Art by Medium: C Print

Shooting star - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2033. ...

Tropics Motor Motel I (Memories of Green) - 1999 58x56cm, Edition 1/10, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inven...

Slim Aarons Hang Gliding 1980 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Hang gliding in Kitzbuhel, Austria, 1980. (Photo ...

Daisy in front of Mirror (Till Death do Us part) - 2005 Edition 1/5, 48x46cm, Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate....

True Colors (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist i...

Taken upon leaving Las Vegas, photograph from Richard Heeps' 'Dream in Colour' series, this artwork features a classic American neon Googie sign, with the Las Vegas cityscape lights ...

Madrugada - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2039. Not ...

Afterglow - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2038. Not ...

"Girl With A Gun" Actress and legendary downtown NY scenester Patti Astor, photographed on the set of "The Foreigner" by celebrated New York underground photographer Fernando Natalic...

This is an exclusive handprinted limited edition cyanotype diptych of foamy gorgeous clouds. Details: + Title: Floating Clouds Diptych + Year: 2023 + Edition Size: 20 + Stamped and ...

Type II Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, p...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

This cool picture has a classic Americana feel. Richard Heeps pictures beautifully capture parts of Las Vegas which are no longer there (lost Vegas). This iconic 'Stardust' sign pres...

Limited edition of 60 FujiChrome-Prints, signed by Julius Shulman, released in 1999. 60 x 75.5 cm (23.6 x 29.7 in.) The photographer American photographer Julius Shulman’s images of ...

Love Scene against the Wall - part 2 (Sidewinder) - 2005, 40x39cm, Edition 3/10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inven...

Jurassic Park - 2017 30x30cm, Edition 1/10. Archival C-Print on Pearl photo paper, based on the original Polaroid, not mounted, Signed on the back. Whether in color and black ...

An open road in Amboy, California, featuring telephone poles disappearing into the mountainous distance. This classic and timeless landscape photograph is part of Richard Heeps' 'Dre...

Vivienne VII (Desert Nudes) - 2016 - 20x20cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature l...

Riggs Library II, Washington DC, by world-renowned architectural photographer Reinhard Görner, captures the timeless elegance of one of America's rare surviving cast-iron libraries. ...

I met this stunning Rendille moran (warrior) in the shade of trees near the base of Mount Nyiru. Spring waters, flowing from the huge mountain plateau above, ensure year-round greenery in this area of great aridity. The morans of both the Rendille and the Samburu wear beautifully ornate necklaces. Each design is specific to warriors within a clan and to a time in history (the ‘age-set’ that a young man enters after circumcision). The necklace thus identities his group and places him in the chronology of his tribe. A tribal elder can look at a warrior’s necklace...

Fern I, 2018, Edition 1/7 plus 2 Artist Proofs. Based on an original Impossible film Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2018-47...

Blue Martini and Grey Martini, Milan. Italian architecture photographs by Richard Heeps from his series A Short History of Milan. A Short History of Milan' began in November 2018 fo...

Cliff and Robert 1979/2001 Signed, titled, dated, and numbered, recto Cibachrome print (Edition of 50) 24 x 20 inches, sheet 18 x 18 inches, image

Fallout - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-956. Not mounted. ...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

Available Sizes: 37.5 x 30 in Edition of 15 50 x 40 in Edition of 10 60 x 48 in Edition of 5 Alejandra: Alejandra made us take our hats off, Mother Nature never fails to impress, an...

The story of two worlds, two entities; separated by distance and their journey of reconnection. - The Spaces in Between series While aboard an Irish ferry bound for Cork, a window reveals swirling waves beneath the horizon. The rocking of the ferry fills and empties the frame with a hypnotic dance of the sea. Cawston expertly times the shot, capturing a window predominantly filled with the sea, only a slender glow peeking through. The two chairs, positioned in almost mirror symmetry, face opposite directions, also add to the story. They journey together on the ferry traversing predetermined locations across a geographical boundary.  A metaphor perhaps, about connection of two worlds separated by distance. Challenging as a situation and journey may be, there is a beacon of hope on the horizon...

Swept Away - 2017, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2017-155. Not...

Dasha & Mari - Lady Cat I 30x30" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful fine art image from the twin artists duo from Kiev. Steeped in fashion iconography and with more than a dash of Helmut Newton - these works are fast becoming collectable. About the artists : DASHA & MARI are award-winning photographers, twin sisters from Kiev, Ukraine. Specialise in Fashion, Art Nude and Psychological Portrait. They have an extensive experience in fashion industry in London, Paris, Milan and Berlin. Art photography they create has a cinematic feel, it is original and storytelling. HEARST Magazines UK have selected them for the Master's Photography program in Cambridge, UK. Artists have received a Masters Degree from Kingston University, London, UK in 2018. HONORS & AWARDS PARIS PHOTO 2018, Fashion Nude Expo. Collective exhibition. Paris, France MA Art + Design Exhibition The Brick Lane Gallery, London UK 2018 13th Annual Black & White Spider Awards 2018 - Nominee in Fine Art The Game 12th Annual Black & White Spider Awards 2017, Beverly Hills, CA - Winner in Fashion category 11th Annual International Color Awards , Beverly Hills, CA 2017 - Nominee in Fashion category HOME GALLERY, Personal Photography Exhibition 'FUTURO EROICO'. Salerno, Italy 2017 10th Annual INTERNATIONAL COLOR AWARDS 2017, Beverly Hills, CA - Winner, Honorable Mention in Fashion category FASHION 2ND PLACE WINNER (PROFESSIONAL), FAPA 2016 FINE ART PHOTOGRAPHY AWARDS PHIFEST Exhibition of Photography, Milan, Italy 2016 Photography Exhibition at SALONE DEL MOBILE 2016 - Milan, Italy Photography Exhibition at 55th annual week of Design in Milan in co-operation with SM Samuele Mazza Outdoor Collection and Ipe Cavalli. Exhibition at The ART BOWL GALLERY, Amsterdam 2016 10th Annual Black & White Spider Awards 2015, Beverly Hills, CA - Nominee in Fashion MONOCHROME AWARDS 2015 - Honorable Mention (Professional) in Fashion / Beauty Finalists of the HASSELBLAD MASTERS AWARDS 2014 8th Annual INTERNATIONAL COLOR AWARDS, Beverly Hills, CA - Nominee in Fashion category International Color Awards 2014 Sony World Photography Awards - Shortlisted in the Fashion category 2012, London, United Kingdom. Solo Exhibition in Russia 2011 Art Nude Photography Exhibition 'SECRET GARDEN', Ryazan city, Russia. PUBLICATIONS & PROJECTS NORMAL magazine (France), OPENEYE magazine (France), ELLE Magazine UK, THE COMMISSION LONDON (UK), THE HUFFINGTON POST (US), PH Magazine (Canada), INSIDE BRACKETS (Paris), IDOLL Magazine (USA), Professional Photographer (UK), CHIC LIFESTYLE Magazine (Mexico), BOREALIS (Canada), PORTFOLIOS Magazine (Spain), The View Magazine (Netherlands), ZEPHYR Magazine (US), NOCTIS Magazine (UK), VOGUE ITALIA (Italy), HOLISTIC FASHIONISTA (LA, US), TARTARUS Magazine (US), IT-MAGAZINE (Switzerland), AFTER NYNE Magazine (UK), ARCHIDESART Magazine (UK), NIF Magazine, WHY NOT Magazine, POLISART Magazine (Portugal), PLAYBOY Photo Awards (Ukraine), BIZZARE Magazine (UK), Sensual Photography (France), All About Models (Paris, France), BLUR Magazine (Croatia), IDOLE Magazine (France), ART HOUSE (Monaco), etc. SAMUELE MAZZA - Luxury Interiors and Furniture (Italy), GIOFFRE (Italy), VERTIGE (Italy), VICTOR WILDE...

Boccia VI (Beachshoot) - 2005 38x36cm, Edition of 10. Digital C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. featuring Cami...

Leaving Town (Sidewinder) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Invent...

Factory Spine, Italian industrial architecture photograph from Richard Heeps series A Short History of Milan. A Short History of Milan began as...

Blinding - 2022 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2049. Not mounted...

Floaties (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 1435. Not ...

Jimi Hendrix, London 1967 by Gered Mankowitz A portrait of Jimi looking serious while holding a cigarette in an embroidered jacket. "Shot during my first session with Jimi at my Stu...

Madam X - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2021-1082. Not mounted. ...

Hand printed by the artist on Cibachrome paper. Signed in pencil. Numbered. Framed in traditional off white metal & high grade plexiglass.

'Yellow Tinted Cassette' from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’ personal past...

Untitled (Cowboys and Angels) - 2005 39x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. artist Inventory No...

Between Words (Stage of Consciousness) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024....

Cats, British Vintage interior photograph from Richard Heeps' series, Ordinary Places. Ordinary Places was Richard's first colour collection shot between 1986-1991 and it instantly ...

Motel Entrance II, photograph from Richard Heeps Salton Sea series. Classic mid-century architecture in this artwork from the Salton Sea California. Rich blues, palm trees with pops ...

Diasec-mounted chromogenic print on aluminium, 2014, numbered from an edition of 500 in black ink on the reverse, a facsimile object after the painting of 2010, published by Heni Pro...

Daisy on Bed (Till Death do us Part) - 2005 - 125x154cm, Edition 3/3, analog C-Print, hand-printed by the artist, based on an original Polaroid. Artist ...

Ferguson Racing Streamliner, in the iconic home of speed, Bonneville Salt Flats. Bonneville has been the setting of many land speed attempts and records, the unique landscape creates...

Madonna (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist inventory Nu...

Sea Drive, 1967 - Vintage Red Automobile Amphibian Car American Waters by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Please n...

Steel Pier, Atlantic City, seaside architecture photograph by Richard Heeps. Captured in the early morning following a storm, the misty sea air under the dramatic structure creates a...

Aquarius (Californication) - 2019 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Number...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Edition of 3 More sizes on request. 6 ladies dancing in baroque costumes. Tyler Shields is an American Photographer, screenwriter, director and former professional inline skater who has been labeled by some as “Hollywood’s favorite photographer”. He is best known for his unparalleled, controversial, shock evoking photographs of Hollywood Celebrities. Shield’s images often incorporate violence and eroticism, such as his 2011 photograph of Lindsay Lohan in which she appears seductive while being covered in blood and holding a knife. Continuing to push the boundaries, in preparation for his Life Is Not A Fairytale (2011) exhibit in 2011, Shields collected blood from twenty celebrities to paint with, onto a canvas. Shields also appeared to stage the “shooting” of a party-goer with a gun the same year at a release party for his book “Collisions” as an appropriated piece of performance art en homage to the cans of Fluxus artist, Piero Manzoni. Shields is not shy to controversy, in 2012 he also released a photograph of Francesca Eastwood, burning, sawing and biting a $100,000 Hermès Birkin Bag for a photoshoot. Moreover, his series “Suspense” (2013) portrays and depicts stars such as Emma Roberts, Francesca Eastwood and Lydia Hearst frozen in mid-air falling and voluntarily jumping off buildings and bridges creating a sense of movement, adrenaline, and excitement. “Suspense is not about death; it’s about life” explains Shields. Rather than focusing on the person in the frame, these images are more concerned with the action, environment, and landscape. In 2015. Shields created the series “Historical Fiction” which focuses on historical events such as the deaths of James Dean, John F Kennedy, Dr. Martin Luther King among many more historical events. This series put the American Civil Rights Era at the forefront of his work, as these images explore dark moments in history with many of them honing in on moments that confront the country’s racist past. Furthermore, in 2015 Shields created his hit series “Chromatics” which surrounds the theme of “beauty in chaos” captured through freeze frames of surreal, technicolor violence with colored powder. In order to create this violence, he lined up 20 people up against each other and made them fight with powder. Shields’ talent goes beyond shock. His unique, sinister and daring lens through which he composes and creates his work enables him to push boundaries and experiment with tweaking the Hollywood mystique. The mystery behind his relationships and habits captivate the media, not unlike the art world’s best-known friend of the famous, Andy Warhol. _Photography, nude, woman, naked, story teller...

Norman Parkinson 'Audrey Hepburn, Vogue' 1952 Silver gelatin print 20 x 24 inches Estate stamped and numbered on verso “The camera can be the most deadly weapon since the assassi...

Hotel Camino Real - Mexican Resort Photograph Swimming Pool Palm Trees by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Hotel C...

Vintage Wimpy, interior photograph by Richard Heeps. The timeless combination of blue seating and red tables create a nostalgic cinematic aesthetic. This artwork is a limited editio...

LTD ED Vinyl Spring, a pink and orange artwork in the Heidler & Heeps B Side Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and N...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

Untitled 2014, Edition of 10 plus 2 Artist Proofs, digital C-Print, based on an Polaroid 125i, 10.2 cm x 8.5cm Signed, embossed stamp and artist certificate. Not mounted. Xulong Z...

I'm only happy when it rains - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist invent...

Dial Zero - 2020 Edition of 10 - 40 x 40 cm Digital C-Print based on a on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare ...

A classic American open road photograph, but this, the authentic modest but historic Inyokern Airport Drag Strip. As a drag racing fan Richard is pleas...