Early 2000s Color Photography

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...

Part of Richard Heeps 'Dream in Colour' Series, he was set a challenge to find something interesting on the road from LA to Las Vegas. In the heart of the Mojave Desert, Richard foun...

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"...

Catherine D'Lish, Tease-o-Rama, photograph capturing her champagne coupe Burlesque performance in Hollywood. Richard Heeps became well-known for his Burlesque photography as he captu...

Sequoia #125 - from the series US Road trip Diary - 2007, 20x20cm, Edition of 10. Archival pigment print, based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH pape...

Martini Corner, with the Kodak film rebate, vintage interior photograph from Richard Heeps Dream in Colour series. An interior vignette from Bisbee, Arizona, the saturated colours an...

Part of Richard Heeps 'Dream in Colour' Series, with some seriously cool colours and pool vibes. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a ...

Summertime (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 660.04. Mounted on Aluminum with matt...

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...

Chez Zsa Zsa Gabor, Bel Air, California, 5 May 2007 X Photographed by Jonathan Becker Contemporary 44" x 44.5" Archival Pigment Print Edition Nº 1 of 9 Ce...

Catherine D'Lish, Tease-o-Rama, photograph capturing her champagne coupe Burlesque performance in Hollywood. Richard Heeps became well-known for his Burlesque photography as he captu...

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...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

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

This stylish artwork, 'Pink Gloves' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. Th...

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, loc...

An original C-Print from Sean Scully's Pueblo Dzibalchen series (A Suite of 20) created in 2001. This work comes in a fantastic natural wood archival frame presentation. This series was shot by Scully in Campeche, Mexico. Photograph size: 20 x 24 in. Framed Size: 27.5 x 33.5 Painter, photographer, watercolorist, and printmaker Sean Scully roams the world with his camera, capturing its surfaces in places as far-flung as Mexico and the Aran Islands...

Three Framed Salton Sea Photographs. A collection of blue hued landscapes and waterscapes from Richard Heeps travels, American road trips shooting his ...

Ground Control (Stranger than Paradise) - 2008 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inv...

Bill HENSON (*1955, Australia) Untitled #17 - NH SH83 N19, 2007/2008; printed 2010 Archival Inkjet Pigment Print Sheet 127 x 180 cm (50 x 70 7/8 in.) Frame...

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

Whirlwind Measures: 48" x 84" x 1 D C-print large color photograph mounted on plexiglass Dated and signed by the artist Unique. 2007 Born in Tehran and raised in Europe and the United States, Iran, Issa-Khan began her photography career in the late 1970s studying with William Minor, Jr. Throughout the 1980s and 1990s, Issa-Khan photographed Paulina Porizkova...

'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...

Shed - Railroad Depot, from Richard Heeps series 'After the Gold Rush', named after the Neil Young song. The series captures former American mining towns that he visited on his journ...

Stefanie Schneider's Mini Daisy in front of Trailer (Till Death do us Part) signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editi...

Mrs. Richards Darling, 2019 (diptych) [From the series Les Foxy Femmes] 20x20cm each, 20x45cm installed, Edition of 30. Archival pigment prints, based on two original Polaroids on...

First Violin #03 - 2013 [From the series Need to be] 50x50cm Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cotton by HAHNEMÜHLE....

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...

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...

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 ...

Balthasar BURKHARD (1944–2010, Switzerland) Kuba, 2005 C-print in artist’s iron frame, museum glass Sheet 176 x 176 cm (69 1/4 x 69 1/4 in.) From an...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 125x156cm, Edition 3/5 Analog C-Print, hand-printed by the artist, based on an original Polaroid. Artist Inventory #96...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

Belles of Shoreditch, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 ca...

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...

Swim-in-Pool Supply Co. This fun original artwork really shows Richard's unique eye as a photographer. Captured in Las Vegas in 2003 it is part of a series he took over a few years. ...

Stefanie Schneider's Minis - The size of a Polaroid. Lollipop (Beachshoot) featuring Radha Mitchell, 2005. Lambda digital Color Photographs based on the Polaroid. Sandwiched in ...

Blue Lotus, 2003 is a contemporary color photograph by Japanese artist Tadayuki Naito. Naito created a series on the blue lotus, a flower of peace and hope. The artist’s desire was t...

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...

Plane ghost - 2008 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4638. Not mounted. ...

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...

Tell me what I am to do (Till Death do us Part) - 2005 20x20cm, Edition 2/10. Digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 932...

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...

Mauricio Bodegón Feb 1, 2000 by Celso Castro-Daza From The series Frutas Color Unique photo collage Sheet size: 27.5 in. H x 19.5 in. W Unframed Signed, titled and dated by the arti...

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...

Village Motel Blue (The Last Picture Show) - 2005 58x56cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, signed on ...

Stefanie Schneider's Minis American Pie (Oxana's 30th Birthday), 2008 featuring Radha Mitchell Signed and signature brand on verso. Lambda digital Color Photographs based on a Polar...

This cool picture has a classic Americana feel. Richard Heeps pictures beautifully capture parts of Las Vegas which are no longer there. This iconic 'Stardust' sign presented here al...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

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 (Paradise) - 1999, 98x97cm. Edition 3/10. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 20451. Not mounted. ...

A slow Wake-up, 2008, 40x40cm from the series mme.xposed, digital print based on a Polaroid mounted on Dibond - matt Hand signed & numbered by the artist edition of 7 - nr 1 Carmen...

Troubled Henry (Stay) with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5091. Not...

A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...

Rising Lily Edition of 25 signed and numbered by the artist A beautiful study of the lily as it unfolds its buds. JJK is a pseudonym for one of the world's most successful photo ar...

'Hula Doll', part of Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas. This fun artwork has a cool kitsch vibe, the photograph itself has a lo-fi effect. This artwork i...

Exercise (Suburbia) - 2004, 38x36cm, Edition of 10, digital C-Print based on an expired Polaroid. Artist Inventory #20953. Signature label with Certificate, unmounted. The project...

'Untitled' (Oilfields) 2004, 60x60cm, Edition 4/10, Analog C-Print, based on a Polaroid Certificate and Signature label, artist Inventory No. 1220.04 Not mounted. OILFIELDS, 2004...