Photographic Paper Portrait Photography

Saigon - 2003 50x49cm. Archival C-Print, based on the original Polaroid. Artist inventory Number 463. Signature label and Certificate. This piece has been used by the RED HOT C...

'Love Scene against the Wall" (Sidewinder) - 2007, Edition of 10, plus 2 Artist Proofs. 4 x 20x20cm, 20 x 100 cm installed with gaps in between each piec...

Taylor and Charlie Brown (Chicks and Chicks and sometimes Cocks) - 2017 40x48cm, Edition of 10. plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid,. Signatur...

Loneliness doesn't exist outside of your mind! (The Girl Behind the White Picket Fence) - 2013 38x48cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Si...

Gianni Morandi and Claudio Villa - Vintage Photo is a vintage black and white photograph realized in the 1970s. Good conditions.

Unknown Girl 01 - Street Portraits (Stranger than Paradise) - 1999 Edition of 10, 40x40cm. Archival Print, based on the Polaroid. Signature label and Certificate. Artist Invento...

A Beautiful Day (Till Death Do Us Part) - 2007, 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist In...

'Gelsomina II' "Bring Ya to the Brink" (Cyndi Lauper record Album) - 2016 70x90cm, sold out Edition of 3, Artist Proof 1/3, Analog C-Print, hand-printed and enlarged by the artist...

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...

Vintage Photo. The Italian Actress Nicoletta Machiavelli in a photo by Dufoto Agency - Rome.

Historical Photo is a black and white vintage photo, realized in the mid-20th century.  It belongs to a historical album including historical moments, royal families, and political ...

The Party is over (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album) - 2009 50x50cm, Edition of 10. Archival C-Print based on the Polaroid. Certificate and signature ...

Vintage Photo. The Italian actress and singer Loretta Goggi during "Canale 3". Lightly damaged.

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...

Ave Maria, part of Richard Heeps' 'This is Not America' series photographed in Vietnam in 2016. This striking artwork has a fun religious kitsch vibe, the neon really makes it pop. ...

Patsy Pulitzer (nee Patsy Bartlett) leaning against a seaplane belonging to the Everglades Flying Service, at Palm Beach, Florida. Slim Aarons Seaplane At Palm Beach...

Nastasia with Gun (High Desert) - 2019 Edition of 10, 20x20cm Archival C-Print, based on the Polaroid. Signature label and Certificate. Not mounted. Stefanie Schneider: A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? Born in Germany in 1968, photographer Schneider defected to the Southern Californian high desert where her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works by hand. What is initially striking about Schneider's images is simply the color of her expired Polaroids but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. (Jason Zyzak, Barnebys UK, May 3, 2017) 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 Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen, Bombay Beach Biennale, DZ Bank Collection, Frankfurt. latest news: Moving/Image curated by ELLEN M. HARRINGTON, DZ Kunstsammlung, Frankfurt, Germany (G) with John Baldessari, Anna und Bernhard Blume, Philip-Lorca di Corcia, David Hockney, Marie-Jo Lafontaine, Terrence Malick, Tracey Moffatt...

Lip Service, 2017, Edition 1/7 plus 2 Artist Proofs, 20x20cm. Digital C-print, Based on Polaroid, not mounted. Signed on the back and with certificate. ...

Memory Lane (Haley and the Birds) - 29 Palms, CA - 2013 78x76cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. ...

Islanders go back to Tristan is an original black and white photograph realized by the photography Agency of " Dufoto" on 18 Mars 1963. With the stamp of copyright and the typed not...

Pablo Neruda gettin the Nobel Prize is a black and white vintage photo, realized in October 21th. 1971. The photo depicts Pablo Neruda , pseudonym of Ricardo Eliécer Neftalí Reyes, ...

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...

Neon Cross, from Richard Heeps' series 'This is Not America' photographs from Vietnam in 2016. This striking artwork has a fun religious kitsch vibe, the ne...

Mrs. Red Skelton Poses is an original b/w photograph about Hollywod in the 1940s, realized by De Wan Studios. On the back "Mrs. Red Skelton poses for her ...

Vintage Photo of Painting  -Little sleeping Sheperdhess by P. Michetti is a vintage photograph realized in the early 20th Century.  The photo belongs to Albumen of historical painti...

Chiang Mai, Thailand - 1988 20x30cm, Edition of 10, Archival C-Print based on a 35mm negative. Signed on back with Certificate. Not mounted.

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...

Listing includes free shipping for unframed prints in the continental US and a 14-day return policy. Please inquire for framing options. We offer framing from our New York and Los Angeles gallery...

No Causes (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, bas...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. A stunning and dynamic Archival Pigment Print by contemporary British photographer Giles Revell...

Sophie Calle (born 1953) is an internationally acclaimed French contemporary artist. Highly conceptual in her approach, Calle's projects often begin with material from her personal ...

From the horse crazy world of City Riders by Roberta Fineberg, a black-and-white photograph of girls in costumes while riding horses in the streets of New York City. The young ride...

Milva is a black and white vintage photo, realized in second half 20th. Century, by Uliano Lucas.   The photo depicts the italian singer, Milva, alias of Maria Ilva Biolcati. Good ...

No Middle (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, bas...

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

This blue ink Autograph Portrait of Marika Rökk is a b/w postcard reproducing the photographic portrait of the German actress. Photo: Deutsche Film hansa/ Haenchen Around the 1960...

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...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. A gorgeous black and white fibre print, available in other sizes. Taken from...

The artist's technique consists of the use of two prints, the first print is the original photography, and the second print is a blurry version of the image printed on glass. The gla...

Jungle Boy (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label. Artist Inventory ...

Hailé Selassié in Venice is a vintage black and white photograph realized in the 1960s. Good conditions.

'Max by the Fence' (29 Palms, CA) Proof b4 Printing / 2005, 128x125cm analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. The white border is for ease o...

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 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...

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...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x46cm. Archival Print, based on a Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certifi...

This Vintage Photo shows the Actress Isabella Goldman.

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...

Radha Shooting II (Stranger than Paradise) - 1999 38x36cm, Edition of 30. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory #259. Not mo...

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....

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...

The DJ (The Girl behind the White Picket Fence) - 2013 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Mounted on Dibond with matte UV-Protection. Signed on back and Certificate. Artist Inventory No. 16346. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

Her last Call II (The Girl behind the White Picket Fence) - 2013 78x77cm, Edition 3/5, Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory # 16495.03. Not mounted. Featuring Heather Megan Christie. 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 a newly orphaned girl after losing her parents who lived in the Californian desert in a vintage Spartan travel-trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - 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 girl's 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, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10-acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004, when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using...

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...

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...

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...

'Rêverie' - 2017, 50 x 50 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 child...

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...