20th Century Portrait Photography

Original Black and White Photograph of Johnny Weissmuller Black and white photograph 1932, depicting Olympic swimmer Johnny Weissmuller (Hungary, 1904-1984) by George Hurrell (Ameri...

A color photograph of Buzz Aldrin standing next to a seismograph with the "Eagle" and American flag in the background remains an historical and artistic document from 8 days in space...

Capucine French actress Capucine fanning herself at a New Years Eve party held at Romanoffs in Beverly Hills. Photo by Slim Aarons. Printed 2022. Silver gelatin print Paper size ...

This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gar...

Artist: Man Ray (American born, 1890 - 1976) Title: FEMALE NUDE Date Of Negative: 1930 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogravure. Date Of Print: 1934 1st E...

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne 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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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 (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles and David LaChapelle, James Bidgood revolutionized gay male...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cecil Beaton, Electa Editrice Portfolios, 1981. Published and pri...

Ted Williams Martin Luther King Motorcade, 1964 Silver gelatin print 16 x 20 inches Estate stamped and numbered edition with certificate of authenticity Dr. Martin Luther King waves to the crowds as he drives in a motorcade on the way to make a speech at the ‘Illinois Rally for Civil Rights’ at Soldier Field in Chicago, IL, US, June 21, 1964. Ted Williams (1925-2009) first heard jazz on the radio as a youngster in the 1930s in Wichita, Kansas. The sounds of Earl Hines, Duke Ellington and Cab...

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...

Portrait, ca. 1975. Period print measuring 8.75 x 11.25 inches. Unframed. Studio stamp on verso. Mounting and framing services available. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

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...

Incredible 1960 close up of The Rat Pack's Sammy Davis Jr. side portrait smoking a cigarette. One of the best images we have released in years. One of Sammy Davis, Jr.s enduring leg...

Fine art print of David Bowie by acclaimed photographer. Lynn Goldsmith. Taken in 1973 during the Spiders from Mars tour, and now available for the first time in black and white. Ly...

'Radha Pink' (29 Palms, CA) - 1999 130x128cm, sold out Edition of 5, Artist Proof 2/2 (last), analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a...

New York Picnic (1959) Limited Estate Stamped (Photo By Slim Aarons) A chauffeur unpacks a picnic hamper from a Rolls Royce, against the New York skyline. 1952 Additional Info...

Long Way Home (Stranger than Paradise) - 1999 3 x 38x36cm, Edition of 30, Archival C-Prints, based on the 3 Polaroids Certificate and Signature label artist Inventory Nr. 250.51 ...

New York Python, Coney Island, 1991 by Roberta Fineberg is a 14” x 11” gelatin silver print - offered in 2025 to celebrate the Year of the Snake…. In the words of the artist: "I sho...

Abaco Holiday, 1986 Chromogenic Lambda Print Estate edition of 150 College student Jan Woods relaxes in a hammock at the Abaco Inn on Elbow Cay, one of ...

"The Glimmer Twins - Mick Jagger" Photography 20x15 in by Charlie Auringer Year: 1978 Edition of 50 Medium: Silver gelatin limited edition photographic print on paper Signed and num...

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...

Rapture (29 Palms, CA) - 2022 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival Print, based on the Polaroid. Artist inventory Number 218829. Signature label and Certificate...

Elizabeth Taylor with Sunglasses for "Giant" 1955 by Frank Worth This iconic and elegant portrait captured by celebrity photographer Frank Worth features actress Elizabeth Taylor o...

Marilyn Monroe by Bert Stern (1964) new baby on the bed circa 2009 hand double signed and dated by Bert Stern COA hand signed by bert stern edition of 72 perfect condition

Kennedy, nb_100 -- Published on the cover of the Ladies Home Journal in 1961, this photo was actually taken in Hyannis Port in 1959 before JFK became president. THE 24” x 36” SIZE OF...

Fashion Show, Brooklyn, New York, USA 1963 by Leonard Freed is a 19" x 13" signed and numbered archival pigment print in an edition of 10. Signed by the estate, Freed's widow Brigitte Freed, on back of photograph. Available: 3/10. Provenance: Freed Estate *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department...

This mid-1950s event photograph, captured by society photographer Slim Aarons, features an aerial view of diners at the St. Regis, New York. This is an estate stamped and hand numbe...

Purchased from Peter Fetterman Gallery - Authorized dealer of Salgado's work. No damage issues. Look print moutned on corners. Over Mat included.

American actor Humphrey Bogart, lighting a cigarette, and Belgian-born actor Audrey Hepburn outdoors on the set of director Billy Wilder's film 'Sabrina', circa 1945. A unique hand-c...

President Jimmy Carter Archival pigment print 48 x 48 inches Signed and numbered edition of 10 William Coupon is an American photographer, born in New York City, known principally...

This colored image features portrait of smiling Sophia Loren standing near table.Sofia Costanza Brigida Villani Scicolone, known professionally as Sophia Loren, is an Italian actress...

Vintage Photo. The Italian Actress Valeria Golino.

Special limited edition series produced for the David Bowie Worldwide Fan Convention. This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer...

"Led Zeppelin" photograph by Neal Preston. Photo by Neal Preston hand written in lower right corner. This framed photo previously hung in a guest room at th...

Colorized portrait of actress Jayne Mansfield posed in pink lingerie on a red chair. Jayne Mansfield was an American actress and Playboy Playmate. A sex symbol of the 1950s and earl...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

Donald Trump by Ron O'Rourke is a photographic print on baryta paper. Realized by famous American photographer for publishing on Playboy magazine 3-1990. Magazine's original clich...

Portrait of Krzysztof Kieslowski - Vintage Photograph is an original black and white photograph realized by an anonymous artist in the 1970s. Good conditions.

David Bailey Patti Smith, 1978 Archival Inkjet on paper Signed by the artist, on verso Image: 36.83 x 47.76 cm Sheet: 42 x 59.4 cm

Artist: Lawrence Schiller, American (1936 - ) Title: Marilyn Monroe in Something's Got to Give - 8 Year: 1962 (printed 2007) Medium: Gelatin Silver Print, Signed in ink Edition: AP 3...

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...

The Decision - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory #762. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

This black and white photograph features Brigitte Bardot from the 1957 film Une Parisienne. She is sitting on a bed, wearing a light-colored, sleeveless dress with delicate straps an...

Brigitte Bardot Hollywood starlet posed with a vintage car, circa 1970. Brigitte Bardot is a French former actress, singer, and model as well as an animal rights activist. Famous fo...

This is a newly released platinum print of "The Observer and Observed" by Susan Derges. Printed in 2022. Listing includes framing, a label of authentici...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in...

Frida Painting "Two Fridas" by Nickolas Muray is a limited edition black and white portrait of Mexican painter Frida Kahlo in her studio, sitting in front of her famous painting, The...

R&B and Soul act Sam and Dave perform during the Soul Together concert at Madison Square Garden in June, 1968. They are known for their powerhouse soul hits like "Soul Man" and "Hold...

1949: American Jazz trumpeter and singer Louis Armstrong (1898 - 1971) enjoys a plate of spaghetti in Rome. Slim Aarons Dinner Jazz Louis Armstrong in 1940s Rome Black and White Pho...

Captivating color image of Hollywood pinup star Rita Hayworth sunbathing, circa 1939. Rita Hayworth was an American actress, dancer, and pin-up girl. She achieved fame in the 1940s ...

Mick Jagger and Bianca Perez posed candid in doorway during a visit to Paris, September 1971. Mick Jagger is an English singer, songwriter, actor, and film producer who has achiev...

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...

Rudolf Nureyev - Copenhagen Royal Theater, Vintage Photograph is a black and white photograph realized in the 1960s. Good conditions.

Fernando Botero in his Studio, Paris, 1992 by Jean-Michel Voge is a 13" x 19" archival pigment print in an edition of 5, printed by the photographer on handmade Japanese Awagami pape...

Black and white promo photo of Marilyn Monroe posed for her role in "Gentlemen Prefer Blondes", circa 1953. -- One-of-a-kind original vintage press print from the Celebrity Vault ar...

This photograph of Clint Eastwood taken by Eddie Adams is offered by CLAMP in New York City.

Edition of 25 Signed and numbered in black ink on print margin. Signed, titled, dated, print date and misc. notations in pencil on print verso AVAILABLE SIZES: 11 x 14 in., Edition ...

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 50x48cm each, 50x102cm together with gap. 2 Archival C-Prints, based on 2 Polaroids....