Photo London 2023
We are excited to share and welcome you to our booth (G2) from Thursday 11th to Sunday 14th of May for Photo London at Somerset House.
This year Atlas is presenting a selection of incredible works from a range of artists; including some newly released works by Andreas Gefeller, Nick Brandt, Kacper Kowalski and Bastiaan Woudt.
We will also be showing a selection of never seen before unique contact prints by Terence Donovan, as well as a selection of works from our celebrated exhibition The Black Triangle on the civil rights movement in the UK, USA and South Africa.
We will also be hosting two book signings:
Andreas Gefeller, will sign his new monograph Works 2023-1996, published by Hatje Cantz, on Saturday 13 May from 3 to 4pm.
Kacper Kowalski will sign his new book Event Horizon published by 1605 Collective, on Sunday 14 May, from 12:30 to 2pm.
NICK BRANDT | VANLEY BURKE | POGUS CAESAR | TERENCE DONOVAN | FRAUKE EIGEN | ARMET FRANCIS | ANDREAS GEFELLER | GEORGE HOYNINGEN-HUENE | IRVING PENN | JÜRGEN SCHADEBERG | STEVE SCHAPIRO | SYD SHELTON | ERNEST WITHERS | BASTIAAN WOUDT
Yvonne Nightingale, Advertising shoot for Vidal Sassoon, 18 March 1959
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Untitled contact print, c. 1960s
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Cindy Crawford, 1988
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Naomi Campbell, A Shining New Season for British Evenings’ Hat by Stephen Jones, British Elle, September 1988
Unique Vintage Silver Gelatin Contact Print, 6 x 8 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Cindy Crawford, 1988
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Untitled contact print, c. 1960s
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Celia Hammond, c. 1960s
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Linda Cuneo, 1961
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Untitled contact print, c. 1960s
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Twiggy, 1966
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Sean Connery, 1962
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Norman Parkinson, 1960
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Nancy Egerton, c. 1960s
Unique Vintage Silver Gelatin Contact Print, 6 x 6 cm
These unique vintage contact prints, are small photographs made by laying the negative directly onto the surface of the light sensitive paper. Terence Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. Many also tell the story of their history – they bear crop marks, printing instructions or layout comments. These small, original contact prints of single frames (some more than sixty years old) were kept with his negatives and remain in his archive. As well as being beautiful objects in their own right, they provide an important insight into Terence Donovan’s working process and give us vital information about which shots he felt were most successful from the many hundreds of thousands of photographs taken.
Handsworth Riots, Birmingham, UK, 1985
Gelatin Silver Print
© Pogus Caesar/OOM Gallery Archive. All Rights Reserved, DACS/Artimage 2022
Cuzco (Two Kids), 1948