Wilderness Color Photography

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...

The Letter (The Girl behind the White Picket Fence) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate...

Peanut and Jill (Chicks and Chicks and sometimes Cocks) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

"Lofoten Islands, Norway" Color Nature Photography by Allen Singer Archival pigment print on museum fine art paper Edition of 7 Includes certificate of authenticity. Signed and numb...

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...

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...

Artist: Stuart Klipper (American, 1941-) Title: Betataken, Anasazi Places Year: 1980 Medium: C Print (Chromogenic print) Size: 12 x 38 inches image, 16 x 44 inches sheet, 18 x 45 inches matted, 20 x 45 framed Signature: Signed, titled, dated on the mat and on reverse Condition: Very good This photograph depicts the Anasazi settlement of Betataken in New Mexico. It is a chromogenic print, also called a C-print on Kodak paper. It is from Klipper’s series called Anasazi Places done in 1980 under the auspices of the National Endowment for the Humanities. The photograph is in very good condition. The mat is in very good condition. The bronze metal frame and Plexiglas are in fair to good condition with some small scratches. Stuart Klipper was born in the Bronx in 1941. He then lived in Stockholm, Sweden, moved to Minneapolis in 1970 and currently resides there. He has made six visits to Antarctica to photograph, and has also worked in Greenland, Iceland, Svalbard, Alaska and Lapland (in the area irradiated by the Chernobyl disaster). Other major forays have taken him across Northern Australia; the deserts of Israel and Sinai; the tropical rain forests of Costa Rica, Patagonia and Tierra del Fuego; and Sri Lanka and Pakistan. He has logged many thousands of miles at sea, photographing on all of the Earth's oceans... and seas. For over 30 years, he has made photographs in all 50 states, distilling and crystallizing the defining characteristics of American regions. Other undertakings include extensively photographing the First World War cemeteries and memorials of the Western Front, major physics and astronomy research installations throughout the U.S. and the Anasazi ruins of the Southwest. His photographs have been exhibited in, and collected by, major museums in the U.S. and overseas; foremost, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Minneapolis Institute of Arts, the Walker Art Center, The Jewish Museum, the Israel Museum, the Victoria and Albert Museum, the Kunsthalle Bonn and the Moderna Museet. He has been the recipient of several major grants, including two each from the Guggenheim Foundation and the Bush Foundation, and three each from the McKnight Foundation and the Minnesota State Arts Board. He is a recipient of the U.S. Navy's Antarctic Service Medal. He was also visiting professor, Art Department, Colorado College, 1978 to 2008. Solo exhibitions • Disparate Geographies, Schmidt Dean Gallery in Philadelphia, 1998. • Sixteen polar photographs, Arktis -Antarktis, the Kunsthalle des Deutschesrepublic, Bonn, Germany. 1998 • Cardinal Points, at the University of Iowa Museum of Art. (Photographs from polar regions: Antarctica and Greenland, the tropical rain forests, the desert regions of Israel and the Sinai, the agricultural Great Plains)-- an exhibition catalogue was published. 1998 • At Sea Near the Poles, at the Spencer Gallery, Wickford, R.I. 1999 • Antarctica 99/00, Yancey Richardson Gallery, NYC, 2000 • Selected Antarctic Work, Berler Gallery, Washington D.C., 2001 (Also shown in Denver and Christchurch, N.Z. • Selected American photographs, The Center for American Places, Harrisonburg, Va., 2001 • Photographs from the Arctic and Antarctica, Smith-Dean Gallery, Phila., PA, 2001 • Wyoming, Univ. of Wyoming Museum Art, Minneapolis Institute of Art, 2001/02 • In the Australian Outback, Gallery 360, Minneapolis, 2002 • The United States, Candace Perich Gallery, Katonah, NY, 2002 • Rock art, bush fire, termite mounds and other aspects of the outback of the Top End of Australia, Gallery 360, Mpls.,2002 • Portraits about Pakistan, 1987, Icebox Gallery, Mpls., 2002 • Antarctic 1: Views Along Antarctica’s First Highway, Center for Land Use Interpretation, Los Angeles, 2002 • The Louisiana Purchase, Groveland Gallery, Minneapolis & Olson-Larsen Gallery, Des Moines, 2003 • Selected photographs, Medtronics Corp. corporate headquarters, Minneapolis, 2006 • Antarctica, Electrolift Artworks, Minneapolis, Minn. 2006 (+ other venues) • 20 Years of photographing Louisiana, The Ogden Museum, New Orleans, 2008 • Antarctic Photographs, City Museum of Charleston, S.C., 2009 • Local Places – Remote Terrains, Olson Larsen Gallery, Des Moines, Iowa, 2009 • The Dead Sea Region, Israel, The Basilica of St. Mary, Minneapolis, 2010 Group exhibitions • Photography of New York City, Minneapolis Institute of Art. 1998 • Sea Change, The Center for Creative Photography, Univ. of Arizona, Tucson. (An eponymous book was published in conjunction with the exhibition and is in national distribution), 1998/99 • American farms and farming, Candace Perish Gallery, Katonah, NY. (Traveled to Washington D. C.), 1998/99 • Views from the Edge of the World, Marlborough Gallery, NYC. 1999 • Claiming Title: Australian Aboriginal Artists and the Land, St, Olaf & Carleton Colleges, Northfield, Minn., 1999 • The Infinite and the Intimate; Waterscapes of Stuart Klipper and Frank Gohlke, Dorsky Gallery, N.Y.C. 1999 • An Eclectic Focus: Photographs from the Vernon Collection ( + catalogue), Santa Barbara Museum of Art, 1999 • Aqua, Gallerie Thierry Marlat, Paris, France 1999 • Restructuring the Prairie, Grinnell College, 1999 • The Mural as Muse, Deutsches Bank Gallery, NYC, 2000 • earth sky, Jackson Fine Art, Atlanta, GA, 2000 • Western Panoramas, Huntington Museum, Sta. Barbara, CA, 2001 • I Love New York (W. T. C benefit), NYC, 2001 • Melodrama, inaugural show, ARTIUM, Vitoria, Spain, 2002 • Contemporary Desert Photography...

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...

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. ...

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...

Runaway (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Archival inkjet print Signed, titled, dated, and numbered on label, verso (Edition of 10) This photograph is offered by ClampArt, located in New York City. About the artist: In his ...

Keys View (29 Palms, CA) - 2008 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #25061....

"Silk no. 4_v1, Taos, NM" is a color photograph, limited edition, signed and numbered by Thomas Jackson. Thomas Jackson's Emergent Behavior is inspired by the instinctual self-organ...

Campbell Falls Picnic - NEW Slim Aarons Estate Edition A family enjoy a picnic on the bank of the Whiting River near Campbell Falls Massachusetts USA 1959 A gorgeous scene; and a ...

The Point of no Return (Heavenly Falls) - 2016 48x58cm, Edition of 10, Archival C-Print based on the Polaroid. Certificate and signature label. Artist inv...

The Letter (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #13...

Tao's Place (Stranger than Paradise) - 2019 Edition of 10, 50x50cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Not mounted. Stefanie Schneider: ...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

The Letter (The Girl behind the White Picket Fence) - 2013 50x60cm, Edition of 10, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #1308...

In the Range of Light (Wastelands) - 2003 Edition of 30, 38x37cm. Archival C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory #559.24. Not mounted....

Hidden Valley (Till Death Do Us Part) - 2005 78x77cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Signature label and Certificate. artist Inventor...

On the Road to Nowhere - 2017, Edition 1/7 plus 2 Artist Proofs Archival C-print, based on the original Polaroid, not mounted. Signature label and certificate. Artist inventory PL2...

Pioneer's Grave, from Richard Heeps' 'Dream in Colour' series. Keeler was part of American Mining History, on the east shore of Owens Lake, but the lake dried up serving LA, and mill...

Yosemite #136 - from the series US Road trip Diary - 2007 50x50cm, Edition of 10. Archival pigment print, based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH pape...

Title: Ahu Lani River - 0415.1844 Size: 18 x 24 in Medium: Archival Pigment on Canson Rag Edition of 8 Signed: Verso Print: $1950 unframed Walnut frame available From the series WIT...

Flinders Ranges, South Australia, 1997 - 20x30cm, Edition of 10, digital C-Print based on a 35mm negative. Signed on back with Certificate. Not mounted.

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, that is accompanied by the acidic aroma of conifers. Occasionally, a sweet waft will come to you from some unknown source, and the peat-softened ground muffles a sound, leaving one with a sense of quiet and calm. The green pallet soothes the eyes. You touch a tree that has fallen decades ago, perhaps a giant Sitka four feet in diameter, and it stains your hand. Soot, lichens, fungus, and a variety of microscopic detritivores have left their mark. You catch a glimpse of a rodent that is living in the hulk. A small snake...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, that is accompanied by the acidic aroma of conifers. Occasionally, a sweet waft will come to you from some unknown source, and the peat-softened ground muffles a sound, leaving one with a sense of quiet and calm. The green pallet soothes the eyes. You touch a tree that has fallen decades ago, perhaps a giant Sitka four feet in diameter, and it stains your hand. Soot, lichens, fungus, and a variety of microscopic detritivores have left their mark. You catch a glimpse of a rodent that is living in the hulk. A small snake...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I find comfort in forests, especially the few remaining old-growth stands of the Pacific Northwest. Life is churning in such places. Death and rebirth create a rich musk of decay, th...

I have spent seven years photographing visual clues that tell of the beauty, complexity and destruction of South Louisiana. Once formed by sediment deposited by the Mississippi River...

Yosemite #135 - 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 pap...

Knit One, Pearl One 6 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in...

Botanicals I, 2018, 24x20cm, Edition 1/7 plus 2 Artist Proofs, based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist In...

In The Range Of Light I (Wastelands) - 2003 Edition 3/5 , 57x56cm. analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventor...

Botanicals II 2018, 60x48cm, Edition 1/7, plus 2 Artist Proofs, based on an original Polaroid, Digital C-Print, not mounted. Signed on the back and with certificate. Artist Inven...

'Yucca' (Bombay Beach) 2019, 20x20cm, 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 PL...

Botanicals II - 2018 24x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid. Not mounted. Signed on the back and with certificate. Artist Inventory Numb...

All that Remains - 2016 Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Not mounted. Signed on the back and with certificate. Artist inventory PL2016-3...

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...

The mat measures 21 X 16 the images are around 12 X 9 inches. They bear the blindstamp of the American Colony Jerusalem. I am not sure if these are hand colored but they are from the period. Old City Shuk or Souq. The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers. The Allied forces from Egypt, under the leadership of the British, engaged the German, Austrian and Turkish forces in fierce battles for control of Palestine. During this time the American Colony assumed a more crucial role in supporting the local populace through the deprivations and hardships of the war. Because the Turkish military...

From the Still Beating Series Narrative Art refers to visual imagery which tells stories, engages the imagination, and stirs the emotions. These stories...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

Photograph taken with Polaroid Now+ camera. Unique piece, embossed, signed on the back, and comes with a certificate of authenticity.

Digital C-Print The Witness Tree (2010 - 2017) Global impacts and solutions of the climate crisis The Witness Tree is a photography project about the effects of climate change ...

Peace Rock, Palm Springs, CA by William Greiner depicts a vibrant landscape filled with large boulders and desert flora. A graffitied peace sign hides in the shadow covered rock. Ar...

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 30 " inches / 101 x 76 cm p...

A great burning swept across the island of Ibiza. This tree is one of the thousands of memorials to a landscape that is slowly recovering. :: Photograph :: Color :: This piece comes...

In this series, Zilberberg creates animal montages as an expression of self-therapy, drawing attention to mindfulness and nature conservation. As an...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. 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 edition of the photograph. ABOUT: In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. “Peabrook is my Neverland,” Heal states, in reference to J.M. Barrie’s Peter Pan. “It is a fictional place often described as a metaphor for eternal childhood.” Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook. Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the “magical” representation of Heal’s home that she strove to depict. The simply framed 4” x 5”, 5” x 7” and 8” x 10” photographs sit within large mattes, in keeping with the classical quality of her images. “I really wanted to work in film again, and this project seemed the right one to do it with,” says Heal, who lists Sarah Moon and André Kertesz as artistic inspirations. The dark and mysterious invitational image, “Willow”, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden. The earth-toned image contains the unpredictable streaked effect of developed instant film. In another image, entitled “Sitting Room”, we see a positive image of a film negative. Most notable is the hanging rhinoceros head towering impressively over two antique sitting chairs...