Landscape Photography

Shanghai Buddha temple photographs is a set of four extraordinary vintage Aabumen prints on single cardboard: 34 x 26 cm. Image 17 x 22 cm 11.5x 8.5 cm, 9.5 x 13 cm and on the rear...

Ancient views of Vaparaiso is a set of two original albumen prints made in 1880s. Prints in excellent condition, applied on a single cardboard. Caption in Italian ink hand-written ...

A boucherie on Rue des Commercants in Saint-Tropez, on the French Riviera, August 1971. Slim Aarons St-Tropez Boucherie Complimentary dealer shipping to your framer, worldwide. 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Chromogenic Lambda print from the original transparency Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Undercurrent Projects offers premium quality photographic prints from the Slim Aarons Archive, owned and housed by Getty Images. All photographs are printed and authorized by the Getty Images Gallery, London. Photographs are printed utilizing the original transparency held at the archive source. Internal: Vintage Saint-Tropez, Vintage French Riviera photography...

"We Are Particles (part 1) Photography 16" x 20" in Edition of 36 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 ABOUT Rob Woodcox Rob Woodcox is a fine a...

Views of Acapulco is a set of two different albumen print realized in 1880s. Prints in very good condition, applied on a single cardboard. Caption in Italian ink hand-written on ha...

Shot from a helicopter. Premium pigment print mounted to Sintra. Floats in white wood frame. About the Artist Dinesh Boaz creates a dynamic juxtaposition between the natural ...

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...

Modern abstract photograph of the side of a building with pink and gold accents by the Texas artist Mark Greene. The off-centered window is balanced by the extension of the black mat...

Ancient Views of S.Diego di California is a set of four different original albumen prints realized in 1880s. In excellent condition, applied on a single cardboard. Very rare early v...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Rebecca Swanson, Dream, Limited Edition Photograph, 30x30. It is available with Plexifacemount or white frame . This stunning image is shades of white. This is an edition of 10. ...

Jerusalem Wailing Wall Photo with couple at night. This is for one Photograph from the portfolio entitled "Jerusalem: City of Mankind," The mounting is 14 X 17 inches. the actual photo measurement is between 9.25 X 14 to 10.5 X 13.5 inches (22.9 X 35.6 to 26.7 X 34.3 cm.) This is hand signed on mount recto; and stamped on the reverse with photographers name and copyright info. In a folding jacket with a printed credit and title. The first copy was awarded to the President of the United States, the second to the President of the State of Israel, the third to the Mayor of Jerusalem and the fourth to the Baron Edmond de Rothschild. Rare Cornell Capa and Baron Edmond De Rothschild “Jerusalem: City Of Mankind” Photo Album 1973. It has been produced by the international fund for concerned photography, INC, New York for the women’s division of the American Friends of the Israel Museum, New York. 15 copied were reserved for participating photographers. Color prints are made by dye transfer process from original transparencies and black and white enlargements are made from original negatives under the photographers supervision. Design and production – Arnold Skolnick / Bhupendra Karia. Color prints by Berkey K & L Custom Services INC, New York. Black and white prints by Igor Bakht Werner Braun – Moonrise over the Knesset Robert Burroughs – At the Western Wall. Cornell Capa – View from the Israel Museum sculpture garden. Leonard Freed – Reading from Sephardic Torah scrolls. Ernst Haas – In the Arab quarter, Old City. Charles Harbutt – Easter, Holy fire. Ron Havilio – Wallscape. Bhupendra Karia – Midday prayers, Al Aqsa...

ABOUT THIS PIECE: French photographer Ludwig Favre recently visited La Muralla Roja in Calpe, Spain. His pictures of architecture carry the same romantic feel of a Parisian shooting ...

OK Corral (Stranger than Paradise), triptych, each 20 x 20 cm, together with gaps 20x65cm, 1999, Edition 8/10, digital C-Prints based on 3 Polaroids, Artis...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Big bubble blowers create alien-looking biomorphic forms that frame the winged neo-classical bronze Bethesda Fountain crowed with pigeons. It's set again...

Max and Radha sitting on Rock (Long Way Home), 1999 sold out Edition of 5, Artist Proof 2/2, digital C-Print based on a Polaroid Certificate and Signature label artist Inventory Nr. ...

Using landscape photography to reflect on broader notions of culture, the passage of time, and the construction of perception, photographers Mark Klett and Byron Wolfe spent five years exploring the Grand Canyon for their most recent project, Reconstructing the View. The team's landscape photographs are based on the practice of rephotography, in which they identify sites of historic photographs and make new photographs of those precise locations. Klett and Wolfe referenced a wealth of images of the canyon, ranging from historical photographs and drawings by William Bell and William Henry Holmes...

'Renée's Dream' no. 8 (Days of Heaven) - 2005 18 x 24 cm, Lumas Edition of 100, Artist Proof 4/4 digital C-Print, based on an expired Polaroid. Artist inventory 8079. Signature Lab...

Blue Mountains (Wastelands)- 2003 56x56cm, Edition 1/5, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid. Mounted on Sintra with matte U...

Stefanie Schneider's Minis 'Airstream' (29 Palms, CA) - 1999 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroid sized open Editions 1...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

'Burning II' (Gestures) 38 x 37cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Certificate and Signature label arti...

Airstream (29 Palms, CA) - 1999 58x56cm, Edition 4/10, analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper Not mounted, based on a Polaroid Artist inve...

Meghan Mirasolo’s “Corona Heights” is a dynamic landscape photograph of buildings and balconies in San Francisco. The 10 x 8 inch giclee print combines...

In ‘Beaver Lake Sunrise, Aug. 2016,’ David Barnett captures a rare moment of natural framing in the landscape of Beaver Lake, WI. Between a clearing in th...

= Big bubble blowers create alien-looking biomorphic forms that frame the winged neo-classical bronze Bethesda Fountain crowed with pigeons. It's set aga...

ABOUT THIS ARTIST: Andrew Zhao is a student of his experiences. Hailing from Washington to Suzhou, China to Washington again, his fascination with art blossomed under the quaint mini...

Titled the 'Sundance Series', these artworks are a development of traditional landscape photographs and they have created a unique perspective as if captured through a telescope or a...

David Burdeny Man Watching Sunrise, Hangzhou, China, 2011 Archival Pigment Print Signature Label Print only. Ask us for framing options. Also available in...

Barn, New Concord pigment print on watercolor paper Available in the following sizes: 13 x 16, edition of 25 $1500 20 x 24, edition of 25 $2500 40x50, edition of 25 $6,500 This Black and White Sepia-toned print of a barn in the snow was taken by photographer, James Bleecker. The nearly monochromatic, picturesque landscape depicts an idealistic rural scene lit beautifully by an overcast sky. Artist Statement: These photographs span the last decade of nearly four that I have worked in the Hudson River valley. While I have photographed landscapes, towns and cities, I have chosen a selection of rural scenes for this show. All are in Columbia County except “Allee,” (Tuxedo Park) and Quimby Farm (Marlborough). My photography spans four decades of living in the Hudson River Valley. While my Dutch ancestors settled here early - Bleecker and Verplanck are common place names - I don't know what, if any, pull that fact exerts. Certainly I'm attracted to the layers of time exposed here; in ancient stone walls, leaning barns, faded mansions and mill towns. The valley exudes boom and bust, love and leavings. About the Artist: James Bleecker photographs the landscapes and architecture of his native New York State. Since 1983 his work has spanned independent fine art photography and commercial architectural photography. Much of his work has been commissioned by museums and historic preservation groups in the Hudson River valley. About James’s work, Edgar Munhall, Curator Emeritus of The Frick Collection, has written, "James's work is powerful and mature. Rigorously composed and technically perfect, his photographs can reduce you to tears by their beauty." Collections: Berkshire Museum Barry Diller...

The Terra Nova In McMurdo Sound (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole ...

Entrelazar 203, 2020 by Javier Rey Archival pigment print From the Series Entrelazar Medium size: 60 cm H x 39 cm W. Edition of 6 + 1AP Unframed All prices are quoted as "initial...

Signature: Signed, dated lower , numbered right 2 /15, Unframed, Other sizes available.printed later, Printed on Hahnemühle Fine Art paper Mitchell Funk is a pioneer of " Color P...

Salton Sea Harbour (California Badlands) - 2016, 20x24cm, Edition 10/10. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 18087. Not moun...

Rebecca Swanson, Sun Ray II, Limited Edition Photograph, 15x15. It is available with Plexifacemount or white frame as shown. This stunning image is filled soft pinks and yellow. T...

From Richard Heeps series, 36 Minutes in Cambridgeshire. This project was born from an idea to produce a set of photographs that followed a straigh...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Portraits Women and Children in Nagasaki is a lot of four hand-inked Albumen print with aniline applied on a single cardboard. Very good conditions. Cardboard cm 26 x 34; Print cm 9...

40 x 60 inches ed. of 10 $6,000 50 x 75 inches ed. of 5 $9,000 60 x 90 inches ed. of 5 $11,000 signed and numbered on label, verso Reinhard Görner, with his large format photogra...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Rebecca Skinner’s “Walk This Way” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. A well worn boardwalk flanked by green sea grass d...

'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...

These images represent the beginnings of a new, as-yet-untitled body of work. I’m gradually moving in more geometric, minimal direction with these pieces – in particular I’m looking to data representations, man-made systems and networks for ideas. The starting point for the glow necklaces image, for instance, was the New York subway map...

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

Landscape I, 2015 by Jill Peters Aerial photography Archival pigment print on heavyweight cotton rag paper Image size: 48 in. H x 68 in. W Edition of 2 Print Unframed All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________________ 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 go-cart track. Shooting mostly from air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present. Born in Miami and trained in NYC. Peters worked with prestigious photographers such as Patrick Demarchelier and shot editorials for Harper’s Bazaar, LIFE, Interview, Details, George, Vanity Fair and many more publications. Upon returning to live in Miami Beach in 2012, Peters happened to revisit the Miami Marine Stadium, a landmark she had frequented as a child, Long abandoned. 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 go-cart track. Shooting mostly from air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present. Jill was recognized in Photo Lucida’s Critical Mass Top 50...

'Untitled' (Oilfields) 2004, 60x60cm, Edition 4/10, Analog C-Print, based on a Polaroid Certificate and Signature label, artist Inventory No. 1220.04 Not mounted. OILFIELDS, 2004...

Pons Aemilius - Disappeared Rome is a gelatin silver - bromide print, realized between 1920 and 1930 from a older negative. The original image dates back to no later than 1887. Excellent conditions cm 19.5 x 25.5 The descriptive caption is printed on the lower margin: "N° 751 Roma. Ponte di Ferro con isola Tiberina". The logo "EPC" of the photographic agency is print on the image. The horizontal and strong body of the bridge runs the entire longer of the picture, perfectly framing the profile of the Tiber island...

Stefanie Schneider's Minis Gasoline I (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in between...

Edition of 9 C-Print White Vynil

28x40" limited edition of 5, signed on reverse by the artist. A vertical line bisects the two sides of this landscape photograph, with an arid dry field on the left and on the right...

Slim Aarons - New York Picnic - Estate Stamped Limited Edition Estate Stamped Print (edition size 1/150). A chauffeur unpacks a picnic hamper from a Rolls Royce, against the New Y...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Edward Hopper's sense of late light combined with the isolation and desolation of New York is depicted in color photography by Mitchell Funk. Golden light paints 70's New York in a m...

With the invention of the halftone print process, photographic postcards like this became inexpensive to produce and became widely distributed in the first decades of the 20th centur...