Photography

Limited Edition series of Classic a couple Porsche Targa within Palm Springs California. Mid Century Modern Design Architecture. Photography by Tom Blach...

Platinum/Palladium (there was no pull down for this) Print Date 2025 Hand printed by artist Edition 1/15 Outer dimensions 16x20" Corner Mounted

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...

image size: 15 x 11 inches Artist Proof Photograph of Nude Woman Sitting Unique Polaroid Transfer on Rives BFK paper, unframed signed SM Beard in pencil on bottom right corner, unique print. This is one in a series of Polaroid transfers...

Rachael 02 - Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1984. The negative was scanned creating a digital file which was t...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Iconic portrait photograph by midcentury society photographer Slim Aarons, capturing young Jackie Kennedy (Jacqueline Onassis) (1929 - 1994) wife of Senator Jack Kennedy, at a 'April...

This piece titled "Flight Risk" is a limited edition photographic print by Andrew Pinkham and is made from archival pigment on cotton rag. This piece measures 20"h x 20"w unframed an...

Bellec entoure un reflet uni ou des points multicolores d'une nuit noire, d'une densité mystérieuse. C'est un jeu de couleurs avec des reflets qui s'alternent. Rendre abstrait quelq...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Sea Fan. This one is hand signed and dated verso. Seasons explores the seasons of Man, Woman, Child, Civilization, Nature and Technology. First digital artwork purchased by the Metropolitan Museum. Date: 1980-1981 Medium: vintage color photocopy print. “I worked at The Metropolitan Museum in 1981, when they acquired [Lesley’s] SEASONS portfolio. We knew we wanted it, even though we didn’t have a category for it.” David Kiehl, Curator of Prints and Special Collections The Whitney Museum of American Art, New York City. Lesley Schiff (born 1951) is an American fine artist. Schiff studied painting at the Art Institute Chicago before developing her signature practice using color laser printers to create images. Her work is included in the collections of the Whitney Museum of American Art, the Mead Art Museum and the Metropolitan Museum of Art and other major museums, corporate and private collections globally. Lesley Schiff revolutionized the photocopier from being an office tool to just another instrument in the artist's arsenal. Rather than addressing the tool in her work, Schiff instead uses the photocopier like a paintbrush to realize her vision. Once a painter, Schiff says: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct." Painting with light, Schiff's body of work outlines a cycle of life: man, woman, child, civilization, nature, technology. More recent works challenge the viewer to understand the concept of eye-levels and perspectives, reinventing the way we see. Schiff's work was the Metropolitan Museum of Art's first digital acquisition, and most recently, was featured at the Whitney Museum of American Art in "Experiments in Electrostatics". She uses a color laser printer “like a paintbrush” to create her art. She has said about her work and her tool: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct—but no matter how hi-tech my tools become, I’m a painter, but instead of painting with oils, I paint with light. The Whitney Museum will show Lesley Schiff's pioneering SEASONS portfolio in its entirety. Many prominent collections acquired SEASONS as their first digital artwork. She participated in the Punk Art show in the 1970's. Her work kind of relates to Fluxus and Dada. Leslie Schiff moved from Chicago to New York in the early 1970s. Much of her art involves collage and the Xerox photocopy machine. Her images are rooted in her personal psyche and have an intuitive meaning that is not always easily understood. In exhibitions, Xerox sheets are combined and displayed decoratively on the wall. Schiff has also created books; and made video and sound tapes. She was included in the seminal New York/New Wave 1981 exhibition show at MoMA PS1 along with Jean-Michel Basquiat, William S.Burroughs, David Byrne, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Robert Mapplethorpe, Kenny Scharf, Steven Sprouse, Andy Warhol and Lawrence Weiner. She did a “visual biography,” comprised of portraits of Bob Dylan—depicted at different ages, from his 20s to his 60s—illustrations of his lyrics, and images of iconic objects like his sunglasses and harmonica. Schiff collaborated with Matthew Carter...

Underwater nude photograph of a model swimming in the pool. "There were five grand pianos at her house, a pool at the third floor, and a sad man on the bottom of that pool me. I jus...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of...

An underwater black and white photograph of beautiful naked young woman breasts covered with air bubbles. “In my line of photography all best shots are ...

Summer Picnic - Afternoon Outdoors in Nature by Natural Pond with Waterlilies shows a summer picnic afternoon outdoors on a grassy plain by a natural pond with waterlilies 16 x 20" ...

This black-and-white photo captures jazz legend Louis Armstrong playing his trumpet during a performance in Berlin in 1965. Armstrong, with intense focus, holds the trumpet close to his lips, his cheeks slightly puffed as he blows into the instrument. The lighting creates a dramatic effect, highlighting the shine of the trumpet and his facial expression, which conveys his passion and dedication to the music. Dressed in formal attire, Armstrong stands in the spotlight, embodying his iconic status as one of jazz music's greatest figures. The background is blurred, keeping the focus on Armstrong and his trumpet. The print is new, Highest Quality on Hahnemühle FineArt Baryta. More sizes up to 150x150 cm available on request. About Tassilo Leher: Born in the dark years of World War II, Tassilo Leher became an icon of photographic art in divided Germany. As the son of war correspondent Karl Leher, whose lens captured moments of contemporary history, he was born in 1940 in the heart of Berlin. He shared not only the studio in the picturesque Prenzlauer Berg with his father, but also the mysterious world of the darkroom. While Karl Leher, an early riser, made use of the morning hours, Tassilo found his creative flow only by midday, often working late into the night. His camera knew no bounds: from the dazzling stars of East German show business like Phudys, Karat, Hildegard Kneef, Manfred Krug, Bubi Scholz, to international greats such as Dean Reed, Karel Gott, Jiri Korn, and Costa Cordalis – all found themselves in front of his lens. The Friedrichstadt-Palast and numerous film sets became his stages, where he played with light and shadow to perfectly frame famous...

Little Lies - 2022 20x20cm, Edition of 7 plus 2 artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2041. No...

Aerial Views, Tulip Fields 01 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 di...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Archival Pigment Print Central Park All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition of 5 + 2 Artist P...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

Brainpower I, Untitled I, and Untitled II (Triptych) 2018 by Juan Lamarca From the Horse Series Fine Art Cotton Paper Overall size: Image size: 16.5 in H x 36 in W Frame size: 17.7 ...

New World Order by BATIK Satirical pop art artwork featuring Vladimir Putin, VP J.D. Vance, Donald Trump and Elon Musk in WW2 war rooms. BATIK is a London based fine artist and im...

Dogs, USA, Greenwich, CT is a 5" x 7" black and white photograph, stamped “vintage” by the Freed estate on verso (back) of gelatin silver press. Provenance: Freed archive. The photo...

New. A nearly 30 inches (29 5/8") hand-printed version of the smaller landscape of the same name. There are just 5 editions of this largest size. All are unframed. The tree is a na...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 48 x 72 i...

In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, spaces and rythms. AD6075 (She Disappeared into Complete Silence) 45" x 60" / 114cm x 152cm edition of 8 + 2AP 30" x 40" / 76cm x 102cm edition of 8 + 2AP limited edition photograph printed under artist supervision + accompanied by signed artist certificate: artist signature labels are 8x10 in size signed, editioned, dated and titled by the artist, and stamped for authenticity label is placed centered on verso of the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Kuhn's monograph titled Bushes and Succulents has been published by Stanley/Barker Editions, with a debut at Jeu de Paume in Paris, in 2019. A stunning career retrospective of Mona Kuhn's works has been published by Thames & Hudson, Spring 2021. Kuhn's forthcoming publication Kings Road, will be published and released by Steid this Fall 2021. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l’Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. __________________ Solo Exhibitions 2023 Mona Kuhn: Kings Road, Galerie XII, Paris, France Mona Kuhn: Kings Road, Kunsthaus-Göttingen, Germany Mona Kuhn: Kings Road, Jackson Fine Art...

Color Archival Pigment print Size 30 x 20 in Editod of 13. Unframed For this series, he used elements such as water (emotions) to narrate a story. He worked with the color Blanco i...

"A lone white horse sticks out amidst the herd of darker horses in this black and white image A black and white image of a herd of horses with one white horse among many darker colo...

Walter Elias Disney (December 5, 1901 – December 15, 1966) was an American entrepreneur, animator, writer, voice actor and film producer. A pioneer of the American animation industry...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Underwater black & white photograph of a young naked woman wrapped in air bubbles and sunbeams. There were five grand-pianos at her house, a pool on the third floor, and a sad man o...

Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues o...

Part of Richard Heeps 'Burlesque' Series, this photograph is so cool and cinematic. Richard became well-known for his Burlesque Photography after he spent 2003 capturing performances...

161.11.11 is a work by contemporary photographer Klaus Kampert, from the 'On Body Forms' series. This photograph is sold unframed as a print only. It is available in 2 dimensions: *...

Roberta Fineberg’s Black and White Canals, Amsterdam, 2024 renders the Dutch urban landscape with the crispness of an etching. In the artist's Cities series the photograph is 20" x ...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

"A herd of horses running with dust being kicked up in black and white A herd of dark horses running with sand and dust around them This powerful global series explores horses in ...

An iconic 20th Century fashion later photograph Girl in the Light, 1967 by Ormond Gigli is a c-print. Available in color and B&W. This color version is in an edition of 10. 38" x 38" image size, 44" x 44" paper size. The print is signed, titled, and numbered on recto (front of photo) by the photographer. Provenance: Gigli Estate *** Artist’s Bio: Ormond Gigli (1925-2019) published in the top magazines, such as LIFE, Time, and Paris Match. Assignments took the photographer around the globe. Gigli's celebrity portraits included Sophia Loren (at age 21), Anita Ekberg, Marcel Duchamp, John F. Kennedy, Halston, Gina Lollobrigida, Diana Vreeland, Marlene Dietrich, Judy Garland, among others. The most famous of Gigli's favorite photographs were self-assigned, such as one of the legendary fashion photographs of the 20th century, Girls in the Windows. *** Available at 99Prints...

Gunter Sachs &  Mirja Larsson is a black and white vintage photo, realized in 1960s. The photo depicts the photographer, Gunter Sachs  with his second wife, Mirja Larsson. Good con...

Dissolve me (Bombay Beach) - 2023 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-0...

Spread 2019, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019-761. K...

Biblioteca Palatina, Parma, 2011 Chromogenic lambda print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 Born in Florence in 1953, ev...

British fashion model Wenda Parkinson wearing a grey gabardine dress by Dorville at George Airfield in Nairobi, Kenya, South Africa, next to a Hermes airplane...

Weston created 2S after his return to America from two extended stays in Mexico between 1923 and 1927. Throughout 1927 he took twenty-six still life images of shells, including Nauti...

This intriguing offset lithograph print, signed and numbered out of 200 by an unknown artist in ballpoint pen, features a puff of smoke or a cloud hovering over a fence. The minimali...

'Frozen beach No.2' Neringa, Lithuania 2023 A photograph captured with a Polaroid camera that showcases the winter landscape of Lithuania in black and white. Printed on the fines...

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...

"Paul Performing Yesterday" Photography 18" x 21" in Ed. of 25 by Howard Grafton Signed and numbered on the back by the publisher The Beatles on the ...

Sophia Loren Pouring Champagne in Glasses by Globe Photos A classic 1962 image featuring legendary Italian film actress Sophia Loren pouring champagne into fancy glasses on New Yea...

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

Black and white Print by Erich Andres, ca 1960. A vibrant scene from Miami Beach, Florida, captured in the 1960s, showcasing a bustling daytime view of the sandy shores crowded with ...

Jack Mitchell vintage mid-20th Century nude photograph of Dutch dancer Steven Jan Hoff. Copyright Stamped 1972. Photo taken for the iconic 1970's entertainment publication After Dark...

This red panorama photograph brings a fantastic pop of colour to a room and the details in it take you on the journey with the photographer. Whilst in Darjeeling Richard became fasci...

Mint Condition Hand Printed Photograph by artist Book not available with print. Originally sold as a book and print set. Edition out of 75. Framed in black wood & high grade plexig...

"Bob Marley" by Michael Ochs Archives Bob Marley Los Angeles 1979. Unframed Paper Size: 16"x 12'' (inches) Printed 2022 Silver Gelatin Fibre Print

"The Courage of Beauty" Photography 31.5" x 24" in Edition of 5 by Lukas Dvorak Pigment print on Epson Fine ART paper 2023 Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak is...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Set of four ready to hang framed pop art photography, featuring Richard Heeps 'ICES' Mustard, Lemon, Honey and Sherbet Yellow. ICES, is a bestselling artwork by Richard Heeps, photo...