C Print Color Photography

Think - 2021 48x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2021-1015. Not mou...

Heidler & Heeps Vinyl Collection Nine Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

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...

Fifty Shades - 2017, Edition of 7 plus 2 Artist Proofs. Digital C-print, based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2017-333. Not mounted...

A classic American icon, the roadside giant Cowboy "Muffler Man", captured on Richard Heeps' road trip between Mecca and the Salton Sea. Part of a series of pictures by Richard Heeps...

St. Louis and the Arch Vintage Photograph St. Louis: title, signature, dated 1977, copyright 1982, and edition 1/10 to verso. View down Walnut St. of St. Louis' city hall building. Images: 15 x 19 in. (16 X 20), frames: 22 1/2 x 28 1/2 in Meyerowitz first drew acclaim for his remarkable ability to capture subtle qualities of light with the 1978 publication of Cape Light, which went on to become a color photography classic. Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of tod...

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...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

New York Picnic (1959) Limited Estate Stamped (Photo By Slim Aarons) A chauffeur unpacks a picnic hamper from a Rolls Royce, against the New York skyline. 1952 Additional Info...

Male Nude in Bathroom (29 Palms, CA), - 1999, Edition 1/10, plus 2 Artist Proofs, 20x20cm, digital C-Print, Not mounted, based on a Polaroid, Signature label and Certificate, Art...

We present a new series of art photography featuring another city and its architectural beauty. We work with photographers internationally to curate city landscapes that tells a sto...

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...

4" x 5" Unframed Closed Edition Photograph MAGNUM Photography Hand Signed by Steve McCurry

Once We Were Warriors (Stage of Consciousness) - part of the 29 Palms, CA project - 2007 - featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, ...

Richard Heeps’ seductive, highly saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for his subject matter – be it cool, descriptive interio...

Set of three Framed Square Ready to Hang Photographs of Milan by Richard Heeps. Featuring - 'Foyer II', Big Window and Tram. Each individual frame measures 16" x 16". The artworks a...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series. This artwork is a limited edition of 25 gloss photographic ...

ICES Red, 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 coast, the art...

Star me Kitten - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL201...

ICES Vivid Lime Green, 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 c...

All That Glitters is Golden, from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal...

Slim Aarons Desert House Party, 1970. (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity A poolside party at a desert house, desig...

Outtake (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist inventory Nu...

Making out in Car (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on a Polaroid, Certificate and Signature label artist...

A factory in Avonmouth – Unnatural Architecture – Explore Cawston’s Unnatural Architecture series, where the interplay of complementary colours transforms the essence of distinctive ...

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...

This is an exclusive handprinted limited edition cyanotype. This diptych is titled "Japanese Zen Pond Ripples", and shows ripples of water from a calming pond. Details: + Title: Ja...

Heidler & Heeps Vinyl Collection Eighteen Piece Multi-Color Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beaut...

Untitled (Fairytales) - 2006 48x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certif...

The Decision - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory #762. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

This red panorama photograph brings a fantastic pop of colour to a room and the details in it take you on the journey with the photographer. Whilst in Darjeeling Richard became fasci...

Set of four ready to hang framed pop art photography, featuring Richard Heeps 'ICES' Mustard, Lemon, Honey and Sherbet Yellow. ICES, is a bestselling artwork by Richard Heeps, photo...

Biblioteca Palatina, Parma, 2011 Chromogenic lambda print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 Born in Florence in 1953, ev...

Delilah Right Red Hand I, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 200...

Fern II - 2018 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2018-479. Not mou...

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...

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...

An iconic 20th Century fashion later photograph Girl in the Light, 1967 by Ormond Gigli is a c-print. Available in color and B&W. This color version is in an edition of 10. 38" x 38" image size, 44" x 44" paper size. The print is signed, titled, and numbered on recto (front of photo) by the photographer. Provenance: Gigli Estate *** Artist’s Bio: Ormond Gigli (1925-2019) published in the top magazines, such as LIFE, Time, and Paris Match. Assignments took the photographer around the globe. Gigli's celebrity portraits included Sophia Loren (at age 21), Anita Ekberg, Marcel Duchamp, John F. Kennedy, Halston, Gina Lollobrigida, Diana Vreeland, Marlene Dietrich, Judy Garland, among others. The most famous of Gigli's favorite photographs were self-assigned, such as one of the legendary fashion photographs of the 20th century, Girls in the Windows. *** Available at 99Prints...

Part of Richard Heeps 'Burlesque' Series, this photograph is so cool and cinematic. Richard became well-known for his Burlesque Photography after he spent 2003 capturing performances...

Spread 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 PL2019-761. K...

Holidaymakers waterskiing in front of the Carlton Hotel, Cannes, 1958. Cannes Water Sports, Carlton Hotel 1958 C Print Estate stamped and hand numbered edition of 150 with certifi...

Orange Flowered Couch at Sunset (29 Palms, CA) - 1999 Edition 1/10, 20x20cm, Archival C-Print, based on a Polaroid Artist inventory Number 19762 Not mounted. Stefanie Schneider:...

Rainbow Apartments, Italian architecture photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in ...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

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

Swim-in-Pool Supply Co. photograph from Richard Heeps 'Dream in Color' series. This fun original artwork really shows Richard's unique eye as a photographer. Captured in Las Vegas in...

Tram, photograph from Richard Heeps' series A Short History of Milan. 'A Short History of Milan' began in November 2018 for a special project featuring at the Affordable Art Fair Mil...

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...

Jules and Jim II (Renée's Dream) from the 29 Palms, CA series - 2007 125x123cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certific...

Whisky Dance I (Sidewinder) - 2005 Edition 5/10, 8 pieces installed including gaps 172x,338cm, 82x80cm each. 8 analog C-Prints, hand-printed by the artist, on Fuji Crystal Archiv...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Circle of Magic - Shazam (29 Palms, CA) - 2009 20x24cm, Edition 6/10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2823.06. Not m...

Martini Corner, is an interior photograph by Richard Heeps, captured in Arizona as part of his Dream in Color series. The artwork has rich orange colours and an elegant mid-century f...

Set of two Framed Fun Typography Pop Art Prints. FUN! Carter's Yard, Maidenhead, 2022 Swim-in-Pool Supply Co. Las Vegas, 2003 Each individually framed artwork measures 39.5" x 33.5"...

Laurent Chéhere, a French photographer born in 1972 in Paris, makes images of flying houses and other dwellings that are informed by his wanderings in the hidden neighborhoods of Par...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

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...

Airstream (29 Palms, CA) - 1999 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 280. Not mounted. A Germ...