C Print Color Photography

Available Sizes: 37.5 x 30 in Edition of 15 50 x 40 in Edition of 10 60 x 48 in Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

No Parking, urban architecture photograph from Richard Heeps' series, A Short History of London. The stark Brutalist architecture has sense of beauty as the hypnotic symmetry draws y...

Moments in Time (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3331 Not mounted. Stef...

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...

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...

'Hot Tub' (Heavenly Falls) - 2016 50x50cm, Edition of 10, Archival C-Print based on a Polaroid, Certificate and signature label, artist inventory number: 19715.08 Not mounted. ...

Archivio delle Indie II, Siviglia 1990 C-print Signed, titled, dated and numbered edition of 5 on artist's label on verso. 39.5 x 47.5 inches 47.5 x 59 inches 71 x 88.5 inches Fra...

Wild Things (Till Death Do Us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inven...

Autumn Drift (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist ...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please n...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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...

Thrills, the iconic Coney Island Wonder Wheel photograph by Richard Heeps. The bold typography of the architectural structure fills the Fuji Film frame combining Richard's signature ...

Pleasure Pier, waterscape photograph from Richard Heeps' On-Sea series. Capturing the funfair silhouette at dawn, this pier out to sea could almost be anywhere. This artwork is a li...

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...

The way we were (Till Death do us Part) - 2005 48x58cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9088. No...

Museum quality fine art print of Iman by photographer Markus Klinko taken in New York, 2004 This print is available in the following sizes, signed and numbered by Markus Klinko 24" ...

Available Sizes: 37.5" x 30" Edition of 15 40" x 50" Edition of 10 48" x 60" Edition of 5 Isaac: Isaac is an Austinite. A local resident at the Austin Zoo & Sanctuary, he spends his...

Original large format photographic print from Mona Kuhn's series Kings Road, ephemeral observations of interiors, vignettes and details captured at Rudolph Schindler's iconic LA home. 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 work this individual photo is from 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. The exhibition Kings Road has been shown in Santa Barbara, Paris, Göttingen an Lianzhou. Read more about Mona Kuhn in a recent Introspective Magazine feature - see 1stDibs page footer below Pulse (2022) Kings Road: A Rudolph Schindler House 60" x 45" / 152cm x 114cm / edition of 3 40" x 30" / 102cm x 76cm /edition of 12 limited edition photograph printed under artist supervision + 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...

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. ...

Wrapped 2019, 20x20 cm, 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 PL2019-804. ...

Cats, British Vintage interior photograph from Richard Heeps' series, Ordinary Places. Ordinary Places was Richard's first colour collection shot between 1986-1991 and it instantly ...

'Figure study in black and white II' 2016, Edition 1/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist invento...

Male Nude VI (29 Palms, CA) - 1999, 20x20cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 23700. Not mounted. ...

My Darling come to me (Till Death do us Part) - 2016 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9...

Barricade, 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 - PL2020-90...

Blue Space Dark - Mindscreen 09 (Night on Earth) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. ...

Bitter Campari, Italian street photography from Richard Heeps series, A Short History of Milan. A Short History of Milan' began in November 2018 for a special project featuring at t...

Southwold Pier, waterscape photograph from Richard Heeps' series, On-Sea. Symmetry of the architectural structure draws your eyes hypnotically to the horizon as the sun is setting on...

Palm Springs Palm Trees X (Californication) - 2019 78x76cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Narrative: Giddy was just that. He showed up with such an impressive readiness to get do...

Tincture of Myrrh, part of Richard Heeps' 'Forward to the Past' series, he was commissioned to photograph Preston Hall Museum before it went through regeneration. The works captured ...

Crushing - 2017, 20x20cm, Edition 1/7 plus 2 Artist Proofs. Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-792. ...

Mirror, vintage interior photograph from Richard Heeps' series, Ordinary Places. The layered green hues of this artwork draws you into the details. Ordinary Places was Richard's fir...

'Kirsten doing her Nails' (29 Palms, CA) - 1999 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist in...

Life and how to live it, 2016 Edition 1/7 plus 2 Artist Proofs Digital C-print, Based on Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2016-791...

Lariat Motel, photograph from Richard Heeps Dream in Colour series. The neon in this classic Americana roadside sign glows in the evening light. It was captured in its original site ...

Blue Notes - 2018 Edition of 7 plus 2 Artist Proofs, Archival C-print, based on the Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2018-431. ...

The gallery has the most extensive New York City landscape art photography, due to our abiding love for the city. We present the work of different photographers, some of whom are eme...

Between the Trees 8, 2014 - Misty Natural Landscapes and Ancient Woodland by Ellie Davies Between the Trees 8 is a stunning Digital C-Type Print on Fuji Maxima Matte Paper, availabl...

Springtime (Suburbia) - 2004 50x60cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

Utopian Foyer from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has be...

"What an honor it was to photograph the University of Texas mascot, Bevo XV, when he was a short-horned calf in 2016. At that time, I thought how great it would be if I had the oppor...

ICES Multicolor Set of Nine Framed Artworks. A set of nine pop art prints by Richard Heeps from his Great British Staycation series 'On-Sea'. Taken betw...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

'Pink Floral Dress' and 'Gloves & Handbag' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured ...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18420. No...

Wind Power (California Badlands) - 2021 24x34cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 4595. Not mounte...

Henry watching Athena Dance (Stay) - 2006 78x76cm, Edition 4/5 analog C-Print, hand-printed by the artist, based on the Polaroid Certificate and Signature label artist Inve...

Ifa - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-237. Ki...

Thirst (Bombay All Day) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signature label and certificate. Artist inventor...

"Wingman comes from a very special cow. His mother is a TLBAA Grand Champion female title holder, which means that this calf will be the star of his own show in no time. Until then, ...

Dry Season - 2021 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist inventory PL2021-1034. Not moun...

'Bombay Nights' part of the series 'A girl called N.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with c...

Digital C-print (Edition of 11) Signed, dated, and numbered, verso This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sel...

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...

'Untitled' by Stefanie Schneider (Beachshoot) 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory Nr. 898.08, ...

Lovefight (The Princess and her Lover) from 29 Palms, CA - 2009 120x180cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on 15 original Polaroids. Certificate and S...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

Circle of Magic - Elixirs (29 Palms, CA) - 2009 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...