Framed Photography

Diamond Dust - Worldwide Exclusive Special. Unique pieces available at PREISS FINE ARTS. High-end framing and artsafe shipping worldwide included. Manufactured and signed by Guido A...

White Trash Beautiful I (29 Palms, CA) - 1999 128x125cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid. Mounted on A...

Cordial Campari, photograph from from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable Art Fair Milan 2...

Shannon Maltbie-Davis Bird’s Eye View of KC Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided ...

Watermelon Slim in reds 2023 A black and white photograph of the gritty blues musician Watermelon Slim in Reds bar in Clarksdale, Mississippi. Watermelon Slim’s heartfelt and catha...

Brooklyn Bridge (Stay) - 2006 Edition of 5, 100x135cm installed, each piece is 30x29cm, 12 analog C-Prints, printed by the artist on Fuji Archive Crystal Paper, matte surface, b...

"Gilbert Baker's Global Rainbow" is a framed photograph on aluminum by Xan Padron, depicting a compilation of walking figures set against vibrant backgrounds. Padron's signature tech...

large scale conceptual environmental still life photographs playing with viewer's perspective creating individual letters from found objects spelling the word HOPE H-O-P-E by Christian Stoll Incredible details in this body of work: focusing in on this epic photograph work, you will find yourself lost in the artwork's details. Reminiscent of the appropriation artwork of Vik Muniz, Christian Stoll arranges everyday objects to spell letters of the alphabet. Only at close inspection does the viewer realize he/she is looking at an actual photograph, created in camera rather than with digital manipulation. _________________________ Artwork can be installed vertically, horizontally, square or across multiple walls 4 individual photographs individual artwork size 24 x 24 inches (61 x 61cm) horizontal artwork composition 24 x 96 inches (61 x 244cm) vertical artwork...

Artist: Francesco Scavullo (after) Title: Ravi Skankar, 1977 Portfolio: A Photographic Retrospective, Volume I: Song Medium: Gelatin Silver Print Year: 2004 Edition: 106/150 Signed: ...

Electric Iceberg in Errera Channel, Antarctic Peninsula by Camille Seaman depicts a massive iceberg floating in the dark, stormy ocean. Archival Pigment Print Edition of 9 Frame si...

Originals. Bella Hadid, Portrait by Hunter & Gatti Black and White Photography with broken glass on top of the image. Image size: 45.2 in. H x 32.5 in. W Frame size: 52.5 in. H x 39 ...

Blues man on Beale 2023 A black and white photograph of the gritty blues musician Watermelon Slim in Reds bar in Clarksdale, Mississippi. Watermelon Slim’s heartfelt and cathartic ...

Southern Belle 2023 Dancers in Reds bar in Clarksdale, Mississippi, in the early hours. The juke joint as a place to dance, rough around the edges, a place where anything goes, whe...

This piece titled "Interdimensional Abberation" is an original artwork made from hand-woven archival pigment print by Jason Chen. This piece measures 41"h x 31"w.

Campbell's Soup, iconic British architecture of their first UK factory. Photograph by Richard Heeps. This artwork is a limited edition of 25, gloss photographic print, dry-mounted t...

The Sound of Music - 2007 (from the 29 Palms, CA Project) 125x156cm, Edition of 5, 2007, Archival C-Print, based on the Polaroid, signed on verso. artist Inventory # 11596.01. No...

This piece is an original artwork by Jason Chen titled "Disguised Confidence". It is made of archival pigment prints from the artist's photography that he cuts and weaves together by hand. The piece measures 22”h x 34”w and ships framed in the pictured 25”h x 37”w frame. In 2012, Jason Chen shifted his long-running focus on dry plate tintypes to a new process: photo weaving. Chen began using two separate images of the same person, then wove them together in a process exploring time, movement, process, and mutation. He has exhibited works in the series one by one over the years, but in Fragments, his 2015 solo exhibition at Paradigm Gallery, a full collection of these works were on display together for the first time. Bio // Jason Chen is originally from Guangzhou, China. He received his BFA in Animation from the University of Arts in 2008. Jason is a Philadelphia-based photographer specializing in Fashion, Editorial, and Alternative Process Photography...

This piece titled "High Fidelity" is original artwork made from hand-woven archival pigment print by Jason Chen. This piece measures 41"h x 31"w.

"Jean-Paul Gaultier" is a Pop Art and Post War unique Polacolor ER Print photograph by Andy Warhol in c. 1970s. The artwork is 4 1/4 x 3 3/8 inches and, with the frame, is 9 x 9 x 1 ...

This piece is an original artwork by Jason Chen titled "Two-Thirds". It is made of archival pigment prints from the artist's photography that he cuts and weaves together by hand. The piece measures 16”h x 12”w and ships framed in the pictured 19”h x 15”w frame. In 2012, Jason Chen shifted his long-running focus on dry plate tintypes to a new process: photo weaving. Chen began using two separate images of the same person, then wove them together in a process exploring time, movement, process, and mutation. He has exhibited works in the series one by one over the years, but in Fragments, his 2015 solo exhibition at Paradigm Gallery, a full collection of these works were on display together for the first time. Bio // Jason Chen is originally from Guangzhou, China. He received his BFA in Animation from the University of Arts in 2008. Jason is a Philadelphia-based photographer specializing in Fashion, Editorial, and Alternative Process Photography...

Boudoir III, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing p...

Actors Steve Martin and Michael Caine starring in Frank Oz’s film ‘Dirty Rotten Scoundrels’ in which the pair play competing con artists, Cote d’Azure, 1988. Paper size: 20 H x 16 W...

Jon Kortajarena, 2017 by Hunter & Gatti From The series, I will make you a star Acrylic paint, Oil pastel pigment print on canvas. Size: 74 H x 52 W in. Mixed Media Signed front a...

Edition 1/5 sold in limited edition in perfect condition This photo was made in 1961, printed later, the negative was digitized during the artist's lifetime and the technical parame...

"Kate Moss Side" by Jake Chessum Portrait of a young 16 year old Kate Moss – just before she shot to supermodel stardom and became the icon she is today. Jake grew up in Croydon, South London. He studied Graphic Design at St. Martins School Of Art, and started working as photographer straight out of college. Assignments for The Face, Arena, and an early ad campaign for “Neutrogena” featuring a 16 year old Kate Moss followed. By 1995 Jake was regularly flying the Atlantic on assignment for JFK Jrs' “George” Magazine and in 1999 he upped sticks and moved permanently to NYC where he still lives with his wife and 2 kids...

Greek Mosaics- Diptych figurative photography framed by Paul Meleschnig Image size :10" x 20" Frame size: 22 x 32 inches Archival pigment print 1995 Fram...

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

Pharrell, 2017 by Hunter & Gatti From the series of IWMYAS Acrylic and oil-pastel black & white pigment print Image size: 33.8 H x 24.5 W in. Frame size: 37 H x 28 W x 2 D in. Sign...

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...

Contact sheet print taken from the David Bowie Aladdin Sane album cover shoot by Brian Duffy Taken from the original 1973 negatives, these official Duffy Archive prints are open edi...

Black and white silver gelatin portrait photograph of Igor Stravinsky by well-renowned 20th Century photographer Yousuf Karsh. Matted and framed in sil...

Concrete Scaffolding 02 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph is a screen printing with gold ink on concrete stoneware. Dimensions are...

Douglas Booth II, 2015 by Hunter & Gatti From the series IWMYAS Mixed media on Black and white photography Image size: 45 H x 31.5 W in. Frame size: 53 H x 39 W in. x 2 D in. White ...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

Michael Mardikes Tom & Rita (Thomas Hart Benton Plate #10) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Image Size: 14.5x14.5 in Paper Size: 22x17 in Edition: Unique Sig...

Press Conference, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to m...

Eternal Recurrence #63 by Natasha Zupan Photo collage with intervention by the artist Image size: 59.5 in. H x 48 in. W Framed size: 63 in H x 53 in W x 1 in D Framed 2015 All Price...

'Model T and Garage' was taken in the small historic town of Daggett in the Mojave Desert on Route 66. This artwork is part of Richard Heeps' 'Dream in Colour' series, which document...

Hamburg Blue Mosaic, from the Heidler & Heeps German Stamp Collection. The details in these historic postage stamps are brought to life, given a twenty-fi...

Mindscreen 03 - 1999 Edition 1/5. 126x126cm including the white frame. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signed on the back with Certificate. Artis...

"Caroline (LED)" (FRAMED) Photography 40" x 30" in Edition of 3 by Larsen Sotelo FRAMED Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish 40” X 30” inch L...

Emily Evans Sloan Sparring Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal...

Algas 45-V, 2022 by Paola Davila From the series Mareas Cyanotype on 300 gr cotton paper Image size: 45 cm Dm Frame size: 78.7 H x 78.7 W x 5 D cm. Unique The title of each piec...

Realistic artist Mitch Gibbs was raised in York, Pennsylvania. He studied art and was drawn to painting in a photo-realistic style. His art passion was coupled with his love for the...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The monochrome g...

28° 14' 34.127’’N, 114° 6' 44.679’’W-14, 2022 From the Mareas series. Cyanotype on 300 gr cotton paper Image size: 40 H x 76 W cm Frame size: 53 H x 88.9 W x 2.2 D cm. Unique The ti...

The DJ (The Girl behind the White Picket Fence) - 2013 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Mounted on Dibond with matte UV-Protection. Signed on back and Certificate. Artist Inventory No. 16346. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

Claus Goedicke (German) Ax (Some Things Series) Archival Pigment Print on Hahnemühle Photo Rag Year: 2013 Size: 23.38 x 16.53 on 24.4 x 17.32 inches (59.4 x 42 on 62 x 44 cm) Framed:...

Kevin Vivers Strike Out Archival Pigment Print Year: 2024 Visible Size: 9 x 13 inches Framed: 18 x 22 inches Signed COA provided *Black frame with standard plex Kevin Vivers has be...

Angie Jennings Midway 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 plex Ang...

A Vision you can't Capture (29 Palms, CA) - 2007, Edition 1/5, 125x150 cm each, 3 pieces, installed 125x470cm. 3 Analog C-Prints printed on Fuji Archive Paper, hand-printed by th...

Dream girl (Stranger than Paradise) - 2000 Edition of 10 3 x 58x56 x 0.1 cm, 58 x 188 cm installed. 3 Analog C-Prints, hand-printed by the artist. based on the 3 Polaroids. Signat...

The Kiss (Sidewinder) - 2005 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the original Polaroid. Signed on verso. A...

'Three Palms' from Richard Heeps Great British staycation series, On-Sea. Taken in Clacton-on-Sea, Richard was channeling Hitchcock in his mind. He printed in his darkroom full frame...

Joel Meyerowitz (born March 6, 1938) is an American street, portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color...

'Hula Doll', part of Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas. This fun artwork has a cool kitsch vibe, the photograph itself has a lo-fi effect. This artwork i...