Metal Photography

“Private Pool” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mas...

Rebecca Skinner’s “Vanished” is a 17 x 11.25 inch color photograph of a lonely chair in a deteriorating room in an abandoned hospital. A set of doors sits just beyond the chair peeki...

This one depicts a Planetary assemblage with small watch parts (metal wheels) collaged on to it. It is titled Josias Astronomical Clock SIMONS, Vera (1920 - 2012) Vera Habrecht Simon...

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 “Erosion #3” was photographed on the shoreline of Lake Champlain in Burlington, Vermont. The 12 x 18 inch black and white photo with satin finish is infused directly into metal making it waterproof and easy to clean. This frameless metal print hangs easily with a float mount and the artist’s signature is located on the back. With breathtaking depth and amazing detail “Erosion #3” makes an excellent addition to your home or office. The textural beauty is natures own art form. Edition of 5. This image is also available upon request as an acid-free, archival, paper print. Traditional prints are done on Hahnemuhle Photo Rag Baryta Paper featuring a 100% cotton base with a very finely textured gloss surface finish. Abandoned buildings serve as the focus of Boston-based Rebecca Skinner’s most recent series of photographs. Skinner studied at the Rhode Island School of Design, RI. Artscope, BostonVoyager and Upworthy are just a few publications that have featured her widely shown work. Skinner is represented by Fountain Street...

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

Rebecca Skinner’s “Escape” is a 24 x 16 inch black and white print of protective fencing around a stairwell at an abandoned hospital. With satin finish, the image is infused directly...

Photography of San Francisco, on aluminium panel, signed on the back.

Max in front of Motel (29 Palms, CA) - diptych Edition of 10, 70x60cm each, 70x125cm installed with white 'Polaroid' frame. 2 analog C-Prints, hand-printed by the artist, based o...

Brighton Pier - Platinum print over silver on vellum paper Edition 1 of 8 , plus 2 AP ( Small size ) Shooting for an advertisement for Chevignon jackets, group of friends on th...

Rebecca Skinner’s “Pause” is a 12 x 18 inch metal print of a vintage black rotary phone sitting on a dusty wooden table against vibrant green floral wallpaper, evoking nostalgic mid-...

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...

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...

Allan Forsyth GHOST FLOWER 2 Limited Edition Archival Chromagenic Photographic Print Edition 25 Size: H 100cm x W 100cm x D 2cm Diasec Framed

Rebecca Skinner’s “The Piano” was photographed in an abandoned train repair yard. The 16 x 24 inch color metal print is of a piano in a state of decay in an industrial landscape with...

Rebecca Skinner’s “Interior III” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. The viewer gets a glimpse of the beautiful landscape thr...

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...

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 “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...

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 “Rough Terrain” is part of a her texture series taking an up-close look rusted and/or weathered metal. This abstract image is mostly earth tones with a touch of blu...

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 ...

"Trompe l'oeil, Les Falaises du Trocadéro, 19 mai 2021, 19h57, Paris, France, 2021" (JR1-2, 2021) is a Giclée print based on a photograph of JR’s 2021 installation located on the Par...

Pascal Kern (1952-2007) Icone (three panel triptych), 1987 Cibachrome print, inn copper handmade frame. (One is empty of photo on purpose.) Bearing artist label and inscriptions (frame verso) 48 x 48 inches. (each) Provenance: the Ginny L Williams...

Rebecca Skinner’s “Industrial Interior” was photographed at an abandoned steel factory and is part of a series documenting the loss of industry in America. Rust-covered industrial ma...

Rebecca Skinner’s “In the Thick of It” is part of her "Rust to Dust" series documenting the beauty of the decaying automobile. The 20 x 30 inch color photograph is of two antique car...

Rebecca Skinner’s “Saint Olaf Church” is a 24 x 36 inch color photograph captured in the North Dakota grasslands. A solitary, weathered church stands atop a rolling hill, surrounded ...

Rebecca Skinner’s “Vacated” is a 16 x 24 inch metal print and is part of her “Transient” series. The color photograph of an architecturally beautiful living room in an abandoned home...

Rebecca Skinner’s “Hippie” is part of a her texture series taking an up-close look rusted and/or weathered metal. This abstract image is a close up of lichen on a lime green and blue...

Rebecca Skinner’s “Iron” is a 24 x 16 inch metal print of a wrought iron fence. The color photograph has a satin finish and is infused directly into...

Rebecca Skinner’s “Duration” is a 24 x 36 inch color photograph. Overgrown green vines and foliage envelop an old stone building, blending nature with rustic architecture, symbolizin...

Rebecca Skinner’s “Remnants” is a 18 x 12 inch color photograph of a vintage door and bottle found in an abandoned building. Leaves and greenery peek through an old window in this so...

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...

Snow Fence on Dunes in the Hamptons Black & White Photography Printed to order edition of 10 Title: Great Dune Year: 2018 Medium: Photography (printed on metal) Size: 20" x 30" ...

Rebecca Skinner’s “Remember” is a 12 x 18 inch metal print and is part of her “Transient” series. The color photograph of a curtain in an abandoned home gives the viewer a sense of p...

Rebecca Skinner’s “Disorder” is a 17 x 11 inch color photograph of chaos in an abandoned industrial space. Green file cabinets have fallen every w...

Rebecca Skinner’s “Inward” is a 12 x 18 inch color photograph of vines growing through a window into the interior of an abandoned building. Layers of peeling paint in green, pink and...

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 “Life Finds a Way” is a 16 x 24 inch metal print and is part of her "Rust to Dust" series documenting the beauty of the decaying automobile. The color photo of moss...

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...

Edition 15, Printed black directly onto matt gold material, mounted in a black box frame Comes with a signed Certificate of Authenticity Surfer driving Land Rover with a dog in the ...

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...

Untitled (29 Palms, CA) - 1999 57x56cm, Edition 3/10, analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory number: 285.03. Mounted on Aluminum with...

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...

Spiegelbild (Stage of Consciousness), 2008 125x154cm, Edition 4/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the Polaroid. ...

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 “Interior II” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. Three windows offer a peak at the surrounding overgrowth ...

Rebecca Skinner’s “Outward” is a 12 x 18 inch color photograph of a pool table in the interior of an abandoned building. Layers of peeling paint in green, beige and yellow demonstrat...

Copper Penny Sunday School (Sidewinder) 2005, Edition of 4/5, 125x154cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back. artist Inventory No. 3...

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...

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 ...

"Paul Performing Yesterday" Photography 18" x 21" in Ed. of 25 by Howard Grafton Signed and numbered on the back by the publisher The Beatles on the ...

Radha and Max on Dirt Road (29 Palms, CA) - 1999 Edition 8/10. 60x67cm including white frame. Analog C-Print, based on the Polaroid. Signature label and Certificate. Artist inv...

Toy Boat (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2689. Not...

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...

An original enamel on metal painting by emerging contemporary conceptual artist Craig Sheperd (b. 1984) Craig Sheperd’s paintings, most of which are enamel on metal, were created o...

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...

Back Alley II (The Last Picture Show) - 2005 Edition 1/10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the original Polaroid. Art...