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Orientation: Square
'Klosters' 1963 Slim Aarons Limited Estate Edition
By Slim Aarons
Located in London, GB
'Klosters' 1963 Slim Aarons Limited Estate Edition
Skiers pass by the Hotel Chesa Grischuna in Klosters, 1963.
Produced from the original transpare...
Category
1960s Modern Color Photography
Materials
C Print
Dayworker (American Depression)
Located in Morongo Valley, CA
Dayworker (American Depression) - 1999
20x 20 cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Artist Inventory...
Category
Early 2000s Contemporary Portrait Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dalí was here (50x50cm) - 21st Century, Polaroid, Landscape, Color, Contempora
Located in Morongo Valley, CA
Dalí was here - 2018,
50x50cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2018-40...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Walk on the Beach, Bay of Biscay, color photography, limited edition, landcape
Located in Vienna, Vienna
Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...
Category
21st Century and Contemporary Contemporary Color Photography
Materials
Archival Ink, Archival Paper, Digital Pigment
Slim Aarons 'Beverly Hills Hotel' 1957 Official Limited Edition Estate Print
By Slim Aarons
Located in London, GB
Beverly Hills Hotel (1957)
Slim Aarons Limited Edition Estate Print
Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957.
(Photo by Slim Aarons)
Slim...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Slim Aarons Estate Edition - Palm Beach Idyll
By Slim Aarons
Located in London, GB
Slim Aarons - Palm Beach Idyll- Estate Stamped Edition
Limited to 150 only
A couple sunbathe by the sea at Palm Beach Florida 1955 USA (Photo by Slim Aarons).
This photograph epitomises the travel style and glamour of the period's wealthy and famous, beautifully documented by Aarons. In his words, he loved to photograph 'beautiful people in beautiful places, doing beautiful things'.
A beautiful and classic Slim Aarons C-type photograph
Limited edition to 150 only
numbered and stamped
by The Slim Aarons Estate on verso.
Printed 2020 from the negative dated 1955
Supplied with certificate of authenticity.
Gorgeous print measuring 30 x 30" inches / ca 76 x 76 cm’s paper size.
Stamped by the Estate on right and numbered in ink on left - limited edition to 150 only.
Produced utilising the original transparency held at archive source.
We ship regularly using Fedex Express services and shipping to all international locations.
GALERIE PRINTS works in close partnership with the prestigious Getty Images Archive and Slim Aarons Estate, London England - to bring you officially certified prints from this beautiful collection. Our prints are produced as Original Colour C-type or Black & White Silver Gelatin Photographs – utilising the original transparencies and negatives housed at the Archive.
fashion 50s 1950s ladies fashions relaxation red feminine charming Palm Beach beaches Florida Atlantic Ocean Miami luxurious nature sand palm trees...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Those were the Days - 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Those were the Days - 2020
50x50cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with cert...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Birds - 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Birds - 2018,
50x50cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2018-423
Not mounte...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Slim Aarons Official Estate Print - Donald Leas 1968 - Oversize
By Slim Aarons
Located in London, GB
Donald Leas
Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Beach, Florida.
Slim Aarons Chromogenic C print
Printed Later
Slim A...
Category
1960s Modern Landscape Photography
Materials
C Print, Color
Pit Stop - 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Pit Stop - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-122.
Not...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Polaroid, Photographic Paper
Slim Aarons Official Estate Print - Harriet at Mougins 1957
By Slim Aarons
Located in London, GB
Harriet At Mougins
Viscountess Harriet de Rosiere at Mougins, near Cannes in France.
Slim Aarons Chromogenic C print
Printed Later
Slim Aarons Estate Edition
Produced utilising ...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Slim Aarons Official Estate Print - Spear Fishing In San Diego 1956
By Slim Aarons
Located in London, GB
Spear Fishing In San Diego
A spear fisherman in a mask, snorkel and wetsuit, with two boys on a beach in San Diego, California, October 1956.
Slim Aa...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Slim Aarons Official Estate Print - Tram Turntable - Oversize
By Slim Aarons
Located in London, GB
Tram Turntable
A tram being manually rotated on a turntable in San Francisco, California, 1960.
Slim Aarons Chromogenic C print
Printed Later
Slim Aarons Estate Edition
Produced...
Category
1960s Modern Landscape Photography
Materials
C Print, Color
Renée's Dream XI (Days of Heaven) - Landscape, Horse, Polaroid, 21st Century
Located in Morongo Valley, CA
Renée's Dream XI (Days of Heaven). Part of the 29 Palms, CA Project - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label ...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Bryce II - 21 Century, Women, Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Bryce II - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-261.
Not...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Polaroid, Photographic Paper
'Verbier Vacation' 1964 (Slim Aarons Estate Edition)
By Slim Aarons
Located in London, GB
'Verbier Vacation' by Slim Aarons
Skiiers soak up the sun in Verbier, 1964.
Typically 'Slim' this photograph epitomises elegant travel and the vintage style and glamour of the peri...
Category
1960s Modern Landscape Photography
Materials
C Print
Tree of Light
Located in Morongo Valley, CA
Tree of Life - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-285....
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, C Print, Color, Polaroid
Slim Aarons Estate Print - French Polo Crowd 1950 - Oversize
By Slim Aarons
Located in London, GB
Slim Aarons Estate Print - French Polo Crowd - Oversize
A group of spectators at a polo match, France, circa 1950.
(Photo by Slim Aarons)
silver gelatin print
paper size 40 x 40" inches / 101 x 101 cm
unframed
printed later
edition size 150 only
certificate of authenticity supplied
numbered in ink & blind embossed stamped Slim Aarons signature on front
Authorised and issued by the Slim Aarons Archive & Estate c/o The Getty Archive London England and produced utilizing the original transparency.
b/w black and white horse horses equestrian sport sports crowd busy 1950s 50s fashion...
Category
1950s Modern Landscape Photography
Materials
Black and White, Silver Gelatin
Slim Aarons - Verbier Skiers - Estate Stamped
By Slim Aarons
Located in London, GB
'Verbier Skiers', 1964.
Stylish skiers dressed in fashionable ski wear including a young woman who wears a fur jacket adjust skis and prepare for a day on ...
Category
1960s Modern Color Photography
Materials
Archival Pigment
Viola Vivido by Gina Soden - Abandoned places photography, Italy, purple & gold
By Gina Soden
Located in Paris, FR
Viola Vivido is a limited-edition photograph by British contemporary artist Gina Soden.
This photograph is sold unframed as a print only. It is available in 2 dimensions:
*44.64 × 4...
Category
2010s Contemporary Color Photography
Materials
Giclée
Little Mission Church of God, Brooklyn
Located in Berlin, DE
Chromogenic print. Signed, dated and numbered on the verso.
Literature: Charles Johnstone. New York Storefront Churches. 2011. Ill. plate 6.
Category
21st Century and Contemporary Contemporary Color Photography
Materials
C Print
African Mines 007 by Bernhard Lang - Aerial abstract photography, environment
Located in Paris, FR
African Mines 007 is a limited-edition photograph by contemporary artist Bernhard Lang.
This photograph is sold unframed as a print only. It is available in 3 dimensions:
*60 × 60 ...
Category
2010s Contemporary Abstract Photography
Materials
C Print
Untitled (Oilfields) - Contemporary, 21st Century, Desert, Polaroid, Landscape
Located in Morongo Valley, CA
Untitled (Oilfields), 2004
60x60cm,
Edition 4/10
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory No. ...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Slim Aarons Official Estate Print - Hotel Krone Lech
By Slim Aarons
Located in London, GB
Slim Aarons Estate Print - Hotel Krone Lech
Traffic passing by the Hotel Krone in Lech, Austria, 1960
Paper size 40 x 40 inches / 101 x 101 cm
Estate Stamped Collection Edition to 150
Photo by Slim Aarons
Printed in 2025
Limited to 150 prints only (regardless of paper size)
Hand-numbered in ink on the front
Blind embossed...
Category
1960s Modern Color Photography
Materials
Archival Pigment
Vagabond (American Depression) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Vagabond (American Depression) - 2017
40x40cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Joshua Tree (29 Palms, CA) - Landscape, Polaroid, Photograph, expired, Nature
Located in Morongo Valley, CA
Joshua Tree (29 Palms, CA) - 1999
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Artist inventory 20975.
...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Late for the sky - Contemporary, Polaroid, Color, Seagulls, Beach
Located in Morongo Valley, CA
Late for the Sky - 2020
50x50cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2020-98...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Slim Aarons Estate Print - Nice Pool 1955 - Oversize
By Slim Aarons
Located in London, GB
Slim Aarons Estate Print - Nice Pool - Oversize
American writer C.Z. Guest (Mrs F.C. Winston Guest, 1920 – 2003) and her son Alexander Michael Douglas Dudley Guest in front of their Grecian temple pool on the ocean-front estate, Villa Artemis, Palm Beach. Original Publication: A Wonderful Time – Slim Aarons
(Photo by Slim Aarons)
Chromogenic print
paper size 40 x 40" inches / 101 x 101 cm
unframed
printed later
edition size 150 only
certificate of authenticity supplied
numbered in ink & blind embossed stamped Slim Aarons signature on front
Authorised and issued by the Slim Aarons Archive & Estate c/o The Getty Archive London England and produced utilizing the original transparency.
summer summery dog dogs...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Ghosts (The Last Picture Show) - Polaroid, Photograph, Contemporary, Americana
Located in Morongo Valley, CA
Ghosts (The Last Picture Show) - 2005
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist inventory 2...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Frozen IV (Last Picture Show)
Located in Morongo Valley, CA
Frozen IV (Last Picture Show) - 2001
20 x 20 cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
Early 2000s Contemporary Portrait Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Fall Monument
Located in New York, NY
Archival pigment print
Signed and numbered, verso
30 x 30 inches
40 x 40 inches
48 x 48 inches
(Total edition of 15)
This artwork is offered by ClampArt, located in New York City.
...
Category
2010s Contemporary Landscape Photography
Materials
Archival Pigment
Slim Aarons Official Estate Print - Hotel Excelsior 1957
By Slim Aarons
Located in London, GB
Hotel Excelsior
The beach front of the luxurious Excelsior Hotel on the Venice Lido, 1957.
Slim Aarons Chromogenic C print
Printed Later
Slim Aarons Es...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Don´t come with me - Contemporary, Photograph, Landscape, 21st Century, Color
Located in Morongo Valley, CA
Don´t come with me - 2011
40 x 40 cm,
Edition of 5 plus 2 Artist Proofs.
Archival Photography printed on Canson Baryta 310gr (not mounted)
Signed on back with Certificate.
About m...
Category
2010s Contemporary Landscape Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment
Cloudy Empire (Strange Love) - Polaroid, New York
Located in Morongo Valley, CA
Cloudy Empire (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Slim Aarons Estate Print - Bahamian Hotel 1973 - Oversize
By Slim Aarons
Located in London, GB
Slim Aarons Estate Print - Bahamian Hotel - Oversize
A hotel on the coast at Great Harbour Cay, Bahamas, March 1973.
(Photo by Slim Aarons)
Chromogenic print
paper size 20 x 20" i...
Category
1970s Modern Landscape Photography
Materials
C Print, Color
Last Stop Bombay Beach (California Badlands)
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
'Tyrol #3' - black and white polaroid landscape photography
Located in London, GB
'Tyrol #3' 2024
A photograph captured with a Polaroid camera.
Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, pre...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
'Tyrol #2' - black and white polaroid landscape photography
Located in London, GB
'Tyrol #2' 2024
A photograph captured with a Polaroid camera.
Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, pre...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's 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:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2194.
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, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's 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:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
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, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's 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:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
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, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
Stefanie Schneider's 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 Sc...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ancient Bridge Views III (Stay)
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
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, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
Stefanie Schneider's 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 Schneider's art was the art both characters 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 paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
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, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
'Frozen beach #4' - black and white analogue landscape photography
Located in London, GB
'Frozen beach #4' 2023
A photograph captured with a Polaroid camera that showcases the winter landscape of Lithuania in black and white.
Printed on the finest archival paper, these...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
'Frozen beach #6' - black and white analogue landscape photography
Located in London, GB
'Frozen beach #6' 2023
A photograph captured with a Polaroid camera that showcases the winter landscape of Lithuania in black and white.
Printed on the finest archival paper, these...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Early 2000s Contemporary Abstract Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Another Galaxy
Located in Morongo Valley, CA
Another Galaxy, 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print, Based on the original Polaroid, not mounted.
Signature label with certificate.
Artist inventor...
Category
2010s Contemporary Landscape Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
'Nice Pool' Palm Beach (Slim Aarons Estate Edition)
By Slim Aarons
Located in London, GB
Nice Pool' Palm Beach (Slim Aarons Estate Edition)
American writer C.Z. Guest (Mrs F.C. Winston Guest, 1920 - 2003) and her son Alexander Michael Douglas Dudley Guest in front of th...
Category
1960s Modern Color Photography
Materials
Archival Pigment
Planes II (Stranger than Paradise)
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
'Cannon Drive' 1952 Slim Aarons Limited Estate Edition
By Slim Aarons
Located in London, GB
'Cannon Drive' 1952 Slim Aarons Limited Estate Edition
1952: Cars driving along Cannon Drive, Beverly Hills, California.
Silver Gelatin Fibre Print
Produced from the original negat...
Category
1950s Modern Landscape Photography
Materials
Silver Gelatin
Slim Aarons Estate Edition - Palm Beach Idyll
By Slim Aarons
Located in London, GB
Slim Aarons - Palm Beach Idyll- Estate Stamped Edition
Limited to 150 only
A couple sunbathe by the sea at Palm Beach Florida 1955 USA (Photo by Slim Aarons).
This photograph epi...
Category
1950s Modern Landscape Photography
Materials
C Print, Color
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's 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 ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
'Lech Ice Bar' Slim Aarons Estate Edition
By Slim Aarons
Located in London, GB
'Lech Ice Bar'
Skiers enjoy a drink by the Ice Bar at the Hotel Krone in Lech, Austria, 1960. (Photo by Slim Aarons)
This photograph epitomises the travel style and glamour of the p...
Category
1960s Modern Landscape Photography
Materials
C Print
Beach No. 5, USA
Located in München, BY
Tom Hegen provides with his aerial photographs an overview of places where the relationship between humans and nature becomes visible. Often choosing dramati...
Category
2010s Contemporary Color Photography
Materials
Archival Pigment
Afar III by Luca Marziale - Abstract fine art photography, green, nature, rocks
Located in Paris, FR
Afar III is a limited-edition photograph by contemporary artist Luca Marziale.
This photograph is sold unframed as a print only. It is available in 2 dimensions:
*76.2 × 76.2 cm (3...
Category
2010s Contemporary Landscape Photography
Materials
C Print
Slim Aarons - John Rawlings 1950 - Estate Stamped
By Slim Aarons
Located in London, GB
John Rawlings 1950 Slim Aarons
Limited Edition Estate stamped
1950, Fashion photographer John Rawlings (1912 - 1970) on the beach at Montego Bay, Jamaica.
Produced from the origi...
Category
1950s Modern Color Photography
Materials
C Print
Slim Aarons Official Estate Print - John Rawlings - Oversize
By Slim Aarons
Located in London, GB
John Rawlings
Fashion photographer John Rawlings on the beach at Montego Bay, Jamaica, 1950.
40 x 40" inches / 101 x 101 cm paper size
Estate Stamped C...
Category
1950s Modern Landscape Photography
Materials
Archival Pigment
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