Face Portrait Photography

Vintage b/w Photo. The French Actress Claudine Auger with her cat. Lightly blurry.

Autographed portrait of Tony Curtis is a b/w postcard reproducing the photographic portrait of the Famous American film and television actor, Tony Curtis (...

Signed limited edition 16x20" print, and the first print of the edition #1/20. David Bowie contact sheet from Jake Chessum. Jake recalls the sessi...

Vintage Portrait of Monica Vitti is a vintage black and white photo realized at the end of 1970s. Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy o...

Autograph Portrait of Rudolf Lenz is a b/w postcard reproducing the photographic portrait of the Austrian cinema actor, Rudolf Lanz (Granz, Austria, 1920- Gschwall, Germany, 1987), a...

Doris Kirchner's Memorabilia is a b/w postcard reproducing the photographic portrait of the Austrian stage, film and television actress, Doris Kirchner (born in Grosz, Austria, 3 May...

Toned gelatin silver print Signed in pencil, verso This artwork is offered by ClampArt, located in New York City. Born in Vinhedo, a small town on the outskirts of Sao Paulo, Brazil, Walter Briski, Jr. began his interests in photography at the age of thirteen. He later moved to the city of Sao Paulo to pursue his passion, and after completing his studies at the Pontificia Universidade Catolica de Campinas, he began his career as a fashion photographer working with top national magazines such as “Brazilian Vogue,” “Brazilian Interview,” and “Trip.” Soon after, Briski moved to New York City in pursuit of advancing his career. In search of strengthening his art, he learned to master the technique of black-and-white printing while employed at a highly ranked film production house. There, he printed works for artists such as Bruce Weber, Annie Leibovitz, Gordon Parks, Matthew Barney, Steven Klein, Steven Meisel, Steven Sebring, and Ellen Von Unwerth. In the midst of printing images that were reproduced in magazines such as “Vogue,” “Harper’s Bazaar,” “W,” “L’Uomo Vogue,” “I.D.,” “Arena,” “The New York Times Magazine,” and “Interview,” he also began printing his own photographs. Briski has had the wonderful opportunity to work with top models and celebrities, including the Brewer twins, Carole King...

Vintage Photo. The Actors Ingrid Thulin and Burt Lancaster, two of the protagonist of the 1987 film "Control". Lightly damaged.

Japanese women in Tokyo is an original vintage Albumen print hand colored, on single cardboard: 26 x 34 cm. Realized between the 1880s and the early 18...

Vintage gelatin silver print (Edition of 100) Signed and numbered, verso 11 x 14 inches, sheet This photograph is offered by ClampArt, located in New York City. Duane Michals is one...

Signed limited edition print of Bassist Paul Simonon and lead singer Joe Strummer of British punk rock band The Clash backstage at the Agora Theatre in Cl...

Portrait of John Ruskin by Charles Philip McCarthy is a Photogravure realized in 1890 circa. Print realized on hight quality cotton paper in big size ...

You don't love me! (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label...

Double artist's stamp on the back. Very good conditions, slight folds on surface that absolutely do not compromise the image quality. Photograph realized by famous italian photograp...

Autographed Portrait of Barbara Frey is a beautiful b/w postcard reproducing a photographic portrait of the German stage and film actress (born in Berlin, 1941) around the 1960s. W...

Rock singer and frontman Freddie Mercury (Frederick Bulsara, 1946 - 1991), of the popular British group Queen, has his moustache groomed. (Photo by Steve Wood...

British pop singer David Bowie in concert at Earl's Court, London during his 1978 world tour. (Photo by Evening Standard/Getty Images) As an authorized Getty Images Gallery partner,...

Horst Buchholz's Memorabilia is a b/w postcard reproducing the photographic portrait of the famous German film actor, Horst Buchholz (Berlin, 1933 – 2003). Around the 1960's. Phot...

I'd really love to stay the Person, who's sure about her Inner Voice (The Girl behind the White Picket Fence) - 2013 20x20cm, Edition of 10 plus 2 Artist Proof. Archival C-Print, ...

'Mussolini At Circus Maximus' is a b/w photographic print on glazed paper. Stamp of agency Trampus, Paris and cliché applied on the back, realized on 29 October 1934, in Rome. The p...

This Autographed Portrait of Freddy is a b/w postcard reproducing the photographic portrait of the Austrian show-men, actor and singer, Freddy Quinn, carrying his black dog. Around t...

Lonny Kellner's Memorabilia is a b/w photographic portrait of the beautiful and talented German actress and singer, Lonny Kellner (Reimscheid, 8 March 1930 – Hamburg, 22 January 2003...

Autographed Portrait of Maria Litto is a beautiful b/w photographic portrait, with the additional value of the blue ink autograph by the German ballet d...

Marianne Hold's Memorabilia is an autographed color postcard, representing her photographic portrait, with the additional value of the black marker autograph of the German actress. ...

Haute Couture - Karen Mulder at Christian Lacroix II

Slim Aarons Esther Williams Slim Aarons Estate Edition Legendary American swimmer and actress Esther Williams (1921 - 2013) lounging on a white trampoline in a green swimsuit, circa 1956. This photograph features a cheerful interplay between graphic greens and white, and a midcentury graphic composition. This is the perfect classic Aarons photograph for lovers of vintage glamour...

Beuys Portrait is an original black and white photograph representing a profile of the renowned German contemporary artist Joseph Beuys with his typical felt hat. This photo was very likely realized in 1972 by Buby Durini. In excellent conditions. On the back, there are two black stamps "Foto Buby Durini" and "Lucrezia De Domizio" with all the contact details...

David Lynch Film director David Lynch, Cannes, 2001 by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocativ...

Randy (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1180. Signature label and certi...

Massive Attack Massive Attack, Berlin, 1998. by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative an...

Vintage Photo. The legendary Michael J. Fox in "Back to the Future", by Robert Zemeckis. International Exhibition of Cinema (Venezia Young).

The Japanese director Akira Kurosawa receives the Gold Palm from the British Actor Dirk Bogarde and Kirk Douglas, for his film "Kagemusha" during the Cann...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1. If the exhibition piece is sold or the customer orders a different print size, the photograph is produ...

Hide Out (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1168. Signature label and Cert...

'Mussolini With Children' is a b/w photographic print on glazed paper. Stamp of agency Trampus, Paris and cliché applied on the back, realized in Tobruk on 15 Mars of 1937. The phot...

Vintage Photo. The British Actor David Niven with his wife. Damaged.

Vintage Photo. The American Actor Dustin Hoffman.

Vintage Photo. Burt Lancaster in a scene from the series "I Promessi Sposi".

Vintage Photo. The British Actor Stewart Granger.

This photograph "Woman Reflecting in the Window" c.1980 is an original gelatin silver print by famous German photographer and artist Michael Andreas Russ, born 1945. The photograph size is 7.15 x 9.35 inches. It is in excellent condition. About Michael Andreas Russ. Michael Andreas Russ (born January 1945 in Berlin) is an German/American photographer, photo designer and film director. Russ' career as a photographer began in New York in the late 1960s where he photographed his fellow acting students. Self-taught, he eventually moved to his own studio off Union Square, Manhattan and connected with the local underground art scene. Photograph by Russ was published on the cover of “Art Direction Magazine of Visual Communication” with a Gertrude Stein quotation: “The composition in which we live makes the art which we see and hear” In his early years Russ focused on men's fashion magazines and erotic sequential photographic scenes for Playboy Press books. He eventually experimented with distinctive photographic techniques, turning 35mm black and white film into chemically toned, masked, solarized and hand colored, one of a kind silver gelatin prints. These 'TinTones' as Russ would call them eventually became the trademark of his work. They were published in popular fashion and lifestyle magazines and brought him international recognition in the art world. His work was published in major fashion, lifestyle and avant-garde magazines, GUNNARS, Mode International, Mode Avant Guarde, PHOTO Magazine, Zoom (photography magazine), as well as German Playboy (magazine), Photo Reporter and cover art to IL Magazine. He also contributed sequential 'sujets de chambre' to Vogue magazine His erotic postcard edition "The Compagnie" became part of the permanent collection of the Musée des arts décoratifs de Paris, an annex to the Louvre museum. Selected Exhibitions. 1980: Musee des Arts Decoratifs (Louvre Annex, Paris). "Postcard edition The Compagnie" 1983: China Club...

Flying (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #7980. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway...

Eminem by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. All prints are signed and numbered by the artist. Paper size 16x20 inches Edition size varies according to print size. Other sizes available (in inches): Luxe 16x20 (Edition of 25) Large 20x24 (Edition of 25) Longe 24x30 (Edition of 25) Grande XL 30x40 (Edition of 10 (+2 a/p)) Giant 40x60 (Edition of 3 (+1 a/p)) FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. Slim Shady...

Printed by the artist. Signed and dated in pencil. Dry mounted onto board 16x20"

Signed limited edition 20x24" print of Debbie Harry from punk band Blondie by Brian Aris, taken in Brian’s London studio. Edition number 14/25 Brian Aris limited edition prints, sig...

Signed limited edition print of Debbie Harry of Blondie by Michael Brennan, taken at the studio on East 45th in Manhattan, New York, USA, Febru...

Traces of Time (The Girl Behind the White Picket Fence) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13370. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider 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 an old 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 property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots 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 that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

Diana with Yulia (Sentenced for Theft): Prison for Women with Children Ukraine 2010 Signed and numbered, verso Archival pigment print (Total edition of 7 + 2 APs) This work is off...

Vintage silver-salt photo taken in 1896 by Studio Moretti, Florence. Date and dedication on the back. Good conditions.

The KLF Bill Drummond and Jimmy Cauty by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrif...

Archival pigment print Signed, titled, dated, and numbered, verso 11 x 14 inches (Edition of 15) 20 x 24 inches (Edition of 10) This photograph is offered by ClampArt, located in N...

Ursula Andress Swiss actress Ursula Andress poses in a hammock, in Rome, Italy, circa 1955. Paper size 50 x 50 / 127 x 127 cm Estate Stamped Collection Edition to 150 Photo by ...

Norman Parkinson’s homage to a painting by Dutch artist Kees van Dongen entitled The Corn Poppy. Adele Collins wearing an Otto Lucas velvet toque. British V...

Portrait of Radiohead's Thom Yorke 2006 by Kevin Westenberg Archival Fine Art pigment print edition of 3 only. 20 x 24 inches / 51 x 61 cm signed and numbered on the front by Kevin Westenberg. (The stated print size is the Image size, and not the overall paper size) This print is unframed. About the photograph - Kevin explains : " from my Thom Yorke cover shoot in Holland taken for Mojo Magazine back in 2006. 'The Eraser' interview by Nick Kent. This deluxe print, is image size 20x24" and printed on Da Vinci Fibre Gloss Silk heavyweight archival white 310gsm acid free cotton rag natural white base." About the artist : Kevin Westenberg is famed - for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane's Addiction, Sting, Bjork, Nirvana, Jeff Buckley, Luther Vandross, Nine Inch Nails, Stone Roses, The Pixies, Paul Weller, Rufus Wainwright, Michael Stipe, U2, Mary J. Blige, R.E.M., Black Sabbath, Massive Attack, BB King, The Rolling Stones, PJ Harvey, Marilyn Manson, Pete Doherty, Oasis, Soundgarden, Jake Bugg, and Bon Jovi among many others. Also included are 100’s of albums, singles, magazine & book covers from around the world. He’s also been chosen as official photographer for the LIVE 8 Hyde Park event in 2005 and for Led Zeppelin reunion concert at the 02 Arena, London. The work & interest also include a wide range of artists portraits beyond the music world. David Lynch, Paul Auster, The Coen Brothers, Rupert Friend, Sir Tom Stoppard, Orla Kiely...

Toned gelatin silver print (Edition of 25) Signed, titled, dated, and numbered, verso This artwork is offered by ClampArt, located in New York City. Dave Anderson is an award-winning, cross-media storyteller best known for his work behind the lens. His photography and films have been exhibited, published, screened, and lauded across the planet. Anderson’s work has been profiled on numerous media outlets ranging from “Good Morning America” to "The New York Times" to "The New Yorker," where Vince Aletti...

Signed limited edition print of The Cramps featuring Lux Interior and Poison Ivy, taken by Simon Fowler in the UK in 1979. Simon recalls - "Shot this at LFI’s Studio. I say Studio, ...

Archival pigment print Signed and numbered on label, verso 12 x 18 inches (Edition of 10) 24 x 35.5 inches (Edition of 8) From the series, "Another November" This artwork is offer...

Evan Dando Evan Dando, The Lemonheads by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class ...

Marilyn Manson Marilyn Manson, Los Angeles, 1998 by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of w...

Thom Yorke by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie stars...

Blur Damon Albarn, London, 1999. by Kevin Westenberg- Signed Limited Edition Kevin Westenberg is famed for his creation of provocative and electrifying...