C Print Photography

Strata VI is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 sizes: *76.2 cm × 152...

"Palm Springs Palm Trees II" (Stranger than Paradise) - 2016 20x20cm, Edition 3/10, digital C-Print, based on a Polaroid. Certificate and Signature label, Not mounted , Artist ...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows one of the mountains in beautiful Yosemite National park in California. Details: + Title: Yosemite Blue Mountain + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Prize Bingo, Norfolk, Richard Heeps' typography sign photography centrally framed in the Kodak rebate border, against an expansive, vivid blue sky, isolating the subject and emphasiz...

Lucia at Fourteen (2018) 40x51 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Once / Cristina Fonts...

After the Birth (Suburbia) - 2004 featuring Radha Mitchell 50x60cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on verso with Certificate, ...

'Capri Hotel' 1989 Slim Aarons Limited Estate Edition Print Richard Bolliger, the owner of Bolliger Transport Worldwide, holidaying on Capri, September 1989. Paper size 30 x 40 inc...

'Telephone' from Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography has a dreamy mid-century modern nostalgic vibe. Primarily known as a color photo...

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...

Campbell's Soup, the iconic architecture of the UK factory, photograph by Richard Heeps. Printed full frame presented with the Kodak film border, first executed in Richard's darkroom...

16" x 20", signed limited edition print of David Bowie by Masayoshi Sukita. Taken at RCA Studios, New York, 1973. As featured in the new movie, Moonage Daydream. This print is also ...

Elektronik, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal past and...

Conca dei Marini - Amalfi Coast Italian Coastline Cove Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Conca dei Mar...

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...

Boneyard 003 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dimensions: *60 × 60 cm (2...

The Bog Renaturated 010 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *75...

16" x 20", signed limited edition print of David Bowie, titled "He'd Blow Our Minds" by Masayoshi Sukita. This print is also available as a 30x40" signed limited edition print. “...

Aerial Views, Coal Mine 2 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimens...

Signed limited edition print of Led Zeppelin by legendary rock photographer, Robert M Knight, taken in Hawaii at Honolulu airport on 12th May 1969, holding the master tapes to Led Ze...

Foyer IV, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become ...

ICES Cornflower Blue, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex co...

Jurassic Park - 2017 30x30cm, Edition 1/10. Archival C-Print on Pearl photo paper, based on the original Polaroid, not mounted, Signed on the back. Whether in color and black ...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The blue teal co...

'Penelope and Hans' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificat...

The Coolest Place, Ballantines Movie Colony, Palm Springs, California. Part of Richard Heeps 'Dream in Colour' Series, this cool Palm Springs interiors picture featuring a vintage te...

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...

Stahlwerk 014 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *80 × ...

Stefanie Schneider Polaroid sized unlimited Mini 'Planes' - 2001 - signed in front, not mounted. 1 Digital Color Photograph based on the Polaroid. Polaroid sized open Editions 19...

Richard Heeps photographed Bletchley Park in partnership with Hertfordshire University and Bletchley Park Trust, to document Alan Turing’s historic past at Bletchley. He was privileg...

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...

Twenty-Five Cents, New York City street neon. This artwork is part of Richard's portfolio of street photography he is building up which depict the colour, fabric and structure of cit...

Algarve Hotel Pool, 1970 - Portugal Hotel Swimming Pool Algarve Summer Resort by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. ...

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...

Afar XVII is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 cm...

Oasis XIV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

Jersey Girls Magenta, photograph from Richard Heeps Jersey Shore series. Vintage matchbooks from New York's Chelsea Flea Market featuring nudes from the 1940's are reimagined by Rich...

Brigitte LUSTENBERGER (*1969, Switzerland) Unless it does not have to end, 2020 From the series 'An Apparition Of Memory' C-print 100 x 100 cm (39 3/8 x 39 3/8 in.) Edition of 5, pl...

The Who under a Union Jack flag, 1968 by Art Kane Shot in 1968 in NYC in Morningside Park near Columbia University, Art Kane had plenty of fun with The Who. Kane described them as “...

Richard Heeps' eye for capturing "Sign Porn" has meant he is extremely popular in this genre. He has a big collection of "Signs" from around the world and he is always adding to them...

Eat, Sleep, HK$1, Repeat from the Heidler & Heeps Stamp Collection is a pop art evolution of the single stamp 'HK$1'. The multiple effect replicates the effect of the pulsating city ...

The abstraction of modern living in 65 flats in Rio de Janeiro – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the ...

Venaria Reale VII, 2016 C print Edition of 5 180 x 225 cm mounted on aluminum (production, framing, and shipping takes approximately 4 weeks) Total edi...

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

Elektronik, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal past and...

The story of two worlds, two entities; separated by distance and their journey of reconnection. - The Spaces in Between series While aboard an Irish ferry bound for Cork, a window reveals swirling waves beneath the horizon. The rocking of the ferry fills and empties the frame with a hypnotic dance of the sea. Cawston expertly times the shot, capturing a window predominantly filled with the sea, only a slender glow peeking through. The two chairs, positioned in almost mirror symmetry, face opposite directions, also add to the story. They journey together on the ferry traversing predetermined locations across a geographical boundary.  A metaphor perhaps, about connection of two worlds separated by distance. Challenging as a situation and journey may be, there is a beacon of hope on the horizon...

Andros Island by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Andros Island" is a beautiful Limited Edition...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

The End of Love (The Girl behind the White Picket Fence) - 2013 80x101cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 25 original Polaroids. Signature lab...

A skier using the ski lifts at Cortina D'Ampezzo, Italy, 1962. Cortina D'Ampezzo 1962 C print (Printed later) Estate signature stamped and hand numbered edition of 150 with certifi...

Tinted Oval Window Cassette from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal ...

'Hotel Taormina Pool' 1975 Slim Aarons Limited Estate Edition Print The seaside swimming pool at the Hotel Taormina, Sicily, August 1975. (Photo by Slim Aarons/Hulton Archive/Getty...

Wanderlust Goes South, 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 w...

Stillness 4, 2021 - Misty Natural Landscape of Trees in Ancient English Woodland by Ellie Davies Stillness 4 is a Digital C-Type Print on Fuji Maxima Matte paper, available in this ...

The iconic Googie Roy's Motel sign on the famous Route 66 which is the backdrop to some of the best American road trips. Photograph by Richard Heeps as part of his Dream in Colour se...

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...

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...

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

Neon Flamingo, photograph from Richard Heeps' Norfolk series. This artwork is a limited edition of 25, gloss photographic print, dry-mounted to aluminium, it is presented in a muse...

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...

'Eleuthera Pool Party' by Slim Aarons LIMITED EDITION ESTATE STAMPED PRINT Numbered in ink to 150 only and emboss stamped on front. Guests at the French Leave...