Small Portrait Photography

Bert stern Marilyn Monroe The last sitting Pearls 2 Tirage inkjet 50 exemplaires 2011 33 x 48 cms Signé recto / verso Daté et signé au dos Certificat signé et daté de la main de ...

Solitary (Haley and the Birds) - 2013 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # ...

Departure (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...

Very berry Cosmo II (Suburbia) - 2004 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory #209...

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...

"Beatles on Set Live" Photography 18" x 21" in Ed. of 25 by Howard Grafton Signed and numbered on the back by the publisher The Beatles on the Ed Sul...

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...

Art Shay's love of Street Photography is evident is this 1953 photograph entitled "Maxwell Street Dog". A Chicago tradition running for about 100 years, the Maxwell Street Market wa...

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...

Alain Foussier, born in France living in the Netherlands, perfects the mood and spirit of Spaniel dogs with his portrait photography. His Spaniel dog a...

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

Lord Fauntleroy Ahmedabad 150306-33 2015 Archival Pigment Print on Matte Paper Size: 24 x 24 inches (60.96 x 60.96cm) Edition: 9 Signed, titled and dated on label COA provided Lord...

The Party is over (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signatur...

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...

Marilyn Monroe (1926 - 1962), wearing a red negligee trimmed with black lace, sorts out her fan mail shortly after her film 'The Asphalt Jungle' had been released. This exquisite ph...

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...

Artist: Richard Ham, American (1920 - ) Title: Picasso in Paris Studio - Picasso Standing with Painting Year: 1945, Printed in 2009 Medium: Gelatin Silver Print, signed and numbered ...

Artist: Bert Stern Title: Marilyn Monroe -The Last Sitting Year: 1962 (printed 2009) Medium: Color Photograph, signed and numbered in red crayon Edition: 12...

An Island in the Air is a Photograph realized by Urs Luthi in 1975. From the portfolio "Un'isola nell'aria", edition of 75 copies. Hand-signed, numbered, and dated. Very good cond...

"Portrait of MiKyoung with Camera" - Silver Gelatin Photograph - Edition (5) Dramatic black and white portrait of a woman by Dale Sparage (American, b. 1954). A woman named MiKyoung is standing, wearing a dark dress and furry hat. She is holding two bird of paradise flowers and looking directly at the camera. Off to the left, there is a vintage camera at the edge of the frame. Artist's information on verso. Presented in a white mat and a black aluminum frame. Frame size: 20.5"H x 16.25"W Image size: 9"H x 9"W Dale Sparage (American, b. 1954) is a photographer and artist from Detroit, Michigan. She completed her BFA with honors from York University in Canada, and an MFA in painting from Wayne State University in Detroit Michigan. She has taught at the College for Creative Studies in Detroit, University of Michigan, and The School for Visual Arts at the Toledo Museum of Art. She is currently working on an MFA in Photography at Academy of Art University in San Francisco. Her ongoing work on photographing women...

David Bailey Dizzy Gillespie, 1981 Archival Inkjet on paper Signed by the artist, on verso Image: 36.83 x 46.78 cm Sheet: 42 x 59.4 cm Edition of 15

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...

An Island in the Air is a Photograph realized by Urs Luthi in 1975. From the portfolio "Un'isola nell'aria", Vol. IV, edition of 75 copies. Hand signed, numbered and dated. Very g...

Painter is a colored photographic print realized by Plinio Martelli in the 2005. 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...

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: ...

Considered one of the greatest guitarists of all time, this black and white photograph of Buddy Guy was taken by Art Shay in 1966. In 2016, Buddy Guy chose this photo for his 80th birthday celebration poster. It is signed on the front of the image. It is matted in a heavy mat and framed in a black metal frame. It measures 25.5h x 19.5w inches. Art Shay Buddy Guy, 1966 archival pigment print 19h x 13w in 48.26h x 33.02w cm ASY177 “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen & Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren was to American writing: that rare and absolutely necessary citizen who’s blessed with a cold eye, a clear head, and a warm heart. What is it about Chicago that keeps giving us men like this?” Russell Banks, Novelist “The best images of Simone de Beauvoir and her times have been passed down to us by Henri Cartier-Bresson, Gisele Freund, Robert Doisneau, Georges Brassai, and in America, the Chicago-based Art Shay, all world-class photographers.” Christophe Loviny, Art Editor, Paris “Art Shay is the best photo-journalist Chicago ever produced.” Arthur Siegel...

The Letter (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

The Letter (Till Death Do Us Part) - 2005 250x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artis...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 40. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

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 ...

The photograph measures 50 x 50 cm. It is printed on matte Hahnehmühle paper. The dimension of time for María Moldes (Pontevedra, 1974) is used as a weapon of resistance against wha...

The photograph measures 40 x 60 cm. It is printed on matte Hahnehmühle paper. The dimension of time for María Moldes (Pontevedra, 1974) is used as a weapon of resistance against wha...

Clean head Edition of 25 signed and numbered by the artist A funny scene from the market in Stone Town on the island of Zanzibar. A man sits behind hanging brooms. JJK is a pseudo...

Manny Edition of 25 signed and numbered by the artist A butcher at the meat market in Stone Town on Zanzibar. The newsprint is there to wrap the meat for the customers. JJK is a ...

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

I'm over it (Till Death do us Part) - 2008 - 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inven...

What are we gonna do?! (Till Death do us Part) - 2008 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certific...

It rains on our love (Till Death Do Us Part) - 2008 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. artist...

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...

Sleeping Beauties (Till Death do us Part) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate....

For what I've lost (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid, Certificate and Signature la...

An Island in the Air is a Photograph realized by Urs Luthi in 1975. From the portfolio "Un'isola nell'aria", Vol. IV, edition of 75 copies. Hand signed, numbered and dated. Very g...

An Island in the Air is a vintage Photograph realized by Urs Luthi in 1975. From the portfolio "Un'isola nell'aria", Vol. IV, edition of 75 copies. Hand signed, numbered and dated....

'The Misfits' Oversize Limited Edition silver gelatin print A gorgeously candid portrait of the first rebel of Hollywood and greatly respected young son of method acting - before ...

The Games we played (Till Death do us Part) - 2005 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. ...

It's written in the Moonlight (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signa...

Cristal (Till Death Do Us Part) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Listening to Your Heart (The Girl behind the White Picket Fence) - 2013 - 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signat...

Little Darlings (Till Death do us Part) - 2005, 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. Certificate and Signature l...

The Lonely Hearts DJ (The Girl behind the White Picket Fence) - 2016 40x48cm, Edition of 10 plus Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 17050. Not mounted. Offered is a piece from the movie: The Girl behind the White Picket Fence - A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge...

Chromogenic print Signed and numbered, verso (Edition of 10) This photograph is offered by ClampArt, located in New York City. About the artist: Born in 1970 in a suburb of Tel-Aviv...

Blockhead Edition of 25 signed and numbered by the artist A man at the market sells carved wooden heads and looks like one of the wooden heads himself. JJK is a pseudonym for one o...

Darth Elvis By BATIK Signed Limited Edition BATIK is a London based fine artist and image maker. Produced directly in the artist's studio Certificate of...

This historic photograph taken at Ground Zero on 9/11/2001 by Thomas E. Franklin is offered by CLAMP in New York City.

Fernando Natalici: John Waters, Baltimore 1985: John Waters was born in 1946 in Baltimore, where he continues to live and work. Exhibitions include the Wexner Center for the Arts, Co...

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...

Marilyn Monroe on the set of ‘The Misfits’, Reno, Nevada, 1960. All available sizes and editions: 24" x 20", Edition of 25 + 3 Artist Proofs 34" x 24", Edition of 25 + 3 Artist Proo...

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...