C Print Figurative Photography

An underwater black and white photograph of beautiful naked young woman on a neutral black background. Original digital print on aluminum plate signed by the artist. Limited edition...

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 traveler 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 stereotypical 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 stylized, 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 modeled 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...

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, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

'Red Hot Abarth 2000' Rainer W. Schlegelmilch Archive Limited Edition Fantastic and fantastical, many of the top car manufacturers like Ferrari, Porsche, Lamborghini etc launched ...

Marbella Club' by Slim Aarons Guests relax by the pool of the Marbella Club, Marbella, Spain, August 1980. This photograph epitomises the travel style...

Twiggy – at David Steen’s Home, Surrey Lesley Lawson (born 19 September 1949) is an English model, actress, and singer widely known by the nickname Twiggy. She was a British cultura...

There is a something about being a child on the beach where the sheer exuberance of running into the waves transcends the normal social barriers, and the shared exhilarance allows fo...

X-Ray print onto textured metallic vinyl in black frame Limited Edition of 15 From artist's studio, signed recto. Accompanied with the catalog of the artist and the certificate of a...

'New England Skiing' 1955 Slim Aarons Limited Estate Edition Limited to 150 only Two women recline on improvised sun-beds in Cranmore Mountain, New Hampshire, circa 1955 (Photo by...

Bishop, CA (Strange Love) diptych - 2005 2 Archival C-Prints, based on two Polaroids. 40x105 installed, 40x50cm each. Signature label and certificate, artist Inventory No. 9930. ...

X-ray lenticular artwork Lenticular is a ribbed lens that refracts light from different angles. When sequential images are split behind the lenticular lens the image looks like it m...

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

Edition of 3 Mounted on Plexiglas Framed Kai Schäfer is an acclaimed German photographer with a passion for vinyl records and iconic turntables. The World Records series celebrates ...

Chromogenic print Signed, titled, dated, and numbered, verso 22.5 x 30 inches (Edition of 5 + 2 APs) 45 x 60 inches (Edition of 3 + 2 APs) This artwork is offered by ClampArt, loc...

George Peabody Library Baltimore 62.5 x 50 inches ed. of 10 $6000 74.9 x 60 inches ed. of 7 $9000 87.3 x 70 inches ed. of 5 $11000 signed an...

For Members only (Suburbia) - 2004 28x37cm, Edition of 10, digital C-Print based on the Polaroid. Signature label with Certificate, Not mounted. Artist Inventory # 400. THE GREA...

Musei Vaticani,Museo Pio Clementino,Sala a Croce Greca, 2014 Chromogenic print Edition of 5 Signed, dated, and numbered on verso label 39.5 x 47.5 inches, edition of 5 47....

'On Hold' (The Girl behind the White Picket Fence) - 2013 98x97cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid Certificate and Signature label a...

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 ...

Nick Veasey 2025 Framed chromaluxe (dye-sub) Edition of 50 Featured in Nick Veasey's solo show at OA Fine Art gallery Paris, France, November 2025 Through his lens, Veasey unveils ...

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...

When we were friends (Suburbia) - 2004 28x37cm, Edition of 10, digital C-Print based on the Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was shot...

Three velvet-capped women huddle in gossip as another looks on during an October 1949 Vogue photoshoot entitled "Young Velvets, Young Prices". Taken from the roof of the Condé Nast ...

Tourism: Chartres, 1985 Chromogenic color print 18 × 12 in 45.7 × 30.5 cm Edition of 16/25 Laurie Simmons has an ambitious exhibition currently on tour. "Big Camera/Little Camera," a survey of some two hundred photographs, two films, and a selection of three-dimensional pieces, including props used in some of her staged tableaux. This exhibition opened at the Modern Art Museum of Fort Worth, Texas, from October 14, 2018 to January 27, 2019 and is now at the Museum of Contemporary Art in Chicago until May 5, 2019. (A print of "Tourism: Chartres" is represented in the show. Laurie Simmons’ engagement with non-human subjects ranges from her earlier works, in which she photographed miniature scenes of post-war domestic splendor, to her more recent use of life-size sex dolls that appear to be engaged in surprisingly believable activities. Endowing dolls, puppets, and ventriloquist dummies...

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 ...

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 ...

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 traveler 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 stereotypical 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 stylized, 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 modeled 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...

Oregon (Strange Love) - 2007 40x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 9916. ...

'Marbella House Party' Spain (Slim Aarons Estate Edition) Guests at a party at the home of Sebastiano Bergese in Marbella, Spain, August 1967. This photograph epitomises the trave...

Photograph of the Schagl Abbey Library in Austria by Reinhard Görner. Fine Art Lightjet Print, mounted on aluminum, plexiglass or resin. Two weeks manufacturing time, then shipping ...

'Channel One Recording Studio Jamaica' 1983 by Alain Le Garsmeur Limited Edition Archival Pigment Print Channel 1, Reggae recording studios, Kingsto...

Ormond Gigli Girls in the Window, 1960 (printed later) Color coupler print 28 x 28 inches Signed, dated and numbered edition of 44 Ormond Gigli: The Visionary Behind the "Girls in ...

Riggs Library I, Washington DC, by world-renowned architectural photographer Reinhard Görner, captures the timeless elegance of one of America's rare surviving cast-iron libraries. T...

'Great Minds' Duchess Anna Amalia Library Weimar, Germany 2017 55 x 50 inches ed. of 10 $6,000 66 x 60 inches ed. of 7 $9,000 77 x 70 inches ed. of 5...

' Madonna And Child ' Oversize Limited Edition Signed C Type 2013 by Stuart Möller edition of 10 only this size. unframed. A Summer scene taken during the hottest day ever record...

'Racing At Baden Baden' 1978 Slim Aarons Limited Estate Edition Print Spectators dine in the open air as the horses go by at Baden Baden racecourse, ...

Biblioteca di Wiblingen, Ulm C-print Signed, titled, dated and numbered edition of 5 on artist's label on verso. 39.5 x 47.5 inches - edition of 5 47.5 x 59 inches - edition of 5 71...

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 ...

Streams of light illuminate a dilapidated Cuban car in an old building in central Havana. This captivating photograph depicts an atmospheric scene of an aged garage, imbued with nost...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork ...

Three Girls VII (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

Three Girls VI (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

The French actress Brigitte Bardot in Scotland between two takes of the film “A Coeur Joie” (Head over Heels) directed by Serge Bourguignon. (Photo by Keystone-France/Gamma-Keystone via the Getty Images Archive London England.) Oversize 30x30 inches C type print Archive stamped Gallery stamped certification provided printed 2020 Brigitte Bardot fashion...

MIRA LOEW (b 1984, Vienna) Austrian born, Mira Loew began her journey as a photographer and filmmaker with audio-visual media training at the Federal Graphic Institute in Vienna, at...

Austen in front of Trailer (Till Death Do Us Part) - 2005 80x79cm, Edition 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature...

A painting of a horse in Chatsworth House, Derbyshire, 1980s. TITLE: Chatsworth Painting c. 1980 PHOTO: Christopher Simon Sykes
 SIGNED LIMITED EDITI...

Max in Pool (29 Palms, CA) - 1999 Edition 3/10, 48x46cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid. Signature label and certi...

'Cherry Tree Blossoms' (Till Death do us Part), 2006, 50x50cm each, installed 50x110cm, Edition 1/10, digital C-Prints, based on the 2 Polaroids, Certificate and Signature label, ...

Series: Places Digital C-Print on Archival Photographic Paper Available sizes: 32" x 32", Edition of 15 40" x 40", Edition of 10 48" x 48", Edition of 5 Few photographers in the wo...

Crow Burial II (Sidewinder) 2005 20 x 20 cm, Edition 4/10, digital C-Print based on the Polaroid, Artist Inventory 3505.04, not mounted Some artists document the world as it is;...

A Memory (Strange Love) – 2010 20x24 cm, Edition 1/10 Digital C-Print, based on a Polaroid Signature label and certificate, artist Inventory No. 6131.01 Not mounted “I never remembe...

Dust Bowl Blues (Heavenly Falls) 2016, 20x24cm, Edition 2/10, digital C-Print based on a Polaroid. Certificate and signature label. Artist inventory number: 19651.02 Not mounted ...

'Red Shoes' (Stage of Consciousness) - 2007, 20x24cm, sold out Edition of 10, Artist Proof 2/2, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inve...

Digital C-print (Edition of 10) Signed, dated, and numbered, recto This artwork is offered by ClampArt, located in New York City. Susan Barnett’s photographs are not about the t-sh...

MILES ALDRIDGE (*1964, Great Britain) Venus Smiles #5 2011 Chromogenic print Large: 101.5 × 152.5 cm (40 x 60 in.) Edition of 6, plus 2 AP's; 3/6 Medium: 67.5 × 101.5 cm (26 5/8 ...

Digital C-print (Edition of 10) Signed, dated, and numbered, recto This artwork is offered by ClampArt, located in New York City. Susan Barnett’s photographs are not about the t-sh...

'Guests At Villa Nirvana' Guests at the Villa Nirvana, owned by Oscar Obregon, in Las Brisas, Acapulco, Mexico, 1978. 40 x 60" inches / 101 x 152 cm paper size Estate Stamped C...

'Social Call' Acapulco 1972 Slim Aarons Limited Estate Edition Charley Weaver at the Las Brisas resort in Acapulco, Mexico, 1972. A new Archive discovery. The beautiful young soci...

C-Print. Unsigned but comes with a CoA. Edition of 10 plus 2AP.

Type-C print Signed, titled, dated, and numbered, verso 24 x 20 inches (Edition of 10) 36 x 30 inches (Edition of 5) 48 x 40 inches (Edition of 5) This artwork is offered by Clam...