Alexey Titarenko (b. 1962)
Flatiron Building (Couple), 2003
Gold-toned gelatin silver print
Created in 2023
Image sizes
7 1/2 x 7 1/2 inches, edition 15
12 x 12 inches, edition 15
17 x 17 inches, edition 10
In his photographs of the Flatiron building, from 2003, Titarenko creates a poetic, Whistler-like palette; the prints glow with soft twilight and imbue magic to golden street lights. These photographs echo with the famous image of the landmark building by Edward Steichen.
Alexey Titarenko (b. 1962)
Central Park in Winter, Jacqueline Kennedy Onassis Reservoir, New York, 2024
Gold-toned gelatin silver print
Signed, titled, and dated on verso
Edition of 10
12 x 12 inches and 16 x 16 inches
Titarenko creates a delicate range of gray, blue, pink, and gold tones in the sky and snow. The majestic trees frame the composition, and the passerby with the red umbrella draws our attention. The sunset is illuminated on the horizon, the mist creates a sublime atmosphere. In this landscape of the Reservoir in Central Park, we feel an intimate connection between the place and the inner self of the artist.
Alexey Titarenko (b. 1962)
Central Park in Winter (Bridge), New York, 2025
Gold toned gelatin silver print
Signed and dated on verso
12 x 12 inches, edition 10
16 x 16 inches, edition 10
Alexey Titarenko (b. 1962)
Central Park in Winter (Trees and Skyline), New York, 2025
Gold toned gelatin silver print
Signed and dated on verso
12 x 12 inches, edition of 10
Titarenko crafts each print by hand in his darkroom, producing a rich, subtle range of tones that renders each print unique. The prints from his New York series are notable for his application of partial bleaching and selective sepia, selenium, and gold toning, as well as for the use of the nineteenth-century Sabattier effect, also known as pseudo-solarization. The toning is seen here in the soft warmth of the lampposts in front of the iconic Flatiron building. Titarenko’s masterful printmaking also helps to highlight his longtime interest in water and its relationship to the city, bringing out the texture and reflective quality of water and rain and infusing each image with moisture and light.
Christopher Burkett (b. 1951)
Green Veratrum, Alaska, 1993
Cibachrome print
20 x 24 in.
Working almost exclusively with Cibachrome paper, which was discontinued in 2012 and no longer available, Christopher Burkett has spent the past forty years refining his practice in large-format color photography and Cibachrome (Ilfochrome) printing.
On his process, Burkett says: “Cibachrome is a unique printing material, with a luminosity and depth that I believe to be unsurpassed by any other photographic print medium.”
Christopher Burkett (b. 1951)
Blue Scherzo, Maine, 1987
Cibachrome print
20 x 24 in.
Christopher Burkett (b. 1951)
Pink Camellia, Oregon, 2007
Cibachrome print
20 x 20 in.
Christopher Burkett (b. 1951)
White Callas at Dawn, Oregon, 2003
Cibachrome print
20 x 20 in.
"The callas were lit by early morning light coming from directly overhead. Although the light was soft there was considerable contrast in the scene because there is very little fill light coming from any direction. I was struck by how the calla blossoms were filled with light and the entire plant had an exuberant glow."
Pentti Sammallahti (b. 1950)
Solovki, White Sea, Russia, 1992
Gelatin silver print
Signed and dated in pencil on recto
Image: 5 7/8 x 14 3/8 in. (14.9 x 36.5 cm)
Paper: 9 3/8 x 15 7/8 in. (23.8 x 40.3 cm)
Pentti Sammallahti (b. 1950)
Solovki, White Sea, Russia, 1992
Gelatin silver print
Signed and dated in pencil on recto
Image: 6 1/2 x 14 in. (16.5 x 35.6 cm)
Paper: 9 1/2 x 15 7/8 in. (24.1 x 40.3 cm)
Pentti Sammallahti (b. 1950)
Solovki, White Sea, Russia, 1992
Gelatin silver print
Image: 5 7/8 x 14 1/4 in. (14.9 x 36.2 cm)
Paper: 6 x 14 3/4 in. (15.2 x 37.5 cm)
Pentti Sammallahti (b. 1950)
Signilskar, Finland (White Rabbit), 1974
Gelatin silver print
Signed and dated in pencil on recto
Image: 5 15/16 x 7 3/8 in. (15.1 x18.7 cm)
Paper: 8 x 10 in. (20.3 x 25.4 cm)
Pentti Sammallahti (b. 1950)
Western Cape, South Africa (bird and dog), 2002
Gelatin silver print
Signed and dated in pencil on recto
Image: 6 1/4 x 8 3/4 in. (15.9 x 22.2 cm)
Paper: 7 7/8 x 9 7/8 in. (20 x 25.1 cm)
Regardless of where he travels – France, Italy, Japan, India, US, Nepal, Russia or Finland – a gentle humor is visible in his work. Grace Glueck in her New York Times review spoke of “Mr. Sammallahti's work being playful and lyrically intimate, making poetry from small visual surprises.” His seemingly effortless and quiet images stir a viewer’s emotions and are exquisitely composed.
Pentti Sammallahti (b. 1950)
Delhi, India, 1999
Gelatin silver print
Signed and dated in pencil on recto
Image: 8 1/4 x 5 3/4 in. (21.0 x 14.6 cm)
Paper: 10 x 8 in. (25.4 x 20.3 cm)
Pentti Sammallahti (b. 1950, Helsinki)
Pécs, Hungary (two horses), 1979
Gelatin silver print
Image 6 7/8 x 6 7/8 in. (17.5 x 17.5 cm)
Paper 10 x 8 in. (25.4 x 20.3 cm)
Pentti Sammallahti (b. 1950)
Cilento, Italy (white horse), 2000
Toned gelatin silver print
Image: 5 7/8 x 4 7/16 in. (14.9 x 11.3 cm)
Paper: 8 x 6 in. (20.3 x 15.2 cm)
Signed and dated in pencil on recto
We are pleased to present our Holiday Show, featuring photographs by Pentti Sammallahti (b. 1950), Christopher Burkett (b. 1951), and Alexey Titarenko (b. 1962). All artists meticulously craft their prints by hand in their darkrooms, creating a rich, subtle range of tones that make each piece unique.
Titarenko's prints from the New York series are particularly notable for his innovative use of partial bleaching and selective gold toning, combined with the enchanting nineteenth-century Sabattier effect, also known as pseudo-solarization. Titarenko creates a poetic, Whistler-like palette, where the prints glow with soft light of twilight. The majestic trees elegantly frame the composition of The Reservoir in Central Park in Winter (2025), while the mist adds an air of mystery. In Titarenko's Central Park photographs, there is a palpable sense of intimate connection between the place and the artist's inner self.
Regardless of where Sammallahti travels – France, Italy, Japan, India, US, Nepal, Russia or Finland – his photographs forge a profound connection with the natural world and the enchanting realm of animals. Sammallahti's work, both lyrically intimate and seemingly effortless, evokes strong emotions and memories.
Working exclusively with Cibachrome paper, which was discontinued in 2012, Christopher Burkett has spent the past forty years refining his practice in large-format color photography and Cibachrome (Ilfochrome) printing. Burkett recalls photographing the White Callas: "The callas were lit by early morning light coming from directly overhead. Although the light was soft there was considerable contrast in the scene because there is very little fill light coming from any direction. I was struck by how the calla blossoms were filled with light and the entire plant had an exuberant glow."
Wishing everyone much joy this holiday season!
