Skip to main content

C Print Landscape Photography

to
12
46
37
11
17
55
19
9
26
13
9
8
27
Overall Height
to
Overall Width
to
61
16
1
47
37
19
13
13
13
12
10
9
8
8
8
7
7
7
6
6
6
6
6
25
58
1
2
1
5
1
9
16
13
9
9
5
17,789
155
120
110
88
Color:  Purple
Medium: C Print
'Hotel Du Cap Eden-Roc' Antibes (Slim Aarons Estate Edition)
Located in London, GB
'Hotel Du Cap Eden-Roc' by Slim Aarons Guests relax by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. A simply gorgeous scene. Fashionable and stylish guests ...
Category

1970s Modern C Print Landscape Photography

Materials

C Print

The Farm, Snjór series by Christophe Jacrot - Winter photography, Iceland
Located in Paris, FR
The Farm (La ferme) by contemporary photographer Christophe Jacrot. Fine Art print on Etching Hahnemühle paper. Prints available in two sizes: 70 x 105 cm : edition of 12 80 x 120 c...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Californian Coast, Pacific Ocean photography unframed No. 2
Located in Los Angeles, CA
We present another series of new work highlighting the raw, natural beauty of Californian landscapes and nature, from various California based photographers. May be paired with oth...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

"Saint Jean de Luz" by Didier Fournet, 51 x 51 in, 2023
Located in Paris, France
Didier Fournet is a contemporary "painter" thanks to photography: he chose pixels instead of brushes and reveals the beauty of the world by turning landscapes into vibrations. Self-...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print, Other Medium

Verbier View by Slim Aarons
Located in Brighton, GB
For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...
Category

20th Century American Modern C Print Landscape Photography

Materials

Photographic Paper, Color, Lambda, C Print

House, West Cork, Ireland, 1996
Located in Hudson, NY
Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice Gallery endeavors are superbly managed. Whether working with corporate clients, interior designers or established collectors, the Robin Rice Gallery guides patrons throughout the selection process, inspiring them to build a stylish collection or striking décor. The Robin Rice Gallery offers a bevy of styles that Robin has procured with her own signature school of artists. C Print, Blue, House, Red Door, Vignette, Blur, House, West Cork...
Category

1990s Modern C Print Landscape Photography

Materials

C Print

Bahamas Signpost, by Slim Aarons
Located in Brighton, GB
For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...
Category

20th Century American Modern C Print Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

WHITE 11, H-434 – Risaku Suzuki, Nature, Snow, Forest, White, Winter, Japan, Art
Located in Zurich, CH
RISAKU SUZUKI (*1963, Japan) WHITE 11, H-434, 2011 Chromogenic print Sheet 95,2 x 119 cm (37 1/2 x 46 7/8 in.) Edition of 5 (#2/5) ‘Snowflakes are letters sent from heaven.’ – Ukich...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

C Print

I Love You With All My Heart #2 – Jung Lee, Neon, Text, Installation, Symbol
Located in Zurich, CH
Jung LEE (*1972, South Korea) I Love You With All My Heart #2, 2020 C-Type Print, Diasec Sheet 160 x 200 cm (63 x 78 3/4 in.) Frame 166,8 x 206,9 x 3,5 cm (65 5/8 x 81 1/2 x 1 3/8 in...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Pool at Porto Rotondo, Sardinia, Italy, August 1982 by Slim Aarons
Located in Brighton, GB
Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary pri...
Category

20th Century American Modern C Print Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

You Are In My Heart – Jung Lee, Neon, Text, Installation, Landscape, Nature
Located in Zurich, CH
Jung LEE (*1972, South Korea) You are in my heart, 2020 C-Type Print, Diasec Sheet 136 x 200 cm (53 1/2 x 66 7/8 in.) Frame 173,5 x 139,5 x 3,7 cm (68 1/4 x 54 7/8 x 1 1/2 in.) Editi...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Porto Ercole, Tuscany by Slim Aarons
Located in Brighton, GB
For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...
Category

20th Century Modern C Print Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

Joshua Tree, Mojave Desert, California - American landscape color photography
Located in Cambridge, GB
Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

Lounging in Verbier by Slim Aarons
Located in Brighton, GB
For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...
Category

20th Century American Realist C Print Landscape Photography

Materials

Photographic Paper, Color, C Print

Motel Desert Shores III, Salton Sea, California - American Color Photography
Located in Cambridge, GB
Motel Desert Shores, from Richard Heeps Salton Sea series. This picture has the a vibe of a Southern California American road trip, the colours are so seductive, the palm trees creat...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 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...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Extra Large Cyanotype Seascape of Pacific Ocean Currents, Nautical Blue & White
Located in Barcelona, ES
This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...
Category

2010s Realist C Print Landscape Photography

Materials

Emulsion, Watercolor, Photographic Paper, C Print, Intaglio, Other Medium

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...
Category

1990s Contemporary C Print Landscape Photography

Materials

Polaroid, Archival Paper, Photographic Paper, C Print, Color

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

My own private Travel Diary - Bishop, CA - Hotsprings
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Hotsprings - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Cer...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Slim Aarons Official Estate Print - Satin Seduction 1955 - Oversize
Located in London, GB
Satin Seduction Film star Diana Dors in blonde bombshell pose on a satin covered bed. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate ...
Category

1950s Modern C Print Landscape Photography

Materials

C Print, Color

Planes IX
Located in Morongo Valley, CA
Planes IX - 2008 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory #4634. Not mounted. A ...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

My own private Travel Diary - Bishop, CA - Autumn
Located in Morongo Valley, CA
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 Certifi...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

The End #2 – Jung Lee, Neon, Text, Installation, Symbole, Nature, Landscape
Located in Zurich, CH
Jung LEE (*1972, South Korea) The End #2, 2020 C-Type Print, Diasec Sheet 160 x 200 cm (63 x 78 3/4 in.) Frame 167 x 206,9 x 3,5 cm (65 3/4 x 81 1/2 x 1 3/8 in.) Edition of 5, plus 2...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Cactus, Ajo, Arizona - American landscape color photography
Located in Cambridge, GB
The silhouette of a large scale cactus, dressed in twinkle lights, set against an ombre sunrise sky. Photographed by Richard Heeps in the Arizona desert, for his 'Dream in Colour' se...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

Silver Gelatin, Photographic Paper, C Print, Color

Skiers at Verbier by Slim Aarons
Located in Brighton, GB
For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...
Category

20th Century American Modern C Print Landscape Photography

Materials

Photographic Paper, Color, Lambda, C Print

My own private Travel Diary - Bishop, CA - A quiet Town
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - A quiet Town - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and C...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

My own private Travel Diary - Bishop, CA - Hotsprings
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Hotsprings - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and C...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

My own private Travel Diary - Bishop, CA - Walking Fellini
Located in Morongo Valley, CA
My own private Travel Diary - Bishop, CA - Winter - 2001, 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...
Category

1990s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

You #2 – Jung Lee, Neon, Text, Installation, Symbole, Nature
Located in Zurich, CH
Jung LEE (*1972, South Korea) You #2, 2019 C-Type Print, Diasec Sheet 185 x 148 cm (72 7/8 x 58 1/4 in.) Frame 188,5 x 151,5 x 3,7 cm (74 1/4 x 59 5/8 x 1 1/2 in.) Edition of 5, plus...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Aegean Sea Lifeboat
Located in New York, NY
Aegean Sea Lifeboat, 2014 C-print 20 x 24 inches Edition of 5
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

Joshua Tree, Mojave Desert, California - American landscape color photography
Located in Cambridge, GB
Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...
Category

2010s Contemporary C Print Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

Train
By Poby
Located in Austin, TX
Artist: Poby Title: Train Year: 2017/2018 Dimensions: 48"x60" Medium: C print, gallery quality, archival Framed behind acrylic glass with gallery mount Edition of 5 Signed by the A...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Grand Canyon
By Poby
Located in Austin, TX
Artist: Poby Title: Grand Canyon Year: 2017/2018 Dimensions: 48"x60" Medium: C print, gallery quality, archival Framed behind acrylic glass with gallery ...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Joshua Tree, Mojave Desert, California (M)- American landscape color photography
Located in Cambridge, GB
Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...
Category

2010s Contemporary C Print Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

Skiers at Verbier (Slim Aarons Estate Edition)
Located in New York, NY
Skiers at Verbier, 1964 Archival pigment print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Skiers relax in deckchairs on th...
Category

1960s Modern C Print Landscape Photography

Materials

C Print

Carpe diem
Located in Morongo Valley, CA
Carpe diem, 2017, Edition 4/7, 2 APs 24x30cm Digital C-print, based on a Polaroid, Not mounted. Signed on the back and with certificate. Artist inventory PL2017-154 Kirsten Thys ...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print, Color, Polaroid

20x30" Rhapsody in Blue, New York City, back mounted
Located in Los Angeles, CA
The gallery has the most extensive art photography of New York City, due to our abiding love for the city. We present the work of differen...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

QUIET – Jung Lee, Neon, Light, Landscape, Nature, Sculpture, Night, Colour, Art
Located in Zurich, CH
Jung LEE (*1972, South Korea) QUIET, 2017 C-Type Print, Diasec 148 x 185 cm (58 1/4 x 72 7/8 in.) Edition of 5, plus 2 AP Print only – Biography Jung Lee is a Korean artist born i...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Why?#3, From the Series 'Aporia' – Jung Lee, Neon, Light, Landscape, Nature, Art
Located in Zurich, CH
Jung LEE (*1972, South Korea) Why?#3, 2016 C-Type Print, Diasec Sheet 144 x 180 cm (56 3/4 x 70 7/8 in.) Frame 147,5 x 183,7 x 3,7 cm (58 1/8 x 72 3/8 x 1 1/2 in.) Edition of 5, plus...
Category

2010s C Print Landscape Photography

Materials

C Print

You Stole My Heart Away, From the Series 'Aporia' – Jung Lee, Neon, Light, Love
Located in Zurich, CH
Jung LEE (*1972, South Korea) You Stole My Heart Away, 2017 C-Type Print, Diasec 160 x 200 cm (63 x 78 3/4 in.) Edition of 5, plus 2 AP – Biography Jung Lee is a Korean artist bor...
Category

2010s C Print Landscape Photography

Materials

C Print

I Still Remember, From the Series 'Aporia' – Jung Lee, Neon, Light, Nature, Art
Located in Zurich, CH
Jung LEE (*1972, South Korea) I Still Remember, 2010 C-Type Print, Diasec 136 x 170 cm (53 1/2 x 66 7/8 in.) Edition of 5, plus 2 AP – Biography Jung Lee is a Korean artist born i...
Category

2010s C Print Landscape Photography

Materials

C Print

Harbour Isle Beach
Located in New York, NY
Harbour Isle Beach, 1973, Printed Later Chromogenic lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity f...
Category

1970s American Modern C Print Landscape Photography

Materials

C Print

Slim Aarons Estate Print - Satin Seduction 1955 - Oversize
Located in London, GB
Slim Aarons Estate Print - Satin Seduction - Oversize Film star Diana Dors (Diana Fluck) (1931 – 1984) in blonde bombshell pose on a satin covered bed. (...
Category

1950s Modern C Print Landscape Photography

Materials

C Print, Color

16x24" Rhapsody in Blue, New York City, New York landscapes
Located in Los Angeles, CA
Our gallery has the most extensive art photography of New York City, due to our abiding love for the city. We present the work of different photographers, some of whom are emerging talents who have had their work published in noted magazines in Europe or the USA, others, who are recognized for their work in international photography competitions. This series is EXCLUSIVE to gallery. Can be paired or placed in a series of New York art photography in the series. Inquire for complimentary consulting and digital rendering. ABOUT THIS PIECE: This is drawn from archive of an award winning photographer. Photo is taken using tungsten color set up. taken over a quiet weekend early dawn, exuding a rare relative calm of the city. The work is a C print -sold print...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

Water Mirror 15, WM-283 – Risaku Suzuki, Nature, Water Lily, Reflection, Pond
Located in Zurich, CH
RISAKU SUZUKI (*1963, Japan) Water Mirror 15,WM-283 2015 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 4/5 Framed ‘Water Mirror’is a condensation of a...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

'Night Rider' Rainer W. Schlegelmilch Archive Limited Edition
Located in London, GB
'Night Rider' Rainer W. Schlegelmilch Archive Limited Edition Fantastic, fabulous and fantastical, many of the top car manufacturers like Ferrari, Porsche, Lamborghini etc launched concept cars...
Category

1970s Modern C Print Landscape Photography

Materials

C Print

Last Splash - Polaroid, 21st Century, Contemporary, Color, Landscape
Located in Morongo Valley, CA
Last Splash - 2019 Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2019-816. K...
Category

2010s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

SAKURA 15, 4-82 – Risaku Suzuki, Nature, Tree, Cherry Blossom, Japanese, Sakura
Located in Zurich, CH
RISAKU SUZUKI (*1963, Japan) SAKURA 15,4-82 2015 Chromogenic print Sheet 75 x 60 cm (29 1/2 x 23 5/8 in.) Edition of 5; Ed. no. 3/10 Framed The Sakura (Japanese term for ‘cherry blo...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

Kaufmann House, Palm Springs
Located in New York, NY
Kaufmann House, Palm Springs Architect: Richard Neutra Kodak digital color print Print size: 20" x 24" (50.80 x 60.96) Image size: 15" x 20" (39.10 x ...
Category

1940s American Modern C Print Landscape Photography

Materials

C Print

'Night Rider' Rainer W. Schlegelmilch Archive Limited Edition
Located in London, GB
'Night Rider' Rainer W. Schlegelmilch Archive Limited Edition Fantastic, fabulous and fantastical, many of the top car manufacturers like Ferrari, Porsche, Lamborghini etc launched concept cars...
Category

1970s Modern C Print Landscape Photography

Materials

C Print

Slim Aarons - Estate Edition - Mustique Tranquility
Located in London, GB
Slim Aarons - Mustique Tranquility - Estate Stamped Edition Limited to 150 only Meg O’Neill, a writer for Town and Country magazine, relaxing by the infinity pool at Colin Tennant’s home on the West Indies island of Mustique, February 1989 (Photo by Slim Aarons). This photograph epitomises the travel style and glamour of the period's wealthy and famous, beautifully documented by Aarons. In his words, he loved to photograph 'attractive people in attractive places, doing attractive things'. A beautiful and classic Slim Aarons C-Type photograph (unframed). Limited edition to 150 only numbered and stamped by The Slim Aarons Estate on verso. Supplied with certificate of authenticity. Gorgeous print measuring 40 x 60" inches / ca 101.6 x 152.4cm’s paper size. Stamped by the Estate on right and numbered in ink on left - limited edition to 150 only. Produced utilising the original transparency held at archive source. FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. We ship regularly using Fedex Express services and shipping to all international locations. Keywords 1980s 80s late 80s swimming poll infinity pool sunset drinks in the swimming pool relaxing by the pool exclusive home in the Caribbean West Indies Colin Tennant's house Colin Christopher Paget Tennant, 3rd Baron Glenconner a British aristocrat He was the son of Christopher Grey...
Category

1980s Modern C Print Landscape Photography

Materials

C Print, Color

A855 Road Car Headlights – Albert Watson, Blue, Nature, Road, Photography, Night
Located in Zurich, CH
ALBERT WATSON (*1942, Scotland) A855 Road Car Headlights 2013 C-print Sheet 243 x 183 cm (95 5/8 x 72 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 unframed...
Category

2010s Contemporary C Print Landscape Photography

Materials

C Print

"Mind the Gap" Subway Reefing Photograph
Located in New York, NY
40"x60" c-print photograph, limited edition of 5 (unframed). This photograph depicts a New York City Subway Train Car as it is lifted onto a barge as it makes its way to a drop site ...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

C Print

Slipoubliette New River Geothermal Landscape
Located in New York, NY
SLIPOUBLIETTE NEW RIVER GEOTHERMAL, 2009 digital chromogenic print , aluminum back mount, acrylic face mount 50 x 30 inches / 1270 x 762 mm edition of 3 plus...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

Six Flags Park, St. Bernard Parish, Louisiana
Located in New York, NY
Digital C-print Signed and numbered, verso 16 x 20 inches (Edition of 15) 24 x 30 inches (Edition of 10) 30 x 37.5 inches (Edition of 5) This photograph is offered by ClampArt, l...
Category

Early 2000s Contemporary C Print Landscape Photography

Materials

C Print

12x18" New York Photo - Rhapsody in Blue, unframed
Located in Los Angeles, CA
The gallery has the most extensive New York City landscape art photography, due to our abiding love for the city. We present the work of different photographers, some of whom are eme...
Category

21st Century and Contemporary Contemporary C Print Landscape Photography

Materials

C Print

Road trip Romance - 21st Century, Polaroid, Landscape Photography, Contemporary
Located in Morongo Valley, CA
Road trip Romance, 2017, Edition 2/7, 2 APs Based on an original Impossible film Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-146 K...
Category

2010s Contemporary C Print Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

C Print landscape photography for sale on 1stDibs.

Find a wide variety of authentic C Print landscape photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, green, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Stefanie Schneider, Massimo Listri, Kirsten Thys van den Audenaerde, and Richard Heeps. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large C Print landscape photography, so small editions measuring 0.4 inches across are also available

Recently Viewed

View All