Paper Photography

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

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...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope II by Christian Stoll 67 x 48 inches (1...

'Notre Dame 9' - Editions 1, 2, 3 of 10 + 2AP, archival Pigment Print, Photographed with a super-large Polaroid 20x24 camera in Paris in 2015, 90x58cm, not mounted, Signed, embossed ...

"Dutton was always up to something. Originally raised to be a show bunny, he instead retired early due to his naughty ways on the show table. Mischievous to his core, Dutton is also ...

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...

Untitled 2014, Edition of 10 plus 2 Artist Proofs, digital C-Print, based on an Polaroid 125i, 10.2 cm x 8.5cm Signed, embossed stamp and artist certificate. Not mounted. Xulong Z...

Tincture of Myrrh, part of Richard Heeps' 'Forward to the Past' series, he was commissioned to photograph Preston Hall Museum before it went through regeneration. The works captured ...

Pigment print on Hahnemϋhle photo rag paper Available Sizes: 23" x 23" $2,000.00 31" x 31" $2,500.00 39" x 39" $3,000.00 60" x 60" $6,000.00 Born in 1978, Payidar Şeyma Alışır ...

large scale glass mounted photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes f...

Vintage Photo of Painting - Gladiator Jean Léon Jerome is a vintage silver salt photograph realized in the early 20th Century.  Some foxing and missing...

The Old Days - Little Child is a black and white vintage photo, realized in the early 20th century.  It belongs to historical album including historical moment, royal families, and ...

"Late Afternoon" Nude Photography 25" x 35" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Signed and numbered by the artist. Comes with COA Available sizes: Editio...

This is the original submission Print for selection to the 1998 Pirelli Calendar, shot by Bruce Weber. It's a very rare as it shows Elaine Irwin in her natural beauty before any reto...

Fern I, 2018, Edition 1/7 plus 2 Artist Proofs. Based on an original Impossible film Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2018-47...

Between the Trees 3, 2014 - Mist and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Ma...

Andy Warhol's Medicine Cabinet East 66th Street NYC 1987 6x7 Format Film Archival Inkjet on Paper *Also available on Aluminum. Please inquire regarding sizing and prices* Availabl...

Automobili I by Frank Schott a series of Industrial Style still life photographs (Ferrari) - details at iconic Italian race car performance garage 48 x 72inches / 122cm x 183cm edi...

This contemporary minimalist seaside photo, "Evening Light, Endless Sea," was captured by French artist and photographer Natalya Mougenot during her travels in Italy. With this work,...

large scale art photography of an iconic glamorous American vignette Dealer by Frank Schott 48 x 72 inches / 122cm x 183cm edition of 7 signed 27 x 40 inches / 67cm x 102cm editio...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is adept in a range of lens b...

Persephone I by Erik Pawassar 40 x 31 inches (102 x 79cm) edition of 25 signed 62 x 48 inches (157 x 122cm) edition of 7 signed archival fine art pigment print signed & numbered...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is adept in a range of lens b...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Landon Nordeman is inspired by the work of Garry Winogrand and William Eggleston. Nordeman's unique point of view, characterized by National Geographic senior picture editor Sadie Quarrier, as "delightful, bold and unexpected," provided his audience - many of whom follow his work on his Instagram feed - with a fresh perspective on the world of fashion. "Photography for me is about discovery and appreciation," states Nordeman. "It is a way of probing the world, and making pictures to satisfy my curiosity." Landon Nordeman (born 1974, NYC) has photographed around the world for fine art projects as well as commercial clients. American Photography, Communication Arts, Pictures of the Year International, The PDN Photo Annual, The Best of Photojournalism, The Center for Documentary Studies, PDN's 30, The Society for Publication Design and The James Beard Foundation have all commended his work. "The Conversation (Nicole Kidman & Meryl Streep...

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

ABOUT THIS PIECE: Beauty, elegance and fierce attitude defines Elena’s eye-catching work. She is known for her high impact colorful portraits. Her style is permeated with the passion for highly aesthetic, strong and elegant imagery, with saturated colors and play of light. Diving into her world means opening the doors of a minimalist and stylized world in which sublime female models play freely to the camera. ABOUT THIS ARTIST: Originally from Russia, Elena Iv...

Underwater black and white photograph of a young naked women touching her reflection in the water surface. Original gallery quality archival pigment print on archival paper signed ...

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

A framed photograph by Horst P. Horst titled "Birthday Gloves" , photo is matted under glass in a gold trim frame. Artist Bio: Horst P. Horst (1906–1999) was a German-born fashio...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

ABOUT THIS ARTIST: Liz Von Hoene is an award winning fashion photographer and director known for her immaculate concept driven images that strike the right balance between sophistica...

From Richard Heeps 'Man's Ruin' Series, this contemporary portrait is part of a sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot ...

A beautiful and sophisticated underwater photograph of a young naked woman in the pool. This is a monochrome photograph close to black and white with reach aquatic tint. This is th...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

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...

A frozen morning on the Bure River – a glass-like reflection of the over-arching trees James Sparshatt’s black and white landscapes from his Norfolk home emphasize the beauty of the big skies...

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. ...

Nerve endings - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1040. Not...

ABOUT THIS ARTIST: Minjin Kang and Mijoo Kim are a creative duo, who have been inspiring and influencing each other since their Master's thesis back in academia. Collectively, they p...

This is an original, hand-printed contact photograph using the antique cyanotype process. These Monterey pine trees obscured by fog are in the woods across the bay from San Francisco...

Underwater nude photograph of two models partially covered with bright tulle scarfs Original gallery quality print on archival metallic paper signed by the artist. Paper size: 18" x...

DIALOGUE 02 is a work by contemporary French photographer Matthieu Venot. In this series, he roams the city of Miami looking for deco architecture. With his camera, he cuts up the ur...

'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...

ABOUT THIS PIECE: "As a self-portrait artist, I use the observation of my surroundings, personal experiences, and my own personal growth to create conceptual images. I am a highly po...

large scale conceptual environmental still life photographs playing with viewer's perspective creating individual letters from found objects spelling the word HOPE H-O-P-E by Christian Stoll Incredible details in this body of work: focusing in on this epic photograph work, you will find yourself lost in the artwork's details. Reminiscent of the appropriation artwork of Vik Muniz, Christian Stoll arranges everyday objects to spell letters of the alphabet. Only at close inspection does the viewer realize he/she is looking at an actual photograph, created in camera rather than with digital manipulation. _________________________ Artwork can be installed vertically, horizontally, square or across multiple walls 4 individual photographs individual artwork size 24 x 24 inches (61 x 61cm) horizontal artwork composition 24 x 96 inches (61 x 244cm) vertical artwork...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O ll by Erik Pawassar 27 x 40 inches (69 x 102cm) signed edition of 25 48 x 72 inches (122 x 183cm) signed edition of 7 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ About the artist Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian Salgado...

This striking monochromatic underwater photograph of two naked women showcases Sher's innovative approach to aquatic nudity through dramatic contrast and reflection. The high-contras...

Made in England, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmeri...

New. A nearly 30 inches (29 5/8") hand-printed version of the smaller landscape of the same name. There are just 5 editions of this largest size. All are unframed. The tree is a na...

Digital C-Print with Diamond Dust. Artwork size: 79x118 cm, Frame size 83x122x5 cm. Framed with a black wooden frame and museum glass anti-reflective. Edition of 10. Acquired direc...

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

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...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, artist inventory numbe...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experie...

Minimalist landscape photograph of black and white lily pads on water "End of Summer", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1700. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Painter Helen Frankenthaler and sculptor David Smith in Frankenthaler's studio in New York City, 1957 is a gelatin silver print, 20” x 16”, signed and stamped by the Glinn estate. Th...

WAVE II by Christian Stoll large scale abstract photograph of soothing mesmerizing fluid liquid waterscape 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 ...

ABOUT THIS PIECE: Hong Kong has the most basketball courts of any city in the world. This bold claim is difficult to verify, but in his Hong Kong Basketball Court series, Austin Bell...