Paper Figurative Photography

2153 and 0205 Diptych, 2022 by Salvatore Arnone From the ONE series Photography and tape on Hahnemuhle paper Overall size: 90 H x 140 W cm. Individual size: Paper size: 90 H x 70 W c...

Virna Lisi is a vintage black and white photograph realized in the 1960s. Good conditions.

The Queen Elizabeth II and Prince Philip  is a is a black and white vintage photo, realized in 1970s. Good conditions and aged. It belongs to a historical and nostalgic album inclu...

Farewell (Haley and the Birds) - 2013 70x80cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist inventory No...

Memories of Green I, triptych, - 2003 Edition of 5, each 58x56cm, installed with gaps 58x178cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on ...

Untitled Aspy-Thor IV, 2012 by Rodrigo Etem From the series Ser Cosa Archival pigment print on fine art paper Size: 30 H x 24 W inches. Edition of 7 Unframed …this series of portra...

Sunspots - Signed limited edition archival pigment print - Edition of 10 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free ...

Harmony Motel (29 Palms, CA) - 2006, Edition of 10, 60x80cm, analog C-Print, hand-printed by the artist, on Fuji Crystal Archival Paper, matte surface, based on the Polaroid. Ce...

Alphabet Soup (Till Death do us Part) - 2005, 128x127cm, Edition 3/5, analog C-Print, hand-printed by the artist, based on the Polaroid. Artist Inventory No. 9283.03. Signature ...

A Vision you can't Capture (29 Palms, CA) - 2007, Edition 1/5, 125x150 cm each, 3 pieces, installed 125x470cm. 3 Analog C-Prints printed on Fuji Archive Paper, hand-printed by th...

'Untitled' by Stefanie Schneider (Beachshoot) 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory Nr. 898.08, ...

Boccia V (Beachshoot) - 2005 38x37cm, Edition of 10 Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467_5. Not mounted. featuring Ca...

Disney's Sequoia Lodge is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments...

"Porcelain II" captures a young naked woman floating in dark waters, their pale form creating ethereal ripples against the black backdrop. This underwater fine art photograph showcas...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Doug Rickard (American b.1968) Limited Edition Archival Pigment Print. Features the work titled; A New American Picture - Detroit. Signed on verso and numbered 4/5. Work: 26 in. x 41 1/2 in. Frame: 26 1/2 in. x 42 in. Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. A New American Picture depicts American street scenes, located using the internet platform Google Street View. Over a four-year period, Rickard took advantage of Google’s massive image archive to virtually explore the roads of America looking for forgotten, economically devastated, and largely abandoned places. After locating and composing scenes of urban and rural decay, Rickard re-photographed the images on his computer screen with a tripod- mounted camera, freeing the image from its technological origins and re-presenting them on a new documentary plane. The low-resolution images that Rickard favors have a dissolved, painterly effect, and are occasionally populated with figures who acknowledge the camera, but whose faces are blurred, masking their identity. The photographs are thus imbued with an added surrealism and anonymity, which reinforces the isolation of the subjects and emphasizes the effects of an increasingly stratified American social structure. Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.Doug Rickard (born 1968) is an American artist and photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his computer monitor. His photography has been published in books, exhibited in galleries and held in the permanent collection of the San Francisco Museum of Modern Art. Rickard is best known for his book A New American Picture (2010). He is founder and publisher of the website on contemporary photography, American Suburb X, and the website These Americans which publishes some of his collection of found photographs. This work features a black, African American man in the foreground walking in a bleak neighborhood in Detroit, Michigan. Rickard was born in San Jose, California and brought up in Los Gatos in the San Francisco Bay Area. His father was a prominent pastor and many family members were preachers and missionaries, with a "very Reaganesque, patriotic view of America", a country "special and unique". Rickard studied United States history—slavery, civil rights—and sociology, at University of California, San Diego, and "lost his faith in this family vision. His adult view of America was a land not just of great achievement but also of massive injustice." At age 12 he witnessed his father having a secret extramarital affair, that years later in 1988 he confessed to his congregation. Rickard says this experience prompted him "to look for the fault lines in the American dream." He lives in Shingle Springs, near Sacramento, California. For his series A New American Picture, Rickard "wanted to look at the state of the country in these areas where opportunity is non-existent and where everything is broken down", where "the American dream was shattered or impossible to achieve". It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web. He cites as influences the photobooks American Photographs (1938) by Walker Evans, The Americans (1958) by Robert Frank, Uncommon Places (1982) by Stephen Shore and American Night (2003) by Paul Graham. The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010. To mark that occasion Rickard produced the first edition of the book, with the publisher White Press. Its first American museum show was at New York's Museum of Modern Art. Select Publications: Aperture Remix. New York: Aperture, 2012. A series of books made in homage to another Aperture publication, each in an edition of 5 copies. Rickard's was a response to Uncommon Places by Stephen Shore. The other publications were by Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling. Produced in conjunction with the exhibition Aperture Remix. A New American Picture. Nazraeli Press Six by Six, set 4 v. 5. Portland, OR: Nazraeli, 2012. Edition of 100 copies. The other volumes are by Robert and Kerstin Adams, Edward Burtynsky, Kenro Izu, Catherine Opie and Issei Suda. Staking Claim: a California Invitational. San Francisco: Modernbook, 2013. Photographs by Rickard as well as Matthew Brandt, Susan Burnstine, Eric William Carroll, John Chiara, Chris Engman, Robbert Flick, Todd Hido, Siri Kaur, Mona Kuhn, Matt Lipps, David Maisel, Klea McKenna, Mark Ruwedel, Paul Schiek and Christina Seely. Catalogue of an exhibition held at the Museum of Photographic Arts, San Diego, CA. Select Exhibitions: Solo exhibition 2012: Yossi Milo Gallery, New York, October–November 2012. Group Exhibitions 2010: Anonymes: L’Amérique sans nom: Photographie et Cinéma (Anonymous: Unnamed America in Photography and Film), Le Bal, Paris, September–December 2010. A thematic exhibition with works by Rickard as well as Jeff Wall, Walker Evans, Chauncey Hare, Lewis Baltz, Standish Lawder, Sharon Lockhart...

Boy with Silver Mask (Stay) - 2006 37x36cm, Edition of 30, Archival C-Print, based on a Polaroid. Certificate and Signature label artist Inventory #5606. Not mounted. Torsten ...

Lost (Suburbia) - 2004 40x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label with Certificate. Artist Inventory # 1670. Not mounted...

'Ewan McGregor' (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 5007.01 Not mounted Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas...

ABOUT THIS PIECE: "As a self-portrait artist, I use the observation of my surroundings, personal experiences, and my own personal growth to create conceptual images. I am a highly positive person and this positivity often reflects in my work delivering images with a strong message on personal growth, self-love, and empowerment. I want my images to give hope and teach people to appreciate themselves, to love, dream, and believe that everything is possible if we believe it is. My images often feature simple backgrounds, saturated colors, and characteristic props like flowers, plants, origami, or balloons. creating dreamlike images both rich aesthetically and in meaning." - Fares Micue...

ABOUT THIS PIECE: "As a self-portrait artist, I use the observation of my surroundings, personal experiences, and my own personal growth to create conceptual images. I am a highly po...

Elvis Presley is a vintage photo, realized in 1960s Good conditions.

Artist: Josephine Cardin Medium: Photography Limited edition of 30 Cardin uses a mix between photography and painting to develop her contemporary figurative art, inspired by music...

Alejandra (2014)
 Alejandra shaved her head when she was 16. It was an act of rebellion and transgressions. She came to visit me, I took her to the river... 20x20 cm, Edition of 10...

Prince Charles and Lady Diana Spencer is  a black and white vintage photo, realized in July 21th. 1981. The photo depicts an official picture by  Lord Snowden shows Prince Charles a...

An underwater photograph of a two naked young women on neutral black background. Porcelain, aside from being an exquisite material, is the name of an exquisite photo series. The se...

Ballet on ice skates is a black and white vintage photo, realized in 1950s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, p...

Edition 5 in format 70x70 cm Photograph on Hahnemuhle Paper ; Digigraphie technology , Limited edition, 70x70 cm + 5 cm white margin, Signed on the front. The photo will be sent with...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. A stunning and dynamic Archival Pigment Print by contemporary British photographer Giles Revell. This print may also be available in a larger size. Please contact the gallery for more information. Giles Revell creates imagery that is driven by analytical and forensic ideas that question the boundaries of science and art. There is a distilled graphic style to his work which has a recurring curiosity for observing familiar themes with an alternative viewpoint. He is a master of lighting but also inspired by the potential of using new technologies to reveal innovative ways of expressing ideas. This series of abstract dance images was made in collaboration with The Royal Ballet...

The Girl 3 - Large scale photograph by Michael Banks Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editions of 5 , signed + numbered ...

Phoenix Rising (Strange Love) - 2007 20x20cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and certificate, artist Inventory No. 9923. Not mounted. ...

An underwater photograph of a naked young women with dark hair on red background. The pool is built in the garden and you can see bright green trees and blue sky through the water su...

Protests after the Death of M.L. King is a historical photograph realized in the 1968. Good conditions and aged.

Prince Charles and Princess Anne - Vintage press print realized in the mid-20th Century. Good conditions and aged.

The Wedding is a booklet with black and white vintage photo, realized in November 14th. 1923, about the wedding of Mrs Christaine de Lichtervelde with Mr. Roger Gillis. Good conditi...

In Adventureland is a colour vintage photo, realized in the Early 1990s. The photo depicts the Adventure Isle, Captain Hook's Pirate Ship, Pirates of the Caribbean Fortress in Euro ...

Boccia III (Beachshoot) - 2005 38x36cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. featuring C...

The Actress Lauretta Masiero is a vintage black and white photograph realized in the 1960s. Good conditions.

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimizing the modern elements. I love the geometry of the tiles, the lines on the bottom of the pool and the typography of the signs. Since my first Poolside exhibition in 2018, I have travelled to London, Paris, Manchester and Glasgow to add to my collection. Focusing on composition, carefully using blocks of color to show interesting shape and proportion. The eye is drawn to the architecture, then the symmetry and reflections, and finally to the models, which feels more intimate.‘ Although my first collections were heavily inspired by my love of Wes Anderson's work, I’ve also been looking to other cinematic imagery from directors like Terrence Malick and Stanley Kubrick, while still keeping my signature style.’ We are so lucky to still have these beautiful old pools and maybe the photographs will remind people how lovely they are." - Soo Burnell...

'Untitled' by Stefanie Schneider (Oilfields) 2004, 60x60cm, Edition of 10, Analog C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 1215.05 Not mo...

Series: Hydrid Souls Archival Pigment Print Edition of 2 + 2 AP Available Size: 47.24" x 36.61" 55.11" x 42.51" 62.99" x 48.81" Born in Istanbul in 1978, Ali Alışır started his g...

"Indietro Tutta" is a black and white vintage photo, realized in February 14th 1988. The photo depicts a moment of the popular Italian TV show "Indietro Tutta" of Renzo Arbore, also...

This piece is an original artwork by Jason Chen titled "The Unconscious Mind III". It is made of archival pigment prints from the artist's photography that he then cuts into strips a...

Series: Hydrid Souls Archival Pigment Print Edition of 2 + 2 AP Available Size: 47.24" x 40.94" 55.11" x 47.63" 62.99" x 62.99" Born in Istanbul in 1978, Ali Alışır started his g...

'Untitled' 2013, Edition of 10 plus 2 Artist Proofs, Digital C-Print, based on a Fuji FP-100C Instant Film, not mounted, 27 x 21.5 cm, Signed, embossed stamp and artist certific...

Series: Hydrid Souls Archival Pigment Print Edition of 2 + 2 AP Available Size: 47.24" x 36.61" 55.11" x 42.51" 62.99" x 62.99" Born in Istanbul in 1978, Ali Alışır started his g...

Stefanie Schneider's art work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) This piece: Lila's Studio (Stay) with Noami Watts and Ewan McGregor - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5109. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

Untitled (#08-22) is a limited edition photograph by Polish contemporary artist Pawel Żak. This photograph is sold unframed as a print only. It is available...

"Vintage photo - The Cucifix" is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including h...

The Queen Elizabeth II and the Prince Andrew is a is a black and white vintage press print, realized in June 10th. 1963. The photo depicts an official moment of the English Crown. Q...

Sealab is a black and white vintage photo, realized in 1960s. A driver prepares to enter the underwater capsule that will transfer him to the Sealab 600 ft. below. Good conditions ...

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimizing the modern elements. I love the geometry of the tiles, the lines on the bottom of the pool and the typography of the signs. Since my first Poolside exhibition in 2018, I have travelled to London, Paris, Manchester and Glasgow to add to my collection. Focusing on composition, carefully using blocks of colour to show interesting shape and proportion. The eye is drawn to the architecture, then the symmetry and reflections, and finally to the models, which feels more intimate.‘ Although my first collections were heavily inspired by my love of Wes Anderson's work, I’ve also been looking to other cinematic imagery from directors like Terrence Malick and Stanley Kubrick, while still keeping my signature style.’ We are so lucky to still have these beautiful old pools and maybe the photographs will remind people how lovely they are." - Soo Burnell ABOUT THIS ARTIST: Growing up surrounded by Edinburgh's historic beauty, it would be hard for any photographer not be inspired by its incredible buildings. However, it was the Victorian swimming pools of her childhood that really spoke to photographer Soo Burnell, and allowed her to apply her personal style and aesthetic to shoot these iconic buildings. Taking inspiration across many art forms, from architects, artists and filmmakers, Soo’s stylised shots are reminiscent of frames from a Wes Anderson film...

Officer's Wives Club (29 Palms, CA), diptych - 1999 Edition of 23/25, 40x40cm each, installed 40x87cm, including gap. 2 Analog C-Prints, hand-printed by the artist, based on the 2 Polaroids. Signed on back with Certificate. Artist inventory number: 316. Mounted on Aluminum with matte UV-Protection. 29 PALMS, CA is a film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters portrayed in the film, (an actress, a singer, a DJ, a motel owner and his wife, a US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, and so on), are to be played by both actors and non-actors. The story is constructed through the interpretation of real-life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense, the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them. The structure of the plot is fairly simple. An actress working as a telemarketer is inspired by a singer who is new to town and is featured on the local radio station. The radio station runs a program for lonely hearts and a charismatic DJ uses the show to reveal the hopes and dreams of the town's “hottest women”. One night a panicked German female caller captivates the community with a painful story about a sexy “Smoke Jumper” (a mysterious and super real alpha male). Everybody in town is listening to the program and nobody is quite sure what to say. Life in general continues and we witness and explore the various interactions. The actress meets the singer and they become famous. The US Army soldier dies on his way to battle. The foreign princess discovers that the jewels she has come to sell are fake. The motel owner‘s wife has an affair with the pool boys and so on. All the while the community is united by their loyalty to the “Lonely Hearts” radio show and through the disturbing revelations of the German woman...

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimizing the modern elements. I love the geometry of the tiles, the lines on the b...

Digital C-Print with Diamond Dust. Artwork size: 79x118 cm, Frame size 83x122x5 cm. Framed with a black wooden frame and museum glass anti-reflective. Edition of 10. Acquired direc...

The photo will be sent unframed. The photo is signed on the front. Marcin Ryczek, Limited edition 5 in format 43x85 cm + 5 cm white margin. Photograph on Hahnemuhle Paper ; Digigraph...

 2° Exhibition Solar Energy Conference is a black and white vintage photo, realized in June 20th. 1979. The photo depicts the Industry Minister, Franco Nicolazzi, during the 2° Exhi...