Archival Paper Photography

Chromogenic Print on Kodak Endura Luster Paper Price for MOUNTED AND FRAMED limited edition print Certificate of Authenticity signed by the artist Ask us for framing options FRAMED ...

Bethesda Fountain, Central Park, 2011 by Roberta Fineberg is a 20 x 16 in. archival pigment print (color photograph) of 19th-century sculptor Emma Stebbins’s Angel of the Waters. Ins...

California Dusk by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches...

Aditya Dicky Singh, Untitled, Infrared photograph on fine-art Hahnemuhle archival paper, 64" x 42.7", Edition 1/8, 2022 *please note this artwork can be printed at any size so l...

'Awakening' Archival photographic triptych. Unique Master Edition of 1. Unframed. _________________ Morning light illuminates the layered landscape of Yosemite National Park, Half D...

Ruby (California Blue Screen) - 1999 Edition of 3/10, 44x59 cm Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Nick Vedros Mexican Flying Wrestler Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 11x9in Edition: 12 Signed, dated and numbered by hand on label Stamped ...

large scale framed photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Hemisphere' ...

Mesmerizing large scale photograph from the artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seasca...

From a series of whimsical conceptual motivational messages on classic Americana billboard signs in iconic landscapes of the American West BACK IN 10 by Frank Schott 58 x 77.33 inc...

I love you (Till Death do us Part) - 2007 - 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 8661, not ...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 36" x 53" unframed (135cm x 91cm) 2016 Edition 3/10 *Should you wish the photograph to be ...

'Spring Couplet' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The dance of the cherry blossoms ...

Jack Hayhow Title: John Moulton Barn Photographic Print on fine Paper Year: 2020 Size: 24x36 inches Description: Available in multiple sizes - please inqu...

Jersey Views (Stay) - 2006 Edition of 10, 10 pieces 98x96cm each, installed 210x555cm. 10 archival C-Prints, based on the 10 Polaroids. Certificate and Signature label. Artist I...

Palm Springs Palm Trees (Californication) - 2023 50x49cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Henry watching Athena Dance (128x126cm) & Sam, Interior Hospital (37x36cm) (Stay), diptych, 2006, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid...

'Evening Poppies' ('Mono No Aware' Series) Limited edition archival photograph. Unframed, hand signed and numbered _________________ Buds, blooms, and the fading glories of Icelandi...

Star Wars (C-3PO) by Tom Schierlitz still life photograph of the original iconic golden Star Wars humanoid robot 60 x 48 inches (152 x 122cm) edition of 7 signed 40 x 32 inches (1...

THE COLOR OF WATER Lake Michigan blue sits at the pastel confluence of green, grey and cyan on the nearby shoreline. In truth, the color of the lake is as transitory as Chicago weather. The shade of blue is widely determined by the reflection of the sky above and the organic material and sediment carried below. I recently learned that invasive mussel species have slowly transformed the lake from green to bluer over the past two decades. I often return to the water’s edge to document the color of a given day. Susan Isaacson...

A curve in a s steep path in woods that disappear into morning mist. These are the foggy woods in the hills of Oakland, across the bay from San Francisco. This is a photograph print...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – oft...

The color is a muted gray-green like the celadon glaze on Japanese pottery. it is not a bright mint green. Though this unique monotype looks like a woodcut or linocut, it is not. Thi...

'Poppy’ photographed in London, United Kingdom 2023. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. Giclée print on Hahnemühle phot...

large format abstract photograph of water color clouds and horizon from a series of photographic works capturing the sea blue color palette of the ocean SEASCAPE XVIII Diptych by F...

Nick Vedros Prickly Couch Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 11x12in Edition: 15 Signed, dated and numbered by hand...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. The iconic Monterey cypress trees can be found all up and down the coast ...

Jules and Jim XI (Days of Heaven) - 2009 Part of the 29 Palms, CA project. Edition of 10, 50x50cm, Digital C-Print, based on the Polaroid. Signature label and certificate. Arti...

Large scale photograph of PRADA MARFA, a permanently installed pop architectural land art project sculpture by artists Elmgreen and Dragset, inaug...

In this early photographic series, Dubravka Lazić turns her lens toward a subject rarely treated with such a quiet dignity: domestic cats. Shot in 2005, these portraits mimic the for...

Lush, maximalist still life photo by Lori Perbeck. Image size 18 x 12 in, paper size 22 x 16 in

'Primary Colors' (Stranger than Paradise) - 2001, 20x20cm, installed 70x70cm, sold out Edition of 10, Artist Proof 2/2, archival C-Print, based on a Polaroid. Certificate and Si...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

large scale abstract photograph of mesmerizing monochromatic color space and tactile marble stone and velvet textures captured in Roman palazzo Untiltled (Amber) by Frank Schott 72...

This gray and white Japanese-inspired monotype was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along the California coast. Their impossibly long stems ...

The Elder (Joshua Tree) - 2022 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Doughert...

An ethereal landscape of lush cliffs and gentle waters, bathed in the soft, greenish glow of an impending nightfall... A serene dusk scene captures the gentle flow of a river cutting...

This is # 1/7 Fine Art Print Limited Edition 42cm x 60 cm VADOR THE SPACE SHOW is the first exhibition of photographs by Stefan Darte which is currently b...

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1542. Signature label and certifi...

A piece of art from the feature film movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Ma...

California Dreaming by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes of the Sierra Nevada 48 x 72 inches / 122cm x 183m edition of 7 signed 27 x 40 inches / 68cm x 102cm edition of 25 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1539. Signature label and certifi...

A Million Dead End Streets (Stage of Consciousness) - 2007 40x40cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. ...

Star Wars (R2-D2 new) by Tom Schierlitz still life photograph of the iconic Star Wars robot 40 x 32 inches (102 x 81cm) edition of 25 signed 60 x 48 inches (152 x 122cm) edition of 7 signed archival fine art pigment print signed + numbered by artist on separate label Photographer Tom Schierlitz has a discerning eye for details, managing to find striking visuals in the most ordinary objects, creating captivating images of cult accessories and other objects of desire. Tom grew up in Germany and lives and works in New York City. _________________________ Edition EKTAlux offers an evolving curated selection of collectable large-scale photography in strictly limited editions, while working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border [ 2 inch L prints / 4 inch XL...

large scale photograph of iconic summer beach scene in Puglia by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Porto Miggiano...

Faded Memory (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label...

Original large format still life photograph of purple anemone from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works explor...

Gestures (Stranger than Paradise) Edition 1/5. 12 pieces, 48x46 cm each, installed: 207x155 cm. 12 Analog C-Prints, hand-printed by the artist, mounted on Aluminum with matte UV...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Edition EKTAlux - Cloud Forest...

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

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

'Spring Rain' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The cherry blossoms burst from naked...

large scale photograph of billboard sign with conceptual message in iconic landscape of the American West. A series of images capturing the unique infi...

Black Hellebore No.5 reflects on openness and retreat through two flowers, one facing outward and one bowed. Made by Ugnė Pouwell on large format 4 × 5 film and printed on Hahnemühle...

Aditya Dicky Singh, Fever trees in Lake Nakuru, Kenya:, Infrared photograph on fine-art Hahnemuhle archival paper 44 x 65" unframed (112cm x 165cm) 2023 Edition 2/8 A certificate...

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 ...

large scale photograph of sunny cactus landscape, from a series of highly detailed large format nature observations, an homage to the photo realistic ...

"JM Basquiat-GB5" Photograph 66" x 48" in Limited Edition of 8 by Giuliano Bekor Year: 2020 Medium: Photography Print size: 66 x 48 Inches trim bleed Edition of 8 Artist proof: 2 Ot...