C Print Photography

Original color photograph, from the original transparency, by Bert Stern taken six weeks before Marilyn Monroe’s death in 1962. The sitting took p...

Sidewinder, triptych - 2005 38.5 x 38 cm each, installed 38.5 x 124cm, Edition of 5, Analog C-Print, hand-printed by the artist, based on the 3 Polaroids Artist Inventory 3017.01, ...

Driving Range is a dynamic C-Type Matte Print by Contemporary photographer Chris Frazer Smith. It is available in this size in an Edition of 25, and is sold unframed. In a departur...

These extraordinary photographs are part of the the Hotel Chelsea series. The Hotel Chelsea closed its doors for the first time in its iconic history of over one hundred years. Amer...

Lights of Mong Kok, Kowloon, Asian architecture photograph by Richard Heeps. The artwork captures the spirit of walking the streets in Hong Kong, the overwhelming buzz of the compet...

A chairlift up the mountain in Cortina d'Ampezzo, February 1962. Slim Aarons Cortina d'Ampezzo 1962 C print (Printed later) Estate signature stamped and hand numbered edition of 15...

Endless Summer (Beachshoot) - 2005 38x37cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1413....

FUN! carousel horse photograph by Richard Heeps, capturing the detailed artistry of historic vintage fairgrounds. This artwork is a limited edition of 25, gloss photographic print, ...

Coke and Marlboro (Beachshoot) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #13...

The Line Up Photo by Markus Klinko Limited Estate Edition Nude model with nude mannequins C Print Produced from the original transparency Certificate of authenticity supplied P...

Flying Boy (Stay) - from Ryan Gosling's memory sequence - 2006 58x56cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand printed by the artist on Fuji Archive Crystal Pape...

'True Colors' (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album) - 2009 20x20cm, Edition of 5, Archival C-Print based on the Polaroid, Not mounted, Certificate and si...

Tina Turner 1986 - Dave Hogan Signed Limited Edition American singer Tina Turner performs live on stage at The Venue in London in December 1986. Limited Edition Dave Hogan Print (e...

This is an exclusive handprinted limited edition cyanotype diptych of foamy gorgeous clouds. Details: + Title: Floating Clouds Diptych + Year: 2023 + Edition Size: 20 + Stamped and ...

TABACCHI, photographs from Richard Heeps series, 'A Short History of Milan'. Captivated by the unusual architecture on this street in Milan, Richard spent four hours photographing it...

Part of Richard Heeps 'Man's Ruin' Series, and the sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot at the Rockabilly Weekender, ...

Darjeeling Butchers, street photography on Richard Heeps' journey in India, a pilgrimage from Kerala in the South, to his Grandfather's birthplace Meerut in the North. One of a numbe...

Gold Mine, pop art typography photograph by Richard Heeps. With reference to the Wild West a popular theme in Richard's artwork. This artwork is a limited edition of 25, gloss photo...

A classic American icon, the roadside giant Cowboy "Muffler Man", captured on Richard Heeps' road trip between Mecca and the Salton Sea. Part of a series of pictures by Richard Heeps...

This stylish artwork, 'Gloves & Handbag' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured in...

Afghan Nomad Girl 1990 C-Prints printed on FujiFlex Crystal Archive Super Gloss Paper 60 x 40 inches Signed and numbered edition of 10 with certificate of authenticity Steve McCurry...

Aquarius (Californication) - 2019 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Number...

This is an exclusive limited edition black and white Giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This beautiful black and white high contrast photograph is titled " Zen Forest Waterfall" and displays a stimulating waterfall in a beautiful japanese forest...

Schoeman's Drift, landscape photograph from Richard Heeps South Africa series, The New Lantern. Richard Heeps' work takes you on a journey, the road is a reoccurring theme, often the...

Oleander (Life on Mars) - 2024 20x20m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22313....

Untitled 2019, 20x20cm, Edition of 1/10. Digital C-Print based a Polaroid Collage Mixed Media. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Jos...

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

If you love me then why can’t it work? (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Sign...

Bondi Interpretation is a dynamic C-Type Print in a Limited Edition of 10 in this size by contemporary photographer Ben Thomas. Bondi Interpretation by Be...

LTD ED Vinyl Spring, a pink and orange artwork in the Heidler & Heeps B Side Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and N...

Sonny and Cher, taken in the pool in 1966 by Art Kane Photographed at Sonny and Cher’s Beverly Hills residence in 1966 for the McCall’s magazine photo essay ‘Teen Idols’, Art Kane s...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

Heidler & Heeps Vinyl Collection Nine Piece Blue Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

The Man (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 22884. Signature label and Cer...

Bathers round a pool in Sotogrande, Spain, August 1975. Slim Aarons Poolside In Sotogrande 1975 C print (Printed later) Estate signature stamped and hand numbered edition of 150 wit...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

Set of four square framed artworks from Richard Heeps' Americana Dream in Color series featuring the classic American RV and three vignettes from its vintage interior, captured in Bi...

Chrome Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pe...

Leaving (The Last Picture Show) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist inv...

Untitled 2019, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Josey Cary Pol...

I met this young Himba girl near to a place called Etengwa in the far north of Namibia. We trekked a few kilometres in the midday heat, over a rocky hill to a small village within wh...

Palm Trees on Wilcox (Stranger than Paradise) - 1999 78x76cm, Edition of 100. Archival C-Print based on the original Polaroid. Mounted under matte Plexiglass. Artist inventory number: 398. Signed on back and Certificate. (Sales to Europe will be produced in Europe to avoild custom problems and costs and will be delivered with a Signature label and Certificate) Stefanie Schneider – Palm Trees...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles and David LaChapelle, James Bidgood revolutionized gay male...

Tincture of Myrrh, part of Richard Heeps' 'Forward to the Past' series, he was commissioned to photograph Preston Hall Museum before it went through regeneration. The works captured ...

Richard Heeps series A Short History of Milan began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become popular with art buye...

"With a snowcapped crest like that, it’s no mystery where Denali got her name. Originally a Native American term meaning “the high one,” the word eventually became the name of the ta...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Seascapes 9, 2020 - Water over Trees in Woodland Forest in Natural Landscape by Ellie Davies Seascapes 9 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Heidler & Heeps B Side Blue Vinyl Collection Twelve Piece Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautif...

Lights of Mong Kok, Kowloon, Asian architecture photograph by Richard Heeps. The artwork captures the spirit of walking the streets in Hong Kong, the overwhelming buzz of the compet...

Miles ALDRIDGE (*1964, Great Britain) Dog Lady #2, 2009 Chromogenic print Image 101 x 152,5 cm (39 3/4 x 60 in.) Sheet 113 x 164.5 cm (44 1/2 x 64 3/4 in.) Ed...

Light streams through a window illuminating an alcove in Hadrian’s Palace in Rome. A place to meditate over a book perhaps or record one’s thoughts in a journal – The Spaces in Bet...

Waiters making crepes suzettes at a restaurant in Cortina d'Ampezzo, February 1962. Slim Aarons Crepes in Cortina d'Ampezzo 1962 (printed later) C print Estate stamped and numbered...

A moody fenland sky is a backdrop to a classic British Fish & Chips Van. Part of Richard Heeps series, A View of the Fens from the Car with Wings. This artwork is a limited edit...

A classic American icon, the roadside giant Cowboy "Muffler Man", captured on Richard Heeps' road trip between Mecca and the Salton Sea. Part of a series of pictures by Richard Heeps...

Untitled (Paradise) - 1999 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 19888. N...