Photography on Sale

Les Corbières - Limited edition pigment print - Limited Editions of 5 Mountain in France. Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes ( Image size , the white margin is not counted): 23 x 70,4 cm / 9,05 x 27,56 in - Edition of 5 31 x 95 cm / 12,2 x 37,40 in - Edition of 5 45 x 137.7 cm / 17,71 x 53,93 in - Edition of 5 A custom size is possible, it will be included in the nearest edition of 15 This print that is being offered is a high-quality Archival Pigment print, which has been printed on fiber-based paper. The paper used is Hahnemühle Photo Rag® Baryta 315 gsm, which is a premium quality paper that is acid-free and lignin-free. This ensures that the print will remain in pristine condition for years to come. The Hahnemühle Photo Rag® Baryta paper is a museum-quality paper that is highly resistant to aging. It is a popular alternative to analogue baryta paper, which is known for its ability to produce rich, deep blacks and vibrant colors. The Hahnemühle Photo Rag® Baryta paper is no different, as it produces stunningly vivid and lifelike prints. Overall, this Archival Pigment print is a stunning piece of art that is sure to impress. The combination of high-quality paper and inks ensures that the print will remain in pristine condition for many years, making it a great investment for any art collector or enthusiast. Sam Thomas...

This mixed process multiple exposure photogram from my ongoing "Metamporphosis" series was made with flowers, sand, and glitter. This print was actually the first print I made with w...

A limited edition Giclee print on Baryta paper 315 gr. from the "Paparazzi" series. “These images have a deceptive character which contradicts the sensationalism they would like to convey” (Mazaccio & Drowilal). The starting point of the series “Paparazzi” was a collection of celebrities’ pictures from their everyday activities such as shopping and jogging, and golfing, but all shot by the paparazzi. After collecting them from magazines and the internet, the duo gathered the images in the same picture allowing them “for the sensational side to be neutralized, so there was a shift from the «scoop» of catching a celebrity, to an anonymous crowd.”(Mazaccio & Drowilal). Working principally with photography and collage, Mazaccio & Drowilal deconstruct multiple facets of contemporary visual culture through their process of gathering and arranging mass-media images. Their visual practice and aesthetic approach are heavily influenced by the Internet’s new iconographies and digital culture. Mazaccio & Drowilal have explored a wide breadth of subjects pertaining to celebrity, branding, artificiality, and identity. Exhibition History: - Mazacciology, Glenda Cinquegrana Art Consulting, Milan, Italy. Solo exhibition, October 27, 2021 - January 10, 2022. -Paparazzi, Glenda Cinquegrana Art Consulting, Milano, Italy, Online...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

A black and white photograph from 1994 that captures Alain Bernardin and chorus girls at The Crazy Horse Saloon in Paris, France. A leading tourist attract...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows one of the mountains in beautiful Yosemite National park in California. Details: + Title: Yosemite Blue Mountain + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Elote (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

Michael Mardikes Color Test (Thomas Hart Benton Plate #3) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Image Size: 9x12 in Paper Size: 11x14 in...

Underwater photograph of two naked girls holding their hands. Their heads remain above the water and are not visible. This photograph belongs to the series Porcelain. The series incl...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape with a lavender sky. This contemporary landscape photograph has has a painterly feel; the artist has captured a rising cusp of a wave with blue and cool white, against a violet and pink sky. The photographer Danny...

This large photograph is UNIQUE. Only one was made in that large size. The photograph is a silver gelatin print mounted on disband and framed in a back wooden frame. The image in the living room shows the scale and size of the work (different image on the photo). THE MONTE-CARLO SERIES (1980), Early works from 1980, Executed in 2011. Shot in abandoned 19th century villas in and around Monaco and Monte-Carlo between 1980 and 1982, the photographs feature young women in the artist's intimate circle of friends playfully posing in eccentric vintage attire...

Unique silver gelatin print (photogram made sans enlarger); Mixed process multiple exposure with snow, ice, sand, glitter, and more. "Metamorphosis" series. Printed Feb '22. I began...

Michael Mardikes Tom & Rita (Thomas Hart Benton Plate #10) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Image Size: 14.5x14.5 in Paper Size: 22x17 in Edition: Unique Sig...

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

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

Michael Mardikes Overall with Paintings (Thomas Hart Benton Plate #24) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Size: 8.5x12 in Paper Size: 14x11 in Edition: 1 Monog...

This beautiful color photography was taken in the Tuscany in Italy Roy Dagan is known for his mesmerizing landscape photos. This panoramic view of one of the...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

Part of the BLOOMY VIEW series taken in Bern 2020 in collaboration with Heym Collections, the images gained new life in their ambiguity, which often stimulates the viewer to project ...

This is a contemporary photograph of an African Lion. Printed on Archival Paper Using Archival ink 24x36 Edition of 50. Signed by Shane. Printed on archival paper and using archiv...

Kate Moss vinyl record art by Mert and Marcus (Mert Alas and Marcus Piggott) Off-set print on vinyl record. Measures: 12 inches in diameter. Excellent condition. Published by Visionaire Fashion, 2007. A very cool frame piece. About Mert & Marcus, as they are known in the industry, have worked for W, American Vogue, Pop, Numero and Arena Homme, among many other titles. Their commercial clients include Louis Vuitton , Gucci, Pucci, Versace, Missoni, Giorgio Armani , Roberto Cavalli, Fendi, Kenzo, MAC and Miu Miu. Their aesthetic is highly polished, colour-saturated and hyperreal. The photographers were both born in 1971, Alas in Turkey and Piggott in Wales. The pair met in 1994 in England. At the time Piggott was a photographer’s assistant and Alas was a fashion model, and the two quickly built a rapport and decided to work together. Their joint abilities were clear from the beginning. The first photos the duo submitted to Dazed & Confused made the cover. Related categories Fashion Photography. Supermodels. Mario Testino. Mario Sorrenti...

Limited edition silver gelatin print - #2 of an edition of 15. Shot on true infrared film (Efke, RIP) in 2008, and originally printed on 11x14 Forte Polywarmtone Plus paper; this co...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

A 14" x 11" black-and-white (gelatin silver) contemporary portrait photograph of a female nude with classic symmetrical proportions that suggests Greek sculpture. A feminine and stat...

A Scots pine emerges from the darkness like a cloud forming in a black sky. Looming like a cloud over the delicate remains of its young siblings lost to a forest fire... It is only ...

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

ISABELLE VAN ZEIJL "Serenity Portrait" (2022) C-Print Mounted on Dibond Perspex Face in Tray Frame, Ed 2 of 6 44.5 x 40.5 in. Framed ____________ R...

Star (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist Proofs. Arch...

This is a contemporary photograph of a American Wild Mustangs. "They represent the ultimate expression of American freedom" Printed in Photo Rag using only archival ink. 40x26 Edi...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Illuminance' 2009 C–type print Sheet 25.4 x 30.48 cm (10 x 12 in.) Frame 31.5 x 26.5 x 2.5 cm (12 3/8 x 10 3/8 x 1 in.) Editi...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Flux 1 - Large scale photograph by Michael Banks Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editions ...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity t...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Utatane' 2001 C–type print Sheet 25,4 x 20,3 cm (10 x 8 in.) Edition of 6 (#4/6) print only This photograph belongs to the ...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of President John F. Kennedy. Her popularity as First Lady was due to her devotion to historical preservation of the White House, her fashion sense, and her devotion to her children, which endeared her to the American public. During her lifetime, Jackie was regarded as an international fashion icon. Her ensemble of a pink Chanel...

Pico Garcez (b.1963, São Paulo, Brazil) In Love with Photography, Iconography and Painting, exercises his gaze from childhood when he began to play with his first camera. Practicing ...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Illuminance' 2009 C–type print Sheet 25.4 x 30.48 cm (10 x 12 in.) Frame 31.5 x 26.5 x 2.5 cm (12 3/8 x 10 3/8 x 1 in.) Editi...

The Lost Waterpark (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist...

Rainbow Desert (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist Pro...

Alexandre Ponomarev Maya-L'île Perdue, 2007 Silkscreen Print Edition of 200 56,5 x 75,6 cm (22.2 x 29.7 in), unframed In mint condition Signed, titled, dated and numbered Accompanied...

Basilica - Limited edition pigment print - Limited Editions of 5 Girona's Basilica, Spain Signed + numbered by artist with certificate of authenticity. Archival pigment print a...

Photographie format 30*40cm de la série "Clocks and clouds" de Jean-Christophe Béchet, tirée par l'auteur lui-même par impression jet d'encre Fine art, avec de superbes nuances de no...

"New York Walk" by Fernando Natalici Manhattan 1984. The simplicity & grace of the anonymous passer-by rendered timeless by the snap of the camera. A window into a street photographer's decisive moment. A window into, not only the New York of 'then', but the beauty & chaos of everyday city life... Archival Inkjet Print on 310gsm paper. 13 x 19 inches. Hand signed from an edition of 10 (+ 5 A/P’s) Obtained directly from artist. Excellent overall condition. New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, Jean-Michel Basquiat, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Related Categories Henri-Cartier Bresson. Saul Leiter...

An underwater photograph of two naked women wrapped in red tulle. Original gallery quality print signed by the artist. Digital archival pigment print on...

I began making photograms in June 2020, due to having an unfinished darkroom at the time of the shutdown. My "Metamorphosis" series, my 3rd alternative process silver gelatin based s...

Print, limited edition of 5, signed by the author.

This is a pop art photo print of the original Luke Skywalker toy from Kenner. "The Toys" by LA based Pop Artists DESTRO. This is the first release in t...

11 x 14" vintage silver gelatin photograph of Warhol Superstars Candy Darling and Dorian Gray (nude) for 'After Dark' magazine, 1971 Signed by Jack Mitchell on the print verso. Comes...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transpo...

Photo-respiration Yura #340, 1998 by Japanese artist Tokihiro Sato is a contemporary abstract photograph signed by the artist. Sato used a large-format camera for a long exposure ima...

Printed on Photo Lustre. This is #5 of an edition of 8. A Certificate of Authenticity is included Murnaghan was well known for his striking underwater photography, capturing his subj...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Illuminance' 2009 C–type print Sheet 101.6 x 101.6 cm (40 x 40 in.) Edition of 6 (#2/6) print only Reminiscent of Japanese...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Black and white fine art photography Gerald Berghammer. Archival Pigment Ink Print, Printed 2022. Limited Edition 1/7. Signed, numbered, dated by Artis. Handmade wood frame, black, n...

This unique silver gelatin print actually started out as a demo print for my virtual diy darkroom class ("No Enlarger Necessary"). Mixed process triple exposure with flowers and glit...

"Huntington Gardens XLVII," is part of Edward Alfano's "Huntington Gardens," series that he has formed over a number of years. This work is framed and ...

Image title: "Charlie, the Lonesome Cougar" This is a contemporary photograph of North American Mountain Lion. "They represent the ultimate expression of American freedom" 36x48 U...

This unique abstract "sparkler-o-gram" (photogram exposed via sparkler!) was made in June 2020, very soon after I had begun my foray into cameraless alt process silver gelatin based ...