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Return Policy


All photographs are safely shipped using high quality packing material. When unpacking we encourage the following steps: 

  • Place the box on a thick furniture pad or blanket.
  • Carefully open the box. You can use scissors, just use extra care when cutting down the seams. 
  • Remove packing materials slowly. Any tape used should be removable by hand.
  • Place the item where it will be safe until it's ready for hanging.

If your purchase arrived damaged due to shipping please contact us within 10 days of delivery at jean@jeankarotkin.com and include photo documentation of damages and/or packaging concerns. Again, please do this within 10 days of receiving your order. After 10 days, we will no longer replace a photograph.

To be eligible for a replacement your item must be unused and returned in the same condition that you received it. It must also be in the original packaging.

We recommend using a trackable shipping service or purchasing shipping insurance. We don’t guarantee that we will receive your returned item.

Shipping and handling fees are unfortunately not refundable.

Once your original item is received and inspected, we will send you an email to notify you that we have received it. We will also notify you when the replacement item has been shipped. 

Depending on where you live, the time it takes for your exchanged product to reach you may vary.

The Gymnopédies Series

A Series of Botanical Portraits

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The Gymnopédies Series

Disavow Context and Convention

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The Gymnopédies Series

Innocent and Erotic Still Lifes In Motion

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Featured Collection

BRADFORD PEAR

BRADFORD PEAR

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CALADIUM LEAF

CALADIUM LEAF

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CECROPIA LEAVES I

CECROPIA LEAVES I

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CECROPIA LEAVES II

CECROPIA LEAVES II

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Gymnopédies

Jean Karotkin’s series of botanical portraits takes its name from a trio of piano compositions by 19th century French composer Erik Satie. Void of connotation, the unusual title freed Satie from stylistic constraints and gifted his audience a new experience of music. Karotkin’s Gymnopédies encourage a similar foray in the realm of flower photography. The artist disavows context and convention, eschewing sentimentality in favor of heady tonal interplay. The chiaroscuro both abstracts and anthropomorphizes, exposing some of nature’s more subversive personalities. As with Satie’s work, these images pacify through dramatic texture, emotional provocation and a welcomed dissonance. They are innocent and erotic still lifes in motion.

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