Urban Landscape Photography

Palm Beach Street Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to 150 Pho...

David Pugh View from Empire State Building I Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum qualit...

Empire 8am (Strange Love) - 2005 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No. 6147. ...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

'Galleria Vittorio Emanuele II' View looking down the Galleria Vittorio Emanuele II in Milan, Italy, 1960. Opened in 1890, the covered arcade is on the northern side of the Piazza ...

Highly detailed mesmerizing birds' eye view of urban architectural landscape Flying High by Christian Stoll 48 x 67 inches (122 x 170cm) signed edition of 7 32 x 40 inches (81 x 10...

New Yorker Hotel, New York is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including hist...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

ABOUT THIS PIECE: French photographer Ludwig Favre recently visited New York City. His pictures of New York's iconic architecture carry the same romantic feel of a Parisian shooting ...

Lord Fauntleroy KCMO-240926-09 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 20 x 9.34 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

VR's Trailer Park (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway was moved, killing this section of town. In some places only the signs remain. 40x40cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

David Pugh Pink City I Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum quality for highest age resi...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover...

Bryan Atkinson Bullock Family Chapel Archival Pigment Print Year: 2024 Visible Size: 7.5 x 9.5 inches Framed: 13 x 17 inches Signed: On Label COA provided *White frame with standard...

Jack Hayhow Title: Downtown Drama Photographic Print on fine Paper Year: 2020 Size: 28x42 inches Edition: Unique Signed by hand COA provided Ref.: 924802-892 ----------------------...

Industrial Wasteland (American Depression) - 2017 “How can we live without our lives? How will we know it's us without our past?” ― John Steinbeck, The Grapes of Wrath 24x20cm, Edi...

View Of Rome is a vintage black and white photograph realized in the early 20th Century. Good conditions. A historical testimonial of the cityscape through the art of photography c...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

'Park Avenue' 1953: A view of neatly arranged office and apartment blocks along Park Avenue in New York City. 30x30 inches / 76 x 76 cm paper size Estate Stamped Collection Ed...

Via Mizner store owners Diana 'Dysie' Davie (second from left, wearing a yellow turtleneck sweater) and Charles Amory (far left, wearing yellow pants) posed with their fellow store o...

Randy Hudson 39th Street Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Lord Fauntleroy ILL 1408-08-154 Pigment Print Year: 2014 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with stand...

Black and White Fine Art Cityscape Photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

" I started my Empty Streets of New York City series in SoHo at the start of the Covid pandemic (early 2020) because of the uniqueness and beautiy of the iron cast buildings, includi...

Angie Jennings Cold Drinks Archival Pigment Print Year: 2024 Visible Size: 10 x 15.125 inches Framed: 14 x 19.75 inches Signed: On Label COA provided *Black frame with standard ple...

Color landscape photograph of urban skyline and ferry in Double Bay in Sydney, Australia "Double Bay Ferry", by Keith Loutit, printed in 2008 in part of the artist's 'Small Worlds P...

Abruzzo, located in southern Italy, is known as the ‘green region of Europe’ because of the system of parks and nature reserves covering more than one-third of its territory. It has ...

City Sky (Ghost Town) - 2020 Sketches of a downtown disappearing. 40x40cm, Edition of 7, plus 2 Artist proofs. Digital silver gelatin print based on a Polaroid. Signed on back wi...

A high angle view of Caleta Beach (aka Morning Beach) in Acapulco, Mexico, January 1961. The Hotel Boca Chica can be seen to the right. 40 x 40 inches $3950 30 x 30 inches $3350 2...

All available sizes & editions for each size of this photograph: 21” x 26" Edition of 7 32” x 40" Edition of 7 44” x 55” Edition of 10 59” x 73.5” Edition of 5 While the spaces the...

View of Florida Miami Beach is a photograph realized in the 1960s. Good conditions.

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

Silver Gelatine Print by Erich Andres, 1957. This black-and-white photograph from 1957 captures the bustling Plaza de España in Barcelona, Spain. In the foreground, a grand traffic ...

Hong Kong – The new face of the Orient is a Vintage b/w Photo realized in the 1960s. Good conditions. Stamped on the rear.

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...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. Broken Dreams, LA Scape is a stunning C-Type Print by contemporary photographer Samu...

Please bear in mind that all prints are produced to order and lead times are estimated between 15-20 days. Brixton Flats is a stunning C-Type Print by contemporary photographer Samu...

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

Roosevelt Island (Strange Love) - 2003, 85x30cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certifi...

Kalli Brelsford Downtown Views – Looking Up Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provide...

a Piece of Bitte Lebn (Pieces of Berlin), 2012, 31/50, Lambda C-Print, 30x30cm signed Certificate, mounted on Alu-Dibond Florian Reischauer's project 'Pieces of Berlin' Berlin – fo...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. Apartments Nice is a dynamic C-Type Matte Print by Contemporary photographer Chris F...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

Reportage from Albania - Tirana - Photograph is a color photograph realized in the Late 1980s. Good conditions. the landscape of Albania through the art of photography is captured ...

"Beverly Hills Hotel" by Slim Aarons Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957. (Photo by Slim Aarons) Slim Aarons (born George Allen Aar...

Driving - 2017, Edition of 7 plus 2 Artist Proofs. Archival C-print, based on an original Polaroid. Signed on the back and with certificate. Artist inventory Pl2017-356. Not mo...

David Pugh Pink City II Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum quality for highest age res...

a Piece of how long is now II (Pieces of Berlin), 2017, 3/10, Lambda C-Print, 30x30cm signed Certificate, mounted on Aluminium Florian Reischauer's project 'Pieces of Berlin' Berli...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. The Factory is a dynamic C-Type Matte Print by Contemporary photographer Chris Fraze...

Jason Dailey West Bottoms Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal...

Money, Money, Money - 2016, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2016-120. Not m...

Paulena Blalock Morning After, One Last Time?/. Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted an...

Archival pigment print Signed and numbered, verso 30 x 36 inches 40 x 48 inches 48 x 57 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. ...

Cologne Night (1965) (Photo By Phillip Harrington) Hohe Strasse, in Cologne, at Night in 1965. Additional Information : Unframed Paper Size: 20x24'' Printed Later NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' FRAMING AVAILABLE ON REQUEST About the Artist: Phillip A. Harrington was born in 1920 and grew up in Holland, Michigan. He developed an interest in photography at an early age, joining the high school camera club at 16. At the age of 19, Harrington moved to New York City to study at the Clarence. H. White school of photography, a prestigious institution with graduates such as Margaret Bourke-White, Dorothea Lange, Laura Gilpin...

Black and white fine art cityscape - landscape photography. Empire state building with American flag and a bird, New York City, USA. Archival pigment ink print, edition of 9. Signed,...

S. Giovanni in Laterano, Rome  -  Vintage Photo is a colored photograph of the 1970s. Good conditions.