Paper Portrait Photography

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1539. Signature label and certifi...

10525 (Stranger than Paradise) - 1999, Edition 9/10, 5 analog C-Prints, hand-printed by the artist, based on 5 Polaroids. each 57x56 cm, installed with gaps 57x308cm. Certific...

Emerging artist Lo Braden, also known as Lo Cayne, is a black queer portrait and fashion photographer from Detroit, Michigan. In their striking portrait seri...

Muscle Boy is an iconic image by Leonard Freed who was a pioneer in socially conscious photojournalism. In this photo a boy flexes his muscles for the camera perhaps making a state...

Nick Vedros Men! Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 8x12in Edition: 15 Signed, dated and numbered by h...

Sunscreen II (Beachshoot) - 2005 128x125cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary print from the Getty Archive using Slim Aarons negatives. Please contact the gallery for information about other print sizes. All prints feature a Slim Aarons blindstamp, and are accompanied by a Slim Aarons Certificate of Authentication issued by Getty. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Mrs George Cameron...

Nick Vedros Venus Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1990s Size: 15x10in Edition: 15 Signed, dated and numbered by...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Miss America Participants is a photograph realized in the 1960s Good conditions. The artwork is realized in a well-balanced composition.

Henry Kissinger - Vintage press print, b/w Photo realized in the 1970s during his speech. Good conditions. With the handwriting on the rear.

North Shore Yacht Club II (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. ...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Girl, Thailand, 1987 - 20x30cm, Edition of 10. Archival C-Print based on a 35mm negative. Signed on back with Certificate. Not mounted.

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Await (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #13084. ...

Tropics Motor Motel II (Memories of Green) - 1999 Edition 1/10, 58x56cm. ANALOG C-Print, hand-printed and enlarged by the artist Stefanie Schneider on Fuji Crystal Archive Paper, ...

Portrait Art, Fine Art Photography, Portrait Photography-Solitary Serenity ABOUT THIS PIECE: This fine art photography piece named "Solitary Serenity" was part of a portrait series...

My Darling come to me (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certif...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Mother Queen is a photograph realized in the 1940s. Good conditions. The artwork is realized in a well-balanced composition.

Summertime (Oxana's 30th Birthday) starring Radha Mitchell - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Sig...

Spider Woman - Vintage b/w Photo realized in the Late 1980s, Copyright by: Keystone Press AG, Zurich Good conditions. The photograph is captured aesthetically, in an interesting mo...

By photographer John Minihan, Yves Saint Laurent, French designer with two fashion models, Betty Catroux (left) and Loulou de la Falaise, outside his 'Riv...

Birdy (Stage of Consciousness) - 2007 20x24cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and Certificate. artist Inventory No. 7865. Not mounted. ...

Stephen Hawking is a vintage photograph realized in the 1970s. Good conditions.

Moments in Time (Sidewinder) - 2005 Edition of 5, 20x20cm each, hanging 20x45cm together, including the gap analog C-Prints, hand-printed and enlarged by the artist, based on the 2...

Brigitte Bardot with cigarette in hand by photographer Michael Ochs, originally taken in 1962. (Michael Ochs Archives/Getty Images) As an authorized Getty Images Gallery...

Young Fidel Castro - Vintage b/w Photo realized in 1959 in New York, Stamped Copyright by: Black Star, London. Good conditions.

Gail Getty is a vintage photograph realized in the 1960s. Good conditions.

Wedding Princess Margaret and Antony Armstrong is a vintage photograph realized in 06/05/1960. Good conditions. The artwork is depicted in a well-b...

Margarita (Till Death do us Part) - 2005 48x46, Edition of 10, Archival C-Print, based on the Polaroid. Signed on verso. Artist Inventory No. 8579. Not mounted. On offer is a pi...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. All prints include VAT and are sold as print only. This print may be available in another size, please contact the gallery for more information. "Lobster Girl. Fright Nights, West Palm Beach...

Suburbia II - 2004 40x40cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted. Signature label and Certificate. Artist Inventory No. 20955.01. This project "S...

Liberty Statue - Photograph is a photograph realized in the 1960s. Good conditions. The artwork is depicted in a well-balanced composition.

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...

Talitha and Paul Getty Jr. is a vintage photograph realized in the 1960s. Good conditions.

Jacqueline Bouvier with her son John Kennedy Jr. is a vintage photograph realized in the 1960s. Good conditions. The artwork is depicted in a well-ba...

Like a Snowball down a Mountain (Stranger than Paradise) - diptych - 1998 43x59 cm each, 91x59cm installed. Edition 4/5. 2 Analog C-Prints, hand-prin...

This is # 3/7 Fine Art Print Limited Edition 42cm x 60 cm VADOR THE SPACE SHOW is the first exhibition of photographs by Stefan Darte which is currently b...

Resting Hot Rod, taken in Bakersfield, California two years after, he photographed Wendy Resting in Las Vegas, they make a great pair. From Richard Heeps 'Man's Ruin' series, a colle...

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

'To the Wonder' (The Girl behind the White Picket Fence), 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 126...

The Tears we cried (Till Death do us Part) - 2005 40x48cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 8648. N...

The Map (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, artist Inventory Nr. 7709.01 Certificate and signature label, Not mounted, featuring Udo Kier. ...

President Kennedy and Jacqueline Bouvier is a vintage photograph realized in the 1960s. Good conditions.

Afternoon Drifter (Last Picture Show) - 2006 Edition of 10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inve...

Michael & Delilah, part of Richard Heeps 'Burlesque' Series, this contemporary portrait photography is so cool and cinematic. Richard became well-known for his Burlesque Photography ...

Nadia's Innocence (Stranger than Paradise) - 1998 43x59cm, Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory #115. Not mounted. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst...

Ellen Von Unwerth Birthday Party - 2015 Archival C-Print, Edition of 10, 20x30cm Signature label and Certificate. Not mounted. About Tao Ruspoli (born 7 November 1975) is an Italian-American filmmaker, photographer, and musician. Background He is the second son of occasional actor and aristocrat Prince Alessandro Ruspoli, 9th Prince of Cerveteri by Austrian-American actress Debra Berger. Tao was born in Bangkok, Thailand and raised in Rome and Los Angeles. He graduated from the University of California, Berkeley with a Bachelor of Arts in Philosophy. Career Moviemaker magazine singled out Ruspoli as one of the 10 Young Filmmakers To Watch in its spring 2008 issue. His feature narrative debut, Fix, was one of 10 feature films to screen in competition at the 2008 Slamdance Film Festival and soon afterward at the Santa Barbara International Film Festival where Ruspoli was awarded the Heineken Red Star Award for "most innovative and progressive filmmaker." Fix also won the Festival Award for Best Film at the 2008 Brooklyn Film Festival, Vail Film Festival and the 2008 Twin Rivers Media Festival, as well as other prizes at several international festivals. His most well-known documentary is Just Say Know, a personal discussion of his family's drug addiction. His other films include Flamenco: A Personal Journey, a feature length documentary about the flamenco way of life as it is lived by Gypsies in the south of Spain. He has directed a number of other short documentaries, including El Cable (also about Flamenco), and This Film Needs No Title: A Portrait of Raymond Smullyan (a portrait of the renowned logician, mathematician and concert pianist Raymond Smullyan). Tao founded LAFCO in 2000. The Los Angeles Filmmakers Cooperative, is a bohemian collective of filmmakers and musicians who work out of a converted school bus. Through LAFCO, Tao has produced several films and helped dozens of filmmakers to make their first films and discover the wonders of digital media. His producing credits include the feature film Camjackers, which he also acted in and co-edited. Camjackers won the best editing award at the 44th Ann Arbor Film Festival. Tao is an accomplished flamenco guitar...

Castaway (Last Picture Show) - 1999 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 869. Not mounted. Instan...

Prince Philip of Edinburgh is a vintage photograph realized in the 1960s. Good conditions. The artwork is depicted in a well-balanced composition.

Salton Sea Life (American Depression) - 1999 48 x 46 cm, Edition of 10 plus two artist Proofs. Archival C-Print based on the Polaroid. Signature label...

Thursday I (Wonder Valley) - 2005 20x24cm, Edition of 10. Archival Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3646. Not mounted. publishe...

President Kennedy with is daughter is a vintage photograph realized in the 1960s. Good conditions.

Maybe tomorrow (Stranger than Paradise) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 20658. Si...

This Limited Edition Photograph was authorized by the Ben Martin Estate. Ben Martin was TIME Magazine’s first New York Bureau staff photographer covering wars, fashion, politics, art...

Vampire is an original photograph realized by Plinio Martelli in 2000s. The artwork represents a vampire woman. Excellent conditions. Hand-signed and...