Flower Landscape Photography

Saint-Tropez Garden 1977 (printed later) C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. An elegant woman poses in a garde...

H-Allen Benowitz is a self-taught photographer, born and raised in Brooklyn, NY, and a graduate from the Interboro Institute of Business in Manhattan, migrated to Miami, FL in the 1960s, sharing time at his log home...

From the series Chasing Good Fortune

RISAKU SUZUKI (*1963, Japan) SAKURA 10,4-64 2021 Chromogenic print Sheet 120 x 150 cm (47 1/4 x 59 1/8 in.) Edition of 5; Ed. no. 1/5 Framed A Label signed by the artist is provided...

This listing is for an unframed print. Framing options are available. Virginie Drujon-Kippelen is a photographer whose work explores the visual representations of the natural world,...

Archival pigment print Signed and numbered, verso 12 x 12 inches (Edition of 10) 25 x 25 inches (Edition of 10) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Evžen Sobek...

Rebecca Swanson, Eye of the Iris III, Limited Edition Photograph, 25x25. It is has a Plexifacemount. This stunning image is filled purples and a touch of green, yellow and brown. ...

Shot at Trout Pond outside of Sag Harbor, for me this photo embodies the fresh promise of spring. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing option...

This work is framed (17x21") but can be sent unframed (9.5x14".) The additional editions and sizes are unframed. All photographs are signed. Free shipping on unframed prints. Edwar...

This listing is for an unframed print. Framing options are available. Virginie Drujon-Kippelen is a photographer whose work explores the visual representations of the natural world,...

Edition of 45 Signed, titled, negative date, print date, and numbered by Michael Kenna Sepia toned gelatin silver print, Image size: 8 x 7 1/2 Michael Kenna's black and white photog...

This unique object features a wet plate collodion print framed in a handmade wooden frame lined with gold leaf. Frame measures 12 by 9 inches. Cecilia Montalvo & Charlie McCullers are a collaborative team. Characterized by the dynamic nature of the land-sea interaction, barrier islands are places with many shape narratives, and inversions. A barrier island is ephemeral, an instance of simultaneity, above and below what we call the surface. Mangroves straddle these mirror worlds, walking on water, making something out of nothing. Light rushes through every keyhole and seam in palm forest...

"These flowers are among a few variety that bloomed in a perfect sequential order so they lasted through most of the 2 months that I stayed that this Taos, NM airbnb. Something about...

"Synchronicity (part 3)" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2021 ABOUT Rob Woodcox Rob Woo...

This photography is part of a series of zen like beauty of Flowers art photography. In 3 sizes. This piece: Print size: 30 x 37.5 in. Image dimensions are 22 x 30 in. Matted in 8 ply museum archival matt. Ed of 15, signed, editioned on a Certificate of Authenticity by by photographer. About this series: With great patience and respect, the photographer observes the life cycle of the flower, viewing the subject much like a portrait photographer views a person, choosing the particular instance which in his view represents the essence of the flower. We feel the piece evokes a certain poetic, quiet, Zen beauty. The photographer was a London Central Saint Martins graduate and lived in a short spell in a monastery in Japan, and now primarily lives in Japan. ----- The artist was born in the UK in 1971, and after leaving Central Saint Martin’s in London in 1992, determined to explore a deeper sense of meaning, and contemplate life, he journeyed to Japan where he lived in a Zen Buddhist monastery and lived and studied in a temple in the mountains of Yamanashi for months, during which he studied Zen Buddhism and joined the monks in their daily prayers and routines. Over time, the subject matter for this series is borne out of a respect of the inner life of living things, Nature, in this instance and a sense of “mono no aware” (the art of impermanence). His artist vision has drawn influences from his Western artistic culture, Japanese classical aesthetics, and the 1933 classical text, “In Praise of Shadows” by Japanese literary titan, Junichiro Tanizaki (1886–1965). Tanizaki, as translated by scholars, examines the singular standards of Japanese aesthetics and their stark contrast with the value systems of the industrialized West. He writes: “We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates… Were it not for shadows, there would be no beauty.” “Shadows” presumably refers to the subtle interplay between light and darkness, not a stark dualism between black and white. Hence, the quiet beauty expressed in shadows of light and darkness as a living flower moves through the passage of life. The art of impermanence refers to a “pathos” (aware) of “things” (mono), deriving from their transience. The flower is a perfect metaphor for the expression of impermanence and beauty. Each flower has its own distinctive character and temperament, and is in constant dynamic motion. Through the passage of its life, it blossoms to its greatest peak, turning always towards the light until they eventually give up their petals. The artist documents this process through hundreds of images over time, essentially capturing the essence of the life of the subject. Both the visual aesthetic and process of his art calls to mind the transcient nature of things and reminds us to rejoice what we do have. In his gold series - Gold, in turn associated with the sacred, the divine, with supernatural powers and even immortality, has been recognized since ancient times in all the great civilizations as a noble material. Gold leaves have been used to decorate shrines, temples, statues, armor, jewelry since ancient times. At different times of the day, the light reflects off the gold differently as the day progresses, providing a visual context in which the celebration of life was captured. The artist has been recognized for his work for example, with a merit award at the Art Directors Club 87th Annual Awards N.Y. (2008). His work has been in group exhibitions as a runner up at the National Portrait Gallery in London as part of the Taylor Wessing London – Elle Commendation Portrait Awards, and at the Kiyosato Photo Art Museum in 1999. A successful photographer, the artist’s commercial clients include Adidas, Estee Lauder, Hugo Boss and shot celebrities for magazines / editorials featuring Sam Smith, Jeremy Renner, Gwyneth Paltrow, David Fincher, Zhang Ziyi...

This abstract floral landscape photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century...

Viscountess Harriet de Rosiere at Mougins, near Cannes in France, 1957. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocra...

20" x 16" on a 24" x 20" paper Edition of 30 40" x 32" on a 48" x 40" paper Edition of 5 Signed and editioned in pencil on recto. Titled and dated in pencil on verso Framed.

Each photograph is hand printed on Canson Baryta Paper and is signed and editioned by the artist. Framing options are available. Sarah Hadley's narrative work focuses on memory, place and the subconscious. She received degrees from Georgetown University and the Corcoran College of Art. Sarah Hadley was named one of the “jeunes talents” by Le Monde in 2014. She has had solo exhibitions at the Griffin Museum of Photography, the Loyola Museum of Art, Richard Levy Gallery...

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

17" x 22" edition of 7 + 2 AP $1,400 unframed 24" x 36" edition of 7 + 2 AP $2,800 unframed Combining the documentary style of my previous climate project, The Witness Tree, with my earlier narrative fictional approach, I photograph paper cutouts (from appropriated online images) of climate-threatened birds. I place the cutouts within the birds’ current habitats so that they look real, but upon inspection, reveal themselves to be photos within photos—the gaze within the gaze upon nature—as actual birds recede into marginal zones of survival. The images are meant to disrupt the casual gaze, disarming the expectations of nature photography, leaving viewers disturbed and curious. Divergence of Birds (2017-current) A large-scale, long-term, multimedia conceptual project about the threat of species extinction on birds in North America . My current climate project, Divergence of Birds, takes inspiration from two texts: The Audubon Society’s “Birds and Climate Change Report” which projects that, by 2080, climate change will affect the range of habitat of over half of North American birds; and Phillip K. Dick’s 1968 novel, “Do Androids Dream of Electric Sheep?” where electric versions of once-commonplace animals are so realistic that they fool even veterinarians. Divergence of Birds addresses the prospect that, one day, only simulacra of climate-impacted animals will be left. Combining the documentary style of my previous climate project, The Witness Tree, with my earlier narrative fictional approach, I’m photographing paper cutouts (from appropriated online photos) of the nearly 400 climate-threatened birds. I place the cutouts within the birds’ current habitats so that they look real, but upon inspection, reveal themselves to be photos within photos—the gaze within the gaze upon nature—as actual birds recede into marginal zones of survival. The images disrupt the casual gaze, disarming expectations of nature photography leaving viewers disturbed and questioning. Audiences will then be invited, through interactive workshops, to participate in climate activism. The full project when completed will include over 400 photos representing the climate-threatened birds, video, soundscape, "memento mori" images in vintage photo cases...

Harriet Gans, photographer who showed her work in New York galleries and museums A native of Manhattan, Ms. Gans was a graduate of the University of California, Berkeley, and held a master's in psychology from Columbia University. She was a professor of photography at Pace University. She had solo exhibitions at the Julie Saul and Pindar Galleries in New York. She contributed studies of flowers to the In Bloom Traveling Exhibit at the Museum of Modern Art in 1990. an exhibition, "In Celebration of Harriet Gans: Artists of the MacDowell Colony," consisting of 56 works by 16 painters and print makers In photography, she explored nature, mythology and spirituality, producing work that was shown in solo and group exhibitions; the Museum of Modern Art included her flower studies in its 1990 traveling show, "In Bloom." Ms. Gans also contributed to The New York Times and other publications, and taught in the art department of Pace University The photographer's later work was divided into three phases, each of which is represented in the Krasdale show. These include luminous arrangements of seed pods photographed against a black background, vivid abstractions of flowers in various stages of bloom and decay and the haunting "Longing" series, in which eternal mysteries are poignantly captured. The curators have underscored the themes in Ms. Gans's life and work with paintings and graphics by artists like Benny Andrews, Heidi Fasnacht, Clare Romano...

Claire Clarkson's "Vase of Flowers Orange" After Jan Davidsz. de Heem is from a series of photographs exploring the replication of the cyanotype photograph...

Claire Clarkson's "Vase of Flowers Red" After Jan Davidsz. de Heem is from a series of photographs exploring the replication of the cyanotype photographic ...

Au fond un des innombrables lacs du Connemara. Au premier plan un cimetière d'où jaillit un bouquet de glaieuls Photographie prise par Bellec lors d'un séjour au lac du Connemara, I...

Each photograph is hand printed on Canson Baryta Paper and is signed and editioned by the artist. Framing options are available. Sarah Hadley's narrative work focuses on memory, p...

RISAKU SUZUKI (*1963, Japan) Water Mirror 16, WM-628 2016 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 2/5 Framed ‘Water Mir...

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...

RISAKU SUZUKI (*1963, Japan) SAKURA 13,4-152 2013 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 3/5 Framed The Sakura (Japanese term for ‘cherry bloss...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

Hand Printed Platinum Photograph Australian Artist Beautiful Blacks and Creamy Whites

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

RISAKU SUZUKI (*1963, Japan) Water Mirror 17, WM-707 2017 Chromogenic print Sheet 120 x 150 cm (47 1/5 × 59 1/10 in.) Frame 124 x 154 x 5 cm (48 7/8 x 60 5/8 x 2 in.) Edition of 5; E...

RISAKU SUZUKI (*1963, Japan) Water Mirror 17, WM-788, 787 (diptych) 2017 Chromogenic print (2x) Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 2/5 Framed ‘Water Mirror’i...

RISAKU SUZUKI (*1963, Japan) SAKURA 21, 4-570 2021 Chromogenic print Sheet 120 x 150 cm (47 1/4 x 59 1/8 in.) Edition of 5; Ed. no. 4/5 Framed A Label signed by the artist is provid...

RISAKU SUZUKI (*1963, Japan) SAKURA 07, 4-1, 2007 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Frame 122.8 x 157.7 x 5 cm (48 3/8 x 62 1/8 x 2 in.) Edition of 5 (#2/5) Fram...

RISAKU SUZUKI (*1963, Japan) SAKURA 16, 4-75, 2016 Chromogenic print Sheet 81.3 x 101.6 cm (32 x 40 in.) Edition of 7 (#1/7) Print only The Sakura (Japanese term for ‘cherry blossoms’) Celebration commences in early spring and has inspired artists since the reign of the Emperor Saga in 8th century Japan. The impressive blooming of the trees after winter symbolizes hope and strength, but as the petals fall, one is reminded of the fragility of beauty and life itself. Risaku Suzuki’s painterly photographs...

signed on reverse, this diptych is two separate prints that go together, each image size 18"x27". Printed on archival matte paper. These are sold as a pair for $1600, and are avail...

'5.4.15_3:50:51' 2017 by New York, contemporary camera artist Susan Wides. Dye sublimation aluminum, Ed. of 5 60 x 40 in. / Frame: 60.75 x 41...

RISAKU SUZUKI (*1963, Japan) SAKURA 15,4-46 2015 Chromogenic print Sheet 75 x 60 cm (29 1/2 x 23 5/8 in.) Edition of 5; Ed. no. 4/10 Framed The Sakura (Japanese term for ‘cherry blo...

RISAKU SUZUKI (*1963, Japan) SAKURA 10,4-64 2002 Chromogenic print Sheet 120 x 150 cm (47 1/4 x 60 in.) Edition of 5; Ed. no. 1/5 Framed ‘Water Mirror’is a condensation of all that ...

RISAKU SUZUKI (*1963, Japan) SAKURA 10,4-72 2010 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry blosso...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-200 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry bl...

Photograph "In Monet's Garden" by Holly Gordon. The artwork showcases the enduring fascination and artistic exploration of the enchanting world of plants, flowers and nature, a passi...

H-Allen Benowitz is a self-taught photographer, born and raised in Brooklyn, NY, and a graduate from the Interboro Institute of Business in Manhattan, migrated to Miami, FL in the 19...

Rebecca Swanson, In the Tropics II, Limited Edition Photograph, 25x25. It is framed with a Plexifacemount. This stunning image is filled purples and a vibrant green color. This is...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-188 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry bl...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-160 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry bl...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-168 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry bl...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-161 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry bl...

This listing is for an unframed print. Framing options are available. Virginie Drujon-Kippelen is a photographer whose work explores the visual representations of the natural world,...

Cherry Blossoms in Central Park with a lone figure in a blue shirt set against the iconic pre-war architecture of Central Park West. Signed and dated on lower right, numbered on v...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

In this Mitchell Funk photograph, The Central Park Conservancy of Flowers is bursting into bloom with the seductive color of yellow tulips and red tulips. In the upper left-hand cor...

Hungary - Manipulated photography. As the country where Wei Xiang has lived for more than 30 years, Hungary has become a continuous source of inspiration for the artist. Evocative la...

This unique object features a wet plate collodion print framed in a handmade wooden frame lined with gold leaf. 12 by 9 inches framed. Cecilia Montalvo & Charlie McCullers are a collaborative team. Characterized by the dynamic nature of the land-sea interaction, barrier islands are places with many shape narratives, and inversions. A barrier island is ephemeral, an instance of simultaneity, above and below what we call the surface. Mangroves straddle these mirror worlds, walking on water, making something out of nothing. Light rushes through every keyhole and seam in palm forest...

Rebecca Swanson, Flower Child II, Limited Edition Photograph, 15x15. It is available with a plexifacemount frame or white frame (allow 3-4 weeks). This stunning image is filled fushia and a vibrant yellow color. This is an edition of 15. Also available in 30x30. Rebecca Swanson’s work is inspired from her childhood in Ohio, growing up with her mother, an avid gardener, and her grandmother, an accomplished china painter. Her work is cultivated by the natural world, with its universal fragility and beauty we share with all plants and flowers. She “paints” with her camera, blending the abstract forms of nature with subtle colors to build intimate portraits of perfect, individual blooms. Her utopia is New York City with its parks, waterfronts, and botanical gardens. Rebecca studied drawing, painting, photography, and sculpture at the Cleveland Institute of Art and moved to New York to work as a textile designer. Rebecca has been exhibiting since 1995 in renown locations including the New York City Leica Gallery. Her photographs can be found in corporate collections including Banana Republic, St. Regis, Marriott and Omni hotels and in hospitals throughout the country. She has photographed gardens for Bette Midler’s New York Restoration Project. Private collectors include Ina Garten...