Heidler & Heeps

Stamp Collection, QV 3cents

2017

QV 3 Cents, from the Heidler & Heeps Stamp Collection. Following on from the hugely successful ‘Vinyl Collection’, Natasha Heidler & Richard Heeps have collaborated again, drawing from the childhood past time of stamp collecting...

Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibrant colours. Their black backgrounds give them the appearance of neon signs l...

Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibrant colours. Their black backgrounds give them the appearance of neon signs l...

Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibrant colours. Their black backgrounds give them the appearance of neon signs l...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

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...

SLAVES WE WERE, 1982, color photograph, signed and dated and titled in ink, numbered 3/50, sheet 12 x 16”. Hand signed, titled and has the edition number on the recto. Gerard Allon, photographer, born 1949, Casablanca, Morocco. Immigrated to Israel in 1974. In 1985 Allon left Israel and established himself in Canada. He became interested in holography and developed a patent for the "holoposter" .Gérard Allon (Moroccan, Israeli) was born in 1949 in Morocco, grew up in Algiers, then in France. He learned French literature at the Lille University and worked as director assistant for the cinema and the French television. At age 24 he went to Israel and made a movie on the first Jewish settlement on the Golan Heights. From 1975 he has developed an Artist photographer career. The transformation of the camera arts in Israel began in the summer of 1975 with a juried exhibition in Tel Aviv entitled Through the Lens of Immigrant Photographers. Held under the auspices of the Ministry Of Education and Culture, the exhibition included six artists selected by a jury: one of them, the then-unknown Gérard Allon. To include him was an act of almost prophetic clairvoyance, since both as an artist and a photographer, Allon was destined to play a most important role in the renewal of the art in Israel, above all in the field of commercial and fashion photography. Together with a handful of other young photographers active at the time (among them the immigrants Yosaif Cohain and Neil Folberg, and Israelis educated abroad, such as Hanan Laskin, Avi Ganor, and Micha Kirshner), Allon was instrumental in bringing much-needed foreign influences into the insular bubble of local photography. He belongs to the younger generation of camera artists who have established new standards and have brought Israel Photography...

Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a Human Brain. It was created by combining fragments o...

Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a Human Brain. It was created by combining fragments o...

VI: Utter Blindness (Abstract Photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a Human Brai...

VIII: The Unselfconsciousness Of Eros (Abstract Photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichot...

IX: Genesi (Abstract photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a Human Brain. It w...