Art by Medium: Photographic Paper

Troy House, Red Umbrella, archival pigment print. A bright red umbrella opens onto the promise of spring, sunlight, and the anticipation of travel. House captures the simple joy of a...

Actress Marilyn Monroe reads the book "To the Actor: On the Technique of Acting" by Michael Chekhov in a quiet moment at the Ambassador Hotel in March 1955 in New York City, New York...

ICES Cornflower Blue, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex co...

Gelatin silver print, 7 1/2 x 9 1/2 in. (190 x 241 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland Butler Collectio...

Fishing Hut, Southwold, harbour architecture photograph from Richard Heeps' series, On-Sea. The modest fishing hut becomes a work of art set against a blue sky in the sunshine. This...

Newport Tennis Week, 1954 - Tennis Tournament Rhode Island Poodle Spectators by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. ...

Stan Laurel - Vintage Autographed Photograph  is a vintage photo, realized in the 1940s. Hand-signed by the actor Stan Laurel and his friend and colleague Oliver Hardy the most famo...

Andros Island - Setting Sail on Watercraft from Archipelago in Bahamas 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "And...

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and a 14 day return policy. Also available for local pick up at our New York City galler...

GEORGE BARRIS P8 FROM "THE LAST PHOTOS" ORIGINAL PHOTO FROM ORIGINAL NEGATIVE 20 X 16 INCHES HAND SIGNED BY ARTIST This piece is an original photograph of Marilyn Monroe from the or...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact when they're placed next to each other. I experiment with intensity of colours and the different sensations colours evoke. Why a Circle? When I explore my fascination with this shape I discover that the circle represents all that is familiar and comforting. It is the shape of the rising sun, of a mother's nipple, of the iris of the eye, and of a full moon. I use the latest digital technology as a medium to create my circles. ABOUT THIS ARTIST: Ruth Adler is a Canadian artist whose mediums include paintings, works on paper, animated films and textiles. She is inspired by the city of Tel Aviv, music (she plays the harmonica) and her personal memories. Jim Kempner Fine Art...

Liminal lingers in the in-between, where a form is neither fully opening nor fully fading, but suspended at the threshold. A single bloom becomes a small theatre of transformation: r...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the fleeting surfaces and monochromatic nature of oceanic water and dramatic cloudscapes ...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 20x20cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

Large format observation of a California Redwoods grove, capturing the colors and lush flora of the iconic biosphere in mesmerizing details Redwoods (2010) by Erik Pawassar is offer...

Linda Connor: Lick Observatory These celestial images are made from glass plate negatives that belong to the archive of the Lick Observatory in San Francisco. These images were mad...

'Legends Corner, Nashville, Tennessee' is a black and white archival inkjet print by Morgan Silk. It is available in this size of 18" x 18" in a limited edition of 10. The iconic,...

Lady Diana and Prince Harry is a vintage black and white Photograph realized in the 1980s. Good conditions. The description on the rear.

Art books bookscape

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 72.5 x 58 inches / 184cm x 147cm signed edition...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

The Queen Elizabeth II in Rome is a is a black and white vintage photo, realized in 1962. The photo depicts a official moment of the English Crown. Queen Elizabeth II visiting in Ro...

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...

large scale abstract b&w photograph of mesmerizing monochromatic black white water surface SEASCAPE V by Frank Schott 60 x 48 inches / 152cm x 122cm photo...

Best Choice in Downtown, captured by Richard Heeps in Kowloon in 2016, this piece perfectly captures the layers of Hong Kong. As a photographer Richard is always looking at what trul...

from a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism Topiary I by Frank Schott 59.5 x 59.5 inches (1...

Stillness 4, 2021 - Misty Natural Landscape of Trees in Ancient English Woodland by Ellie Davies Stillness 4 is a Digital C-Type Print on Fuji Maxima Matte paper, available in this ...

'Bucking Bronco' is a black and white photographic print by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Michael Ormerod: Vanishing Point'. Michael Ormerod w...

"Love" Black & White Photography 39" x 39" inch Edition 1/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Comes with COA issued by ...

The photo is signed and stamped on the front by Marcin Ryczek and will be send unframed A Man Feeding Swans in the Snow (2013) - edition 25 in format 30...

Francesca Woodman is an original artwork realized by the Italian artist and photographer Angelo Cricchi in 2008. Original Digital Photograph. Hand...

'Poppy Bloom’ London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. The photograph is signed front and back...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

The pool n°5 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 75 cm (19....

Hôtel des Cabines n°5 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 7...

Gaia 6 by Jaume Llorens Bach Gaia 6 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size in a Limited Edition of 10 + 2 Artist's Pr...

ICES Cornflower Blue, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex co...

Elektronik, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal past and...

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...

Gelatin silver print mounted on board, 7 1/2 x 9 1/2 in. (190 x 241 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland...

Hotel Hacienda, 1978 - Hotel Swimming Pool, Spanish Island of Ibiza Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

This bookscape is a compilation of books about Judiasm and was inspired by the artist's love for Israel.

Born and raised on the Central Coast of California, Dylan was brought up raising horses, surfing and skating throughout his youth. The pursuit to tell stories came naturally when he began pointing his camera towards what and who he loved most. Now known for his work in the Outdoor and Editorial realms Dylan travels the globe shooting with Top Athletes and brands. Dylan now resides in Ventura...

Abstract photography, signed by the author.

DEJAVU Trailer, captured on a sunny winter morning, on one of Richard's many visits, capturing the trailer in the fen landscape as it changes with the seasons, this time when flooded...

Utopian Foyer from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has be...

Gaia 117 - Black and White Diptych of Clouds and Waves Catalonia Spanish Sea by Jaume Llorens Bach Gaia 117 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper ...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Untitled (#08-22) is a limited edition photograph by Polish contemporary artist Pawel Żak. This photograph is sold unframed as a print only. It is available in the size 67 x 93 cm (...

Craig y Don Pool, looking across the bay of Llandudno, Wales in the United Kingdom. Dreamy symmetry in shades of blue mesmerise your eyes in this photograph by Richard Heeps. This a...

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

Foyer VIII, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has becom...

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimizing the modern elements. I love the geometry of the tiles, the lines on the bottom of the pool and the typography of the signs. Since my first Poolside exhibition in 2018, I have travelled to London, Paris, Manchester and Glasgow to add to my collection. Focusing on composition, carefully using blocks of colour to show interesting shape and proportion. The eye is drawn to the architecture, then the symmetry and reflections, and finally to the models, which feels more intimate.‘ Although my first collections were heavily inspired by my love of Wes Anderson's work, I’ve also been looking to other cinematic imagery from directors like Terrence Malick and Stanley Kubrick, while still keeping my signature style.’ We are so lucky to still have these beautiful old pools and maybe the photographs will remind people how lovely they are." - Soo Burnell ABOUT THIS ARTIST: Growing up surrounded by Edinburgh's historic beauty, it would be hard for any photographer not be inspired by its incredible buildings. However, it was the Victorian swimming pools of her childhood that really spoke to photographer Soo Burnell, and allowed her to apply her personal style and aesthetic to shoot these iconic buildings. Taking inspiration across many art forms, from architects, artists and filmmakers, Soo’s stylised shots are reminiscent of frames from a Wes Anderson film...

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...

A black and white photograph from the 1950s capturing beatnik hipster writer Jack Kerouac in dark glasses, wearing a beret and friend Barbara Ferrara. Beat Couple, 1959 by Burt Gl...

Donna Domitilla Ruspoli - Portrait in Baroque Romantic Architecture Palazzo by Slim Aarons 16" x 16" print on 16 x 20 paper. Limited Edition Estate Stamped Print. Edition of 150. P...

'Monument Valley' Arizona, USA, 2023 From Limited edition of 20. Photograph shot using mid-century large format film camera Linhof. Prin...

'Tyrolian winter morning' 2024 A photograph captured with a Polaroid camera. Printed on the finest archival paper, these limited edition photographs are designed to withstand the te...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Minjin Kang and Mijoo Kim are a creative duo, who have been inspirin...