C Print Portrait Photography

Childhood 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Medium format Negative. Signed on back with Certificate. Not mounted.

Fine art print of Debbie Harry of Blondie by acclaimed photographer. Lynn Goldsmith, taken in New York City in 1977. Signed limited edition 20x24" print, edition #8/20 Lynn Golds...

Holding on Tight (Chicks and Chicks and sometimes Cocks) - 2016 Edition of 10, 49x58cm, Archival C-Print, based on the Polaroid Artist inventory 19522.02 Not mounted. Signature la...

'Untitled 10' (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album) - 2009 20x20cm, Edition of 5, Archival C-Print based on the Polaroid, Not mounted, Certificate and si...

Alison Cain - Society Portrait in Purple Silk by Greek Columns by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Alison Cain is a ...

Museum quality fine art print of Iman by photographer Markus Klinko taken in New York, 2004 This print is available in the following sizes, signed and numbered by Markus Klinko 24" ...

Skiing Holiday - American and Canadian Pose for Slim Aarons in Snowy Landscape by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Skiing in Vermont, 1963 - View of Snowy Winter Landscape Sugarbush Mountain by Slim Aarons 16" x 20" print Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Skii...

2 Stefanie Schneider's Minis 'Till Death do us Part' - 2005 - signed on front, not mounted. 2 Archival Color Photographs based on 2 Polaroids. Polaroid sized open Editions 1999...

Snowmass Village - Apres Ski Lunch Picnic at Snowmass in Aspen Colorado by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Snowmas...

Genie (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label...

Richard Heeps photographed the Rockabilly scene in England, Europe and America over seven years culminating in his book, 'Man's Ruin'. 'Miss Shifty' captures the chic vintage fashion...

An Image of Life (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Sign...

The DJ (The Girl behind the White Picket Fence) - 2013 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Mounted on Dibond with matte UV-Protection. Signed on back and Certificate. Artist Inventory No. 16346. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

Part of Richard Heeps 'Man's Ruin' Series, and the sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot at the Rockabilly Weekender, ...

Twiggy – at David Steen’s Home, Surrey, Lesley Lawson (born 19 September 1949) is an English model, actress, and singer widely known by the nickname Twiggy. She was a British cultu...

Margarita Smoke Rings (Till Death do us Part) - 2009 125x154cm, Edition 3/5. Analog C-Print, hand-printed by the artist, matte surface, based on the Polaroid. Signature label and...

No Causes (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature l...

David Bowie Aladdin Sane "Eyes Open" print from Brian Duffy, taken during the phot shoot for the Aladdin Sane album cover. Taken from the original 1973 negatives, these official Du...

Untitled (Olancha) - 2006, 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. Artist...

Alphabet Soup (Till Death do us Part) - 2005, 128x127cm, Edition 2/5, analog C-Print, hand-printed by the artist. based on the Polaroid. Artist Inventory No. 9283.02. Mounted o...

The 19th July 2022 was the UK's hottest recorded day. When most were abandoning work for nearby cool spots or sun-drenched parks, Brighton-based photographer Andy Lo Pò took this opp...

'Delirium' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, Not mounted. Signed on the back and with certificate. Artist inventory PL219-625 ...

Blue Dress - part II (Sidewinder) - 2005 Proof b4 Printing / 38x36cm analog C-Print, hand-printed by the artist, based on a Polaroid, signed on the front. What exactly is a Proof ...

The 19th July 2022 was the UK's hottest recorded day. When most were abandoning work for nearby cool spots or sun-drenched parks, Brighton-based photographer Andy Lo Pò...

'Radha Screaming II' (29 Palms, CA) - 1999 Edition of 10, 20x20cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist inventory 18392.02. Not mounte...

Seen all at Once (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signa...

Inclined (Wastelands), 2003 Edition of 1/10, 38x37cm, digital C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No 1185.01 Not mounted. Offered is a p...

Trailer Park Sunset - 2007 20x24cm, Edition of 10. Archival C-Print print, based on the Polaroid, Certificate and Signature label. Artist Inventory # 4791. Not mounted. The w...

Zabriskie Point (Stranger than Paradise) - PART II - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. ...

Whirling silently in Space (Heavenly Falls) - 2016 100x125 cm, Edition of 10, Archival C-Print, based on the Polaroid. Mounted on Aluminium with matte UV-Protection. Artist invent...

'10525' part 1 (Stranger than Paradise) - 1999 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Certificate and Signature label, artist Inventory No. 388_1.54 not ...

Kelly (Beachshoot) - 2005 80x80cm, Edition 3/5, analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, matte finish, based on a Polaroid. Certificate and signatu...

Please bear in mind that all prints are produced to order. Lead times between 15-20 days. Edition 5/10 All items are shipped as a print only and come unframed. Tim Flach is a grad...

Jersey Girls Yellow, 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 Richa...

Museum quality fine art print of Beyoncé by photographer Markus Klinko. Shot in 2003 This print is available in the following sizes, signed and numbered by Markus Klinko 24" high ...

Jersey Girls Gold, 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 Richard...

From Richard Heeps 'Man's Ruin' Series, this contemporary portrait is part of a sequence of artworks 'Wendy Flaming Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot ...

Untitled (Cathy and Shannon) - 2004 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 477...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Outtake (Wastelands) - 2003 Edition of 5, 128x125cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory Number 819.01, complete with certificate and signature label Not mounted For sale is a piece from the Wastelands series. purchase the 2nd edition and have it unmounted. Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007) Published in: WASTELANDS published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had regis- tered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pic- tures. Happiness brimmed in that wild terrain. Maybe things were begin- ning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abol- ish concepts that orient us, cause and effect, time, plot, and story line, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end-result, as posited in this book, will show how she bursts open our apparatus of perception and acknowl- edges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other- worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period...

Max, Trailer Park (29 Palms, CA) - 1999 Edition 3/10, 68x60cm including white 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Alum...

Fine art print of punk musician and poet, Patti Smith by acclaimed photographer. Lynn Goldsmith, taken in New York City in 1977. Framed, signed limited edition 16x20" print, edition...

'Wedding Day IV' (Till Death do us Part) - 2005, 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 4325. ...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. 'Fighting Fish' is a stunning C-Type print by con...

Fine art print of Elvis Presley from the collection of acclaimed photographer. Lynn Goldsmith, taken in 1956 These prints are open edition and come with full certification. Availab...

'Tales of Bitter Doom #35' by Carmen De Vos, Edition of 7, 30x30cm, 2018 digital C-Print, based on a Polaroid mounted on Dibond - gloss coating, hand signed & numbered by artist on ...

10525 (Stranger than Paradise) - 1999, Edition 9/10, 5 analog C-Prints, hand-printed by the artist, based on 5 Polaroids. each 57x56 cm, installed with gaps 57x308cm. Certific...

Lone Pine Motel II (The last Picture Show) 2005, Edition 1/5, 40x40cm each, installed with gaps 40x125cm, Edition of 1/5, analog C-Print, hand-printed by the artist on Fuji Crystal A...

Neo-Classical Pool - Swimming Pool by Grecian Architecture in Palm Beach by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Neo-Cl...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 5, 58x56cm, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature Label ...

'Paperback Writer' (Bombay Beach) 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist ...

Belgian-born British actress Audrey Hepburn is photographed wearing a Givenchy afternoon cocktail dress from his Spring/Summer 1955 collection at 'Villa Rolli', a farmhouse in the Al...

Nelda and Friends, Palm Springs, 1970 - Swimming Pool at Kaufmann House by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Nelda a...

Snowmass Picnic (1967) Limited Estate Stamped (Photo By Slim Aarons) A stand-up fondue picnic for fashionable skiers at Snowmass-at-Aspen, Colorado which has more than fifty mile...

Barefoot (Stranger than Paradise) - 1998 Edition of 5, 40x40cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1558. Signature...

Jersey Girls Gold, from Richard Heeps Jersey Shore series. Vintage matchbooks from the Chelsea flea market featuring nudes from the 1940's are reimag...

Untitled (Olancha) - 2006 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. Artist I...

Museum quality fine art print of Iman by photographer Markus Klinko taken in New York, 2004 This print is available in the following sizes, signed and numbered by Markus Klinko 24" ...

Jersey Girls Yellow, from Richard Heeps Jersey Shore series. Vintage matchbooks from the Chelsea flea market featuring nudes from the 1940's are reim...