C Print Art

Portofino Harbour, 1955 - Yachts and Watercraft Moored in Portofino Harbour 16 x 20" print. Limited Edition Estate Stamped Print. Digital C-Type print. Edition of 150. Printed Later...

Fishing Boats in Mexico, 1952 - Southern America Beaches Landscape Photography by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. '...

'Nirvana Quartet' 1986 Slim Aarons Limited Estate Edition Print Oscar Obregon Salazar Gomez Velez Guzman y Murphy (centre, left) with Karen Murphy, Robin Goodland and Melissa Engelh...

Treasure Cay 1986 - Slim Aarons Estate Stamped Edition Treasure Cay resort on Great Abaco Island in the Bahamas, March 1986 20 x 24" inches / 51 x 61 cm paper size Estate Stamped...

Sheila Metzner’s unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Looking ...

Porto Ercole Watercraft, 1969 - Crystal Waters Italian Coastline Tuscany Hotel by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. ...

Positano Beach Elevated view looking down on sunbathers and parasols on the beach at La Scogliera beach in Positano, Italy, 1979. Gorgeous print measuring a Supersize 48 x 72" inch...

Galleria Vittorio Emanuele II (1960) Limited Edition Estate Stamped (Photo By Slim Aarons) View looking down the Galleria Vittorio Emanuele II in Milan, Italy, 1960. Opened in 1...

Coffee with Dali, 1955 - Salvador Dali Black and White Portrait Madrid Hotel by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. C...

Ardizzones House - Portofino Villa Beatrice Italian Riviera Escape Mediterranean by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later...

An exceptional and rare opportunity to own an edition of one of the most celebrated photographs in Hollywood history. Captured by legendary British photographer Terry O’Neill on the ...

El Venero - Moorish Architecture Spanish Villa Mountain Landscape by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. El Venero i...

Skiers in Gstaad - Ski Resort Switzerland Fashion Photography Winter Snow Sports by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Late...

Swimming in the Bahamas, 1959 - Nassau Bahamas Snorkelling Scuba Diving by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Swimmi...

Poolside Pairs 1970 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Caption: Former fashion model Helen Dzo Dzo Kaptur (in white...

Anne Ryan, California Fashion - Hollywood Fashion Poolside Cocktails al Fresco by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. ...

'Acapulco Villa' 1968 Slim Aarons Limited Estate Edition Print Las Brisas, the home of Eustaquio Escandon in Acapulco, January 1968. From 'A Wonderful Time - Slim Aarons' (Photo b...

Monte Carlo Hotel Pool, 1970 - Monaco Landscape Photography Swimming Pool by Sea by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Princess Bianca, 1985 - Portrait of Royal Princess Wearing Pink Jumpsuit in Snow by Slim Aarons 16" x 20" Digital C-Type Print. Limited Edition Estate Stamped Print. Edition of 150....

Somali-American fashion model and actress Iman at King Peter’s Bay, Tobago wearing a Krizia jumpsuit. British Vogue magazine, May 1976. Iman in Krizia jumpsuit in Tobago for Vogue,...

Guests in the pool at the Las Brisas Hotel, Acapulco, Mexico, February 1972. Slim Aarons Swimmers At Las Brisas 1972 C print (Printed later) Estate signature stamped and hand numbe...

Meyerowitz first drew acclaim for his remarkable ability to capture subtlequalities of light with the 1978 publication of Cape Light, which went on to become a color photography clas...

Decked in Finery - Diamond Parure Jewellery New Year's Party Romanoff Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later....

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Three velvet-capped women huddle in gossip as another looks on during an October 1949 Vogue photoshoot entitled "Young Velvets, Young Prices". Taken from the roof of the Condé Nast ...

Decking by the Sea - Bermuda Sunbathing Bahamas Hotel Swimming Pool by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Digital C-Type print. Edition of 150. Printe...

Colorful Crew, 1970 - Bermuda Sailing Island Living Yacht Day Trips Bermuda by Slim Aaron 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. Col...

Porto Ercole, Tuscany, 1973 - Tuscany Hotel Crystal Waters Coastal View by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Porto ...

Henry Fonda - American Actor Henry Fonda Ocean Portrait Blue Sky Horizon by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Henry ...

Snowmass Picnic - Aspen Colorado Ski Resort American Winter Ski Sports Resort by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Snowmass Picnic" is a beautiful Limited Edition Estate Stamped Digital C-Type print by 20th Century photographer Slim Aarons. A stand-up fondue picnic for the skiers at Snowmass-at-Aspen, in Colorado. The picnic was organized by Holiday magazine, with the helicopter in the background being used to bring up hot food. The guest list included one Olympic skier, the president of IBM, an American restaurateur, and the CEO of Head Ski...

New England Skiing - Black and White Winter Ski Sport Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "New England S...

'Capri Hotel' 1989 Slim Aarons Limited Estate Edition Print Richard Bolliger, the owner of Bolliger Transport Worldwide, holidaying on Capri, September 1989. Paper size 30 x 40 inc...

'Swimming Pool On The Beach' 1981 Slim Aarons Limited Estate Edition Print The pool at the Meridian Club, owned by Ginny and Bill Cowles, on the Turks and Caicos islands, March 1981...

All Mine, 1968 - Jim Kimberly in Palm Beach Posing with Wife by Harbour 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "All Mine" is a beautif...

Brunch at Brennan's, 1960 - Brunch Under Palm Trees at Indoor Garden Restaurant 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 150. Printed Lat...

'Yacht Holiday' 1967 Slim Aarons Limited Estate Edition Print Tanned bodies on the deck of Dino Pecci Blunt's yacht in Marbella, 1967. (Photo by Slim Aarons/Hulton Archive/Getty Ima...

Leixlip Castle circa 1990 by Christopher Simon Sykes An oil painting, various saddles and an old trunk in Leixlip Castle, County Kildare, 1990s. (Photo by Christopher Simon Sykes) ...

Ocean Club 1968 - Slim Aarons Estate Stamped Versailles Gardens at the Ocean Club, Nassau with terraced steps leading from a swimming pool to a 14th century French cloisters. 20 x ...

Twiggy – at David Steen’s Home, Surrey, Lesley Lawson (born 19 September 1949) is an English model, actress, and singer widely known by the nickname Twiggy. She was a British cultu...

The French actress Brigitte Bardot in Scotland between two takes of the film “A Coeur Joie” (Head over Heels) directed by Serge Bourguignon. (Photo by Keystone-France/Gamma-Keystone via the Getty Images Archive London England.) Oversize 30x30 inches C type print Archive stamped Gallery stamped certification provided printed 2020 Brigitte Bardot fashion...

Desert House Party, 1970 - Poolside Gathering at Kaufmann House in Palm Springs by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Leisure and Fashion, Colony Hotel, 1961 - Palm Trees and Glamour in Palm Beach by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 1...

Skiing in St Moritz, 1983 - Palace Hotel Switzerland Alpine Scott Olympic Skis by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. '...

Donna Fabrizia Lanza, 1984 - Villa Tasca Sicily Portrait Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Donna Fabri...

Conca dei Marini Bay, 1984 - Amalfi Coast Positano Italian Coastal Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

View from Il Pellicano - Italian Crystal Waters Tuscany Porto Ercole Coastline by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Chalet Costi, Zermatt, 1968 - Switzerland Landscape Photography Zermatt Skiing by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 15...

American fashion editor Florence 'Flo' Pritchett Smith (left) and American fashion designer Lilly Pulitzer at a poolside luncheon, Palm Beach, Florida, 1961. Slim Aarons Lilly Puli...

Beauty and the Beast, 1959 - Portrait of Lady Daphne Cameron on Tigerskin Rug by Slim Aarons 16 x 16" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "B...

'Hotel Sports' 1958 Slim Aarons Limited Estate Edition Print 1958: Holidaymakers water-skiing in front of the Carlton Hotel, Cannes. Paper size 40 x 30 inches / 101 x 76 cm Printe...

Saint Kitts and Nevis, 1984 - Horse Riding on Caribbean Island near Palm Trees 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Saint Kitts an...

Audrey Hepburn Dove 1967 (printed later) C-Type Print 40 x 30 inches Posthumous Edition of 50: digitally signed and numbered on the front, estate-stamped on reverse. The print is a...

Poolside Host, 1970 - Poolside Gathering by Swimming Pool at Kaufmann House by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later 'Pool...

Cortina d'Ampezzo, 1982 - Shopping in Winter in Italian Mountain Landscape by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Cor...

A skier using the ski lifts at Cortina D'Ampezzo, Italy, 1962. Cortina D'Ampezzo 1962 C print (Printed later) Estate signature stamped and hand numbered edition of 150 with certifi...

Rod Stewart & Britt Ekland – Holmby Hills, Los Angeles, California 1976 Limited Edition David Steen Estate Print Limited Edition: All prints are limited editions, no further p...

St. Louis and the Arch Vintage Photograph St. Louis and the Arch: titled, initialed, dated 1981, copyright 1982, and editioned 4/20 to verso. Provenance: US Bank Visual Arts Departm...

Cotton Bay, Bahamas, 1982 - Eleuthera Island Bahamas Luxury Villa by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Cotton Bay, B...

Twiggy – David Steen’s Home, Surrey, December, 1967 Limited Edition Limited Edition David Steen Estate Print Limited Edition: All prints are limited editions, no further prints a...