Horizontal Portrait Photography

'Giraffe #3, Los Angeles, CA, 2011' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. T...

Diana Michener, American (1940 - ) - Autoportrait, Medium: Photograph on thin wove paper, Image Size: 20 x 22 inches, Frame Size: 27.25 x 29.25 inches

Part of Richard Heeps 'Man's Ruin' Series, and the sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot at the Rockabilly Weekender, ...

Taylor and Charlie Brown (Chicks and Chicks and sometimes Cocks) - 2017 40x48cm, Edition of 10. plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid,. Signatur...

Edition of 12 More sizes on request Portrait of the 5 Boys called "Tano Bora". This coalition of five male cheetahs has been named the Tano Bora coalition, meaning ‘The Magnificent...

Angel and Charlie Brown (Chicks and Chicks and sometimes Cocks) - 2016 100x125cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature l...

Historical Photo -  Haile Selassie and Emilio Colombo is a black and white vintage photo, realized in the mid-20th century.  It belongs to a historical album including historical mo...

White Tank (My Own Private Travel Diary), 1999 20x25cm, sold out Edition of 10, Artist Proof 2/2. Archival C-Print, based on the Polaroid Certificate and S...

Great black and white capture of Steve McQueen relaxing on the couch at home, 1963. Steve McQueen nicknamed the King of Cool, was an American actor. His antihero persona, emphasized during the height of the counterculture of the 1960s, made him a top box-office draw during the 1960s and 1970s. McQueen received an Academy Award nomination for his role in The Sand Pebbles. His other popular films include The Cincinnati Kid, Love With the Proper Stranger, The Thomas Crown Affair, Le Mans, Bullitt, The Getaway, and Papillon, as well as the all-star ensemble films The Magnificent Seven, The Great Escape, and The Towering...

"Sunkissed" In this award-winning, best-selling image, the billowing white sail of the boat KZ-3 appears all the more impressive from an aerial perspective while framed against the...

'Love Scene against the Wall" (Sidewinder) - 2007, Edition of 10, plus 2 Artist Proofs. 4 x 20x20cm, 20 x 100 cm installed with gaps in between each piec...

Jane is Dreaming (Heavenly Falls) - 2016 48x58cm, Edition of 10 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory num...

Loneliness doesn't exist outside of your mind! (The Girl Behind the White Picket Fence) - 2013 38x48cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Si...

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...

Digital C-print Signed and numbered, verso 16 x 20 inches (Edition of 15) 24 x 30 inches (Edition of 10) 30 x 37.5 inches (Edition of 5) This photograph is offered by ClampArt, l...

Untitled - 2014, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certifi...

A Beautiful Day (Till Death Do Us Part) - 2007, 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist In...

'Gelsomina II' "Bring Ya to the Brink" (Cyndi Lauper record Album) - 2016 70x90cm, sold out Edition of 3, Artist Proof 1/3, Analog C-Print, hand-printed and enlarged by the artist...

My own private Travel Diary - Bishop, CA - Self Portrait - 2001 20x30cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Certificate and Sign...

Black and white historical capture of the legendary Henry Ford with an early prototype car. Henry Ford was an American industrialist and business magnat...

Whirling silently in Space (Heavenly Falls) - 2016 100x125 cm, Edition of 10, Archival C-Print, based on the Polaroid. Mounted on Aluminium with matte UV-Protection. Artist invent...

Capuchin 2 - Signed limited edition archival pigment print - Edition of 3 A series of three portrait images of a Capuchin monkey in a stylised painterly style. This portraits are...

Edition of 12 more sizes on request A Cheetah family lies on a termite hut and watch out for food. Joachim Schmeisser is represented by leading Galleries worldwide. His photographs...

Fine art 20x24" print of David Bowie in his room at the Kempinski Hotel, Berlin, 1983 by acclaimed photographer, Denis O'Regan, where he was the official tour photographer for David ...

Green Bedroom #2 (4am), limited edition photograph, signed and numbered Hopper Meditations is a personal photographic response to the work of the Ameri...

A moment of joy on the dance floor at the Festival Acadiens et Creoles in 2019 in Lafayette, Louisiana. A joyous connection! Lafayette Louisiana, USA 2019 James Sparshatt‘s black and white portraits are a search for a connection with a world of emotions. His photographs from the streets of Havana, the milongas of Buenos Aires, the jazz clubs of New Orleans and bars of Andalucia capture the spirit of music in populations wher it is the very lifeblood and expression of life. Matt print direct on to aluminium Edition of 12 Dark wood tray...

The Beatles were an English rock band formed in Liverpool in 1960. With a line-up comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they are regarded as the mo...

March 8, 1971 NY, NY Muhammad Ali vs. Joe Frazier This listing is for a limited edition archival print. What's included: - Limited Edition Archival Print - Numbered Certificate of ...

Taken from the world’s largest photographic archive, (Hulton Archive and Getty Images), the Getty Images Gallery collection features an extraordinary time capsule of the last century...

This earl 1960s winter landscape photograph, captured by society photographer Slim Aarons, features skiers on the slopes at the Sugarbush Resort, Vermont, USA, April 1960. This is a...

'Barn Owl #3, St Louis, MO, 2012' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. Thi...

Frenzy (Sidewinder) - 2005 Edition of 10, Archival C-Print based on the Polaroid, not mounted, Signature label and Certificate artist Inventory Nr. 3048. In Stefanie Schneider's...

This earl 1960s winter landscape photograph, captured by society photographer Slim Aarons, features skiers on the slopes at the Sugarbush Resort, Vermont, USA, April 1960. This is a...

"She is Succulent 1" Photography 24" x 36" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Edition of...

Watermelon Slim in reds 2023 A black and white photograph of the gritty blues musician Watermelon Slim in Reds bar in Clarksdale, Mississippi. Watermelon Slim’s heartfelt and catha...

Mick Jagger On Stage - Limited Edition Mick Rock Estate Print Mick Jagger on stage, 1975 (photo Mick Rock). All prints are numbered by the Estate. Edition size varies according to...

Hans and Penelope (Immaculate Springs) - 1998 Edition of 5, plus 2 Artist Proofs. 58x185cm installed, 58x56cm each. 3 Analog C-Prints, hand-printed by the artist, based on 3 Pola...

Prepping the Birth (Suburbia) 2004 - 20x24cm, Edition of 10, digital C-Print based on a Polaroid, Signature label and Certificate. Artist Inventory No. 1672. Not mounted, This p...

Blues man on Beale 2023 A black and white photograph of the gritty blues musician Watermelon Slim in Reds bar in Clarksdale, Mississippi. Watermelon Slim’s heartfelt and cathartic ...

Southern Belle 2023 Dancers in Reds bar in Clarksdale, Mississippi, in the early hours. The juke joint as a place to dance, rough around the edges, a place where anything goes, whe...

Fori Imperiali, Rome is a black and white vintage photo, realized in the mid-20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including histor...

Taken from the world’s largest photographic archive, (Hulton Archive and Getty Images), the Getty Images Gallery collection features an extraordinary time capsule of the last century...

Hand signed, numbered and dated. Edition of 75 copies. Original photograph from the portfolio “Un’isola nell’aria”, Vol. IV Includes passepartout. Image Dimensions : 34 x 46 cm

Scenes of life in Wuchow is a black and white vintage photo, realized in 1925. The photo depicts a daily moment in the chinese city, Wuchow. The work is glued on cardboard. Total d...

'Seriema #1, Albuquerque, NM, 2013' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. T...

Untitled - Stage of Consciousness (29 Palms, CA) - 2007 75x93cm, Edition 5/5 , analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Ar...

The 19th July 2022 was the UK's hottest recorded day. When most were abandoning work for nearby cool spots or sun-drenched parks, Brighton-based photographer Andy Lo Pò took this opp...

Lipstick (Sidewinder) - 2005 20 x 24 cm, Edition of 10, Archival C-Print based on the Polaroid, signature label and certificate. Artist Inventory 3045. Not mounted. sidewinder "private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs...

This black and white portrait features American film and television actress Joan Crawford. Known best for her roles in films such as Possessed, Sudden Fear, and Whatever Happened to Baby Jane...

Mantras and Sun Family Diptych by Leobardo Huerta Mixed-media Vintage photograph drawn on with pen and acrylic paint. Overall size: Sheet size: 15.75 in. H x 26 in. W Image size: 1...

Janelle Monea, 2009, Edition 1/10, 20x30cm, 2015, digital C-Print, Signature label and Certificate. Published in Tao Ruspoli's Monography 'Midway on our Life's Journey’, 2018 Abo...

Gene Wilder in Mel Brooks' "Frankenstein Junior" is a vintage black and white photograph realized in 1974. Good conditions.

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 20x19.5cm each. 2 archival C-Prints, based on the 2 Polaroids. Artist inventory Numb...

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

Spiegelbild (Stage of Consciousness) part of the 29 Palms, CA project - 2008 Edition of 30, 38x47cm, archival C-Print, based on the Polaroid. Signature label and Certificate. Ar...

Marylin Monroe relaxes on a couch in her hotel room at the Ambassador Hotel in New York City. TITLE: MARYLIN QUIET MOMENT 1955 PHOTO: ED FEINGERSH PAPER: SILVER GELATIN RESIN PRINT...

'Jarvis Cocker Of Pulp In London' (silver gelatin print Limited Edition) Originally shot for Mojo Magazine under Watyerloo Bridge in London, 2001. A b...