Unframed Landscape Photography

Skiers waiting for the cable car at Verbier in Switzerland, 1964. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons...

Signed, dated and editioned. Signed, titled, editioned and dated on back of mount on artist copyright stamp. Available in 20 x 24, 26 x 32 and 44 1/2 x 56 inches (largest size includ...

Set of 3 Photographs, 2022 by Paola Davila 1. 28° 14' 34.127’’N, 114° 6' 44.679’’W-6. 2. 27° 44' 30.192" N 114° 14' 36.340" W-10. 3. 28° 14' 22.942''N, 114° 6' 4.129'' W-9. From the ...

March 1973: Linda Ashland relaxes in a beach hammock on the island of Mustique in the Grenadines. Estate stamped and hand numbered edition of 150 with certificate of authenticity f...

Artist: Terry O’Neill (1938-2019) Title: ​Steve McQueen Eyes Year: 1969 Medium: ​Chromogenic print Edition: 4/50 Size: 19 x 28 inches Condition: Excellent Inscription: Signed, dated,...

View looking down the Galleria Vittorio Emanuele II in Milan, Italy, 1960. Opened in 1890, the covered arcade is on the northern side of ...

Color, water, sea, landscape, wave, storm, weather, Montauk, hurricane, photography, color photography, ocean, water, Haik, archival pigment print, Montauk Listing is for UNFRAMED p...

Untitled (Nr. 0164) Photography 24" x 18" Edition of 20 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six...

The End (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 3447. ...

'Baltic pine' 2021 100x80cm limited edition of 10 + 1AP. Photographed in Lithuania, Giruliai forest using a 4x5 large format camera. Printed on Fi...

"Moon Birth 2" Photography 39" x 39" in Edition of 3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Availab...

Slim Aarons Girl Talk 1956 Chromogenic Lambda Print Estate edition of 150 1956: Taking tea at the St Regis Hotel, New York from l to r; Baroness Daubeck, Mrs Frederick B Payne, Mrs ...

Hang gliding in Kitzbuhel, Austria,1980. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons (1916-2006) worked mainly fo...

Rebecca Skinner’s “Industrial Beauty” was photographed at an abandoned lace factory and is part of a series documenting the loss of industry in America. The 16 x 24 inch color photog...

Set of 3 Photographs, 2022 by Paola Davila 1. 27° 42' 26.32'' N, 7° 42' 26.32'' W-15. 2. 28° 14' 22.942''N, 114° 6' 4.129'' W-12. 3. 28° 14' 22.942'' N, 114° 6' 4.129'' W-6. Cyanotyp...

Slim Aarons Poolside Pairs 1970 (printed later) C Print Estate signature stamped and numbered edition of 150 January 1970: The Kaufmann Desert House i...

Slim Aarons Mustique 1973 Chromogenic print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. March 1973: Linda Ashland relaxes in a...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

"Crossing" is a black and white fine art photograph of Michael Götze. It is an Edition 5 (3/5), Giclée Print, 80 x 150 cm, signed on back, comes with certificate. Other Formats (100 ...

Stefanie Schneider's Minis Gasoline II (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda archival Color Photographs based on the original Polaroid. Sandwich...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

From a series of conceptual motivational roadside signs in iconic California landscapes, captured with a large format camera to allow epic scale print sizes with incredible image det...

Leaving (The Last Picture Show) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist inv...

Giardino e Grotta di Lainate Per Opera, 2012 C print Edition of 5 cm 100X120 120X150 180X225 inch 39.40x47.28 47.28x59.10 70.92x88.65 Massimo Listri is a Florence-based photograp...

Racing driver Jackie Stewart makes a television broadcast at the Monaco Grand Prix, 22nd May 1977. Behind him is John Watson's 'Martini' race car. ...

California Dusk by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches...

Adria 10 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 cm x 60 cm (35...

'Enchanted' (Dream Scene on Salt Lake), triptych, from the 29 Palms, CA Project Edition 4/10. Each 20x20cm, together 20x70cm (installed). 3 Archivall C-Prints, based on 3 SX-70 Po...

Smoke and Mirrors 5 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only from a Limited Edition of 7 + 2 Artist Proofs. This print is Artist p...

Private Island, Philippines 1973 Chromogenic Lambda Print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Guests relax on the bea...

Rebecca Skinner’s “Contradiction” is a 18 x 12 inch black and white photograph of a salon style, vintage hair dryer in an abandoned factory. With sa...

Paris, 1981 by Louis Stettner is a 20 x 16in gelatin silver print on fiber paper. In an edition of 6, the photograph Ed 3/5 is dated, titled, and signed verso (photo back) by the art...

West Texas: Ocotillo in Bloom, Mule Ears Peaks, Big Bend National Park by Peter Brown is listed 13 1/2 x 20 inch archival pigment print, with the paper size as 18 x 22 inches. This photograph is signed and numbered in black ink on print margin by Peter Brown. This size is available in an edition of 25, with more sizes available. This photograph is from Peter Brown series, Hometown Texas. West Texas: Ocotillo in Bloom by Peter Brown depicts a desert landscape lit by the setting sun, with the Mule Ears Peaks at Big Bend National Park in the background. Peter Brown attended Stanford University (BA English, MFA Photography) and has taught in the art departments at Rice and at Stanford. He has exhibited and published his work widely. His photographic awards include the Dorothea Lange – Paul Taylor Prize (with Kent Haruf) from the Duke Center for Documentary Studies; an Alfred Eisenstaedt Award for a photo-essay published in DoubleTake; an Imogen Cunningham Award for his portfolio Seasons of Light; a graduate fellowship from the Carnegie Foundation; an Artist’s Fellowship from the National Endowment for the Arts; an Artist’s Grant from the Cultural Arts Council of Houston and a publication grant from the Graham Foundation. His book On the Plains won the Fred Whitehead Award from the Texas Institute of Letters. He presently is photographing the Llano Estacado of Texas and New Mexico under a grant from the Southwest Collection at Texas Tech University and the central high plains in a collaboration with the novelist Kent Haruf. His book with Haruf, West of Last Chance, will be published by W.W. Norton in January 2008. His photographs are in many public, private, university and corporate collections, including those of the Museum of Fine Arts and the Menil Collection in Houston, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Los Angles County Museum of Art and the J. Paul Getty Museum in Los Angeles, the Amon Carter Museum in Fort Worth, the Santa Barbara Museum of Art, the Stanford University Museum of Art, the Rice University Collection, The Humanities Research Center at the University of Texas Austin, the Sheldon Museum at the University of Nebraska, the Spencer Museum at the University of Kansas, the Snipe Museum at Notre Dame, and the University of Kentucky Museum of Art, among many others. His work has been exhibited in one man and group shows in museums and galleries in this country and abroad. Among others: The Museum of Modern Art in New York; The Museum of Fine Arts and the Contemporary Arts Museum in Houston; The San Francisco Museum of Modern Art; The Amon Carter Museum in Fort Worth and the Los Angeles County Museum of Art. His first book Seasons of Light, consisted of photographs of interior scenes with Brown’s short prose pieces, and was published with an afterword and poetry by Denise Levertov by Rice University Press in 1988. It was excerpted in American Photographer. His second, On The Plains, dealt with the open landscape and small towns of the western plains. Published with an introduction by Kathleen Norris by W.W. Norton, On the Plains was excerpted in DoubleTake, LIFE, The New Yorker, Aperture and Texas Monthly. His forthcoming book West of Last Chance, will be excerpted in Harpers, Texas Monthly and 5280. His work has also appeared in Dwell, House and Garden, Landscape Architecture, Duke, Stanford, Popular Photography, American Photographer, FotoMetro, Southwest Art, American Cowboy and other magazines - as well as on the covers of books by Annie Proulx, Jane Smiley...

Slim Aarons Roca Llisa, 1978 (printed later) C print estate edition of 150 Fosca, Vera, and Fiona Bertran holidaying in Roca Llisa, on the island of Ibiza, Spain, 1978. Estate stamp...

Zermatt Skiing, 1968 Chromogenic Lambda Print Estate edition of 150 The apres-ski in Zermatt, Switzerland, March 1968. Estate stamped and hand numbered edition of 150 with certifi...

"Drift 11" Landscape Photography 20" x 30" Edition 4/10 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of ...

Tourists (Turkey), 2016 Edition 1/10, 20x30cm, Digital Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. Published in Tao Rus...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. “Peabrook is my Neverland,” Heal states, in reference to J.M. Barrie’s Peter Pan. “It is a fictional place often described as a metaphor for eternal childhood.” Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook. Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the “magical” representation of Heal’s home that she strove to depict. The simply framed 4” x 5”, 5” x 7” and 8” x 10” photographs sit within large mattes, in keeping with the classical quality of her images. “I really wanted to work in film again, and this project seemed the right one to do it with,” says Heal, who lists Sarah Moon and André Kertesz as artistic inspirations. The dark and mysterious invitational image, “Willow”, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden. The earth-toned image contains the unpredictable streaked effect of developed instant film. In another image, entitled “Sitting Room”, we see a positive image of a film negative. Most notable is the hanging rhinoceros head towering impressively over two antique sitting chairs...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. 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, that 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 have 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...

Edition of 45 Signed, titled, negative date, print date and numbered. Sepia toned gelatin silver print Michael Kenna's black and white photographs are powerful and alluring. His...

'Cretan dream' 32x43 cm limited edition of 20. Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, comes with a certifi...

Palazzo Ducale V, Mantova, Italy, 1996 C-print Signed, numberd and dated on verso label 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of...

March 1973: Linda Ashland relaxes in a beach hammock on the island of Mustique in the Grenadines. Estate stamped and hand numbered edition of 150 with certificate of authenticity f...

Tree in the Plane (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label....

Author and screenwriter Peter Viertel (1920 - 2007) with his surfboard on the beach at Biarritz, France, 1960. Estate stamped and hand numbered edition ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

Three Girls IX (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

"Moon Birth 3" Photography 39" x 39" in Edition 1/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Availabl...

This early silver gelatin print on semi-matte paper with margins was likely printed in the 1930s. This is an extremely rare variant of an image published in "The Four Seasons of Yose...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

Marcelo Soulé (Buenos Aires, 1958) trained at the Artistic Lyceum and the Brera Academy in Milan. He lives and works between Milan and Barcelona. He bega...

Limited Edition of 15 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Massimo Listri Salone da ballo, Palazzo Reale Venezia 2022 C print Signed, dated, and numbered on verso label 39.5 x 47.5 inches (100 x 120 cm) edition of 5 - $12,500 47.5 x 59 i...

Three Girls VIII (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

This beautify color photography was taken in Israel near Caesarea. It was not filtered, manipulated or color corrected, but a straight shot. It comes print only, but can also come fr...

Massimo Listri Palazzo Mocenigo II, Venezia 2022 C print Signed, dated, and numbered on verso label 39.5 x 47.5 inches (100 x 120 cm) edition of 5 - $12,500 47.5 x 59 inches (120...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

'Fishing Nets No.2' Sorrento, Italy 2020 Colour landscape photography of Italian harbour. The photograph is signed front and back and comes with a Certificate of Authenticity. Ca...