C Print Photography

An avenue of ancient oaks… – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to t...

'Without Love' photograph from Richard Heeps Dream in Colour series. The vintage tv plays Without Love, set in a warm wood panelled interior. This artwork is a limited edition of 25...

January 1970: The Kaufmann Desert House in Palm Springs, California, designed by Richard Neutra in 1946 for businessman Edgar J. Kaufmann and now owned by Nelda Linsk. Helen Dzo Dzo ...

Untitled (The Last Picture Show) - 2006 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 21140. Signature ...

Fires 10, 2018 - Autumnal Seasonal Landscape in Ancient English Woodland by Ellie Davies Fires 10 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper, avai...

Jacob and Wilhelm Grimm Centre Berlin Germany 2019 50,0 x 62,5 inches 127 x 158,5 cm Edition of 10 signed and numbered on label, verso In Jacob and Wilhelm Grimm Centre, Reinhard ...

ICES - Four Framed Artworks, Photographs by Richard Heeps. Featured here Honey Yellow, Baby Blue, Pink Lemonade, Vivid Lime Green. Get in touch to request other sizes or color combi...

Twiggy – David Steen’s Studio, Surrey, 1967 Limited Edition Limited Edition David Steen Estate Print Limited Edition: All prints are limited editions, no further prints are produc...

This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...

Ocean View, Great Yarmouth seaside architecture photograph by Richard Heeps. The Wellington Pier is a beautiful nautical architecture sitting like a ship on the beach which at night ...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006, 20x24cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...

Go Lucky, vintage book spines photograph from Richard Heeps' Norfolk series. Browsing second hand book shops on holidays by the seaside is always a joy, you never know what you might...

Motel Entrance II, photograph from Richard Heeps Salton Sea series. Classic mid-century architecture in this artwork from the Salton Sea California. Rich blues, palm trees with pops ...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Editions of 3 + 2 Artist Proofs...

Chalk Streams 7, 2023 by Ellie Davies Chalk Streams 7 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Pr...

'Skiing Holiday' SLIM AARONS ESTATE Print Giant Estate Stamped Limited Edition Print by Slim Aarons American political novelist William F Buckley Jnr takes a break from skiing ne...

Norman Parkinson captures Apollonia van Ravenstein wearing YSL in Barbados. Vogue, July 1973 Apollonia wearing YSL in Barbados. Vogue 1973 (printed later) C print Estate stamped and...

I am leaving! (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist ...

David Bowie, "Watch That Man I", 1973 by Masayoshi Sukita Signed limited edition large format print, number 8/10. Framed with complimentary silver...

Jacob and Wilhelm Grimm Centre IV Berlin Germany 2019 40 x 60 inches 101.6 x 152,4 cm Edition of 10 signed and numbered on label, verso In Jacob and Wilhelm Grimm Centre IV, Reinh...

On the Road (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. Artis...

From Richard Heeps series, 36 Minutes in Cambridgeshire. This project was born from an idea to produce a set of photographs that followed a straigh...

I Only Want You To Love Me #1, 2011 - Miles Aldridge (Colour Photography) Signed in ink on artist’s label Chromogenic print 20 ¾ × 30 inches Edition of 10 Miles Aldridge (born 1964...

Closer (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 100x60cm includin...

Nga Phe Chaung Monastery emerging from the mists of Lake Inle – Cawston won the BJP Nikon Endframe Award in 2009. His prize was funding for a dream project and he chose to travel the...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

View of Hotel du Cap, Eden Roc - Five Star Hotel on French Riviera Sea Views by Slim Aarons 12" x 16" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "V...

Dusting (The Girl Behind the White Picket Fence) - 2013 with Heather Megan Christie 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certif...

3 Palm Trees (Stranger than Paradise) - 1999 Edition 2/3, 114x142cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Mounted on Aluminum with matte UV-Protection....

We can still get through (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

The Diva and the Boy (Beachshoot) - 2005 Edition of 10 plus 2 artist Proofs. 48x46cm each, installed 155x151cm. 9 archival C-Prints, based on the 9 Polaroids. Certificate and Sig...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 125x156cm, Edition 3/5 Analog C-Print, hand-printed by the artist, based on an original Polaroid. Artist Inventory #96...

Also available 50 x 70 in. $9,500, edition of 10. Christine Matthäi was born in Germany. She lives and works between Shelter Island, New York, Germany and the Bahamas. Her LIGHT an...

Lambda digital c print on Ilford Ilfoflex Archival Super Gloss, 2003. Signed, dated, titled, and numbered 1/1 on verso. This is a unique print. Artist Andrew George is based in Los ...

Signed limited edition print by Ed Caraeff of Jimi Hendrix setting fire to his Fender Stratocaster guitar while performing at the Monterey Internat...

Deauville Casino, France, 1970 by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Deauville Casino' is a Limited Edition Estate S...

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...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. 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...

First Steps (Burned) - Self Portrait - 1999 20x20cm, Edition 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist I...

Backgammon Players - Swimming Pool Board Games Backgammon Summer Vacations by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Back...

Museum quality fine art print of Lady Gaga by photographer Markus Klinko. Shot in 2009 in London for 35th anniversary of Hello Kitty. This print is available in the following sizes,...

Italian GP Richie Ginther waits beside his Honda RA273 as mechanics work on the engine. Image details Championship: Formula 1 1966 (Formula 1, 1966) Event: Italian GP Date taken: Sunday, September 04, 1966 Location: Autodromo Nazionale Monza, Italy Photographer: Rainer Schlegelmilch Rainer W. Schlegelmilch the German born widely regarded "Master of Motorsports Photography" delighted in this series of works Glamour, kitsch, sex and fast cars - this extraordinary body of work encapsulates the excitement of this era. Limited edition to 150 only - Archive stamped and numbered - with certificate of authenticity Oversize 24 x 24" inches / 61 x 61 cm paper size C type print unframed. Beautiful. About Richie Ginther & Honda BRM and Honda In 1962, Ginther switched to the British-based BRM team to race alongside Graham Hill. The highlight of his time at BRM was finishing equal-second (with Hill) in the 1963 World Championship. Ginther scored more points than his British teammate over the whole season, but only a driver's six best scores were counted towards the championship. His reputation as a solid "team player" and excellent test and development driver earned him an invitation to join the works Honda F1 team for 1965, for whom he scored his one and only GP win, at the 1965 Mexican Grand Prix. The win was also Honda's first in Formula 1. Ginther averaged 151.7 kilometres per hour (94.3 mph) over the curving 5 kilometres (3.1 mi) track in the 65 lap Mexico City event. His speed eclipsed the previous course record of 150.185 km/h (93.321 mph) established by Dan Gurney in 1964. It was the first time Honda had entered the Mexican Grand Prix.[22] Honda reentered international competition in the 1966 Italian Grand Prix. The team was three years old and had encountered difficulty in the preparation of a larger engine. Ginther led in Italy before his car crashed into a retaining wall and he broke his collarbone.[23] He signed with the Eagle F1 team in 1967 and raced in the Race of Champions. At Monaco after practice, his place on the grid was given to an F2 car weighted to bring it up to minimum F1 specifications, and Ginther left F1 in disgust. Ginther won one race, achieved 14 podiums, and scored a total of 107 championship points. He appeared in an uncredited role in the 1966 film Grand Prix as John Hogarth, a driver in the Japanese funded "Yamura" team. He also acted as one of the technical racing advisors for the movie. While making an attempt to qualify for the 1967 Indy 500, Ginther broke a fuel line in his American Eagle Indy Car...

"I create glowing, jellied scale models of urban sites, transforming ordinary physical surroundings into something unexpected and ephemeral. Lit from below, the molded shapes of the ...

Ocean View, Great Yarmouth seaside architecture photograph by Richard Heeps. The Wellington Pier is a beautiful nautical architecture sitting like a ship on the beach which at night ...

This listing is for two individually framed artworks, 'Wanderlust Goes South', and 'Go Lucky'. Vintage book spines photograph from Richard Heeps' Norfolk series. Browsing second hand...

Buick in the Dust, this photography series features an American Car, on a British Beach (Hemsby, Norfolk) driven by a German. Richard spent years honing his skills as a drag racing...

Innocence (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #7850 Not mounted. ...

Leaving in a Jet Plane (29 Palms, CA) diptych - 2005 38x36cm each, installed 38x80cm. (sold out Edition of 5), Artist Proof 2/2. 2 Archival C-Prints, hand printed by the artist, ...

Daisy in front of Trailer (Till Death Do Us Part) - 2005 80x79cm, Edition 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

Artist: Lawrence Schiller Title: Barbra Streisand, Royal Pavilion, Brighton, 1969 Year: 1969 Medium: Digital C-Print Edition: 4/75 Signed & numbered in ink by the artist. Size: 17x24 inches. Frame Size: 24x35 inches. Condition: In excellent condition Lawrence Schiller is an award-winning photographer, film director, and bestselling author. As a photographer, Schiller photographed important and notorious figures in American history including Marilyn Monroe, Lee Harvey...

This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...

Fires 7, 2018 - Autumnal Seasonal Landscape in Ancient English Woodland by Ellie Davies Fires 7 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size...

Series: Dream Scapes All available sizes & editions for each size of this photograph: 30" X 72"- Edition of 10 40" X 96"- Edition of 7 40" X 96" - Edition of 3; Lightbox "Drebin...

Wastelands, 2003 Edition of 1/10, 38x37cm, digital C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No 864.01 Not mounted. Offered is a piece from th...

Christine Matthäi was born in Germany. She lives and works between Shelter Island, New York, Germany and the Bahamas. Her LIGHT and SEA series, and all other water related series, a...

Poolside Host, 1970 - Poolside Gathering by Swimming Pool at Kaufmann House by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later 'Pool...

Home Duties (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventor...

Beached Roller Coaster, photograph from Richard Heeps' series, Jersey Shore. There is something peaceful about the sleeping structure on the beach, contrasting with your mind as it t...

'Caitlin aka Jane Bond III' (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted. Certificate and signature label, artist inventor...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 20x24cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...