Outdoors Landscape Photography

Edition of 3 1/3 The photograph comes with a certificate of authenticity and a letter of appraisal. Karim - 'Smooth evening' Photography on paper. framed. Karim is a very unique, ...

Limited Edition of 6 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glob...

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...

'Spring Flood' is a black and white landscape photograph taken near the Chattahoochee River. Additional sizes are available. This listing is for an unframed print, edition 2/10. Richard Skoonberg is inspired by the work of Eliot Porter...

The beauty of nature's rhythm is captured in this black and white landscape photograph of a forest of Aspen trees by American photographer and film maker, John Henry Johnson (America...

Conca dei Marini - Crystal Turquoise Water and Sandy Bay on Italian Amalfi Coast by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

"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...

Palm Springs Palm Trees (Californication) - 2023 20x20cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

Hand printed by the artist. Roman Loranc is no longer printing. Edition 2/40 Limited Edition Printed 2007 (vintage) Excellent condition Framed in walnut brown metal.

This black and white photograph, taken in 1962 at the Coral Pink Sand Dunes, located on the Utah-Arizona border, captures a moment of solitude and contemplation. The image features a...

Holidaymakers in sun loungers on the slopes at Verbier, Switzerland, February 1964. Size 72 x 48" inches / 183 x 122 cm Estate Stamped Collection Edition to 150 Photo by Slim ...

'Porto Ercole' Italy (Slim Aarons Estate Edition) A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Beautiful greens of th...

Miguel Winograd's work explores the relationship between people and their environment, narratives of social conflict, and the dense interconnections of the Colombian landscape. His w...

Tree by the Calm Sea Panorama Study 1, Portugal - no. 21300 Prints are made to order in limited editions on Hahnemuehle Photo Rag Baryta. Each print is stamped on the back and signed...

Cavallo Coast - View of Yachts in Turquoise Waters between Corsica and Sardinia by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

HIROSHI SUGIMOTO (*1948, Japan) 310 Sea of Japan, Oki 1987 Gelatin silver print Sheet 50.8 x 61 cm (20 x 24 in.) Edition of 25; Ed. no 15/25 For over 40 years, the Japanese artist...

Archival photo print under museum acrylic. Dimensions: 48 x 48 in. Depth: 1/4 in. Edition of 5 Signed and numbered by the artist. Montreal-based artist and photographer Paul-Émil...

The blurring of time and space captured in time-lapse photography while the photographer is in motion has resulted in a lined pale beach, cerulean water and a darker sapphire sky str...

DEJAVU Trailer, captured on a sunny spring day, on one of Richard Heeps' many visits, capturing the trailer in the fen landscape as it changes with the seasons. Taken in 2018 is was ...

"Galumlee Beach Tree Taean Chungcheongnamdo South Korea" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is ma...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

Cryo VIII is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 cm × 76.2 c...

Color fine art long exposure seascape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited...

This is an exclusive handprinted limited edition cyanotype. "Bright Sunrise Bay " is a handmade cyanotype print of Mediterranean shiny waves. Details: + Title: Bright Sunrise Bay +...

Silver and sepia tone photographic print of an indigenous spearfisher by Edward Sheriff Curtis, image circa 1901 (American, 1868-1952), as a 1974 copy of (and printed from negatives derived from) the original Edward Curtis copper gravure plate, by Jean-Antony du Lac (1929-2002). Curtis used a process he mastered of creating orotones, which are photographs on glass, which Jean-Anthony du Lac spent years mastering. Jean-Antony du Lac's work is considered that of a preservationist. Titled lower left, signed lower right. Presented in an aluminum frame with anti-glare glass. Paper size: 20"H x 15"W Born in France and raised in New York City, Jean-Anthony du Lac moved west to San Francisco in 1957. Jean was an accomplished photographer whose published credits include Life Magazine and the San Francisco Examiner. He spent many years reproducing Edward S. Curtis' images of North American Indians; and he mastered the process of creating orotones, which are photographic reproductions on glass. Jean's orotones appeared on the walls of the Smithsonian as well as the White House during the Carter and Reagan administrations. A preservationist, his reproduction of Edward Muybridge...

'Crash' 2022 Limited edition of 10. Printed on Hahnemuhle German Etching 80x100cm fine art paper. Photograph is carefully rolled in a cardboard tube and shipped with express del...

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 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...

Limited Edition of 6 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glob...

This silver gelatin print is signed in ink on the front of the mount beneath the image with title in pencil on the back of the mount. Likely printed in the early 1960s. From the co...

Framed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Marmo di Carrara...

Big Sur by Frank Schott 26 x 40 inches / 66cm x 102cm signed edition of 25 48 x 72 inches / 122cm x 183cm signed edition of 7 archival quality fine art pigment print limit...

The production of sea salt is one of the oldest forms of human intervention in natural spaces. Sea salt comes from natural evaporation of seawater out of artificial created ponds. Th...

'Frozen beach No.5' Neringa, Lithuania 2023 A photograph captured with a Polaroid camera that showcases the winter landscape of Lithuania in black and white. Printed on the fines...

This rare photograph #28, taken during The Central Park Gates Project in 2005 by Christo and Jeanne-Claude, was never released to the public as the couple were not satisfied with the image. Every initial photograph, numbered #25 to #30, had to be retaken by their primary photographer, Wolfgang Volz. This copy is from the unpublished edition, making it a unique and highly collectible piece. The project, which consisted of 7,503 gates along 23 miles of pathways, transformed the park into a vibrant, immersive art...

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

Hake's Drove, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to make this work. This project was born from an idea to produce a set of photographs...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 46 x 72 i...

'New York Skyline' by Stuart Möller The skyline of New York City, 2014. The magnificent skyline of the iconic city of New York. Beautiful mint condition SIGNED LIMITED Edition Ar...

"Hillside Fence Study 9 Teshikaga Hokkaido Japan" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted to...

Pentti Sammallahti Cilento, Italy 1999 Gelatin Silver print

Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited ed...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can ...

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

The Road by Frank Schott country road outside of town, from a series of impressions captured in and around the artist community of Marfa, Texas, longtime residence of minimalist art...

ABOUT THIS ARTIST: Niall Staines is a digital artist based in Ireland. His work is graphic, vibrant and visually arresting. Nature is a consistent theme in his work, often turning se...

Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle Photo Rag Baryta. Each print is stampe...

Black and White Fine Art cityscape - urban landscape photography. Najadenbrunnen towards the Columbary in the park of Schoenbrunn Palace, Vienna, Austria. Archival pigment ink print,...

Cortina D’Ampezzo (1962) Limited Estate Stamped (Photo by Slim Aarons) Skiers walk up a mountain in Cortina D’Ampezzo, a ski resort in northern Italy, 1962. Additional Informati...

This intriguing offset lithograph print, signed and numbered out of 200 by an unknown artist in ballpoint pen, features a puff of smoke or a cloud hovering over a fence. The minimali...

Walk the Line Edition of 25 signed and numbered by the artist A man walks along the shore of the coastline in Ghana. JJK is a pseudonym for one of the world's most successful photo...

Fairy Forest in the Fog Study 1, Portugal - no. 21303 Prints are made to order in limited editions on Hahnemuehle Photo Rag Baryta. Each print is stamped on the back and signed and n...

Edition of 7 more sizes on request A scenery like a painting. Some lions enjoying the evening on a rock. Joachim Schmeisser is represented by leading Galleries worldwide. His photo...

Limited edition Archival print 1/1. Mixed Media paper size : 30x22 image size : 20x20 Unique 1/1 signed by the photographer A mixture of photography and painting to create a unique image of the Norfolk landscape, then printed onto hand made Indian watercolour paper. Each image is unique and only printed once in this size and on this paper, signed and blind stamped by the photographer David Koppel...

' Seascape I ' Signed Limited Edition Oversize print by Stuart Möller limited edition to 10 only this size - signed A view of the sea during a rainstorm. Gorgeous archival pig...

Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues o...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can live more than 2,500 years, and their massive, water-storing trunks can grow to more than one hundred feet in circumference. They also serve as a renewable source of food, fiber, and fuel, as well as a focus of spiritual life. But now, suddenly, the largest baobabs are dying off , literally collapsing under their own weight. Scientists believe these ancient giants are being dehydrated by drought and higher temperatures, likely the result of climate change. Photographer Beth Moon, already responsible for some of the most indelible images of Africa’s oldest and largest baobabs, has undertaken a new photographic pilgrimage to bear witness to this environmental catastrophe and document the baobabs that still survive. In this oversize volume, she presents breathtaking new duotone tree portraits of the baobabs of Madagascar, Senegal, and South Africa. She also recounts her eventful journey to visit these fantastic trees in a moving diaristic text studded with color travel photos.

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Archival pigment print Signed, titled, and dated, recto 32 x 32 inches (Edition of 20) 21 x 21 inches (Edition of 30) This artwork is offered by ClampArt, located in New York City...

Moss Covered Waterfall Study 1, Austria - no. 21310 Prints are made to order in limited editions on Hahnemuehle Photo Rag Baryta. Each print is stamped on the back and signed and num...

"Pacific Blue" This award-winning image freatures the rich blue waves of a remote stretch of beach in Oregon. Inspired by this once-in-a-lifetime sunrise, the print series Ephemer...