Select, editioned and signed prints available through Jackson Fine Art from January 20 - March 18, 2023
Including Cindy Sherman, Andy Warhol, Willem Dafoe, Jean-Michel Basquiat, Bianca Jagger, more
Dreamlanders, friends old and new, all gather to appear in this MARFICTIONAL story – actors, behind-the-scenes collaborators and others who have worked with John Waters over the years. And though the book reads as if everyone was together on one night, the fact is, like the best gifts, it took a long time to wrap this up. Each interview is housed within a dreamt-up narrative set at one of John’s annual Christmas parties.This particular event may not be real, but the dialogue is all true to life. No words are falsified in this world, but everything else is untrue.
Produced by MARFOFFICE, with curation, design and production by Alexandra Gordienko, Julia Monsell and Jodie Hill, and words by Ross Aston. A MARFA Christmas with John Waters contains shoots and interviews, ephemera, one-off letters and rare archive imagery, accompanied by a short film by Clara Cullen.
Featuring Mink Stole, Kathleen Turner, Max Farago, Traci Lords, Johnny Knoxville, Ricki Lake, Senta Simond, Jeannette Montgomery Barron, Alasdair McLellan, Pat Moran, Jess Cole, Sophie Buhai, Ethan James Green, Ricky Saiz and many others on Santa’s naughty list.
"Brace yourself, Re-Edition Autumn/Winter 2022 is here. Now at its 18th issue, the captivating title active at the intersection of art, fashion, and photography continues to push the boundaries of creative imagination, empowering the most thought-provoking personalities on the international cultural scene. (...) In yet another cinematic editorial, young actress Ever Anderson, daughter of supermodel and actress Milla Jovovich and constant MiuMiu inspiration, is captured by American portrait photographer Jeanette Montgomery Barron."
Thanks to KK Kozik at COCOA (The Journal of Cornwall Contemporary Art) for writing about my recent series of drawings.
"One’s first impression is of a quiet and meditative practice yet a closer look yields a line wayward and wobbly as if Barron’s hand was being slowly directed around the page by a phantom force or was tracing the trail of an ant. Barron has built a career as an ace whose art, produced via partnership with cameras and printers, is low on the scales of expressionism and human touch. Her drawings, however, register at the opposite end of the continuum. Their unaffectedness leaves nowhere to hide and they are poignant in that way. This is their most compelling quality - their existence as an intimate and immediate record of the unique movements of Barron’s hand."
Thanks to Phil Mistry at PetaPixel for his recent article "Cindy Sherman in 1985: Photographing the Photographer," covering my work and my book Cindy Sherman — Contact, published by NJG Studio.
"When Barron arrived, Sherman was dressed in a simple shirt and pants; that was how she was photographed. Barron just presumed that she wanted to be photographed that way and did not ask her to change or get into one of her characters... Barron, whose photographic mantra is 'keep it simple,' placed her Hasselblad 500 C/M on a tripod (as that was her preferred mode with the rather heavy square format camera) and slapped on a Carl Zeiss Sonnar 150mm f/4 (a simple four-element, three-group design that took great photos even in the earlier uncoated versions). The 120 film was Tri-X 400, and she exposed 4-5 rolls in the next about one hour that she was there."
Thanks to Sara Andrade at Vogue Portugal for her recent article on my work, "Tell me more about the days."
"Or better yet, tell me more about the days through those that marked them. Those, the underground faces of the '80s, who made their own rules and changed culture, as we know it, forever. Those who, most likely, posed for Jeannette Montgomery Barron in her studio room, at the height of the movement, in New York."
Thanks to Valentina Di Liscia at Hyperallergic for highlighting my portraits of Keith Haring, which are currently on view at the New York City Center in conjunction with "Fiorucci Walls," a mural painted by Haring in collaboration with LA II (Angel Ortiz) in 1983.
"Outside Shuman Lounge, a series of black-and-white portraits of Haring by Jeannette Montgomery Barron complement the mural’s presentation. Barron photographed the artist in his Lower Broadway studio in spring 1985. She captures Haring immersed in his own artwork, surrounded by his distinctive designs and wearing a t-shirt printed with the message “Free South Africa,” based on a painting supporting the anti-apartheid movement. His expressive personality is also on display.
'Every inch of the walls was covered with his drawings, done with magic marker, so it couldn’t have been easier to decide on the setting,' Barron said. 'He immediately went through the motions, like a model, without prompting. All I had to do was catch the right moment.'
Unveiled just in time for the theater’s Fall for Dance Festival and the anticipated return to in-person performances after over a year of pandemic-related challenges, “Fiorucci Walls” and Barron’s photographs will be up through 2022."
Thanks to Diane Pernet at A Shaded View on Fashion for featuring my new book Cindy Sherman — Contact this week. Pernet writes:
"Dear Shaded Viewers,
I met Jeanette Montgomery Barron in Paris a few years ago at the Outsider Exhibition. Montgomery-Barron is well known for her black and white portraits and has documented the ’80’s in New York. Her first portrait was of Francesco Clemente, followed by Andy Warhol, Keith Haring, Jean-Michel Basquiat. She captured all of the icons of the 80’s: Cindy Sherman, the subject of her most recent book: Contact-Cindy Sherman, William Burroughs, David Salle, Jenny Holzer, Julian Schnabel, Barbara Kruger, Robert Mapplethorpe, Kathryn Bigelow…
CONTACT contains 40 portraits of Cindy Sherman and 4 contact sheets shot October 31st, Halloween in Cindy Sherman’s studio, New York City. For the first time we see Cindy Sherman as …Cindy Sherman."
Thanks to Emily Dinsdale for highlighting my new book Cindy Sherman — Contact in her article "Do these portraits reveal the real Cindy Sherman?" at Dazed Magazine.
"Like all images of Sherman, these portraits also raise fascinating questions about our ‘true’ selves and the scope of photography to depict reality. Barron herself is none the wiser. 'I really don't know who the ‘real’ Cindy Sherman is,' she says. 'I wish I did.'"
Read the full article here
Ayla Angelos intervied me about my new book Cindy Sherman — Contact and my experiencing photographing Sherman for Port Magazine.
"The visual tome [CONTACT] presents a different side of Sherman, as seen through the eye of Barron who’s known for capturing portraits of many notable names from New York City during the 80s."
Miss Rosen at AnOther Magazine also featured Cindy Sherman — Contact in "Intimate Photos of Cindy Sherman Like You’ve Never Seen Her Before."
"From Andy Warhol, Jean-Michel Basquiat and Keith Haring, to Robert Mapplethorpe, Jenny Holzer and William S Burroughs, Barron crafted a quiet, meditative series of personalities that usually presented as larger than life – perhaps none so conscientiously as Cindy Sherman."
"Comprised of 40 photographs all shot on Halloween 1985 in Sherman’s studio, New York, [Cindy Sherman – Contact] is part of a remarkable compendium of portraits shot by Barron of renowned personalities from arguably the most exciting era of NYC underground culture, when the young and indomitable flocked downtown in search of places to work and live among like-minded collaborators."
‘CONTACT’ is the complete sitting of 40 Cindy Sherman portraits, including 4 contact sheets, together with photographer Jeannette Montgomery Barron’s original mark ups – shot Thursday 31st October, Halloween 1985 in Cindy Sherman’s studio, New York City. What characterises these portraits is a kind of transparency, a truth of sorts. Photographed without the fanfare of the assorted props, makeup or wigs, Cindy is her own subject. Here Jeannette captures a different yet similar Cindy “gaze” an awareness that looks inward not out.
76 pages encased in a blood orange hardback cover, set within a cobalt blue frame, housed in a protective canvas box, with ebony de-bossed foiled titles, complete with an extended opening chord.
This collection of photographs is part of a remarkable compendium of portraits shot by Jeannette of renowned personalities from arguably the most exciting era of New York City underground culture—the 1980s—when the young and indomitable flocked downtown in search of places to work and live among like-minded collaborators. These musicians, filmmakers, painters, writers, fashion designers, publishers, actors, models and photographers played together, worked together, made their own rules and changed our culture, as we know it, forever.
In photographer Jeannette Montgomery Barron’s 1985 portrait of Cindy Sherman, the artist is staring pensively out of frame, hair tousled, shirt partially unbuttoned. It’s a strikingly frank image of Sherman, who’s known for shooting herself disguised as different characters in elaborate makeup and costumes. In late July, NJG, a London-based publisher, will release a book that includes this photo, which is part of the Whitney Museum of American Art’s collection, along with the 39 other unseen shots of Sherman that Barron, who chronicled the New York art world in the ’80s, took that day. “She’s just got this gaze, and you can tell she was thinking something very deep,” says Barron of her subject. “Or maybe she wasn’t. But that’s what it looks like.” njgstudio.com —Cody Delistraty
The Photographic Archive of the American Academy in Rome presents a selection of images by four photographers belonging to different generations: Esther Van Deman, Richard W. Ayers, Georgina Masson and Jeannette Montgomery Barron. This video premiered on June 4, 2021 on the Night of the Archives, presented as part of the 2021 Archivissima Festival, dedicated to the theme #generazioni.
Thanks to the Accutron Show and hosts Bill McCuddy and David Graver for interviewing me in December. We spoke about work from Scene and My Mother's Clothes, along with the role of Instagram. Listen to the full podcast here.
Ivorypress explores the design process behind Roman Hours with their in-house graphic designer Joana Bravo. Jeannette Montgomery Barron and André Aciman's collaborative book Roman Hours was published by Ivorypress in October.
Many thanks to curator and art advisor Renée Riccardo (@reneericcardo on Instagram) for visiting my studio last week.
Jeannette Montgomery Barron: Table Tops
Opens July 22, 2020
The Cabin at James Barron Art
James Barron Art is proud to present a selection of photographs from Jeannette Montgomery Barron's Tabletops series. This is the first time works from this series have been exhibited, and it is our inaugural show at the Cabin, a newly restored structure built thirty years ago.
These photographs invoke our collective memories of lively meals shared with friends, as well as the unique Italian sentiment that a meal does not need to be fancy or expensive to be a celebration. Viewed through the lens of our current pandemic, these works feel especially nostalgic and comforting.
Please contact email@example.com for more information.
Jeannette Montgomery Barron : Artist Portraits from the 80’s
March 5 – April 18, 2020
Opening Reception Thursday, March 5, 2020 from 6 – 8pm
Patrick Parrish Gallery is pleased to present the photographs of Jeannette Montgomery Barron. Jeannette’s decisive and intimate portraits of artists, actors and the denizens of Downtown New York in the 1980's define the era. Now, with so many younger artists in their 20s and early 30s referring back to this lush and fertile time, the gallery felt it was time to revisit these iconic images.
In honor of younger and hopefully new collectors, Jeannette is publishing a new edition of one of her iconic images that will be affordable to those just starting out building a collection. The exhibition will also be accompanied by a limited edition catalog "object” designed by Brian Janusiak of Various Projects, Inc. consisting of unseen reprints of Jeannette’s contact sheets, printing notes, as well as facsimiles of her negatives.
Jeannette Montgomery Barron was born in Atlanta, Georgia and studied at the International Center of Photography. She first became well known for her portraits of the New York art world in the 1980s, and later went on to create a collection of books each based on different aspects of her work: Jeannette Montgomery Barron, Photographs, Edition Galerie Bruno Bischofberger (1990), Photographs and Poems (1998), Mirrors (2004), Session with Keith Haring (2006), My Mother’s Clothes (2010), Scene (2013), and My Life in the 1980’s New York Art Scene (2014). Most recently in 2016, The American Academy in Rome opened the exhibition, A View of One’s Own: Three Women Photographers in Rome, which featured Jeannette’s work along with Esther Boise Van Deman and Georgina Masson.
Jeannette’s work can be found in numerous public and corporate collections, including The Museum of Modern Art, New York, The Whitney Museum of American Art, New York, The Museum of Fine Arts, Houston, The Menil Collection, Houston, Texas, The High Museum of Art, Atlanta, Kunsthaus, Zurich, Collezione Maramotti, Reggio Emilia, Italy, The Archivio Fotografico, American Academy in Rome and The Andy Warhol Museum, Pittsburgh, among others. She has shown internationally at Galerie Bruno Bischofberger, Zurich, Scalo, New York and Zurich, Jackson Fine Art, Atlanta and Magazzino D'Arte Moderna, Rome.
Please contact info@patrickparrish.
Patrick Parrish Gallery
50 Lispenard Street
NY, NY 10013
Viaggio Miraggio nel Villaggio Globale, “mirage journey in the global village,” is the title of Luigi Ontani’s Murano glass chandelier from 1995. A universe is contained within the glass. It illuminates the surrounding world and fills it with fantasy.
Italy has often been associated with the past, with its antiquity and rinascimento. ALL–IN Nº4 reinterprets the idea of rebirth, viewing Italy’s rich landscape and history as an empty disco, a site for experimentation and renewal. This void with endless potential carries us into an unchained future.
Jeannette Montgomery Barron
Sabrina de Sousa
and many more.
18 x 25 cm / 7 x 10 in
245 color / 54 B/W images
At the Galleries
by Karen Wilkin
At James Barron Art, in Kent, Connecticut, the beautifully installed “Jeannette Montgomery Barron/Laura de Santillana: Mirrors and Glass” paired works by an American photographer and an Italian sculptor. Montgomery Barron’s minimalist images of smallish round or oval mirrors, poised on slender bases, ranged from soft silver gelatin prints to crisp, lushly-hued pigment prints. Rather than reading as austere still lifes, the photographs of these anonymous, everyday objects become “portraits,” heads on slim necks, sometimes confronting us, sometimes turning away. They seem introspective, self-contained, as if Montgomery Barron had captured her sitters unawares. That mood was intensified by the proximity of de Santillana’s subtle, reticent sculptures: blunt, compressed rectangles of hand-blown glass enclosing stacked blocks of color. The vaguely head-like proportions of these elegant objects reverberated with Montgomery Barron’s “mirror portraits,” but the trapped, translucent hues within the rectangles also had associations with the larger world—with the sky, water, and light of Venice, where de Santillana lives and works, for example. Seen frontally, her glass pieces seemed connected to abstract painting—perhaps Rothko, scaled down and luminous—but from an oblique view, where the thickness of the enveloping clear glass became visible, these seductive objects were at once declaratively about their material presence and evanescent.
The two very different bodies of work entered into a fascinating conversation. De Santillana’s pieces underscored the physical properties of Montgomery Barron’s subjects in new ways, reminding us of the “glassiness” of mirrors, while the understated geometry of the photographs—the nuanced relationship of ovals and circles to the rectangles or squares of the field—made us consider freshly the shape and proportions of the sculptures’ color blocks. That color was ravishing, but among the most memorable pairings in the show was a group of de Santillana’s sculptures celebrating the power of transparency and silvery greys, with a selection of Montgomery Barron’s ephemeral silver gelatin prints. Who ever thought that color had to be chromatic to be expressive?
Paul Laster review MIRRORS and GLASS for WHITEHOT MAGAZINE
I try to apply colors like words that shape poems, like notes that shape music. – Joan Miró
Color—or the lack of it—is a central feature of the art of Jeannette Montgomery Barron and Laura de Santillana, the two artists currently paired together in the engaging exhibition “Mirrors and Glass” at James Barron Art in Kent, Connecticut. Comingled by color and form, their juxtaposed photo and glass works create a conceptual pas de deux for the gallery’s modernist style space.
Opening Saturday, September 8, 2018: Mirrors and Glass at James Barron Art
Jeannette Montgomery Barron and Laura de Santillana
Opening Reception: Saturday, September 8, 2018 from 4 - 6 pm
Our exhibition examines the remarkable visual parallels between Jeannette Montgomery Barron's photographs of mirrors and Laura de Santillana's glass sculptures. These two artists were born one year apart - Laura de Santillana in Venice, Italy, and Jeannette Montgomery Barron in Atlanta, Georgia - and both have worked continually between the U.S. and Italy. Without knowing one another's work until very recently, the two artists have steadily developed a minimalist aesthetic and an exploration of color through repetition of form. This is the first time their work has been exhibited together.
Jeannette Montgomery Barron's works are in numerous public and corporate collections, including The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Museum of Fine Arts, Houston; The High Museum of Art, Atlanta; Kunsthaus, Zurich; Collezione Maramotti, Reggio Emilia, Italy; The Archivio Fotografico, American Academy in Rome and The Andy Warhol Museum, Pittsburgh.
Laura de Santillana's works are in numerous public collections, including The Metropolitan Museum of Art, New York; Los Angeles County Museum of Art, Los Angeles; The Museum of Fine Arts, Boston; The Museum of Fine Arts, Houston; the Murano Glass Museum, Venice; The Corning Museum of Glass, New York; Cooper-Hewitt Museum, New York; Seattle Art Museum, Seattle; Carnegie Museum of Art, Pittsburgh and Museum of Art and Design, New York.
For the past few years we have been joining photographer Jeannette Montgomery Barron regularly, for dinners and lunches, in her adopted home of Italy, via a beautiful series of images she has slowly compiled and posted teasingly on Instagram. That we are thousands of miles away and have not so much as shared a bite makes no difference. These are not foodie pics. While these are meals attended by Barron, we do not see any food and are not given any clues to the whereabouts of these establishments. Yet we can hear everything in these photographs. The almost inconsequential “Let's eat out”, quickly followed by reaching for the house keys, no changing—maybe just wrapping a scarf around your throat—then walking around the corner and in to the familiarity of the place where you are known and simply, deliciously fed.
These photos capture a range of restaurants, mostly Roman. From plastic plaid tablecloths to smooth, reassuring white linens, we wonder what that meal was like and with whom did she dine. Tables are laid with clues, from perfect pre-meal symmetry, to the sensual mess of tables loitered at; others, neatly ravaged with emptied espresso cups, stubbed cigarette butts, and what we can only imagine are the dredges of a great conversation left behind.
These images have been nagging us. They deceptively simple, but they provoke and attract us. What is it? Have we missed something?
We finally realize, yes, we have missed something. In the hyperbolic explosion of food culture, absurdist real estate dramas, and the ubiquitous tonnage of "branding", we have in America mislaid the ultimate comfort of the neighborhood spot. With her elemental, reserved images, Barron has broken our hearts as we long for all the iterations of these we lost in the US. These are the places you and your team eat at several times a week. Usually the same meal, or a variation on one, or one requested and prepared by the chef for a regular. The place you have a few preferred tables, you know the waitstaff by name. Where the proprietor is a friend by virtue of having had so many small pleasant conversations in passing, where the details of one another's lives slowly are revealed after so many visits. You know their kids, grandparents, and vacation schedules. The food is lovely, but one initially is going for convienence, which gives way to dependablity and reassurance. This meal out is the solution to a busy day that does not represent a luxury. It is rather a community and a comfort.
In these images we are also reminded of the value of the ritual of the shared meal. At these tables, our lives are shaped, with conversations supported by bowls of steaming pasta, a particularly tasty salad, a glass of house red. No prep, no dishes to distract us. Perhaps we also feel nostalgia for a time when the end of the day meant reuniting with one’s people, to recap the day, a system quite obsolete now that we text, DM and WhatsApp our way from waking to sleeping. Maybe it is also a mirage, of urban middle class life that Italy has managed to preserve, mostly expunged from our Americans cities. It seems exotic now, doesn’t it? At Jeannette's brilliant suggestion, we have asked her friend, the writer Chiara Barzini to populate the photos of her choosing with small scraps of fictional lives, as if overheard at a neighboring table. http://ladyworld.tv
25 covers for the 25 anniversary of Purple Magazine. Cindy Sherman photographed by Jeannette Montgomery Barron.
"For our 25th anniversary issue, Purple celebrates the artists and models who incarnated the spirit of the magazine through their style, attitude, and personality: Cindy Sherman, Richard Prince, Paul McCarthy, Michèle Lamy, Susan Cianciolo… Stella and Eva… Amanda Wall, Maurizio Cattelan, Paul Hameline… and more."
A View of One's Own: Three Women Photographers in Rome: Esther Boise Van Deman, Georgina Masson and Jeannette Montgomery Barron.
This selection of photographs of Rome and its environs by three women, drawn in part from the Photographic Archive of the American Academy in Rome, confronts the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day. The exhibition traces the emergence of photography as an independent medium wielded by women with distinctive viewpoints, as it evolved from a documentary aid to a vehicle for subjective expression. Seen in succession against a photographic landscape defined for the most part by men, the images posit another way of seeing the city's history. In these photographs, taken by female flâneurs, empirical observations of bricks and mortar progressively dissolve into pure, evanescent experience.
Catalog for exhibition A View of One's Own - Three Women Photographers in Rome: Esther Van Deman, Georgina Masson, Jeannette Montgomery Barron.
This exhibition, drawn in part from the holdings of the Photographic Archive of the American Academy in Rome, features a selection of photographs by foreign women in Rome from three successive generations. Their work confronts aspects of the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day.
This exhibition was curated by Lindsay Harris, Peter Benson Miller, and Angela Piga.
MIRRORS. Montgomery Barron's first exhibition of black and white MIRRORS opened at Magazzino in May 2004. She has continued photographing mirrors since then, in color. The exhibition opens on November 9, 2016.
A VIEW OF ONE’S OWN: THREE WOMEN PHOTOGRAPHERS IN ROME.
ESTHER VAN DEMAN, GEORGINA MASSON, JEANNETTE MONTGOMERY BARRON
This event is part of the series New Work in the Arts & Humanities: American Classics. This exhibition features a selection of photographs by foreign women in Rome from three successive generations, all of them connected to the American Academy. Their work confronts aspects of the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day. At the same time, it tracks the emergence of photography as an independent medium wielded by women with distinctive viewpoints, as it evolved from a documentary aid to a vehicle for subjective, even gendered expression. The protagonists are American archaeologist Esther Van Deman, who photographed Rome and its surroundings in the 1910s; Georgina Masson, author of the classic guidebook,The Companion Guide to Rome, that has shaped foreigners’ experiences of Rome since the 1950s; and contemporary photographer Jeannette Montgomery Barron, whose images capture glimpses of Rome as seen by an American living abroad in the Eternal City, folding them into a wandering, meditative reverie. Seen in succession against a photographic landscape of Rome defined for the most part by men, these photographs posit another way of seeing the city’s history. Taken by female flâneurs, empirical observations of bricks and mortar progressively dissolve into pure, evanescent experience. A View of One’s Own is curated by Lindsay Harris, Peter Benson Miller, and Angela Maria Piga.
Inaugural Lecture Zoe Strauss 13 October 2016 6pm, AAR Lecture Room
Lecture Letizia Battaglia 3 November 2016 6:30pm, AAR Lecture Room
Fridays, Saturdays, Sundays, 4pm-7pm until 27 November 2016
Musée Magazine issue 15 features JMB photos with André Aciman essay, "ROME IS."
Read more at museemagazine.com
Upstate Diary is about the creative possibilities that thrive in communities outside of city limits. The ways that natural beauty and the challenges of rural life inform and influence the creative process form common themes among most of the artists we feature. Upstate in this context is truly about a state of mind.
We hope that you will learn something new, become inspired by these stories and be inspired to explore.
Upstate Diary is the brainchild of Swedish Photographer and Director Kate Orne, formally an editor at Interview Magazine.
More than a book, a personal diary where the photographer has jotted down notes, collected photographs shot in studios, homes and clubs, letters, and mementos of events linked to her life in New York in the Eighties, further enriched by artists' recollections of that period.
A journey that certainly does not want to be philological but intimate and minimalistic, in its attempt to convey the sense of a special moment in time to those who had not experienced it.
Contributions by: John Ahearn, James Barron, Mike Bidlo, Ross Bleckner, James Brown, Sandro Chia, Enzo Cucchi, Peter Halley, Annette Lemieux, Peter McGough, Jeannette Montgomery Barron, Luigi Ontani
From Keith Haring and Jean-Michel Basquiat, to Andy Warhol and Bianca Jagger, she has shot them all. Known for the black and white portraits of key figures on the New York underground scene in the 1980s that appeared in Interview, Vanity Fair and Vogue, Jeannette Montgomery Barron has brought some of her best together in Scene, an intimate selection of work. Some of the most powerful and poetic shots will be on show at concept store colette in Paris until May 4. We spoke to Jeanette for the inside story behind some iconic images.
Artist Portraits from the 80s, 2020
Catalog from exhibition at Patrick Parrish Gallery, New York
Silver Foil-Stamped, Museum Board Box w/ Binder mechanism
108 Pages (Single + Multi-fold)
Limited edition of 50
1 ½ × 10 ½ × 12 inches (3.81 × 26.67 × 30.48 cm)
Edition of 50 plus II AP
20 “Strictly Limited Edition” portfolios signed and numbered by Jeannette Montgomery Barron, containing 9 duo tone sheets printed on Hahnemühle FineArt Photo Rag paper. Encased in a blood orange canvas clam shell portfolio with ebony de-bossed foiled titles, complete with a front mounted extended cobalt blue opening chord.
More information upon request.