20th Century Landscape Photography

Josef Sudek Prague : Royal Garden, 1969 Original gelatin silver print Dated 1969 on the back (see picture) 12.5 x 16.5 cm (c. 4.7 x 6.3 in) Authenticated by the collection stamp on...

Sarah Marson Williams enjoys a cocktail on the beach at the Hilton Hotel, Needhams Point, Barbados, April 1976. Gorgeous print measuring 20 x 30" inches / ca 50.8 x 76.2 cm’s paper...

Leonard Dalsemer and his family at their villa in Lyford Cay, New Providence Island, April 1974. 40 x 60" inches / 101 x 152 cm paper size Estate Stamped Collection Edition to 15...

Staged Photography done by Jada Fabrizio Staged Photography, Landscapes, Assemblage

'Marlboro' (Stranger than Paradise) - 1997 sold out Edition of 5, This is the last Artist Proof 2/2, 50x60cm analog C-Print, hand-printed by the artist not mounted signature Label...

'Acapulco Villa' Las Brisas, the home of Eustaquio Escandon in Acapulco, January 1968. 72 x 48" inches / 183 x 122 cm paper size Estate Stamped Collection Edition to 150 Pho...

This print is currently featured in our exhibition, Warm Regards, and will be available to ship after the show closes June 24th, 2017. Pentti Sammallahti is a benchmark figure in co...

This mid-1950s landscape photograph, captured by society photographer Slim Aarons, features skiers at the Cranmore Mountain Resort, North Conway, New Hampshire, USA This is an estat...

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...

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...

Art Shay carried his camera with him where ever he went. He captured everyday moments and some not so everyday like this car. It's reflection in a shop window gives the appearance ...

Blue Dress (Sidewinder) Proof b4 Printing / 2005, 38x36cm analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, hand-print...

Erupt 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Not mounted.

Pool By The Sea Guests round the swimming pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1969. 40 x 60" inches / 101 x 152 cm paper size Estate Stamped Collection E...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

Wonderful color photograph of the gnarled trunk of a Coast Live Oak tree by California artist Deborah Eddy (American, b. 1943). Titled "Tree I" on the ma...

A Colorful Crew A group of colourfully dressed friends on board the Calypso clothing store owned boat, Bermuda, June 1970. Gorgeous print measuring 60 x 40" inches / ca 152 x 101...

This late 1960s portrait photograph, captured by society photographer Slim Aarons, features guests at a party at the home of Sebastiano Bergese in Marbella, Spain. This is an estate...

1958: Holidaymakers water-skiing in front of the Carlton Hotel, Cannes. 'Cannes Sports' Carlton Hotel, Cannes, France Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 72 x 48 inches $4900 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. 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. 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). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, 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. Internal: Slim Aarons Seascape Photography, Vintage Cannes, vintage watersports...

Seaplane At Palm Beach Patsy Pulitzer (nee Patsy Bartlett) leaning against a seaplane belonging to the Everglades Flying Service, at Palm Beach...

Edition 14 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains hig...

Black and white photographs that reveal the various facets and aesthetic searches of the legendary Colombian photographer, recognized as the creator of memorable realistic, abstract ...

The palm trees and the mountain is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including...

Cafe Terrace In Nice (1957) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) Holidaymakers on a cafe terrace in Nice on the French Riviera, 1...

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...

Guests by the pool at Nelda Linsk's desert house in Palm Springs, January 1970. The house was designed by Richard Neutra for Edgar J. Kaufmann. Slim Aarons Estate Edition, Certific...

'Swimming In Bermuda' 1977 Slim Aarons Limited Estate Edition Guests on Sidney Gould’s ‘Sea Quest’ boat take a dip in the ocean, Bermuda, September 1977. Produced from the origina...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features some friends preparing for a day snorkelling by Andros Island, Bahamas. This is an estate ...

Homage to Heraclitus: Earth VIII is a black-and-white 50 x 40-inch black and white photograph. It is printed on archival Hahnemuhle Barita paper. This print is part of an edition of ...

Bathers enjoy the sun by the pool at the Hôtel du Cap Eden-Roc, Antibes, France, 1976. Aarons' iconic photograph depicts the legendary hotel made fam...

This early 1970s landscape photograph, captured by society photographer Slim Aarons, features guests relaxing by the swimming pool at John Young's villa 'Plantana', Ocho Rios, Jamaic...

Dimitris Kritsas, a fashionable young couturier, poses among the gleaming Doric columns of the temple to Poseidon at Sounion, 1967 48 x 48 inches $4500 40 x 40 inches $3950 30 x 3...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features some friends preparing for a day snorkelling by Andros Island, Bahamas. This is an estate ...

Snow Flakes (Californication) - 2021 20x24cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numb...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

French fashion model Bettina Graziani wading in the shallow waters of Costa Smeralda, pulling a small yacht behind her, in Sardinia, Italy, 1964. Visual description: This iconic photograph features a woman in a green bikini swimsuit and yellow hair wrap leading a small boat with a red and white sail and sunfish logo. In the background is a bright white villa and small sculptural trees, in crisp contrast to the sparkling water turquoise pool. The bright red diagonal strips of the boat's sail draw the eye down and across the picture to figure, who creates small waves as she wades through the blue water towards the right edge of the picture plane, creating an overall satisfying sense of cheerful motion and activity. Slim Aarons Bettina Graziani Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 60 x 60 inches $5100 48 x 48 inches $4500 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 16 x 16 inches $2150 Complimentary dealer shipping to your framer, worldwide. 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. 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). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, 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. Internal: Slim Aarons French Fashion Model, Vintage European Glamour, Vintage Sport, Swimming, Boating, Vintage Holiday, 60s, Sardinia, Costa Smeralda, vintage summer. The Costa Smeralda ( 'Emerald Coast...

Dimitris Kritsas, a fashionable young couturier, poses among the gleaming white Doric columns of the temple to Poseidon at Sounion, Greece, 1967. Posing with him, four models show off colorful dresses of red, salmon, turquoise, and pastel yellow. This iconic photo depicts a scene of vintage glamour set against a classic Greek blue sky. Slim Aarons Dmitris Kritsas at the Temple to Poseidon, Sounion, Greece Estate Edition of 150 1967, Printed Later 48 x 48 inches $4500 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 Complimentary dealer shipping to your framer, worldwide. 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. Site Details: The Temple of Poseidon is an ancient Greek temple on Cape Sounion, Greece, dedicated to the god Poseidon. There is evidence of the establishment of sanctuaries on the cape from as early as the 11th century B.C. Sounion’s most prominent temples, the Temple of Athena and the Temple of Poseidon, are however not believed to have been built until about 700 B.C., and their kouroi (freestanding Greek statues of young men) date from about one hundred years later. The material and size of the offerings at the Temple of Poseidon indicate that it was likely frequented by members of the elite and the aristocratic class Approximately 13 kilometers south of Thorikos in the southern most region of Attica, the deme of Sounion is most well known for its sanctuaries of Poseidon and Athena. Its placement at the foot of Attica allowed it to function as a border deme as it could easily been seen by ships nearing Attica. The temple of Poseidon at Sounion was constructed from 444 to 440 BC. This was during the ascendancy of the Athenian statesman Pericles, who also rebuilt the Parthenon in Athens. The temple of Poseidon was built on the ruins of a temple dating from the Archaic period, about which the Greek geographer Strabo noted: "Geraistos [in Euboia] . . . is conveniently situated for those who are sailing across from Asia to Attica since it is near Sounion. It has a sanctuary (hieron) of Poseidon, the most notable of those in that part of the world, and also a noteworthy settlement. The main temple we see today is mainly made out of marble with an intricate taenia (the fancy borders on the ceiling). The marble is an Agrileza marble. The marble used on the Temple of Poseidon at Sounion came from the marble quarries, a place where marble is removed from the earth, in the Agrileza mines. This type of marble was 'coarsed grained' meaning that it had a rougher texture than smooth, shiny marble. As indicated by literary and archaeological evidence, the "leveled summit" on the coast of Cape Sounion was likely a cult site from as early as the end of the eighth century BC. Two cult centers dedicated to Athena and Poseidon respectively are believed to have been established by 700 BC. Subject: The name of Greek fashion designer...

Skiing Holiday, Gstaad, Switzerland, Estate Edition. Winter Portrait Photograph This late 1970s winter landscape photograph, captured by society photographer Slim Aarons, features A...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features some friends preparing for a day snorkelling by Andros Island, Bahamas. This is an estate ...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

Everts Township Schoolhouse, Summer, 1992 Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Format Chromogenic print on ...

Polo Party Paul Butler, patriarch of one of America’s foremost polo families, with his son, daughter, grandchildren and son-in-law, Palm Beach, April 1981. Left to right: Adam Butl...

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...

The Urge to Disappear (Stranger than Paradise) - 1997 59x43cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. A...

Holidaymakers aboard the 'Zephyria I' in Monte Carlo, August 1970. A classic view of a Riva Aquarama with family members aboard in Monaco in the hey-day ...

Offset poster realized in a limited edition of 1.000 by Galleria Rondanini in 1970s, after a photograph by Franco Fontana. Excellent condition.

Vintage Postcard is a postcard realized in 1940s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, places, families, artworks,...

Kentucky Farm by Alain Le Garsmeur Fencing along the Calumet thoroughbred horse farm, Bluegrass country, Lexington, Kentucky, 1984. Paper size 16 x 20 inches / 40 x 50 cm Printed ...

A moment in time In 2021, a gallery from Brussels contacted us. There, a photographic collection had been kept in tin boxes for decades, consisting of 6x6 glass slides in color. Th...

Max and Radha sitting on Rock (Long Way Home) - 1999 featuring Radha Mitchell 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate an...

Aerial view of Lisbon is a black and white vintage photo, realized in 1967. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, p...

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...

Slim Aarons Estate Stamped Edition Limited to 150 only A view of the Princess Beach Club, Bermuda, June 1967. (Photo by Slim Aarons) This photograph epitomises the travel style a...

The Baroque High Altar  is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including histori...

Baths of Caracalla is a vintage photograph in salt silver realized by Ludovico Tuminello in the early 20th Century. Titled on the lower. Good conditions except for some foxing.

"Yosemite Falls" is a black and white photograph signed by Thomas Ferderbar. This view of the waterfall is from the side, not a center view. One can see how far the water falls down and where it creates mist as well. An evergreen tree balances the piece. Archival inkjet print on archival Epson Premium Luster paper. Camera that was used was an 8x10 Ansco View with a Goerz lens. And was scanned in the early 2000's with a drum scanner prior to achivally digitally printed. Signed by artist in lower left corner. Paper: 50 x 40 in Frame: 54 x 44 in Interview with the Artist: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box...

This early 1970s landscape photograph, captured by society photographer Slim Aarons, features guests relaxing by the swimming pool at John Young's villa 'Plantana', Ocho Rios, Jamaic...

This early 1970s landscape photograph, captured by society photographer Slim Aarons, features guests relaxing by the swimming pool at John Young's villa 'Plantana', Ocho Rios, Jamaic...

This early 1970s landscape photograph, captured by society photographer Slim Aarons, features guests relaxing by the swimming pool at John Young's villa 'Plantana', Ocho Rios, Jamaic...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...