Olivier Le Brun Bamako, Mali [water carrier], 2002 Black and white silver print On the back of the print: captioned, dated, credited, numbered 1/10 and signed by the author photographer Olivier Le Brun, indication and year of the print made by Bernard Francillon. Format 30 x 40 cm Born in Congo (Belgian at the time) in 1940, Olivier Le Brun spent his youth on a farm in Kivu until 1959. He completed a doctorate in law and a master’s degree in economics at the University of Louvain in Belgium. Alongside his professional activity as a socio-economist for United Nations agencies in numerous Third World countries and as a teacher-researcher at the universities of Louvain, Nanterre and Sussex, he began to write with light. “For a long time I took photos the way one picks flowers on a walk for the pleasure of making a bouquet.” This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

Olivier Le Brun Moutsamoudou, Anjouan, Comoros [woman passing in an alley], 2007 Black and white silver print On the back of the print: captioned, dated, credited, numbered 1/10 and signed by the author photographer Olivier Le Brun, indication and year of the print made by Bernard Francillon. Format 30 x 40 cm Born in Congo (Belgian at the time) in 1940, Olivier Le Brun spent his youth on a farm in Kivu until 1959. He completed a doctorate in law and a master’s degree in economics at the University of Louvain in Belgium. Alongside his professional activity as a socio-economist for United Nations agencies in numerous Third World countries and as a teacher-researcher at the universities of Louvain, Nanterre and Sussex, he began to write with light. “For a long time I took photos the way one picks flowers on a walk for the pleasure of making a bouquet.” This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

FRANCOIS PERRI 1954 Menorcan Confidences n°33, 2005 2011 silver print made by the author, label signed and numbered 1/7 in ink on the back. Size 40.5 x 50.5 cm This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

Walter CARONE (1920-1982) The prostitutes of Paris, March 1947 Posterior silver print on cartoline paper signed and handwritten legend on the back Image size: 37.8 x 35.8 cm Sheet size: 50 x 40 cm This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

Olivier Le Brun Bwiza, Bujumbura, Burundi [Ramaalvine photo studio], 2015 Black and white silver print On the back of the print: captioned, dated, credited, numbered 1/10 and signed by the author photographer Olivier Le Brun, indication and year of the print produced by Atelier Publimod. Format 30 x 40 cm Born in Congo (Belgian at the time) in 1940, Olivier Le Brun spent his youth on a farm in Kivu until 1959. He completed a doctorate in law and a master’s degree in economics at the University of Louvain in Belgium. Alongside his professional activity as a socio-economist for United Nations agencies in numerous Third World countries and as a teacher-researcher at the universities of Louvain, Nanterre and Sussex, he began to write with light. “For a long time I took photos the way one picks flowers on a walk for the pleasure of making a bouquet.” This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

This image of Stonehenge by internationally acclaimed photographer, Alan Klug, represents his work before he transitioned to archival pigment ink printing, from true darkroom photography. This particular sepia image of Stonehenge is no longer available on the retail market, and presents a more intimate up-close view of Stonehenge, than is typically captured.

It’s a richly saturated image. The piece is mounted using archival materials, with a complimentary burled wood frame and brown silk mat, with additional double-bevel matting around image. Design-driven presentation!

Detailed Dimensions:

Frame – 24″W x 30″T
Exposed Image Size – 5.75″W x 4.5″T

These wonderful examples of antique portraits were originally photos that were enhanced by watercolor painting over the top of the features of the photos. Thank goodness this was a common practice, as it has preserved these amazing and nostalgic pieces of history, since the photo part has long since faded away. We speculate that this was a couple, as the name “Sibley” is written on both photos. Although the number 1900 is written on the backs of the photos, our sense is that they hail from the mid-1800s.

ITEM DIMENSIONS (in inches)
Width: 14.15
Depth: 2.5
Height or Length: 16

SHIPPING DIMENSIONS (in inches)
Shipping Width: 14.15
Shipping Depth: 5
Shipping Height or Length: 16

7 lb

Number of Items in Set: 2
Number of Separate Pieces or Parts: 2

Frame 1: 2.5″L by 14.15″W by 16″H, 3.57 lb
Frame 2: 2.5″L by 14.15″W by 16″H, 3.375 lb