Men Landscape Photography

'Guy with Beatbox' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Mich...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to orde...

This mid-1970s landscape photograph, captured by society photographer Slim Aarons, features friends boarding a riva boat in Monte Carlo, Monaco, This is an estate stamped and hand n...

'Hotel Du Cap-Eden-Roc' by Slim Aarons ESTATE EDITION - numbered and emboss stamped on front. (edition size 150 only) Waterskiing from the Hotel Du Cap-Eden-Roc in Cap d'Antibes, ...

Male Nude (29 Palms,CA) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #293 Not mounted. Stefanie S...

NASA Apollo 11, Buzz Aldrin's Boot - Foot Print, 1969 is a vintage color photo on Kodak paper. This is an 8" x 8" vintage C-print with the "A Kodak Paper" watermark on verso (photo b...

Dinner Jazz American Jazz trumpeter and singer Louis Armstrong (1898 – 1971) enjoys a plate of spaghetti in Rome. Paper size 16 x 16" inches / 40 x 40 c...

Taken from the world’s largest photographic archive, (Hulton Archive and Getty Images), the Getty Images Gallery collection features an extraordinary time capsule of the last century...

This midcentury landscape photograph, captured by society photographer Slim Aarons, features the apres-ski in Zermatt, Switzerland, March 1968. In this scene of casual winter glamo...

Handball In Central Park (1948) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) A group of young men playing handball at a court in the 95th Street playground, Central ...

Crushing - 2017, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2017-792. Not mount...

This early 1960s landscape photograph, captured by society photographer Slim Aarons, features the town centre at the ski resort of Gstaad, Switzerland. This is an estate stamped and...

'Woman with ice Cream' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, '...

Almost Paradise (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 894. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

'The Carlton Hotel' 1955 (Slim Aarons Estate Edition) A Cadillac with Florida plates parked outside the Carlton Hotel, Cannes, France, circa 1955. Another gorgeous and typically 'S...

A poolside party at a desert house, designed by Richard Neutra for Edgar J. Kaufmann, in Palm Springs, January 1970. Featured in the group are: industrial designer Raymond Loewy (189...

The fire service in Lyford Cay, on New Providence Island in the Bahamas, April 1966 Slim Aarons Lyford Cay Fire Service Slim Aarons Estate Edit...

Actor George Hamilton (in blue) takes off in a speedboat with friends Ruth Luthi, Sabine Korte and Mike Belami, during a stay in St Tropez. September 1968. The High Life 1968 C prin...

'Guy with Beatbox' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Mich...

'Nice Pool' 1955. American writer C.Z. Guest (Mrs. F.C. Winston Guest, 1920 – 2003) and her son Alexander Michael Douglas Dudley Guest in front of their Grecian temple pool on the o...

'Kids under Water Hydrant' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibitio...

Hotel du Cap Eden-Roc 1976 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. 40 x 30" inches / 101 x 76 cm paper size. Photo by Slim Aarons Archival ...

This black-and-white photograph, taken in 1952 in Paris along the Seine River, captures a tranquil and picturesque moment. In the foreground, a man wearing a light-colored straw hat ...

Met him in a motel room - 2020 20x20cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, Based on an original Polaroid. Signed on the back and with certificate. Artist invento...

Theatre (1960) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) A theater audience view from the stage conductor in the orchestra pit, circa 1960s. A...

Michael Kenna is master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential among ...

Eden-Roc Pool 1976 Slim Aarons Limited Estate Edition Guests round the swimming pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. 72" x 48" paper size Photo by Sli...

The photograph shot in England, Picnic with Birds, 2001 by Leonard Freed is a 5" x 7" gelatin silver photograph, stamped “vintage” by the Freed estate on ...

'Untitled' (Oilfields) 2004, 60x60cm, Edition 4/10, Analog C-Print, based on a Polaroid Certificate and Signature label, artist Inventory No. 1220.04 Not mounted. OILFIELDS, 2004...

An atmospheric and magical photo by master of the lens, photographic and cinematic, that captures a tranquil corner of Hyde Park. As Suschitzky himself said ...

Street Mechanic on Rivington Street, 1990 From a 6cm x 9cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Pr...

Italian GP Richie Ginther waits beside his Honda RA273 as mechanics work on the engine. Image details Championship: Formula 1 1966 (Formula 1, 1966) Event: Italian GP Date taken: Sunday, September 04, 1966 Location: Autodromo Nazionale Monza, Italy Photographer: Rainer Schlegelmilch Rainer W. Schlegelmilch the German born widely regarded "Master of Motorsports Photography" delighted in this series of works Glamour, kitsch, sex and fast cars - this extraordinary body of work encapsulates the excitement of this era. Limited edition to 150 only - Archive stamped and numbered - with certificate of authenticity Oversize 24 x 24" inches / 61 x 61 cm paper size C type print unframed. Beautiful. About Richie Ginther & Honda BRM and Honda In 1962, Ginther switched to the British-based BRM team to race alongside Graham Hill. The highlight of his time at BRM was finishing equal-second (with Hill) in the 1963 World Championship. Ginther scored more points than his British teammate over the whole season, but only a driver's six best scores were counted towards the championship. His reputation as a solid "team player" and excellent test and development driver earned him an invitation to join the works Honda F1 team for 1965, for whom he scored his one and only GP win, at the 1965 Mexican Grand Prix. The win was also Honda's first in Formula 1. Ginther averaged 151.7 kilometres per hour (94.3 mph) over the curving 5 kilometres (3.1 mi) track in the 65 lap Mexico City event. His speed eclipsed the previous course record of 150.185 km/h (93.321 mph) established by Dan Gurney in 1964. It was the first time Honda had entered the Mexican Grand Prix.[22] Honda reentered international competition in the 1966 Italian Grand Prix. The team was three years old and had encountered difficulty in the preparation of a larger engine. Ginther led in Italy before his car crashed into a retaining wall and he broke his collarbone.[23] He signed with the Eagle F1 team in 1967 and raced in the Race of Champions. At Monaco after practice, his place on the grid was given to an F2 car weighted to bring it up to minimum F1 specifications, and Ginther left F1 in disgust. Ginther won one race, achieved 14 podiums, and scored a total of 107 championship points. He appeared in an uncredited role in the 1966 film Grand Prix as John Hogarth, a driver in the Japanese funded "Yamura" team. He also acted as one of the technical racing advisors for the movie. While making an attempt to qualify for the 1967 Indy 500, Ginther broke a fuel line in his American Eagle Indy Car...

The Prince (The Princess and her Lover), 2007, part of the 29 Palms, CA project, Edition of of 10, 20x20cm, digital C-Print based on a Polaroid, Signature label and Certificate, a...

This black-and-white photograph, taken in 1952 in Paris along the Seine River, captures a tranquil and picturesque moment. In the foreground, a man wearing a light-colored straw hat ...

"How the West Was Won" Texas, USA 2020 Available Sizes (Framed Size) Large: 71” x 91” Edition of 12 Standard: 52” x 65” Edition of 12 This work is sourced directly from the artist. Framed Digital Pigment Print on Archival 315gsm Hahnemuhle Photo Rag Baryta Paper Hand-signed in lower right by artist. This photo comes with a with Certificate of Authenticity About David Yarrow David Yarrow was born in Glasgow, Scotland in 1966. He took up photography at an early age and as a 20-year-old found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, David took the famous picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other sporting events. Many years later David established himself as a fine art photographer by documenting the natural world from new perspectives and the last nine years have been career-defining. David’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever-growing following amongst art collectors. His large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. He is now recognised as one of the best-selling fine art...

Friends board a riva boat in Monte Carlo, Monaco, 1975. Gorgeous print measuring 30 x 40" inches / ca 76.2 x 101.6 cm’s paper size. Estate Stamped Collection Edition to 150 Phot...

New York, New York, 1981 by American photographer Leonard Freed. This is a 16" x 12" signed verso (on back), gelatin silver, also stamped verso, vintage print. The photograph captures men in suits...

Thames Divers (1934) - Silver Gelatin Fibre Print (Photo by H F Davis/Getty Images Archive) Two divers jumping off the Embankment into the River Thames in London, near Westminster...

Christine's '52 Henry J & Teardrop Caravan, photograph by Richard Heeps, captured in the iconic home of speed, Bonneville Salt Flats. Just as the mountains contrast with the flatness...

American stage actress, author, columnist, horsewoman, fashion designer, and socialite, C. Z. Guest, ( aka Mrs. Winston F. C. Guest, 1920 - 2003) with her personalized Ford Model T t...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

Slim Aarons Estate Limited Edition C print 40 x 30 inches / 101 x 76 cm unframed. ' Poolside Party ' 1970 A poolside party at a desert house, designed by Richard Neutra for Edgar...

"Peak of the Moment 1" Photography 31.5" x 24" inch Edition of 5 by Lukas Dvorak Pigment print on Epson Fine ART paper 2023 Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak i...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Swiss Alps, 1964: This landscape photograph, captured by society photographer Slim Aarons, features holiday-makers taking in the sunset on a white snowy mountain top in Verbier, Swit...

American film star Kirk Douglas water-skiing in the sunshine at the Eden Roc annex to the Hotel du Cap d'Antibes on the French Riviera, August 1969. Aa...

Listing includes framing with UV plexiglas (a $1,500 value) and a 14-day return policy. Shipping charged at a discounted rate worldwide via white glove delivery service. Please inquire if you would like to purchase an unframed print for a reduced rate. Available for local pick up at our Los Angeles gallery. Jim Krantz Epic Western III, 2019 40 x 68 inch chromogenic print Edition 3 of 5 Signed on signature label. Artist Biography - Krantz occupies a unique place in the history of contemporary art for his imagery blending western landscape photography with the figure of the cowboy as depicted and romanticized in American popular culture. The technical underpinning of his work was established when he studied with Ansel Adams and Paul Caponigro, but perhaps more importantly, Krantz’s work reflects a dictum that he learned from Adams: “Technical proficiency leads to artistic freedom.” His range and versatility are his forte, working with ease in demanding and ever-changing conditions. If Krantz’s work looks familiar, it is not surprising. Krantz, had been documenting the cinematic vistas of the American West for 20 years on commercial assignments and these much published images caught the eye of appropriation artist, Richard Prince, known for re-photographing advertisements and presenting the resulting images in a new “conceptual” context. Prince’s most famous series is his large scale reproductions of the cowboy images...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Legendary photographer Slim Aarons relaxes in a self portrait shot in Athens, near the Acropolis. Slim Aarons said, "I love a solo holiday. It tends to refresh the part of oneself that is most depleted by modern life — patience. "Let me dispel a few myths. You will be lonely. No: you won’t. My solo travels in Paris have brought many perfect hours of being alone but not a moment of loneliness. People who depend on other people are often in hiding from themselves. Two and a quarter million people live in the City of Light: you will see many of them and you will pass them in the street, but when you see Notre Dame after dark and walk home and perhaps stop to have a drink in the Marais, you can feel that the only thing that is missing from your experience is the common dependency on someone to distract your attention. "I’ve had solo pints of Guinness in the pubs of County Kerry and County Cork. I’ve walked across the sage- and juniper-scented maquis of Corsica on a spring day, where you can still find the world of Napoleon’s childhood. More than once I went to the Isle of Iona in the Scottish Hebrides...

Silver Gelatine Print by Erich Andres, ca 1950. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

Elciego, 2015 [From the series Been there, done that] 90x46cm, Edition of 5. Compilation based on two peeled Polaroids. Digital archival pigment print on beautiful PHOTO RAG ® ULTR...

'Nice Pool' 1955. American writer C.Z. Guest (Mrs F.C. Winston Guest, 1920 – 2003) and her son Alexander Michael Douglas Dudley Guest in front of their Grecian temple pool on the oc...

Pentti Sammallahti is a benchmark figure in contemporary Finnish photography. His works depict nature eroded and broken down by civilization, but h...

Friends board a riva boat in Monte Carlo, Monaco, 1975. Very large print measuring 60 x 40" inches / ca 152 x 101.6 cm paper size. Estate Stamped...

This midcentury landscape photograph, captured by society photographer Slim Aarons, features a midcentury chalet with a view at the Sugarbush Mountain ski resort in Warren, Vermont i...

El Pulpo Mechanico (Black Rock City), - Burning Man - 2010 Edition of 10, 32x49cm, Archival Print on Velvet Watercolor, 310gsm, Bright White, Acid Free. Signature label and Certificate. Not mounted. Published in Tao Ruspoli's Monography 'Midway on our Life's Journey’, 2018 The Exaltation of Imagination Photographs and Musings in Defense of Burning Man by Tao Ruspoli The press around Burning Man had gotten so bad that I almost felt embarrassed to be going this year. Even Daniel Pinchbeck, famed psychonaut and burner par excellence, had written a thoughtful piece explaining why, after 15 consecutive years, he wasn’t going back this year: the festival had changed too much--the rich had taken over, it had gone from a relevant and fascinating social experiment to epitomizing the worst elements of capitalist excess. Besides, he seemed to be saying, the world is going through too many crises, both ecological and humanitarian, to justify the extravagance of an event like this. Two burners heading to Temple, one of the massive temporary structures in Black Rock City The burning of the Temple which happens every year the night after the man burns. Keith Spencer...

Spectators standing next to polo mallets and riding helmets during a polo match in Palm Beach, Florida, 1968. Slim Aarons Palm Beach Polo 1964 C-Print Estate signature stamped and ...