Metal Photography

Archival Pigment Print on Glass Plate Backed with 24kt Gold Leaf, Framed by the Artist GOLDEN STARDUST. The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. ...

Rebecca Skinner’s “Reflection” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 18 x 12 inch color photo with glossy finish is in...

Rebecca Skinner’s “Pink Piano” is a 16 x 24 inch metal print of an abandoned pink piano located in the remnants of an auditorium in Indiana. We can only ima...

This vintage salt print is titled, attributed and annotated in lithographic ink on the front of the mount. Printed 1850s.

Underwater black and white photograph of a young female dancer diving in pool. The naked dances is covering herself with tutu skirt. Original print on aluminum plate with solid blac...

An ethereal underwater portrait of a woman with golden hair, gently wrapped in shimmering air bubbles, illuminated against a soft light green background. This piece invites viewers t...

Rebecca Skinner’s “Peep Show” was photographed at an abandoned train station and is part of a series representing her appreciation of graffiti as an art form. An open door offers a p...

Rebecca Skinner’s “To Dust” was photographed in an interior of an abandoned building in New York. The 30 x 20 inch color photo is of decaying architecture with colors of brown and gr...

Underwater photograph of a gorgeous girl with dark hair in red dress. Original print on aluminum plate with solid black backboard. The artwork needs no additional framing: it can be...

This striking underwater fine art photograph captures a figure draped in flowing white fabric, suspended between worlds with vibrant red blossoms and yellow spherical elements. The r...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinar...

This elegant underwater photograph captures a ballet dancer in pointe shoes and flowing white tutu, suspended in deep teal waters. The rich contrast between the pristine white costum...

Ripple Effect IIl Medium: Photography (printed on metal) Size: 30" x 20" (larger sizes available - inquire within) 16x24 on metal - 20x30 on metal Made to Order Water Ripple Effect...

Rebecca Skinner’s “At Rest” is part of her "Rust to Dust" series documenting the beauty of the decaying automobile. The 12 x 18 inch color photo is of an antique Ford...

Rimma Gerlovina and Valeriy Gerlovin Clock, 1987-94 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 13 h × 13 w × 4 d in (30 × 30 × 6 c...

This ethereal underwater photograph captures a topless female figure draped in flowing turquoise tulle, suspended against a dramatic black backdrop. Vibrant magenta flowers float at the water's surface, creating striking color contrasts with the aquamarine tones. Sher's composition transforms the underwater environment into a stage for graceful movement, where fabric becomes liquid poetry. The work continues the tradition of underwater photography as contemporary fine art, exploring themes of weightlessness and transformation. The interplay between human form, textile, and botanical elements creates a dreamlike narrative that bridges dance, fashion, and aquatic artistry. Original digital print on aluminum plate signed by the artist. Limited edition of 12. Print #2 The artwork is furnished with certificate of authenticity, signed by artist with artist's name, edition number, edition limit, and other details. The artwork needs no framing; it is being hung by a hidden frame on the back. The most recent magazine publications: 2023 🇨🇦 VIGOUR Magazine (Canada) 2022 🇺🇸 Art Market (US) 2022 🇺🇸 Redwood Art...

Cotton thread sewn on Photo Rag matt paper plus 24 carat Gold Leaf

Rebecca Skinner’s “Yellow Room” is a 12 x 18 inch color photograph of an antique chair in an abandoned farmhouse. With satin finish, the image is infused d...

Rebecca Skinner’s “Sunflower #11” is part of her "Simplicity" series of photographs taking an up close look at flowers and other botanical subjects. The 12 x 18 inch color photo is o...

Rebecca Skinner’s “Return” is a 12 x 18 inch color photograph of a Victorian sofa in the interior of an abandoned building. Peeling paint in pink, yellow and white demonstrate the pa...

Geister or 'Ghost Ship' series from Nina Dietzel. Stunning on own, or paired with other images from the series. Surface mounted to polished plexiglass so that the photograph appears ...

"The Face Of Winter" 16 "x 24" on aluminum Black and white Photographic Image 16x24 on metal - $650 20x30 on metal - $900 about the artist A computer programmer and Webmaster by trade, Paul describes himself as a fine art photographer and a “digital manipulator.” His keen vision captures ordinary details from daily life and transforms them into images of beauty and wit, filled with contrasting shapes and effects. Paul’s current series of abstract work focuses on macro images of nature combined with additional exposures of ice, snow, sand, and sky. These futuristic scenes, inspired by the writings of Kurt Vonnegut, offer a wry commentary on global warming and climate change. Paul’s work is printed on a variety of substrates including metal, paper, and canvas. His photography has been displayed in galleries such as Ashawagh Hall...

Unique. Paul Snell is an Australian artist who blurs the boundaries between photography and painting, creating contemplative works that replace constant image saturation with moment...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. American Glassware (2010-present) which is presented in a small, wall-mounted vitrine. American Glassware is composed of three glass objects: a “souvenir” Walden Pond ashtray made by me as a multiple; a real souvenir ashtray from the 1964-65 New York World’s Fair; and an authentic “Happy Face” drinking glass from the same era. They are all nestled in crumpled, vintage newspaper from 1967, and are presented together in a dilapidated cardboard box, as if they have been found in someone’s attic or basement. Once again, in a similar manner to the Glass House Ashtray, versions of his Walden Pond ashtray (Walden Pond Souvenir) have been injected into the collectable stream of tag sales and flea markets, creating a souvenir that never existed. The ashtray is screenprinted with an image of Thoreau’s cabin on Walden Pond as pictured on the title page of his book Walden, or Life in the Woods (1854). (The original illustration was created by Thoreau’s sister, Sophia.) Walden Pond Souvenir was originally produced for the 2010 exhibition Renovating Walden at the Tufts University Art Gallery in Medford, MA. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Rebecca Skinner’s “Absent” was photographed in an abandoned building in West Virginia. The 18 x 12 inch color photograph is of a child's red chair forgotten in a worn hallway. With s...

Rebecca Skinner’s “Resolute” is a 11 x 17 inch metal print of graffiti on a wall of peeling paint in a deserted school. The color photograph with hues of peach and brown is almost ab...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Rebecca Skinner’s “Forbode” is a 18 x 12 inch black and white interior photograph of an abandoned, decaying hallway with peeling walls and open doors, evoking an eerie, forgotten, an...

Golden hues mingle with palm silhouettes, crafting a serene tropical escape... Palm leaves create a mysterious interplay of light and shadow over a textured golden backdrop… A sympho...

"Blue Fall" exemplifies contemporary underwater fine art photography, merging surrealism with dynamic motion capture. In this ethereal composition, a figure in striking red fabric de...

"Coming Back" captures a transformative moment in contemporary underwater fine art photography, where classical composition meets avant-garde expression. A figure in crimson emerges ...

24k gold, archival ink and kozo paper Image size: 11.5 x 9.25 in. Frame size: 15.38 x 12.38 in. Signature label with name, title, print type, series, edition number, date and copyrig...

Rebecca Skinner’s “Break” was photographed at an abandoned china factory and is part of a series documenting the loss of industry in America. The 12 x 18 inch color photo is of broke...

Still life photograph, red rose series, mounted on aluminum. Élisabeth Montagnier was born in Algeria. She is a little lost when she arrives in Marseille in 62, does not understand ...

'Snake Necklace by Elsa Peretti' Platinum/Palladium on vellum paper over silver leaf Handmade photographic reproduction on sensitised paper Edition of 5 , plus 2 AP ( Medium Size ...

"The Turn" represents a pivotal moment in contemporary underwater fine art photography, where sculptural form meets fluid dynamics. In this arresting composition, a figure in vibrant...

Rebecca Skinner’s “Alkabo I” is a 24 x 36 inch black and white photograph captured in a North Dakota ghost town. Dramatic sky frames a weathered structure in this beautiful contempor...

Rebecca Skinner’s “Lunds Valley” is a 12 x 18 inch color photograph of grain elevators in North Dakota. The rustic structures rest in the beautiful landscape with colors of blue, red...

Rebecca Skinner’s “Power” is a 18 x 12 inch metal print and is part of her “Transient” series. Peeling paint on a vintage wall reveals layered pastel green and pink hues around an ol...

Rebecca Skinner’s “Sink III” is an 8 x 12 inch metal print photographed at an abandoned hospital. The color photograph is of a vintage sink against a blue wall with peeling paint. Th...

Rebecca Skinner’s “West Hallway” is a 24 x 16 inch contemporary color photograph of a faded blue door ajar in a dim, decaying hallway with peeling walls and muted lighting, evoking t...

Rebecca Skinner’s “Sanctum” was photographed in an abandoned monastery. The 24 x 16 inch black and white photo is of a staircase and stained glass window in a state of decay. The ima...

Rebecca Skinner’s “Spools” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 12 x 18 inch close-up color photograph ...

24k gold, archival ink and kozo paper Image size: 11.5 x 8.75 in. Frame size: 15.38 x 12.38 in. Signature label with name, title, print type, series, edition number, date and copyrig...

Dye Sublimation Print on metal Accabonac Harbor is one of the major undeveloped coastal wetland ecosystems on Long Island. It includes a shallow open ...

Rebecca Skinner’s “Faded Footsteps” is a 20 x 30 inch color metal print of a symmetrical blue wrought-iron double staircase in an abandoned school. Arched sunlit window and peeling p...

Rebecca Skinner’s “Endurance” is a 17 x 11 inch black and white photograph of an abandoned church in Gary, Indiana. With satin finish, the image is infused directly into metal making...

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 20x19.5cm each. 2 archival C-Prints, based on the 2 Polaroids. Artist inventory Numb...

Rebecca Skinner’s “House of Blues” is a 18 x 12 inch contemporary color photograph. A decaying interior bedroom with peeling blue paint, vintage furniture, and soft natural light thr...

Rebecca Skinner’s “Krispy” was photographed in a classroom at a deserted school in Gary, Indiana. The black and white photograph has a satin finish and is infused directly into metal...

Rebecca Skinner’s “Interior V” is a 18 x 12 inch color photograph taken from inside an abandoned farmhouse in North Dakota. A crooked window in a house in ruin looks out to a field i...

Rebecca Skinner’s “Sorrow” is a 24 x 16 inch contemporary black and white photograph of a weathered cowboy boot resting on a fence in the beautiful North Dakota landscape. The framel...

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Mounted on Alumi...

Rebecca Skinner’s “Quiet Morning” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 12 x 18 inch toned black and white photo of a ...

Rebecca Skinner’s “Exhausted” is a 11 x 17 inch metal print and is part of her “Transient” series. The color photograph is of an abandoned room with a worn twin bed covered by a fade...

Seeside (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Certificate and Signature label. Artist Inventory #20430. Not m...

Silence (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2747. Not ...

Rebecca Skinner’s “Alkabo II” is a 20 x 30 inch black and white photograph captured in a North Dakota ghost town. Dramatic sky frames a weathered structure in this beautiful contempo...

Girl down the Road (The Last Picture Show) - 2006 Edition of 10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist...

Rebecca Skinner’s “Anticipation” is a 8 x 12 inch color photograph of doors in the interior of an abandoned church found in rural Georgia. A door is slightly ajar offering a glimpse ...