Dark Wine Bottle And Flute Abstract Still Life | Limited Edition of 10
Bottle And Flute Become Shapes In Near Darkness
Of the studio wine photographs I have made, this one moves furthest toward abstraction. Most of my archive comes from being out in the world, often far from home, reacting to places and moments I cannot control. This image came from the opposite process. I stayed in the studio, removed nearly everything from the frame, and used selective light to make familiar objects almost disappear.
A flute of pale sparkling wine stands in the background on the left. In front of it, a large dark bottle cuts through the composition and conceals much of the glass. Only a narrow illuminated edge, the warm wine inside the flute, and a few reflected lines remain clearly visible. The bottle itself is nearly black, but a sweeping white contour and a slender amber reflection reveal enough of its shape to keep the image grounded in reality. That tension between object and abstraction is what connects it to my still life wall art.
The negative space is not simply empty background. It is part of the structure. Large sections of the photograph contain almost no visible information, so every bright edge becomes important. The bottle curve reads almost like an architectural line. The flute appears to slip behind it. A small golden reflection inside the bottle becomes less like reflected light and more like a vertical brushstroke.
This was a rare way of working for me. In travel photography I am usually searching for something already happening. In the studio, I could move an object slightly, alter the light, and watch the entire geometry of the photograph change. I kept reducing rather than adding until the scene was held together by only the essential shapes.
The limited color is deliberate. Black provides scale and mystery, white defines the glass, and restrained gold gives the photograph warmth. I would not want more color in the frame because the strength comes from how little is revealed.
I release this photograph as a limited edition of only 10 prints across all sizes. Each print is personally signed by me and accompanied by a certificate of authenticity. I use archival pigment inks on premium archival paper, where maintaining separation in the deepest blacks is as important as preserving the bright edge highlights.
On a wall, I expect this image to read almost as an abstract vertical composition before the wine subject is fully recognized. It has a strong fit with minimalist and contemporary interiors, particularly dining areas, wine rooms, restaurants, and spaces built around dark tones, stone, wood, or clean architectural lines.
For me, this is the photograph where bottle, glass, reflection, and shadow come closest to pure visual design while still belonging unmistakably within my wine wall art.
© Dan Kosmayer, 2012
Limited Edition of 10
This photograph is released as a signed and numbered limited edition of only 10 prints in total across all available sizes combined—not 10 prints in each size.
Every size is drawn from the same edition. Whether the photograph is purchased as a small print or at the largest available size, it uses one of the 10 edition numbers.
I personally sign and number each print on the reverse, and every print is accompanied by a signed Certificate of Authenticity recording its title, dimensions, medium, edition number, and date of issue.
Once all 10 prints have been sold, the edition will be permanently closed. No additional numbered editions of the photograph will be produced in another size or format.
Premium Archival Fine Art Prints
I personally produce every photograph using archival pigment inks on premium archival paper with a subtle luster finish.
The paper provides rich tonal depth, excellent fine-detail reproduction, and a refined surface that reduces distracting glare under normal indoor lighting. It is especially well suited to both color and black-and-white photography.
Each photograph is sold as an unframed fine art print, allowing it to be framed according to the collector’s space and personal style.
Before a print leaves my studio, I carefully inspect it for color, tonal accuracy, surface quality, and overall presentation. Nothing is outsourced, and every finished print passes through my hands.
