Flower Figurative Photography

Chicken X-Ray Photography on Dibond Lambda Print Nature Color Black and White - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

Teddy Stauffer and a friend share a cocktail, from a coconut shell, Acapulco, Mexico, 1952. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the...

Springtime, 2022 Unique Cyanotype Print Arches Aquarelle Paper Edition 1/7 14 x 11” / 36 x 28 cm + Cyanotype hand-printed on Arches BFK Rives French watercolor paper + Signed and ...

“Pollen” Black & White Photography 36" x 28" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancho...

Turdus Merula Magnolia X-Ray Photography on Dibond Color Black and White Bird Limited Editions max. 5 Big pieces, 15 Medium pieces, 10 Small pieces. The photography of Arie van ’t...

Teddy Stauffer and a friend share a drink from a coconut shell, Acapulco, Mexico, 1952. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the est...

Audrey Hepburn Consults with Costumer, c26_24 -- Audrey Hepburn in her dressing room with costumer Edith Head photographed for LIFE in 1953. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. To the left of the photo is a standing woman in white button down shirt...

Edition 1 of 3, 2 APs Large Size: 25.75 x 36 inches STATEMENT: e2, a collaboration between New Orleans artists Elizabeth Kleinveld and Epaul Julien, re-imagines iconic images from t...

Bouquet of Eleven Tulips Lambda Print on Dibond X-Ray Photography Color The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist...

Parrot Tulips X-Ray Photography on Dibond Lambda Print Still Life Flowers Nature Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific backgr...

Field of Tulips X-Ray Photography on Dibond Lambda Print Flowers Still Life - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Socialite Lee Radziwill, Blue Cape in Brocade Room -- Photographed by Mark Shaw in the 1960's, socialite Lee Radziwill, younger sister of Jacqueline Kennedy ...

"Dali" Photography Print 40" x 30" inch Edition 1/1 by Viktorija Pashuta Full name: Woman With The hEad of Roses by Dali This artwork is printed on fine art Archival Matte Paper, ...

This gorgeous artwork on paper was created initially with a screen print base of the model, then Rosie hand finishes the work with a unique splash and painted composition. Some call them Unique Prints. The base image is only used 12 times and this is the AP Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s screen...

French Tulips X-Ray Photography on Dibond Lambda Print Flowers Still Life Colors - Perspex Front UV Resistant The photography of Arie van ’t Riet is a...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West...

"A Hand With a Lily" 79" x 24" inch Ed. 1/3 by VLADIMIR CLAVIJO-TELEPNEV Author's direct print on wood Vladimir Clavijo-Telepnev was born in 1962 in Moscow, in the family of creative people. His father, Pedro Clavijo, was a Columbian journalist and a radio reporter. His grandfather by his father's side, Edmundo Clavijo Cubilios, was a famous Columbia's photograph and artist. His grandfather and grandmother by his mother's side, Vladimir and Margarita Telepnevs, were painters. In 1986 Vladimir graduated from the Moscow Polygraphic Academy, faculty of graphic art, specializing in painting, graphics, and polygraphic design. PRIVATE COLLECTIONS: ELTON JOHN PRINCESS MICHAEL of KENT...

This is a color photography of a lotus flower as part of our flower / still life series. Image dimensions: 16 x 21.5 in. Edition of 25. External dimensions: 22.5 x 28 in. Matted with 8 ply museum archival matt. Signed, numbered by photographer on a certificate of authenticity. About this series: With great patience and respect, the photographer observes the life cycle of the flower, viewing the subject much like a portrait photographer views a person, choosing the particular instance which in his view represents the essence of the flower. We feel the piece evokes a certain poetic, quiet, Zen beauty. The photographer was a London Central Saint Martins graduate and lived in a short spell in a monastery in Japan, and now primarily lives in Japan. ----- The artist was born in the UK in 1971, and after leaving Central Saint Martin’s in London in 1992, determined to explore a deeper sense of meaning, and contemplate life, he journeyed to Japan where he lived in a Zen Buddhist monastery and lived and studied in a temple in the mountains of Yamanashi for months, during which he studied Zen Buddhism and joined the monks in their daily prayers and routines. Over time, the subject matter for this series is borne out of a respect of the inner life of living things, Nature, in this instance and a sense of “mono no aware” (the art of impermanence). His artist vision has drawn influences from his Western artistic culture, Japanese classical aesthetics, and the 1933 classical text, “In Praise of Shadows” by Japanese literary titan, Junichiro Tanizaki (1886–1965). Tanizaki, as translated by scholars, examines the singular standards of Japanese aesthetics and their stark contrast with the value systems of the industrialized West. He writes: “We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates… Were it not for shadows, there would be no beauty.” “Shadows” presumably refers to the subtle interplay between light and darkness, not a stark dualism between black and white. Hence, the quiet beauty expressed in shadows of light and darkness as a living flower moves through the passage of life. The art of impermanence refers to a “pathos” (aware) of “things” (mono), deriving from their transience. The flower is a perfect metaphor for the expression of impermanence and beauty. Each flower has its own distinctive character and temperament, and is in constant dynamic motion. Through the passage of its life, it blossoms to its greatest peak, turning always towards the light until they eventually give up their petals. The artist documents this process through hundreds of images over time, essentially capturing the essence of the life of the subject. Both the visual aesthetic and process of his art calls to mind the transcient nature of things and reminds us to rejoice what we do have. In his gold series - Gold, in turn associated with the sacred, the divine, with supernatural powers and even immortality, has been recognized since ancient times in all the great civilizations as a noble material. Gold leaves have been used to decorate shrines, temples, statues, armor, jewelry since ancient times. At different times of the day, the light reflects off the gold differently as the day progresses, providing a visual context in which the celebration of life was captured. The artist has been recognized for his work for example, with a merit award at the Art Directors Club 87th Annual Awards N.Y. (2008). His work has been in group exhibitions as a runner up at the National Portrait Gallery in London as part of the Taylor Wessing London – Elle Commendation Portrait Awards, and at the Kiyosato Photo Art Museum in 1999. A successful photographer, the artist’s commercial clients include Adidas, Estee Lauder, Hugo Boss and shot celebrities for magazines / editorials featuring Sam Smith, Jeremy Renner, Gwyneth Paltrow, David Fincher, Zhang Ziyi...

Designer's Homes Smoking Black Dress, 1960 -- Gitta Schilling in a Dior gown photographed for LIFE in 1960. The ornate interior is the 17th century home of Suzanne Luling, then direc...

John Jr. on Reflective Tabletop 1963, nb_149 -- This photo of John Junior, taken when he was three, was a favorite of Jackie’s; in a letter to Mark, Jackie wrote “they really should ...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Veronese) 2021 Screenprint in colours with silver ink Image 109 × 150 cm (42 3/4 × 59 in.) Sheet 121 × 162 cm (47 3/4 × 6...

Designer's Homes Smoking Black Dress, 1960 -- Gitta Schilling in a Dior gown photographed for LIFE in 1960. The ornate interior is the 17th century home of Suzanne Luling, then direc...

Edition 1 of 3, 2 APs Large Size: 36 x 26.75 inches STATEMENT: e2, a collaboration between New Orleans artists Elizabeth Kleinveld and Epaul Julien, re-imagines iconic images from ...

Carduus Nutans Sways by Marcy Palmer presents a small gathering of musk thistles, illuminated in a background of gold. This photograph is made of 24k gold...

Socialite Lee Radziwill, Blue Cape in Brocade Room -- Photographed by Mark Shaw in the 1960's, socialite Lee Radziwill, younger sister of Jacqueline Kennedy ...

Socialite Lee Radziwill, Blue Cape in Brocade Room -- Photographed by Mark Shaw in the 1960's, socialite Lee Radziwill, younger sister of Jacqueline Kennedy is considered a great style icon. An article in McCall's November 1962 issue quotes Radziwill as saying "This Nina Ricci costume was the most romantic of all. There is nothing lovelier or more luxurious than a long evening coat with a ball gown. The royal colors reminded me a bit of Versailles." Radziwill continues to be frequently photographed even today. Radziwill's former palatial homes in England were decorated by the late Renzo Mongiardino. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of Lee Radziwill in a blue cape and yellow ball gown. This is an interior shot of her Brocade room. She is standing by a coffee table with white and blue decorative boxes...

16 x 12 inches - Edition 2 of 7 with 2 APs STATEMENT: e2, a collaboration between New Orleans artists Elizabeth Kleinveld and Epaul Julien, re-imagines iconic images from the histo...

That Luscious Day by Marcy Palmer presents a carnation flower surrounded by petals and leaves, bathed in gold. This photograph is made of 24k gold leaf on...

This photography is part of a series of zen like beauty of Flowers art photography. In 3 sizes. This piece: Print size: 30 x 37.5 in. Image dimensions are 22 x 30 in. Matted in 8 ply museum archival matt. Ed of 15, signed, editioned on a Certificate of Authenticity by by photographer. About this series: With great patience and respect, the photographer observes the life cycle of the flower, viewing the subject much like a portrait photographer views a person, choosing the particular instance which in his view represents the essence of the flower. We feel the piece evokes a certain poetic, quiet, Zen beauty. The photographer was a London Central Saint Martins graduate and lived in a short spell in a monastery in Japan, and now primarily lives in Japan. ----- The artist was born in the UK in 1971, and after leaving Central Saint Martin’s in London in 1992, determined to explore a deeper sense of meaning, and contemplate life, he journeyed to Japan where he lived in a Zen Buddhist monastery and lived and studied in a temple in the mountains of Yamanashi for months, during which he studied Zen Buddhism and joined the monks in their daily prayers and routines. Over time, the subject matter for this series is borne out of a respect of the inner life of living things, Nature, in this instance and a sense of “mono no aware” (the art of impermanence). His artist vision has drawn influences from his Western artistic culture, Japanese classical aesthetics, and the 1933 classical text, “In Praise of Shadows” by Japanese literary titan, Junichiro Tanizaki (1886–1965). Tanizaki, as translated by scholars, examines the singular standards of Japanese aesthetics and their stark contrast with the value systems of the industrialized West. He writes: “We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates… Were it not for shadows, there would be no beauty.” “Shadows” presumably refers to the subtle interplay between light and darkness, not a stark dualism between black and white. Hence, the quiet beauty expressed in shadows of light and darkness as a living flower moves through the passage of life. The art of impermanence refers to a “pathos” (aware) of “things” (mono), deriving from their transience. The flower is a perfect metaphor for the expression of impermanence and beauty. Each flower has its own distinctive character and temperament, and is in constant dynamic motion. Through the passage of its life, it blossoms to its greatest peak, turning always towards the light until they eventually give up their petals. The artist documents this process through hundreds of images over time, essentially capturing the essence of the life of the subject. Both the visual aesthetic and process of his art calls to mind the transcient nature of things and reminds us to rejoice what we do have. In his gold series - Gold, in turn associated with the sacred, the divine, with supernatural powers and even immortality, has been recognized since ancient times in all the great civilizations as a noble material. Gold leaves have been used to decorate shrines, temples, statues, armor, jewelry since ancient times. At different times of the day, the light reflects off the gold differently as the day progresses, providing a visual context in which the celebration of life was captured. The artist has been recognized for his work for example, with a merit award at the Art Directors Club 87th Annual Awards N.Y. (2008). His work has been in group exhibitions as a runner up at the National Portrait Gallery in London as part of the Taylor Wessing London – Elle Commendation Portrait Awards, and at the Kiyosato Photo Art Museum in 1999. A successful photographer, the artist’s commercial clients include Adidas, Estee Lauder, Hugo Boss and shot celebrities for magazines / editorials featuring Sam Smith, Jeremy Renner, Gwyneth Paltrow, David Fincher, Zhang Ziyi...

An elegant woman poses in a garden in St Tropez, August 1977. 20 x 30 inches $3000 20 x 24 inches $2500 16 x 20 inches $2150 10 x 12 inches $1350 Complimentary dealer shipping t...

Black Furs is a limited edition print by Allan Forsyth. The black background heightens the tones of the flowers creating a dramatic scene. Discover new photography by Allan Forsyth ...

Stayed by Marcy Palmer presents a collection of flowers, illuminated in gold. This photograph is made of 24k gold leaf on vellum with an archival UV varni...

A woman surrounded by red hibiscus flowers in a swimming pool in Acapulco, Mexico, circa 1960. 40 x 40 inches $3950 30 x 30 inches $3350 24 x 24 inches...

Elegant Petals by Marcy Palmer depicts a golden stem with budding flowers emerging from a dark background. This photograph is made of 24k gold leaf on vel...

"In my works, I am fascinated to reshape existing forms, to reinvent new shapes. Underneath the surface of the ball shape of the flower, I discovered the most delicate little flowers...

David Drebin Blossom, Tokyo, 2015 30 x 72 inches Edition of 10 40 x 96 inches Edition of 7 C-Print

17.25 x 24 inches - Edition 1 of 5 with 2 APs STATEMENT: e2, a collaboration between New Orleans artists Elizabeth Kleinveld and Epaul Julien, re-imagines iconic images from the his...

Sunflowers by Jan Van Leeuwen presents two sunflowers, slightly dried and wilted, bathed in an earthy brown. Sunflowers by Jan Van Leeuwen is a 16 x 12 inch kallitype print. It is...

Edition of 50 Signed, titled, dated and numbered. Paper size: 20 x 16 in., Image size: 15 x 15 in. Keith Carter is an American photographer who is known for his dreamlike black and ...

Edition of 15 Signed by Patty Carroll Paper size: 30 x 30 in., Image size: 22 x 22 in. From the series, Anonymous Women: Domestic Demise Patty Carroll is an American photographer wh...

Edition of 15 Signed, titled, numbered, and print type by David Johndrow Printed 2010 Series: Terrestrials Platinum Palladium print, 10 x 10 in. While integrating photography and hi...

MILES ALDRIDGE (*1964, Great Britain) Doors #2, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Shadowed Beauty - 21st Century Contemporary Photographic Print - Black & White Polaroid, Polaroid Original, Shadow Gapped Frame - Photographic Print on Aluminium Dibond - Edition of ...

"Flowers are an important source of inspiration for me.", says the artist of this series of work. "These blue Hydrangeas resonate calmness, balance and purifies our energy".

Slim Aarons Contessa Giuppi Petromarchi 1987 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Contessa Giuppi Petromarchi...

This whimsical scene of two children playing in a field of flowers invokes a strong feeling of nostalgia. The girl in the foreground is almost statuesque, while her playmate in the b...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

French photographer Denis Darzacq chose HYPER supermarkets in Paris and Rouen as the setting for this series. There, brightly packaged and presented consumer goods provided a vivid a...

A photograph by Lawrence Schiller. “Barbra Streisand (in her hotel room)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Lizard Prunus X-Ray Photography on Dibond Lambda Print Still Life Nature - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Lizard Azalea Fatsia Japonica X-Ray Photography Lambda Print on Dibond Nature - Perspex Front UV Resistant The photography of Arie van ’t Riet is a me...

Helianthus Tuberose Butterflies X-Ray Photography on Dibond Lambda Print Nature - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Moorhen Iris X-Ray Photography on Dibond Lambda Print Nature Still Life Color - Perspex Front UV Resistant The photography of Arie van ’t Riet is a me...

Eel X-Ray Photography on Dibond Lambda Print Fish Nature Still Life Color - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background,...

Roach Waterlily X-Ray Photography on Dibond Lambda Print Nature Color - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being...

Turtles Trachycarpus Azalea Lambda Print on Dibond Photography X-Ray Nature - with Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific backg...