Landscape Photography on Sale

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...

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...

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...

"Forest at the bottom of the Slagheaps", Walbrzych, Silesia, Poland, 1978 Silver Gelatin Print, Signed and dated in pencil on verso Printed in 2008 by the Photographer, hand printed darkroom print. 17 3/10 × 12 1/5 in 44 × 31 cm 50 x 37 cm paper size with white border , 44 x 31 cm (image size) "My fascination started when I first saw industrial centres of Upper and Lower Silesia,’ says Cała. ‘The landscape was terrifying and beautiful at the same time. It did not change for the whole period from the 19th century to the end of communism in Poland." - Michal Cala Exhibition frame as seen on additional picture available upon request - please contact gallery for further details or purchase unframed print with a free shipping worldwide. About the Artist: "Cala become relatively well known in Poland but he is still little known in the West, despite the fact that his work bears comparison with masters such as Bill Brandt and Robert Frank." - Bill Kouwenhoven, British Journal of Photography, 2007 Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF - the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and MAST Foundation (Bologna) and various international private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape...

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...

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...

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 ...

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 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...

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...

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...

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...

Untitled (Nr. 0113) Photography 36" x 44" Edition 1/12 by Ben Cope & Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culminat...

"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 ...

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

'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...

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 ...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape that has a painterly feel. Below a golden yellow sky, a wave is pulled back to shore, with lines of rose pink, deep blue, turquoise and warm white. The photographer Danny Weiss...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

A contemporary color photograph by Roberta Fineberg is a nod to photo secessionist Edward Steichen. The subject for the artist's night photography is a Central Park West building (th...

Gerald Berghammer - Limited edition of 20. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white...

Black and White Fine Art Landscape Photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

This one-of-a-kind alt process landscape (photogram) was actually just made during my recent artist residency, which concluded in September; I was 4 unique silver gelatin prints into...

A coral orange horizontally striped sky is mirrored in a deep blue seascape; both composed to create an abstract composition in this large-scale photograph by Danny Weiss...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to orde...

Roy's Cafe (California Badlands) - 2010 20x24cm, Edition of 10, digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 10905. Not mounted. Ste...

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...

Black and White Fine Art Landscape Photography. Abandoned bath house in the desert landscape of the Salton sea, California, USA. Archival pigment ink print, edition of 9. Signed, tit...

Artist: Sally Davies (1956) Title: Lenox Lounge (New York City) Year: 2022 Medium: Inkjet print on archival paper Edition: 24, plus proofs Size: 24 x 36 i...

Framed Print: 17" x 21" x 1.25" Edition 1/25 "Vasquez Rocks III, Agua Dulce, CA" is a contemporary pigment print by Southern California artist Edward Alfano. This work features a st...

Aluminum Mounted Dimensions: 19.5" x 14.5" x 1" Edition 2/5 "Huntington Gardens LXV, San Marino, CA" is a contemporary pigment print. This work features a detailed shot of a beautif...

Unframed: 9.5 x 14" "Huntington Gardens XLVI" is part of a more extensive series of photographs Alfano has created over the past few years. Within this series is a subset of photogr...

Black and white fine art landscape photography. Absolute Ink Tattoo with classic us car in las Vegas, Nevada, USA. Archival pigment ink print as part of a limited edition of 7. All G...

Rebecca Skinner’s “Vitality” was photographed at an old farm in New England. The 24 x 36 inch black and white landscape is of vines growing along a historic stone wall. The print has...

THE LANDSCAPE AROUND THE MARCEL MINE, RADLIN, 1978 Vintage Gelatin Silver Print 47.5 x 32.5 cm Series: Silesia Signed, titled and dated on verso; Artist's stamp Using a basic 35mm Exa 500 camera, Cała managed to produce images of lyrical beauty, emphasised by a dark graphic printing style that gave the landscape an apocalyptic, otherworldly look. More print information: A little tape marks in the back corners of the print. Nr 61 noted in the middle on the back of the print. The front of the photograph in a very good condition. Hand printed by the photographer on gloss paper. A rare vintage gelatin silver print from the Silesia series. Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF - the Union of Polish Art Photographers. Publications on his work include The Anthology of Polish Photography 1839 - 1989, The Masters of Polish Landscape...

Baths of Caracalla is a vintage black and white photograph realized by an Ludovico Tuminello. Good conditions except for some foxing.

Aluminum Mounted Dimensions: 19.5" x 14.5" x 1" Edition 2/5 "Huntington Gardens LX, San Marino, CA" is a contemporary pigment print. This work features a close-up of a tree trunk from Huntington Gardens. The strong contrast between light and cast shadows gives the work immense depth. The photographer utilizes both archaic and modern technology in his practice. Alfano begins by shooting in infrared film, he then develops the film in a traditional darkroom and scans it to produce a digital print of the image. This process further abstracts his subject matter with a soft-focus finish, adding to the surreal quality of his work. Edward Alfano...

Black and white fine art panorama landscape photography. Monument Valley the famous rocks in the Mojave Desert with beautiful clouds, Navajo Tribal Park, USA. Archival pigment ink pr...

Bhutan Religious Photography - Open Sky Neutral Blue, Silver, and Yellow Tones. Photography. Edition Print. Pico Garcez (b.1963, São Paulo, Braz...

Artist: Sally Davies (1956) Title: Marilyn M (New York City) Year: 2022 Medium: Inkjet print on archival paper Edition: 12, plus proofs Size: 24 x 36 inches Condition: Excellent Insc...

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...

Jung LEE (*1972, South Korea) You are in my heart, 2020 C-Type Print, Diasec Sheet 136 x 200 cm (53 1/2 x 66 7/8 in.) Frame 173,5 x 139,5 x 3,7 cm (68 1/4 x 54 7/8 x 1 1/2 in.) Editi...

Aditya Dicky Singh, Untitled, photograph on fine-art Hahnemuhle archival paper 39" x 26" unframed (100cm x 66cm) 2022 Edition 1/10 *Should you ...

Black and white fine art long exposure waterscape - landscape - night photography. Golden gate bridge at night, San Francisco, USA. Archival pigment ink print as part of a limited ed...

"Huntington Gardens LII" is a limited edition, black and white infrared photograph taken, developed, and printed by Southern California photographer Edward Alfano...

Till Death do us Part (Till Death Do Us Part) - 2007 Edition of 5, 160x125cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Sig...

"Cactus Garden at Huntington Gardens," is a limited edition, black and white infrared photograph taken, developed and printed by Southern California...

This beautiful color photography was taken in the Mediterranean Sea in Israel. It was not filtered, manipulated or color corrected, but a straight shot. It comes print only, but can also come framed or plexiglas mounted (additional cost). If you are interested, please contact us for the options we offer. It can also be custom size and is part of an edition of 5. Landscape photography color photography seascape photography beach photo

Edward Alfano is a contemporary photographer working in Southern California. Although Alfano photographs worldwide, his most photographed regions are Ch...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'Ametsuchi', 2013 Lambda print Sheet 64 x 80 cm (25 1/4 x 31 1/2 in.) Edition of 3; Ed. no. 2/3 Print only Kawauchi, currentl...

Unframed Dimensions: 14x9.5" "Huntington Gardens XLIV," is a limited edition, black and white infrared photograph taken, developed, and printed by Southern California photographer, ...

"Huntington Gardens XII," is a black and white infrared photograph by Edward Alfano. This is a part of his ongoing series of Huntington Gardens, a botan...

Dominique TEUFEN (*1975, Switzerland) Airborne, from the series 'Rays of Light', 2020 Hahnemühle Fine Art Baryta Sheet 120 x 80 cm (47 1/4 x 31 1/2 in.) Edition of 5, plus 2 AP, 1/5 Framed to artist's specifications: print mounted to aluminium, mounted print float mounted with shadowgap behind UV protective museum glass, anthracite stained ebony wood frame Price is for the print only Dominique Teufen was born in Davos Switzerland in 1975. After following a two years stone sculpting class in Zürich, she moved to Amsterdam and received her BA in Sculpture from the Gerrit Rietveld Academy in 2002. In the following years she worked and exhibited in Melbourne, Zürich, London and New York. After moving back to Amsterdam, she attained her Master of Fine Art in 2010 at the Academy for Art and Design St. Joost in S’Hertogenbosch the Netherlands. Since 2011 she lives and works in Zürich and Amsterdam. With Teufen’s education in Sculpture and fine Arts, material-experiments make up an important part of her work. Curious and fascinated by photography, she investigates and engages in differ- ent processes and mechanisms before she takes her photographs. With her specific use of pho- tography, she not only examines the field of tension between two- and three dimensionality, but also explores the area where reality and illusion lose their specific definition and where different possible realities can be visualized. Teufen has participated in various solo and group exhibitions worldwide, including at the Chris- tophe Guye Galerie, Zürich, Kunsthalle Wil/St. Gallen as well as Kunstraum Aarau. Furthermore, Teufen has been exhibited with Thomas Ruff, Wolfgang Tillmans and Viviane Sassen...

Artist: Sally Davies (1956) Title: Lavagna Dog (New York City) Year: 2022 Medium: Inkjet print on archival paper Edition: 12, plus proofs Size: 17 x 22 inches Condition: Excellent In...

"Multnomah Falls I" is a black and white infrared photograph by Edward Alfano. The print is available in 5.5x8, 9.5x14, and 22x34. The print is pri...

Black and white fine art landscape photography. Path lined with cypress trees, Tuscany, Italy. International award-winning photography. Archival pigment ink print, edition of 5. Sign...