Color Photography

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features guests at the La Jolla Beach and Tennis Club, La Jolla, San Diego. This is an estate stamp...

Snowmass Village Two fashionably attired women stand in the foreground of a snowy landscape with a helicopter on the slopes of Snowmass Village, in P...

“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...

James Dean At A Car Rally 1955 (colorised) by Frank Worth paper size 40 x 60 inches / 101 x 152 cm edition of 6 only in this size Archival pigment print unframed Note other si...

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2017 Edition 1/15 *Should you wish the photograph to be printed ...

In this hyper-detailed archival pigment print on watercolor paper, a coral red moth with black markings on its wings and abdomen and pale peach on its upper wings is dramatic and vib...

"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...

Beautiful color photograph of Milford Sound by Andy Currie (England, B-1965). Andy was born in Edinburgh in 1965. After entering into the graphics industry at 16 as an apprentice cam...

From the transformative to the ephemeral, the birth and death of a butterfly is reimagined in a photo series by Roberta Fineberg inspired by a poem by 13th Century Persian poet Rumi a great believer in the power of love: ‘Whatever you know, or don’t - only love is real’. A contemporary color photograph of a butterfly the work explores the natural and man-made world in which a caterpillar breaks free of its skin for a metamorphosis. Hatching into an exquisite creature...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in limited edition of 12 pieces in perfect condition - Composition from an assembly of 4...

image size: 8 5/8 x 7 7/8 inches William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from convent...

Factory Spine, Italian industrial architecture photograph from Richard Heeps series A Short History of Milan. A Short History of Milan began as...

Man against wall Two by Ricky Cohete From Motion series Sepia Archival Pigment print Medium 36" x 24" Ed of 10 + 1AP unframed Throughout his exploration of the movement of the body...

hard to photograph image BANNED Books (comes framed in white frame) Art size is 24x18 framed 26x20 Grease Pencil on Photograph Unique Wall Display image is to show how it looks fram...

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...

This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

Carly Anne Amos, in collaboration with Globe Photos, brings you a new collection of gorgeous twists to classic icons from our archives. Carly Anne is a streetwear designer (The Colo...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The turquoise te...

Girl from the Nant (2018) Edition of 10 - 40 x 40 cm - Digital C-Print based on a on a SX-70 Polaroid, not mounted. Signed on back and certificate. Artist: The image was partly insp...

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 ...

Jean-Michel Basquiat 1987 (printed later) Archival pigment print 48 x 48 inches Signed and numbered edition of 40 William Coupon is an American photographer, born in New York City, ...

51 x 63.5" (framed size) Fujicolor chrystal print Edition #3/5. Signed, titled, dated and editioned on label verso. Peter Bialobrzeski spent over two years travelling through Ge...

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 ...

Black and white candid image of Rita Hayworth in Burbank, walking along a beautiful street scene. Rita Hayworth was an American actress, dancer, and producer. She achieved fame dur...

A photograph on fine art Baryta paper mounted to Dibond and floated in a white wood frame with a UV 70 Glass. A limited-edition available in 3 print sizes. Custom sizes available within the editions. 35.5 x 43" Edition of 10 $5,800 46 x 56" Edition of 8 $8,900 56 x 68" Edition of 5 $12,300 other framing options are available such as facemiunted to Acrylic. Price on request. About the Series: Aldara Ortega’s series Agua Viva was an entirely experimental journey brought together by the serendipity of life, motion, and emotion. Ortega found the model featured in these photos at an art fair where she was spellbound by her work with silks. The two met in Miami and brought to life a series of three photographs entitled, Liquid Passion, El Beso, and Poderosa Nereida. Within these masterpieces Ortega discovered her passion for not capturing poses, but motion and how looking closely at the in-between moments of life can bring to light undiscovered emotions. About the photo: Aldara Ortega spontaneously captured this image of a friend on a trip to the British Virgin Islands. One Love was created through the guidance of Ortega combined with the model's complex past with water. We tend to try and fight the tempests of life, but we must learn how to float and let things be. One Love blossoms...

Where My Heart Belongs I - 2017 40 x 64 cm, Edition of 10. Digital C-Print based on a Polaroid Diptych, not mounted. Numbered and signed on the back by the artist. Artist Statement “Since my childhood days I always loved taking photos, but for unknown reasons instant film never really caught my attention. After I saw the works of a friend who happened to be a gifted Polaroid photographer, I was totally mesmerized and the desire to shoot with instant film constantly grew in me. But for as long as I can think music has always been my main preoccupation. I somehow always feel the need to create, but my focus shifted more and more from making music to instant photography and it grew into something much more fulfilling and pure. Sometimes, these two passions even come together when I am able to provide my photos for album artworks – this makes me incredibly happy. As I always have been very introverted and reclusive I often drift off into my own inner world. The dreamlike landscapes and surreal atmospheres in my work are the visualization and the result of these imaginations. Another influence on my photography is my essential need to travel the world. But I am not interested in documenting the places I see like they are but rather love to create otherworldly scenes by adding the dreamlike texture of instant film, serving me as a needful escape from reality.” Artist Biography Julia Beyer is an analogue photographer from Germany. She mainly works with instant film to express her inner visions that often show dreamlike landscapes and surreal atmospheres. After being more known for her musical endeavors as the singer of the dreampop band Chandeen, she began to delve into this photographic art form in 2014 and since then expands her portfolio continuously. Her work has been published in various international print and online publications. Since 2017, she is a member of the renowned "12:12 Project", a worldwide collective of female Polaroid photographers. Selected Press and Publications: Feature in “Photodarium” Calendar 2016, 2017 and 2018 (Germany) Print feature in Monochrome Mag issue four: Instant (Australia) Print feature in Double Exposure Zine, Issue 2 // Vacancy (USA) Shoot Film UK, Issue #001 “Overexposed” (UK) Feature in The Impossible Project Magazine Artwork photography...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is...

Giant silos seem to twist to the heavens. Salvador Brazil – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with c...

Rapture - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-925. Not mounted. ...

Cricket in Antigua (1960) - Limited Estate Stamped (Photo By Slim Aarons) Cricketers on the field during a match between the Leeward Islands and the MCC, Antigua, West Indies, ...

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....

photo-eye Gallery is very excited to share new work from represented artist Maggie Taylor. After completing her prodigious series of illustrations for Lewis Carroll's Through the Loo...

Blue Seas, 1984 - Yachts and Watercraft in Water off Corsican Coastline by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Blue Seas, 1984 is a beautiful Limited Edition Estate Stamped Digital C-Type print from 20th Century photographer Slim Aarons. A view of the crystal clear waters off the Mediterranean island of Cavallo, Corsica. From August 1984. The world of Aarons’s photographs...

Open and Limited Edition Silver Gelatin Prints Hand Signed by Richard Beland 8" x 10" Unframed Open Edition 11" x 14" Unframed Open Edition 16" x 20" Unframed Open Edition 20" x ...

As physical books are beginning to disappear in the modern digital life, we crave to bring books back into our home and this picture is the perfect way to do so. Shot in Hanoi in 201...

Richard Heeps' Dream in Colour Series beautifully captures 1950's chic, the nostalgic vibe and warm colours paired with a Marilyn Monroe movie sti...

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...

Rocklitzer's Raspberry Rocket, an iconic Lakester belly tank racer, photograph from Richard Heeps Bonneville Salt Flats series. This artwork is a limited edition of 25, gloss photog...

Listing includes framing with UV Plexiglas, free shipping, and a 14 day return policy. Also available for local pick up in New York City. The Opium Smoker...

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...

30 Cents Singapore Orchid Green, from the Heidler & Heeps Stamp Collection. This historic postage stamps that make up the Heidler & Heeps Stamp Collection, Singapore Series 'Postcards from Afar' have been given a twenty-first century pop art lease of life. The fine detailed tapestry of the original small postage stamp has been brought to life, made unique by the franking stamp and Heidler & Heeps specialist darkroom process. This artwork is a limited edition of 25 gloss photographic, accompanied by signed and numbered certificate of authenticity. It requires professional framing. This artwork is available in other sizes. Be sure to look at Heidler & Heeps other artworks listed on 1stDibs as they are great paired for interior design projects. Following on from the hugely successful ‘Vinyl Collection’, Natasha Heidler & Richard Heeps have collaborated again, drawing from the childhood past time of stamp collecting...

'Porto Venere No.3' Lerici, Italy 2024 Limited edition of 20. Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to with...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

Vetyver Pool, photograph from Richard Heeps India series, The Ambassador's Window. On a journey through India, a pilgrimage from Kerala in the South, to his Grandfather's birthplace ...

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...

Sukan’s photographic work explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of s...

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...

ABOUT THIS ARTIST: Andrew Zhao is a student of his experiences. Hailing from Washington to Suzhou, China to Washington again, his fascination with art blossomed under the quaint mini...

Ormond Gigli Girls in the Window, 1960 (printed later) Color coupler print 16 x 16 inches Signed, dated and numbered edition of 100 Ormond Gigli: The Visionary Behind the "Girls in...

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...

In this hyper-detailed archival pigment print on watercolor paper, a bright, crimson red orange moth with white, black and yellow circular markings on its wings is dramatic against a...

'Light Stories', 2016 Edition 1/10 plus 2 Artist Proof, 20x24cm, Digital C-Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signature label and certif...

Blue House (29 Palms, CA) - 1999 20x20cm each, 20x68cm installed with gaps, Edition of 10, plus 2 Artist Proofs. 3 Archival C-Prints, based on the 3 original Polaroids. Signature...

Catherine D'Lish in Champagne Coupe, Richard Heeps photograph taken at the American Hollywood Burlesque event Tease-O-Rama. This artwork is a limited edition of 25, gloss photograph...

Photography helps Kevin Krag to freeze in time his one-of-a-kind sculptures capturing the spiritual dimension, vulnerability, and mortality of his ephemeral...

'Library' London, United Kingom 2024 Limited edition of 20. The photograph is signed front and back and comes with a Certificate of Authenticity. Carefully placed in a secure ca...

'Lilac Gloves' by Richard Heeps, taken at the glamorous retro event Goodwood Revival, perfectly captures the fine details in vintage fashion, a time of sophistication. This artwork f...

Ferguson Racing Streamliner, photograph taken in the iconic home of speed, Bonneville Salt Flats, just as the mountains contrast with the flatness, Richard Heeps captured this racing...

Craig y Don Pool, looking across the bay of Llandudno, Wales in the United Kingdom. Blue symmetry guides your eyes out to sea in this photograph by Richard Heeps. This artwork is a limited edition of 25 gloss photographic print from negative, accompanied by a signed and numbered certificate of authenticity. We recommend the print is professionally framed. This artwork is available in other sizes and it pairs well with Richard Heeps artworks in our 1stdibs store. "Richard Heeps' seductive, highly saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for his subject matter - be it cool descriptive interiors, still life or landscape. His distinctive style pushes the limits of photography." He is a film-based photographer, using a range of vintage analogue cameras. He considers himself to have three studios, the external studio of whichever location he may be shooting, his darkroom where I make my master prints and his home studio where he does the postproduction where the artworks are mounted framed and finished. He aims to make accessible artwork without compromising on quality and making everything in house he is in control of each step to achieve that. Although he was brought up in East Anglia (England), he was heavily influenced by America. he visited American bases, kept magazine cuttings and followed drag racing. The speed, lifestyle and technicolour is reflected in his imagery. 'American' colour is a major aspect in his work, it drives his equipment and material choices. At age ten he began participating in art shows and became comfortable with showing his work and the praise and criticism which is part of an artists development. In his early paintings Manhattan was reoccurring theme, fascinated with New York. Throughout his professional career he has been lucky enough to exhibit in Museums and Public Galleries since the 1980's. Since 2008 his gallery Bleach Box...