Photographic Paper Nude Photography

Elevate - 2022 20x25cm, Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2014. Not mounted. Kirsten Thys van den Audenae...

Even with my eyes closed - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020...

Asleep - 2017 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival Print, based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2017-149. Not mount...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. 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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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, that 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 have 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...

'Balancing act in black and white' 2019, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. ...

California Dreaming (Bombay Beach) 2019, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. ...

Hungry heart - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1037. Not ...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 50x50cm. Digital C-Print based on a Polaroid. Signed on back with Certificate. Not moun...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on a Polaroid. Certificate and Signature label, art...

Save me - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

'Rebellion' part of the series 'The crazy Adventures of David C.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with...

Francisco Castilla, Lotero by Celso José Castro Daza From the Series Guerreros. One-of-a-kind Photo collage Sheet Size: 27.5 in. H x 19.5 in. W 1996 Unframed Signed, titled and date...

Bodegon Mauricio Feb 1 Diptych, 2000 by Celso José Castro Daza From the Series Guerreros One-of-a-kind Photo collage Overall size: Sheet Size: 27.5 in. H x 39 in. W Individual size: ...

Bedtime Story II - 2017, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label and certificate. Artist inventory PL2017-484 Ki...

Sonnet - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2029. Not moun...

Silver Bra (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist inventory...

"La tête" Art print 38" x 47" inch Edition of 15 by Yevgeniy Repiashenko Year photo was taken: 2014 Art Print Limited Edition of 15 Picture size: Height: 38" inch Width: 47" inch ...

Louise - Signed limited edition archival pigment print , Louise Bourgoin french actress, 2006 Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Pho...

Homecoming - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-935. Not mo...

Confession - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-889. Not mounte...

Blinding - 2022 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2049. Not mounted...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘Sacha and Pearl ‘ who was captured on f...

Tug of war - 2021 - 20x25cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1014. Not m...

Where We Go - 2024 - 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-016. Not m...

Girl Nude II (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Numb...

Stranger - 2016 50x50 cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2016 - ...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

Signed and dated on lower right, numbered on verso, Edition 2 of 15 Unframed. Other size available

Blinding - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2045. Not mounted...

Thadius 2022 Signed and numbered, verso Cyanotype print toned with ammonia and tannic acid (Edition of 5) 6.75 x 4.5 inches (17.1 x 11.4 cm), image 9.5 x 7.75 inches (24.1 x 19.7 ...

Dreamer - Signed limited edition archival pigment print - Edition of 8 Photography : 1989 Bichromate print : 2015 Pigment print : 2020 This image was captured on film. The ne...

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 Princess Kiss (The Princess and her Lover), 2009, Edition of 2/5, 100x98cm analog C-Print based, printed by the artist, on a Polaroid, not mounted, Signature label and Certi...

Daisy in front of Trailer (Till Death Do Us Part) - 2005 Edition 4 of 5, 125x123 cm. Analog C-Print, printed on Fuji Cristal Archive Paper, hand-printed by the artist, based on an expired Polaroid. Signature label and certificate. Artist inventory 9250.04. Not mounted. Note: the addional images show the edition 3/5 mounted (sold). Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death...

Take a Stand - 2019, 20x20 cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2019-721...

Craig - Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1998. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Signed + numbered by artist with certificate of authenticity, unframed. Please note. There are three sizes of this archival pigment print; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested Archival pigment print available sizes ( Image size , the white margin is not counted) : 35 x 53 cm / 13,78 x 20,87 in. - Edition of 5 50 x 75 cm / 19,68 x 29,53 in. - Edition of 5 67.3 x 101.6 cm / 26,37 x 40 in. - Edition of 5 Ian Sanderson (born 1951 Scotland, died 2020 Spain) was a Scottish photographer. He produced images over a 35 year career, and in recent years used archival techniques to produce his prints. For most of his career he worked as both a Commercial and Fine Art photographer, and during his last years concentrated on his personal imagery. Towards the end of his life journey, Ian was reviving with his partner two 19th century printing techniques in their studio, Platinum Palladium and Gum Bichromate ( one-of-a-kind pieces). This culminated in a large retrospective exhibition in Barcelona which was sponsored by the Nando and Elsa Peretti Foundation. The Platinum and Palladium prints are particularly interesting as they printed them onto vellum paper therefore transparent and bonded pure gold or silver to the back of the prints ( every print is therefore a unique and timeless piece of art). They have created rare and personalized pieces with an artisanal technique. Ian Sanderson was one of only a handful of artists worldwide producing this type of work. Nowadays, Ian’s partner continues their work, she’s still creating Platinum Palladium prints but also silver gelatin photographs. Style : Black and white photography, 20th. century, Archival pigment print, Portrait, Man, Nude, Homoerotic, Photographic film, Analogue, Analog, Antique...

Andrés Diptych, 1999 by Celso José Castro Daza From the Series Guerreros One-of-a-kind Photo collage Overall size: Sheet Size: 27.5 in. H x 39 in. W Individual size: Sheet Size: 27.5...

Growing pains- 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-928. Not moun...

Purple Haze - 2013 (The Girl Behind the White Picket Fence), 70x90cm. Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certifi...

Untitled 02 (Saigon) - 2003 Edition of 5, plus 2 Artist Proofs. 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory Number 471. Not mou...

Nastassia Kinski for Playboy is a black and white photograph realized by Helmut Newton in 1983. Black and white photograph. From the series realized by Newton for Playboy magazine....

Another world - 2021 80x80cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label and certificate. Artist inventory PL2021-1076. Not mounte...

Omnia Vanitas No.7 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in one size: *40...

Star 80 (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label....

Dust - 2021 25x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1085. Not mounted...

Charlotte - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid- and li...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18420. No...

Morning Slumber (Shot 2020 on 600 film) Shot on location in Rimini as a homage to Frederic Fellini - the image is a nod to old glamour and film noir. The viewer is invited to gaze i...

Peachy - 2016, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-786. Not ...

Flora 13 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. All prints are produced to order. Lead times betwee...

Dial Zero Edition of 10 - 20 x 20 cm Digital C-Print based on a on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare Marie B...

Vivienne II (Desert Nudes) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 18...

The Girl II (The Girl behind the White Picket Fence) - 2011 38x37cm. Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signat...

Afterglow - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2038. Not ...

A pool in Flamingo Park, Miami Beach features swimmers that create an stunning abstract pattern. Signed and dated on lower right, numbered 2/15 , other size available, unframed, pr...

Through David Jay’s photography, context evaporates, and we as the viewer are left to engage the subjects, trade places, and for a moment, live behind their eyes. We recognize our sh...