Landscape Photography on Sale

A contemporary black-and-white photograph by Roberta Fineberg who captures the San Remo building and New York City skyline after dark from the urban oasis Central Park. Focusing on the beaux-arts building towers or twin Greek temples...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 46 x 72 i...

This stunning vintage image captured by Steve Fontanini features a wonderful capture of a Parisian landscape. A bustling vintage street scene with candid subjects and stunning lines,...

This is a contemporary black and white photograph of Wild Mustangs. "They represent the ultimate expression of American freedom" Edition of 50. Signed by Shane. Framing available....

This is a contemporary photograph of a American Wild Mustang. "They represent the ultimate expression of American freedom" 30x60 Edition of 12. Signed by artist. Framing available...

"Park Bench on the St.Clair River" is a photograph taken from the banks of Canada looking at Marine City in Michigan, USA. The frame has an interesting mat made of metal. It is in...

Subtle purples define this Punta Cana Sunrise as seen by Michigan photographer Deborah Benedic while strolling during the sunrise. Image size 5 x 7 Frame size 10 x 10 Signed b...

Erin Rockers City Market Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Shannon Maltbie-Davis Bird’s Eye View of KC Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and fr...

Paul Middleton Plaza Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black...

Erin Rockers Crossroads Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal bl...

Don Porter Temple Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black fra...

Jarrett Redd Fog Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black fra...

Paula Newton Burr Oaks Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal blac...

Don Porter Kaw Point Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black ...

Shannon Maltbie-Davis Bird’s Eye View of KC Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and fr...

Anthony Rea Observation Park Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minim...

Paul Middleton Westport Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal bl...

Paula Newton Along the Bus Route Street Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed ...

This is a contemporary photograph of a Mountain Lion. 36x48 Printed on archival paper using archival inks Framing available. Inquire for rates. SERIES CURRENTLY BEING SHOT "Wil...

Jason Reed Motel Parking Lot Presidio, TX 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of photographs about P...

Anchor Bay in Chesterfield, Michigan is the location for this metallic print of a photographic image by Deborah Benedic. Deborah created these stone in...

Jason Reed Sunset Presidio, TX 2010 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of photographs about Presidio, Te...

Jason Reed River Road along the Border Near Lajitas, TX 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of phot...

This is a contemporary photograph of an American Wild Mustang. "They represent the ultimate expression of American freedom" 30x60 Unsigned print Framing available. Inquire for rat...

Jason Reed The Border, Rio Grande River Near Presidio, TX 2010 Archival Inkjet Print ed. 2/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of pho...

Jason Reed New Border Patrol Government Housing Presidio, TX 2011 Archival Inkjet Print ed. 2/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of ...

Jason Reed Border Patrol on Ridge Near Redford, TX 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of photograph...

Jason Reed Looking South to Mexico Presidio, TX (Ojinaga, MX in distance) 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn i...

Jason Reed Resort Golf Course on the Border Lajitas, TX 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of photo...

Jason Reed Three Palms Inn and Oasis Restaurant Presidio, TX 2011 Archival Inkjet Print ed. 1/8+2AP signed and numbered print only, shipped in a roll Three Palms Inn is a series of...

Cabazon Dinosaurs (Drive to the Desert) - 2000 44x59cm, Edition 5/5. Analog C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #155.05. Not mount...

Black and white fine art landscape photography print. Bent tree in fog in the fairy forest on the island of Madeira, Portugal. Archival pigment ink print, edition of 7. Signed, title...

Jeff Burk Under the Buck O’Neil Bridge Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed ...

Richard Klopfenstine Kemper Museum of Contemporary Art Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; ma...

Lithograph on on Arches wove paper from Men in the Cities portfolio. Hand signed and numbered by Robert Longo. Published by Wolfryd-Selway Fine Art, New York, with their blindstamp....

Black and White Fine Art landscape photography. Famous group of cypress trees in autumn on the hills of Tuscany, Italy. Archival pigment ink print, edition of 5. Signed, titled, date...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Black and white fine art long landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions ...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Black and white fine art landscape photography. Antelope Canyon sandstone formation detail, Page, Arizona, USA. Archival pigment ink print as part of a limited edition of 9. All Gera...

Black and white fine art long exposure waterscape - landscape photography. Waterfall detail from the beautiful Klockelefall, Pitztal, Austria. Archival pigment ink print as part of a...

Black and white fine art landscape photography. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

5. TÍTULO FERRETERIA Sevilla, 2023 MEDIDAS: 120X95 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

Maestranza de Sevilla, 2023 MEDIDAS: 100x76 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

3. TÍTULO PUERTA NUMERO 6 Maestranza de Sevilla, 2023 MEDIDAS: 100x74,85 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

6. CATALINA Sevilla, 2023 MEDIDAS:70x43,8 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

2. TÍTULO: ANTIGUA ESTACIÓN Sevilla, 2023 MEDIDAS: 100X84,65 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

1. TÍTULO PUENTE DE TRIANA Sevilla, 2023 MEDIDAS: 167X80 CM Papel Hahnemuhle Photo Rag Sangre 2 cm 1/7 + COPIA DE AUTOR

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...

Beautiful black & white landscape photograph of forest trees and stream in the woods of Alaska, by Anchorage-based nature photographer George Provost (American, 20th Century). Hand signed and dated "George Provost 1989" lower right. Photograph is hand made from an 8x10 camera negative in a traditional "wet" darkroom, by the photographer. Mounted on white mat board. Unframed. Image size: 19"H x 15"W. Born in California, Provost grew up in the Bay Area. He has lived and worked in Alaska since 1987, specializing in large format, fine art, black and white photography. His work has been exhibited in over 60 exhibitions, received numerous awards, and is included in hundreds of collections, both public and private. George Provost was an Isle Royale...

The Fog (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventory Nu...

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. 40x90 Edi...

Digital c-print. Hand signed by the artist on a label affixed to the reverse. Edition of 10. Frame size approx 53 x 65 inches, Certificate of Authenticity Included. Artwork in Ex...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. 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...

Juilliard Building, New York, 2023 by Roberta Fineberg is an 18” x 24" archival pigment print (on baryta paper) in an edition of 5. Signed, dated, and titled by the artist on front a...

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 ...