Missouri - Photography

Nick Vedros Ducati Girl Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2012 Size: 16x10in Edition: 15 Signed, dated and number...

Lord Fauntleroy Nash (Americana, Rusty, Classic Cruiser, Retro, Timeless) 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 in...

Peter Wegner works in multiple media, ranging from paintings and photography to large-scale installations and wall works. His pieces are included in major public and private collecti...

David Pugh Untitled 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 resista...

Jack Hayhow "Union Station Skyline" Archival Pigment Print on fine Paper Year: 2020 Size: 16x24 inches Edition: 25 Signed by hand on label COA provided ...

Nick Vedros Montana Man Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA provided...

Sally Mann Larry Shaving, 1991 Gelatin silver print Framed Dimensions: 25.75 x 29.67 inches (65.4 x 75.4 cm) Image Dimensions: 18 x 22.3 inches (45.7 x 56.6 cm) Edition 3/25

Anna Archinger The Far Away Princess (Equine Art, Horse, Marwari, India, Rare Breed) Archival Pigment Print on Canson® Infinity Platine Fibre Rag Year: 2025 Image Size: 11.7 x 8.3 x ...

Lord Fauntleroy Melanie Sherman 240522-133 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame wit...

Heather Hollis Devils Tower National Park Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2019 Size: 12 x 8.7 inches (30.48 x 22.09 cm) Edition: 15 Signed on label (to be a...

Nick Cave Soundsuit #6 Year: 2010 Archival Pigment Print on Premium Rag Size: 17 x 12 in. Edition: 200 Signed by hand on label COA provided Ref.: 924802-2069 Tags: #NickCave #Missou...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Irving Penn Title: Untitled (Lisa Fonssagrives-Penn) Medium: Glossy, fibre based paper Date: New York, circa 1949 Dimensions: 11 x 14 inches Stamped ...

Lord Fauntleroy ILL 1408-08-161 Pigment Print Year: 2014 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with stand...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------------------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveller through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations , but which lend themselves to his own work. In a similar way he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypcal and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylised, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing, and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modelled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys; and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights and soldiers. In the case of monsters, mythical creatures and robots, it is more about creating visions of the future and parallel worlds. Certainly since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This of course can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Nick Vedros Collapsing Barn Oregon Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped ...

Michael Mardikes Benton on the Couch (Thomas Hart Benton Plate #28) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Size: 19x13.5 in Paper Size: 22x17 in Edition: 10 (9 Mon...

Lord Fauntleroy Ahmedabad 151209-566 Pigment Print Year: 2015 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with...

Lord Fauntleroy Cali 180722-125 Pigment Print Year: 2018 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with standard ...

Lord Fauntleroy Ahmedabad 151209-411 Pigment Print Year: 2015 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with...

Lord Fauntleroy Melanie Sherman 240522-44 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with...

Jack Hayhow Title: Kansas City Icons Photographic Print on fine Paper Year: 2020 Size: 16x24 inches Description: Available in multiple sizes - please inqu...

David Pugh Chinatown NYC 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 re...

Jeffrey Tamblyn Rhythm Bar Medium: Digital Photography Year: 2021 Size: 16x20 in Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 924802-937 Brightly colo...

Jeffrey Tamblyn Sturdy Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 7.3x10 inches Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 9248...

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

David Pugh Disco Atlas 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...

Nick Vedros Brooklyn Bridge 1875 Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2001 Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA ...

Jack Hayhow Title: Blue Swallow Photographic Print on fine Paper Year: 2020 Size: 24x30 inches Description: Available in multiple sizes - please inquiry within Edition: 25 Signed b...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Elise Gagliardi Summer II Medium: Photography Year: 2021 Size: 8 x 10 inches (other sizes available upon request) Edition size: 25 Signed, numbered and inscribed by hand COA provided Ref.: 924802-1017 Elise Gagliardi is an experimental multi-media artist. She studies photography at the University of Colorado at Boulder. She graduated with her BFA in 2006. Her work has been exhibited nationally. It has been featured in various publications. She currently works as a curator and a mother raising her three young children. Since becoming a mother she has embraced a heritage of storytelling. In her work, she introspectively examines her relationship to the matriarchal figures in her life and contemplates her own legacy. Her work is best described through the words of Author Joseph Campbell in what he describes as “The Myth of the Eternal Return”. Every flower carries...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

North American, 1951 Silver gelatin print Framed Dimensions: 20 1/4 x 16 1/4 inches (51.4 x 41.3 cm)

Lord Fauntleroy Melanie Sherman 240522-102 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame wit...

Jeffrey Tamblyn Wide Awake Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 12x12 inches Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 9...

Lord Fauntleroy KCMO-240926-09 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 20 x 9.34 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

David Pugh Pink City II 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 res...

Nick Vedros Cat in Lamp Shop Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 11x8in Edition: 15 Signed, dated and numbered by hand on label Stamped COA pro...

Year: 2003, signed by hand Publisher: Griffelkunst-Vereinigung, Hamburg Size: 9.3 × 11.7 on 10.9 × 13.9 inches COA Provided Born 1968, Wiesbaden, Germany. Lives and works in Hamburg...

Marilyn Minter Nail Biter, 2010 Color photograph 20 x 24 inches (50.8 x 61 cm) Edition 12/20

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Wolff Buchholz Title: Manhattan - Fifth Avenue Mirror Effect Medium: Photograph Year: 1990 Signed, dated and titled by hand Edition: 6 Size: 11.9 × 16.4 inches COA provided

Luanne Rimel is an artist, curator, instructor, and currently the Director of Education Programs at Craft Alliance Art Center in St. Louis, Missouri. Her work is layered with histori...

Ann Ray Black & White Insanity II, 2009 Gelatin silver print Framed Dimensions: 22 1/8 x 17 1/8 inches (56.2 x 43.5 cm) Image Dimensions: 15.75 x 11.81 in...

Lord Fauntleroy Cali 180722-277 Pigment Print Year: 2018 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with standard ...

Katie Barnes’s work as a photographer is fueled by her passion for the environment. She holds degrees in both Fisheries and Wildlife and Photojournalism, and she sees curiosity as th...

Nick Vedros Home Sweet Gnome Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 11x12in Edition: 12 Signed, dated and numbered by hand on label Stamped COA p...

Untitled, 1985 Chromogenic print Framed Dimensions: 22 1/2 x 22 1/2 inches (57.2 x 57.2 cm) Edition of 125

Jack Hayhow Title: John Moulton Barn Photographic Print on fine Paper Year: 2020 Size: 24x36 inches Description: Available in multiple sizes - please inqu...

Gottfried Salzmann Place de Victoires, Paris, France (Collage, Cityscape, Iconic) Screen Print over Photograph Year: Circa 2010 Size: 11.22 × 7.87 inches (28.5 x 20 cm) Edition: 50 S...

Nick Vedros Potawatomi Indian (Black & White) Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1987 Size: 8x10in Edition: 15 Sig...

Anna Archinger A Modern Princess (of India) (Equine Art, Horse, Marwari, Rare Breed) Archival Pigment Print on Canson® Infinity Platine Fibre Rag Year: 2025 Image Size: 11.7 x 8.3 x ...

Robert Adler Untitled - Troc Burlesque Theater #2 Gelatin silver print Image Dimensions: 8.5 x 12.75 inches (21.6 x 32.4 cm) Paper Dimensions: 16 x 20 inches (40.6 x 50.8 cm)

Joe Kelly Mariel Hemingway Black and White Photograph Year: circa late 70s Image Size: 10x7in Sheet Size: 10x8in Unsigned Ref.: 924802-1712 Tags: B&W, Black and White, Photography,...

Nick Vedros Tree Houses Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 9x15in Edition: 12 Signed, dated and numbered by hand on label Stamped COA provided...

David Pugh Disco Concrete 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 r...