Contemporary Photography

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism Topiary I...

Portrait of Andy Warhol, 1986 by Christopher Makos is an 10 x 8in vintage gelatin silver print on fiber paper. The photograph is stamped (in black ink) on verso (photo back). Provenance: Private Collector *** Artist’s Bio: Christopher Makos (1948- ) is an American photographer and visual artist. He studied architecture in Paris and was an apprentice to Man Ray. Andy Warhol was Makos' good friend and frequent portrait subject. His photographs of Andy Warhol have been exhibited in galleries and museums, including the Guggenheim Museum in Bilbao,Tate Modern in London, Whitney Museum of American Art in New York, IVAM in Valencia (Spain), Reina Sofia Museum in Madrid, among others. Makos’ pictures have appeared in publications, including Paris Match and the Wall Street Journal. The visual artist is the author of numerous books, such as Warhol/Makos In Context (2007), Andy Warhol China...

This is a black and white photograph by Bob Mizer depicting a young and handsome nude Forrester Millard at age 21. Forrester Millard, Age 21 1947 Vintage silver print 9.5 x 7.5 in...

Black and white action shot of actor James Dean on the set of Giant, covered in mud, and laughing. Giant is a 1956 American epic Western drama film directed by George Stevens, from ...

Medieval is a limited-edition photograph by British contemporary artist Gina Soden. This photograph is sold unframed as a print only. It is available in 2 dimensions: *80.2 × 80.2 c...

Sepia Color Archival Pigment print 36 x 24 in. Ed of 10 Unframed Channeling the energy of “water-signs” in astrology, he captures these mysterious men through a romantic lens. The b...

Edition 10 Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Portrait of actress and singer Grace Jones wearing a fur cap. From personality portraits and advertising campaig...

Tom Sullam Photography Flight II is a print of different planes flying in different directions. The picture is in negative (black) colours with the majority of the picture being da...

Passionate, sensitive and an eye for detail, light and color, this is the working method of Dutch photographer Ursula van de Bunte (1969). She is a...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Touching) 2021 Fibre-based silver gelatin print Sheet 90 x 60 cm (35 3/8 x 23 5/8 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 Print only Touc...

In October 1968 as seen from the Apollo 7 spacecraft during its 91st revolution of the earth from an altitude of 99 nautical miles, photographed is Hurricane Gladys in the Gulf of Mexico...

Our gallery has one of the most extensive New York City photography, due to our abiding love for the city. We present the work of different photographers, some of whom are emerging t...

"Fertile Grounds" Nude Photography 40" x 32" in Ed. 1/3 by Aaron Mcpolin Medium: Archival Giclee Print Available sizes: Edition of 15 20 x 16 inch Edition of 7 30 x 24 inch Edition...

Babysitter, 2006 by Julie Blackmon is from her ongoing series Domestic Vacations. The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refe...

Hurt (get up for your rights) - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signed on the back and with certificate. Artist...

New as of Jan. 1, 2025. This is a brand-new addition to the artist's ever-growing series of foggy woods in northern California near San Francisco. These tall eucalyptus trees are the...

Edition of 7 more sizes on request A Cheetah is lying on a termite hat and looks for prey. Joachim Schmeisser is represented by leading Galleries worldwide. His photographs are amo...

"Amas Luna Storm II" (FRAMED) Photography 60" x 40" in Ed. 1/3 by Aaron Mcpolin Archival Giclee Print & Museum Framed Size framed: 61.5" x 41.5" in OTHER SIZES AVAILABLE: Edition o...

'Orange Poppies' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these limited ...

A portrait of Helen Frankenthaler (1925-2011) in her studio in New York. Glinn captures the celebrated artist, Frankenthaler, in the process of making art - surrounded by paint, mate...

Signed large scale original framed photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a ...

Ashtray Heart - 2019 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Not mounted. Signed on the back and with certificate. Artist inventory PL...

Memories of Love II (The Girl Behind the White Picket Fence), 2013 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by S...

Men and Boots, 2017 - 2018 Archival Pigment print Size: 60 x 40 in. Ed of 6 unframed Channeling the energy of “water-signs” in astrology, he captures these mysterious men through a ...

'Wonderland' (Bombay all Day) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, not mounted. Signed on the back and with certificate. A...

Edition of 10 Portrait of the young Monica Bellucci. Fashion and fine art embrace each other in the photography of Jacques Olivar (b. 1941), where th...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Breeze - 2024 - 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-039. Not mount...

Flora 14 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. Photography duo Tortora & Travezan create vibrant po...

In 1834, William Henry Fox Talbot (1800–1877) saw that silver salts darkened in the sun and invented a photographic process he called “photogenic drawing” — in which images were made...

When Lawrence Schiller got the assignment from the French magazine Paris Match to photograph Marilyn Monroe on the 20th century Fox set of Something’s Got To Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

"Horatio Street, NYC" is a framed photograph on aluminum by Xan Padron, depicting a compilation of walking figures set against a brown/grey architectural background in NYC. Padron's ...

If you ever - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2020-857. N...

"Velum" Black & White Photography 39" x 31" in Ed. of 7 by Kseniya Vashchenko Not framed. Ships rolled in tube. Available sizes: Edition of 15: 29.5" x 24" in Edition of 7: 39" ...

Rebecca Skinner’s “Forbode” is a 18 x 12 inch black and white interior photograph of a corridor in an abandoned building. Chairs line the wall on the left as if in waiting. Open door...

Handcuffed, New York City, 1978 is a 14" x 11" black and white lifetime print by Leonard Freed. Signed verso (back of photo) by Leonard Freed, with Freed's copyright stamp also verso, the image appears in Leonard Freed's seminal book "Police Work," published in 1980. For several years in the 1970s Leonard Freed worked alongside the New York police...

In this evocative underwater photograph, a crimson dress billows like a delicate flower petal beneath the surface, creating a powerful contrast against a serene aqua backdrop. The mi...

Runaway Lovers (Till Death do us Part) - 2005, 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9373...

These are two separate 11 x 8.5 inch (45 x 60 cm) original hand-printed original cyanotype photographs sold together. Cyanotypes are an antique photographic process dating back to t...

"Euphoria" Nude Photography Edition of 25 36 x 24 inch by Yevgeniy Repiashenko "Euphoria" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 24" inch * * * NOT framed - ships in a tube * * * This is an archival pigment print on photo paper with 1" float border (not included in listed image dimensions). Prints are signed and numbered by the artist on verso and come with a certificate of authenticity. ABOUT THE ARTIST Yevgeniy Repiashenko is a well-versed photographer working in such genres as dynamic dance and sculpture, portrait, and fashion...

In this contemporary, hyper-detailed archival pigment print on watercolor paper, a yellow moth with light brown and reddish coral markings is dramatic against a clean, solid white ba...

Andy Warhol with Keith Haring, 1983 by Christopher Makos is an 8 x 10in vintage gelatin silver print on fiber paper of downtown New York celebrity artists Andy Warhol and Keith Haring. The photograph is stamped (black ink) on verso (photo back). Provenance: Private Collector *** Artist’s Bio: Christopher Makos (1948- ) is an American photographer and visual artist. He studied architecture in Paris and was an apprentice to Man Ray. Andy Warhol was Makos' good friend and frequent portrait subject. His photographs of Andy Warhol have been exhibited in galleries and museums, including the Guggenheim Museum in Bilbao,Tate Modern in London, Whitney Museum of American Art in New York, IVAM in Valencia (Spain), Reina Sofia Museum in Madrid, among others. Makos’ pictures have appeared in publications, including Paris Match and the Wall Street Journal. The visual artist is the author of numerous books, such as Warhol/Makos In Context (2007), Andy Warhol China...

A beach day is a black and white vintage photo, realized in Mid-20th century. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments,...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Deco District to the modern skyline of our days. Stripes, circles, squares, and reflections show only some details of important buildings but they all have the power to raise emotions and unexpected shapes and volumes inside us. A final touch is reserved for nature skin from the ocean to the tropical vegetation. You need now to make an effort of imagination to discover and compose all pictures and eventually frame it in your own mind. Artioli captures beauty through his camera, creating artistic, painterly images by intentionally moving the camera during long exposures. These images represent 'the impression' of a world in constant movement. From Miami Skin Series Miami Beach Art Deco...

Rita Hayworth was an American actress and dancer. She achieved fame during the 1940s as one of the era's top stars, appearing in a total of 61 films over 37 years. The press coined t...

An underwater photo of a naked young woman wrapped in air bubbles. The photograph depicts only her body, the face is not visible. A very bright eye catching artwork. The pool was f...

Black and white studio portrait of Ginger Rogers in a fur coat, circa 1953. Ginger Rogers was an American actress, dancer and singer during the Golden Age of Hollywood. She won an A...

Underwater black and white (sepia) photograph of a young woman in tule scarf - with distorted reflection of her body in the water surface. Original gallery quality archival pigment ...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

Lose yourself - 2021 40x50cm, Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2009. Not mou...

GL 09-23 is a limited-edition photograph by French contemporary artist Riccardo Varini. This photograph is sold unframed as a print only. It is available in only one size: *45 × 30...

Edition of 25 signed and numbered by the artist An employee of a transportation company is unloading mannequins and grabs a mannequin's crotch. JJK is a pseudonym for one of the wo...

All That Glitters is Golden, from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal...

Dahlia 8 is a rich and luxurious Archival Inkjet Print by contemporary photographer Philip Gatward. It is available in this size of 32" x 38" from a Limited Edition of 10. Gatwar...

"Drift 9" Landscape Photography 30" x 40" Edition 1/5 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of th...

Stunning image of Marilyn Monroe posed pinup style in a high-slit dress. This listing is for a limited edition archival print. What's included: - Limited Edition Archival Print - N...

Fairy Forest Study 1, Portugal - no. 21299 Printed on Hahnemuehle Photo Rag Baryta. Each print is stamped on the back and signed, numbered and accompanied by a letter of authentic...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Black and white studio capture of Marlene Dietrich posed in a long fur coat. In 1920s Berlin, Dietrich performed on the stage and in silent films. Her performance as Lola Lola in Jo...

Orange Flowered Couch at Sunset (29 Palms, CA) - 1999 Edition 1/10, 20x20cm, Archival C-Print, based on a Polaroid Artist inventory Number 19762 Not mounted. Stefanie Schneider:...