Road Figurative Photography

Car Wash (Stranger than Paradise) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
 Certificate and Signature label. 
 A...

Paris Colour 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 Archival pigment print Framing and siz...

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...

Lunch on Norfolk Street, 1990 From a 6cm x 9cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs Print ...

San Francisco is a vintage photograph realized in the 1960s. Good conditions. The artwork is realized in a well-balanced composition.

Fifty Cents on Delancey Street, 1985 From a 35mm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs Prin...

Painting of Road-  Vintage Photo is a black and white photograph of the mid-20th century. Good conditions and aged.

Bridge Traffic on Delancey Street, 1986 From a 35mm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs P...

Parisi Butchers from the Paris In Colour Series 1956-61 By Peter Cornelius large oversize 40 x 30 inches / 101 x 76 cm paper size Printed 2022 Archival pigment print Framing and size options available - Please enquire About: Peter Cornelius (1913–1970) was a German photographer and photojournalist. The goal he set himself was to capture: “the right colours at the right moment”. He was never concerned with a pure, apparently “right” picture of “reality”. After World War II, he began his career with reportage, landscape and sailing photography...

'Katharine Hepburn' 1953: American film star Katharine Hepburn (1907 – 2003) driving along the waterfront with Irene Mayer Selznick at Montego Bay, Jamaica. 20x20" inches / 51 x ...

Fire Escape Viewing on Stanton Street, 1990 From a 6cm x 9cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist ...

Aerial view of Lisbon is a black and white vintage photo, realized in 1967. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, p...

Jesus freaks outiside St. Peter, Rome is a black and white vintage photo, realized in 1970s. Good conditions and aged. It belongs to a historical and nostalgic album including hist...

Historical Photo is a black and white vintage photo, realized in the mid-20th century. Good conditions, with some decoloration spots and aged margins. It belongs to a historical al...

This is a 39.5 x 59 inches archival giclée black and white print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. An edition of 10 and an edition of 20, smaller in size, are also available. This photograph is part of J. L. Fievet’s CV series, shot during the early months of 2020, during which New York City was in total lock down because of the Covid-19 emergency. Fievet spent day in and day out roaming the streets, documenting the breathtaking change that transformed the city. Fievet’s iconic photographs tried to seize the stark contrast between the surreal aspect of NYC empty streets with the resiliance of New Yorkers who kept pursuing normalcy within a unique situation. This joyful portrait...

Paris Scooter from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 60 x 40 inches / 150 x 101 cm paper size Printed 2022 Archival pigment print Framing and size options available - Please enquire About: Peter Cornelius (1913–1970) was a German photographer and photojournalist. The goal he set himself was to capture: “the right colours at the right moment”. He was never concerned with a pure, apparently “right” picture of “reality”. After World War II, he began his career with reportage, landscape and sailing photography...

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...

USA, SOUTH BRONX, NEW YORK CITY AUGUST 1977. South Bronx teenagers in front of abandoned tenement burnt-out buildings, South Bronx, New York City, US...

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...

Old days Photo - Castle Way is a black and white vintage photo, realized in the 1960s. Good conditions and aged. It belongs to a historical and Nostalgic album including historical...

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...

Historical Photo of Prison   is a vintage black and white photograph realized in the 1970s. Good conditions.

Palm Beach Street 1953 - Slim Aarons Estate Stamped Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. 16 x 16" inches / 41 x 41 cm paper size Estate Stamped ...

Carlton Hotel 1958 - Slim Aarons Estate Stamped The entrance to the Carlton Hotel, Cannes, France, 1958. 20 x 20" inches / 51 x 51 cm paper size Estate Stamped Collection Edition...

Hotel Olden 1961 - Slim Aarons Estate Stamped People carry their skis past the Hotel Olden in Gstaad, 1961. 20 x 20" inches / 51 x 51 cm paper size Estate Stamped Collection Edit...

Coloured poster from a photograph by Franco Fontana (Modena, 1933), one of the italian most famous contemporary photographers. Titled at the bottom. Very good conditions. Limited ed...

The Souk  is a black and white vintage photo, realized in 1925. The photo depicts the chinese city, Wuchow. The work is glued on cardboard. Total dimensions: 39x29cm. Good conditi...

Menton 1957 - Slim Aarons Estate Stamped A shop selling beach paraphernalia in Menton, in southeastern France, 1957 30 x 30" inches / 76 x 76 cm paper size Estate Stamped Collect...

Positano 1958- Slim Aarons Estate Stamped A little boy carries a basket of groceries home in Positano, 1958 30 x 30" inches / 76 x 76 cm paper size Estate Stamped Collection Edit...

Christmas Traffic 1953 - Slim Aarons Estate Stamped Christmas trees and red and white automobile light trails on Park Avenue, New York, at Christmas time, December 1953. 30 x 20" ...

Positano Beach 1979 - Slim Aarons Estate Stamped Elevated view looking down on sunbathers and parasols on the beach at La Scogliera beach in Positano, Italy, 1979 16 x 20" inches /...

Ancient Views of Guatemala City is a set of two original albumen prints made in 1880s. Prints in very good condition, applied on a single cardboard. Caption in Italian ink hand-wri...

An archival pigment print on Hahnemühle Photo Rag® Baryta 315 g/m² paper, a photography of a street scene featuring a man on a Side-car, in Montreal cerca 1930 entitled ' Rescued ' ....

Héliogravure on vélin paper. Inscription: Unsigned and unnumbered, as issued. Paper Size: 15.75 x 11.75 inches. Notes: From the folio, Erwin Blumenfeld, Electa Editrice Portfolios, 1...

Edition of 5 in format 50x80 cm Photograph on Hahnemuhle Paper ; Digigraphie technology , Limited edition, 50x80 cm + 5 cm white margin The photo is signed and stamped on the front ...

Paris Colour Scene from the Paris In Colour Series 1956-61 By Peter Cornelius 40 x 60 inches / 101 x 152 cm paper size Printed 2023 Archival pigment print Framing and size options available - Please enquire About: Peter Cornelius (1913–1970) was a German photographer and photojournalist. The goal he set himself was to capture: “the right colours at the right moment”. He was never concerned with a pure, apparently “right” picture of “reality”. After World War II, he began his career with reportage, landscape and sailing photography...

This astonishing ancient view of a street in Tokyo is an original vintage photo applied on cardboard: 26 x 34 cm. It was realized between the 1880s and the 1890s. Image 21.5 x 27.5 cm. Caption in Italian, in ink hand-written. An incredibly vivid view of Tokyo streets...

Girl with Umbrella - Signed limited edition archival pigment print, 1998 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which ...

The Old Days - Ducks is a black and white vintage photo, realized in the early 20th century.  It belongs to historical album including historical moment, royal families, and politic...

'Saint-Tropez Boucherie' 1971 Slim Aarons Limited Estate Edition A boucherie or butcher’s shop on Rue des Commercants in Saint-Tropez, on the French Riviera, August 1971. Produced...

Parisian Flower Seller from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 60 x 40 inches / 152 x 76 cm paper size Printed 2022 Archival pigment print Framin...

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

July 17, 1954: Argentinian racer Juan Manuel Fangio (1911 - 1995) chalks up a win for the Mercedes team at the French Grand Prix in Reims. Original Publication: Picture Post - 7209 -...

Trajan's Forum, Rome -  Vintage Photo is a colored photograph of the 1970s. Good conditions.

Painting of House-  Vintage Photo is a black and white photograph of the mid-20th century. Good conditions and aged.

Greek Market is a photograph taken by Amanda Ludovisi in 2018. It represents a colorful narrow street inside the Greek market in Naxos, emblematic of the Greek culture. This is a gi...

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...

Man Walking Past Parking Lot is a Black and White Photographic Print on Hahnemuhle Paper in an Edition of 10 in this size of 24" x 34". States of America is the photographic legacy of one of the UK’s leading photographic talents whose untimely death in 1991 ended prematurely the highly promising career of a distinctive and powerful photographic voice. Michael Ormerod was born in Cheshire in 1947. He lived in Newcastle, but spent many years travelling America. Fascinated by the American image, and following in the footsteps of Robert Frank, Ormerod took to the American West to find a washed out dream of capitalism. His images capture a strange juxtaposition of an American beauty tainted by a hidden sense of menace and corruption. The photographs are understated, but show an unseen America, where the industrial heartland is decaying, highways stand empty and towns are deserted. The subjects of Ormerod’s work are the disenfranchised. A teenager cycles through her neighbourhood wearing a Halloween-style hockey mask, a Native American man stands in a graveyard, their expressions are unreadable. The work subverts traditional American icons. A white picket fence is staved in, a huge billboard for Miss Teen Dakota USA stands next to an empty highway. Inverting the famous Hollywood sign, Ormerod photographs a Texaco sign...

Palazzo Rufolo, Ravello-  Vintage Photo is a black and white photograph of the early 20th century realized by Alinari. Good conditions, aged with foxing.

St. Giovanni Church- Vintage Photo is a black and white photograph of the early 20th century realized by Anderson. Information is written on the lower in Italian. Good conditions, ...

Angie Jennings Cold Drinks Archival Pigment Print Year: 2024 Visible Size: 10 x 15.125 inches Framed: 14 x 19.75 inches Signed: On Label COA provided *Black frame with standard ple...

Campo dei Fiori, Rome 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, ...

Street view is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments,...

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...

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...

'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...

ABOUT THIS ARTIST: Tropico Photo is the collaborative work of Forrest Aguar and Michelle Norris. Forrest loves pairing shapes and lines to create captiva...

Ancient Japanese ethnographic photographs from Nagasaki is a set of 8 original vintage albumen prints on single cardboard: 26 x 34 cm. Four images in the front and four on the rear ...

Algeria- Historical Photo is a black and white vintage photograph realized in the 1960s. It belongs to historical album including photo reportages of historical events and political ...

Couple In The Street, limited edition photograph, signed, archival pigment ink “Once Upon A Time In Kazimierz is a novella told in staged photographs. It portrays an episode in the...