Paper Portrait Photography

 Elizabeth II and  Ayub Kahn is  a black and white vintage press, realized in in February 2nd. 1961. The photo depicts an official moment of the English Crown. Elizabeth II and Ayub...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 50x50cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

Hans Namuth Jasper Johns and Leo Castelli, ca. 1985 Color Photograph Frame included Provenance: from the Marjorie and Anselm Talalay collection, Cleveland, OH. Rare original color p...

Stefanie Schneider's Mini Saigon (Stranger than Paradise) - 2003 signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2023...

Stefanie Schneider's Mini Her last Call (The Girl behind the white Picket Fence) - 2013 - featuring Heather Megan Christie signed in front, not mounted. Digital Color Photographs ba...

Stefanie Schneider's Mini Jules and Jim (29 Palms, CA) - 2007 signed in front, not mounted. Digital Color Photographs based on the Polaroids. Polaroid sized open Editions 1999-2023...

Radha Mind Screen (29 Palms, CA) - 1999 128x125cm, Edition 5/5, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper Based on the Polaroid, Certificate and Si...

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...

Stefanie Schneider's Mini 'Pasolini' from the movie Immaculate Springs - 1996 featuring Jacinda Barrett signed in front, not mounted. Digital Color Photographs based on the Polaroi...

American Pie (Oxana's 30th Birthday) -2007, from the 29 Palms, CA project - 38x36cm, Edition of 10. digital C-Print print, based on a Polaroid, mounted...

'Eavesdropping' (29 Palms, CA), Edition 3/10, 20x20cm, 1999, digital C-Print, based on a Polaroid. Signature Label and Certificate. Artist inventory No. 18257.03. Not mounted. ...

Stefanie Schneider's Mini Airstream (29 Palms, CA) - 1999 signed in front, not mounted. Digital Color Photographs based on the Polaroids. Polaroid sized open Editions 1999-2023 10....

Untitled (Cathy and Shannon) - 2004 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 481...

Vintage Photo. Cary Grant with Samantha Eggar and Jim Hutton.

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...

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

Black and white candid capture of famed singer and musician Frank Sinatra getting out of a car. Frank Sinatra was an American singer and actor. Nicknamed the "Chairman of the Board"...

Circa 1961 in Hollywood, California: American TV show host Johny Carson gets into a convertible sports car in Hollywood. Johnny Carson was an American television host, comedian, and...

Circa 1962 in Hollywood, California: American actor Donald O’Conner inspects the rear of his classic Morgan sports car. Donald O'Conner was an American dance...

Stefanie Schneider Polaroid sized unlimited Mini 'Sam' - 2006 - featuring Ewan McGregor signed in front, not mounted. 1 Digital Color Ph...

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 ...

This black and white action shot features Lucille Ball and Vivian Vance talking on the phone for a scene in the television hit series "I Love Lucy". Lucille Ball was an American act...

Harmony Motel (29 Palms, CA) - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper (matte) based on an expir...

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...

Stunning artistically colored image of Bette Davis posed on an armchair in the studio, smoking a cigarette. Bette Davis was an American actress with a career spanning more than 50 ...

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...

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...

Originals. Bella Hadid, Portrait by Hunter & Gatti Black and White Photography with broken glass on top of the image. Image size: 45.2 in. H x 32.5 in. W Frame size: 52.5 in. H x 39 ...

Faiber Oct 10, 1999 by Celso Castro-Daza From The series Guerreros. Photography photo collage intervened by the artist with bland ink mounted on archival paper. Sheet size: 27.5 in. ...

This black and white action shot features Arnold Palmer playing golf, taking a swing as the crowd looks on. Arnold Palmer was an American professional golfer who is generally regar...

'Eaten' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs Digital C-Print, based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL219-645. Kirst...

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...

This black-and-white action shot features Queen frontman Freddie Mercury singing in a white leotard. Freddie Mercury was a British singer-songwriter, record producer, and lead voc...

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...

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...

Topsy Turvy [From the series Need to be] - 2014 - 20x16cm, Edition of 30. Giclee archival pigment print on PHOTO RAG ® ULTRA SMOOTH paper
305gsm, 100% c...

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...

'Subtle', 2017, 40 x 40 cm, edition of 10, digital C-Print based on a Polaroid, hand-numbered and signed on the back by artist. Not Mounted. Artist Statement “Since my childhood ...

Radha Shooting II (Long Way Home) - 1999 published in 'Stranger than Paradise' 128x126cm Sold out edition of 5, Artist proof 2/2, Analog C-Print, hand-printed by the artist, based...

Remove Before Flight ( The Lost Aviator ) 2019, Edition 1/10 plus 2 Artist Proof, 50x50cm, Digital Print based on a Polaroid on Hahnemühle photo rag paper, not mounted. Signed on b...

This iconic and elegant portrait captured by celebrity photographer Frank Worth features actress Elizabeth Taylor on the set of the film "Giant" for her role as character Leslie Bene...

Vintage Photo. Ornella Muti with Dino Risi and Patrick Dewaere on the set of the movie "La stanza del vescovo".

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...

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...

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...

The American Actor Cary Grant is an original black and white photograph realized in the 1950s. Portrait of the American actor with his third wife Betsy Drake. Slightly blurry.

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...

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...

50x40 cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) About myself I was born and raised in Barcelona ...

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

Victoria - 2019 50x40cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back with Cer...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

This black and white portrait features American actor and dancer James Cagney. Cagney is best known for his consistently energetic performances, distinctive vocal style, and deadpan ...

Home of the Brave (Oxana's 30th Birthday) - 2007 A Captivating Journey Through Faded Dreams Dimensions: 48x46cm Edition: Limited edition of 10, / plus 2 Artist Proofs Medium: Archi...

Spare Parts (29 Palms, CA) - 1999 78x76cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist inventory 320....

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...

Keun Young Park depicts the body in a state of transformation. Her works on paper show floating figures, faces, draped arms and cupped hands, which appear to be disintegrating and re...

Keun Young Park depicts the body in a state of transformation. Her works on paper show floating figures, faces, draped arms and cupped hands, which appear to be disintegrating and re...