USA - Photography

The Rolling Stones 1963 (printed later) Silver gelatin print Estate stamped and numbered edition of 50 with certificate of authenticity from he Terry O'Neill estate Terry O’Neill CB...

Dogs, USA, Greenwich, CT is a 5" x 7" black and white photograph, stamped “vintage” by the Freed estate on verso (back) of gelatin silver press. Provenance: Freed archive. The photo...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently visited New York City. His ...

No Edition Signed in ink on print margin by Jesse Alexander Gelatin silver print Paper size: 11 x 14 in. Image size: 7 1/2 x 11 1/2 in. "Fangio is exiting a slow corner and looks ov...

"Dr Dre The Chronic Cassette" is a photomosaic artwork by Destro. This image is made up of 100's of smaller images of Dr Dre imagery. Archival photographic paper Signed Framing op...

Massimo Vitali (b. Como, Italy in 1944) is an Italian photographer based in Lucca. Vitali studied photography at the London College of Printing. He initially worked as a photojournal...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later by Cole Weston from the original ne...

Born and raised in London, British photographer Nathalie Gordon shoots with an unusual but fantastic hyper realistic style. Her work is packed with hig...

Underwater nude photograph of a young woman on red background. Original gallery quality archival pigment print on archival paper signed by the artist, furnished with certificate of ...

ABOUT THIS PIECE: Beauty, elegance and fierce attitude defines Elena’s eye-catching work. She is known for her high impact colorful portraits. Her style is permeated with the passion for highly aesthetic, strong and elegant imagery, with saturated colors and play of light. Diving into her world means opening the doors of a minimalist and stylized world in which sublime female models play freely to the camera. ABOUT THIS ARTIST: Originally from Russia, Elena Iv...

"Coming Back" captures a transformative moment in contemporary underwater fine art photography, where classical composition meets avant-garde expression. A figure in crimson emerges ...

Paris, France, 1991 by Leonard Freed is a 14" x 11" vintage print, stamped on verso (back of photo) with Freed's copyright stamp, hand printed by the photographer, and signed on back of photo by artist. A comedic French street scene of a business man with briefcase...

Wanaka Lake Tree, Study 2, Otafo, New Zealand is a black and white photograph by Michael Kenna. The (silver gelatin) print is signed and numbered. Michael Kenna is master of cont...

This mid-1950s event photograph, captured by society photographer Slim Aarons, features an aerial view of diners at the St. Regis, New York. This is an estate stamped and hand numbe...

Night Swim is a color photograph by Julie Blackmon. The print is a limited edition and is signed and numbered Inspired by 17th-century Dutch and Flemish paintings of domestic life...

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and EU/UK, and a 14 day return policy. Also available for local pick up at our New York City gallery. A Moment of Solitude... (2019) by Karen Knorr Archival pigment print Image Size: 24 x 30 inches Framed Size: 27 x 33 x 2 inches Edition 1 of 5 Signed on artist certificate and adhesive label Karen Knorr Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

In a delicate smear of faded blues intermingled with the curves and lines of the pale colors of the skin, Alex Sher’s “Brushstroke” uncovers his phenomenal ability to capture the tr...



"Chains of love" is in a series of portraits by Jan Saudek, depicting two figures – either male or female chained together. In this work, the two models...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Edition EKTAlux - Cloud Forest...

Biblioteca Palatina, Parma, 2011 Chromogenic lambda print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 Born in Florence in 1953, ev...

Slim Aarons' Cat-Shaped Pool, a newly available Estate Edition photograph, features a charming swimming pool in the shape of a cat at the Fontainebleau Hotel, Miami, circa 1955. This historic shot of the pool was captured just after the the Fontainebleau's opening in 1954. Visual Description: Guests enjoying the newly opened turquoise cat-shaped pool at the Fontainebleu Hotel, designed by Morris Lapidus. The deck features sunny, graphic yellow and black umbrellas, as well as red, yellow and blue striped umbrellas and loungers. The cat's tail is a vintage wooden diving board, its ears are stairs, and its nose is a slide. Designed by Morris Lapidus. Slim Aarons Chromogenic Lambda print Slim Aarons Estate Edition Printed Later Complimentary dealer shipping to your framer, worldwide. 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, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Internal: vintage '50s florida, 50's Miami, vintage poolside, vintage swim fashion, vintage slim aarons, Fontainebleau Hotel, vintage Miami beach, Miami architecture...

Limited Edition series of Classic a couple Porsche Targa within Palm Springs California. Mid Century Modern Design Architecture. Photography by Tom Blach...

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

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

Kelly Ludwig Barn Archival Pigment Print Year: 2024 Visible Size: 11.5 x 15.5 inches Framed: 18 x 22 inches Signed: On Label COA provided *Black frame with standard plex Kelly Lud...

"Hush" The delicate nature of this image encompasses the otherworldly appeal of the Camargue horses in this best-selling black and white photograph. The print series Band of Rebel...

Available sizes: 32x47 inches (80 x 120 cm) - Edition of 20 Archival Pigment Print Unframed Ask us for framing options. Björn Persson is an internationally renowned artist based i...

ABOUT THIS PIECE: "As a self-portrait artist, I use the observation of my surroundings, personal experiences, and my own personal growth to create conceptual images. I am a highly positive person and this positivity often reflects in my work delivering images with a strong message on personal growth, self-love, and empowerment. I want my images to give hope and teach people to appreciate themselves, to love, dream, and believe that everything is possible if we believe it is. My images often feature simple backgrounds, saturated colors, and characteristic props like flowers, plants, origami, or balloons. creating dreamlike images both rich aesthetically and in meaning." - Fares Micue...

Platinum/Palladium (there was no pull down for this) Print Date 2025 Hand printed by artist Edition 1/15 Outer dimensions 16x20" Corner Mounted

George Hurrell Veronica Lake Taken in 1941, printed at a later date Silver Gelatin print Hand signed by Hurrell in ink Edition: 184/190 from the edition of 190

Vintage 1980s Grace Jones photograph: Grace Jones photographed on the scene of New York's Palladium nightclub circa 1989 by noted New York underground photographer, Fernando Natalici...

New. A nearly 30 inches (29 5/8") hand-printed version of the smaller landscape of the same name. There are just 5 editions of this largest size. All are unframed. The tree is a na...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of...

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...

An underwater nude photograph of a beautiful young woman diving in a red pool. Ripples and sunbeams are painting mysterious pattern on her perfect breasts. Original gallery quality...

"A herd of horses running with dust being kicked up in black and white A herd of dark horses running with sand and dust around them This powerful global series explores horses in ...

Amorphisms explore the distorted and negative self-image, which is constructed and mutated from emotions, lived experiences, and interactions with others. Assuming that these mental ...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Sea Fan. This one is hand signed and dated verso. Seasons explores the seasons of Man, Woman, Child, Civilization, Nature and Technology. First digital artwork purchased by the Metropolitan Museum. Date: 1980-1981 Medium: vintage color photocopy print. “I worked at The Metropolitan Museum in 1981, when they acquired [Lesley’s] SEASONS portfolio. We knew we wanted it, even though we didn’t have a category for it.” David Kiehl, Curator of Prints and Special Collections The Whitney Museum of American Art, New York City. Lesley Schiff (born 1951) is an American fine artist. Schiff studied painting at the Art Institute Chicago before developing her signature practice using color laser printers to create images. Her work is included in the collections of the Whitney Museum of American Art, the Mead Art Museum and the Metropolitan Museum of Art and other major museums, corporate and private collections globally. Lesley Schiff revolutionized the photocopier from being an office tool to just another instrument in the artist's arsenal. Rather than addressing the tool in her work, Schiff instead uses the photocopier like a paintbrush to realize her vision. Once a painter, Schiff says: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct." Painting with light, Schiff's body of work outlines a cycle of life: man, woman, child, civilization, nature, technology. More recent works challenge the viewer to understand the concept of eye-levels and perspectives, reinventing the way we see. Schiff's work was the Metropolitan Museum of Art's first digital acquisition, and most recently, was featured at the Whitney Museum of American Art in "Experiments in Electrostatics". She uses a color laser printer “like a paintbrush” to create her art. She has said about her work and her tool: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct—but no matter how hi-tech my tools become, I’m a painter, but instead of painting with oils, I paint with light. The Whitney Museum will show Lesley Schiff's pioneering SEASONS portfolio in its entirety. Many prominent collections acquired SEASONS as their first digital artwork. She participated in the Punk Art show in the 1970's. Her work kind of relates to Fluxus and Dada. Leslie Schiff moved from Chicago to New York in the early 1970s. Much of her art involves collage and the Xerox photocopy machine. Her images are rooted in her personal psyche and have an intuitive meaning that is not always easily understood. In exhibitions, Xerox sheets are combined and displayed decoratively on the wall. Schiff has also created books; and made video and sound tapes. She was included in the seminal New York/New Wave 1981 exhibition show at MoMA PS1 along with Jean-Michel Basquiat, William S.Burroughs, David Byrne, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Robert Mapplethorpe, Kenny Scharf, Steven Sprouse, Andy Warhol and Lawrence Weiner. She did a “visual biography,” comprised of portraits of Bob Dylan—depicted at different ages, from his 20s to his 60s—illustrations of his lyrics, and images of iconic objects like his sunglasses and harmonica. Schiff collaborated with Matthew Carter...

This intriguing offset lithograph print, signed and numbered out of 200 by an unknown artist in ballpoint pen, features a puff of smoke or a cloud hovering over a fence. The minimali...

This early 1960s winter landscape photograph, captured by society photographer Slim Aarons, features people ice skating at the Palace Hotel, St. Moritz, Switzerland, 1963. This is a...

Bodybuilder (and future film star and Governor of California) Arnold Schwarzenegger, photographed at the top of his form for After Dark magazine on October 5, 1976. Vintage silver g...

Archival pigment print Signed and numbered, verso 11 x 16.5 inches (Edition of 15) 24 x 36 inches (Edition of 10) 40 x 60 inches (Edition of 7) This photograph is offered by Clamp...

Crazy He Calls Me. From the series "Eternal Recurrence" by Natasha Zupan Archival Pigment Print on Paper Image size: 60 in. H x 53.5 in. W Frame size: 63 in H x 56.5 in W x 1 in D Ed...

"A lone white horse sticks out amidst the herd of darker horses in this black and white image A black and white image of a herd of horses with one white horse among many darker colo...

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

Roberta Fineberg’s Black and White Canals, Amsterdam, 2024 renders the Dutch urban landscape with the crispness of an etching. In the artist's Cities series the photograph is 20" x ...

This is a photograph by Bill Costa offered by CLAMP in New York City.

Mint Condition Hand Printed Photograph by artist Book not available with print. Originally sold as a book and print set. Edition out of 75. Framed in black wood & high grade plexig...

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...

Artist: Man Ray (American born, 1890 - 1976) Title: ABSTRACT RAYOGRAPHY Date Of Negative: 1932 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogravure. Date Of Print: 19...

An underwater black and white photograph of beautiful naked young woman breasts covered with air bubbles. “In my line of photography all best shots are ...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Kate #4, 2002 by American photographer Leonard Freed is in the photographer's series "Kate." This is an 11" x 14" gelatin silver photograph signed verso (back of photo) by the Freed ...

This late 1960s landscape photograph, captured by society photographer Slim Aarons, features Skiers relax in deckchairs on the slopes at Verbier in Switzerland. 1964. This is an est...

Design-inspired, incredible portrait of two rhinos with horns crossed at center of frame Beautiful and unexpected black and white photograph of two rhinos in Kenya Exceptional Crea...

Marie Craig's 'Abbey Ruin 7’ is an original deep blue photograph of the architectural ruins of an Abbey partially obscured with vines and branches. This piece was created using cyano...

This awesome capture features Thelonious Monk at the piano, Minton's Playhouse, New York, N.Y., circa Sept. 1947. Thelonious Monk was an American jazz pianist and composer. He had a...