Color Photography

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Desert born and raised, fashion photographer Natasha Wilson...

Colorized portrait of actress Jayne Mansfield posed in pink lingerie on a red chair. Jayne Mansfield was an American actress and Playboy Playmate. A sex symbol of the 1950s and earl...

Anthony Bourdain was famous for traveling the globe and exploring the local cuisine in No Reservations and Parts Unknown. As soon as he returned home t...

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...

Funk In Tuscany 1969 by Slim Aarons Slim Aarons Limited Estate Edition Italian fashion designer, model and socialite, Marta Marzotto (1931 – 2016), playing a James Brown album on ...

'Les Culs d’O' (Odd Series), 2013 / 2014, 15x11cm - 0,8 mm Digital archival print mounted on MDF - matte coating, Edition 1/25 Hand signed & numbered on the back by the artist Artist...

Showing a body that is hidden is the aesthetic apology for the insane judgment that the artist himself has taken as an excuse for not being 'pointed at' or rather as self-pointing. T...

Slim Aarons Kaufmann Desert House 1977. (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity August 1977: Actor George Hamilton (in ...

The artist's computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's w...

Pink Moon An abandoned swimming pool in Havana, Cuba.  Shot on colour negative with a large format camera before the addition of a dash of pink! – The Spaces in Between series devel...

New York City Subway Car interior photograph by Richard Heeps. This atmospheric photograph of a New York City Subway Car captures the cinematic essence of riding the subway. The pers...

"Knockout" Nude Photography 36 x 48 In Ed. 4/7 by StillVika Medium: Canson Platine 310GSM Print only. Ships rolled in tube. Other sizes available per request. Amidst a chaotic w...

'Monte Carlo' 1975 Slim Aarons Limited Estate Edition Print Friends board a riva boat in Monte Carlo, Monaco, 1975. Produced from the original transparency Certificate of authent...

Branching, 2025 by Isabelle Schneider is a contemporary photographic resin work. Branches and fragments of deep blue sky are reflected on a window shade, with soft light illuminating...

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

Rebecca Skinner’s “Domino Room” was photographed at the abandoned Scranton Lace Factory in Pennsylvania and is part of a series documenting the loss of industry in America. Large win...

Richard Heeps series A Short History of Milan began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become popular with art buye...

ICES Pink Lemonade, 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 coas...

Donald Leas Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Beach, Florida. Slim Aarons Archival Pigment Print. Printed 2024. Slim...

NASA Apollo 14 commander Alan Shepard stands by the US flag on the moon with the shadow of Edgar D. Mitchell, module pilot, taking the picture. This is an 8" x 10" vintage chromoge...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

Shadow of the Woman I used to be #07, 2019 [Self-portrait from my series Need to be] Photo based on a original Polaroid. Authentic museum quality Diasec® TruLife mounted on Dibond...

Aventure d'une libertine XV, Paris, 2015 From The Secret Album Series Edition 6/6 ex. 5 AP. Unframed The Secret Album Series This series is born from a ...

Flower Vendor on Dal Lake by Steve McCurry depicts a man transporting vibrant, multi-colored flowers in a canoe. He paddled down the calm river, passing by a house surrounded by lush...

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...

Ted Williams Martin Luther King Motorcade, 1964 Silver gelatin print 16 x 20 inches Estate stamped and numbered edition with certificate of authenticity Dr. Martin Luther King waves to the crowds as he drives in a motorcade on the way to make a speech at the ‘Illinois Rally for Civil Rights’ at Soldier Field in Chicago, IL, US, June 21, 1964. Ted Williams (1925-2009) first heard jazz on the radio as a youngster in the 1930s in Wichita, Kansas. The sounds of Earl Hines, Duke Ellington and Cab...

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 50x48cm each, 50x102cm together with gap. 2 Archival C-Prints, based on 2 Polaroids....

'Pool On Amalfi Coast' by Slim Aarons A view of the seaside pool at the Hotel St. Caterina, Amalfi, Italy, September 1984. Gorgeous blues in this image with the ocean and swimming ...

MASSIMO LISTRI Castello di Friedstein a Gotha, Germany, 1999 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framin...

Les Voiles H 35.5 in. x 27.5 in. W Edition 6 Unframed Les Voiles Series Uwe Ommer wanted to try a series that revealed less of the body using different wet...

Fidel Santos' evocative photograph, L'occhio di Dio, captures a stunning polychromed carving of the All-Seeing Eye, radiating golden beams of light against a stark black background. This aged and fragmented artifact, with its cracked and weathered surface, embodies the passage of time while preserving its spiritual and symbolic power. The All-Seeing Eye has deep historical roots, originating in ancient Egypt as the Eye of Horus...

Cups II (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 2912. Not mounted. This pr...

President Jimmy Carter Archival pigment print 48 x 48 inches Signed and numbered edition of 10 William Coupon is an American photographer, born in New York City, known principally...

Haiti Holiday, 1981 Chromogenic Lambda Print Estate edition of 150 A woman wearing a translucent white blouse and holding a cocktail stands in a swimmi...

This is an aerial photography that was not manipulated or color corrected.

'Nomad, New York', artwork by Richard Heeps featuring a time-lapse of the iconic art deco Empire State building in the mist. Photographed in New York City in 2017, he executed this i...

Palma #5 (Palma de Mallorca, 2022) Beautiful picture of Jacaranda tree captured in OldTown of Palma. Size: 43 x 28 inches / Edition of 6 Size: 70 x 47 inches / Edition of 3 Size: ...

Setting Out 1951 Setting out through the streets of Klosters for a days skiing, Switzerland, 1951 by Toni Frissell 40 x 40" inches / 101 x 101 cm paper size Archival pigment pr...

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...

A view from the umbrella boxes towards the tennis court at Newport Casino, Newport, Rhode Island, USA, 1953. Susanna Boylston Bolton 1965 (printed later) C print Estate stamped and ...

The photography of Carla van de Puttelaar allows the eye to touch the skin on many different levels. Through her lens, she makes the viewer aware of the sensitivity and the sensualit...

'Sardinian Holiday' by Slim Aarons Limited Edition Estate Print limited to 150 only numbered in ink & emboss stamped. 40 x 30 " inches paper size Selvaggia Borromeo enjoys a ya...

David Bowie Aladdin Sane "Eyes Open" print from Brian Duffy, taken during the phot shoot for the Aladdin Sane album cover. Taken from the original 1973 negatives, these official Du...

Gas station at Night I (Stranger than Paradise) - 2006 Edition 1/5, 48x46 each, 93x91cm installed with gaps. 4 analog C-Prints, hand-printed by the artist, based on the 4 Polaroid...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

large format photograph of Cote d'Azur beach by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Plage des Catalans...

Crushing - 2017, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2017-792. Not mount...

The receiving End, 2018, 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 PL2018-480. ...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

This mid-1950s event photograph, captured by society photographer Slim Aarons, features an aerial view of diners at the St. Regis, New York. This is an estate stamped and hand numbe...

Original large format still life photograph of purple anemone from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works exploring the botanical splendor of ...

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...

Cortina d’Ampezzo Isa Genolini and Maria Antonia in the main street of Cortina d’Ampezzo, Italy, March 1982. 72x48” / 183 x 122 cm - paper size Estate Stamped Collection Edition ...

This image is from the series "Kroma". Pascal Goet looks for flowers, butterflies and other insect of items from the microworlds to attract our attention to the beauty of nature. P...

Mermaid's Daughter (Till Death do us Part) - 2005, 70x85cm, Edition of 10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory ...

Asleep, 2020 50x50cm, 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 - PL2020-833. ...