Miniature Landscape Photography

Blue Sky Palm Trees (Sidewinder) - 2005 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by snap Collective, 2024. 20x...

Selenium-toned gelatin silver print Signed, titled, dated, and numbered in pencil, verso Also blindstamped with artist's name and edition number, recto 8 x 8 inches, image size (Ed...

Brooklyn Bridge 09 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1571. Not mounted. St...

Ingrid Morath sunbathes by a swimming pool next to the sea in Acapulco, 1961. Ingrid was born in Rio de Janeiro and lives in Mexico City. Portofino Villa Slim Aarons Estate Edition ...

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

View Of Rome is a vintage black and white photograph realized in the early 20th Century as reprint of an image of the late 19th century. With the hand-note in pencil on the rear. Go...

View Of Rome is a vintage black and white photograph realized in the early 20th Century. Good conditions. A historical testimonial of the cityscape through the art of photography c...

Street Of Rome is a vintage black and white photograph realized in the early 20th Century as reprint of an image of the late 19th century. With the hand-note in pencil on the rear....

View Of Rome is a vintage black and white photograph realized in the early 20th Century as reprint of an image of the late 19th century. With the hand-note in pencil on the rear. G...

Pino Zac - Vintage Photograph is an original black and white photograph realized by an anonymous artist in the 1970s. Good conditions.

S. Maria della Spina Church, Pisa is an original photograph taken in Pisa, Italy, realized by an Anonymous photographer. Titled on the lower. Very Good conditions.

Brooklyn Bridge 06 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1568. Not mounted. St...

Brooklyn Bridge 05 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1567. Not mounted. St...

Brooklyn Bridge 04 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1566. Not mounted. St...

Chefoo Trade Harbour is an albumen print made by an unidentified photographic studio. Print in excellent condition, applied to cardboard. Caption in Italian ink hand-written on har...

View Of Rome is a vintage black and white photograph realized in the early 20th Century as reprint of an image of the late 19th century. With the hand-note in pencil on the rear. Go...

Vintage Portrait of Anna Magnani is a vintage b/w photographic print on single-coated paper, realized in 1960s Good conditions. Anna Magnani was born in Rome, Italy (not in Egypt,...

Vintage Photo. "La fotografica" Photo Reportage Agency - Torino. By Studio Gherlone. Good condition.

circa 1964: New York DJ Slim Hyatt at work in Shepheard's night club whose decor recreates a famous Cairo bar. Two gold and turquoise sphinxes flank the DJ, who is posed behind two record players and before a glittering sculpture. Hyatt is often credited as the first disco DJ in the US. Initially hired by Oliver Coquelin upon the opening of Le Club, Hyatt quickly became one of the most revered figures in the emerging disco scene. He also DJed at Doubles from 1984 to 1995, and has been called by the painter and bandleader Peter Duchin “the first discotheque artist in New York." Slim and Sphinx, 1964 Slim Aarons Estate Edition Photograph Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Chromogenic Lambda C-type print on Fuji Crystal Archive Paper Crisp detail, continuous tone and brilliant color Paper weight 210gms Matte Satin Surface Printed Later Collector will get the next number in the edition Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure, a history of glamour that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Complimentary dealer shipping to your framer. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Aarons began his career as a combat photographer in World War II. Though he earned a Purple Heart for his service, he declared that combat had taught him that the only beach worth landing on was decorated with beautiful people enjoying themselves in the sun. Increasingly known for his influence, Aarons's casually glamorous jetset aesthetic can be seen today in fashion, art, and celebrity photography. Recent articles credit his work with inspiring the casually flawless style of top Instagram influencers, full of sunshine and escapism. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Internal: Vintage New York, Vintage glamour, 60's glamour, Vintage DJ...

Baths of Caracalla is a vintage black and white photograph realized by Ludovico Tuminello in the early 20th Century. Good conditions except for some foxing.

Vatican Square Garden, is a photographic print on Agfa Brovira paper, realized by Giuseppe Felici in 1931. On the bach, a black ink stamp "Città del Vaticano/ Nuova Pinacoteca/ 10 OT...

Australia - Wallendelly River - 23 Mai 1893 - is a vintage photo, part of a journey to Asia performed by prince Franz Ferdinand von Osterreich Este (1863-1914), heir to the throne o...

Portrait of Ernst Junger - Vintage Photograph is an original black and white photograph realized by an anonymous artist in the 1980s. Good conditions.

Rebecca Skinner’s “Quiet Morning” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 12 x 18 inch toned black and white photo of a ...

Vintage Portrait of Anna Magnani is a vintage b/w photographic print on single-coated paper, realized in 1960s Good conditions. Anna Magnani was born in Rome, Italy (not in Egypt,...

Vintage Portrait of Anna Magnani is a rare vintage b/w photographic print on single-coated paper, realized in 1940s. Good conditions. Anna Magnani was born in Rome, Italy (not ...

Queen Elizabeth wears mineral's helmet is a vintage photograph, an original black and white photograph realized by Associated Press News photo. The description of the image on the le...

Ancient view of the Port of Buenos Aires is an original albumen print realized in the 1880s. Print in very good condition, applied on a single car...

Xtreme (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid photograph. Artist inventory Number 909. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Time Traveller (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory N...

Ancient view of Kyoto, is an original vintage albumen prints, hand colored, on single cardboard: 26 x 34 cm. Realized between the 1880s and the 1890s. The image on the front 21.5 x...

Without You (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 934. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Vintage black and white photo representing Rome city centre, in particular the Arch of Janus seen from a square previously called Piazza Montanara, nearby th...

Ancient Japanese ethnographic photographs from Nagasaki is a set of 8 original vintage albumen prints on single cardboard: 26 x 34 cm. Four images in the front and four on the rear ...

Carlton Hotel The entrance to the Carlton Hotel, Cannes, France, 1958. Paper size 16 x 16" inches / 41 x 41 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons P...

Ancient views of the Temple of the Queen of the Sky in Canton is a set of two original vintage Albumen prints on single cardboard: 26 x 34 cm. Image 21.5 x 27 and on the rear 21.5 x...

Ancient views of Shanghai is a set of 4 original vintage albumen prints on single cardboard: 34 x 26 cm. Image 21 x 15.5 cm, 2 of 10.5 x 14....

Brilliant Shadow (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 22720. Signature labe...

Silver Bullet (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 23475. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

The solar panels is an original vintage photograph realized by an anonymous photographer With the hand-notes on the rear. Good conditions.

Jolynne Martinez Soldier Beetles Mating on Goldenrod Archival Pigment Print Year: 2024 Visible Size: 7.5 x 11.25 inches Framed: 14 x 18 x 1 inches Signed: On Label COA provided *Rea...

It's Going to Be OK (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 23890. Signature l...

After (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 18799. Signature label and Certi...

Ancient views of Tokyo is a set of four original vintage albumen prints on single cardboard: 26 x 34 cm. They were realized between the 1880s and the early 1890s. Four images on th...

Angie Jennings Mystery Woods - Flowers Archival Pigment Print Year: 2024 Visible Size: 7 x 9 inches Framed: 12 x 15 x 1 inches Signed: On Label COA provided *Black frame with standa...

Angie Jennings Mystery Woods - Leaves Archival Pigment Print Year: 2024 Visible Size: 7 x 9 inches Framed: 12 x 15 x 1 inches Signed: On Label COA provided *Black frame with standar...

Angie Jennings Mystery Woods - Mailbox Archival Pigment Print Year: 2024 Visible Size: 7 x 9 inches Framed: 12 x 15 x 1 inches Signed: On Label COA provided *Black frame with standa...

Vintage Photo from the Fascist period in Italy. Photo by Studio Gherlone, Torino. Photo dimensions 17 x 23 cm. Includes passepartout. Good condition.

Ancient Views of Colombo Sri Lanka is a set of 2 original vintage albumen prints on single cardboard: 25 x 34 cm. Size of photos: 21.5 x 27.5 cm. Good conditions. Caption in Ital...

Stefanie Schneider's Minis 'Airstream' (29 Palms, CA) - 1999 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroid sized open Editions 1...

Views of Acapulco is a set of two different albumen print realized in 1880s. Prints in very good condition, applied on a single cardboard. Caption in Italian ink hand-written on ha...

Lucky For Some 1949: Sicilian-born gangster Charles ‘Lucky’ Luciano (1897 – 1962) walking down a street in his native Sicily, followed by local children mimicking his posture. Whils...

Blooded (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 22991. Signature label and Cer...

On The Run (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 23024. Signature label and ...

Last Chance (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 24104. Signature label and...

Hidden Valley (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1992. Signature label a...

Vintage Photo from the Fascist period in Italy. Photo by Studio Gherlone, Torino. Two joined photos. Good condition.

Blue Day (Wastelands) - 2003 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist inventory Number 837. Signature label and c...

Ancient View Conception - Calle Comercio - Chile is a an albumen print realized by an unknown photographer in the 1880s. Print in very good condition, applied on a single cardboard....

Dakh-na bagh Camp - 9 Marz 1893 - Indien. Nepal is a vintage albumen print, part of a journey throughout the world performed by prince Franz Ferdinand von Osterreich Este (1863-1914), heir to the throne of the Austro-Hungarian Empire. Despite his affairs and the growing importance of his role within the Empire, he took a year off his duties to travel the world, from North Africa to India, East Asia, Australia, and America, where he attended the 1893 Chicago World’s Fair...