Art by Medium: C Print

Anna Maria Alberghetti, 1959 - Italian Fishing in Natural Waters of Lake Tahoe by Slim Aarons This is a 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edi...

'Death Valley Road' from Richard Heeps 'Sundance Series', these artworks are a development of traditional landscape photographs and they have created a unique perspective as if captu...

'Herefordshire House' by Christopher Simon Sykes An open window gives a view along a country lane in Herefordshire, from the home of filmmaker John Bulmer and sculptor Angela Connor...

Playgirl (Heavenly Falls) 2016, 50x50cm, Edition of 10. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number: 19598. Not mounted. ...

Afar II is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 sizes: *76.2 cm × 152.4...

Divine Nude No.32 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

Contact sheet print featuring American model Jerry Hall with singer Mick Jagger of the Rolling Stones, photographed for Norman Parkinson’s exhibition at the National Portrait Gallery...

Magic Mountain III (Memories of Green) - 2003 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper. based on an expired Polaroid, Artist...

Dasha & Mari - Lady 30x30" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful fine art image from th...

The seductive blue sky and the seductive milkshakes make you feel as if you are sitting in the car at this "Americana style" Roadhouse in Welkom, South Africa. It is typical of Richa...

Donna Domitilla Ruspoli - Portrait in Baroque Romantic Architecture Palazzo by Slim Aarons 16" x 16" print on 16 x 20 paper. Limited Edition Estate Stamped Print. Edition of 150. P...

Downfall (Bombay Beach) - 2023 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-13. ...

A couple walk on Caleta Beach holding hands, Acapulco, Mexico, 1968. Slim Aarons Caleta Beach, Acapulco 1968 C print (Printed later) Estate signature stamped and hand numbered edit...

Photographed at El Mirage Lake, where the Southern Californian Timing Association, Land Speed Racing event, tracks in the ground from the previous days racing, adding a beauty to th...

Gasoline III (Stranger than Paradise) - 1999 Edition 10, 120x120cm, analog C-Print, hand-printed by the artist, based on the Polaroid, Not mounted, Certificate and Signature label, artist Inventory No. 271.01 Exhibition photos from the solo show 'Rough Cuts' at the Susanne Vielmetter gallery, LA Projects. The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? In this captivating artwork, we are drawn into the enigmatic world captured by Stefanie Schneider, where a solitary man, lost in his own thoughts, embarks on a journey while engulfed in a cloud of smoke...

WC, a kitsch vintage sign captured in Ho Chi Minh City, Vietnam. This artwork has a beautiful balance of neutral colour tones, texture and typography. ...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Stardust Dreams, from Richard Heeps Dream in Colour series. This cool picture has a classic Americana feel. Richard's pictures beautifully capture parts of Las Vegas which are no lon...

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

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Atlas Shrugged 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Not Mounted.

Aliens - triptych - 1998 Edition of 5, plus 2 Artist Proofs. 48x59cm each, 48x190 installed including the gaps. analog C-Print, hand-printed by the artist on Fuji Crystal Archive P...

Heidler & Heeps Vinyl Collection Eight Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautiful...

Meyerowitz first drew acclaim for his remarkable ability to capture subtlequalities of light with the 1978 publication of Cape Light, which went on to become a color photography clas...

'Telephone II' from Richard Heeps 'Dream in Colour' Series, this cool interiors picture combines bold colours of yellow, black and white, and has a dreamy nostalgic aesthetic. This...

Untitled (Last Picture Show) - 2001 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 1268. Not mounted. Insta...

Snow Flakes (Californication) - 2021 20x24cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numb...

Drugs, part of Richard's portfolio of street photography he is building up which depict the colour, fabric and structure of cities with distinct style. As New York changes in the fac...

Love Love Love Love Love (The Girl behind the White Picket Fence), triptych - 2013 20x82cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 3 original Polaroid...

'Lilac Gloves' by Richard Heeps, taken at the glamorous retro event Goodwood Revival, perfectly captures the fine details in vintage fashion, a time of sophistication. This artwork f...

Smoke and Mirrors 6, 2010 - Forest Scenery in Natural Woodland Landscape by Ellie Davies Smoke and Mirrors 6 by Ellie Davies is a stunning Digital C...

Edition: 1/3 Work can be hung with either the WallCleat system (support bar supplied) or the screw-eye system if it needs support from wire or above. Available in 4-5 weeks turnaro...

Darth Bot, Natasha Heidler brings childhood favourite toys to life in her conceptual photography. This artwork is a limited edition of 25, gloss photo...

The beach at Saint-Tropez, on the French Riviera, August 1971. Slim Aarons Saint-Tropez Beach 1971 C print (Printed later) Estate signature stamped and hand numbered edition of 150...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

Born in the Highlands of Scotland in 1971, Allan Forsyth is a photographic artist whose practice bridges the boundaries between nature, abstraction, and modernism. Deeply inspired by...

Shot in Hanoi in 2016, there are so many beautiful elements to this piece. The lines, the tone and the abstract nature of the books allowing you to make it your own bookcase. This a...

MASSIMO LISTRI Kunsthistoriches Museum III, Wien, Austria, 2014 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Fra...

Mind Screen (Last Picture Show), 2005, Edition 2/10, digital C-Print based on a Polaroid, Certificate and Signature label included artist Inventory Nr. 1043.11 not mounted LIFE’...

A Wish (Circle of Magic) from the 29 Palms, CA project - 2009 57x70cm, Edition of 10 plus 2 Artist Proofs. digital C-Print based on a Polaroid Certificate and signature label. Art...

Gabriela at Eleven - 2019 40x48cm, Edition of 7 plus 2 Artist Proofs. Photograph printed in Canson Baryta Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mou...

Basketball, Clapham I is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is in an Edition of 25 in this size, and sold unframed. A singular basketball player ...

Part of Richard Heeps 2013 'Wildwood Days' series, this captures one of the iconic Motel signs in the historic Doo-Wop town of Wildwood. This artwork is a limited edition of 25, glo...

'How the West was won' part of the series 'A girl called N.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and...

Fanari II (2018) Edition of 10 - 40 x 40 cm Digital C-Print based on a on a Polaroid, not mounted. Signed on back and certificate. Artist: This was shot on a lighthouse of the Dor...

1955 Oldsmobile 88, a yellow classic American car taken outside the Mirage in Hemsby Norfolk. Photograph from Richard Heeps 'Man's Ruin' series. This artwork is a limited edition of...

71 x 88.5 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renown...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Part of Richard Heeps 'Man's Ruin' Series, this was shot in Bakersfield, California two years after, he photographed Wendy Resting, they make a great pair. This artwork is a limited...

Harry's Corner, on the Wildwood Boardwalk. Taken in April 2013, this picture was first executed in Richard's darkroom in October 2020, he prints it full frame showing the AGFA Ultra ...

Seascapes 6, 2020 - Grassy Marshland in Ancient Forest Nature and Woodland by Ellie Davies Seascapes 6 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

"THE MOONSHOT COLLECTION Emerging from a long evolution stretching back nearly 50 million years comes the horse, a wild beauty, grazing peacefully on the plains, and then suddenly br...

Initially taken as part of Cawston’s series juxtaposing images from Banksy’s Dismaland with its host town of Weston-super-Mare for his book Are We There Yet?, The Perfect Fish and Chips...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 50x50cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

Pull I, 2017, Edition 1/7 plus 2 Artist Proofs Based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-486 Kirs...

Las Vegas Pool Supplies, perfect pop-art kitsch from Richard Heeps in this American roadside 'Sign Porn' photography. This artwork is a limited edition of 25 gloss photographic prin...

Andros Island (1957) Limited Estate Stamped (Photo By Slim Aarons) Sunbathers by a swimming pool at the Hotel Punta Tragara on the island of Capri, Italy, August 1974. Additional Information: Unframed Paper Size: 20x20'' Printed Later Limited Estate Stamped NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 12 x 12'' 16 x 16'' 20 x 20'' 30 x 30'' 40 x 40'' FRAMING AVAILABLE ON REQUEST About the Artist: Slim Aarons (American, October 29, 1916–May 29, 2006) was a photographer well-known for his portraits of the rich and famous. Born George Allen Aarons, he spent his youth in New Hampshire and New York before joining the army during World War II, where his photography career began. Working throughout his career with magazines like Life, Holiday, and Town & Country gave Aarons the chance to document the jet-set lifestyle of Hollywood stars, American and European socialites, and other celebrated figures. His approach was simple; using no make-up artists or artificial lights, he let the natural opulence of his subjects and their surroundings illuminate his lens. Typical scenes from Aaron’s photography take place in the sun, and in front of a pool surrounded by bathing beauties. The Slim Aarons Prints...

In the Range of Light III (Wastelands) - 2003 Edition 4/5, 6 pieces, each 57x56cm, installed 119x181cm, 6 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Treasure II (Stage of Consciousness) 29 Palms, CA, 2007, 75x93cm, Edition 3/5. Analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on a Polaroid. Sign...