstraction / Silver Gelatin Print  -  10.5 x 13.5

Aaron Siskind - Abstraction

Silver Gelatin Print - 10.5 x 13.5

Aaron Siskind  -  Seaweed 2, 1944 / Silver Gelatin Print  -  16 x 20

Aaron Siskind - Seaweed 2, 1944

Silver Gelatin Print - 16 x 20

Harry Callahan  -  Aix-en-Provence, 1958 / Silver Gelatin Print  -  9 x 7

Harry Callahan - Aix-en-Provence, 1958

Silver Gelatin Print - 9 x 7

Paul Strand  -  Porch Shadows, 1916 / Photogravure  -  13.5 x 12

Paul Strand - Porch Shadows, 1916

Photogravure - 13.5 x 12

Minor White  -  Windowsill Daydreaming, Rochester NY, 1958 / Platinum Palladium Print  -  9.5 x 7.5

Minor White - Windowsill Daydreaming, Rochester NY, 1958

Platinum Palladium Print - 9.5 x 7.5

Bill Brandt  -  Lott's Cottage, Flatford Mill, Suffolk, 1976 / Silver Gelatin Print  -  11 x 12

Bill Brandt - Lott's Cottage, Flatford Mill, Suffolk, 1976

Silver Gelatin Print - 11 x 12

Ezra Stoller  -  Falling Water (Frank Lloyd Wright), 1963 / Silver Gelatin Print  -  9.25 x 11.75

Ezra Stoller - Falling Water (Frank Lloyd Wright), 1963

Silver Gelatin Print - 9.25 x 11.75

Paul Strand  -  Shop, Le Bacares, Pyrenees Orientales, France, 1950 / Silver Gelatin Print  -  5.5 x 7

Paul Strand - Shop, Le Bacares, Pyrenees Orientales, France, 1950

Silver Gelatin Print - 5.5 x 7

Paul Strand  -  Bani Salah, Faiyum, Egypt 1959 / Silver Gelatin Print  -  12 x 9.5

Paul Strand - Bani Salah, Faiyum, Egypt 1959

Silver Gelatin Print - 12 x 9.5

Edoward Baldus  -  Royal Library at the Louvre, 1858 / Albumen Print  -  17.5 x 13.5

Edoward Baldus - Royal Library at the Louvre, 1858

Albumen Print - 17.5 x 13.5

Harry Callahan  -  Chicago Facade / Silver Gelatin Print  -  37 x 46

Harry Callahan - Chicago Facade

Silver Gelatin Print - 37 x 46

Douglas Keats  -  Los Hueros, Vol I, No. 8 / Silver Gelatin Print  -  4.75 x 3.75 (contact print)

Douglas Keats - Los Hueros, Vol I, No. 8

Silver Gelatin Print - 4.75 x 3.75 (contact print)

Douglas Keats  -  Rainsville, Vol IV. No. 5 / Silver Gelatin Print  -  4.75 x 3.75 (contact print)

Douglas Keats - Rainsville, Vol IV. No. 5

Silver Gelatin Print - 4.75 x 3.75 (contact print)

Douglas Keats  -  Anthony, Vol I, No. 9 / Silver Gelatin Print  -  4.75 x 3.75 (contact print)

Douglas Keats - Anthony, Vol I, No. 9

Silver Gelatin Print - 4.75 x 3.75 (contact print)

Douglas Keats  -  Seboyeta, Vol II, No. 6 / Silver Gelatin Print  -  4.75 x 3.75 (contact print)

Douglas Keats - Seboyeta, Vol II, No. 6

Silver Gelatin Print - 4.75 x 3.75 (contact print)

Michael Kenna  -  River Rouge complex, Dearborn, MI / Silver Gelatin Print  -  9 x 9

Michael Kenna - River Rouge complex, Dearborn, MI

Silver Gelatin Print - 9 x 9

Michael Kenna  -  The Rouge, Study 47, Dearborn, MI, 1994 / Silver Gelatin Print  -  7.5x7.5

Michael Kenna - The Rouge, Study 47, Dearborn, MI, 1994

Silver Gelatin Print - 7.5x7.5

Sebastio Salgado  -  Coal Wokers, State of Gihar, Dhanbad, India, 1989 / Silver Gelatin Print  -  14 x 21

Sebastio Salgado - Coal Wokers, State of Gihar, Dhanbad, India, 1989

Silver Gelatin Print - 14 x 21

Marc Riboud  -  Shaanxi, China, 1957 / Silver Gelatin Print  -  9.25 x 14

Marc Riboud - Shaanxi, China, 1957

Silver Gelatin Print - 9.25 x 14

Herb Greene  -  Jerry Garcia / Silver Gelatin Print  -  15 x 15

Herb Greene - Jerry Garcia

Silver Gelatin Print - 15 x 15

Herb Greene  -  The Great Society / Silver Gelatin Print  -   15 x 15

Herb Greene - The Great Society

Silver Gelatin Print - 15 x 15

Herb Greene  -  Jimmy Page / Silver Gelatin Print  -  15.5x19

Herb Greene - Jimmy Page

Silver Gelatin Print - 15.5x19

Herb Greene  -  Taj Mahal / Silver Gelatin Print  -  15x15

Herb Greene - Taj Mahal

Silver Gelatin Print - 15x15

Herb Greene  -  Janis Joplin / Silver Gelatin Print  -  15 x 15

Herb Greene - Janis Joplin

Silver Gelatin Print - 15 x 15

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Variations On A Theme

  • Overview
  • Description
  • Artists
  • Review

Photographs from the Lumière Collection

The exhibition represents the work of more than 50 photographers over a 125 year period.

VARIATIONS ON A THEME…

This exhibition reflects two dimensions on the notion of “theme”. It illustrates the options available to a collector… either to work with a diverse range of images and artists — or to develop a specific area of interest. It also demonstrates the collaborative relationship between various art forms such as photography and sculpture. Art and furnishings from the 19th to the 21st century co-exist in a compatible manner as well.

This program begins with several iconic images. It moves on to illustrate greater depth of theme in the various niches and sub galleries. In this case—landscapes, historically important messages, portraiture, contemporary celebrities, abstractions and architecture.

In the case of history, it evolves from the depression driven rise of Hitler… to the destruction from armed conflict in the World War… to the signs of retribution at the Reichstag and Nuremberg Trials… to the victory fireworks over Red Square. This is followed in gallery with the abstractions and architectural imagery. The large photograph between the two styles serves as a transition element-reinforcing the similar themes of design and tonal quality.

There is also a blend of the old and the new-from Baldus’ 19th century façade at the Louvre and Bonheur’s Jockey and Horse to the contemporary sculpture of Hayes and abstract, painterly like Weingarten color photograph. It combines Steiglitz’ century old image of immigrants to America with Wheeler’s bronze of the American icon, Will Rogers, on his horse, “Soapsuds”. The works shown typify the gallery’s broad collection.

Featured in this exhibition is the work of more than 50 photographers.

Select the image below to view the complete artist page for these photographers.

Bert Hardy, Get Together in the Wine Cellar, 1961

Bert Hardy

Douglas Keats, Douglas Keats

Douglas Keats

Paul Strand, Tailor's Apprentice, Luzzara, Italy, 1953

Paul Strand

Alfred Steiglitz, Hands, Dorothy Norman, 1931

Alfred Steiglitz

Wolf Suschitzky, Gerd & Agnes Arntz, Scheveningen, 1935

Wolf Suschitzky

Harry Callahan, Weed Against Sky, 1948

Harry Callahan

Aaron Siskind, Jerome, Arizona 21, 1949

Aaron Siskind

Yevgeny Khaldei, Raising the Hammer and Sickle over the Reichstag, 1945

Yevgeny Khaldei

Boris Ignatovich, Near The Hermitage, 1930

Boris Ignatovich

Herb Greene, Jerry Garcia, 1968/2005

Herb Greene

Below is an excerpt of a review from the Atlanta Journal and Constitution.
To read the entire review please access the AJC web site.

DATE: August 12, 2007
PUBLICATION: Atlanta Journal-Constitution
BYLINE: CATHERINE FOX
TITLE: Soviet Viewfinder

EXHIBITION: Variations on a Theme

On May 2, 1945, Yevgeny Khaldei, a war photographer for the news agency TASS, captured the Soviet triumph over the Nazis in a photo of a soldier unfurling the Soviet flag on the roof of the Reichstag.

Though already a celebrated photojournalist at home when he shot this iconic image of victory, Khaldei and his peers would remain largely unknown in the West until the Iron Curtain parted in the late 1980s, and they still don’t get the attention they deserve.

The opportunity to see this and other images collected by Lumiere gallery owner Bob Yellowlees — both on the walls and in the drawers — is an unusual opportunity. “Bob’s collection is unique in the Southeast in scope and breadth,” says Howard Schickler, the Florida dealer largely responsible for bringing this material to the U.S. market. “There aren’t that many collections that can put on a museum-quality exhibition.”

Yellowlees, who opened his Buckhead gallery in May, was already a serious collector in the late 1990s when he became interested in Soviet photojournalism. The 175 photos he has acquired, most vintage prints, constitute a quarter of his holdings, which encompass a broad swath of American and European photography.

Yellowlees is using his collection as inventory and a source for many of the exhibits at the gallery, but not because he wants to sell it all off. He is still collecting. In an unusual business model, he sees his organization as a hybrid commercial gallery/museum. Thus, patrons who have an interest beyond what is on display can request to see other images stored away.

“Sure, I’d like to earn enough to pay the utilities, but at the end of the day, I’m doing it to help advance photography in Atlanta,” he says.

This cache of Soviet photos, on exhibit under the title “Variations on a Theme,” represents a merging of his aesthetics, investment instincts — to get in on the ground floor of an emerging field — and interests. “I’m a history buff,” says the retired business executive, 68. “It’s one thing to read about it,” he says. “It’s another to see what life was like then.”

The depiction of Soviet life in these photos, he is quick to note, must be taken with a grain of salt. Pointing to the heroic portraits of workers, he explains that the photos were part of the Soviet propaganda machine intended to promulgate its values and its image as a people’s state.

Yellowlees finds the fluid boundary between photojournalism, propaganda and art — which is not limited to Soviet photography, of course — another source of fascination. Even Khaldei’s seemingly in-the-moment victory picture was calculated. He had the flag in the photo made from a red tablecloth and took it with him to Berlin. He handed it to a soldier, sent him to the rooftop, and snapped the picture. If the diagonal line of the soldiers on the roof and the unfurling flag look familiar, it should. Khaldei had seen the photo of American soldiers planting the flag at Iwo Jima (itself a re-enactment) before he went to Berlin, admired it and intentionally lifted the composition.

Not all the work in the collection was taken on assignment. Boris Ignatovich, Yellowlees surmises, was simply aiming for a striking composition when he shot “By the Entrance to the Hermitage” in 1930. He achieved it by distorting the perspective so that the bare foot of a seemingly mile-high statue dwarfs the people strolling by.

Like most of his Russian photographer peers, Ignatovich shared his country’s revolutionary ideals, so it is likely he intended no subversive commentary. But art works in weird ways. Looking at the picture today, it’s hard not to see it as a symbol of the ultimate perversion of those ideals. That foot in the foreground just might have belonged to Big Brother.

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