Tree Photography

Photographed by Richard Heeps in Bombay Beach, Salton Sea, California. The combination of the suns rays intersecting the horizon, and the silhouette of the tree unexpectedly rising o...

Archival pigment print

"Bear Duet" British Columbia, Canada, 2019 Available sizes: 20 x 30 in / Edition of 6 - $6,500 32 x 48 in / Edition of 6 - $9,500 40 x 60 in / Edition of 6 - $12,500 50 x 75 in / E...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...

Roots - 2017 Edition of 7. Archival Print, based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2017-151.

Jolynne Martinez Leaves Archival Pigment Print Year: 2024 Visible Size: 11 x 17 inches Framed: 15.25 x 21.25 x 1 inches Signed: On Label COA provided *Ready to hang; matted and fram...

After (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 18799. Signature label and Certi...

The silhouette of a large scale cactus, dressed in twinkle lights, set against an ombre sunrise sky. Photographed by Richard Heeps in the Arizona desert, for his 'Dream in Colour' se...

What began as a pretext to exercise MIguel Wynograd's gaze, little by little became a meditation on different intertwined temporalities. The superposition of very ancient times with ...

Between the Trees 13, 2014 - Misty and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees 13 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, ...

Roadsign and Field is a Photographic Color Print on Hahnemuhle Paper in an Edition of 20 in this size of 20" x 24". Michael Ormerod was a British photographer with a distinct and po...

Silver Gelatine Print by Erich Andres, ca 1960. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

It doesn’t matter if it’s Bermuda, Hawaii or Costa Rica, if there are palm trees and crystal clear water you’re daydreaming of hopping on the next flight out. However, your daily lif...

This late 1980s landscape photograph, captured by society photographer Slim Aarons, features holidaymakers at a beach near Portinatx, Ibiza, Spain. This is an estate stamped and han...

Knit One, Pearl One 5, 2011 - Autumnal Leaves and Trees in English Woodland by Ellie Davies Knit One, Pearl One 5 is a stunning Digital C-Type Print on Fuji Maxima Matte paper avail...

The artist explores the intersection between submission and domination with this set of photographs.For this series the artist explores the moment when nature in animal form intertwi...

Mesmerizing large format photograph of ethereal floral surface and horizon , a body of works capturing the tactile surfaces and monochromatic nature and cloudscapes Blue Hour (2021)...

"Rushing Waters" The velvet water rushes onwards, leading the eye to the backdrop of Yosemite's most prestigious landmark; El Capitan. This is an award-winning image. These lim...

A waterfall hidden from plain sight in a canyon tucked away in the American West The American West is home to more beauty than one can ever comprehend Explore the National Parks an...

The artist looks for a path between tangled branches. Reconfiguring a personal archive of diverse Colombian landscapes, experimenting with a variety of printing materials to reconstr...

ABOUT THIS ARTIST: Tom Fabia is a french artist living in the south of France. His parents are both artists and he chose to follow their lead. Tom's focus as a photographer is mainly...

Into Eternity (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 893. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. 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 registered no seismic activity. Dustbowl 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 pictures. Happiness brimmed in that wild terrain. Maybe things were beginning 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 abolish concepts that orient us, cause and effect, time, plot, and storyline, 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 acknowledges 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 glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

The Valley - (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1233. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Published in: WASTELANDS, published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007), Stranger Than Paradise, Scott White Contemporary, San Diego, (S) (2012) 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 registered 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...

Created during the year 1961 & printed later for the collection "Art 2014", format 42 x 60 cm. SERIES OF 5 PRINTS + 2 AP Artwork sold in perfect condition During the 15 year period i...

Last Season II - so I walked away from my Valley (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist invento...

Untitled 20 & 21, 2021 by Salvatore Arnone From Paranoia series Digital print on Hahnemuhle Photo Rag Ultra Smooth Overall size: 50 in. H x 70 in. W Image size: 50 in. H x 35 in. W...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibso...

Artful, ephemeral capture of snow on trees which will disappear with the sun These trees appear to be painted in thick stripes with the first snowfall of the season in Grand Teton N...

Miguel Winograd's work explores the relationship between people and their environment, narratives of social conflict, and the dense interconnections of...

Holidaymakers in sun loungers on the slopes at at Gstaad, Switzerland, March 1961. Slim Aarons Lounging in Gstaad Chromogenic Lambda print Printed Later Slim Aarons Estate Edition ...

A Rainy Day (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Art...

Fallen Tree by Monica Denevan Photography, Silver Gelatin Print, 2006 Monica Denevan studied photography at San Francisco State University. She has travelled extensively in Burm...

This is an archival pigment photograph by artist Paul Cava depicting a highly detailed autumn leaf in a minimalist arrangement on a textured background. It is printed on Hahnemuhle P...

Angie Jennings Mystery Woods - Mailbox Archival Pigment Print Year: 2024 Visible Size: 7 x 9 inches Framed: 12 x 15 x 1 inches Signed: On Label COA provided *Black frame with standa...

High Desert (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Numbe...

Smoke and Mirrors 5, 2010 - Forest Scenery in Natural Woodland Landscape by Ellie Davies Smoke and Mirrors 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte ...

Vintage, Montage, signed, Number 1977/2

White Copse, Study 4, Wakkanai, Hokkaido, Japan is a black and white (silver gelatin) photograph by Michael Kenna. Michael Kenna is a master of contemporary photography. Known for c...

This is a framed archival pigment photograph by artist Paul Cava depicting a highly detailed autumn leaf in a minimalist arrangement on a textured background. It is printed on Hahnem...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a...

Fairytale in Black and White, 2017, Edition 1/7 plus 2 Artist Proof. Digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL...

In 2015 I visited many ancient olive groves in Italy. The Province of Lecce is known for having the oldest trees. The groves, only accessible by stone paths or mule tracks, give a se...

'Last Light' Limited Edition Archival Photograph. Hand signed and numbered. Unframed. _________________ Dusk throws on her spotlights, casting deep silhouettes and revealing rich la...

In The Range Of Light I (Wastelands) - 2003 Edition 3/5 , 57x56cm. analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventor...

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2017 Edition 1/15 *Should you wish the photograph to be printed ...

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2017 Edition 1/15 *Should you wish the photograph to be printed ...

Black and white fine art landscape photography. Giant redwood tree in Sequoia National Park in California, USA. Archival pigment ink print as part of a limited edition of 20. All Ger...

Available Sizes: 11" x 14" $6,000.00 Edition of 25 + 5 AP 16" x 20" $8,000.00 Edition of 20 + 4 AP 20" x 24" $10,000.00 Edition of 20 + 4 AP 30" x 40" $16,500.00 Edition of ...

Signed, titled, dated, numbered, stamped by artist Gelatin Silver Print Edition of 45

Signed, numbered and titled on recto. Signed, titled, stamped on verso. Gelatin Silver Print Edition of 25

Signed, titled, dated, numbered, stamped by artist Gelatin Silver Print Edition of 45

Signed, dated and numbered in pencil on mount recto. Signed, titled, dated and numbered in pencil on mount verso with artist's copyright stamp Gelatin silver print Edition of 45

Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carnivorous plants. "The poetic sensibility of nature seems to h...

Amidst a dense, unyielding forest, twisted branches reach out like silent expressions of resilience. The Baltic pine, shaped by time and the elements, bends but does not break, adapting with a quiet defiance. Even in a harsh and limiting environment, where the sky is veiled in mist and the trees stand in rigid order, nature carves its own path—unruly, untamed, and free. The gnarled limbs, stretching in unpredictable directions, embody an organic rebellion, proving that even within constraint, there is movement, there is voice, there is becoming. Freedom is not the absence of boundaries, but the refusal to be defined by them. Limited edition of 20 Photographed in Lithuania, Giruliai forest using a 4x5 large format camera...

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...

Taormina is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. The photo depicts the beautiful city of Taormina, one of the most beautiful and...

'Presence' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Serenity of the morning, captured in the peace and tranquility of a Californian pastoral landsc...

Signed, dated and numbered in pencil on recto. Signed, dated, numbered and titled in pencil with artist's copyright stamp on verso Gelatin Silver Print Edition of 45

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. This Googie sign photograph captures the iconic and memorable Space Age Lodge, in Gila Bend, Arizona. This artwork is a limited edition of 25 gloss photographic print, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame fitted with anti-reflective UV70% glass, signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. This artwork is available in other sizes and pairs well with Richard's other artworks so be sure to look at our 1stdibs store to see more of his work. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival products – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

"Line of Trees in Snowy Field" is a black & white landscape photograph measuring 24x36" unframed. All of Rick's photographs are printed on Hahnemühle Fine Art Paper using archival pigment-based inks. There are other edition sizes available, namely 11x17" and 6.5x10". Photographs are rolled carefully and shipped in a tube. Framing is optional and quoted separately. Trips north of Toronto are required to get large expansive fields of fresh, untrodden snow. This image was taken at a hillside intersection near the town of Caledon, Ontario. What attracted Rick to this view was the curved lines at the base of the trees and the snowy field. Rick Bogacz...