People Landscape Photography

'Renée's Dream' no. 1 (Days of Heaven) - 2005 26 x 32 cm, Lumas Edition of 100, Artist Proof 4/4. Archival C-Print, based on the Polaroid Artist inventory 8088. Signature Label and...

Saint Kitts and Nevis, 1984 - Horse Riding on Caribbean Island near Palm Trees 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Saint Kitts and...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can ...

Sunscreen I (Beachshoot) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1390 Not mounted. Stefanie...

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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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...

Poolside Socialites, 1970 - Poolside Glamour at Kaufmann House in Palm Springs 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 15...

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 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. 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. Reference: "Dive in: how Slim Aarons art directed the poolside summer. French brand Maje are the latest label to take inspiration from Slim Aarons’ pictures of the jetset on holiday." Slim Aarons Poolside Party...

Fragments II, Rome, Italy 2019 by Roberta Fineberg was shot at Ostia Antica, the Old Port of Rome and present-day archeological site in Italy. The image captures a symmetrical albei...

Miami II 005 is a limited-edition photograph by contemporary artist Bernhard Lang. It is a C-print impression on Hahnemüle Fine Art Paper. This photograph is sold unframed as a pri...

Framed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Marmo di Carrara...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – often from a bird’s-eye view ...

Nassau, 1967: In 'Sea Drive,' a genuine Slim Aarons estate edition photograph, film producer Kevin McClory, his wife, Bobo Sigrist, and their family enjoy a leisurely drive in a vibrant red vintage Amphicar across the scenic turquoise Nassau harbour. This idyllic 1967 scene embodies Slim Aarons signature style, mixing casual glamour and vintage cool; the unique midcentury charm of this iconic landscape is completed with a pink parasol. This is an estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons Estate Edition Chromogenic Lambda print Modern printing from original transparency Captured 1964, printed later Certificate of Authenticity included Numbered and stamped by the Slim Aarons Estate Collector will receive 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 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. 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. This is a genuine Slim Aarons Estate photograph, estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Complimentary dealer shipping to your framer, worldwide. Kevin O'Donovan McClory (8 June 1924[1] – 20 November 2006) was an Irish screenwriter, film producer, and film director. McClory was best known for producing the James Bond film Thunderball, popular in the 60s and 70s. Internal: The location for Slim Aarons midcentury photograph, Sea Drive, is Vintage Nassau, which fits curated collections for Vintage Yachting, Vintage Boating, modern graphic, midcentury modern, Vintage Slim Aarons, Vintage Sport Photography...

Indien - Nepal, Dakota Poli is a vintage black and white photograph. It is part of a journey to Asia performed by prince Franz Ferdinand von Osterreich Este (1863-1914) , heir to th...

'The High Chair' is a dynamic and stylish Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 16" x 20" in an edition of 25. Morgan Silk has been in...

'Relaxing At Lake Tahoe' A group of people relaxing by a pool near Lake Tahoe, California, 1959. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary print from the Getty Archive using Slim Aarons negatives. All prints feature a Slim Aarons blindstamp, and are accompanied by a Slim Aarons Certificate of Authentication issued by Getty. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later Please note that as part of the Estate's Premium Collection...

From the series 'Chioschi a Venezia'. Signed, dated and numbered on the verso. Literature: Charles Johnstone, Chioschi a Venezia, 2016, plate 4.

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

A poolside party at a desert house, designed by Richard Neutra for Edgar J. Kaufmann, in Palm Springs, January 1970. Featured in the group are: industrial designer Raymond Loewy (189...

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

Ski Expedition (1981) Silver Gelatin Fibre Print - Oversized (Photo by Alamy Archives) Skier descends into a dangerous canyon on the trans-Himalayan expedition, 21st March 1981. ...

EUR is a beautiful offset realized by Franco Fontana . Very Good conditions. Colored poster from a photograph by Franco Fontana (Modena, 1933), one of the Italian most famous conte...

Slim Aarons Snowmass Gathering Lambda Print 4 sizes available Slim Aarons Estate Edition 40 x 60 inches $3950 30 x 40 inches $3350 20 x 30 inches $3000 Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is proud to offer this vibrant photograph, printed by the Slim Aarons estate. It is part of the estate's only official limited run, of 150. Estate stamp embossed on recto, hand numbered in ink on recto, with certificate of authenticity from the estate (not a secondary gallery licensing from the estate). Increasingly heralded for his influence, Slim Aarons (1916-2006) made a career out of photographing "attractive people doing attractive things in attractive places." Aarons is known for his iconic images of Hollywood glamour and luxurious people, places and lifestyles. Undercurrent Projects offers premium quality photographic prints from the Slim Aarons Archive, owned and housed by Getty Images. All photographs are printed and authorized by the Getty Images Gallery, London. Photographs are printed utilizing the original transparency held at the archive source. 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. Slim Aarons is noted for his documentation of the Beautiful People over 50 years, encompassing high society, celebrity, aristocracy, and the jet set. He was born and raised in New York City and New Jersey and later New Hampshire. He took up photography as a teenager. At the age of eighteen, he enlisted in the U. S. Army and was later appointed official photographer at the United States Military Academy at West Point. During World War II he served as an army combat photographer for Yank magazine in Europe, North Africa, and the Middle East. After the war he became a freelance photojournalist, first based in Hollywood, then Rome, then New York. His photographs appeared in many magazines, including Life, Holiday, Town & Country, Look, Venture, and Travel & Leisure. His first book A Wonderful Time (1974) is considered a classic. * We are pleased to represent 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 * Slide show includes a close-up of the Slim Aarons estate's stamp. 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, Snowmass Village, Pitkin County, Colorado, Ski Photography, Helicopter, Winter Scene, Snowscape, Snow Photography...

Daisy and Austen in front of Trailer (Till Death do us Part) - 2005 Including Stefanie Schneider's signed monograph "Instantdreams". 64 pages, hardcover, published by Avenso, 2014. ...

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

Mirando al Cielo 3 is a beautiful 30cm x 30cm Digital Print on 50cm x 50cm Cotton Paper. This is a Limited Edition of 9 + 2 Artist Proofs in this size. This print is available in an...

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

The black-and-white photo from 1962 shows a desert scene in Saguaro National Park, dominated by towering saguaro cacti. In the foreground, a person is standing beside a large saguaro...

Edition of 10 in format 41,5x65 cm, Photograph on Hahnemuhle Paper ; Digigraphie technology , Limited edition 41,5x65 cm + 5 cm white margin The photo will be after purchese signed...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can ...

Cortina D’Ampezzo (1962) Limited Estate Stamped (Photo by Slim Aarons) Skiers walk up a mountain in Cortina D’Ampezzo, a ski resort in northern Italy, 1962. Additional Informati...

ABOUT THIS PIECE: Biscarrosse is a town in western France, located south west of Bordeaux. French photographer Ludwig Favre captures a lone surfer going out in the early morning wave...

Down To Earth Duchess circa 1990 by Christopher Simon Sykes Deborah Cavendish, nee Mitford, the Duchess of Devonshire, feeds the chickens at Chatsworth House, Derbyshire, 1990 Thi...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the raw power and beauty of the ocean and other bodies of water. The images showcase a range of seascapes, from calm and serene to tumultuous and chaotic. Waves are a prominent feature in many of the photographs, with their sharp edges and frothy white caps creating a sense of energy and movement. Other photographs in the series explore the more subtle aspects of the sea, such as the gentle ripples that form on the surface of the water, or the abstract reflections of sunlight and moonlight over the moving surface of the sea. The print measures 24 x 36 inches total, with an image size of 20 x 32 in. and a 2 inch surrounding white border. Details: + Title: Misty Sailboat...

Dylan Gordon is a photographer from the Central Coast of California. A childhood spent raising horses, surfing and skating inspired him to tell stories of the people and places he ...

'Sardinian Holiday' by Slim Aarons Limited Edition Estate Print limited to 150 only numbered in ink & emboss stamped. 40 x 30 " inches paper size Selvaggia Borromeo enjoys a ya...

Slim Aarons Estate Limited Edition C print 40 x 30 inches / 101 x 76 cm unframed. ' Poolside Party ' 1970 A poolside party at a desert house, designed by Richard Neutra for Edgar...

Anne Sager (American, 1930-2024), Group of Two Architectural Compositions, Chromogenic Print, apparently unsigned, metal frames. Image: 9.5" H x 8" W; frame: 17.25" H x 14.25" W x .7...

Walter Rudolph His photographs are reminiscent of the jet-set photographer Slim Aarons. Walter Rudolph discovered the world as a photographer on the idea, travel was his passion, hi...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

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

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

Legendary photographer Slim Aarons relaxes in a self portrait shot in Athens, near the Acropolis. Slim Aarons said, "I love a solo holiday. It tends to refresh the part of oneself that is most depleted by modern life — patience. "Let me dispel a few myths. You will be lonely. No: you won’t. My solo travels in Paris have brought many perfect hours of being alone but not a moment of loneliness. People who depend on other people are often in hiding from themselves. Two and a quarter million people live in the City of Light: you will see many of them and you will pass them in the street, but when you see Notre Dame after dark and walk home and perhaps stop to have a drink in the Marais, you can feel that the only thing that is missing from your experience is the common dependency on someone to distract your attention. "I’ve had solo pints of Guinness in the pubs of County Kerry and County Cork. I’ve walked across the sage- and juniper-scented maquis of Corsica on a spring day, where you can still find the world of Napoleon’s childhood. More than once I went to the Isle of Iona in the Scottish Hebrides...

Carlton Hotel The entrance to the Carlton Hotel, Cannes, France, 1958. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

A contemporary color photograph by Roberta Fineberg of a classical Greco-Roman statue in Ostia Antica, the old port of Ancient Rome. The neon landscape captures the spirit of the ant...

The photographers note regarding this work is "Woman with a fox terrier crossing a square, Germany 1930s." This work comes to you as a new Fine Art Print on Hahnemühle William Turne...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....

A group of colourfully dressed holidaymakers on a yacht, Bermuda, June 1970. (Photo credit Slim Aarons / Getty Images) Estate stamped and hand numbered edition of 150 with certific...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....

The Blue Pill to forget (Burned) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invent...

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...

She need not move (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3298 Not mounted. St...

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

It's gonna be ok (Till Death do us Part) - 2008 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 202...

Lost in Palm Heights! Edition of 25 signed and numbered by the artist A man is standing at a Palm tree in Ghana. JJK is a pseudonym for one of the world's most successful photo art...

Stand, 2017, Edition 2/7 Based on a Polaroid Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-156 Kirsten Thys van den Audenaerde is a ...

Bates Motel I (The Last Picture Show) - 2005, 78x76cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Arti...