Miniature Portrait Photography

An Unknown Kate Moss At 16 by Jake Chessum 1990 limited edition edition size 20 only this size printed 2024 Archival pigment print numbered and signed by the artist unframed ships securely from London England Framing options available Jake Chessum British-born, New York-based photographer Jake Chessum’s portfolio includes Amy Winehouse, Robbie Williams, David Bowie, Jay Z, Snoop Dogg, Coldplay, The Beastie Boys, Beck and beyond. Jake grew...

Young women by the Canellopoulos penthouse pool, Athens, July 1961. Framed in white. Slim Aarons Penthouse Pool Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Com...

A remarkable portrait of the famous Frida Kahlo taken by another woman artist, Imogen Cunningham in San Francisco. This is a hand printed photograph by the son of Imogen, Ron Partr...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Photograph by Klaus Redenbacher, Munich, 1954 In this striking 1954 portrait, German model Gisela poses in an improvised photo studio in Munich, showcasing a piece of postwar fashion...

Jacqueline Bouvier Kennedy is a vintage photograph realized in the 1950s. Good conditions.

VIP American in 1960s is a vintage black and white photograph realized in the 1960s. Good conditions. With the stamp of copyright on the rear.

Fire - 2017, Edition of 7 plus 2 Artist Proofs Archival Print, based on aPolaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2017-108. Kirsten Thys...

Vintage Photo. Rome, 13.3.86, The German-American Actress Barbara Bouchet. Good condition.

Man Ray (1890-1976) Juliet, 1945/1991 Medium: Silver Gelatin Print (posthumous print) Dimensions: 30.5 x 24 cm Stamped: "Copie d'une épreuve originale - ADAGP Man Ray Trust" Conditio...

Willy Nelson, 1993 by American photographer Leonard Freed is a series of (3) photographs, gelatin silver press RC prints, which are each signed verso (bac...

A much sought after photograph Le Petit Parisien, 1952 by French photographer Willy Ronis is a black and white image, a gelatin silver print, measuring 30 x 23,5 cm 12 x 9in. The w...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

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...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 20x20cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

Purchased from Peter Fetterman Gallery - Authorized dealer of Salgado's work. No damage issues. Look print moutned on corners. Over Mat included.

As the personal photographer for this much loved Chicago icon, Richard Shay captured MJ on his 40th birthday celebration. This Artist Proof is matted and framed in a simple black frame measuring 16.25h x 20.25w x 1d inches. Richard Shay Michael Jordan on His 40th Birthday, 2003 archival pigment print 12h x 16w in 30.48h x 40.64w cm A.P. RSY006 Richard Shay grew up in Deerfield, Illinois where his father, the famed photojournalist, Art Shay and his wife Florence had moved to raise their family. Surrounded by the influence of his larger-than-life dad, Richard would go on to follow in his father's path. After traveling the world in his early 20's, Richard returned to Chicago and began photographing at The Oprah Winfrey Show. He became the family photographer for basketball player and Chicago treasure, Michael Jordan. He would go on to tour the US and Russia with The Smashing Pumpkins...

Floaties (Beachshoot) - 2005 20x20cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 1431. Not mounted. The Tooth of Time It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert. The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots. False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen and was a cutter for several years. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of tha collaboration developed her own photographic series Suburbia. Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us. Schneider remarks that during the shooting she was thinking of Thelma and Louise. The series is marketed along with other works of Schneider by the Editions Galerie Lumas, the Galerie Caprice Horn in Berlin, and the Zurich gallery nd-projects. The Lumas branch in Munich is featuring Schneider in the exhibition Polaroid Movie through February 28, and starting on February 23 the feature film Stay runs, in which Schneider's pictures play a crucial role. And the thirty-seven-year-old artist, who lives alternately in Berlin and Los Angeles, continues to work on her filmography. At the moment she is developing along with Marc Forster a concept of transferring her typical photographic aesthetic into moving pictures...

First Kiss (Till Death do us Part) - 2005 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory ...

11 x 14" vintage silver gelatin photograph of twin brothers Jay and Jed Johnson photographed for 'After Dark' magazine on June 8, 1970. Comes dire...

Anthony Bourdain was famous for traveling the globe and exploring the local cuisine in No Reservations and Parts Unknown. As soon as he returned home t...

The 1998 Pirelli Calendar was photographed in Miami by Bruce Weber. Georgina Grenville was among the many iconic models photographed. “Bruce Weber is a photographer and filmmaker be...

An original gelatin silver print by American social documentary photographer Milton Rogovin depicting a resident of Buffalo's East Side in the early 1960's. This work is hand signed...

This is an original Ektacolor print (aka Kodak Chromogenic Print) and is number 16/25. The edition was print in 2000. It is signed, titled, dated and numbered on the back of the prin...

Wild Things (Till Death Do Us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invent...

Vintage Photo. The English Actress Claire Bloom in an elegant pose.

Vintage Photo. Dedication of the John Wayne Elementary School. New York

The Princess and her Lover, 2007 Edition of 10, 20x24cm, digital C-Print based on a Polaroid. Signature label and Certificate. Artist I...

Gelatin silver print Signed in pencil, verso 11 x 14 inches, sheet size 9.75 x 12.5 inches, image size This artwork is offered by ClampArt, located in New York City. Lillian Bassm...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Leonard Cohen is a black and white vintage photo, realized in Mid 20th Century . The photo depicts the Canadian poet and songwriter. Hand signed. Good condition and aged. It belon...

Surfing Florida Style by Al Satterwhite depicts a young man surfing on the water. He holds a rope attached to a car, which tows him through the w...

Portrait of Silvana Mangano is a vintage black and white photograph realized in the 1970s. Good conditions.

Rare, signed silver gelatin print of David Bowie with a large barking dog for publicity shots for his 1974 album ‘Diamond Dogs’ in London. 12x16" silver gelatin darkroom print, sign...

On the set of the film Paris Texas - Wim Wenders is a vintage black and white photograph realized in 1984. Good conditions.

Bette (1931) Silver Gelatin Fibre Print (photo by Glasshouse Archive / Alamy Archives) Actress Bette Davis, Portrait by Jack Freilich, 1931. Additional Information: Unframed Paper Size: 10x12...

Debbie Harry of Blondie - London 1977 limited edition print by Brian Duffy. Debbie Harry of “Blondie” wearing a Patti Smith Group T-shirt shot...

Frida at the Barbizon Plaza Hotel by Lucienne Bloch is a black and white portrait of Mexican painter Frida Kahlo sitting in a chair under her self portrait hanging on the wall. Im...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

Yokohama, Japan: c 1890. Hand-tinted albumen print, 10 1/2 x 8 inches (266 x 203 mm), numbered B334 in negative, right side of image printed somewhat lighter than left, tiny in-nega...

Nothing to do with my Will (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on a Polaroid. Signature labe...

This mid-1955s portrait photograph, captured by society photographer Slim Aarons, features Rita Aarons, wife of photographer Slim Aarons, during the filming of 'Mister Roberts' in Ha...

Karen Alexander broke ground as a black model in the 1980s and 1990s and is sometimes known as “the other supermodel”. "Natural beauty and refined elegance of Karen Alexander" Ritt...

Elvis on Milton Berle, 1956 - Elvis Presley Black and White Photograph 16" x 20" print Silver Gelatin print. Prints are made from the scanned original negative, and are offered as ...

Runaway Ride - The Getaway (The Last Picture Show) - 1999 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #345. ...

Gene Krupa in Concert – Munich, 1956 Original Vintage Black & White Photography by Klaus Redenbacher This striking photograph captures the legendary American jazz drummer Gene Krupa ...

Morning Glory (Till Death do us Part) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Ar...

A Princess' Life (High Desert) - 2019 Edition 1/10, 20x20cm. Digital C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 22182 Not mounted. Stef...

Portrait of Miranda Martino - Vintage Photo is a vintage black and white photograph realized in the mid-20th Century. Fair conditions with oxidation.

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Old Days - Camping is a vintage photograph realized in the Mid 20th Century.  The photo belongs to Albumen of historical painting, photographs, meticulously captured. Good conditio...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cecil Beaton, Electa Editrice Portfolios, 1981. Published and pri...

Queen Elizabeth II- Vintage Photo is a black-and-white photograph, realized in1968, Garden Party in Marlborough House Good condition.

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles and David LaChapelle, James Bidgood revolutionized gay male...

Erotic shooting by Walter Leonardi is a lot of five photographic print on matt single coated paper. Prints realized during 1980's on quality dedicated...

An Unknown Kate Moss At 16 by Jake Chessum 1990 limited edition edition size 20 only this size printed 2024 Archival pigment print numbered and ...

Spencer Tracy & Deborah Kerr Edward, My Son Black & White Photograph on Photographic Paper Year: 1949 Size: 6.5 x 8 inches (16.51 x 20.32 cm) Stamped verso Publisher: Metro-Goldwyn-...

The Muse (29 Palms, CA) - 2009 38x37cm, Edition of 5, Artist Proof 1/2, analog C-Print, hand-printed by the Artist, mounted on Aluminum with matte UV-Protection, based on the Pol...

Stefanie Schneider Polaroid sized unlimited Mini 'Playgirl (Heavenly Falls)' - 2016 - signed in front, not mounted. 1 Archival Color Photograph based on the original Polaroid. P...

Frida by the Lamp by Lucienne Bloch is a black and white portrait of Mexican painter Frida Kahlo sitting in an armchair with a tall lamp behind her. Signed in pen by artist on prin...