Horizontal Landscape Photography

Kevin Vivers Hard Work 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 bee...

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...

Contemporary aerial landscape photograph of colorful shipping containers, shot from the photographer's plane over the Port of Tacoma, Washington Archival digital print, edition 4 of ...

Forgotten Land (California Badlands) - 2010 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 10898. Not moun...

Contemporary color aerial landscape photograph above a beach near Martha's Vineyard, MA Archival digital print, Edition of 25 (#085) Image size 26 x 39 inches with 2 inch border, unf...

'Moab Memories', 2017, Edition 2/7 plus 2 Artist Proofs Based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-...

In this series the artist found that the rocks were so round that they looked like prehistoric holes, each one telling a story and reflecting a bit of her soul. Mauricio Velez's pho...

"Amsterdam Canal, The Netherlands" is a framed photograph on aluminum by David Burdeny, depicting iconic colored buildings along a waterway in Amsterdam. The image quality is crisp a...

As night falls over the Makgadikgadi Pans, giant trees stand starkly against the horizon. Leafless branches reach for the light. On the opposite side of the sky, Earth’s shadow is ri...

Traces (Stranger than Paradise), diptych - 2005 128x126each, 128x260cm installed, Edition of 3. 2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, base...

Desert Living (California Dreaming) - 2017 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 21292. Not mounted. The simplicity of 'flawed beauty' comes from the expired film I use to create a reflection of love and loneliness.
 The dream is actually turning into a nightmare. It's easier to deny than to utter the truth of defeat. (ruin). 
That we are all finite is irrefutable but we just don't want to believe it. I chose Polaroid film because it portrays color like candy making...

Piazza Roma, Cortina d'Ampezzo, 1962 - Skyline of Mountains in Italian Alps by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Piaz...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” David H. Gibson is a lifelong...

Road to Gunsight, photograph from Richard Heeps 'Dream in Color' Series, this is the classic American open road photograph, which is a metaphor throughout Richard's work. The early m...

Fly Geyser, Black Rock Desert, limited edition photograph, signed, archival ink The terrain of the Black Rock Desert, Nevada is an area that I have always wanted to explore. In November of this year, I finally got the chance. The area is sparsely inhabited with the largest town being Gerlach - population of 100. Humans have inhabited the Black Rock Desert since approximately 11,000 BC.. The large black rock formation was used as a landmark by early settlers and emigrants that initially crossed and settled in the area. At its base is a large hot spring and grassy meadow, which was an important place for those crossing the desert headed for California and Oregon. In the mid-1800's John Fremont...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – often from a bird’s-eye view ...

I have spent seven years photographing visual clues that tell of the beauty, complexity and destruction of South Louisiana. Once formed by sediment deposited by the Mississippi River...

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

Unframed. New from 2023. This is an original, hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 10 prints were made. Four have sold. Only six...

Holding on Tight (Chicks and Chicks and sometimes Cocks) - 2016 Edition of 10, 49x58cm, Archival C-Print, based on the Polaroid Artist inventory 19522.02 Not mounted. Signature la...

Capitolium and Imperial Forums -  Vintage Photo  is a colored photograph of the 1970s. Good conditions.

'Christine's '52 Henry J & teardrop' was captured in Bonneville Salt Flats, Utah, the iconic home of speed. This photograph captures the mountains in the distance meeting and contras...

'Marlboro' (Stranger than Paradise) - 1997 sold out Edition of 5, This is the last Artist Proof 2/2, 50x60cm analog C-Print, hand-printed by the artist not mounted signature Label...

Rope Out, limited edition photograph, signed, archival pigment ink Dobrowner presents landscapes with sublime complexity – imagery poised between permanence and flux, his images at...

In 2015 I visited many ancient olive groves in Italy. The Province of Lecce is known for having the oldest trees. The groves, only accessible by stone paths or mule tracks, give a se...

Black and white fine art long exposure landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited ...

Six Piece Desert Oasis Framed Photography Installation. A collection of blue hued landscapes and waterscapes from Richard Heeps travels, American road trips shooting his series Drea...

A contemporary color landscape photograph by Roberta Fineberg shot at night in Central Park in New York City. The artist uses light painting and long-exposure photography to create m...

Poolside Loungers Former fashion model Helen Dzo Dzo Kaptur (in white lace), Nelda Linsk (in yellow), wife of art dealer Joseph Linsk, and other guests at the Kaufmann Desert House...

Black and White Fine Art panorama landscape photography. Monument Valley, Navajo Nation, Arizona, USA. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by...

Boats Sailing At Sunset, Santa Cruz - Color Photograph Color photograph of sailboats at sunset in front of the Breakwater Lighthouse in Santa Cruz, California by John F. Hunter (American). The viewer looks out towards the ocean as multiple colorful sailboats sail...

Limited Edition of 7 available in different sizes An elephant herd is crossing a river in Masai Mara. Joachim Schmeisser is represented by leading Galleries worldwide. His photogr...

Nine Piece Desert Oasis Framed Photography Installation. A collection of blue hued landscapes and waterscapes from Richard Heeps travels, American road trips shooting his series Dre...

A contemporary color panoramic photograph, King of the Mountains, 2013 by Chinese artist Yun Hanyu -- is a signed 16" x 36" HD C- print. The King ...

An iconic black-and-white image from the 1980s in France, a look at a rooftop vista from an 11th "arrondissement" (district) apartment window in Paris. Paris Rooftops, 1988 by Robert...

ABOUT THIS ARTIST: Claudia Hidalgo is a visual artist specialized in photography from Guayaquil, Ecuador. She uses her camera to document her day-to-day life and her ceaseless necess...

Blue II (Deconstructivism) - 2015 - about the narrative potential of images. 40x50cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 3963. Signature label...

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

Citroen - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free an...

Slim Aarons Il Canille, Capri, 1980 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Sunbathers lounge on the white-painted terr...

"Silk no. 4_v2, Taos, NM" is a color photograph, limited edition, signed and numbered by Thomas Jackson. Thomas Jackson's Emergent Behavior is inspired by the instinctual self-organ...

'Cretan goats' 30x45cm limited edition of 20. Taken in Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, comes with a...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

1955 Oldsmobile 88, a yellow classic American car taken outside the Mirage in Hemsby Norfolk. Photograph from Richard Heeps 'Man's Ruin' series. This artwork is a limited edition of...

Leah Oates employs a double and sometimes triple exposure, which creates halos of light, dappled, misty surfaces and gauzy effects in muted greens and blues. Her work questions the n...

Photographer Mark Klett is best known for cool, impersonal images of desert landscapes in the American Southwest, taken from a similar vantage points and under similar lighting condi...

'Renée's Dream' no. 8 (Days of Heaven) - 2005 26 x 32 cm, Lumas Edition of 100, Artist Proof 4/4. Archival C-Print, based on the Polaroid. Artist inventory 8079. Signature Label...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Miami II 010 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *60 cm ×...

Baths of Caracalla is a vintage photograph realized by Ludovico Tuminello in the early 20th Century. Titled on the lower. Good conditions except for some foxing.

Black and white fine art panorama long exposure waterscape - landscape photography print. Fisherman's huts in the surf on the beach in France. Archival pigment ink print, edition of ...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

Skiing in St Moritz, 1983 - Palace Hotel Switzerland Alpine Scott Olympic Skis by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Skiing in St Moritz is a beautiful Limited Edition Estate Stamped Digital C-Type print from 20th Century photographer Slim Aarons. Countess Jan Blonde smiles and poses in the Palace Hotel sleigh on Lake St. Moritz, Switzerland. With her furs and diamond rings, Blonde is perfectly attired for the classy yet freezing landscape of St Moritz. St Moritz has long been one of Europe's most glamorous Alpine playgrounds, attracting royalty, celebrities, and wealthy socialites to its chic lakeside villages and ski spots. In this portrait by Slim Aarons, American Countess Jan Blonde poses in a sleigh from the prestigious luxury Palace Hotel, located in the heart of St Moritz in Switzerland. As a guest of the Palace Hotel, Blonde has been generous provided with the sleigh to facilitate her transport to and from the Palace Hotel. Of interest to any ski afficionados are the two sets of skis positioned on the rear of the sleigh. One set of skis is by Hanson, an American ski-wear brand founded by brothers Chris and Denny Hanson in 1969, who invented the highly popular rear-entry ski boot. The other set of skis are Scott Olympic, an iconic brand of skis that performs to this day. Own a piece of ski-wear history in this photograph. From 1983. The world of Aarons’s photographs...

Archival pigment print on Hahnemuhle smooth canvas. from the series All the faults of the world 37 x 39.5 inches. Ed 1 of 4 Unframed In recent years -through the use, production, a...

Rare one of a kind photograph with original negative included on the back. In some cases Roman would make a single photograph from a negative and then put the negative with the print...

Wildwood beach lockers captured on a glorious spring blue sky day. Taken in 2013 this picture was first executed in Richard's darkroom in April 2020. Colour is key in Richard's work ...

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...

The Lost Waterpark (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist...

'Salton Baptistes' (California Badlands) - 2010 50x60cm, Edition of 5. Analog C-Print, hand-printed by the Artist, based on the Polaroid. Mounted on 3mm Aluminum with matte UV-Pro...

Need For Speed (1954) - Silver Gelatin Fibre Print (Photo by Joseph McKeown/Picture Post/Getty Images) 17th July 1954: Argentinian racer Juan Manuel Fangio (1911 - 1995) chalks up ...