Early 2000s Photography

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Ha...

Lackadaisy (Till Death do us Part) - 2005 40x30cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Foggy Morning Study 1, Austria - no. 11359 // Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer pri...

Ladies Room (Till Death do us Part) - 2005 40x30cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

Gerald Berghammer - Black and white cityscape photography. Gondolas docked along a canal with the Basilica di San Giorgio Maggiore, stormy weather. Archival pigment ink print as par...

'Barton Broad' photographed by Richard Heeps in one of his favourite areas of Britain on the east coast in Norfolk. This peaceful almost monochrome landscape/waterscape creates a fee...

Snow covered Central Park Study 3, New York City, USA - no. 11838 Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition ...

Black and white fine art landscape photography. Mystical forest with bent trees, Fanal, Madeira, Portugal. Archival pigment ink print as part of a limited edition of 7. All Gerald Be...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

Black and white fine art landscape photography print. Heart shape detail in the impressive Antelope Canyon in Arizona, USA. Archival pigment ink print, edition of 9. Signed, titled, ...

Farmland Study 6, Austria - no. 11564 Black and white fine art landscape photography. Single tree in the cornfield during a storm and giant clouds, Austria. Archival pigment ink prin...

Black and white fine art landscape photography. Antelope Canyon detail in heart shape, Page, Arizona, USA. Archival pigment ink print as part of a limited edition of 9. All Gerald Be...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered b...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Black and white fine art landscape photography Gerald Berghammer. Archival Pigment Ink Print, Edition 1/7, signed, numbered, dated. Aluminum frame, matt black, natural white archival...

Black and white fine art long exposure waterscape - landscape photography print. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate o...

Kate Moss is photographed during a night out at the Donmar Warehouse in Covent Garden in London on the 16th of January in 2007. The British supermodel and businesswoman rose to fame ...

Burned II (Self Portrait), 1999 Edition of 1/10, 40x40cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on the Polaroid. Signature label and Certificate...

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...

Morning (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #29...

Leonard Freed's stamped vintage (verso), 14" x 11," gelatin silver signed print, Kate Bending, is from the Kate series, 2002. A photographer herself, model Kate remains complicit in ...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Caroline ‘ who was captured on film i...

Kate #10, 2002 by Leonard Freed is an 8" x 10" hand printed. Signed by the photographer black and white photograph, stamped "vintage" by the Freed estate. Model and yogini Kate remai...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

Marion - Signed limited edition archival pigment print , France, 2003 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 g...

Happy Days (Till Death do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. Arti...

Marion - Signed limited edition archival pigment print , France, 2003 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 g...

Black & White Photograph of a Female Nude by Contemporary American Photographer, Dan O'Neill. Dan is based in Brooklyn, New York. Photo Size 9.5 x 7.5 inches Unmounted & Unframed Dan has has work featured in the following magazines: BAZAAR • COSMOPOLITAN • 20 ANS • COMPANY • BIBA • CITY • SELF • L'OFFICIEL • SPIN • INTERVIEW • AMICA • YM • SUGAR • PLAYBOY • RIVIERA • ESSENCE His work has been used in adverts for: TRUE RELIGION • OSCAR DE LA RENTA • NIKE • VICTORIA'S SECRET • NORDSTROM • NIVEA • MACY'S • ROBERT COMSTOCK • BEDFORD • CONTREC • VICTORY • JUNKO YOSHIOKA • TARGET • EDDIE BAUER...

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...

Marion - Signed limited edition archival pigment print , France, 2003 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 ...

Moments in Time (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3331 Not mounted. Stef...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5 + 1 AP) 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...

Archival pigment print Signed, titled, numbered, and dated, verso 22 x 17 inches, sheet (Edition of 15) 44 x 32 inches, sheet (Edition of 9) This photograph is offered by ClampArt...

The Princess and her Lover, 2007 Edition of 10, 20x24cm, digital C-Print based on a Polaroid. Signature label and Certificate. Artist I...

Pool Slide, from Richard Heeps Dream in Color series. This fun original artwork really shows Richard's unique eye as a photographer, creating this kitsch pop-art picture from an Amer...

Digital C-print (Edition of 25) Signed, dated, and numbered, verso 28 x 24 inches, sheet 22 x 18 inches, image This artwork is offered by ClampArt, located in New York City. Edwar...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Torso ‘ who was captured on film in 19...

Signed, numbered and titled on recto. Signed, titled, stamped on verso. Gelatin Silver Print Edition of 25

Kate #2, 2002 by Leonard Freed is an 8" x 10" hand printed, signed by the photographer black and white photograph, stamped "vintage" by the Freed estate on verso (back of print).. Mo...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Swing ‘ Limited edition of 5 Signed...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Musing (Till Death do us Part) - 2005 24x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Invento...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

Play among the Stars (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

Wild Things (Till Death Do Us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inven...

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...

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. ...

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...

You, the desert, and me II (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on the Polaroid. Certificate and Sig...

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...

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...

Kate #15, 2002 by American photographer Leonard Freed is in the photographer's series "Kate." This is an 11" x 14" gelatin silver photograph signed verso (back of photo) by the Freed...

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....

Moments in Time (Sidewinder) - 2005 25x30cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Signature lab...

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 99 ID: ALO1534-006 Hand-signed ...

Renée's Dream (29 Palms, CA) - 2005 32 pieces, Edition 3/5, 31 x 38 cm each, installed 276 x 164 cm including gaps. 32 analog C-Prints, hand printed by the artist, based on 27 or...

Tussle #02 (The Princess and her Lover) - 2007, part of the 29 Palms, CA project, Edition of 10, 20x24cm, Archival C-Print based on the Polaroid, Not mounted, Signature label an...

This 2005 photograph features a blonde, wearing red and white bikini and posing on a bicycle. The photograph is from John Stoddart’s, “Risqué” series, where he explored a form of pho...

Images size 55 x 70 cm Limited Edition of 12 Platinum Print Framed with Wengé and Passepartout Framed Size 92 x 112 cm Evocative, sensual and voluptuous, Marc Lagrange's work celebr...