Miniature Color Photography

Groundwork 2019, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019-762...

Bedtime story I , 2017, 20x20cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2017...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

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...

Fugitives III (Till Death do us Part) - 2005, 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9363....

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Man’s Work Working at his typewriter surrounded by ‘bunny girls’, publisher Hugh M Hefner at the Playboy Key Club in Chicago. He founded adult magazines, ...

For your Eyes only 2019, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 20x20cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

Wonderland - 2019 20x20 cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2019 - 738. Kir...

'Bluebell Dream', 2017 Edition 2/7 plus 2 Artist Proof Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-306 Kirste...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Anthony Bourdain was famous for traveling the globe and exploring the local cuisine in No Reservations and Parts Unknown. As soon as he returned home t...

This series is born from a personal experience. The model's husband told Uwe Ommer an idea: he wanted to watch his wife with other men hiding behind the curtains. This is how the series was born, with a more erotic style than the others. The diversity of German photographer Uwe Ommer, who frequently works with aesthetic nudes, makes his art a perfect gift for all nude devotees. In Ommer's series you can find adventure, vintage erotica, acrobats, models interacting with Icelandic landscapes and many other fascinating shots. From The secret Album...

'Situation' part of the series 'A Girl called N.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certi...

The Morning After - 2017 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2017-4...

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

A Princess' Life (High Desert) - 2019 Edition 1/10, 20x20cm. Digital C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 22182 Not mounted. Stef...

Photo, print, done in Bratislava, roof of the Slovak National Gallery which doesn't exist in this shape anymore. Could be delivered also in different sizes. This size limited to 5 an...

This is an original Ektacolor print (aka Kodak Chromogenic Print) and is number 16/25. The edition was print in 2000. It is signed, titled, dated and numbered on the back of the prin...

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...

'Orange Poppies No.2' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

Controversy - 2018 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2018-1096. Not ...

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...

Autumn Drift (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist ...

Portraits of found nests. Price includes frame.

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

11 x 14 inch image is an edition of 45. Four other sizes are available. Mina Afshari was born in Tehran, Iran. Her life and art are shaped by her journey from oppression to freedom....

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

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...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

'Figure study in black and white II' 2016, Edition 1/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist invento...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

'Orange Poppies No.3' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

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 Invent...

Male Nude VI (29 Palms, CA) - 1999, 20x20cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 23700. Not mounted. ...

This series is born from a personal experience. The model's husband told Uwe Ommer an idea: he wanted to watch his wife with other men hiding behind the curtains. This is how the series was born, with a more erotic style than the others. The diversity of German photographer Uwe Ommer, who frequently works with aesthetic nudes, makes his art a perfect gift for all nude devotees. In Ommer's series you can find adventure, vintage erotica, acrobats, models interacting with Icelandic landscapes and many other fascinating shots. From The secret Album...

Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and evolving features of the western roadsi...

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...

Artist: Bert Stern Title: Lolita, 1960 Year: shot in 1960, printed at a later date Medium: Color photograph, hand signed and numbered in red ink, also signed in back of piece in blac...

Crushing - 2017, 20x20cm, Edition 1/7 plus 2 Artist Proofs. Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-792. ...

Tussle (The Princess and her Lover) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

CZ's House Mrs F C Winston Guest (1920 – 2003) (aka Cee Zee Guest) reclines on a garden chair in front of the Grecian temple pool on her ocean-front estate, Villa Artemis, Palm Beac...

In American Motel Signs Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to ...

This mid-1955s portrait photograph, captured by society photographer Slim Aarons, features Rita Aarons, wife of photographer Slim Aarons, during the filming of 'Mister Roberts' in Ha...

Rebecca Skinner’s “Reflection” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 18 x 12 inch color photo with satin finish is inf...

This late 1960s landscape photograph, captured by society photographer Slim Aarons, features a couple walking on Caleta Beach holding hands, Acapulco, Mexico, 1968. This is an esta...

The gallery has the most extensive New York City landscape art photography, due to our abiding love for the city. We present the work of different photographers, some of whom are eme...

Debbie Harry of Blondie - London 1977 limited edition print by Brian Duffy. Debbie Harry of “Blondie” wearing a Patti Smith Group T-shirt shot...

'Bombay Nights' part of the series 'A girl called N.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with c...

Nude 01 - Platinum Palladium print over 24 carat Gold leaf on vellum paper Edition of 8 + 2 AP ( small size ) Photographic reproduction on handmade sensitised paper ( Platinum P...

This 1980 portrait photograph, captured by society photographer Slim Aarons, features Catherine Wilke joining the topless sunbathers - along with Elisabetta Catalano, Charlotte Ticke...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18420. No...

Alice Wesselhoeft Saltonstall 1958 - Slim Aarons Estate Stamped Alice Wesselhoeft Saltonstall, wife of senator Leverett Saltonstall in Palm Beach, USA, circa 1958 12 x 12" inches /...