Horizontal Photography

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot wit...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

An Aston Martin DB6 sports car driving past the tennis courts at Il Pellicano Hotel in Porto Ercole, Tuscany, August 1973. Il Pellicano Tennis 1955 (printed later) C print Estate st...

Lose your head- 2021 - 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1050. Not...

Noise - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2008. Not moun...

Grace Jones for Playboy is a photograph realized by Helmut Newton in 1985. Albumen print From the series realized by Newton for Playboy magazine. Edtion 7/85. 

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

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 series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

Nastassia Kinski for Playboy is a mixed colored photograph realized by Helmut Newton in 1981. Photograph on positive trasparency films.

Tenterhooks - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-971. Not mount...

Kate #4, 2002 by American photographer Leonard Freed is a 8" x 10" signed black and white photograph, stamped vintage on verso (back of print). Model Kate remains forever complicit i...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of model, one of the finest, STAN STANCZYK. Stanczyk was a Gold Medali...

Signed Ricky Powell Photo of Keith Haring and Andy Warhol: Medium: C print. 1986. Dimensions: 8x10 inches. Good overall vintage condition. Minor signs of handling. Small corner loss...

Because - 2021 20x25cm, Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2009. Not mounted. Kirsten Thys van den Audenae...

Nastassia Kinski for Playboy is a mixed colored photograph realized by Helmut Newton in 1981. Photograph on positive trasparency films. From the series realized by Newton for Playb...

'Bucking Bronco' is a black and white photographic print by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Michael Ormerod: Vanishing Point'. Michael Ormerod w...

Lose yourself - 2021 20x25cm, Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2009. Not mou...

In orbit above the Gulf of Mexico in June 1965, NASA Gemini 4 American Astronaut Ed White is the first to spacewalk (tethered by a 25 foot cord) outside...

Altstadt Rêveries - (Diptych) - edition of 7, 2011 21 x 38,50cm, digital print mounted on Dibond - gloss coating Hand signed & numbered by artist Carmen De Vos The Belgian photogra...

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

Shiver- 2021 - 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1046. Not mounted...

Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibso...

Sonnet - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2029. Not mo...

Kate #9, 2002 by Leonard Freed is an 8” x 10” signed black and white photograph, stamped "vintage" by the Freed estate on verso (back of photo). Model, photographer, and yogini Kate ...

3 Stefanie Schneider Polaroid-sized unlimited Minis 'Radha Mind Screen' - 1999 - triptych signed in front, not mounted. 3 Digital Color Photographs based on the 3 Polaroids. 10.7...

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...

Star Wars (retroactively titled Star Wars: Episode IV – A New Hope) is a 1977 American epic space-opera film written and directed by George Lucas, produced by Lucasfilm and distributed by 20th Century Fox. It stars Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, David Prowse, James Earl Jones...

Erasure - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label with certificate. Artist inventory PL2020-939. Not mounted. Ki...

Sacrilege - 2020 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-940. Not mounted...

Matinée- 2021 20x24cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1016. Not mou...

Valentin Samarine started doing abstract painting in the 60s, and abstract photography in the 70s. He moved fairly easily from one to the other. It is in a perfectly logical sense: ...

Strange Math (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Certif...

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).. M...

Springtime (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

Fifty Shades - 2017, Edition of 7 plus 2 Artist Proofs. Digital C-print, based on an original Polaroid. Signed on the back and with certificate. Artist inventory PL2017-333. Not...

The image, Aspen, Quiet Light, was made just after the conclusion of an intense week-long photography workshop. I went to one of my favorite aspen groves fully intending not to make ...

Beaton, Cecil & Daniela Palazzoli (Editor) Cecil Beaton – Portfolio, 1981; Electa Editrice Portfolios - LIMITED EDITION Milano, Italy: Electa Editrice Publishers, 1981. Limited Edition Portfolio. This is no. 785 out of an edtion of 1000. A portfolio of twelve heliogravure plates with tissue guard-leaves and limitation leaflet with preface. Housed in portfolio and slipcover, portfolio: 16 1/4 x 12 1/2 in (415 x 317 mm); each print approximately 8 5/8 x 6 5/8 in (220 x 170 mm). Subjects include Gary Cooper, 1930s; Buster Keaton, 1931; Marlene Dietrich, 1935; John Wiessmuller, 1933; Greta Garbo, 1946; Marlon Brando, 1947; Audrey Hepburn, 1954; Frank Sinatra, Sammy Davis Jr., Dean Martin in "High Society", 1956; Marilyn Monroe, 1952; Rudolf Nureyev, November, 1962; Edith Sitwell, 1962; and Pablo Picasso...

Vintage silver print Western Photography Guild studio stamp in purple ink, verso Numbered "118-11" in purple ink, verso Also inscribed in pencil, ...

3 Stefanie Schneider's Minis from the movie Stay: 'Forgive me', 'Lila', 'Jellyfish' with Naomi Watts Signed in front, not mounted Lambda digital C...

Squares - 2021 - 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1048. Not mount...

Absynthe - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid, Signature label and certificate. Artist inventory PL2021-1020. Not mounted. ...

Brigitte Bardot with cigarette in hand by photographer Michael Ochs, originally taken in 1962. (Michael Ochs Archives/Getty Images) As an authorized Getty Images Gallery...

Astrid Kirchherr ( 20 May 1938 – 12 May 2020) was a German photographer and artist known for her association with the Beatles (along with her friends Klaus Voormann...

Maya, 2018, Edition 6/7 plus 2 Artist Proofs, Digital C-print, Based on an original Impossible film, not mounted. Signed on the back and with certificate. Artist inventory PL2018-445...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006, 20x24cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatu...

George Platt Lynes 1948 Photograph #10 of Balanchine Ballet ‘Orpheus’. George Platt Lynes rare original vintage 1948 silver gelatin photograph (dated by the NY City Public Library) of nude dancers Francisco Moncion and Nicholas Magallanes in George Balanchine's iconic mid-20th Century ballet Orpheus. Stamped on verso in dark blue ink at upper center, "GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK”. Photo shoot took place in NYC. Costumes and Set by ISAMU NAGUCHI. Photo is 7 5/8 x 9 1/4 inches, soft satin finish in excellent condition. This photograph is from my collection of 14 different poses in this series of nude photographs by Platt Lynes of Moncion and Magallanes in Orpheus. 8 different photographs are remaining and are available on request. Original gelatin silver prints that are stamped by the artist are rare. Photographs from this celebrated series are in the permanent collections of the Metropolitan Museum of Art (NYC), Museum of Modern Art (MOMA, NYC), the NYC Public Library, and the art archives of many prominent universities. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never rememb...

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...

Ballad (Bombay Beach) - 2023 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-08. N...

Silver Souls - 2024 - 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-27. Not m...

Blomme #08, 2012 [From the series Vintage Diva's] 31x40cm Digital archival pigment print based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH paper 305gsm, 100% cott...

White lies - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1080. Not ...

Monica Guerritore is a vintage black and white photograph realized in the 1970s. Good conditions.

11 x 14" vintage silver gelatin photograph of Adult film star Cal Culver (AKA Casey Donovan) photographed in 1972 for 'After Dark' magazine. Signed by Ja...

Sparks - 2024 - 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-27. Not mounted...

First Kiss (Till Death do us Part) - 2005 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory ...

Landslide - 2021 20x25cm, Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2013. Not mounted. Kirsten Thys van den Aude...