Plant Landscape Photography

This vintage silver gelatin photograph, printed in the late 1920s on Kodak Vitava Athena paper, is signed in pencil beneath the image with a typeset title centered in the lower margi...

Beverly Hills Pool Party A party by James Pendleton’s pool in Beverly Hills, California, 1952. Pendleton’s house was later bought by Hollywood director Robert Evans...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Ha...

Black and white fine art long exposure waterscape - landscape photography. Phragmites in the fog at Lake Balaton, Hungary. Archival pigment ink print, edition of 9. Signed, titled, d...

Alternative sizes and media available: 16 x 16 16 x 20 16 x 24 20 x 20 20 x 30 28 x 28 28 x 35 30 x 45 40 x 40 40 x 50 40 x 60 Matte photo paper or canvas available on...

Swimming Pool and Pink Bougainvillea at Villa in Bermuda is an elegant view of an evening on the island. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Print...

This work is offered by CLAMP in New York City. The Voyage of Life/Homage to Thomas Cole 1984 Signed and numbered Vintage Cibachrome print 30 x 38 i...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Ancient Trackway 2 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed W...

Onishi Tree Shadow and Clouds, Study 2, Hokkaido, Japan by Michael Kenna is a 8 x 8 inch* silver gelatin print, available in an edition of 25. *Please note: the measurements of this ...

Ancient Trackway 1 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed W...

30"x40" edition of 5 This photograph was made at the site of the former Maharishi Mahesh Yogi’s Ashram in Rishikesh, India. After The Beatles ...

Winter Landscape, 2016, 40 x 40 cm, edition of 10, digital C-Print based on a Polaroid, hand-numbered and signed on the back by artist. unmounted Artist Statement “Since my childh...

In a world entrenched in societal division and ecological turmoil, it can be refreshing to step back and enjoy the quiet beauty of the natural world. Dallas photographer David H. Gib...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

A swimming pool in the grounds of a house in Bermuda, 1957. Gorgeous print measuring an large 40 x 40" inches / ca 101 x 101 cm’s. Estate Stamped Collection Edition to 150 Photo ...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Ha...

'Il Canille' (Slim Aarons Estate Edition) Sunbathers lounge on the white-painted terrace of Il Canille, built into the rocks of Pizzolungo overlooking the ...

"Sequoia National Forest" is a stunning photograph of the base of a huge redwood tree in the forest surrounding Yosemite. Alfano photographs flora from a...

The Hotel Punta Tragara on Capri, Italy, August 1974. Numbered and stamped by the Slim Aarons Estate. Certificate of Authenticity included. Slim Aarons Villa d'Este Chromogenic Lam...

Bird and Hibiscus Cibachrome print, 1980 Signed and dated by the artist in pencil lower right (see photo) Deaccessed from the Reader's Digest Association Collection (#18717) with label (see photo) Purchased from Lieberman & Saul Gallery, between 1986 and 1993 when the name oif the gallery changed to Julie Saul Projects Very small edition Provenance: Lieberman & Saul Gallery, New Yokr, NY (until 1985) (label verso) Reader's Digest Association (label) Condition: Excellent Image size: 9-7/8 x 9-7/8" (25 x 25 cm.) Frame size: 20-1/2 x 16-1/2" Suzanne Camp Crosby Posted by FMoPA Apr 7, 2021 FMoPA In Focus 0 Suzanne Camp Crosby, Gasparilla Ship, 2004 In December of 2020 beloved Tampa photographer and educator Suzanne Camp Crosby died. She had taught generations of students at the Hillsborough Community College where she had been a professor of photography for 38 years. Camp Crosby had the prestigious honor of being the 2004 City of Tampa Photo Laureate and the exhibition resulting from that body of work, Suzanne Camp Crosby: 2004 Photo Laureate City of Tampa Public Art – Big Picture Project, was presented at the Tampa Museum of Art that same year. Other awards include a Southeast Artist Fellowship from the National Endowment for the Arts and Southeastern Center for Contemporary Art in 1978-79. Suzanne Camp Crosby, Paper Flowers, c. 1990 The Florida Museum of Photographic Arts (FMoPA) has gratefully accepted the task of helping to place the photographic archives of this beloved artist. This collection includes more than 725 photographs spanning her career of over 40 years. A broad selection of this work will be brought into the collection of FMoPA, with an exhibition to follow in the summer of 2022. Other institutions in the area are also considering simultaneous showings. University of Tampa student Alyssa R. Miller has signed on to help with the documenting and digitizing of this body of work. This will help make it possible to distribute photographs to other institutions, with limited works to be sold to help finance the efforts. Examples of her photography are already currently held in the collections of FMoPA, the Tampa Museum of Art (TMA), Los Angeles County Museum of Art, and the New Orleans Museum of Art, among many others. Three wonderful examples of her talent are currently on view at the TMA’s exhibition Her World in Focus: Women Photographers from the Permanent Collection, on view until June 27, 2021. Suzanne Camp Crosby, Doris Day at Clothesline, 1980 Camp Crosby’s solo exhibitions include Suzanne Camp Crosby: Kid City, 2009 at FMoPA, and multiple exhibitions at the HCC Galleries, where she eventually became the Program Manager for the Visual Art and Dance departments in addition to her teaching and exhibitions. She also taught and received her MFA at the University of South Florida in Tampa. Additional schools where she was an instructor include the University of Central Florida in Orlando, FL, and the St. Petersburg College, Clearwater campus. Camp Crosby specialized in creating thematically directed photographs, created by adding unexpected objects or people to mostly everyday scenes. Her artwork is often playful and witty. Early work included tender black and white compositions often using her children or friends to create evocative scenes. Later photographs brought in color and experimentation. Examples include the juxtaposition of life-sized 2-D paper doll cut-outs of 1950s movie stars to real-life mundane household settings, as well as a wide selection of other artificial items placed into real-life settings. As a visual storyteller, she continued to explore and experiment with ideas and themes throughout her lengthy career. Courtesy The FLORIDA MUSEUM of PHOTOGRAPHIC ARTS Suzanne’s artwork is in many permanent collections, including the Tampa Museum of Art, the USF Museum of Contemporary Art, the Orlando Museum of Art, the Polk Museum of Art, the Florida Museum of Photographic Arts, the Leepa-Rattner Museum of Art, the New Orleans Museum of Art, the Los Angeles County Museum of Art, Walt Disney World Corporation, Tropicana Corporate Collection, City Bank, Tampa Electric Company, Shriner’s Hospital, Tampa General Hospital, Hillsborough Community College, City of Tampa Public Art, City of Orlando Public Art, and the von Liebig Art Center. From ARTFORUM JULIE SAUL (1954–2022) Julie Saul, who through her long-running eponymous New York gallery did much to elevate contemporary photography within the art world, died February 4 in Tampa after a battle with a rare form of leukemia. Saul was known for her willingness to show an eclectic range of works in media ranging from painting to sculpture to video to ceramics by an equally diverse range of artists, but it was her eye for both traditional and avant-garde contemporary photography that cemented her reputation and that of her gallery, which she first established in 1986 in SoHo, then a frontier for the arts. Saul was born in Tampa on New Year’s Eve in 1954 to a father who was head of a sewn-products company and a housewife mother, a native New Yorker and volunteer docent whom Saul would later credit with introducing her to the arts. “Tampa had no museums, but she would take us to museums in New York,” she told the Tampa Bay Timesin 2003. “We had a house that wasn't filled with great art, but there were great reproductions and great art books.” In 1979, Saul moved to New York, obtaining her master’s degree from New York University’s Institute of Fine Arts in 1982. Four years later, with partner Nancy Lieberman, she opened Lieberman Saul Gallery at 155 Spring Street in SoHo, showing contemporary photography at a time when not many others were. “One thing that drew me to photography from the very beginning—and it still holds—is that photography is an affordable medium. Almost anybody can afford to collect photographs,” she told the Association of International Photography Art Dealers (AIPAD) in 2010. “Fundamentally, photography is a medium and what makes work great is the idea behind it and how well it’s executed.” Among the photographers whose work Saul championed are Nikolay Bakharev, Morton Bartlett, Eugene Bellocq, Andrew Bush, Sally Gall, Luigi Ghirri, Andrea Grützner, Sarah Anne Johnson, Adam Magyar, and Arne Svenson...

This silver gelatin print on Kodak Vitava Athena paper is signed in pencil beneath the image with typeset title on the front of the sheet. This print was made in 1927 for the Parmeli...

The Gloaming 1 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only from the Limited Edition of 7 + 2 Artist Proofs. This is print 6 from the ...

Slim Aarons Estate Print - Two-Tone Dress - Oversize A woman posing in a formal garden wearing a long, sleeveless, two-tone dress with a decorative bow at the waist, San Diego, Cali...

The Hotel Punta Tragara on Capri, Italy, August 1974. Numbered and stamped by the Slim Aarons Estate. Certificate of Authenticity included. Slim Aarons...

This early 1660s winter landscape photograph, captured by society photographer Slim Aarons, features skiers pass by a snow covered tree in Vail, Colorado, USA, 1964. This is an esta...

Pool At Lake Tahoe 1959 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Caption: Bathers by a pool at the Tahoe Tavern on the sh...

Signed (AE Adams), titled, printed on the front of print. Rare vintage parmelian print from 1927.

Archival pigment print Signed and numbered, verso 18 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 7) 45 x 60 inches (Edition of 3) This photograph is offered by ClampArt...

Digital C-print Signed and numbered, verso 30 x 40 inches (Edition of 5) Chromogenic print Signed and numbered, verso 20 x 24 inches (Edition of 7) This photograph is offered by Cl...

This vintage silver gelatin print is signed in pencil on the front of the mount, with image number "11" in the lower left corner. Portfolio Two stamp with print #11 and set #A in red...

'Brunch At Brennans' c. 1960. Sunday brunch at Brennan’s restaurant, New Orleans. 40x40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to 150 Photo by S...

17 x 21 inches framed

La Chasse au Cerf, Normandie, France, September 1975 Photographed by Jonathan Becker Contemporary 44" x 44.5" Archival Pigment Print Edition Nº 1 of 9 Certificate of Origin Signed a...

Ed. 2/3, includes white frame. With his passion for formal technique and composition, internationally renowned photographer Nathan Coe’s works exude a deep reverence for the classi...

Cedars - A dense stand of western red cedar guard the path into the darkness beyond the lamplight. A gap in the foliage creates a void, an invitation to enter into an unknown and unc...

A native Tennessean, Bill was born and raised in Memphis. A forty one year career in the Telecommunications field ended in Nashville with his retirement in 2007. With time on his han...

40 x 60 inches ed. of 10 $5,000 50 x 75 inches ed. of 5 $8,000 signed and numbered on label, verso Reinhard Görner, with his large format photographs orchestrates the monumentalit...

Wonder Backyard II - 2018 50 x 66 cm, Edition 2 of 5. Photograph printed in Hanemühle Baryta Photo Rag 340gr, based on a Hand painted Fuji Instant Film original (not mounted). S...

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

Wonder Backyard I - 2018 50 x 66 cm, Edition 2 of 5. Photograph printed in Hanemühle Baryta Photo Rag 340gr, based on a Hand painted Fuji Instant Film original (not mounted). Si...

Finnish Photographer Christoffer Relander’s We Are Nature series blurs the line between the natural world and the human form to such a degree that it is impossible to tell where one ...

Casa Montefino Guests by the pool at Klaus Pudel’s villa, the Casa Montefino, overlooking Portofino harbour, Portofino, Italy, August 1977. Paper size 16 x 20" inches / 40 x 51 cm ...

22" x 17" edition of 7 + 2 AP $1,400 unframed 36" x 24" 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...

A group of skiers stand in line waiting for the ski lift in Vail, Colorado, USA, 1964. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the ...

An Aston Martin DB6 sports car driving past the tennis courts at Il Pellicano Hotel in Porto Ercole, Tuscany, August 1973. Slim Aarons Estate Edition, C...

Pilotis House - Beach in Brazil - Vintage b/w Photo realized in the 1970s. With some handwriting on the rear. Stamped on the rear. Good conditions.

Sunbathers lounge on the white-painted terrace of Il Canille, built into the rocks of Pizzolungo overlooking the waters off the coast of the island of Capri, Italy, in August 1980. I...

This is a color photography of a lotus flower as part of our flower / still life series. Image dimensions: 16 x 21.5 in. Edition of 25. External dimensions: 22.5 x 28 in. Matted with 8 ply museum archival matt. Signed, numbered by photographer on a certificate of authenticity. 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...

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...

Kabool, 'Avenue of Trees’, 2001 by John Reardon Edition of 2/10 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece was part of (afte...

This vintage silver gelatin photograph, printed in the late 1920s on Kodak Vitava Athena paper, is signed in pencil beneath the image with a typeset title centered in the lower margi...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

This vintage silver gelatin print is signed in pencil on the front of the mount, with image number "6" in the lower left corner. Portfolio Two stamp with print #6 and set #A in red c...

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Leah Oates employs a double and sometimes triple exposure, which creates halos of light, dappled, misty surfaces and gauzy effects in muted greens and blues. Her work questions the n...

Angelina by Keith Carter presents a sublime scene. A branch dips into the calm and quiet river. Trees line the river's edge, extending back to the horizon. The stillness in the water reflect the overhanging foliage, creating a dreamlike scene. Angelina by Keith Carter is listed as a 16 x 16 inch archival pigment print, with the paper size measuring 22 x 17 inches. It is available in an edition of 25. This photograph is signed, titled, dated, and numbered in pencil on print verso by Keith Carter. Angelina is from Carter's series, Ghostlight. Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and meaningful objects. He began photographing new and unknown realities using East Texas natives as subjects. This population and background setting spoke to the folklore, religious, and cultural motifs Carter was visually exploring. Since his start in Texas, his work continues to push imaginative realms while reaching prestigious artistic and technical status. In 1970, Carter earned a Business Management degree from Lamar University and began his career as a commercial photographer while working on personal projects. These personal projects have become a strong and highly sought after collection that have become twelve published monographs. Carter currently teaches photography at Lamar University as a Distinguished Faculty Lecturer. He travels worldwide providing photography lectures and workshops for artists. Carter’s fine art photography collections...