C Print Color Photography

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 for the back cover of the album, Dangerously In Love This print is available in the following s...

We present another series of new work highlighting the raw, natural beauty of Californian landscapes and nature, from various California based photographers. May be paired with other Californian Coast photography...

Italian artist and actress Domiziana Giordano, Italian author Francesca Sanvitale (1928 - 2011), Dino Trappetti and Umberto Terrelli dining al fresco on a terrace overlooking the wat...

"Clifford’s winding feather patterns reminded me of a geometric maze. I imagined myself walking through it for days, twisting and turning down various paths, until finally reaching t...

"I created two portraits of Duke during my short time with him. The first was an unusual composition with his emerald tail feathers toward my camera and his ruby head looking back ov...

"Carmela was a character. With their wild fluff and laughable likeness to a fluttering Muppet from the 1970s, silkies naturally exude charisma and charm. When in motion, their feathe...

A line of sleighs crossing a snow field at St Moritz, Switzerland, March 1963. Slim Aarons Crossing Snow Field, 1963 C print Estate stamped and numbered edition of 150 with Certif...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

Natale Rusconi riding a Hotel Cipriani motor launch with the Church of San Giorgio Maggiore on San Giorgio Maggiore island beyond, in Venice, Italy, in September 1978. Slim Aarons ...

Type-C print Signed, titled, dated, and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) 40 x 40 inches (Edition of 5) This artwork is offered by Clam...

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...

C-Prints printed on FujiFlex Crystal Archive Super Gloss Paper 20 x 24 inches Signed and numbered edition of 10 with certificate of authenticity Steve McCurry (American, b.1950) is ...

Let it be (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

Brooklyn Bridge Sunset (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2572. Not mounted. ...

Jimi Hendrix, London 1967 by Gered Mankowitz A portrait of Jimi looking serious while holding a cigarette in an embroidered jacket. "Shot during my first session with Jimi at my Stu...

Boccia (Beachshoot) - 2005 70x135cm installed, including gaps - 8 pieces, 30x30cm each, almost sold out Edition of 100 plus 3 Artist Proofs. Available 100/100, AP 1/3, AP 3/3. Arc...

A party of skiers adjourn for drinks at the bar on top of peak KT-22, Squaw Valley, California, 1961. Second from right is American lawyer and businessman Alexander Cochrane Cushing ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------------------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveller through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations , but which lend themselves to his own work. In a similar way he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypcal and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylised, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing, and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modelled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys; and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights and soldiers. In the case of monsters, mythical creatures and robots, it is more about creating visions of the future and parallel worlds. Certainly since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This of course can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Urban Wallpapers 9 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph is sold unframed as a print only. It is available in 2 dimensions: *80 cm × ...

Bathers round a pool in Sotogrande, Spain, August 1975. Slim Aarons Poolside In Sotogrande 1975 C print (Printed later) Estate signature stamped and hand numbered edition of 150 wit...

This photo was taken at Sahara Desert, Morocco. The photo is printed with 2cm white border each side, which makes it easy for putting in frame. Comes with signed & numbered Certifica...

Bob Gruen John Lennon Four Portraits 1974 (printed later) C-print 30 x 30 inches images printed separately Signed and numbered edition of 75 Bob Gruen (born 1945) is an American pho...

"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...

Belgian-born British actress Audrey Hepburn is photographed wearing a Givenchy afternoon cocktail dress from his Spring/Summer 1955 collection at 'Villa Rolli', a farmhouse in the Al...

Biblioteca Ortopedica Bologna, Italy 2022 A view of the main table and globe of the main scientific library in the Istituto Ortopedico Rizzoli, named for Italian King Umberto I. The vista is framed between echoing frescoed arched ceilings, cases of scientific volumes, and geometric floor. These sixteenth-century rooms, where the books of the Olivetani Monks were kept, are located in the ancient complex of San Michele in Bosco. They were transformed into an orthopaedic hospital at the end of the nineteenth century. The library holds an important scientific collection...

Skiers on the slopes at the Sugarbush Resort, Vermont, USA, April 1960. Slim Aarons Skiers At Sugarbush 1960 C print (Printed later) Estate signature stamped and hand numbered editi...

Nick Veasey - The Bird in Colour No 8 BM Signed and numbered by artist Lenticular Digital C Print, framed 30.5 x 37.5 cm Edition of 15. Also available as a part of the full set of 9...

Skiers on the slopes at the Sugarbush Resort, Vermont, USA, April 1960. Slim Aarons Skiers At Sugarbush 1960 C print (Printed later) Estate signature stamped and hand numbered editi...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Guests relax by the swimming pool at John Young's villa 'Plantana', Ocho Rios, Jamaica, March 1971. Slim Aarons Ocho Rios, Jamaica 1971 C print (Printed later) Estate signature sta...

The swimming pool at Arturo Pani's villa, Acapulco, Mexico, January 1968. Slim Aarons Arturo Pani's Villa 1984 C print (Printed later) Estate signature stamped and hand numbered edi...

The Doors, taken in 1968 by Art Kane The band shot that accompanied the Jim Morrison TV/Xray portrait in Life Magazine’s April 1968 ‘The New Rock’ photo essay. This photograph is an...

ICES Vivid Lime Green, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex c...

"These three brothers were knuckleheads on set and a welcomed source of entertainment. Watching them waddle around, bump into one another, fall off surfaces, and get lost was hilario...

"Albert Einstein once said that mystery is the source of all true art and science. As I found myself looking into the eyes of this incredible animal, I realized I was seeing both. My...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

The pool at Villa Nirvana, Acapulco, Mexico, 1971. Old Acapulco can be seen across the bay. Slim Aarons Nirvana 1971 C print (Printed later) Estate signature stamped and hand numbe...

"S stands for Suzie, but on this day, it also stood for skittish. While it’s common for horses to be a bit jumpy, we knew this black beauty was high energy and extra prone to excitem...

Scout Tufankjian: President Barack Obama and First Lady Michelle Obama Inauguration Night, 2009 Chromogenic print, 2009, signed and numbered 1/25 on a label from Danziger Projects, NY. 20 x 24 in. (sheet), 22 x 29 in. (frame). Provenance: A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College Scout Tufankjian is an Armenian-American photojournalist and author based in Brooklyn, New York. She is well known for her photos of American President Barack Obama during his campaign leading up to his presidency. She is also known for her photojournalism work on the Armenian diaspora. She was born in Boston, Massachusetts to an Armenian-American father, Allan, a lawyer, and an Irish-American mother, Betty. She grew up in the south shore towns of Whitman and Scituate, both in Massachusetts. As a child she was separated from the Armenian community in Massachusetts. Her knowledge of the her Armenian heritage came from reading magazines and newspapers that she found at her grandparents home. She started shooting photographs in Northern Ireland at age 18. She attended and earned a B.A. in Political Science and Government from Yale University in 2000. She speaks English and Arabic. From 2006 to 2008 she covered Senator Barack Obama's campaign for President of the United States, and was the only independent journalist to follow him from the run up to his announcing his candidacy through his victory on election night. Tufankjian took more than 12,000 photographs throughout the campaign. She released a book featuring a selection of the photographs titled Yes We Can: Barack Obama's History-Making Presidential Campaign in December 2008, which sold out its initial 55,000 copy run a month before it was released. In 2010 she went to cover the Haiti Earthquake and its aftermath. From 2011 to 2012 Tufankjian went to Egypt to photograph The Egyptian Revolution. From this time she has Photos categorized as The Egyptian Revaluation, The Detainees, Along the Barricades, Endgame, The Egyptian Elections and Egypt's Salafi Community. In August 2012, Tufankjian took a photo of Michelle Obama and President Barack Obama hugging each other. The photo was taken in Dubuque, IA in Aug15th. Instead of focusing on the Obamas as political figures, Tufankjian focused on them as a couple. The Obama campaign staff sent this picture out on the official Obama Facebook and Twitter accounts the night of the election, 6 Nov. 2012. This picture became the most liked photo on Facebook and most retweeted tweet in history. In 2015 Tufankjian published in commemoration of the Centennial of the Armenian genocide, There is only the Earth: Images for Armenian Diaspora. Tufankjian took 6 years and traveled to 5 different continents gathering stories and photos of the Arminian people who were killed and displaced from their homes by the Turkish Ottoman government between 1915 and 1923. Tufankjian traveled to Ethiopia, Syria, Turkey, Lebanon, Argentina, France, United States, Hong Kong, and Canada in search of Armenian communities, photographing Armenian lives around the world. In showing how the Armenian people survived Tufankjian's photos capture everyday life, the from religious to the romantic to the familial. Works Images from the Middle East (2006) Yes We Can: Barack Obama's History-Making Presidential Campaign (2008) Haiti 2010 The Haitian Earthquake, A Tale of Two Camps Egypt 2011-2012: A Year of Revaluation There Is Only the Earth: Images from the Armenian Diaspora Project, Melcher Media, 2015. A photojournalist's study of the Armenian diaspora on its 100th anniversary Commissioned work: The HALO Trust: 100 Women in Demining (2017) Ongoing Projects Karabakh: 2002-2020 Danziger Gallery is a leading photography dealer. they have shown Robert Frank, Henri Cartier Bresson, Alice Mann...

DUTCH MASTERPIECE These Self-portraits remind us of historic female archetypes and bring to mind a mysterious beauty that we would typically associate with the classical age of portr...

Digital C-print Signed and numbered on label, verso 14 x 11 inches (Edition of 5) 24 x 20 inches (Edition of 5) 40 x 30 inches (Edition of 5) This photograph is offered by ClampAr...

"FLOWER EVOLUTION The most highly coveted of ornamental plants, the delicate, and graceful orchid represents love, feminity, beauty and strength. The orchids have a magical quality. ...

Cher on CBS TV wearing a Bob Mackie gown, 1975 "Cher is an American variety show that premiered on CBS in 1975, hosted by singer-actress Cher. The show had many famous musical guest...

Gestures (Stranger than Paradise) Edition 1/5. 12 pieces, 48x46 cm each, installed: 207x155 cm. 12 Analog C-Prints, hand-printed by the artist, mounted on Aluminum with matte UV...

Shine - 2020 - 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label and certificate. Artist inventory PL2020-1005. Not ...

David Bowie in Paris for the cover of his ‘Pin Ups’ album, 1973, by Justin de Villeneuve Justin recalls, "Twiggy and I were staying in the Bel Air Hotel in LA when Peter Frampton...

Between the Lines - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory #694. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

Loving You II (Till Death do us Part) - 2005 48x38cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Ar...

Ready to ship immediately. Free domestic US shipping. Rolling Stones guitarist, Ronnie Wood and a camera- shy David Bowie at the Kellgren House in Los Angeles, September 3rd 1975 by...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #724. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

Heidler & Heeps Vinyl Collection Set of Four Framed Pop Art prints. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully...

Signed limited edition 20x24" print of Debbie Harry from punk band Blondie by Brian Aris, taken in Brian’s London studio. Edition number 14/25 Brian Aris limited edition prints, sig...

Lariat Motel, photograph from Richard Heeps Dream in Colour series. The neon in this classic Americana roadside sign glows in the evening light. It was captured in its original site ...

Last Days of Summer - 2019 - 30 x 38 cm, Edition 1/7. Photograph printed on Fuji glossy paper, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back wi...

Martini Corner, with the Kodak film rebate, vintage interior photograph from Richard Heeps Dream in Colour series. An interior vignette from Bisbee, Arizona, the saturated colours an...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

Riggs Library II, Washington DC, by world-renowned architectural photographer Reinhard Görner, captures the timeless elegance of one of America's rare surviving cast-iron libraries. ...

Miles ALDRIDGE (*1964, Great Britain) Untitled (after Cattelan) #1, 2016 Chromogenic print Image 152.5 x 116.5 cm (60 x 45 3/4 in.) Sheet 164.4 x 128.4 cm (64 3/4 x 50 1/2 in.) Editi...

Palm Springs Palm Trees XI (Californication) - 2019 40x40cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Number 22...

Rosegarden II (Suburbia) - 2004 Edition 3/5, 60x80cm. Analog C-Print, hand-printed by the artist, based on the original Polaroid, mounted on Aluminum with matte UV-Projection. A...