Small Portrait Photography

Signed limited edition 20x24" print of Debbie Harry from punk band Blondie by Brian Aris, taken in Brian’s London studio. Edition number 14/25 Brian Aris limited edition prints, sig...

This late 1980s portrait photograph, captured by society photographer Slim Aarons, Principe Dom Pedro De Orleans E Braganca, grandson of Brazilian emperor Pedro II. He is pictured at...

Coldplay by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie s...

Britney The Forest Photo by Markus Klinko Limited Estate Edition C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×24 inches/ 51...

Museum quality fine art print of Dita Von Teese by photographer Markus Klinko in 2009 in Los Angeles. This print is available in the following sizes, signed and numbered by Markus K...

Ron Brouillette, Mulholland Drive 1966/2001 Signed, titled, dated, and numbered, recto Cibachrome print (Edition of 50) 24 x 20 inches, sheet 18 x ...

Deserted (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory ...

Norman Parkinson’s homage to a painting by Dutch artist Kees van Dongen entitled The Corn Poppy. Adele Collins wearing an Otto Lucas velvet toque. British V...

Donald Trump, 1992 Archival pigment print 24 x 24 inches edition of 25 William Coupon is an American photographer, born in New York City, known principally for his formal painterly ...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

Signed limited edition print of Debbie Harry of Blondie by Michael Brennan, taken at the studio on East 45th in Manhattan, New York, USA, Febru...

20 x 24 in (50.8 x 60.9 cm) Digital C-Type Print Edition 13 and 14 of 50 Price does not include tax.

The Existence is disintegrating into the Heat of the Desert Sirocco (The Girl behind the White Picket Fence) - 2015 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print...

A Wish (Circle of Magic) from the 29 Palms, CA project - 2009 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and ...

The Rolling Stones drummer, Charlie in the dressing room before a show in San Francisco. July 26th, 1966 Signed limited edition, signed and numbered by Bill Wyman and featuring the ...

Signed limited edition print of The Clash, featuring Joe Strummer, Mick Jones, Paul Simonon and Topper Headon, photographed by Brian Aris in London. Br...

American actor Montgomery Clift photographed in New York for British Vogue, November 1952. Montgomery Clift in New York, 1952 Silver gelatin print Estate stamped and numbered editio...

Chromogenic print Signed, dated, and numbered, verso 20 x 24 inches (Edition of 9) 30 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. At the age of eighteen, Israeli girls enter a two-year period in which they will be transformed from girls to women under the Israeli Defense Forces...

Debbie Harry photograph by Fernando Natalici: Cooler than cool... Debbie Harry, New York, 1977, photographed on the set of "The Foreigner" by celebrated New York underground photographer Fernando Natalici. The Foreigner (director Amos Poe 1977) - a seminal cinematic work at the height of the 1970's American underground - a film which has been documented in virtually every publication pertaining to the history of the late 70's New York Downtown Art scene. Digital C-Print on Kodak Lustre. 16 x 20 inches. Signed, titled & numbered from an edition of 20. Obtained directly from the artist. Excellent condition. About The Artist: New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, Jean-Michel Basquiat, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Fernando’s photo archive and art design were most recently featured in two highly regarded New York shows: “Area” at The Hole Gallery NYC (2014) & “Downtown New York Film” at The Museum of The Moving Image (2015). "The Foreigner" is a testament to the "punk" sensibility as manifested at CBGB during this time; the streets and lofts of SoHo and the Lower East Side art scene. Related Categories Deborah Harry...

Penn State PA, 2000 Signed, titled, and dated in pencil, verso (Total edition of 5) Vintage gelatin silver print 16 x 20 inches, sheet $6,100 Modern gel...

Radiohead Radiohead, Oxford, 2001 by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. All prints are signed and numbered by the artist. Paper size 16x20 inches Edition size varies according to print size. Other sizes available (in inches): Luxe 16x20 (Edition of 25) Large 20x24 (Edition of 25) Longe 24x30 (Edition of 25) Grande XL 30x40 (Edition of 10 (+2 a/p)) Giant 40x60 (Edition of 3 (+1 a/p)) FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, Philip Selway, Nigel Godrich, Stanley Donwood...

Depeche Mode Depeche Mode, London, 1990 by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and elect...

Model and future Factor Star, Ivy Nicholson in New York for American Vogue, 1957 by Norman Parkinson NORMAN PARKINSON POSTHUMOUS LIMITED EDITION PRINTS ...

Signed limited edition, silver gelatin print of David Bowie by Alec Byrne, taken at the Coventry Theatre, October 8th 1969, just before Bowie’s opening slot...

Jimi Hendrix by iconic photographer, Baron Wolman. Taken at the Travelodge Motel, San Francisco, February 1968 One copy available Signed limited edition #30/175 20x16” hand printed ...

Signed limited edition print of The Cramps featuring Lux Interior and Poison Ivy, taken by Simon Fowler in the UK in 1979. Simon recalls - "Shot this at LFI’s Studio. I say Studio, ...

2010 Signed and numbered, verso On the 10 year anniversary of Marina Abramović’s landmark performance The Artist is Present (2010), Marco Anelli ...

Signed limited edition 16x20" print of David Bowie by Brian Aris, taken in Brian’s London studio in 1991. Brian Aris limited edition prints, signed and n...

Pete Townshend, guitarist from The Who, taken by photographer, Baron Wolman at a recording studio in London, 1968 One copy available Limited edition number 6/150, signed and noted b...

The Rolling Stones, featuring Keith Richards, Ronnie Wood and Charlie Watts, taken backstage before a show at the Fox Theatre in Atlanta, Georgia. June 12t...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a woman holding her skis in North Conway, New Hampshire. This is an estate stamped and han...

Christmas is a colored photographic print realized by Plinio Martelli in the 2012. Very good conditions. Hand signed and dated by the artist on the lower margin of the photograph. Original title: Pittrice Plinio Martelli (1945-2016) After scientific studies he graduated from the Albertina Academy of Fine Arts in Turin with masters such as Enrico Paolucci and Mario Calandri...

Flying (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #7980. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) 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...

The Rolling Stones guitarist, Keith at the microphone at Olympic Studios, Barnes, London England, October, 1966. Signed limited edition, signed and numbered by Bill Wyman and featur...

Edition of 25 signed and numbered by the artist A women looks in to a plastic of a cow. This photo was taken in a Museum in Berlin. JJK is a pseudonym for one of the world's most s...

Signed limited edition fine art print of Jazz legend, Miles Davis taken in Central Park New York, 1982 by Charlyn Zlotnik Charlyn Zlotnik's prints are ava...

Sunbathing and swimming at a beach in Bermuda, June 1967. Bathers in colorful vintage swimsuits lounge on a white sandy beach and swim in turquoise water among rocky outcroppings. S...

Edition 196/250 Signed and numbered in black ink on print margin.

Hip Hop by Earlie Hudnall, Jr. is a black and white portrait of a boy leaning against a brick wall, wearing a backwards hat, a chain necklace and sagging pants. 20 x 16 in. Gelatin ...

Digital C-print Stamped and numbered, verso 24 x 20 inches (Edition of 10) 40 x 30 inches (Edition of 5) 60 x 50 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

This 1980 portrait photograph, captured by society photographer Slim Aarons, features skiers making their way between the slopes in Kitzbühel, Austria. This is an estate stamped and...

Chalet Costi, Zermatt, Estate Edition, Winter Landscape Photograph This late 1960s landscape photograph, captured by society photographer Slim Aarons, features skiers outside the Ch...

Cloudless Heavens (The Girl Behind the White Picket Fence) - 2013 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature ...

Vintage Photo from the Fascist period. Photo by Gherlone, Torino. Photo dimensions 17 x 23 cm. Includes passepartout. Good condition.

Museum quality print of The Beatles, taken on stage in Tokyo, Japan, by photographer Robert Whitaker. The Beatles ascend the steps to the stage at Tokyo's Nippon Budokan for a matin...

Iconic photo of John Lennon with a dandelion in his eye, fondly known as 'Adoration' by Robert Whitaker. Photographed in the garden of his Weybridge h...

Massive Attack Massive Attack, Berlin, 1998. by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative an...

Mystery Artist Untitled, 21st century Color photographs Framed: 19 1/2 x 17 x 3/4 in. (each) These lovely fashion photographs would compliment any...

Grace, Mrs Dauphinot, Marina Posson and Baroness Meriel de Posson in Lyford Cay, New Providence Island, April 1974. 40 x 40 inches $3950 30 x 30 inches $3350 24 x 24 inches $3000 ...

David Lynch Film director David Lynch, Cannes, 2001 by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocativ...

Norman Parkinson Antonio Lopez draws Jerry Hall 1975 C print Estate stamped and numbered edition of 21 on verso Caption: Antonio Lopez draws model Jerry Hall as she poses with a lif...

Divine Nude No.29 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

Landscape is an original lithograph on paper realized by an anonymous artist in 1970s. Hand-signed on the lower right (illegible). Artist's proof...

Portrait of singer and dancer, Kate Bush by acclaimed photographer, Gered Mankowitz, taken in his London studio in 1978. Kate Bush has seen a huge resurgence...

This piece is a pigment print from the original negative, shot by Milton Greene in 1955. This photograph of Marilyn Monroe is from a photoshoot which became known as "The Pekingese D...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 during the cover sessions of the album, Dangerously In Love This print is available in the foll...

Dreamgirl (29 Palms, CA) 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory number: 924. N...

Wallflower (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate,...

Bathroom (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate, ...

Dada (Bombay all Day) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL20...