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Baltic Ice, Kakumaee 003 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 dimensi...

Swiss Alps, 1964: This landscape photograph, captured by society photographer Slim Aarons, features holiday-makers taking in the sunset on a white snowy mountain top in Verbier, Switzerland in 1964. In classic snowscape of midcentury glamour, winter travelers dressed in 1960s ski fashion relax on colorful red, yellow, and green sun loungers, viewing the blue and white Swiss Alps mountain peaks in the background. This is an estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Verbier Vacation Slim Aarons Estate Edition Chromogenic Lambda print Modern printing from original transparency Captured 1964 (printed later) Certificate of Authenticity included Numbered and stamped by the Slim Aarons Estate Collector will receive the next number in the edition Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition We are pleased to offer the entire archive of the Slim Aarons Estate. This is a genuine Slim Aarons Estate photograph, estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Complimentary dealer shipping to your framer, worldwide. We are pleased to offer this vibrant photograph, printed by the Slim Aarons estate. It is part of the estate's only official limited run, of 150. Estate stamp embossed on recto, hand numbered in ink on recto, with certificate of authenticity from the estate (not a secondary gallery licensing from the estate). Increasingly heralded for his influence, Slim Aarons (1916-2006) made a career out of photographing "attractive people doing attractive things in attractive places." Aarons is known for his iconic images of Hollywood glamour and luxurious people, places and lifestyles. Aarons began his career as a combat photographer in World War II. Though he earned a Purple Heart for his service, he declared that combat had taught him that the only beach worth landing on was decorated with beautiful people enjoying themselves in the sun. Slim Aarons is noted for his documentation of the Beautiful People over 50 years, encompassing high society, celebrity, aristocracy, and the jet set. He was born and raised in New York City and New Jersey and later New Hampshire. He took up photography as a teenager. At the age of eighteen, he enlisted in the U. S. Army and was later appointed official photographer at the United States Military Academy at West Point. During World War II he served as an army combat photographer for Yank magazine in Europe, North Africa, and the Middle East. After the war he became a freelance photojournalist, first based in Hollywood, then Rome, then New York. His photographs appeared in many magazines, including Life, Holiday, Town & Country, Look, Venture, and Travel & Leisure. His first book A Wonderful Time (1974) is considered a classic. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Visual Description: In one of Slim Aarons most popular and iconic series, bright, colorful notes of red, yellow, blue and green punctuate the clean white snow, with majestic peaks in the background. In the foreground, holiday-goers, lounge in a perfect vintage moment of casual winter glamour. Snowy mountaintops rise in the background. Verbier is a stunning mountain and winter ski destination in the Swiss Alps, known for its notoriously challenging slopes as well as its famous apres-ski scene. Numbered and stamped by the Slim Aarons Estate. Certificate of Authenticity included. Internal: Vintage Verbier, Vintage Ski Photography...

Ladies and Men, two photographs by Richard Heeps from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and...

Il Pellicano Pool by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Il Pellicano Pool' is a Limited Edition Estate Stamped Digita...

Ruby (California Blue Screen) - 1999 Edition of 3/10, 44x59 cm Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventor...

'Unghia Marina' A group of people stand on a terrace, at the Unghia Marina on the island of Capri, Italy, in September 1989. Trees dot the side of the marina while a flagpole rises...

'Fern Forest II' is an Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 17" x 24" in a limited edition of 25. 'Fern Forest II' is the second prin...

Archival pigment ink print, produced in a limited edition of 8 // Gallery ID: 25044 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Jersey Views (Stay) - 2006 Edition of 10, 10 pieces 98x96cm each, installed 210x555cm. 10 archival C-Prints, based on the 10 Polaroids. Certificate and Signature label. Artist I...

'Spring Couplet' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The dance of the cherry blossoms ...

Gerald Berghammer - Black and white panorama landscape photography. Small island with tall trees, surrounded by water, mountains, and cloudy sky. Archival pigment ink print as part ...

DJ Lovebug, Grandmaster Caz, Busy Bee at the Celebrity Club: Harlem, New York, 1980 by Charlie Ahearn, director of Wild Style (1982): A seminal early Hip Hop photograph featured as part of the exhibition: New York, New Music 1980-86: Museum of the City of New York (2021). Medium: Archival Inkjet Print on heavy-weight paper. Overall dimensions: 16 x 22 inches (Image size: 14 x 20 inches). Hand signed & numbered on the verso, from a limited edition of 10. Excellent overall condition. Provenance: Obtained directly from artist. Artist Bio: Charlie Ahearn, best known as the director of the classic hip-hop film Wild Style (1982), arrived in New York in 1973 to attend the Whitney Museum of American Art Independent Study Program. Later he was joined by his twin brother, John Ahearn, and they became part of the artists' group Colab (aka Collaborative Projects, Inc). Ahearn showed his early films in an abandoned Time Square massage parlour that Colab had taken over on the corner of 7th Avenue and 41st Street (where Ahearn also lived from 1981 to 1993). Colab's 1981 art show - titled, "The Times Square Show" - is famous for introducing Jean-Michel Basquiat and Keith Haring among many others. In 1982, Ahearn directed Wild Style - universally hailed as the first hip-hop movie. Wild Style immortalized the birth of an underground hip-hop scene changing the face of music, fashion, art & popular culture forever. Ahearn's recent silkscreen paintings depicting hip hop culture’s seminal years were exhibited at PPOW Gallery in New York in 2017 and Beyond The Streets (2019 & 2020); with selections of his photography and film work most recently exhibited at MFA Boston...

"""Thunder of the Plains"" Three bison walk with stoic intent next to a river in Yellowstone National Park Three bison walk next to the Firehole River in the Winter in Yellowstone ...

Francesca Woodman, Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgia...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can ...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

"My work is about respecting the beauty that remains and the poetry that is found." - David H. Gibson David H. Gibson is a lifelong photographer whose first contact with the mediu...

This 1970s photograph, taken by society photographer Slim Aarons, features former fashion model Helen Dzo Dzo Kaptur (in white lace) and Nelda Linsk (in yellow), wife of art dealer J...

Edition of 7 More sizes on request Portrait of a female Lion in Kenya. Joachim Schmeisser is represented by leading Galleries worldwide. His photographs are among the most sought-a...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...

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...

Labyrinth continues the exploration begun in the previous two series (Paranoia and Lullaby). Unlike the first two chapters, all the images in this series were created and post-produced in 2020 and began to show the artist's interest in experimenting with other media, in combination with photography, to better express his altered perception of the world around him. Salvatore Arnone's images gravitate mainly around the search for a personal idea of beauty that often melts into sadness and silence, of harmony in chaos, of balance within the imperfection that represent the leitmotiv of all his work. At present, the author focuses only on his personal work and experiments with other media than photography. From the Series Labyrinth Untitled, From The Labyrinth...

Cosmos 47 by Karine Laval is a Limited Edition Chromogenic Print Cosmos 47 is available in this size of 16" x 20" from a Limited Edition of 9 prints Cosmos represents a new chapte...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Shipping cost...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in tim...

All I Ever Wanted 2022 by Blank Barbie Pop Art Print of a muscle beach bikini pageant TV show. Blank Barbie is a contemporary artist currently working...

This piece titled "Self-Reflection: In the Bedroom" is an original piece by Han Cao and is made from embroidery on a vintage photograph. This piece measures 9" x 11" framed and is sh...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Prince Philip of Edinburgh is a vintage photograph realized in the 1960s. Good conditions. The artwork is depicted in a well-balanced composition.

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 is a contemporary black and white photograph of an African Lion by Shane Russeck. 30x40 Edition of 12. Signed and numbered by Shane. Printed on archival paper and using archi...

Ridge is a limited-edition photograph by contemporary artist Xavier Dumoulin, from the series 'Incandescences'. This photograph is sold unframed as a print only. It is available in ...

Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white border. Timeless Venice – Bla...

Men, photograph by Richard Heeps, from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and is typical of R...

Faded Memory (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label...

"""Sun & Moon"" Incredible color image of two king penguins standing face to face Stunning color photograph of two king penguins in the Falkland Islands facing one another in a per...

Brooklyn Bridge Tug Boat (1953) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts) Downtown skyline manhattan seen through cables of Brooklyn Bridge tug boat i...

Part of Richard Heeps 'Man's Ruin' Series, and the sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot at the Rockabilly Weekender, ...

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

“Private Pool” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mas...

Vintage hand colored Albumen print 8 x 11/12 inches

Eucalyptus I is an Archival Inkjet Print by contemporary photographer Morgan Silk. Eucalyptus I by Morgan Silk is available in this size of 32" x 44" in an Edition of 10. Taken du...

Printed later Combined Edition 25 Also available in 40 x 50 cm/ 16 x 20 inch and as combined Edition 10 in 76 x 101 cm / 30 x 40 inch 101 x 127 cm / 40 x 50 inch Portrait of the famous Director and Author Alfred Hitchcock...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Mrs George Cameron by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Mrs George...

Signed and editioned on front of print. Edition of 10. Made by Robert Weingarten in the artist, Jackson Pollock's studio.

Palms Beach by Stuart Möller Limited Numbered and Signed Edition A morning shot of a costal beach front surrounded with Palm trees. 30 x 40" inches / 76 x 101 cm paper size Archi...

This is # 1/3 Fine Art Print Limited Edition 105 cm x 150 cm VADOR THE SPACE SHOW is the first exhibition of photographs by Stefan Darte which is currently being held in Brussels in ...

"Young at Heart" In this best-selling, iconic image, two wild and beautiful horses run freely over the beach on Sable Island." The print series Discovering the Horses of Sable Isla...

© Michael Putland Led Zeppelin Led Zeppelin performing at Madison Square Garden, New York, USA 1977Jimmy Page, Robert Plant, John Paul Jones, and John Bonham hidden behind the drum...

Jimi Hendrix “Classic Color” 1967 by Gered Mankovitz Available is the following sizes, signed and numbered by Gered Mankowitz. 16x20” - Edition 50 20x24" - Edition 50 30x40” - Edit...

Underwater black and white nude photograph of a model diving in a swimming pool Original gallery quality print signed by the artist. Digital archival pigment print on archival pa...

"Hungry Elephant" by Fox Photos An elephant named Mae West accepts an apple from a passing tram driver while taking her morning exercise along Gray's ...

'Spring Rain' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The cherry blossoms burst from naked...

Exclusive interview about me with this artwork on the cover on YouthTime Magazine: /wp-content/uploads/2016/10/Photographer-Viet-Ha-Tran-YouthTime-f The Art Market Agency: /viet...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: Size: 36x24 This series was captured on a local Texas ranch, where the land stretches wide and t...

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

Photography done for the publication Mexico/Volk und Welt Berlin 1968/stamped on the back with authors stamp.

4 x 5 inch contact print, on 8 x 10 inch sheet, edition 10 Cover image of the book "Tohshio Shibata: For Grey" Toshio Shibata is one of Japan's leading landscape photographers. B...