City Figurative Photography

Maria Passarotti graduated in 2000 with a BFA from the Cooper Union for the Advancement of Science and Art in New York. Her most recent photographs are inspired by the intersection o...

Hotel Sports Limited Edition Estate Stamped Print (edition size 150 only). 1958: Holidaymakers water-skiing in front of the Carlton Hotel, Cannes. France (Photo by Slim Aarons) 6...

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

Paris Nights II from the Paris In Colour Series 1956-61 By Peter Cornelius 30 x 20 inches / 76 x 51 cm paper size Printed 2022 Archival pigment print Framing and size options avai...

'Portal' 2019, Edition 1/10 plus 2 Artist Proof, 20x20cm. Art Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signature label and certificate. Lisa T...

'Domingo In Salzburg' 1981 Slim Aarons Limited Estate Edition Print Spanish tenor Placido Domingo in the back of a car at Mozartplatz in Salzburg, in...

Paris Culture Vultures from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 152 x 101 cm / 60 x 40 inches paper size Printed 202...

'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...

Hong Kong – The new face of the Orient is a Vintage b/w Photo realized in the 1960s. Good conditions. Stamped on the rear.

Edition 5 in format 54x85 cm + 5 cm white margin, Photograph on Hahnemuhle Paper ; Digigraphie technology, Signed on the front Marcin Ryczek is Polish photographer specializing in ...

Paris Window Shopping from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 60 x 40 inches / 152 x 101 cm paper size Printed 2022 Arc...

Historical Photo -Women's March is a black and white vintage photo, realized in the 1930s. Good conditions It belongs to a historical album including historical moments, royal fami...

La Colonne from the Paris In Colour Series 1956-61 By Peter Cornelius Oversize 30 x 20 inches / 76 x 51 cm paper size Printed 2022 Archival pigment print ...

Children Playing In Paris from the Paris In Colour Series 1956-61 By Peter Cornelius 12 x 16 inches / 31 x 41 cm paper size Printed 2022 Archival pigment print Framing and size op...

Benares is a black and white vintage photo, realized in Mid 20th Century.  The photo depicts the city Benares and the Hindus who plunge into the Ganges. Good conditions and aged. ...

'Tiffanys' by Stuart Möller limited edition to 25 only this size - signed A young woman passes by the infamous diamond and jewellery store, Tiffany's in New York , with yellow N...

Pete Townshend Soho Pete Townshend in a Soho backstreet London, 1980 Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. 20×24 in...

Illumination Series Renaissance artists affirmed the transformational nature of light in their classical paintings. Taddeo Gaddi and Giotto di Bondone of the Renaissance period painted breathtaking frescoes in which light created dramatic effects. Artists, such as these masters, inspired me to create photomontages that highlight the aesthetic power of light. Following recent travels in Italy, I was awed by the metaphysical nature of Tuscan light...

Bikes in Amsterdam - Vintage Photograph is a black and white photograph realized in the 1960s. Good condition. 

Presidential Parade Washington President Eisenhower 1957 is a vintage photograph. Good conditions. The artwork is depicted in a well-balanced composition.

Disney's Sequoia Lodge is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments...

Loading Zone is from Julie Blackmon's ongoing series Domestic Vacations. Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used to...

USA, HARLEM, NEW YORK CITY- APRIL 1978. Street in Harlem, New York City, (Photo by Alain Le Garsmeur (Photo by Alain Le Garsmeur) An richly evocative shot - taken in the late 1970...

Ancient view of Montevideo is a set of two albumen prints realized in 1880s. In very good condition and applied on a single cardboard. Caption in Italian ink hand-written on hardco...

'Tiffanys' by Stuart Möller limited edition to 10 only this size - signed & numbered by the artist A young woman passes by the infamous diamond and jewellery store, Tiffany's in N...

Blondie On The Roof Blondie on the roof of the Gramercy Park hotel New York 1978 Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this siz...

Discoveryland by night - Euro Disneyland is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including ...

Slim Aarons - Palm Beach The pool at the Colony Hotel in Palm Beach, Florida, USA, 1955. Gorgeous print measuring an large 40 x 40" inches / ca 101x101" Estate Stamped Collectio...

Flooded Road (1939) - Silver Gelatin Fibre Print (Photo by Alfred Hind Robinson/Getty Images Archive) A pedestrian attempts to leap across a flooded road near Hyde Park in London, ...

'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...

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...

'Roof Top Pool' by Slim Aarons A woman by the pool on the roof of the Loews Hotel, Monte Carlo, Monaco, August 1975. A young woman wearing a fashionable black bikini and large sung...

This photograph of a Black African American cowboy in the urban city of Philadelphia pictured against the city's iconic row homes is part of artist Ron Tarver's long-term, ongoing project, "The Long Ride Home: The Black Cowboy...

"Hotel Las Vegas" - Cervia - Ravenna is a black and white vintage photo, realized in 1970s. The photo depicts n. 32 SMI-SOL copper tubes on the roofs, for heating the hotel. Good c...

'Megachess' A giant game of chess in Saint Lucia, in the Lesser Antilles, February 1993. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection Edition to 150 Photo ...

oversize archival pigment print. 12x16 inches / 31 x 41 cm paper size unframed. Signed & Numbered on front. Supplied with certificate of authenticity. We ship regularly using Fede...

Sequoia Lodge - Euro Disney Resort  is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including histo...

Rising like a phoenix from the dereliction of Battersea Power Station, London. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable...

Best Blondie By Martyn Goddard Signed Limited Edition Best of Blondie photo shoot on the roof of the Record Plant recording studio New York 1978 All...

Archival inkjet print mounted on aluminum Signed and numbered, verso 12 x 18 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 35 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Pipo Nguyen-duy writes: “I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research. “From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day. “With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise. “The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...

Vintage Photo from the Fascist period in Italy. Photo by Studio Gherlone, Torino. Photo dimensions 17 x 23 cm. Includes passepartout. Very good condition.

Main Street, U.S.A. is a colour vintage photo, realized in 1990s. The photo depicts Main Street, U.S.A. , at Euro Disneyland park. Good conditions and aged. It belongs to a histor...

Hotel New York is a colour vintage photo, realized in the Early 1990s. The photo depicts the Rockefeller Plaza skating rink at night, in Euro Disneyland. Good conditions and aged. ...

Hotel Santa Fe - Euro Disney Resort is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including histo...

Night of Florida Miami Beach is a photograph realized in the 1960s. Good conditions.

Aerial View- Vintage Photograph is a black and white photograph realized in the 1960s. Good conditions.

Blondie Backstage Best of Blondie photo shoot on the roof of the Record Plant recording studio New York 1978 Photo by Martyn Goddard Printed 2024. Signed limited edition photograp...

A picture of Emptiness, Babylon… – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Blade Runneresq...

Togni Circus is a black and white vintage photo, realized in 1950s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, places, f...

Modernity and repetition in New York City – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the individual within the...

High-rise in Rio de Janeiro each complete with the ubiquitous air conditioning units. 195 windows on Rio life. – High-rise communal living was once se...

Bond Set The massive purpose-built set of SPECTRE's extinct volcano headquarters, designed by Ken Adam for the new James Bond 007 film, You Only Live Twice at Pinewood Studios, Bucki...

The abstraction of modern living in 65 flats in Rio de Janeiro – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the ...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Christopher Anderson...

'Motorcycling Lord' 1990: Lord Hesketh, Minister of State at the Department of Trade and Industry, by the lake on the grounds of his family estate Easton Neston House, Northamptons...

'Cavallo Marina' circa 1984: A quiet marina on the Mediterranean island of Cavallo, Corsica. 40 x 30" inches / 101 x 76 cm paper size Estate Stamped Collection Edition to 150 ...

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...

Etudiants Romaines à Rome is an original artwork realized in 1938 in Rome and published by Agence Trampus, Paris. The title, the original description with the date and the hallmark o...

"Via dell'Argilla, Rome" is a black and white vintage photo, realized in Mid 20th century .  The photo depicts a violent thunderstorm in "Via dell'Argilla", near San Peter, in Rome....

Friends is a black and white vintage photo, realized in 1970s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, places, famili...