Landscape Color Photography

Panoramic cityscape made from 6 pictures Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Capital of the former county of Fl...

"I create glowing, jellied scale models of urban sites, transforming ordinary physical surroundings into something unexpected and ephemeral. Lit from below, the molded shapes of the ...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition Composition from an assembly of 7 shots made in February 2013. The ...

Photographer Mark Klett is best known for cool, impersonal images of desert landscapes in the American Southwest, taken from a similar vantage points and under similar lighting condi...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

CURRENT EXHIBITION - runs through June 25th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. The Robin Rice Gallery announces a solo photography exhibition by Pete Kelly. The opening reception will be held May 3, 2017 with the show running through June 25, 2017. Pete Kelly’s latest show admirably showcases the lush greenness, diverse landscape, and ever-fleeting light of the British terrain. We are invited to join his excursions throughout the country as he brings light to the captivating, idiosyncratic characteristics of the land. He captures the oddities of the landscape; solitary figures bathing in sunlight, silhouette of a frolicking Great Dane in the mist, and subtle remnants of a bygone era. Kelly’s incredibly unique, picturesque editing style further mythologizes his subjects, he meddles with an air of mystery that defines the viewers experience. Kelly employs a mixture of a single image with layers of photographs of textures. The feel and look of the end result pay homage to English romanticist landscape painters such as J.M.W Turner and Constable. Kelly applies varnish and then uses Photographic Encaustic wax over the print. He encases the archival pigment print in beeswax and damar resin; tree sap in its purest form. These organic components have been found to have preserving qualities by ancient Egyptians, which replace the need for glass over the photograph. The impersonality of a raw digital file is alleviated through this process and makes the image a ‘one off. Combining modern photographic and printing technology with ancient crafting techniques, Kelly 
is the originator of art that is tactile, archival and organic. In one image entitled ‘Brabyns Autumn” examines man’s contemporaneously interruptive and complimentary relationship with the surrounding land, and zeros in on a serenity only manifested when man and nature successfully coexist. Small figures, animals, and dwellings found in the landscape are essential points of interest for Kelly. Using nature as a tool for fortifying scale and perspective, Kelly magnificently reinforces the grandiose essence of nature as opposed to the insignificant disposition of man. Kelly’s tiny subjects painted against a vast landscape offer a point of reference for our own trifling experiences and memories. Kelly's fascination with photography began at an early age. Born in England in 1966, grew up in West Germany. After leaving school he enrolled in a photography course with the Royal Air Force Photographic Unit, based in Wildenrath, Germany. Although this initial training lasted only six months, it established a life long passion and dedication to photography. Already an avid traveler, Kelly initially decided to return to the UK, to study Graphic Design and Advertising at Stockport College, before moving to America in 1987. After completing an Internship at an innovative commercial photography studio in the United States, worked as a Photographers Assistant; working closely with a range of photographers allowed him to intrinsically develop his own refined sense of aesthetic as well as develop and master photographic theory and technique. Pete has taught Photo Encaustic...

Black and white fine art panorama landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editi...

Fishermen at dawn on Lake Inle in Burma in total harmony with their surroundings. – Cawston won the BJP Nikon Endframe Award in 2009. His prize was funding for a dream project and he...

Frozen fields illuminated by a surreal winter light… the sun barely visible… the colours cool but invigorating – Cawston’s landscapes are filled with delicate harmonious tones. The...

As night falls over the Makgadikgadi Pans, giant trees stand starkly against the horizon. Leafless branches reach for the light. On the opposite side of the sky, Earth’s shadow is ri...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Glastonbury Tor rises from the mists in this mythical vision of the Somerset levels – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex- Composition from an assembly of 6 ...

Lantern in the forest. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the e...

Pebble Beach Riders from the Pebble Beach Equestrian Center wend their way through the Californian sand dunes and pampas grass, November 1976. 40x40” / 101 x 101 cm - paper size ...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex- Composition from an assembly of 4 shots digitaly edited and made in 2015 Our gallery has its own production department and you can receive a small format demonstrative copy of this artwork on request, send a message & we will send it to you free of charge. Jean-Pierre De Neef came to photography like a new convert to religion, convinced that it would lend meaning to his life. His path took him first to a photographic laboratory, having once been a Cibachrome expert, regularly visited by French art photographers who made their way to Brussels to consult him. Well-versed in modern high performance techniques, nowadays Jean-Pierre De Neef produces art photos for several internationally known photographers whose works can be found in galleries and fairs the world over. Twelve years ago Jean-Pierre De Neef’s encounter with François Bayle, art critic and curator of the works of various photographers for Brussels Art Edition, enabled him to pursue his passion in new fields. He was at the side of the Italian photographer Fabrizio La Torre (Rome 1921, Brussels 2014) in the last few years of his life, who entrusted him with detailed instructions for digitising his archives and explained to him the results he was seeking. Jean-Pierre De Neef with his refined technical skills, and François Bayle with his creativity made up a team which was perfectly equipped to stage a number of well-received exhibitions of the work of Fabrizo La Torre - Museum of Ixelles (Brussels 2011), Principality of Monaco, an excellent Retrospective,(2014) and Bangkok (2019), which involved the presentation of the photos taken in Thailand between 1956 to 1961. Similar restoration work was performed on the photographic archives of the German photographer Jörg Krichbaum (d. 2002 in Brussels) and the remarkable photos of Rome...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex- Composition from an assembly of 13...

Panoramic cityscape made from 6 pictures Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Capital of the former cou...

Panoramic landscape made from 7 pictures Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Jean-Pierre De Neef came ...

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

Memory of a Dream (29 Palms, CA) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x...

Cadini di Misurina, Dolomite Alps, Italy, Europa By Achim Thomae C print Oversize 20 x 30" inches / 50 x 76 cm Unframed Framing & Different Sizes Available - Please Ask. By Ach...

Les Corbières - Limited edition pigment print - Limited Editions of 5 Mountain in France. Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes ( Image size , the white margin is not counted): 23 x 70,4 cm / 9,05 x 27,56 in - Edition of 5 31 x 95 cm / 12,2 x 37,40 in - Edition of 5 45 x 137.7 cm / 17,71 x 53,93 in - Edition of 5 A custom size is possible, it will be included in the nearest edition of 15 This print that is being offered is a high-quality Archival Pigment print, which has been printed on fiber-based paper. The paper used is Hahnemühle Photo Rag® Baryta 315 gsm, which is a premium quality paper that is acid-free and lignin-free. This ensures that the print will remain in pristine condition for years to come. The Hahnemühle Photo Rag® Baryta paper is a museum-quality paper that is highly resistant to aging. It is a popular alternative to analogue baryta paper, which is known for its ability to produce rich, deep blacks and vibrant colors. The Hahnemühle Photo Rag® Baryta paper is no different, as it produces stunningly vivid and lifelike prints. Overall, this Archival Pigment print is a stunning piece of art that is sure to impress. The combination of high-quality paper and inks ensures that the print will remain in pristine condition for many years, making it a great investment for any art collector or enthusiast. Sam Thomas...

End of the Road (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm...

End of the Road (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm...

The Field (Musica Poetica) - 2016 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #186 N...

Untitled (Oilfields) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1197 Not mo...

North Shore Mirage (California Badlands) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #18078 Not mo...

Kate's Dream is a limited edition photograph by Nancy C. Woodward. This is a limited edition photograph with a plexifacemount. It 24" x 20". It is filled with Blues and Green co...

The Chrysler Building is not only ever-present, but its uniquely shaped spire attracts the eye unlike any other structure. "Wherever You Look, You See The Chrysler Building: Central...

Stowe Ski Slope 1955 Cars parked at the foot of a ski slope at the Stowe Mountain resort, Vermont, USA, 1955. by Toni Frissell Very large 60 x 40" inche...

Valley Vista (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 864. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Train Crosses Plain (Wastelands) - 2003 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 544. Signature labe...

The Valley - (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1233. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Published in: WASTELANDS, published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007), Stranger Than Paradise, Scott White Contemporary, San Diego, (S) (2012) Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids...

A Walk In The Snow 1951 Skiers walk through Klosters in the early morning, Switzerland, 1951. by Toni Frissell 12 x 12" inches / 30 x 30 cm paper size Archival pigment print un...

Ether (Sidewinder) - 2005 80x79cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist Inventory 3095. Not mounte...

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

The mansion of Remy de Haenen on a peninsula in the bay of St. Jean at Eden Rock on the Caribbean island of St Barts (Saint-Barthelemy), March 1973. The house is now a hotel Slim Aa...

The Getaway (Till Death do us Part) - 2005 40x40cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artis...

Wonder Valley (29 Palms, CA) - 2009 38x36cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature Label. Artist inventor...

The Doctor's Stage (Heather's Dream) - 2013 with Udo Kier and Heather Megan Christie part of "The Girl Behind the White Picket Fence" 38x48cm, Edition of 10 plus 2 Artist Proofs. ...

A Pack Trip In Wyoming 1960 Holiday makers at a Wyoming dude ranch enjoy a pack trip across a spectacular landscape, USA, 1960. by Toni Frissell 40 x 60" inches / 101 x 152 cm p...

An Icy Drive 1955 Cars parked at the foot of a ski slope at the Stowe Mountain resort, Vermont, USA, 1955. by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigm...

Frozen XVI (Stranger than Paradise) - 2001 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

This beautify panorama color photography was taken in Israel near Caesarea. It was not filtered, manipulated or color corrected, but a straight panorama shot. It comes print only, bu...

On the Road (California Badlands) - 1999 44x59cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Archival pigment print Signed and numbered, verso 40 x 60 inches 50 x 75 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note tha...

Round Up 2 Sizes & Editions: 30x40 - Edition of 5 + 2 AP's 40x50 - Edition of 5 + 2 AP's 50x60 - Edition of 5 + 2 AP's 70x90 - Edition of 5 + 2 AP's This photogr...

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

Untitled (Oilfields), 2004 60x60cm, Edition 4/10 Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate and Signature label. Artist Inventory No. ...

'Inishturbot Coast' 1978 by Alain Le Garsmeur Limited Edition Archival Pigment Print The West-facing coastline of Inishturbot island, Connemara, County Galway, Ireland, 1978. Pa...

Mosquito Coast by Alain Le Garsmeur Horses rest by a beach in Mosquito Coast, Honduras, Central America, 1981. Paper size 20 x 24 inches / 50 x 60 cm Printed in 2022 - produced fro...

"Wherever You Look, You See the Chrysler Building: Brooklyn Heights " is captured by Photographer Mitchell and is part of his exhibition, Mitchell Funk Photographs The Chrysler Build...

Desert landscape photograph of Canyon de Chelly National Monument by an unknown artist (American, 20th Century). Signed "CJB" in the lower right corner. Dated "April '84" in the lowe...

Church drive by (Vegas) - 2000 Edition 1/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificate and Signature label. Artist Inv...

ADDITIONAL SIZES AND FRAMING: Additional sizes are available. Please inquire for more information on larger sizes. We offer fully archival professional framing for all prints for an additional cost. Framing is available in white, black or natural wood and prints can be framed either with or without a mat board. We also offer face mounting to plexiglas. PACKAGING: 30x40" and 40x60" prints are shipped in a special fortified tube to guard against bending or damage. Framed 30x40...

David Drebin Balloons over Paris, 2016 30 x 72 inches Edition of 10 40 x 96 inches Edition of 7 C-Print

'Salt'n Sea' (California Badlands) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Certificate and Signature label, artist Inventory No. 4536.08, Not mou...