C Print Figurative Photography

'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...

Margarita Smokes in Bathroom II (Till Death do us Part), 2007, 40x50cm, Edition 1/5, analog C-Print, printed by the artist, mounted on Aluminum with matte UV-Protection, based on a...

Haley and the Bird Man (Haley and the Birds) - 2013 105x100cm, Edition of 5, analog C-Print, hand-printed by the artist on Crystal Fuji Archive Paper, matte surface, based on a P...

Dining Al Fresco (1976) Limited Edition Estate Stamped (Photo by Slim Aarons) Victor Marson (left) and George Amos dine in the garden of Highclere ...

'Pink Gloves' by Richard Heeps, taken at the glamorous retro event Goodwood Revival, perfectly captures the fine details in vintage fashion, a time of soph...

'White Handbag (detail)' by Richard Heeps, taken at the glamorous retro event Goodwood Revival, perfectly captures the fine details in vintage fashion, a...

'Live And Let Die' 1973 Roger Moore and cast On set of the movie 'Live and Let Die' with Roger Moore as 007 James Bond, with Yaphet Kotto playing Che...

'Lounging In Verbier' 1964 Limited Edition Estate Stamped Print Holidaymakers in sun loungers on the slopes at Verbier, Switzerland, February 1964. Produced from the original tran...

Painted Red Edition of 10 - 40 x 40 cm. Digital C-Print based on a on a 600 Polaroid. Signed on back and certificate. Not mounted. Painted Red (Shot 2020 on 600 film) Directly infl...

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

Library of Congress I Washington DC 50 x 62.4 inches ed. of 10 $6,000 60 x 74.9 inches ed. of 7 $9,000 70 x 87.4 inches ed. of 5 $11,000 signed...

'Costa Smeralda, Sardinia' 1978 Slim Aarons Limited Estate Edition Print Sailboats on the waters of the Costa Smeralda in Sardinia, Italy, in September 1978. Produced from the ori...

The Double Cross Edition of 10 - 40 x 40 cm. Digital C-Print based on a on a Polaroid. Signed on back and certificate. Not mounted. The Double - Cross (Shot 2016 on SX70 film) Infl...

'Catherine Wilke' Capri Slim Aarons Limited Edition Estate Stamped Print Catherine Wilke joins the topless sunbathers on the island of Capri, 1980. A typical 'Slim' photograph ch...

Dressing up, 2018, Edition 2/7 plus 2 Artist Proofs Based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2018-137 ...

Debbie Harry ( Blondie) New York 1978 - Oversize C print limited edition by Martyn Goddard Signed limited edition of 10 only this size keywords Blondie Debbie Harry Pop art pop music rock punk fashion...

A sunny Moring II (The Girl behind the White Picket Fence) 2013, 20x24cm, Edition 9/10,digital C-Print, based on an expired Polaroid. Certificate and Signature label. Artist Inventor...

Kairosclerosis 2019, 20x24cm, Edition of 1/10. Digital C-Print based on a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Josey...

'Untitled' (Chinese Classical) - 2003 - 26 cm x 32cm. Edition of 10 plus 2 Artist Proofs. Archival print, POLAROID 809 Emulsion Transfer. Signed, embossed stamp and artist certificate. Not mounted. Short Bio: Xulong Zhang has been engaged in fashion portrait photography for 30 years and loves Polaroid photography. In 2000, he began to develop Polaroid photography and traveled to 34 countries for his photography. Vita: 1999 Has won the title “Ten Elites” in the 3rd China Portrait Photography. 2000 Named the World Chinese Artist, known as “The Prince of Album” 2001 September, CCTV special report on “Zhang Xulong’s Body Art Photography” gained strong feedback from the community. 2002 January, published “Strategies for Commercial Portrait Photograph” by Zhejiang Photography Publishing. 2002 February, launched the concept of “Tang Yun” and greatly accepted by the market. His idea has spread across whole China’s photography industry. 2002 July, launched the concept of “Picasso’s scene backdrop” for kids photography and shocking the whole industry. 2002 August, published “Ms.Tang’s Body Art Portrait Album”, the first female body photography in China, by People’s Arts Publishing 2002 September, a personal exhibition entitled “seeing memory” in the ancient city of Shanxi Province, the 2nd session of the Pingyao International Photography Festival. In December of 2002, he was invited to give lectures in Malaysia and auction off the “Fruitful Achievements” exhibition in Kuala Lumpur, donating all money to the Kuala Lumpur Charitable aid for nursing homes and orphanages, won the "goodwill ambassador" title of honor in Kuala Lumpur. 2003 February-March, held the exhibition of “White Valentines” at Beijing International Trade and Exhibition Centre. December 2003, pioneered the new concept of "Royal Wedding", and completed the album of “Invasion 2004” wedding photography books published by Jilin art press. In December 2003 was awarded the 2003 annual contribution of the Chinese human body photography. 2003 Published “China Portrait Culture”. 2004 January, published Body Art & Portrait album “Chun Hua Qiu Shi”. 2004 March, held the exhibition of “Body Art & Portrait photography” in Chengdu. 2004 May, featured on a special report of “Match En China” in Paris. 2004 September, Pingyao international photography festival held entitled "the ambiguity of ancient legacy" xu-long Zhang body art exhibition 2005 August. 2005 August, accept the German star weekly "Der Stern" special report of “China nude” photography...

Miles ALDRIDGE (*1964, Great Britain) Mystique #3, 2018 Chromogenic print Image 152,5 x 114,5 cm (60 x 45 1/8 in.) Sheet 164.5 x 126.5 cm (64 3/4 x 49 3/4 in.) Edition of 6, plus 2 A...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

'Cortina d’Ampezzo' 1982 Slim Aarons Limited Estate Edition Isa Genolini and Maria Antonia in the main street of Cortina d’Ampezzo, Italy, March 1982. Produced from the original t...

Oscar Ennui - Faye Dunaway Reclining 1977 by Terry O;'Neill ( 1938 - 2019 ) Framed lifetime hand signed limited edition C print from terry O;'Neill's mo...

Fanari, 2018, Edition of 10 - 40 x 40 cm -Digital C-Print based on a Polaroid, Not mounted. Signed on back and certificate. About: Fanari (Shot 2018 on SX-70 Film)
 This was shot on...

Golden 2018, Edition of 10, 29x20 cm - Digital C print based on a an Super 8 frame, not mounted. Signed on back and certificate. Clare's work is presented in the permanent collectio...

Digital C-print Signed, dated, and numbered, verso 19 x 15 inches, image (Edition of 25) 29 x 22 inches, image (Edition of 15) 39 x 30 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles...

Neal Slavin (American, b. 1941) World Body Building Guild (W.B.B.G.) Brooklyn, N.Y. Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by the photographer 48/75 Photos made with 2.25 X 2.25 Hasselblad camera and 4 X 5 Calumet camera Contact printed on Kodak Ektacolor 74 RC-N paper Mat is 100% rag archival board Print measuring about 14 x 11 inches (33x26.7 cm.) or slightly smaller. image size varies a bit. Mat measures 18 X 14 In the 1970's, Neal Slavin captured a potpourri of various and sundry American groups of people: hobby groups, hot dog vendors, religious groups, social clubs, meetings, professional unions, and others. Neal Slavin (born 1941) is an American photographer and television/film director. He is the author of Portugal (1971), When Two or More are Gathered Together (1976) and Britons (1986). He directed and produced the film Focus (2001). Slavin was born in Brooklyn, New York. He graduated from the Cooper Union School of Art and Architecture in New York, where he obtained a Bachelor of Fine Arts degree. He was awarded an exchange student scholarship at Lincoln College, Oxford in the UK. Britons is a series of photographs of people...

'Octopussy' (Odd Stories) - 1/25, 2013, mounted on black mdf, dimensions 15x11,3cm (images 2 and 3 show a sample piece mounted), hand signed by the artist on the back. Carmen De Vos...

Miles ALDRIDGE (*1964, Great Britain) Untitled (after Cattelan) #1, 2016 Chromogenic print Image 152.5 x 116.5 cm (60 x 45 3/4 in.) Sheet 164.4 x 128.4 cm (64 3/4 x 50 1/2 in.) Editi...

Never Talk to Strangers- Shot 2019 on 600 film In part influenced by the Hammer Films of the late 1970s, I had wanted to recreate an air of menace as the protagonist is lured deep in...

Island Haze (2018) Edition of 10 - 40 x 40 cm - Digital C-Print based on a on a 35mm film, not mounted. Signed on back and certificate. Artist: Shot at high summer in 2018 toward...

Please bear in mind that all prints are produced to order. Lead times are expected between 5-15 days. This is an 80cm x 80cm Digital print on 100cm x 100cm Cotton Paper. This sized...

Caring (Chicks and Chicks and sometimes Cocks) Edition 1/10, 20x20cm, 2019. Digital C-Print, based on a Polaroid. Signature label and Certificate. Not mounted. The 'Chicks and Ch...

Big Cottonwood Canyon, triptych, 2017, Edition 2/7 plus 2 Artist Proof 20x20cm each, 20x70cm installed including the gaps. Based on a 3 Polaroids, digital C-Prints, not mounted. Sign...

'Untitled' 2013, Edition of 10 plus 2 Artist Proofs, Digital C-Print, based on a Fuji FP-100C Instant Film, not mounted, 27 x 21.5 cm, Signed, embossed stamp and artist certific...

The Best Light To Read By 2019, 20x24cm, Edition of 1/10. Digital C-Print based on a Polaroid Collage. Hand-signed and numbered by the artist on the back w...

La Rumba (2012) Edition of 10 - 40 x 40 cm Digital C-Print based on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare Marie B...

Untitled 2014, Edition of 10 plus 2 Artist Proofs, digital C-Print, based on an Polaroid 125i, 10.2 cm x 8.5cm Signed, embossed stamp and artist certificate. Not mounted. Xulong Z...

Mirage, 2012 Edition of 10 - 20 x 20 cm Digital C-Print based on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare Marie Baile...

'Teenage Kicks' C-type Limited Edition by Jamie Beeden, personal work. A portrait of a young girl at a club in Tufnell Park, London 2003. Jamie's body of work includes varied maga...

Dasha & Mari - Tennis - limited edition 40 x 40" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful ...

Memories of Green II, triptych, Edition 1/5 , 2003 each 58x56cm, installed with gaps 58x178cm, 3 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, based o...

Dasha & Mari - Tennis - limited edition 30x30" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful fine art image from the twin artists duo from Kiev. Steeped in fashion iconography and with more than a dash of Helmut Newton - these works are fast becoming collectable. About the artists : DASHA & MARI are award-winning photographers, twin sisters from Kiev, Ukraine. Specialise in Fashion, Art Nude and Psychological Portrait. They have an extensive experience in fashion industry in London, Paris, Milan and Berlin. Art photography they create has a cinematic feel, it is original and storytelling. HEARST Magazines UK have selected them for the Master's Photography program in Cambridge, UK. Artists have received a Masters Degree from Kingston University, London, UK in 2018. HONORS & AWARDS PARIS PHOTO 2018, Fashion Nude Expo. Collective exhibition. Paris, France MA Art + Design Exhibition The Brick Lane Gallery, London UK 2018 13th Annual Black & White Spider Awards 2018 - Nominee in Fine Art The Game 12th Annual Black & White Spider Awards 2017, Beverly Hills, CA - Winner in Fashion category 11th Annual International Color Awards , Beverly Hills, CA 2017 - Nominee in Fashion category HOME GALLERY, Personal Photography Exhibition 'FUTURO EROICO'. Salerno, Italy 2017 10th Annual INTERNATIONAL COLOR AWARDS 2017, Beverly Hills, CA - Winner, Honorable Mention in Fashion category FASHION 2ND PLACE WINNER (PROFESSIONAL), FAPA 2016 FINE ART PHOTOGRAPHY AWARDS PHIFEST Exhibition of Photography, Milan, Italy 2016 Photography Exhibition at SALONE DEL MOBILE 2016 - Milan, Italy Photography Exhibition at 55th annual week of Design in Milan in co-operation with SM Samuele Mazza Outdoor Collection and Ipe Cavalli. Exhibition at The ART BOWL GALLERY, Amsterdam 2016 10th Annual Black & White Spider Awards 2015, Beverly Hills, CA - Nominee in Fashion MONOCHROME AWARDS 2015 - Honorable Mention (Professional) in Fashion / Beauty Finalists of the HASSELBLAD MASTERS AWARDS 2014 8th Annual INTERNATIONAL COLOR AWARDS, Beverly Hills, CA - Nominee in Fashion category International Color Awards 2014 Sony World Photography Awards - Shortlisted in the Fashion category 2012, London, United Kingdom. Solo Exhibition in Russia 2011 Art Nude Photography Exhibition 'SECRET GARDEN', Ryazan city, Russia. PUBLICATIONS & PROJECTS NORMAL magazine (France), OPENEYE magazine (France), ELLE Magazine UK, THE COMMISSION LONDON (UK), THE HUFFINGTON POST (US), PH Magazine (Canada), INSIDE BRACKETS (Paris), IDOLL Magazine (USA), Professional Photographer (UK), CHIC LIFESTYLE Magazine (Mexico), BOREALIS (Canada), PORTFOLIOS Magazine (Spain), The View Magazine (Netherlands), ZEPHYR Magazine (US), NOCTIS Magazine (UK), VOGUE ITALIA (Italy), HOLISTIC FASHIONISTA (LA, US), TARTARUS Magazine (US), IT-MAGAZINE (Switzerland), AFTER NYNE Magazine (UK), ARCHIDESART Magazine (UK), NIF Magazine, WHY NOT Magazine, POLISART Magazine (Portugal), PLAYBOY Photo Awards (Ukraine), BIZZARE Magazine (UK), Sensual Photography (France), All About Models (Paris, France), BLUR Magazine (Croatia), IDOLE Magazine (France), ART HOUSE (Monaco), etc. SAMUELE MAZZA - Luxury Interiors and Furniture (Italy), GIOFFRE (Italy), VERTIGE (Italy), VICTOR WILDE - BOHEMIAN SOCIETY (USA), DAFT (Italy), GREEN HANDS Cosmetics (USA), SOFT CANDY Cosmetics (USA), LARA QUINT (Ukraine), ZEMSKOVA & VOROZHBYT (Ukraine), OMAR HARFOUCH & YULIA LOBOVA (France), RUSSIAN DAY (France), ‘Designing Legends' - Architectural Book of VASILY KLYUKIN (Monaco). cat sunglasses...

Marsha Gayle 1985 Slim Aarons Limited Edition Estate Stamped Print Laura Hawk, assistant to the photographer, relaxes by the pool at El Rincon, the von ...

Three Girls VII (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

Three Girls VI (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

'Teenage Kicks' C-type Limited Edition by Jamie Beeden, personal work. A portrait of a young girl at a club in Tufnell Park, London 2003. Jamie's body of work includes varied maga...

Photograph of the Archivo general de Indias, in Sevilla, Spain by Reinhard Görner. Fine Art Lightjet Print, mounted on aluminum, plexiglass or resin. Two weeks manufacturing time, t...

Guests at the Villa Nirvana, owned by Oscar Obregon, in Las Brisas, Acapulco, Mexico, February 1972. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects ...

Reinhard Görner Biblioteca del Senado, Madrid 2017 59 x 50 inches ed. of 10 $6,000 71 x 60 inches ed. of 7 $9,000 83 x 70 inches ed. of 5 $11,000 signed and numbered on label, verso Paper is trimmed to the image: actual image size listed Internal Keywords: Reinhard Görner, Library series, Madrid, Spain, Large-Scale Photography, Large-scale German photography, Spanish Libraries, Spanish Monuments, Library Photography...

High rise in Singapore – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the individual within the collective. By fo...

Reinhard Görner Biblioteca del Senado, Madrid 2017 59 x 50 inches ed. of 10 $6,000 71 x 60 inches ed. of 7 $9,000 83 x 70 inches ed. of 5 $11,000 signed and numbered on label, verso Paper is trimmed to the image: actual image size listed Internal Keywords: Reinhard Görner, Library series, Madrid, Spain, Large-Scale Photography, Large-scale German photography, Spanish Libraries, Spanish Monuments, Library Photography...

Steven Meisel Untitled, July 2004 C-print 14.5 x 22 inches (sheet) 21 x 25 inches (frame) AP Signed verso

The American Dream abandoned in surburbia perhaps…. on the outskirts of its cities the reality of life can be both beautiful and harsh. – Cawston’s eye for colour, structure and the...

'Roof Top Pool' by Slim Aarons An exquisite Limited Edition Slim Aarons Estate stamped and issued C Print. limited to 150 only Gorgeous print measuring a large Oversize 24 x 20 inc...

'Life In The Bahamas' 1967 Slim Aarons Limited Estate Edition Print A woman sitting in a hanging chair while having a drink in a bar in the Bahamas, in April 1967. A group of drink...

'Lech Ice Bar' by Slim Aarons Sim Aarons Estate Edition limited to 150 only - numbered in ink & emboss stamped on front - certificate of authenticity provided. The Ice Bar at the H...

The passing of time revealed in the dock buildings of Avonmouth, England. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable inte...

'Lech Ice Bar' by Slim Aarons Sim Aarons Estate Edition limited to 150 only - numbered in ink & emboss stamped on front - certificate of authenticity provided. The Ice Bar at the H...

A landscape from the Somerset Levels. – 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 echoes of a half-remembered symphony. Poetical visions of paths and glades, ancient woods reflected in flood waters, nature revealed...