2010s Photography

Love Me Wild C-print on Fuji Paper Collection: FLOWER LOVE One Size 40.5 x 30.3 Edition of 8 + 2 Artist Proofs, 9 left FLOWER LOVE Roses warm you heart, they inspire us to nurture a...

Series: Diamond Dust All available sizes & editions for each size of this photograph: 31" X 46.5" - Edition of 10 Diamond Dust Collection Diamond Dust is a glittering material t...

This large-scale architectural photograph by German artist Reinhard Görner depicts the The Long Room, an awe-inspiring vista into the Old Library at Trinity College in Dublin, Ireland. The vaulted ceiling arches above, while below a warm, golden light fills the room, illuminating bookshelves and cultural artifacts. The room is flanked by white marble busts of philosophers, writers, and great minds who have shaped the intellectual landscape of the Western world, adding a sense of gravitas and continuity to the space, and bringing public cultural heritage into private space in the rich, glowing tones of aged brown wood, leather and gilt. Reinhard Görner is known for invoking an atmosphere of awe, meditation and contemplation through crisp, richly detailed scenes of grand historical and cultural narratives. This effect is enhanced through aesthetically striking compositions, which might include stunning symmetry, portals through a series of doorways, and other careful choices of perspective and scale. Görner's photography celebrates libraries as both shelters and places of escape. This particular photograph is part of his quest to explore the most beautiful and solemn reading rooms around the world. Görner aims to convey how architects play with shadows, light, proportions, and rhythms to create spaces that breathe beauty and silence. Starting from his work with architect Sir Norman Foster in 2005, Görner has meticulously documented libraries' cathedral-like atmospheres across the globe. His photographs seek to convey the impact of architecture on our awareness of life, showcasing spaces that tell stories and refer to a time when aesthetics and spatial awareness were intertwined. Embrace the tranquility and beauty encapsulated in Görner's art and allow it to transport you to the grand arches and timeless serenity of The Long Room, Trinity College Library. Perfect for art collectors, architecture enthusiasts, and advocates of intellectual history, this piece serves as a gateway to explore the spirit of great builders through Görner's distinctive lens. Reinhard Görner The Long Room, Trinity College Library Dublin Ireland 50 x 62.5 inches Contemporary large scale photograph Signed and numbered on label, verso Edition of 10 Collector gets the next number in the edition Reinhard Görner, with his large format photographs orchestrates the monumentality of rooms. An active architecture photographer since 1985, is a master of perspectives and precise spatial compositions, and he thus considers classical sculpture, in all of its possible facets, a special challenge. "Görner’s photographs sometimes open the doors to another world and take the viewer with them on a journey through time. Here the palace is no longer a museum but both royal residence and a site steeped in history. The viewer does not have to share the halls with the masses of visitors; instead the images offer him exclusive impressions of the Galerie des Glaces (Hall of Mirrors) and the Galerie des Batailles (Hall of Battles) as even the king of France was probably never granted. The halls are empty of people, yet they seem to be able to unfurl their individual characters of their own accord. These places practically breathe history, and this aspect is also part of the essence captured in the photographs. King Wilhelm of Prussia was named German Emperor Wilhelm...

Born and raised in London, British photographer Nathalie Gordon shoots with an unusual but fantastic hyper realistic style. Her work is packed with high sheen and edge, yet she is ab...

18” x 24.50”, Edition of 8, Pigment Print 28” x 38.11”, Edition of 8 Pigment Print 38” x 51.73”, Edition of 6 Silver Gelatin 48” x 65.34”, Edition of 6 Silver Gelatin 58” x 78.95”, E...

Chrysler View A view of the Chrysler Building from Grand Central Station in New York City, New York. by Stuart Möller Born in Kabul, part German and Anglo-Indian and having grown ...

The Coen Brothers 2011 by Kevin Westenberg Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, arti...

Born and raised in London, British photographer Nathalie Gordon shoots with an unusual but fantastic hyper realistic style. Her work is packed with high sheen and edge, yet she is ab...

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...

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...

Paul Sietsema Folded Corner 2011 Lambda C-print 18 1/2 x 14 1/8 inches; 47 x 36 cm Edition of 25 Signed, dated, and numbered in ink (verso) Frame availab...

Become Aware (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition 8/10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 15...

Rebecca Skinner’s “Interior II” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. Three windows offer a peak at the surrounding overgrowth ...

The Drugs Don’t Work By BATIK Archival pigment pop art print of the 1960s supermodel Twiggy signed & limited edition. BATIK is a London based fine artist and image maker. Produce...

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

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

“Reflections No. 4” is part of a body of work called “Reflections” created by artist Rachel Berkowitz. This series is a performative, process-based se...

"Minimal image of two Friesian horses on the salt flats with a perfect reflection Two Friesian horses standing on a salt flat with their reflections perfectly formed on the surface ...

Bapst Library Boston 50 x 62.4 inches ed. of 10 $6,000 60 x 74.9 inches ed. of 7 $9,000 70 x 87.4 inches ed. of 5 $11,000 signed and numbered on label, verso Paper is trimmed to...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Renaissance project in 2016. Renaissance further develops themes explored by RIOUX in his earlier series Turquoise Default. It is not merely a progression however, but also a contrast. This new series poses questions about hope, which is perhaps now more relevant than ever. “Renaissance invokes in us a sense of uncertainty and a self-awareness of our limits, of an infinity made apparent by the horizon line, the vanishing point, the moment in any spatial or temporal projection beyond which we can no longer see, but from which, nonetheless, we know the universe carries on. At the same time it poses a choice to us: do we accept the openness of abstraction or do we insist on imposing a (false) certainty of representation in what we see in these images. Hope is a faith made possible by uncertainty and the unknown, by an understanding that history and the future are creative acts, works of art in which we all participate.” Neal Rockwell There are 18 pieces in the RENAISSANCE collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

Robert Smith 2022 by Kevin Westenberg Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists a...

Lion 1, Archival Photographic print reverse mounted to Plexiglass with aluminum hanging hardware- Edition of 10. Max Clifton is a renowned nature photographer who is celebrated not...

School Fun, photograph from Richard Heeps' series, In The Treasure Trove, featuring the multicolour spines of the iconic children's Annuals, captured in a vintage bookshop in Burnham...

The pale gray-green of this pair of monotypes calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut branches from eucalyptus trees which grow in the w...

Mahout Reads with his Elephant by Steve McCurry depicts a man and elephant sitting in a grassy field. The man sits on a rock while he reads his book, and the elephant sits behind him...

Archival Pigment Print All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 + 2 Artist Proofs 60" X 50"...

Rail Station Overpass on foggy morning Size & Edition: 40" x 50” - Edition of 5 + 2 Artist Proofs This photograph will be printed once payment has been received and will ship direc...

Sheila and the Bridge Girls ARCHIVAL PIGMENT PRINT Edition 3 of 5 20 x 30 in. / 50 x 76 cm. Named one of LensCultures top 50 Emerging Artist, Marjorie Salvaterra’s images reveal “a...

Signed, numbered out of 10 JOANNA CHUDY Graduated from Academy of Fine Arts in Cracow in 2002, National Film School in Łódź in 2009 and Academy of Fine Arts in Warsaw where she achi...

Since this item will be shipped directly from the publisher, the seller can only provide specific information to buyers at the actual point of sale. Please message the seller to requ...

Snow Fence on Dunes in the Hamptons Black & White Photography Printed to order edition of 10 Title: Great Dune Year: 2018 Medium: Photography (printed on metal) Size: 20" x 30" (lar...

Black and White Fine Art landscape photography. Beautiful gondola in the romantic canals in the heart of Venice, Italy. Archival pigment ink print, edition of 9. Signed, titled, date...

Billie Holiday on Stage by Globe Photo Archives This color action shot features American jazz musician and singer-songwriter, Billie Holiday. Wi...

Rebecca Skinner’s “Erosion #4” was photographed on the shoreline of Lake Champlain in Burlington, Vermont. The textural beauty is natures own art form. The 16 x 24 inch black and whi...

Digital photograph, edition of 25.

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 ...

By the Pond (2014)
 - as a forest fairy is the beginning of a story that evokes the enigma and the dreamy world of childhood. 25x25cm, Edition of 7 plus 2 Artist Proofs. Giclée ...

Alejandra By the Pond (2014)
 - Alejandra shaved her head when she was 16. It was an act of rebellion and transgressions. She came to visit me, I took her to the river... 25x25cm...

Marie Craig's 'Knotweed’ is an original deep blue photograph of leaves and branches of the Japanese Knotweed plant. This piece was created using cyanotype, an early photographic proc...

Arches on Catedrais Beach Study 4, Spain - no. 21315 Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Pri...

" I took this picture when New York was the epicenter of the Covid pandemic in the U.S., to reflect the idea that the nights are always darkest before they turn bright. As it turned ...

"Citron et verre" by Thierry Genay Thierry Genay's photography is heir to a style of painting which, in the absence of noble and sublime motifs, is nour...

Pinhole camera Chromogenic print (Unique) Signed and dated, verso This artwork is offered by ClampArt, located in New York City. Robert Calafiore employs a hand-built pinhole camer...

Formula 1 Ferrari - Signed limited edition archival pigment print, 2011 - Edition of 5 Formula 1 , Preseason test, 2011 , Barcelona, Spain. Fernando Alonso for Ferrari Photo/R...

' Rain II ' SIGNED Limited Edition Oversize print by Stuart Möller Beautiful large print of rain falling onto water. 30 x 20" inches / 76 x 51 cm paper size - signed and numbere...

Marilyn Monroe on the set of ‘The Misfits’, Reno, Nevada, 1960. All available sizes and editions: 24" x 20", Edition of 25 + 3 Artist Proofs 34" x 24", Edition of 25 + 3 Artist Proo...

Shot on a dramatic plateau high above the Atlantic Ocean north of Lisbon, Portugal. Available in a wide variety of size, mount, printing and framing options.

A retired woman, China, 1979. All available sizes and editions: 24" x 20", Edition of 25 + 3 Artist Proofs 34" x 24", Edition of 25 + 3 Artist Proofs "Eve Arnold, born in 1912 to R...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a...

Aditya Dicky Singh, Untitled, photograph on fine-art Hahnemuhle archival paper 28" x 42" unframed (71cm x 107cm) 2022 Edition 1/10 *Should you wish the photographs to be printed...

Untitled Flower # 116 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" ...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

"Form and function are tightly knit across the animal kingdom. And if ever there were a being built for the deep, it would be this one. The sperm whale is the largest predator on th...

'Emergence' Limited edition archival photograph. Unframed, hand signed and numbered ________________________________ From your cocoon my darling, Your wings are emerging: Delicate ...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

Untitled Flower # 29 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

"Aspens" Color Nature Photography by Alexandra Steedman Archival pigment print on museum fine art paper Edition of 7 Includes certificate of authenticity. Signed and numbered by art...

Stay Gold Hand Signed Limited Edition Print Stuart Möller Beautiful Archival Pigment Print of a banana plant on a summer evening. 40 x 30 inches / 101 x 76 cm paper size - signed and numbered by the artist - edition of 10 only at this size. Stuart Möller's background is in fine art, with his images being contemplative, meditative observations. Stuart Möller ALL EDITION SIZES & Prices 10x12 25 $325 12x16 25 $595 20x16 25 $885 20x24 20 $1,100 30x20 15 $1,250 40x30 10 $1,500 60x40 5 $2,500 plants foliage sun sunshine eve golds...

Archival Pigment Print The Windsor Hotel in Americus, GA All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edit...

The Drugs Don’t Work By BATIK Archival pigment pop art print of the 1960s supermodel Twiggy signed & limited edition. BATIK is a London based fine artist and image maker. Produce...