Landscape Photography

Madison Square Garden (1953) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) Madison Square Garden marquee night, west 49th street, Manhattan, New York, USA, circa 1953 Additional Information: Unframed Paper Size: 40x60'' Printed Later Silver Gelatin Fibre Print NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' 40 x 60'' FRAMING AVAILABLE ON REQUEST About the Artist: H. Armstrong ROBERTS (1883-1947) is an artist born in 1883 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 2012. ACTORS ON SET, Bette Davis, Ladies Fashion...

Cabazon Dinosaurs (Drive to the Desert) - 2000 44x59cm, Edition 5/5. Analog C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #155.05. Not mount...

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...

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...

Handball In Central Park (1948) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) A group of young men playing handball at a court in the 95th Street playground, Central ...

Audrey Swims Signed Limited Edition photo by Terry O’Neill 1966 Actress Audrey Hepburn, pictured in the South of France during the filming of ‘Two for the ...

Erich Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photographers, who used a Leica. His images today...

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...

A unique original silver gelatin black and white photograph was shot by Press Agency Trampus. Paris, carriages, and cars, circa 1930. Features: Original silver gelatin print photogra...

Sea Drive 1967 Slim Aarons Limited Estate Edition Film producer Kevin McClory takes his wife Bobo Sigrist and their family for a drive in an ‘Amphicar’ across the harbour at Nassau....

This black and white photograph, taken in 1962 at the Coral Pink Sand Dunes, located on the Utah-Arizona border, captures a moment of solitude and contemplation. The image features a...

A unique original silver gelatin black and white photography. The International Decorative Arts Exhibition in Paris, in October 1925. By the river Seine, access to the Department Sto...

Dining Al Fresco in Capri 1980 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Caption: Italian artist and actress Domiziana Gio...

Hotel du Cap Eden-Roc 1976 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. 40 x 30" inches / 101 x 76 cm paper size. Photo by Slim Aarons Archival ...

Cologne Night (1965) (Photo By Phillip Harrington) Hohe Strasse, in Cologne, at Night in 1965. Additional Information : Unframed Paper Size: 20x24'' Printed Later NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' FRAMING AVAILABLE ON REQUEST About the Artist: Phillip A. Harrington was born in 1920 and grew up in Holland, Michigan. He developed an interest in photography at an early age, joining the high school camera club at 16. At the age of 19, Harrington moved to New York City to study at the Clarence. H. White school of photography, a prestigious institution with graduates such as Margaret Bourke-White, Dorothea Lange, Laura Gilpin...

Italian artist and actress Domiziana Giordano, Italian author Francesca Sanvitale (1928 - 2011), Dino Trappetti and Umberto Terrelli dining al fresco on a terrace overlooking the wat...

From the roof of the Condé Nast building on Lexington Avenue. With a view of the Chrysler and Empire State buildings, New York, American Vogue, 15 October 1949. Limited to 21 only ...

This early 1960s landscape photograph, captured by society photographer Slim Aarons, features the town centre at the ski resort of Gstaad, Switzerland. This is an estate stamped and...

Early sepia-toned landscape photograph of Popocatepetl, a large mountain peak in central Mexico. The work highlights a donkey staged in the foreground with the mountain standing in t...

Antony Zega (1962-2019). Motel (Night), ca. 1985. Photographic print, 10 x 10 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Christo and Jeanne-Claude Wrapped Reichstag (I) (German Parliament, Blue Sky) Color Photograph on Archival Paper Year: 1995 Size: 11.81 x 15.74 inches (30 x 40 cm) Photographer: Wolf...

This black and white photograph captures a classic street scene in Las Vegas, likely from the 1950s or 1960s. The image showcases the Fremont Street area with its bright neon signs and vintage casinos...

This vintage silver gelatin photograph, printed in the late 1920s on Kodak Vitava Athena paper, is signed in pencil beneath the image with a typeset title centered in the lower margi...

La Coquille Club, Florida Car Park by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframed (framing available please enquire) Limited Signature...

Slim Aarons Lake Tahoe Trip 1959 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Young women canoeing at Zephyr Cove on th...

This vintage silver gelatin print is signed in pencil on the mount beneath the image. Printed in 1950 in an edition of 100 numbered copies and 5 presentation copies; this print is fr...

This silver gelatin print of one of Ansel Adams' most iconic images was printed by an assistant under Adams' supervision in the 1960s. It is signed in full by the artist in ink mount...

Slim Aarons' Saint-Tropez Beach, an Estate Edition photograph, is a vintage scene of sunbathers on the French Riviera, August 1971. Colorful coral red and mint green umbrellas shelte...

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...

Hotel du Cap Eden-Roc 1976 C-Print Estate signature stamped and hand numbered edition of 150 with certificate of authenticity from the Slim Aarons estate CAPTION: Guests by the pool...

Slim Aarons Estate Print - Desert House Party - Oversize A poolside party at a desert house, designed by Richard Neutra for Edgar J. Kaufmann, in Palm Springs, January 1970. Feature...

American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is...

This silver gelatin print with exemplary provenance is unsigned but bears several stamps from the artist's family on the back of the mount, including the authentication stamp of Adam...

A unique original silver gelatin black and white photograph. View of a bridge in Lyon, France, March 1927. This view of the Pont de l'Université in Lyon, France, was taken from the ...

NASA Apollo 14 commander Alan Shepard stands by the US flag on the moon with the shadow of Edgar D. Mitchell, module pilot, taking the picture. This is an 8" x 10" vintage chromoge...

Flowered Dress on Essex Street, 1986 From a 35mm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition ...

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

This black-and-white photograph, taken in 1952 in Paris along the Seine River, captures a tranquil and picturesque moment. In the foreground, a man wearing a light-colored straw hat ...

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...

El Venero 1971 (printed later) Chromogenic Lambda print Printed Later Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. El Venero, th...

Mountain Range (Stranger than Paradise) - 1999 64x85cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist inventory Number 535. Signature labe...

Hand printed silver gelatin photograph by artist. Signed in pencil lower right hand side on mat. Stamped on verso with artists address. Dry mounted to acid free board.

This silver gelatin print is signed in ink on the front of the mount beneath the image with title in pencil on the back of the mount. Likely printed in the early 1960s. From the co...

'Kids under Water Hydrant' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibitio...

'Cowboy on Ranch with Cows' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibiti...

A unique original silver gelatin black and white photograph by Agence Meurisse, Paris. La Santé, jailhouse in Paris, circa 1930. Features: Original silver gelatin print photography u...

Ancient View of the Port of Ensenada is a silver salt photograph realized by unknown photographer of the end of 19th Century. Very good condition, applied on a single cardboard. Ca...

'Guy with Beatbox' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Mich...

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 to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary print from the Getty Archive using Slim Aarons negatives. All prints feature a Slim Aarons blindstamp, and are accompanied by a Slim Aarons Certificate of Authentication issued by Getty. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Blue Seas, 1984" is a beautiful Limited Edition Estate Stamped Digital C-Type print from 20th Century photographer Slim Aarons. A view of the crystal clear waters off the Mediterranean island of Cavallo, Corsica. From August 1984. The world of Aarons’s photographs...

Reportage from Albania - Tirana  is a vintage photograph realized in the Late 1970s. Good conditions.

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. ...

A black and white photograph, Pabst Blue Ribbon sign, Chicago, Illinois, 1946, by Walker Evans is sheet size: 11.75" x 10.44" and image size: 9.25" x...

Slim Aarons Funk In Tuscany, 1969 C print Estate stamped and numbered edition of 150 with Certificate of authenticity Marta Marzotta playing a James Brown album on an Italian Brio...

Long Way Home (Stranger than Paradise) - 1999 3 x 38x36cm, Edition of 30, Archival C-Prints, based on the 3 Polaroids Certificate and Signature label artist Inventory Nr. 250.51 ...

A view from the umbrella boxes towards the tennis court at Newport Casino, Newport, Rhode Island, USA, 1953. Susanna Boylston Bolton 1965 (printed later) C print Estate stamped and ...

Eden-Roc Pool 1976 Slim Aarons Limited Estate Edition Guests round the swimming pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. 72" x 48" paper size Photo by Sli...

Slim Aarons Estate Print - Hotel Du Cap Eden Roc Size 72x48" inches / 183 x 122 cm Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. (Photo by Slim Aa...

Dani Geneux (left) and Marie-Eugenie Gaudfrin sunbathing at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. Aarons' iconic photograph depicts the legendary hotel made famous by Fitzgerald's Tender is the Night, the sun-kissed home away from home for titans of literature and music (Cole Porter, Fitzgerald, Hemingway, Stefan Zweig, Noël Coward), film (Marlene Dietrich, Alain Delon, Elizabeth Taylor, who brought all of her husbands there, and every Hollywood A-lister in town for Cannes), art (Chagall, Picasso, Matisse), music (John and Yoko, Jane and Serge, Ella Fitzgerald), politics (Churchill, De Gaulle, the Kennedys), and high society (the Duke of Windsor and Wallis Simpson). Two female bathers in black sunhats enjoy a holiday in bikini and topless styles, against the rocks. Numbered and stamped by the Slim Aarons...