Small Color Photography

Breakfast Table, is a rare studio creation by Richard Heeps, inspired by a recent visit to Fleetwood, incorporating autobiographical elements, brought...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. This print may be available in another size, please contact the gallery for more information. "Carnival of Creeps, Fright Nights. West Palm...

"Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Kli...

This photograph of famed operatic soprano Leontyne Price was taken in 1980 during an album cover session. One of Mitchell's most beautiful color photogr...

All prints are produced to order. Lead times between 5-10 days. Due to currency fluctuations prices may change. Please contact the gallery for more information about this print or...

Adele Collins, British Vogue 1959 by Norman Parkinson Archival pigment Print, stamped and authenticated by the Norman Parkinson Archive. Parkinson’s homage to a painting by Dutch a...

Riviera (Malibu) - 2004 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist inventory Number 668. Not mounted. The works of Stefanie ...

This early 1960s winter landscape photograph, captured by society photographer Slim Aarons, features people ice skating at the Palace Hotel, St. Moritz, Switzerland, 1963. This is a...

Stunning artistically colored image of Bette Davis posed on an armchair in the studio, smoking a cigarette. Bette Davis was an American actress with a career spanning more than 50 ...

Concrete Scaffolding 02 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph is a screen printing with gold ink on concrete stoneware. Dimensions are...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Spiegelbild (Stage of Consciousness) part of the 29 Palms, CA project - 2008 Edition of 30, 38x47cm, archival C-Print, based on the Polaroid. Signature label and Certificate. Ar...

Campbell's Soup, iconic British architecture of their first UK factory. Photograph by Richard Heeps. This artwork is a limited edition of 25, gloss photographic print, dry-mounted t...

"Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Kli...

Spode Creatures of Curiosity with Romanesco, limited edition photograph The Good Dishes integrates memory, legacy, and metaphor with my response to loss. As I witnessed an early generation of family members pass, my cousins and I were each faced with the emotional task of cleaning out the family home. Sorting through the heirlooms, we would determine which items to toss, sell, or preserve. Without fail, when it came to the family’s fine china, that item was always given to the person who most cherished its memory and sentimental value. Growing up in a large Italian family, everything was centered around food and the family table. I remember vividly my mother’s vintage marigold stoneware dishes that she bought at the grocery store back in the early 1970s. She used them every day for as long as I could remember, and they had a life of their own. Along with my mother’s everyday dishes...

Wedgwood Golden Parrot with Blueberry Lemons, limited edition photograph The Good Dishes integrates memory, legacy, and metaphor with my response to loss. As I witnessed an early generation of family members pass, my cousins and I were each faced with the emotional task of cleaning out the family home. Sorting through the heirlooms, we would determine which items to toss, sell, or preserve. Without fail, when it came to the family’s fine china, that item was always given to the person who most cherished its memory and sentimental value. Growing up in a large Italian family, everything was centered around food and the family table. I remember vividly my mother’s vintage marigold stoneware dishes that she bought at the grocery store back in the early 1970s. She used them every day for as long as I could remember, and they had a life of their own. Along with my mother’s everyday dishes...

The morning after (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, art...

Kali as The Queen of Earth (2020) Edition of 10 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not moun...

Car Wash (Stranger than Paradise) - 1999 Edition of 10 , 58x56cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Signature label...

A contemporary color landscape photograph by Roberta Fineberg shot at night in Central Park in New York City. The artist uses light painting and long-exposure photography to create m...

Home of the Brave (Oxana's 30th Birthday) - 2007 A Captivating Journey Through Faded Dreams Dimensions: 48x46cm Edition: Limited edition of 10, / plus 2 Artist Proofs Medium: Archi...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

Remove Before Flight ( The Lost Aviator ) 2019, Edition 1/10 plus 2 Artist Proof, 50x50cm, Digital Print based on a Polaroid on Hahnemühle photo rag paper, not mounted. Signed on b...

The DJ (The Girl behind the White Picket Fence) - 2013 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Mounted on Dibond with matte UV-Protection. Signed on back and Certificate. Artist Inventory No. 16346. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

Shot at the the Forum in Inglewood California in 1972 during the tour supporting the Zeppelin’s untitled fourth studio album commonly called Led Zeppelin IV. This image was chosen by...

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

"Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Kli...

The breakfast is a photograph by French contemporary artist Camille Brasselet. It is a Pigment print on Baryta paper. This photograph is sold unframed as a print only. It is availa...

Working with these gregarious birds, they would always arrive in huge numbers and create a great commotion in the process. I really wanted to isolate a single bird away from the clam...

Unknown Artist Rust & Dust - Ford F3 Truck, 1948 Photographic Print (already matted) Year: Unknown 9.44 x 14.96 on 17.71 x 22.83 inches (24 x 38 cm on 45 x 58 cm) Unsigned as issued ...

“Declaration” was inspired by my return to international travel in 2022. Just as life had changed with the impact of Covid, my photography work shifted from elements of magic realism...

“Declaration” was inspired by my return to international travel in 2022. Just as life had changed with the impact of Covid, my photography work shifted from elements of magic realism...

Press Conference, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to m...

Boudoir III, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing p...

Leaf No. 26C1, limited edition, archival pigment ink print, signed and numbered Our world is immersed in light, but its physical essence is chemical. Digital photographic processes...

Candid capture of Circo nightclub's ownerHerbert Hooverhelping bombshell actress Marilyn Monroe with her fur coat. Marilyn Monroe was an American actressmodeland singer. Famous fo...

Underwater black and white nude photograph of a model diving in a swimming pool Original gallery quality print signed by the artist. Digital archival pigment print on archival pa...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The monochrome g...

Everything put Together (Suburbia) - 2004 50x50cm, Edition of 10, Archival C-Print based on the Polaroid. Signature label with Certificate. Artist inventory #19313. Not mounte...

Victoria - 2019 50x40cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back with Cer...

Hans Namuth Jasper Johns and Leo Castelli, ca. 1985 Color Photograph Frame included Provenance: from the Marjorie and Anselm Talalay collection, Cleveland, OH. Rare original color p...

Making out in Car (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label arti...

No Causes (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature l...

Poolside Dreams 1970 by Slim Aarons Slim Aarons Limited Estate Edition Helen Dzo Dzo at the Kaufmann Desert House in Palm Springs, California, desig...

Title: Donut - Double Chocolate Medium: Digital C-Print / Archival Pigment Print Edition of 5 per size Available sizes: 24" x 24" 36" x 36" 48" x 48" This photograph will be printed...

Magic Hour (Musica Poetica) - 1999 Edition 3/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificat...

Untitled 03 (Saigon) - 2003 58x56cm, Edition of 5. Analog C-Print, hand-printed by an artist on Fuji Crystal Archive Paper, matte surface, based on the Polaroid. Artist invento...

Mick Jagger On Stage - Limited Edition Mick Rock Estate Print Mick Jagger on stage, 1975 (photo Mick Rock). All prints are numbered by the Estate. Edition size varies according to...

Stunning capture of the famous jazz singer and musician Frank Sinatra while in Portland, 1957. This portrait features the star sitting on a bench on a dock, leaning back. Frank Sina...

An underwater photograph of a young woman wrapped in bright green tulle. Original gallery quality print signed by the artist. Digital archival pigment print on archival paper with...

Biarritz Seafront 1960 by Slim Aarons Slim Aarons Limited Estate Edition The beach and seafront at Biarritz, France, 1960. unframed c type print printed 2023 20 x 24" - paper s...

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...

Claus Goedicke (German) Ax (Some Things Series) Archival Pigment Print on Hahnemühle Photo Rag Year: 2013 Size: 23.38 x 16.53 on 24.4 x 17.32 inches (59.4 x 42 on 62 x 44 cm) Framed:...

Diamond Dust - Worldwide Exclusive Special. Unique pieces available at PREISS FINE ARTS. High-end framing and artsafe shipping worldwide included. Open to Love Diamond Dust - Close-u...

LONDON – FEBRUARY 26: English singer, songwriter and lead singer of the Rolling Stones, Mick Jagger, at Television House Studios during rehearsals for the ITV show “Ready Steady Go!”...

50x40 cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) About myself I was born and raised in Barcelona ...

Day Worker (American Depression) - 1999 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist, on Crystal Fuji Archive Paper, based on the Polaroid. Artist inventory...

LAST EDITION 'Radha Pink' (29 Palms, CA) - 1999 58x56cm, Edition of 10, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, not mou...