Vertical Photography

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...

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

Kate 4 Ever Inkjet print 20 x 24 inches Edition of 500 photographed in 1999, printed in 2023 Comes with a signed COA from Rankin. Rankin (born John Rankin Waddell in 1966) is a ren...

We love this work because the fashion shots are all set in a vast landscape of beauty and composed with poetic feel and look that is timeless and classic. 20x24 in. - Edn of 20 C p...

Jack Mitchell mid-20th Century photograph of Broadway and movie actors Ken Kliban, George Reeder and Horton Willis in their classic white underwear. Highly...

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

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

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

Colourful Crew 1970 - Slim Aarons Estate Stamped A group of colourfully dressed holidaymakers on a yacht, Bermuda, June 1970 40 x 30" inches / 101 x 76 cm paper size Estate Stamp...

'Tulip’ 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 and comes with a Certificate of Authenticity. Carefully placed in a secure cardboard package and shipped with an insured express delivery service. Please feel free to contact if you have any questions. About the artist: Ugne Pouwell is a fine art photographer originally from Lithuania. Today she makes most of her creative work in London, United Kingdom. Her main focus is black-and-white landscape and floral photography...

'Black blooms’ photographed in London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. Giclée print on Hahnemüh...

Available Sizes: 24" x 20" $3,000.00 Edition of 15 30" x 24" $4,000.00 Edition of 20 45" x 45" $8,500.00 Edition of 7 Printing is done on Exhibition Photo Baryta 310gsm paper. ...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

Image size 55 x 70 cm Limited Edition of 12 Platinum Print Framed with Wengé and Passepartout Framed Size 92 x 112 cm signed on extra certificate Evocative, sensual and voluptuous, ...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

In Kings Road (2022) Mona Kuhn lyrically reconsiders the realms of time and space within the midcentury architectural elements of the iconic Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and ’30s. The body of works incorporates chromogenic color prints, reflecting vignettes and materials of the building's emotional architecture, juxtaposition with unique solarized gelatin silver prints capturing traces of an ethereal human presence. Grace (2022) Kings Road: A Rudolph Schindler House 30" x 40" / 76cm x 102cm /edition of 12 15" x 20" / 38cm x 56cm / edition of 12 limited edition solarization photograph printed by the artist + accompanied by signed artist certificate: artist signature label (8x10") signed/editioned/dated/titled by the artist + 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. 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, Stanley/Barker Editions published Kuhn's Bushes & Succulents in 2018. In 2021, Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road (2022) with Steidl accompanies a multi-dimensional museum traveling exhibition shown in Europe and the US. 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 2025 Mona Kuhn: Y Tu Desnudo será Un Gran Poema, Museum of Contemporary Art, Malaga, Spain Mona Kuhn: Kings Road, Lianzhou Museum of Photography, China 2024 Mona Kuhn: The Schindler House, A Love Affair, Galerie XII...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

The artist explored nature and how the body can be part of these landscapes with the help of the model Marisa. He did not hesitate to brave the climate and landscapes of Iceland. Th...

Photography

16 x 20" vintage silver gelatin photograph of Actress Meryl Streep photographed January 7, 1979 just before the release of her first film ‘The Deer Hunter...

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

Zarina - Limited edition archival pigment print, 1987 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then print...

Villa Nirvana 1972- Slim Aarons Estate Stamped Guests at the Villa Nirvana, owned by Oscar Obregon, in Las Brisas, Acapulco, Mexico, February 1972. 40 x 30" inches / 102 x 76 cm pa...

There is an ocean in my glass Series: Ying Chen has a recurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream,...

Portrait of Silvana Mangano is a vintage black and white photograph realized in the 1970s. Good conditions.

This photograph by Jack Pierson is offered by CLAMP in New York City. Printed 2018 Artist signature stamp in black ink, verso; Also dated 2018, verso Chromogenic print 11 x 7 inches

Hand printed by artist. Matted on archival acid-free mat. 16x20". Signed on the lower right recto in pencil. Stamped and dated on verso.

11 x 14" vintage silver gelatin photograph Tony and Pulitzer Prize winning playwright Wendy Wasserstein, 1983. Signed by Jack Mitchell on the print verso. Comes directly from the Jac...

Signed Artist’s Proof — Terry O’Neill, Brigitte Bardot with Cigar, Spain 1971 A rare opportunity to acquire one of Terry O’Neill’s most celebrated and sought‑after images. Captured ...

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

David Ogburn, American (1942 - ) - Whitney Houston, Medium: Gelatin Silver Print, Image Size: 9.5 x 7.5 inches, Size: 10 x 8 in. (25.4 x 20.32 cm)

A Very Short Version of his Story, Black and White Nude Photography, Badertscher 1999 Signed, titled, dated twice, and inscribed in black ink, recto; Also signed, dated, and inscrib...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

'George Hamilton' American actor George Hamilton holidays in Saint-Tropez, on the French Riviera, August 1977. 40 x 30" / 101 x 76 cm paper size Estate Stamped Collection Edi...

110.03.98 is a limited-edition photograph by contemporary artist Klaus Kampert. It belongs to the series More Typographic Creations. In order to resemble typographic characters, Klau...

16 x 20" vintage silver gelatin photograph of Colleen Dunn and Peter Allen in 'Legs Diamond' on Broadway in 1988.. It is signed by Jack Mitchell on the re...

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

Title: "Wild grace" Medium: Archival pigment print on premium matte photo paper Dimensions: 20 x 27 cm / 7.8 x 10.6 inches (unframed) Limited Edition Each photograph is printed o...

Elizabeth Taylor, 1959 by Burt Glinn is a black-and-white photograph shot on film a portrait of Elizabeth Taylor on the beach during the filming of the adaptation of Tennessee Willia...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

ABOUT THIS ARTIST: Through his hundreds of vibrant photographic collages, his sculptural nudes in his recent series For A Good Time and his frequent editorial work for magazines such...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

This photograph of Marilyn Monroe was shot by photographer, George Barris, in 1962 on Santa Monica Beach in California. This photograph is from a collection entitled "The Last Photos...

This black and white abstract photograph is unique. Betsy Kenyon works in a darkroom with light and shapes. There is no negative, making each artwork one ...

Patrick Chelli - "The Bath 2 Silver print mounted on Dibond Signed on the back, numbered 3/10 Circa 2013 Size : 53x80cm Price : 590€ for the print

Héliogravure on vélin paper. Inscription: Unsigned and unnumbered, as issued. Paper Size: 15.75 x 11.75 inches. Notes: From the folio, Diane Arbus, Electa Editrice Portfolios, 1979. ...

Peony No.11 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 40 x 32 cm and is part of an exclusive series of 20 prints, each hand-...

This gun metal grey filing cabinet stands in the corner of a mid-century wood panelled bunker office. This interior artwork was photographed in Ho Chi Minh City, and is part of Richa...

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

Frida at the Barbizon Plaza Hotel by Lucienne Bloch is a black and white portrait of Mexican painter Frida Kahlo sitting in a chair under her self portrait hanging on the wall. Im...

For this black-and-white photography series, he used elements such as water (emotions) to narrate a story. He worked with the color white in the fabrics to communicate clarity and re...

William Wegman is an American artist renowned for his iconic dog photographs featuring his Weimaraners, who he sees as "perfect fashion models", utilizing their elegant forms and abi...

ICES Red, 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 coast, the art...

Albert WATSON (*1942, Scotland) Kate Moss, Frontal Nude III, 1993 Archival pigment print, printed later Sheet 91.4 x 76.2 cm (36 x 30 in.) Edition of 10 plus 2 artist's proofs (AP 2/...

Evan Dando Evan Dando, The Lemonheads by Kevin Westenberg Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class ...

From Wikipedia: Woodstock was a music festival held between August 15–18, 1969, which attracted an audience of more than 400,000. Billed as "An Aquarian Exposition: 3 Days of Peace & Music", it was held at Max Yasgur's 600-acre dairy farm near White Lake in Bethel, New York, 43 miles (70 km) southwest of Woodstock. Over the sometimes rainy weekend, 32 acts performed outdoors. It is widely regarded as a pivotal moment in popular music history, as well as the definitive nexus for the larger counterculture generation. Rolling Stone listed it as number 19 of the 50 Moments That Changed the History of Rock and Roll. The event was captured in the Academy Award-winning 1970 documentary film Woodstock, an accompanying soundtrack album, and Joni Mitchell's song "Woodstock", which commemorated the event and became a major hit for both Crosby, Stills, Nash & Young and Matthews Southern Comfort...

This ethereal monochromatic underwater nude photograph captures a young woman wrapped in flowing translucent fabric. The sepia-toned composition emphasizes texture and movement, wher...

Israel's Parachute Girls is a vintage black and white Photograph realized in the 1970s. Good conditions. The description on the rear.

Christopher Makos, Andy Warhol Portrait of Andy Warhol taken by photographer Christopher Makos (Hand signed by BOTH Andy Warhol and Christopher Makos...

Brown bear walking towards the camera with eye contact. Each year, brown bears descend on a remote part of the Alaskan wilderness in record numbers, gathering in search of the salmo...