Miniature Color Photography

Metropolis – (2021) [ Influenced by Fritz Lang’s 1927 film Metropolis] Edition of 10 - 20 x 20 cm Archival C-Print based on a Polaroid, not mounted. Signed on back and certificat...

Frida on White Bench, New York, by Nickolas Muray is a colorful portrait of Mexican painter Frida Kahlo. This iconic image features the woman artist sitting on a white bench in fron...

What are we gonna do? (Till Death Do Us part) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. artist...

Skiing Princess Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate of Authenticity included. C-type print on Fuji Crystal Archive Paper, Crisp de...

Saudade - 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 PL2021-1017. Not mount...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

Floating, 2021 by Isabelle Schneider is a contemporary photographic mixed-media work that captures an idyllic summer afternoon-- an expansive sky, sunlight, and cumulus forms are ref...

From the transformative to the ephemeral, the birth and death of a butterfly is reimagined in a photo series by Roberta Fineberg inspired by a poem by the 13th Century Persian poet Rumi who wrote: ‘Whatever you know, or don’t - only love is real...

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...

A slow Wake-up, 2008, 40x40cm from the series mme.xposed, digital print based on a Polaroid mounted on Dibond - matt Hand signed & numbered by the artist edition of 7 - nr 1 Carmen...

GL 10-23 is a limited-edition photograph by French contemporary artist Riccardo Varini. This photograph is sold unframed as a print only. It is available in only one size: *45 × 30...

Fade to Grey - 2016, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-2003...

Tirage tiré de l'ouvrage « AMERICAN PUZZLE », 2011, éditions Trans Photographic Press (248p.). « La mémoire croit avant que la connaissance ne se rappelle. Croit plus longtemps qu’elle ne se souvient, plus longtemps que la connaissance ne s’interroge. » William Faulkner...

Male Nude in Bathroom (29 Palms, CA), - 1999, Edition 1/10, plus 2 Artist Proofs, 20x20cm, digital C-Print, Not mounted, based on a Polaroid, Signature label and Certificate, Art...

Erik at Fifteen - 2019 - 20x25cm, Edition of 10, plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not...

Palm Springs Palm Trees X (Californication) - 2019 20x20cm, , Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature labe...

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 XV (Days of Heaven) Part of the 29 Palms, CA project. - 2006 Edition of 10, 20x20cm, Archival C-Print, based on the Polaroid. Signature label and certificate. Artis...

Part of Richard Heeps 'Ordinary Places' Series, it captures Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition at th...

Drive to Russian River (My own private travel Diary) - 1991 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate...

Heidler & Heeps Vinyl Collection Set of Four Framed Pop Art prints. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully...

In October 1968 as seen from the Apollo 7 spacecraft during its 91st revolution of the earth from an altitude of 99 nautical miles, photographed is Hurricane Gladys in the Gulf of Mexico...

INSTANTDREAMS - Monograph - signed Hardcover Edition, 62 pages. published by Avanso, Berlin, 2014 ISBN 978-3-935971-69-0 This book comes with a 20x20cm "Her Last Call II" Edition o...

Weekending - Polaroid - Unique piece - 2020 Original Polaroid - Unique Piece, signed and titled on back. 7.8 x 7,7cm (image area) 10.7 x 8.7 cm ( including white Polaroid frame)...

Animalistic - 2019, 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 PL2019-80...

Immaculate Springs Set with Jacinda Barrett - 1998 Edition of 10, plus 2 Artist Proofs. 20x20cm, Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist i...

Blue Cadillac (29 Palms, CA) - 1999 20x24cm, Edition of 10 Archival C-Print print, based on the Polaroid, Certificate and Signature label. artist Inventory #607. Not mounted. ...

Many Fairytales (The Princess and her Lover) - 2007 Edition of 10, 20x20cm. Archival C-Print based on the Polaroid, not mounted, Signature label and Certificate. Artist Inventory...

This work is unique. Provenance: Fred Torres Collaborations, Jablonka Galerie. All pricing subject to change. Prior to purchase, please confirm current retail pricing and all other r...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

This work was acquired directly from The Andy Warhol Foundation for the Visual Arts. The work is in pristine condition and has never been framed. This is a unique work which comes w...

Even with my eyes closed - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL20...

This artwork titled "Conversation, Morrocco (Morocco)" c.1998, is a photograph by American artist Lisa Kristine, b.1965. It is stamp signed and titled on the back. The photograph siz...

Verbier Vacation 1964 by Slim Aarons printed 2023 Slim Aarons Limited Estate Edition Holiday-makers take the sun on a mountain top in Verbier, 1964 unframed c type print 16 x 16"...

Archival pigment print Signed in black ink, recto 11 x 14 inches, sheet size 8.625 x 13 inches, image size This artwork is offered by ClampArt, located in New York City. Born in Poland in 1942 as Armin Hagen Freiherr von Hoyningen-Huene, Peter Berlin...

'Leslie' 2011 digital C-Print, Edition 1/10, 20x30cm, Signature label and Certificate. Not mounted. About Tao Ruspoli (born 7 November 1975) is an Italian-American filmmaker, photo...

'Porto Venere No.2' Lerici, Italy 2024 Limited edition of 20. Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to with...

Underwater black and white photograph of a topless young female dancer in the pool. Original print on aluminum plate with solid black backboard. The artwork needs no additional fram...

Ghost Rider Cowboy (Blue), pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibran...

"Coming Back" captures a transformative moment in contemporary underwater fine art photography, where classical composition meets avant-garde expression. A figure in crimson emerges ...

New moon rising- 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 PL2021-1021. No...

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...

11 x 14 inch image is an edition of 45. Four other sizes are available. Story of "The Rising" The final surrender to the fire that burns away that which is not part of our true selv...

Square one - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-950. Not mounte...

Fog (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 inventory...

Vermont Winter, Vermont, Estate Edition, Winter Landscape Photograph This 1960s winter landscape photograph, captured by society photographer Slim Aarons, features students from Sto...

Burning Field IV (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. ...

First Violin #03 - 2013 [From the series Need to be] 25x25cm + white border 0,5cm (total 26x26cm) Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH...

Richard Klopfenstine Library Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minim...

'Islands', 2018, Print based on an original Polaroid on Hahnemühle photo rag paper, not mounted . 20x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

Fear (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 7...

Melissa - 2018 Edition of 10, 20x30cm. Archival C-Print. Signature label and Certificate. Tao Ruspoli (born 7 November 1975) is an Italian-American filmmaker, photographer, and musician. He is the second son of occasional actor and aristocrat Prince Alessandro Ruspoli, 9th Prince of Cerveteri and Austrian-American actress Debra Berger. Tao was born in Bangkok, Thailand and raised in Rome and Los Angeles. He graduated from the University of California, Berkeley with a Bachelor of Arts in Philosophy. Movie maker magazine singled out Ruspoli as one of the 10 Young Filmmakers To Watch in its spring 2008 issue. His feature narrative debut, Fix, was one of 10 feature films to screen in competition at the 2008 Slamdance Film Festival and soon afterward at the Santa Barbara International Film Festival where Ruspoli was awarded the Heineken Red Star Award for "most innovative and progressive filmmaker." Fix also won the Festival Award for Best Film at the 2008 Brooklyn Film Festival, Vail Film Festival and the 2008 Twin Rivers Media Festival, as well as other prizes at several international festivals. His most well-known documentary is Just Say Know, a personal discussion of his family's drug addiction. His other films include Flamenco: A Personal Journey, a feature length documentary about the flamenco way of life as it is lived by Gypsies in the south of Spain. He has directed a number of other short documentaries, including El Cable (also about Flamenco), and This Film Needs No Title: A Portrait of Raymond Smullyan (a portrait of the renowned logician, mathematician and concert pianist Raymond Smullyan). Tao founded LAFCO in 2000. The Los Angeles Filmmakers Cooperative, is a bohemian collective of filmmakers and musicians who work out of a converted school bus. Through LAFCO, Tao has produced several films and helped dozens of filmmakers to make their first films and discover the wonders of digital media. His producing credits include the feature film Camjackers, which he also acted in and co-edited. Camjackers won the best editing award at the 44th Ann Arbor Film Festival. Tao is an accomplished flamenco guitar...

Fern II, 2018, 20x20cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, based on an original Impossible film. Signed on the back and with certificate. Artist inventory PL2018-...

Beauty and the Beast 1959 by Slim Aarons printed 2023 Slim Aarons Limited Estate Edition Lady Daphne Cameron (Mrs George Cameron) on a tiger skin rug in the trophy room at social...

Radha Shooting II (Stranger than Paradise) - 1999 38x36cm, Edition of 30, digital C-Print based on a Polaroid, Signature label and Certificate. Artist Inventory No 259.34. Not mo...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

A set of four framed artworks, Ghost Rider Cowboy Blue, Purple Cyan and Mauve, pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of ...

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...