Continental US - Color Photography

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...

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...

"Paparazzi Princess" Photography 30" x 30" inch Edition 1/7 by Brendan North Signed and numbered by the artist. Comes with original COA issued by the Artist Available sizes: Editi...

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new...

Happy Donkey on beach. Sayulita, Mexico Photograph signed and numbered by photographer.

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...

"Carmela was a character. With their wild fluff and laughable likeness to a fluttering Muppet from the 1970s, silkies naturally exude charisma and charm. When in motion, their feathe...

"Aleister is a rare breed—quite literally. With fewer than 1,000 Sultan chickens existing today, this snow-feathered fellow is helping keep the bloodline alive. He doesn’t let the pr...

Wolff Buchholz Title: Manhattan Skyline Medium: Photograph Year: 1990 Signed, dated and titled by hand Edition: 6 Size: 11.9 × 16.4 inches

Hearst Castle II San Simeon USA, 2016 C print Edition of 5 120 x 150 cm mounted on aluminum (production and shipping takes approximately 4 weeks) Massim...

From the start, there was something immensely challenging and inspiring about working with animals. Up to that point, I had spent my career photographing subjects I largely controlle...

A helicopter carrying tourists hovers over the Fontainebleau Hotel on Miami Beach, Florida, April 1972. Slim Aarons Aerial Miami Beach 1972 C print (Printed later) Estate signature...

Encaustic Print – Encaustic printing employs the addition of heated beeswax, and occasionally pigment, to the prepared surface of a photographic print, giving the object a unique to...

"Amas Luna Storm III" Nude Photography 24" x 36" in Ed. 1/7 by Aaron Mcpolin Archival Giclee Print Signed and numbered by the artist. Comes with COA issued by the artist NOT framed...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

This evocative underwater fine art photograph captures a naked woman swimming through a golden kelp forest, creating a dreamlike atmosphere where human and nature intertwine. The ima...

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...

Carla van de Puttelaar's photographs allow the eye to touch skin on many levels. Although her primary subject is often the female body, in recent years she has also begun to examine...

Darren Almond Fullmoon@Beacon 1999-2004 C-print mounted on aluminum in artist’s frame 48 x 48 inches; 122 x 122 cm Edition of 5 Signed in ink (verso) Available from Matthew Marks G...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 for the back cover of the album, Dangerously In Love This print is available in the following s...

Archival digital scanograph 25 x 18 inches, edition of 150 Additional sizes available This contemporary, archival digital scanograph was made by fine art photographer, Lisa Frank, i...

We present another series of new work highlighting the raw, natural beauty of Californian landscapes and nature, from various California based photographers. May be paired with other Californian Coast photography...

From the start, there was something immensely challenging and inspiring about working with animals. Up to that point, I had spent my career photographing subjects I largely controlle...

An underwater black and white (sepia) photograph of a naked young woman covered with tulle. Original gallery quality archival pigment print on archival paper signed by the artist. L...

"Amas Luna Storm I" Nude Photography 36" x 24" in Ed. 1/7 by Aaron Mcpolin Archival Giclee Print Signed and numbered by the artist. Comes with COA issued by the artist Not framed. ...

Italian artist and actress Domiziana Giordano, Italian author Francesca Sanvitale (1928 - 2011), Dino Trappetti and Umberto Terrelli dining al fresco on a terrace overlooking the wat...

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 ...

Record Room, Havana, Cuba, 2014 Edition of 10 + 2AP Archival Pigment Print Framed “These works present my abiding interest in the thresholds that divide and connect the sea to land....

Signed and edition photograph by Paul Fusco titled "Untitled from the RFK Funeral Train". Shot in 1968 and printed in 2008 - 2021 on fujiflex paper. The ...

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...

This mid-1960s landscape photograph, captured by society photographer Slim Aarons, features Swedish model Olimpia Hruska, wearing a bikini, poses against a rock on the Costa Smeralda...

60 x 40 inches ed. of 10 $6,000 75 x 50 inches ed. of 7 $9,000 90 x 60 inches ed. of 5 $11,000 signed and numbered on label, verso Reinhard Görner, with his large format photogra...

Contemporary color photograph of the interior of an abandoned theater 35 x 25 inches unframed 41.5 x 31.5 inches in white wood frame with AR non-glare glass This contemporary photograph of an abandoned theater interior was captured by New York based photographer, Elliott Kaufman, in 2005. Here the artist highlights the beautiful fading facade of the once renowned Capitol Theater in New London, CT. The photograph is complimented with a custom white wood frame measuring 41.5 x 31.5 inches. There is wiring on the back for installation. About the series: Elliott Kaufman conveys the haunting magnificence of forgotten buildings in the Abandoned series. Architectural marvels once home to heartbreaking operas, spectacular gatherings, or a loving family now sit vacant and linger in fading memories of the past with each new crack of paint, crumbling brick, or falling beam. Through his lens, Kaufman captures the remnants of these majestic structures, romanticizing what once was for viewers in the present day. This series won 2nd place in the ASMP National Competition. Exhibitions: 2014 Carrie Haddad Gallery: Water Pictures : December 18th thru January 2015. 2014 International Center of Photography, Juried Group Faculty Show: Photographs in the Social Landscape 2013 Carrie Haddad Gallery, Hudson, NY. Group Show: Street Dance Series 2012 Carrie Haddad Gallery, Hudson, NY. Group Show : Time Transformations 2012 The Hudson Studio, Hudson, NY.: Solo Show : Abandoned Architecture. 2011 Garrison Art Gallery, Juried Group Show 2010 Alan Klotz Gallery, Group Show on the 400th Anniversary of the Hudson River. 2009 Through the Eyes of Others Photographs of India...

A line of sleighs crossing a snow field at St Moritz, Switzerland, March 1963. Slim Aarons Crossing Snow Field, 1963 C print Estate stamped and numbered edition of 150 with Certif...

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" ...

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...

"Clifford’s winding feather patterns reminded me of a geometric maze. I imagined myself walking through it for days, twisting and turning down various paths, until finally reaching t...

"I created two portraits of Duke during my short time with him. The first was an unusual composition with his emerald tail feathers toward my camera and his ruby head looking back ov...

"Carmela was a character. With their wild fluff and laughable likeness to a fluttering Muppet from the 1970s, silkies naturally exude charisma and charm. When in motion, their feathe...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

Rebecca Skinner’s “Industrial Interior” was photographed at an abandoned steel factory and is part of a series documenting the loss of industry in America. Rust-covered industrial ma...

Natale Rusconi riding a Hotel Cipriani motor launch with the Church of San Giorgio Maggiore on San Giorgio Maggiore island beyond, in Venice, Italy, in September 1978. Slim Aarons ...

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

“Anesthesia” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as ...

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...

C-Prints printed on FujiFlex Crystal Archive Super Gloss Paper 20 x 24 inches Signed and numbered edition of 10 with certificate of authenticity Steve McCurry (American, b.1950) is ...

A rhythmic play of light and geometry, Checkers captures the subtle dialogue between reflection and structure. The alternating planes of glass and shadow evoke movement and depth, tr...

A couple walk on Caleta Beach holding hands, Acapulco, Mexico, 1968. Slim Aarons Caleta Beach, Acapulco 1968 C print (Printed later) Estate signature stamped and hand numbered edit...

The photos from the series Let Me Tell You a Story show, each one individually, certain themes through strongly narrative visual units. Each photograph is dedicated to a specific rep...

A stunning hand printed photograph. Sepia toned. Negatives 1995 & 2006 Signed and dated on verso and recto. Mint Condition FRAME NOT INCLUDED IN PRICE

Brooklyn Bridge Sunset (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2572. Not mounted. ...

Jimi Hendrix, London 1967 by Gered Mankowitz A portrait of Jimi looking serious while holding a cigarette in an embroidered jacket. "Shot during my first session with Jimi at my Stu...

Photographer Art Shay was able to get up close and personal in this intimate portrait of John F. Kennedy. Being devoid of any background interference adds to the power of this portrait. It is matted and framed in a black metal frame measuring 18h x 13.75w x 1.25d inches. Art Shay JFK in Profile, 1960 archival pigment print 14h x 11w in 35.56h x 27.94w cm ASY15013 “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen & Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren was to American writing: that rare and absolutely necessary citizen who’s blessed with a cold eye, a clear head, and a warm heart...

Boccia (Beachshoot) - 2005 70x135cm installed, including gaps - 8 pieces, 30x30cm each, almost sold out Edition of 100 plus 3 Artist Proofs. Available 100/100, AP 1/3, AP 3/3. Arc...

Let it be (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 #...

Benno Thoma's color image of a Vietnamese woman on her bike was taken in Hanoi. It is a painterly image created through photographic technique. This impression is #1 of an edition of...

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...

Mid Century Modern Palm Springs Architecture. Steve McQueen. Classic Vintage 356 Porsche, Midnight Modern Series Architecture Palm Springs. Archival Inkjet Print on Cotton Paper. Mi...

A party of skiers adjourn for drinks at the bar on top of peak KT-22, Squaw Valley, California, 1961. Second from right is American lawyer and businessman Alexander Cochrane Cushing ...

"Trophies" Photography 30" x 30" inch Edition 2/7 by Brendan North Available sizes: Edition of 15: 18" x 18" inch Edition of 7: 30" x 30" inch Edition of 3: 40" x 40" inch Signed ...