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Sit Down Gallery celebrates its 15th birthday
Viewing Room
THE GALLERY CELEBRATES ITS 15TH BIRTHDAY
To celebrate the gallery’s 15th anniversary, we are pleased to offer you a selection of works by photographers who have made the history of the gallery.
Discover the photographs of your favorite artists in our new special anniversary viewing room.
Do not hesitate to contact us to find out the availability of the work you want and to come and see it.
ANTON
Animals and trees appear on pieces of glass. It is reminiscent of the first photographic snapshots taken on glass plates or daguerreotypes, of old photos that one would have found in excavations or in an attic. Animal silhouettes seem to pass behind glass like fragments of childhood memories.
Catherine Ardouin
Aurore BAGARRY
… Aurore Bagarry’s project refers to a significant group of glaciers that mark the Mont Blanc massif. Herphotographic mission refers to an aesthetic act whose urgency combines the form and the substance. See, look, show and represent what will no longer exist is also a political gesture, in the broadest sense of the term.
Her work makes the connection with the Mont Blanc massif story. A chronological story of things thatare a part of the cultural destiny of this highly symbolic part of the Alps. After five years of systematicexploration her thoughtful and selective documentary photographs create an entirely new and original look, underpinned by the fast transformation of the Alpine region.ˮ
Daniel Girardin (Former curator of musée de l’Elysée, Lausanne)
Glaciers I | La Mer de Glace, vallée de Chamonix, France, 2012
Pigment print on Fine Art paper
Print size : 9 1/2 x 7 1/8 in
Signed and numbered by the artist
Edition 1/8
400 €
Available in other sizes:
23 5/8 x 29 1/2 in (Edition of 6)
39 3/8 x 49 1/4 in (Edition of 4)
Glaciers II | Glacier du Capucin, vue sur le glacier du Mont Malet, 2016
Pigment print on Fine Art paper
Print size : 9 1/2 x 7 1/8 in
Signed and numbered by the artist
Edition 1/8
400 €
Available in other sizes:
23 5/8 x 29 1/2 in (Edition of 6)
39 3/8 x 49 1/4 in (Edition of 4)
Gilles COULON
Gilles Coulon’s divers are like acrobats. At the border of the fall and the surge of freedom, in this opportunoity of the moment and by its composition which echoes the decomposition of Muybridge’s movements, the divers become birds, signs, points, commas punctuating the rhythm of the waves that welcome them.
Anne-Frédérique Fer
Quand le ciel | Rocher du Goudoul #26, 2020
Pigment print on Hahnemühle Fine Art Rag paper laminated on aluminum, matt white american frame
Print size : 14 1/8 x 9 1/2 in
Signed, dated and numbered by the artist
Edition 1/7 + 2 AP
800 €
Available in other sizes:
57 1/2 x 39 3/8 in (Edition of 5 + 2 AP)
Quand le ciel | Rocher du Goudoul #11, 2020
Pigment print on Hahnemühle Fine Art Rag paper laminated on aluminum, matt white american frame
Print size : 14 1/8 x 9 1/2 in
Signed, dated and numbered by the artist
Edition 1/7 + 2 AP
Available in other sizes:
57 1/2 x 39 3/8 in (Edition of 5 + 2 AP)
800 €
François DELEBECQUE
Tiny Marfa morphs into a monumental site through the gaze of François Delebecque. The Art Deco architecture and Hispanic style buildings stand straight, like temples. Shades meet at right angles. Walls function as screens against which nothing is reflected. Under the sun that sharpens contrasts, François Delebecque makes of Marfa a city open to nowhere and entrenched within its own mythology.
Natacha Wolinski
Marfa 4534 | 2013
Pigment print on Fine Art paper
Print size : 17 3/4 x 11 3/4 in
Signed, dated and numbered by the artist
Edition 1/5 + 2 AP
750 €
Available in other sizes:
9 1/2 x 14 1/8 in (Edition of 5 + 2 AP)
16 1/2 x 23 5/8 in (Edition of 5 + 2 AP)
23 5/8 x 35 3/8 in (Edition of 5 + 2 AP)
Marfa 0422 | 2013
Pigment print on Fine Art paper
Print size : 17 3/4 x 11 3/4 in
Signed, dated and numbered by the artist
Edition 1/5 + 2 AP
750 €
Available in other sizes:
9 1/2 x 14 1/8 in (Edition of 5 + 2 AP)
16 1/2 x 23 5/8 in (Edition of 5 + 2 AP)
23 5/8 x 35 3/8 in (Edition of 5 + 2 AP)
Catherine HENRIETTE
I have been observing China, its economic, cultural and social evolution for almost 30 years. (…) As a direct witness to this frenzy, I wanted to stop time, to resume my Leica and my films, as one would take an easel. I wanted to sit down and play with the horizon lines, the characters, against the backdrop of modern China photographed like a changing mirage. (…) For the winter tale, I chose the Sungari river (in northeast China), a huge blank page, a backdrop on which I tried to print the life of the far north Chinese. (…) For the summer tale, I went back to the beaches of northern China where, then I was a student in Beijing, I would escape on hot days. These kitsch and obsolete beaches which are always looking for an identity, between seaside resort and simple coastal town, still vibrate with their iodized and sometimes sepia blur: Qingdao, Beidaihe, Nandaihe, Dalian.
Catherine Henriette
Conte d’été | Les baigneuses, 2014
Pigment print on Fine Art paper Hahnemühle Bright White
Print size: 6 1/4 x 9 7/8 in
Signed, dated and numbered by the artist
Edition 3/10 + 2 AP
650 €
Available in other sizes:
34 3/6 x 26 in (Edition of 5 + 2 AP)
Conte d’hiver | Cerf volant 4, 2017
Pigment print on Fine Art paper Hahnemühle Bright White
Print size: 6 1/4 x 9 7/8 in
Signed, dated and numbered by the artist
Edition 3/10 + 2 AP
650 €
Available in other sizes:
34 3/6 x 26 in (Edition of 5 + 2 AP)
Jean-Gabriel LOPEZ
Photographer for whom the outside world has an objective existence, Jean-Gabriel Lopez seeks to capture a chosen reality, like the sky, the light, the clouds, the hazards and light rays, in short the atmosphere. Through the choice of these themes, Jean-Gabriel Lopez’s images appear as scientific proofs and naturally question the boundaries between photography and scientific imagery. These photographs of clouds, in false color, are printed in cyanotype on paper. The cyanotype process is a monochrome (blue / white) printing process developed in 1842 by the English astronomer John Frederick William Herschel.
Robert McCABE
Through his photos taken in Greece in the 1950s with a Rolleiflex, when he was barely twenty years old, Robert Mc Cabe transports us to this enchanted period, that of innocence. The still virgin landscapes, the villages, the architecture, the men and women, the traditions; McCabe’s work evokes with infinite poetry and humanity the memory of this time that has now passed.
Gabriel Bauret
Head print box n°1 | Sounion, At the Temple of poseidon, 1955
Gelatin silver print on Ilford paper
Sizes: 7 7/8 x 7 7/8 in
Signed and numbered on recto by the artist
Edition 2/10
450 €
Head print box
Grèce, les années d’innocence
Éditions Filigranes, 2008
Special limited-edition of 30 copies
3 editions of 10 + 1 AP each
A box set including a book and a silver print made by Georges Marinos
Signed and numbered on recto by the artist
Head print box n°2 | The Hellenic Star preparing for Arrival, 1955
Gelatin silver print on Ilford paper
Sizes: 7 7/8 x 7 7/8 in
Signed and numbered on recto by the artist
Edition 1/10
350 €
Sandra MEHL
Away from the tourist hustle and bustle that stirs the Mediterranean coast in summer, the Plage des Mouettes stretches out of sight for a few hundred meters, on the edge of the Thau lagoon in Sète. Here, no roads, shops, or public lighting. Just a lagoon with irregular contours, lined with algae and reeds, where a community of residents and regulars meet every summer, with family, couples or friends. Born in Sète, I photograph this beach every summer since 2012. Each walk is like an encounter with a secretly preserved territory, away from the rustling of the world where the members of a lagoon siblings meet, perpetuating the rites of sociability. popular, away from time. This series is the intimate story of a rediscovered astonishment at the familiar, my childhood in Sète, and of a territory that our urban and industrial modernity has spared.
Sandra Mehl
P.S. : Je t’écris de la plage des Mouettes | Untitled #9, 2013
Pigment print on Fine Art paper Hahnemühle, laminated on Dibond
Framed in an american oak frame: 11 3/4 x 11 3/4 in
Edition 1/10 + 2 AP
550 €
Available in other sizes
P.S. : Je t’écris de la plage des Mouettes | Untitled #4, 2012
Pigment print on Fine Art paper Hahnemühle, laminated on Dibond
Framed in an american oak frame: 11 3/4 x 11 3/4 in
Edition 2/10 + 2 AP
600 €
Available in other sizes
marie-pierre morel
Since 2014, Marie-Pierre Morel has been working on an ensemble she calls HORSTEMPS where she explores and reinterprets the classics she loves, alternating still lifes, abstract and nude compositions. Inspired by the work of pictorialism photographers such as Robert Demachy or Edward Steichen, Marie-Pierre Morel works in the bedroom. The photographer is interested in the decomposition of movement, in these variations around the same theme. She prints her prints herself in photoengraving, a process close to heliography, which allows her through intaglio printing to manually intervene on the print.
Yan MORVAN
Blousons Noirs
With the fifties, Paris and its suburbs saw the appearance of the “Blousons noirs”, the bad boys gathered in bands to the sound of Rock’n’roll which landed in France with the 45s. These young people have their eyes turned towards the United States. Their motto: “live fast, die young, make a beautiful corpse”, a rockabilly-biker style that will scare the French until the seventies. Yan Morvan delivers with this initial work a documentary work, a testimony of which he is the first to reveal an aspect of French society on the fringes.
Les Années de Fer
In the fall of 1979, Yan Morvan went to London to make a report on the evolution of British daily life since the coming to power of Margaret Tatcher. He then meets “sub-cultures”, these booming urban cultures in Great Britain, which he decides to photograph during two sessions (1979 and 1981). Forty years later, these images appear in the occasion of the release of a book, Les années de fer – Londres 1979-1981
Blousons noirs | Blousons noirs #11, circa 1975
Gelatin silver print made in 1995
Print size: 7 1/8 x 9 1/2 in
Signed and dated by the artist
1 200 €
Les années de fer | Dock de Londres, 1979
Chromogenic print made in 2019
Framed size : 19 5/8 x 23 5/8 in
Signed and numbered by the artist
Edition 1/12 + 2 AP
2500 €
Available in another print size and format
Catherine Noury
To observe is to notice a detail and then detach it from its entirety and thus highlight the tiny part identified as curious, interesting or even strange. A form that becomes essential to be transformed into a work sculpted with threads, among other things. With a fragment taken from reality, Catherine Noury embarks on a story specific to her work, a story where the dimension of the dream is reality.
Yves Sabourin
Séries Forêts | 2012
Digigraphy laminated on aluminium, black stained wooden frame, anti-reflective lenses
Sizes: 11 3/4 x 15 3/4 in
Edition of 7 + 3 AP
Signed and numbered by the artist
800 €
Available in other sizes
Séries Forêts | 2012
Digigraphy laminated on aluminium, black stained wooden frame, anti-reflective lenses
Sizes : 11 3/4 x 15 3/4 in
Edition of 7 + 3 AP
Signed and numbered by the artist
800 €
Available in other sizes
Salvatore PUGLIA
Continuing his research on time and memory, the artist transports us to the heart of his peregrinations and, as usual, mixes History with the collective imagination. Through an artistic and historical approach, Salvatore Puglia compose his images in layers using a diversified plastic language: photographs, inks, engraving on glass… By intervening both on the photographed landscape and on the “photographic object”, Salvatore Puglia delivers a poetic and timeless work.
Alisa RESNIK
Alisa Resnik’s world has been built over time and resonates with her travels and encounters: between East and West, between before and after the fall of the Berlin Wall, (…) as well as her meeting with classical painting in Italy. Alisa Resnik’s color spectrum is made up of the colors of darkness, dark reds and greens that absorb rare light and recall the tragic tones of Caravaggio. (…) Beyond the references, the most important thing in Alisa Resnik’s work is this captivating photographic writing capable of translating a fusional approach and reaching out to the people encountered and photographed. Thus, One Another looks like a portrait of a closed door that protects and reassures, rather than worrying. Finally, it looks like a family portrait, of a somewhat cursed family circle, perhaps, but where the bonds remain.
Laura Serani
One Another | One Another #37, 2012
Pigment print on Hahnemühle Fine Art paper
Print size: 23 5/8 x 15 3/4 in
Edition of 4 + 2 AP
1 300 €
Available in other sizes:
7 5/8 x 11 3/4 in (Edition of 10 + 2 AP)
11 3/4 x 15 3/4 in (Edition of 6 + 2 AP)
23 5/8 x 31 1/2 in (Edition of 2 + 2 AP)
One Another | One Another #33, 2012
Pigment print on Hahnemühle Fine Art paper
Print size: 23 5/8 x 15 3/4 in
Edition of 4 + 2 AP
1 300 €
Available in other sizes:
7 5/8 x 11 3/4 in (Edition of 10 + 2 AP)
11 3/4 x 15 3/4 in (Edition of 6 + 2 AP)
23 5/8 x 31 1/2 in (Edition of 2 + 2 AP)
Florian RUIZ
White Contamination takes its place in the history of landscape photography, being in line with the photographers of the Barbizon school such as Charles Marville or Eugène Cuvelier, who between 1840 and 1860 put their studio outdoors in the forest of Fontainebleau to extract a true photographic study of nature. Playing with the fragmentation of nature, the theatricalization of light and the repetition of the motif, Florian Ruiz immerses the viewer in landscapes that seem to come from another world.
Fannie Bourgeois (Christies)
The White Contamination | 0,357 Bq, 2018
Pigment print on Japanese Mulberry paper
Print size: 13 3/8 x 31 1/2 in
Artist’s Japanese official signature
Edition 1/5 + 2 AP
3 850 €
Available on other sizes:
29 1/8 x 63 in (Edition of 3 + 2 AP)
SACHA
Sacha von Dorssen, better known as “Sacha”, is an iconic fashion photographer of the 1970s. Her photographs were published in the most prestigious fashion magazines of the time: British Vogue, Stern, Harper’s Bazaar Italy, Marie Claire bis, GQ and Elle United States.
She embodies the great changes in fashion photography of the 1970s. Since the 1970s, she has chosen her models for their naturalness, their sensuality and magnifies them by placing them in exteriors around the world.
Si c’était… | Les bas créés par Monsieur Christian Dior, Paris, 1987
Pigment print on Hahnemühle Fine Art paper Rag 308
Print size: 8 1/4 x 11 3/4 in
Image size: 3 1/8 x 4 3/4 in
Signed and numbered on verso by the artist
Edition 2/11 + 2 AP
700 €
Available in other sizes
Si c’était… | La joyeuse équipe, Essaouira, 1988
Pigment print on Hahnemühle Fine Art paper Rag 308
Print size: 8 1/4 x 11 3/4 in
Image size: 3 1/8 x 4 3/4 in
Signed and numbered on verso by the artist
Edition 1/11 + 2 AP
600 €
Available in other sizes
Richard SCHRŒDER
An exhibition of naked women that only their freckles dresses and their whiteness defends.
Laurent Chalumeau
Richard Schroeder enjoys watching people, meeting and photographing them. Here, it is red-haired women on whom he lays his gaze. Behind his Hasselblad, he captures a small part of the mystery of each of his models, their hidden side, grasps them and gives them flesh and soul. He fixes them without imprisoning them and paradoxically offers them a figure. Frontally, from man to woman.
Vénus, I’m not like everybody else | Florestine, 2014
Pigment print on baryta paper
Print size : 11 3/4 x 11 3/4 in
Edition 1/10 + 2 AP
650 €
Available in other sizes:
23 5/8 x 23 5/8 in (Edition of 5 + 2 AP)
Vénus, I’m not like everybody else | Sophie, 2014
Pigment print on baryta paper
Print size : 11 3/4 x 11 3/4 in
Edition 1/10 + 2 AP
650 €
Available in other sizes:
23 5/8 x 23 5/8 in (Edition of 5 + 2 AP)
Silvi SIMON
At a time when scientific research is engaged in a process of extreme abstraction, where the experience, even if it remains a stage, is largely simulated by digital modeling, the chemical experiments carried out by Silvi Simon reconnect with the inaugural sensations first times. This singular work in the contemporary art landscape shows a certain mastery of an elusive medium, while revealing its playful agility, its reactivity, like its propensity to serendipity, this lovely current of air in mastery, provoked by matter itself.
Bernard Goy
Têtes | Tête 5, 2014
Chemigram with exposure on gelatin silver-coated paper with silver chlorobromide
size: 4 x 3 1/2 in
Unique piece signed by the artist
1 000 €
Têtes | Tête 6, 2014
Chemigram with exposure on gelatin silver-coated paper with silver chlorobromide
Size: 5 1/2 x 3 1/2 in
Unique piece signed by the artist
1 000 €
Chantal STOMAN
The past is eternal, it is the present which passes, the present which flees and is erased. Through two distinct projects carried out over two different periods, I observed two cities elected as Eternal. (…) In Rome, cradle of Christianity, it is the omnipresent image that is eternity. (…) The relationship to image that Christian denominations have developed over the centuries has forged their visual culture and attitudes towards images tend to converge. (…) In Jerusalem, it is in its ancient stones that Eternity is palpable. This unique stone which unifies the city from East to West tells us the story of Humanity. To perceive and read the 3000 years of history that binds its walls. Often destroyed but nonetheless alive, this capital of survival has two faces, one visible, the other elusive.
Chantal Stoman
L’Image culte | Image culte 19, 2013
Gelatin silver print
Print size: 15 3/4 x 19 5/8 in
Signed and numbered by the artist
Edition 1/8 + 2 AP
2 200 €
Available in other size
Walking Distance | Walking Distance P403V14, 2016
Gelatin silver print
Print size: 11 3/4 x 15 3/4 in
Signed and numbered by the artist
Edition 2/8 + 2 AP
2 100 €
Available in other size
Laure VASCONI
The world constructed by the lighting in which these decorations are arranged is now perceptible as an unreal universe of luminous points without belonging, of shapes without consistency. The photographic image, here, deploys an analytical statement on a reality that has become ghostly.
Jean-Louis Poitevin
This series represents American houses lit up during the Christmas period. There is no religious object, no character, sometimes an American flag. The context in which these images were taken – a few months after the September 11 attacks – reinforces the feeling of strangeness, of instability that one can feel in front of these images, but also in the face of a culture that at first glance is quite similar to ours, and which in many ways turns out to be unfathomable.
Merry Christmas | #08-01, Los Angeles, Californie, Etats Unis, 2001
Gelatin silver print laminated on diasec
Print size: 23 5/8 x 23 5/8 in
Edition 5/10 + 2 AP
1 500 €
Available in other sizes:
39 3/8 x 39 3/8 in (Edition of 5)
Merry Christmas | #03-01, Los Angeles, Californie, Etats Unis, 2001
Gelatin silver print laminated on diasec
Print size: 23 5/8 x 23 5/8 in
Edition 2/10 + 2 AP
1 500 €
Available in other sizes:
39 3/8 x 39 3/8 in (Edition of 5)
Tom WOOD
(…) At the cost of compulsive work, in different forms (colors or black & white) and according to various themes (…), Tom Wood has produced a sum that works from memory well beyond the strict limits of the region concerned. It is the soul and the life of the English working class that stirs each of his photos. Young or old, alone or in groups, he has caught their attitudes, their behavior, their presence as well as their absences, their joys and their distress. In each of these particular moments of life there is precisely what characterizes the community and social life of his country, an individual truth which translates a universal reality. (…)
Alain wais
Charles XELOT
The Yamal Peninsula in the Russian Arctic is home to one of the largest gas fields in the world. The most ambitious industrial project in the Far North is under construction on the edge of the peninsula. However, the Yamal peninsula is also the territory of one of the last nomadic populations in the world: the Nenets. In this hostile environment, the human ecosystem is simple: large industries, small villages and reindeer herders. The changes in the region are a metaphor for the world situation. This body of work examines the alterations caused to the environment by humanity’s energy needs.
There Is Gaz Under the Tundra | Weichselstern, 2018
Pigment print on Cansa baryta paper
Print size : 21 5/8 x 15 3/4 in
Signed and numbered on verso by the artist
Edition 1/7 + 2 AP
1 300 €
Available on other sizes:
27 1/2 x 35 3/8 in (Edition of 7 + 2 AP)
47 1/4 x 63 in (Edition of 4 + 2 AP)
There Is Gaz Under the Tundra | Container Tundra, 2016
Pigment print on Cansa baryta paper
Print size : 21 5/8 x 15 3/4 in
Signed and numbered on verso by the artist
Edition 1/7 + 2 AP
1 300 €
Available on other sizes:
27 1/2 x 35 3/8 in (Edition of 7 + 2 AP)
47 1/4 x 63 in (Edition of 4 + 2 AP)