Color Photography

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2019 Edition 1/15 *Should you wish the photograph to be...

Massimo Listri Teatro La Scala II - Milano, 2000 C-Print Edition of 5 The photographer is based in Florence, and is fascinated how his architectural s...

The Postcard Cagaloglu Hamami, 1992 27.5 x 38.5 in. 33 x 41 in. framed Exp. 3/6 From the Mani- Cartes Postales Series This series of photographs were taken for a European calendar. ...

Instructor (Suburbia) 2004, 20x24cm, Edition of 1/10, digital C-Print based on a Polaroid, not mounted, Signed on verso with Certificate. Artist Inventory No. 1680.01. This proje...

Choosing a Top, 1977 Chromogenic lambda print Estate stamped and numbered edition of 150 with certificate of authenticity Boutique owner Paul Pallardy ...

MASSIMO LISTRI Gipsoteca di Canova a Possagno, Italy (Portrait of Interiors), 2019 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso ...

'May Morning in Yellow' 60 x 40" Master Edition Limited edition (1 of 5) archival photograph, hand signed and numbered. Unframed _________________ Illumina...

Rebecca Skinner’s “Vacated” is a 16 x 24 inch metal print and is part of her “Transient” series. The color photograph of an architecturally beautiful living room in an abandoned home...

ABOUT THIS ARTIST: Paolo Pettigiani is an Italian photographer and art director. He combines graphic design and photography in one single image, playing with colors, shapes and contr...

11 x 14 inch image is an edition of 45. Four other sizes are available. Mina Afshari was born in Tehran, Iran. Her life and art are shaped by her journey from oppression to freedom....

Primary Colors (Stranger than Paradise) - 2001 Edition 1/5, 9 pieces, each 48x47cm, installed 159x156cm including 5 cm gap in between each piece. 9 Analog C-Prints, hand-printed by...

Bitter Campari, Milan, 2019 49 Via Dezza at Sunset, Milan, 2019 TABACCHI at Twilight, Milan, 2019 Set of three framed ready to hang Italian architecture photographs by Richard Heeps....

Signed and edition photograph by Paul Fusco titled "Untitled from the RFK Funeral Train". Shot in 1968 and printed in 2008 - 2021 on fujiflex paper. The ...

Ever present - 2021 80x80cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1077. N...

Lake Tahoe Couple 1959 - Slim Aarons Estate Stamped A couple at a swimming pool near Lake Tahoe, California, 1959. The line on the bottom of the pool marks the state line between Ne...

Celebrity Cruise 1965 - Slim Aarons Estate Stamped British comedian Peter Sellers (1925 – 1980) holidays with Princess Margaret (1930 – 2002, right) on the Aga Khan’s yacht on the C...

Dirty Martini, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing...

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 ...

Francisco Castilla, Lotero by Celso José Castro Daza From the Series Guerreros. One-of-a-kind Photo collage Sheet Size: 27.5 in. H x 19.5 in. W 1996 Unframed Signed, titled and date...

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...

The Party is over (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album) - 2009 50x50cm, Edition of 10. Archival C-Print based on the Polaroid. Certificate and signature ...

Chromogenic print 16 x 20 inches, sheet 12.5 x 18.5 inches, image This photograph is offered by ClampArt, located in New York City. Jeff Mermelstein is an American photojournalist and street photographer known for his photographs of New York City street life, as well as September 11th...

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

Snow (Strange Love) - 2003 50x75.5cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. A piece of Stefan...

Architectural shot that shows the work of Luis Barragan and Mathías Goeritz.

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...

Tiziana Audino 1984 (printed later) Chromogenic Lambda Print Estate edition of 150 A topless Tiziana Audino enjoys a shower at the Hotel San Pietro in Positano, 1984. Estate stamp...

Kate's Dream is a limited edition photograph by Nancy C. Woodward. This is a limited edition photograph with a plexifacemount. It 24" x 20". It is filled with Blues and Green co...

Women of Palm Beach wearing designs by Lilly Pulitzer for a fashion shoot at 400 South Ocean Blvd., Palm Beach, Florida, 1964. Pulitzer is seen back row, third from left, Wendy Vande...

Dahlia 8 is a rich and luxurious Archival Inkjet Print by contemporary photographer Philip Gatward. It is available in this size of 32" x 38" from a Limited Edition of 10. Gatwar...

48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9309 Not mounted. Stefanie Schneider's...

Edition of 3 More sizes on request. Tyler Shields is an American Photographer, screenwriter, director and former professional inline skater who has been labeled by some as “Hollywood’s favorite photographer”. He is best known for his unparalleled, controversial, shock evoking photographs of Hollywood Celebrities. Shield’s images often incorporate violence and eroticism, such as his 2011 photograph of Lindsay Lohan in which she appears seductive while being covered in blood and holding a knife. Continuing to push the boundaries, in preparation for his Life Is Not A Fairytale (2011) exhibit in 2011, Shields collected blood from twenty celebrities to paint with, onto a canvas. Shields also appeared to stage the “shooting” of a party-goer with a gun the same year at a release party for his book “Collisions” as an appropriated piece of performance art en homage to the cans of Fluxus artist, Piero Manzoni. Shields is not shy to controversy, in 2012 he also released a photograph of Francesca Eastwood, burning, sawing and biting a $100,000 Hermès Birkin Bag for a photoshoot. Moreover, his series “Suspense” (2013) portrays and depicts stars such as Emma Roberts, Francesca Eastwood and Lydia Hearst frozen in mid-air falling and voluntarily jumping off buildings and bridges creating a sense of movement, adrenaline, and excitement. “Suspense is not about death; it’s about life” explains Shields. Rather than focusing on the person in the frame, these images are more concerned with the action, environment, and landscape. In 2015. Shields created the series “Historical Fiction” which focuses on historical events such as the deaths of James Dean, John F Kennedy, Dr. Martin Luther King among many more historical events. This series put the American Civil Rights Era at the forefront of his work, as these images explore dark moments in history with many of them honing in on moments that confront the country’s racist past. Furthermore, in 2015 Shields created his hit series “Chromatics” which surrounds the theme of “beauty in chaos” captured through freeze frames of surreal, technicolor violence with colored powder. In order to create this violence, he lined up 20 people up against each other and made them fight with powder. Shields’ talent goes beyond shock. His unique, sinister and daring lens through which he composes and creates his work enables him to push boundaries and experiment with tweaking the Hollywood mystique. The mystery behind his relationships and habits captivate the media, not unlike the art world’s best-known friend of the famous, Andy Warhol. _Photography, nude, woman, naked, story teller...

All Rights Reserved, a pink and purple ombre with a blue centre artwork in the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidl...

Saint-Tropez Boucherie A boucherie or butcher’s shop on Rue des Commercants in Saint-Tropez, on the French Riviera, August 1971. 40 x 60" inches / 101 x 152 cm paper size Estate...

FUN! carousel horse photograph by Richard Heeps, capturing the detailed artistry of historic vintage fairgrounds. This artwork is a limited edition of 25, gloss photographic print, ...

Tao Ruspoli (born November 7, 1975) is an Italian-American filmmaker, photographer, and musician. Background Tao is the second son of Prince Alessandro Ruspoli, 9th Prince of Cervet...

Robert Landau's urban landscape: Sunset Strip with Three Billboards; featuring Eddie Money, Cher, and Judy Collins and an unforgettable view of Sunset Bo...

Hake's Drove, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to make this work. This project was born from an idea to produce a set of photographs...

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...

Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...

Color fine art long exposure seascape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited...

Hotel De Paris In Monaco 1977 by Slim Aarons Slim Aarons Limited Estate Edition The entrance to the Hotel de Paris in Monte Carlo, Monaco, June 1977 unframed c type print printed...

Frontwards - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-903. Not mo...

The production of sea salt is one of the oldest forms of human intervention in natural spaces. Sea salt comes from natural evaporation of seawater out of artificial created ponds. Th...

Desert Junkyard II (29 Palms, CA) - 1999 58x56cm, Edition of 10 analog C-Print, hand-printed by the artist based on the Polaroid Artist inventory #319.02 Mounted on Aluminum Dese...

The pool n°3 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in ...

Hotel du Cap Eden-Roc 1976 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. 40 x 30" inches / 101 x 76 cm paper size. Photo by Slim Aarons Archival ...

Capri Tan 1968, A kneeling sunbather shows off her rings and pendant on a beach in Capri, Italy 20 × 16 inches - paper size Estate Stamped Collection Edition to 150 Photo by S...

Heidler & Heeps Vinyl Collection 'Made in France Blue'. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerisin...

Color photography printed in high quality on matte photographic paper. The dimensions are 30 x 45 cm. Claudia Ferreiro (Santiago de Compostela, 1996) explores memory and identity l...

Ghost Rider Cowboy (Cyan), pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibran...

'Orange Poppies No.3' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

ABOUT THIS PIECE: This photo is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interesting croppin...

Catherine Wilke joins the topless sunbathers on the island of Capri, 1980. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Sl...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. 'Djala' is a stunning C-Type print by contemporary British photographer Tim Fl...

In SHE TELLS ALL, Kaur engages questions of identity performance by exploring an ever-present and wildly diverse American identity: the modern American witch. Witches are contemporar...

La Coquille Club, Florida Car Park by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframed (framing available please enquire) Limited Signature...

Waiting for Response (Strange Love) - 2005 50 x 40 cm, Edition of 10, Archival C-Print, based on an i-sight video chat. Signature label and certificate. Not mounted. A piece of S...

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...

The Tears we cried (Till Death do us Part) - 2007, 20x20cm, Edition of 10. Digital C-Print print, based on a Polaroid, Certificate and Signature label. Artist Inventory No. 8583. N...