Photographic Paper Color Photography

Poupée, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020-869. ...

Male Nude in Bathroom (29 Palms, CA), - 1999, Edition 1/10, plus 2 Artist Proofs, 20x20cm, digital C-Print, Not mounted, based on a Polaroid, Signature label and Certificate, Art...

À côté n°3 is a photograph by French contemporary artist Camille Brasselet. It is a pigment print on Fine Art paper technique. This photograph is sold unframed as a print only. It ...

Max, smoking in Car (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, matte su...

ABOUT THIS ARTIST: Niall Staines is a digital artist based in Ireland. His work is graphic, vibrant and visually arresting. Nature is a consistent theme in his work, often turning se...

From a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism TOPIARY III by Frank Schott 40 x 32 inches (102 x...

Stunning green abstract photograph reminiscent of Ikat fabric by Janet Van Arsdale (American, 20th Century). Signed in pencil lower left corner. Presented in black frame with double ...

"La tête" Nude Photography 19" x 24" in. Edition of 28 by Yevgeniy Repiashenko Year photo was taken: 2014 Photography Limited Edition of 28 Picture size: Height: 19" inch Width: 24"...

Red - 2017 20x20cm, 
Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2017-481. Not moun...

Primo Tempo 7 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. A Baroque style landscape appears between a break in the canop...

large scale photograph of iconic summer beach scene in Southern Italy's Puglia by Italian photographer Massimo Vitali, renowned for his grand s...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

'Utopia', photographed in February 2020 for his ongoing series 'A Short History of Milan'. There is a reoccurring linear, structural theme throughout the series, capturing the Milan...

The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod alm...

Frontwards - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-903. Not mo...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. This set of six framed ready to hang artworks feature: Lone Pine, California, 2000 Honeymoon Hideaway, Palm Springs, California, 2002 Space Age Lodge, Gila Bend, Arizona, 2001 Anita, Lade Fen, Welney, 1993 Dot's Diner, Bisbee, Arizona, 2001 Sun Kissed Wendy, Las Vegas, 2001 Each individual framed artwork measures 23.5" x 27.5". They can be hung together as a set or spaced out throughout your interior. Each artwork is a limited edition of 25 gloss photographic print, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame fitted with anti-reflective UV70% glass, signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. They make take more than 10 days to frame. They are available in other sizes and can be purchased individually and in other combinations. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival products – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

Born and raised on the Central Coast of California, Dylan was brought up raising horses, surfing and skating throughout his youth. The pursuit to tell stories came naturally when he began pointing his camera towards what and who he loved most. Now known for his work in the Outdoor and Editorial realms Dylan travels the globe shooting with Top Athletes and brands. Dylan now resides in Ventura...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

Richard Heeps' eye for capturing "Sign Porn" has meant he is extremely popular in this genre. He has a big collection of "Signs" from around the world and he is always adding to them...

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...

Heidler & Heeps B Side Blue Vinyl Collection Twelve Piece Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautif...

SEASCAPE I Diptych ( framed ) by Frank Schott from a series of photographic works capturing the sea blue color palette of the ocean 2 Panels 86.75 x 58 inches / 220.35cm x 147.3cm ...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 1/5 Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-Pro...

Cedars - A dense stand of western red cedar guard the path into the darkness beyond the lamplight. A gap in the foliage creates a void, an invitation to enter into an unknown and unc...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of...

90 Minutes Tinted Blue, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, perso...

TABACCHI at Day, one of a sequence of photographs from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable...

large-scale framed original art photography from a series of mesmerizing cloud atlas observations and abstract skyscapes above the horizon line of the Medi...

Puppy Love (Till Death do us Part) - 2005 30x40cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

The Morning After - 2017 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2017-4...

Silence and their words (Till Death do us Part) - 2007 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 8...

Making out in Car (Till Death do us Part) - 2005 49x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label....

Ordinary Places Sixteen Piece Installation, British vintage interior photography by Richard Heeps. Richard Heeps 'Ordinary Places' Series...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Minjin Kang and Mijoo Kim are a creative duo, who have been inspirin...

Foyer VIII, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has becom...

Atomic -2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2019-745. Not mou...

Pink Moon An abandoned swimming pool in Havana, Cuba.  Shot on colour negative with a large format camera before the addition of a dash of pink! – The Spaces in Between series devel...

Fugitives (Till Death do us Part) - 2005, 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist In...

Vetyver Pool, photograph from Richard Heeps India series, The Ambassador's Window. On a journey through India, a pilgrimage from Kerala in the South, to his Grandfather's birthplace ...

"The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod al...

Original Marilyn Monroe Photograph Original photograph of Marilyn Monroe posing in her dressing room on the film of "Gentlemen Prefer Blondes" by photographer Milton Gold (American,...

'Foreverly' (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 11...

DEJAVU Trailer, captured on a frosty winter morning, on one of Richard's many visits, capturing the trailer in the fen landscape as it changes with the seasons. This artwork is a li...

Henry watching Athena Dance (128x126cm) & Sam, Interior Hospital (37x36cm) (Stay), diptych, 2006, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid...

The Receiving End - 2018, 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2018...

Richard Heeps 'Ordinary Places' Series, captures Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition at the Photograp...

'Library' London, United Kingom 2024 Limited edition of 20. The photograph is signed front and back and comes with a Certificate of Authenticity. Carefully placed in a secure ca...

In it together (Till Death do us Part) - 2005 20x20cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9385. Not m...

29 Dreams (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventory ...

Love Scene against the Wall - part 4 (Sidewinder) - 2005, 40x39cm, Edition 3/10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inven...

Saint Tropez Boucherie, August 1971 - Nude Women Portrait French Riviera Fashion by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Oasis (Sidewinder), 2005 Edition 1/5, 16 pieces each 48x47cm, installed with gaps 220x220cm analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper. Mou...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Cawston’s work has a very painterly feel in both his use of colour and choice of subject matter. He is particularly influenced by Edward Hopper and found this very Hopperesque scen...

Déjà vu - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory - PL2020-881. K...

Forgiveness Then (Sidewinder) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist Inventory 3364....

Wild West I by Frank Schott from a series of photographic observances around Monument Valley 48 x 71 inches / 122cm x 180cm signed edition of 7 27 x 40 inches / 68cm x 102cm signed...