C Print Portrait Photography

The Monte-Carlo Beach Hotel on the Pointe de la Vieille in Roquebrune-Cap-Martin, southeastern France, August 1981. Slim Aarons Roquebrune-Cap-Martin 1981 C print (Printed later) E...

Entrepreneur Olivier Coquelin and actor Lahaina Kameha in Haiti, February 1981. Slim Aarons Olivier Coquelin and Lahaina Kameha 1981 (printed later) C print Estate stamped and numb...

American racing driver Mario Andretti at the Monaco Grand Prix, 22nd May 1977. Slim Aarons Mario Andretti 1977 (printed later) C print Estate stamped and numbered edition of 150 w...

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...

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...

Abe Frajndlich (German American, b. 1946) Portrait of Red Grooms 1986 Los Angeles Hand signed, titled, and dated verso Abe (Abraham Samuel) Frajndlich was born in a displaced per...

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 ...

Twiggy – at David Steen’s Home, Surrey, 1967 Lesley Lawson (born 19 September 1949) is an English model, actress, and singer widely known by the nickname Twiggy. She was a British...

Katherine Pastrie in front of a Gustav Klimt’s painting Life and Death, wearing a Cardin dress with make-up by Carita and hair by Prisca of Carita. British Vogue, 1 September 1965. ...

Faye Dunaway at the Beverly Hills Hotel, 1977 (printed later) C-print 60 x 60 inches Estate stamped edition of 50 with certificate of authenticity American actress Faye Dunaway take...

Slim Aarons Beauty and the Beast 1959 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Caption: Lady Daphne Cameron (Mrs George Ca...

Man Ray in his Paris studio with poster for Non-Abstractions exhibition opening (1956) and Peinture féminine (1954) Slim Aarons Man Ray in Paris 1956 printed later C-Print Estate si...

Norman Parkinson Her Royal Highness Princess Anne, The Princess Royal 1969 C print 40 x 30 inches Estate stamped and numbered edition of 21 on verso Her Royal Highness Princess Ann...

Norman Parkinson Actress Maud Adams, Vogue, August, 1964 C print Estate stamped and numbered edition of 21 on verso with certificate of authenticity Norman Parkinson (1913-1990) was...

Pool On Amalfi Coast A view of the seaside pool at the Hotel St. Caterina, Amalfi, Italy, September 1984. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate Editio...

'Hotel du Cap Eden-Roc' Slim Aarons - Limited Edition Estate Stamped Print Guests standing by a white Rolls-Royce convertible courtesy car at the Hotel du Cap Eden-Roc, Antibes, Fra...

'Mennonite Family Belize' by Alain Le Garsmeur Mennonite brothers and sister from a Spanish Lookout settlement, Belize, Central America, June 1985. A gorgeously observed scene by ...

Somali-American fashion model and actress Iman at King Peter’s Bay, Tobago wearing a Mexicana dress made from Liberty fabric. British Vogue magazine, May 1...

Slim Aarons Estate Print - Pool On Amalfi Coast - Oversize A view of the seaside pool at the Hotel St. Caterina, Amalfi, Italy, September 1984. (Photo by Slim Aarons) Chromogenic...

Artist: Lynn Goldsmith Title: Stevie Wonder Year: 1976 Medium: Color Photograph, signed, numbered, and dated in pen Edition:...

Somali-American fashion model and actress Iman at King Peter’s Bay, Tobago wearing a Shuji Tojo swimsuit. British Vogue magazine, May 1976. Iman at King P...

'Princess Ruspoli' 1979 Slim Aarons Limited Edition Estate Print - Oversized Princess Lucy Ruspoli stands in front of a colourful wall of old skis in Lech ...

Mouche at Praia do Vau, Portugal wearing a Nina Ricci swimsuit. British Vogue magazine, January 1973. Mouche at Praia do Vau, Portugal for Vogue, January 1973 Printed later C print ...

Apollonia van Ravenstein on Bird Island, Seychelles wearing a dress by Mrs Caswell for Angela at Rosie Nice, Kensington Antique Market with a Herbert Johnson straw hat and jewelry by...

Slim Aarons Tania Mallet, 1961 C print Estate stamped and numbered edition of 150 with certificate of authenticity 1961: Actress Tania Mallet relaxes on a red-curtained four poster...

Katherine Pastrie wearing Ken Scott pyjamas from Fortnum & Mason with tissue flowers handmade by the family firm Jesus Tamayo. Photographed in Mexico for British Vogue, January 1966....

Clio Goldsmith in Tobago for British Vogue, 15 April 1975 Clio Goldsmith in Tobago for Vogue, April 1975 C print Estate stamped and numbered edition of 21 on verso with certificate ...

Jerry Hall is photographed wearing a one-shouldered satin column dress and feathered coat by Dior during a British Vogue photoshoot at the Palace of Versailles. The image, taken Sept...

Nati Abascal, the Duchess of Feria, photographed with her black stallion ‘Idle Ruler’ in Barbados for Town & Country magazine, in 1982. Duchess of Feria, 1982 C print Estate stamped...

Dutch fashion model Apollonia van Ravenstein at the Lannan Foundation, Palm Beach, wearing a Mary McFadden dress on Ronald Bladen’s The X. Town & Country, October 1983. Apollonia va...

Somali-American fashion model and actress Iman at King Peter’s Bay, Tobago wearing a Krizia jumpsuit. British Vogue magazine, May 1976. Iman in Krizia jum...

Iman poses in a monochrome Valentino suit, cape, and headdress surrounded by ornate pillows for Vogue Italia in March of 1976. A muse of the designers Gianni Versace, Thierry Mugler,...

Capucine, 1957 Fiber print 30 x 20 inches Estate stamped and numbered edition of 150

Deborah Harris is photographed on location in Malaysia wearing a custom-designed mermaid’s tail by Bob Mackie for Town & Country in February of 1990. This story was photographer Norm...

Man Ray in his Paris studio with poster for Non-Abstractions exhibition opening (1956) and Peinture féminine (1954) Slim Aarons Man Ray in Paris 1956 printed later C-Print Estate si...

David Bowie, 1974 Chromogenic print 24 x 20 inches Signed and numbered edition of 50 printed 2006 English singer, musician and actor David Bowie with dyed red hair and a yellow sui...

Iman poses with Lucas Samaras’ sculpture Stiff Box #12 at the Patrick Lannan Foundation near Palm Beach, Florida in 1982. A muse of the designers Gianni Versace, Thierry Mugler, Calv...

Fashion model Nicola Samuel Waymouth at home in Chelsea wearing a tulip-print chiffon dress by Ossie Clark. British Vogue, December 1972. Nicky Samuel Waymouth at home in Chelsea, 1...

Katherine Pastrie in front of a Gustav Klimt’s painting Life and Death, wearing a Cardin dress with make-up by Carita and hair by Prisca of Carita. British Vogue, 1 September 1965. ...

Norman Parkinson In the Blazing Sun at George Airfield 1951 C print Estate stamped and numbered edition of 21 on verso British fashion model Wenda Parkinson wearing a grey gabardine...

Sheila Metzner’s unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Looking at Metzner’s photographs is a captivating experience. Innocent, sensual, and sexual, each photo, regardless of subject, exhibits and elicits deep emotion. It is nearly impossible to just glance at Metzner’s photos; they beg to be studied. She says, “Photography in its most basic form is magic…This image, caught in my trap, my box of darkness, can live. It is eternal, immortal. The child in the image will not age as the living child will.” Sheila Schwartz was born in 1939 to an orthodox Jewish family in a poor section of Brooklyn. While attending the School of Industrial Art in Manhattan (now the High School of Art and Design), she was awarded the Mayor Robert F. Wagner scholarship to the college of her choice. She chose Pratt Institute, where she majored in visual communication. Her fondness for painting and sculpture also led her to study with abstract artists Jack Tworkov and James Brooks. After graduating in 1961, Sheila worked as an assistant to Lou Dorfsman at CBS Network Advertising. Five years later, she was hired by the Doyle Dane Bernbach advertising agency as its first female art director, and in 1968 she met and married director, creative director, and painter Jeffrey Metzner. While pregnant with their first child, she was riding in a cab with her mentor and friend, photographer Aaron Rose, discussing whether or not to give up her career in advertising. “He said, ‘You should be a photographer. You live like an artist. You have a good eye, you’d be good at it.’ ” Metzner started taking pictures, amassing them slowly over the next 13 years, while raising her and Jeffrey’s five children—Raven, Bega, Ruby, Stella and Louie. Jeffrey’s two daughters from a previous marriage, Evyan and Alison, were also a regular part of the family. “When they were really small, I’d be with them during the day, photographing and printing at night. At eight or nine in the evening, when they were all asleep, I’d take a shower to wake up and put on high heels and lipstick, which I wore then, to give me the feeling of being ready to work.” She continues, “My children never interfered. When I couldn’t travel because of them, I would find a place in upstate New York and call it Antarctica or Egypt. I found microcosms.” Nine years later, Metzner had accumulated a box of 22 pictures. One of them, a black-and-white photograph titled “Evyan, Kinderhook Creek,” caught the eye of John Szarkowski at the Museum of Modern Art, which he included in his famous and controversial exhibition “Mirrors and Windows: American Photography since 1960.” The New York Times art critic Hilton Kramer loved the picture and soon it became the dark-horse hit of the exhibition. Later that year, Metzner’s first solo show at the Daniel Wolf Gallery in New York drew record crowds. Metzner was now ready to work in color, but not just conventional color. Of her subjects, she once said, “If I use a rose, I want it to be the essential rose—the rose Beauty brought to her father from the Beast’s garden.” Now she aspired to an essential kind of color. “I wanted something that would last. I was looking for Fresson even though I didn’t know they existed.” The Fresson family works outside of Paris and specializes in a labor-intensive four-color “process de charbon” method, which they invented in 1895. Some prints can go up to seven colors, and are pigment prints, the only true archival color print. Metzner is one of just ten American photographers with whom they are willing to work. Fresson prints are the perfect complement to Metzner’s style—soft, sensuous, and grainy, the prints resemble paintings, with a finish which Metzner describes as “a glaze on fine porcelain. The moment I saw the neutral gray,” she adds, “I knew it was perfect.” In 1980 Metzner showed her Fresson color prints at her second solo exhibition at the Daniel Wolf Gallery. This show led to commissioned editorial work for such magazines as Vanity Fair, Vogue, and Rolling Stone. She secured an exclusive contract with Vogue for the next eight years. Metzner considers her portrait of actress Jeanne Moreau for Vanity Fair a turning point in her career. “It gave me a chance to show my work to a broader audience. I wasn’t just producing photographs for the art world.” Of Sheila’s foray into fashion, critic Carol Squiers says, “At a time when fashion photography was caught between sterility and the snapshot, Metzner created a sumptuous vision that stimulated the entire field.” Metzner also started doing commercial photography around this time. Her first client was Valentino, soon to be followed by Bloomingdale’s, Perry Ellis, Revlon, Shiseido, Saks Fifth Avenue, Paloma Picasso, Victoria’s Secret, Levi’s, Ralph Lauren, and fragrances for Chloe and Fendi (the Fendi campaign won a Fragrance Foundation Recognition Award). Her work also appeared on John Mellencamp...

Norman Parkinson Audrey Hepburn with Flowers 1955 60 x 40 inches Estate stamped and numbered edition of 21 on verso Posthumous Later Print Norman Parkinson, born in 1913 and passin...

Norman Parkinson 'Audrey Hepburn, Vogue' 1952 Silver gelatin print 36 x 36 inches Estate stamped and numbered on verso “The camera can be the most deadly weapon since the assassi...

Verbier View (1964) Limited Estate Stamped (Photo By Slim Aarons) Skiers admire the view across a valley of clouds. Verbier, 1964. Additional Information: Unframed Paper Size:...

Lola Albrights Penthouse, 1960 C print 20 x 16 inches Estate signature stamped and hand numbered edition of 150 American singer and actress Lola Albright (1924 - 2017) at Richard La...

Norman Parkinson Jerry Hall in Feathered Dior 1975 C print Estate stamped and numbered edition of 21 on verso Caption: Jerry Hall is photographed wearing a one-shouldered satin colu...

Norman Parkinson Wenda and Ostriches 1951 (printed later) C print 40 x 30 inches Estate stamped and numbered edition of 21 on verso Wenda Parkinson wearing knee-buttoned jeans and ...

'Teenage Kicks' C-type Limited Edition by Jamie Beeden, personal work. A portrait of a young girl at a club in Tufnell Park, London 2003. Jamie's body of work includes varied maga...

Faye Dunaway at the Beverly Hills Hotel, 1977 (printed later) C-print 60 x 60 inches Estate stamped edition of 50 with certificate of authenticity American actress Faye Dunaway take...

The Royal Family 1980's C print Estate stamped and numbered edition of 21 on verso A portrait of members of the British royal family; L-R: HR...

Susanna Boylston Bolton 1965 (printed later) C print Estate stamped and numbered edition 1 of 150 with Certificate of authenticity Caption: Susanna ‘Sukey’ Boylston Bolton, Newport...

Polo Prince 1985 C print 12 x 12 inches Estate stamped and numbered edition of 150 with Certificate of authenticity August 1985, Charles, Prince of Wales, after playing polo for th...

Marilyn Monroe (1926 - 1962), wearing a red negligee trimmed with black lace, sorts out her fan mail shortly after her film 'The Asphalt Jungle' had been rele...

Audrey Hepburn in the Pool 1966 (printed later) C-print 16 x 20 inches signed and numbered edition of 50 Actress Audrey Hepburn, swimming in the South of France during the filming ...

Tania Mallet 1960, Printed Later C print 20 x 20 inches Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Caption: Actress Tania Mall...

Norman Parkinson Antonio Lopez draws Jerry Hall 1975 C print Estate stamped and numbered edition of 21 on verso Caption: Antonio Lopez draws model Jerry Hall as she poses with a lif...

Norman Parkinson Wenda and Ostriches 1951 (printed later) C print 60 x 40 inches Estate stamped and numbered edition of 21 on verso with certificate from the Parkinson estate, print...

Audrey Hepburn Dove 1967 (printed later) C-Type Print 40 x 30 inches Posthumous Edition of 50: digitally signed and numbered on the front, estate-stamped on reverse. The print is a...

Norman Parkinson Jerry Hall , 1976 C print 16 x 12 inches each Estate stamped and numbered edition of 21 on verso American model Jerry Hall wearing a swimsuit by Martil and lipstick...

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 ...