Bed Art

Intriguing and Unusual Imagery Name: Intriguing and Unusual Imagery Year: 1984 Venues West Bend Gallery of Fine Arts Susan Potts is a Wisconsin-based ar...

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...

P.T.S.D. (Post Trump Series of Drawings) The 87 satirical drawings displayed here are from a series that were produced one per week since November 9, 2016 (one day after the U.S. pr...

1961: Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Ma...

1961: Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Masterson in the Bond film 'Go...

14" x 11" Unframed 1/15 Archival Giclee Print Hand Signed by Alice Zilberberg "The Death of “Happily Ever After” is a dark reimagining of Disney’s fairy tales. These stories were o...

Tania Mallet Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Masterson in the Bond...

France, Paris, 1952 - Elliott Erwitt (Black and White Photography) Signed, inscribed with title and dated on accompanying artist’s label Silver gelatin print, printed later Availabl...

Gelatin silver print Signed and numbered, verso 14 x 11 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. In Close Relations, noted p...

Archival pigment print Signed, titled, dated, and numbered on label, verso 11 x 11 inches (Edition of 7) 15 x 15 inches (Edition of 5) This photograph is offered by ClampArt, locat...

Gouache on paper - 72 x 102 x 3 cm

Cuban mahogany with hand tint by Tennessee sculptor Brad Sells. Sells explores the relationship between man and tree in his sculptural woodwork. He approaches each piece with a stron...

32 X 40 inch gelatin silver print, edition 10 Framed to 42 x 49.75 inches, in white frame Signed, titled, dated and editioned on label verso. OTHER SIZES AVAILABLE - PLEASE INQUIRE. ...

Ink on paper Edition of 60

Nicolas Ruel has been working, for the last several years, on an ambitious body of work, 8 seconds, where he attempts to revisit the image of the world’s greatest cities. From Elemen...

Rebecca Skinner’s “Over” was photographed in an abandoned mansion in the Catskill Mountains of New York. Two pillows remain on the bed as if someone has just left this vacant home. T...

Rebecca Skinner’s “Exhausted” is a 24 x 36 inch metal print and is part of her “Transient” series. The color photograph of a bedroom in an abandoned home gives the viewer a sense of ...

Oil on canvas Hiromi Sengoku is a Japanese artist born in 1982 who lives and works in London, UK. Since 2008, she participated regularly to solo exhibitions in Japan and participate...

Cody Choi. Self portrait #10 - 30x40". is a self portrait during the time I shoot a commercial for Betfair in Latvia. This work will be sold with a signed certificate of authenticity. Photo size- 30″x40″. Additional information: Photographic Paper, Photograph 30 H x 40 W x 0.5 D cm (11.81 x 15.75 x 0.20 in) Sold unframed Image size: Height: 30cm (11.81 in) Width: 40cm (15.75 in) Complete size of unframed painting Height: 30cm (11.81 in) Width: 40cm (15.75 in) Depth: 0.5cm (0.20 in) Please note that insitu images are purely an indication of how a piece may look Artist BIO: Discover new art works by artist Cody Choi "Follow not only the movement but breathe with the dancers" is Cody Choi's approach to his dance photography. Cody Choi's photography journey started as he toured and danced around the world with Matthew Bourne’s Swan Lake for 3 years. Capturing different places, theatres and fellow dancers whom he went on the road with filled his days. As an experienced professional choreographer and dancer whose work have been performed in the Linbury Theatre at the Royal Opera House, The Place, Adidas, LG, World Dance Alliance, Greenwich Dance in London and other major venues across Europe and Asia. He also worked as a feature dancer for two Hollywood Movie – 47 Ronin (2013) and Walking on Sunshine (summer 2014). Cody’s photography demonstrates his acumen in dance and photography by being able to immerse himself into intimate visual dialogues with the dancers and their relationship do not stop at the movements but extends to the dancers’ ability, state of mind and emotions. Expect Cody to move about when he’s doing a shoot. He has been invited to host his solo exhibition at The Camera Club – one of the longest standing camera club in the world founded in 1885. Cody has exhibited/ shooted for Ben Sherman, The Other Art Fair, Urban Art Fair, Hong Kong Dance Alliance, Airwick, Beyond Repair Dance, The Place Theatre, Peacock Theatre London.

"I see my work as an opportunity to delve into a groove that transcends my existence. The chosen groove is painting. To move through it and remain open to the unexpected, the unknown...

Actress Eden Hartford, sister to Dee, in the Hollywood home she shared with her husband, comedian Groucho Marx. Slim Aarons Eden Hartford Black and White Photography Slim Aarons Est...

11" x 14" Unframed Open Edition Inquire for 8 x 10 Open Edition

1961: Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Masterson in the Bond film 'Go...

14" x 11" Unframed Archival Giclee Print Hand Signed by Alice Zilberberg "The Death of “Happily Ever After” is a dark reimagining of Disney’s fairy tales. These stories were origin...

Black and white original photography by Cyrille Druart. Edition: I/VIII Dimensions: 90 x 60 cm Signed and numbered Cyrille Druart is a French photograph and architect, a book abo...

Its a great pleasure to watch yourself make love, 1971 Gelatin silver print, 14 x 11 in. Signed, artist stamp, and numbered. Bill Owens was born and raised in California. After volu...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

8 x 10 inch (image size) gelatin silver contact print, on 11 x 14 inch sheet Edition 10. Signed and stamped on verso. Toshio Shibata is one of Japan's leading landscape photogr...

Dominique TEUFEN (*1975, Switzerland) Sunrise, 2018 From the series „MY TRAVELS THROUGH THE WORLD ON MY COPY MACHINE” Hahnemühle Fine Art Baryta Sheet 60 x 90 cm (23 5/8 x 35 3/8 in....

Photograph is lambda c-printed on acryl glass. Edition 8 plus 2 AP's. Other versions f.i. behind dibond on request; everything is possible. Artwork comes with an international certif...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

Slim Aarons Eden Hartford 1954 (printed later) Silver gelatin print estate signature stamped edition of 150 with certificate of authenticity Actress Eden Hartford, sister to Dee, i...

Slim Aarons Tania Mallet 1961 C print Estate signature stamped edition of 150 with certificate of authenticity. 1961: Actress Tania Mallet relaxes on a ...

Oil on canvas

Balthasar BURKHARD (1944–2010, Switzerland) Bernina 20, 2003 Silver gelatin print on Baryta paper, artist's iron frame, museum glass Sheet 145,6 x 9...

Oil on canvas Canvas size: 16 x 28 inches Framed size: 21 x 33 inches Signed lower left

C-Type Print behind UV Perspex, framed in Ash 42.4 x 100.1 cm 16 3/4 x 39 3/8 in. Edition of 10 (#2/10) ----------- While Lottie Davies' work takes inspiration from Old Masters such ...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a positive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

11" x 14" Unframed Open Edition Inquire for 8 x 10 Open Edition

My artistic photographic work started at the end of the 70’s. Since the beginning my art has been focused on obtaining a three dimensional experience from otherwise two dimensional i...

Jenny Day is a painter who divides her time between Santa Fe, New Mexico and Tucson, Arizona. She paints a fragmented space, examining human demand and the effects of environmental d...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x...

Work comes with a Certificate of Provenance issued by Christie’s. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation num...

24"x 30" photograph, edition of 5, signed on reverse This photograph taken at Greystone Park Hospital shows an old single bed that has been abandoned. The bed has been decayed to the point of simply being a decayed bed frame and piled wooden bed boards...

Dominique TEUFEN (*1975, Switzerland) Desertrocks, 2015 From the series „Sterne? Kopierter Staub” Hanemühle Fine Art Baryta Sheet 40 x 60 cm (15 3/4 x 23 5/8 in.) Edition of 5, plus ...

Dominique TEUFEN (*1975, Switzerland) Above, 2018 From the series „Sterne? Kopierter Staub” Hanemühle Fine Art Baryta Sheet 80 x 120 cm (31 1/2 x 47 1/4 in.) Edition of 5, plus 2 AP;...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Platinum Palladium Print. Signed by the photographer on the verso

Signed by the photographer on the verso

Harry Benson's photographs capture some of the most iconic moments and personalities of the 20th century, from his intimate shots of The Beatles to his powerful images of political a...

On the set of the film ‘Brass Target’ in Switzerland, 1978. Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate. 20" x 16" - Edition of 50 + 10 ...

Edition of 15 Signed by the photographer on the verso

Signed by the photographer on the verso

This color photograph by Larry Sultan is offered by CLAMP in New York City. Child’s Bedroom 2001 Chromogenic print (Edition of 10) 20 x 24 inches, sheet 18 x 22.5 inches, image C...

Erik MADIGAN HECK (*1983, United States) Not Titled Yet, tbd Chromogenic print Sheet 152.4 x 113 cm (60 x 44 1/2 in.) Edition of 9 plus 2 artist's proofs (#1/9) print only Originall...

Gelatin silver print 11 x 14 inches; signed in pencil on recto