Wool Photography

Colorful, Maximalist style floral still life photograph of pink, green, yellow, and cream colored flowers and succulents Archival digital print, made to order 40 x 40 inches, editio...

TERRY EVANS (American b. 1944) "Terraced Plowing," September 4, 1990, Color photograph (chromogenic print, C Print) on photo paper, dated and hand signed...

Coolidge Dam, Arizona Gelatin silver print, (1938), printed later, circa 1980 Unsigned A lifetime printing by Brett Weston, supervised by his father Edward Edition of 5 or 6 examples...

TERRY EVANS (American b. 1944) "Between Kearny and Salina," June 13, 1990 Color photograph (chromogenic print, C Print) on photo paper, dated and hand sig...

Peter Fischli / David Weiss Equilibres 1984–85/2006 Limited-edition book with photograph in linen-bound portfolio Photograph: 12 1/4 x 9 1/8 inches; 31 x 23 cm Book: 9 1/4 x 7 3/4 x 7/8 inches; 24 x 20 x 2 cm Portfolio: 15 x 11 1/2 x 1 1/2 inches; 38 x 29 x 4 cm Edition of 60 Photograph signed and numbered in ink (lower verso) Book signed and numbered in graphite on title page For Equilibres, the well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss...

Artist stamp on mount verso. Vintage gelatin silver print 13 1/2 x 10 1/8 in.

untitled (study of shadows and brick building) Silver gelatin print, c. 1960-1965 Signed in pencil lower right on the mount (see photo) Provenance: Gift of the Artist ...

This photograph was created by American artist and avid scuba diver Michael DeCamp. DeCamp's abstract photos have an enigmatic quality, and the interactions between shapes and colors...

Christmas Traffic - American Christmas Tree Traffic at Night with Car Lights by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estat...

untitled abstraction (Electrical Wires) Silver gelatin print, c. 1960's Signed in pencil lower right Provenance: Gift of the Artist Akron Art Museum, 32.96.TR ...

New technique as the artist continues his exploration of the image of Kate Moss. Emulsion + Cotton sewn on paper

Listing is for FRAMED print. Edition of 1. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Patricia Heal's 8th show at the Robin Rice Gallery marks a departure from her previous figurative work with a visual essay celebrating the wild ponies of Dartmoor National Park in Devon, England. The dedicated exhibit reflects Patricia's life-long love affair with the area and its inhabitants—the semi-feral native ponies that have roamed the moors for centuries. The work represents a conscious shift to provide a respite from the modern world and create a sense that one has stumbled upon a treasured possession. With a nod to Peter Beard and Deborah Turbeville, each photograph, whether from negative or digital, is printed on canvas that has been distressed to take on a worn, slightly damaged texture and then stitched to another piece of canvas with horsehair. Through tearing, staining with archival inks, charcoal and graphite, the canvasses take on a look and feel of a valued relic from the past only now rediscovered by the viewer. There will be no editions as they are truly one-of-a-kind. Born and raised in the region, Dartmoor was an important part of Patricia's childhood experience. The magical ponies and misty, granite flecked moorlands always held a special place in her imagination. She has recently been inspired by the Dartmoor Pony Heritage Trust (DPHT), whose mission it is to save the indigenous pony from extinction. It is estimated now that there are as few as 1500 ponies kept on the moors. In the invitational image, Lord Byron “—Indigenous Dartmoor Pony”, we see a close-up of a pony against a distressed canvas background that takes on the elegant look and feel of tapestry, framing the pony's powerful profile and highlighting its mane. In another image, “Sherberton Crossroads”, a dappled grey pony gallops across the terrain. The pony's elongated shape blends perfectly with the horizon, a mix of sparse, flat rock and low brownish green vegetation that gives way to a blue expanse of sky. It's a seamless integration of the statuesque horse and nature. The 30 individual canvases of different shapes and sizes are presented in collage formation on one wall. Heal sees the series as one large complete work. On the facing wall, Heal's video installation of the ponies roaming wild in their environment adds yet another layer to the show. It is surrounded by text of a poem by Emily Bronte and an article about Dartmoor written by Andrew Price. The exhibit will also be shown in London next year, further raising awareness of these wild ponies who embody freedom and strength despite their rare breed status. Steven Spielberg's “Warhorse” was shot in Dartmoor last year and will be released later this fall. He says of the area: “I have never before, in my long and eclectic career, been gifted with such an abundance of natural beauty as I did while filming “Warhorse” on Dartmoor.” —Steven Spielberg, Enjoy Dartmoor Magazine. Black and white, horse, equestrian, animal, custom, frame insects...