Horizontal Photography

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...

This late-1950s photograph, taken by society photographer Slim Aarons, features holidaymakers waterskiing in front of the Carlton Hotel, Cannes. This is an estate-stamped and hand-n...

Beach At Saint Tropez Sunbathers on the beach at St. Tropez, France, 1977. 60x40” / 152 x 101 cm - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Pri...

Wave - Signed limited edition archival pigment print, Edition of 5 Breaking wave on the Spanish coast This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® ...

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...

Aerial Views, Coal Mine 2 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimens...

Fine art 20x24" print of David Bowie in his room at the Kempinski Hotel, Berlin, 1983 by acclaimed photographer, Denis O'Regan, where he was the official tour photographer for David ...

Paris Café from the Paris In Colour Series 1956-61 By Peter Cornelius 40 x 30 inches / 101 x 76 cm paper size Printed 2022 Archival pigment print Framing and other size options av...

Underwater photograph of a young woman in red dress dancing underwater in a pool. A very bright photograph with plenty of sun and positivity. The model was an amazing Russian dancer...

May 27, 1963: American Heavyweight boxer Cassius Clay (later Muhammad Ali) lying on his hotel bed in London. He holds up five fingers in a prediction of how many rounds it will take ...

New York: Alfred Stieglitz, 1911. Halftone engraving from a gum bichromate print, 5 9/16 x 7 11/16 inches (148 x 196 mm), tipped onto a mounting sheet 8 x 11 3/4 inches. A muted an...

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...

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

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...

Poolside Pairs, 1970 - Poolside Gossip and Glamour in Palm Springs Landscape by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. E...

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 ...

Diver - Signed limited edition archival pigment print, 2002 - Edition of 5 Powerful photo of a man diving, in profile. This print that is being offered is a high-quality Archiv...

Sun Beams Into Grand Central Station (1930) - Silver Gelatin Fibre Print (Photo by Hal Morey/Getty Images) Beams of sunlight streaming through the windows ...

This is a contemporary photograph of an African Lion shot by Shane Russeck 36x48 Unsigned test print Printed on Kodak Luster paper. Shane Russeck has built a reputation for captur...

'Jardin Majorelle' 2022 The Majorelle Garden, located in Marrakech, Morocco, spans one hectare and serves as both a botanical garden and an artistic landscape. Conceived by the Fren...

Poppy Across Studio Still Life · 2025 A single poppy leans across a field of light, its stem bending in quiet rhythm. Captured on large format film, the image isolates form and ges...

'Sucking / Brushing' (Sidewinder) 2005, Edition 3/5, 6x48x59 each, 1x60x48cm, installed including gaps and white spaces 60x423cm, 7 pieces, 7 analog C-Prints, hand-printed by th...

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

Poolside Dreams, 1970 - Poolside Gossip Poolside Glamor Palm Springs Poolside by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. '...

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 ...

" "Crosshatch" is a classic example of my abstract PhotoLuminism technique. When light travels, the human eye cannot see its trails, but the camera can. Capturing images that are int...

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...

Barn with Birds, 2018 pigment print on watercolor paper, signed dated and numbered on face 13" X 16 1/4" edition #4/25 $1,500.00 21 x 27 inches framed - $1650 This Black and White ...

"""Untitled 12"" Bold, detailed portrait of the lips of a Suri woman in Ethiopia The lips of a Suri woman in vivid, bold detail The distinctly preserved cultures of the Omo Valley...

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, scho...

Debbie Harry East Village, 1976 by celebrated New York photographer Fernando Natalici. Cooler than cool, this classic "Blondie" photo was captured on the set of "Unmade Beds" (direct...

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...

Led Zeppelin’s John Bonham playing a drum solo at the Forum in Inglewood California in 1972. About The Print: Archival pigment print on 100% cotton paper with a satin baryta finish....

David Bowie, Cleveland Public Auditorium, Cleveland Ohio, Sunday November 26th 1972 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” The...

Car, Downtown Car Park, Dallas, Texas is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is available in in this size in an Edition of ...

"""Rendezvous"" Two wild horses nuzzling together, one rearing up on Sable Island In this incredible encounter between two wild horses, you see their wildness and human-like capaci...

“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...

Low angle photo of Robert Plant singing downstage with John Bonham in the background. Shot at the Forum in Inglewood on June 25,1972. About The Print: Archival pigment print on 100...

Gerald Berghammer - Color cityscape photography. View of Venice cityscape featuring Campanile di San Marco, historical buildings, and domed structures. All Gerald Berghammer prints ...

11 x 14" vintage silver gelatin photograph of Danish dancer and choreographer Erik Bruhn, 1956. Signed by Jack Mitchell on the print recto. Comes directly f...

This late 1980s photograph, captured by society photographer Slim Aarons, features Courchevel restaurant chefs Jean Jacob (left) of 'Le Bateau Ivre', Michel Rochedy (centre) of 'Le C...

'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...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

This vintage silver gelatin print is signed and dated in pencil on the front of the mount. Likely printed in the 1970s. From the collection of Robert K. Byers, who was Brett Weston...

"At Sea" Here, the 12-Meter racing yachts Weatherly and American Eagle are featured on the Atlantic Ocean. The nautical print series Sail: Majesty at Sea is an intimate look at tw...

Signed with printed title on the front of the print. Very early parmelian print by Ansel Adams.

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Sunbathers lounge on the white-painted terrace of Il Canille, built into the rocks of Pizzolungo overlooking the waters off the coast of the island of Capri, Italy, in August 1980. I...

Heather Hollis Marvelous Manta Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2025 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso) COA provided (issued by representing gallery) *Framing options available. Please inquire. **Other sizes available. Please inquire. Marvelous Manta captures the effortless grace of one of the ocean’s most majestic beings. Gliding through clear blue waters with wings that move like poetry, the manta ray embodies both serenity and strength in motion. Its fluid silhouette and rhythmic movement reveal the quiet power and beauty that exist beneath the surface — a world rarely seen yet endlessly captivating. This piece is a tribute to the wonder of marine life, celebrating freedom, harmony, and the breathtaking elegance of the underwater realm. Heather J. Hollis is a self-taught fine art photographer whose work captures the quiet poetry of nature. Rooted in resilience and empathy, her imagery transforms fleeting moments—like delicate fungi blooming on a Missouri tree—into meditations on beauty, endurance, and light. Now exploring both land and sea through her lens, Heather continues to reveal the extraordinary within the everyday. Heather Hollis, fine art photography, manta ray photography, marine life artwork, underwater elegance, ocean wildlife, graceful sea creature, fine art marine print, serenity in motion, blue ocean waters, aquatic majesty, underwater freedom, poetic movement, peaceful sea life scene, ocean conservation, captivating manta ray, calming ocean wall art

In 2015 I visited many ancient olive groves in Italy. The Province of Lecce is known for having the oldest trees. The groves, only accessible by stone paths or mule tracks, give a se...

Afar XVII is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 cm...

"Freedom on the Plains" Herd of wild horses gallops in this atmospheric print in black and white A herd of horses moves from right to left in this epic, atmospheric black and white...

Ancient Views of Guatemala City is a set of two original albumen prints made in 1880s. Prints in very good condition, applied on a single cardboard. Caption in Italian ink hand-wri...

Gaia 117 by Jaume Llorens Bach Gaia 117 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size available in a Limited Edition of 10 +...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

Hotel Hacienda, 1978 by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Hotel Hacienda' is a Limited Edition Estate Stamped Digi...

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 Coolest Place, Ballantines Movie Colony, Palm Springs, California. Part of Richard Heeps 'Dream in Colour' Series, this cool Palm Springs interiors picture featuring a vintage te...

"Table Tennis Stars" by John Kobal Foundation American actors and friends Henry Fonda (1905 - 1982, left) and James Stewart (1908 - 1997) play a game of t...