Car Photography

Nadine Rovner orchestrates lush cinematic scenes, exploring a visual world of heightened tension, anticipation, anxiety, longing and desire. These carefully staged, richly textured e...

Skylark (Stranger than Paradise) - 1997 43x59cm, Edition 5/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature La...

The Fullers 1970 by Slim Aarons Slim Aarons Limited Estate Edition May 1970: Alvin and Lilly Fuller outside their new home in Palm Beach, Florida, pose with their fashionable Euro...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

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...

Lech Ice Bar 1960 by Slim Aarons Slim Aarons Limited Estate Edition The Ice Bar at the Hotel Krone in Lech, Austria, 1960. The mountain in the background is the Omershorn. unfram...

'Susanna' (Bombay Beach) - 2018 - Edition 1/10, 20x20cm, C-Print, Signature label and Certificate. Not mounted. About Tao Ruspoli (born 7 November 1975) is an Italian-American ...

Bryan Atkinson Marolf’s Archival Pigment Print Year: 2024 Visible Size: 7.5 x 9.5 inches Framed: 13 x 17 inches Signed: On Label COA provided *White frame with standard plex Bryan ...

U2 On Tour U2 in their tour van at Leeds University 1980 Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. Oversize 20×20 inche...

For years, Jahiel has been photographing the cowboys of the Great Basin–perhaps one of the most inhospitable regions of the already rugged West. These people represent one of the ...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

J. Gordon Douglas 1970 by Slim Aarons Slim Aarons Limited Estate Edition Mr. and Mrs. J Gordon Douglas in the formal gardens of their residence, Santa Barbara, California, USA, ci...

Nassau Speed Week 1963 by Slim Aarons Slim Aarons Limited Estate Edition Competitors in an assortment of vehicles at the 1963 Nassau Speed Week. unframed c type print printed 202...

American Legion on Flatbed Truck by Michael Ormerod is a 24" x 34" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the 2024 ...

Empty Town with post in Foreground by Michael Ormerod is a 24" x 34" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the 202...

'God is Love?', 2017, Edition of 7 plus 2 Artist Proofs Digital C-print, based on an original Polaroid, not mounted. Signed on the back and with certificat...

Amboy Road (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 1090...

Nassau, 1967: In 'Sea Drive,' a genuine Slim Aarons estate edition photograph, film producer Kevin McClory, his wife, Bobo Sigrist, and their family enjoy a leisurely drive in a vibrant red vintage Amphicar across the scenic turquoise Nassau harbour. This idyllic 1967 scene embodies Slim Aarons signature style, mixing casual glamour and vintage cool; the unique midcentury charm of this iconic landscape is completed with a pink parasol. This is an estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons Estate Edition Chromogenic Lambda print Modern printing from original transparency Captured 1964, printed later Certificate of Authenticity included Numbered and stamped by the Slim Aarons Estate Collector will receive the next number in the edition Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition We are pleased to offer the entire archive of the Slim Aarons Estate. This is a genuine Slim Aarons Estate photograph, estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Complimentary dealer shipping to your framer, worldwide. Kevin O'Donovan McClory (8 June 1924[1] – 20 November 2006) was an Irish screenwriter, film producer, and film director. McClory was best known for producing the James Bond film Thunderball, popular in the 60s and 70s. Internal: The location for Slim Aarons midcentury photograph, Sea Drive, is Vintage Nassau, which fits curated collections for Vintage Yachting, Vintage Boating, modern graphic, midcentury modern, Vintage Slim Aarons, Vintage Sport Photography...

Chauffeurs Feast by Arthur Steel Chauffeurs Feast – Twickenham rugby ground, London, 1976 Published Text (1967): The Car Park at Twickenham Rugby Ground The chauffeurs who bring ...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex- Composition from an assembly of 16 shots digitaly edited and made in 2012 The Spanish Steps (piazza di Spagna...

Bahamas Speed Week 1963 by Slim Aarons Slim Aarons Limited Estate Edition The Bahamas Speed Week in Nassau, 1963. unframed c type print printed 2023 20 ...

Donald Leas 1968 by Slim Aarons Slim Aarons Limited Estate Edition April 1968: Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Be...

Beverly Hills Hotel 1957 by Slim Aarons printed 2023 Slim Aarons Limited Estate Edition Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957 unfram...

Polo At Cowdray Park 1985 by Slim Aarons Slim Aarons Limited Estate Edition Three people sitting on a red Mercedes convertible watch polo players in ac...

Las Brisas 1972 by Slim Aarons Slim Aarons Limited Estate Edition A villa in Las Brisas, Acapulco, February 1972. unframed c type print printed 2023 20 × 16 inches - paper size ...

C Z And Friends 1955 by Slim Aarons Slim Aarons Limited Estate Edition American socialite Mrs. Winston F. C. Guest (aka C. Z. Guest, 1920 – 2003) with her personalized Ford Model ...

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...

My own private Travel Diary - Bishop, CA - Fellini and Trouble - 2001, 20x85cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature labe...

Harmony Motel (29 Palms, CA) - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper (matte) based on an expir...

A moment in time In 2021, a gallery from Brussels contacted us. There, a photographic collection had been kept in tin boxes for decades, consisting of 6x6 glass slides in color. Th...

Staying At The Carlton (1958) Limited Estate Stamped - Giant (Photo by Slim Aarons) Guests at the entrance to the Carlton Hotel, Cannes, France, 1958. Additional Information: ...

One of the photographers at Mauritius Publishing based in Berlin was Karl Heinrich Lämmel. Born on 30 July 1910 in Riesa, Saxony, he has been missing since April 1945. In the thirtie...

pink cadillac by Frank Schott 40 x 32 inches ( 132 x 81cm ) edition of 25 signed 60 x 48 inches ( 152 x 122 cm ) edition of 7 signed 72.5 x 58 inche...

'Model T and Garage' was taken in the small historic town of Daggett in the Mojave Desert on Route 66. This artwork is part of Richard Heeps' 'Dream in Colour' series, which document...

"Flooded Road" by J. A. Hampton A pedestrian attempts to leap across a flooded road near Hyde Park in London, 3rd August 1939. Unframed Paper Size: 40"x 30'' (inches) Printed 2022 ...

Black and white fine art landscape photography. 1967 Plymouth classic car in front of a motel on route 66, USA. Archival pigment ink print as part of a limited edition of 9. All Ger...

Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited ed...

Parked In Paris from the Paris In Colour Series 1956-61 By Peter Cornelius 40 x 60 inches / 101 x 152 cm paper size Printed 2022 Archival pigment print Framing and size options available - Please enquire About: Peter Cornelius (1913–1970) was a German photographer and photojournalist. The goal he set himself was to capture: “the right colours at the right moment”. He was never concerned with a pure, apparently “right” picture of “reality”. After World War II, he began his career with reportage, landscape and sailing photography...

Paris Nights II from the Paris In Colour Series 1956-61 By Peter Cornelius 30 x 20 inches / 76 x 51 cm paper size Printed 2022 Archival pigment print Framing and size options avai...

The Royal Ascot Car Park Picnic England 1985 by Homer Sykes oversize 60x40 inches / 152 x 101 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Note Other sizes available Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

Black and White Fine Art panorama landscape - cityscape photography. Belvedere palace with water fountain during a storm with dark skies, Vienna, Aust...

David Pugh Pink City I Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum quality for highest age resi...

Shirley Harryman King Pteranodon Archival Pigment Print Year: 2024 Visible Size: 11 x 11 inches Framed: 20.5 x 20.5 inches Signed: On Label COA provided *White gallery frame with st...

Tom Thumb Special, captured in the iconic home of speed, Bonneville Salt Flats. The powerful, this iconic Ford Coupe Land Speed Racing Car, sits in the foreg...

Edition of 10 A female model is sitting in the front of an old classic Cadillac. Fashion and fine art embrace each other in the photography of Jacques Olivar (b. 1941), where the m...

Hobo on Bowery Street by Rollercoaster by Michael Ormerod is an 8" x 10" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the...

Photographed in 2001 but just released, printed by Richard in his darkroom for the first time last year. This cinematic photograph featuring a vintage yellow chevy parked up at an Am...

Empty Town with Post in Foreground by Michael Ormerod is an 8" x 10" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the 202...

The photographers note regarding this work is "With the Ford V8 on a wet street, Germany 1930s." This work comes to you as a new Fine Art Print on Hahnemühle William Turner, careful...

Brighton 27 - Platinum palladium on vellum with silver leafs Signed and numbered edition of 8 plus 2 AP with certificate of authenticity, unframed. The rarity of this type of p...

Buick in the Dust, features an American Car, on a British Beach (Hemsby, Norfolk) driven by a German. Richard spent years honing his skills as a drag racing photographer, a sport he ...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, and the USSR in the 1960s.In the invitation to an exhibition of her works in 2003, one reads: "Hanna Seidel, observing the world through her camera lens, could capture everyday situtations in a unique manner."A touring exhibition containing 100 selected photographs entitled "From Rio Grande to Cape Horn" was organised by the Commerzbank and Lufthansa in 1965 and had its opening in the Cologne branch of the bank, Unter Sachsenhausen. At the time, the press described the works as being of "enchanting beauty and dignity."The exhibition of 1965 was curated by Hanna Seidel. Vintageprints offered for collectors come from this selection, each work is unique and exists only once, created as a unique print for the exhibition. Title: Panama, Ship...

'Cafè Cars' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Taxis outside a cafe in Tegucigalpa, Honduras, Central America, 1981. Paper size : 40x30 inches / 101...

Almost daily between 1993 and 2004, Alejandro Cartagena would commute on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family’s restaurant, he...

Winged I (Bombay Bay all Day), 2019, 19x25cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, based on an original Polaroid, not mounted. Signed on the back and with certificate. ...

Old Days - Gas Station - Camping is a vintage photograph realized in the Mid 20th Century.  The photo belongs to Albumen of historical painting, photographs, meticulously captured. ...

Elegant Daywear (1957) - Limited Estate Stamped - Silver Gelatin Fibre Print (Photo By Popperfoto/Getty Images Archive) A young woman modelling an outfit consisting of a three-qu...

Walter Rudolph His photographs are reminiscent of the jet-set photographer Slim Aarons. Walter Rudolph discovered the world as a photographer on the idea, travel was his passion, hi...

Artwork # 1 on 5 sold in perfect condition Limited Edition of 5 + 2 AP : Fiat Lux. Religiously parked under the watchful gaze of the Blessed Virgin, the ca...

Juan Manuel Fangio (1955) - Silver Gelatin Fibre Print (Photo by Evening Standard/Getty Images) Argentinian racing driver Juan Manuel Fangio in a...