C Print Landscape Photography

San Bernadino (Drive to the Desert) - 1999 44x59cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signed on vers...

Stop (Drive to the Desert) - 1999 44x59cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signed on verso with Cer...

Hotel Chelsea, New York. Room 330, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 40 H x 60 W in. Edition of 6 + 2AP *Extra Large size available in Edition of 3 (by special order) These extraordinary photographs are part of the the Hotel Chelsea series. The Hotel Chelsea closed its doors for the first time in its iconic history of over one hundred years. American photographer Victoria Cohen...

Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, loca...

Strata VII is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 sizes: *76.2 cm × 15...

Slim Aarons Estate Stamped Edition Limited to 150 only A bather on the beach on Great Harbour Cay, Bahamas, March 1973. (Photo by Slim Aarons) This photograph epitomises the trav...

Walking Up Cortina D'Ampezzo Skiers walk up a mountain in Cortina D’Ampezzo, a ski resort in northern Italy, 1962. Photo by Slim Aarons Chromogenic print Paper size 40 x 40" inc...

Kaufmann Desert House The Kaufmann Desert House in Palm Springs, California, designed by Richard Neutra in 1946 for businessman Edgar J. Kaufmann and now owned by Nelda Linsk. Lita ...

Backyard Memories (Oxana's 30th Birthday) - 2007 part of the 29 Palms, CA project 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. ...

Marine Life (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certif...

Morgan Library II New York 70 x 87.5 inches ed. of 5 $11,000 signed and numbered on label, verso Paper is trimmed to the image: actual image size listed

'Speedboat Landing' (Slim Aarons Estate Edition) A Magnum motorboat belonging to Count Filippo Theodoli arrives at the private jetty of the Il Pellicano Hotel in Porto Ercole, Ital...

Slim Aarons - Los Leones' - Estate Stamped Edition Limited to 150 only Los Leones, the home of Catherine and Pero Feric at Pointe Milou on the northern co...

Home, Sweet 29 (Oxana's 30th Birthday) - 2010, from the 29 Palms, CA project - 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature lab...

Home Sweet Home (Oxana's 30th Birthday) - 2010, from the 29 Palms, CA project - 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature la...

'Verbier Vacation' by Slim Aarons Skiiers soak up the sun in Verbier, 1964. Typically 'Slim' this photograph epitomises elegant travel and the vintage style and glamour of the peri...

Palm Beach Stree Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. Photo by Slim Aarons Chromogenic print Paper size 40 x 40" inches / 101 x 101 cm Please ...

Neo-Classical Pool Mrs T. Dennie Boardman and her children Samuel Jay and Sarah climbing the steps from the pool at the home of Boardman’s parents in Palm Beach, Florida, 1985. Sli...

Ellen Brooks (born February 3, 1946) is an American photographer. She began her career on the West Coast, and is associated with the Los Angeles-based art community of the late 1960s and ‘70s. In 1982 she moved to New York, where her practice has since been based. Her work is known for its boundary-pushing forays into sculpture, and for her use of screens and image altering pro-filmic photographic processes. She has shown at the Museum of Modern Art (MOMA), the Whitney Museum of American Art, the Los Angeles Museum of Contemporary Art, and the Centre Pompidou, and has worked in the permanent collections of the MOMA, the Whitney, the National Museum of American Art, the Getty Museum, and others. Biography Ellen Brooks was born in Los Angeles, California. She received both her Bachelor’s degree and her Master’s degree in Fine Arts from the University of California, Los Angeles, in 1968 and 1971 respectively. Her early works dealt primarily with human figures, notably Beach Piece, an early work in which she employed the photographic medium to address issues of alienation versus bodily presence in space. The work, which featured larger-than-lifesize nude figures in various poses of recline, was installed on Venice Beach, from which the figures appeared to half-emerge from the sand. During her graduate studies she constructed a series of flats [Flats 1–5] which were shown at the Museum of Modern Art in the 1970 exhibition Photography Into Sculpture. The flats addressed similar issues of scale to Beach Piece from the opposite direction, incorporating the viewer’s vantage point from above to obfuscate the objects’ situation in space. Following her MFA she moved to San Francisco, where her use of the photograph continued a progression of investigations of scale and installation. Her next major work, Adolescent Piece, also used nude bodies. The work would subsequently be refabricated and reinstalled in several different forms at different scales over the next four decades, at University of Las Vegas, San Francisco Art Institute, and at the Los Angeles Institute of Contemporary Art. Its most recent iteration, at MOCA in 2011, employed the original process of 1976, using Xerox transfers from photographic contact sheets. This installation “constituted a ‘fourth generation’ of the photographs,” according to the artist. “The first generation was the negative; the second, the eight-by-10-inch contact sheet, the third, the machine copy of the contact sheet onto wax paper, and the fourth, the images glued onto the gallery walls.” The work garnered significant attention during several of its stagings, due to the relative unguardedness of its young, unclothed subjects, all between the ages of ten and fifteen. Tableaux In the late ‘70s and into the 1980s, Brooks worked on an extended series called Tableaux. Like the earlier flats, the Tableaux used the reduced scale of maquettes to stage film still-esque scenes of domestic interiors and dilemmas, often incorporating disarray or ambiguous circumstances within their three walls. Created using miniature...

An aerial view of Newport, Rhode Island, USA, 1965. Slim Aarons Newport, Rhode Island 1965 (printed later) C print Estate stamped and numbered edition 1 of 150 with Certificate of ...

Slim Aarons At Home With The Montegazzas 1983 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Giacomo Montegazza and Stefania M...

Snow Silence (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

Spring Fantasy - 2016, Edition 3/7. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-130. Not mounted. Kirsten Thys ...

Maria Passarotti graduated in 2000 with a BFA from the Cooper Union for the Advancement of Science and Art in New York. Her most recent photographs are inspired by the intersection o...

The Mountain (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

Purple Valley (Wastelands) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventory Number 6...

Beverly Hills Hotel (1957) Slim Aarons Limited Edition Estate Print Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957. (Photo by Slim Aarons) Slim...

'Klosters' 1963 Slim Aarons Limited Estate Edition Skiers pass by the Hotel Chesa Grischuna in Klosters, 1963. Produced from the original transpare...

Oleander (Life on Mars) - 2024 40x48m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22135....

Oleander (Life on Mars) - 2024 40x48m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22312....

Oleander (Life on Mars) - 2024 40x48m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22313....

Untitled (Fairytales) - 2006, 100x98cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Cert...

Untitled (Fairytales) - 2006, 48x59cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certi...

Untitled (Fairytales) - 2006, 49x48cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certi...

Slim Aarons 'Palm Beach Idyll' Estate Stamped Edition A couple sunbathe by the sea at Palm Beach Florida 1955 USA (Photo by Slim Aarons). This photograph epitomises the travel styl...

Desert Living (California Dreaming) - 2017 40x48m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Desert Living (California Dreaming) - 2017 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

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 Invento...

Biblioteca Ortopedica Bologna, Italy 2022 A view of the main table and globe of the main scientific library in the Istituto Ortopedico Rizzoli, named for Italian King Umberto I. The vista is framed between echoing frescoed arched ceilings, cases of scientific volumes, and geometric floor. These sixteenth-century rooms, where the books of the Olivetani Monks were kept, are located in the ancient complex of San Michele in Bosco. They were transformed into an orthopaedic hospital at the end of the nineteenth century. The library holds an important scientific collection...

9-11 Contact Sheet 2001 Signed and numbered, verso Chromogenic print 14 x 11 inches (Edition of 25) $2,500 20 x 16 inches (Edition of 15) $3,500 This ...

'Porto Ercole' Italy 1973 Slim Aarons Limited Estate Edition A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Produced fro...

Pool By The Sea Guests round the swimming pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1969. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate Editi...

Magic Hour (Musica Poetica) - 1999 Edition 3/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificat...

A Rainy Day (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. Art...

A Rainy Day (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. Art...

A Mirage (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist Inventory No. 695.03...

Fall (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inv...

Three Girls II (The Last Picture Show) - 2006, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

On the Way to Big Sur (The Last Picture Show) - 2000 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 969. ...

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Artist inventory...

Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) This photograph is offered by ClampArt, located in New York City. At first...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. 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...

Massimo Listri Teatro La Scala II - Milano, 2000 C-Print Edition of 5 The photographer is based in Florence, and is fascinated how his architectural subject matter allows him to con...

'Palm Beach Street' by Slim Aarons Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. How typically 'Slim style' this photograph is. Beautiful and iconic 1950's...

Boschereccia Palazzo Hercolani, Bologna, Italy 2022 50 x 62.5 inches ed. of 10 $6,000 60 x 75 inches ed. of 7 $9,000 70 x 87.5 inches ed. of 5 $11,000 signed and numbered on labe...

Hard Times (Bombay Beach, CA) - 2022 20x25cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with c...

Street Spirit (Bombay Beach, CA) - 2022 20x20cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist Inv...