Portrait Photography

Wild Things (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

Gold, 2019 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019 - 742. ...

Actress Bette Davis posed in front of the Queen Mary, circa 1967. Bette Davis was an American actress of film, television, and theater. Regarded as one of the greatest actresses in ...

11 x 14" vintage silver gelatin photograph of Richard Lane and Stephen Kockser photographed nude for After Dark magazine, 1972. Comes directly from the Ja...

Divine Nude No.20 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

In this box scented with wild Strawberry flavour I hand folded my Strawberry story into an exclusive leporello This is number 2/3 Digital color print based on a series of original Polaroids
on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cotton by HAHNEMÜHLE Signed and numbered. 156cm x 15cm The leporello is comfortably wrapped in a latex sheet rubbed with freshly picked strawberries and sprinkled with home made golden shower...

Daisy and Austen in front of Trailer (Till Death do us Part) - 2005 Proof b4 Printing / 128x125cm signed, analog C-Print, hand-printed by the artist, based on a Polaroid, signed on...

Ten years ago, after a particularly tumultuous period in his life, Michael Kenna quietly made a decision to expand his photographic practice to include the human form. Kenna is well known for his minimalistic landscapes, and has been vocal in the past about the absence of the human figure in his photographs stating, "I feel they gave away the scale and became the main focus of the viewer’s attention." But, believing "fixed dogma is not a creative tool...

Willy Ronis is one of the most famous members of the French Humanist photography. Silver print on photographic paper Hand-signed by the artist lower right Stamp of the artist's stud...

Edition 10 Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Black and white portrait of actor Heath Ledger in young age. From personality portra...

MISS ERIS #20, 2015 [From the series Les Foxy Femmes de Carmen De Vos] 20cm in diameter 1 of 7 + 2APs, printed 2019. Museum quality C-Print based on a Polaroid Mounted on round di...

Artist: Fritz Henle Title: Frida Kahlo Holding Her Shawl Medium: Original Silver Gelatin Photograph Edition Size: 25 Signature: Estate Stamped on Back Year of Work: 1936 Dimensions: ...

Self Portrait in Painters Coveralls c. 1970 Signed, l.l. Vintage gelatin silver print 10 x 8 inches (25.4 x 20.3 cm) This work is offered by ClampArt in New York City.

Gelatin silver print Signed and dated, verso 14 x 11 inches, sheet 10 x 10 inches, image This photograph is offered by ClampArt, located in New York City.

Almost Paradise (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 894. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Melt your mind - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1068. ...

Shiver- 2021 - 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1046. Not mounted...

'Untitled' 2013, Edition of 10 plus 2 Artist Proofs, Digital C-Print, based on a Polaroid 59, not mounted, 15.2cm x 10.8cm, not mounted, Signed, embossed stamp and artist certificate...

"Marilyn Monroe In A Bikini" by Archive Photos American actress Marilyn Monroe (1926 - 1962) posing on a rooftop circa 1951. Unframed Paper Size: 40" ...

This black and white portrait features Deborah Kerr posed in a large white fur hat. Deborah Kerr was a Scottish-born film, theatre and television actress. During her international f...

Andy Kissing Dali, 1978 by Christopher Makos is an 8 x 10in vintage gelatin silver print on fiber paper of celebrity artists Andy Warhol and Dali locked in an embrace. The photograph is stamped (black ink) on verso (photo back). Provenance: Private Collector *** Artist’s Bio: Christopher Makos (1948- ) is an American photographer and visual artist. He studied architecture in Paris and was an apprentice to Man Ray. Andy Warhol was Makos' good friend and frequent portrait subject. His photographs of Andy Warhol have been exhibited in galleries and museums, including the Guggenheim Museum in Bilbao,Tate Modern in London, Whitney Museum of American Art in New York, IVAM in Valencia (Spain), Reina Sofia Museum in Madrid, among others. Makos’ pictures have appeared in publications, including Paris Match and the Wall Street Journal. The visual artist is the author of numerous books, such as Warhol/Makos In Context (2007), Andy Warhol China...

Swept Away - 2017, Edition of 7 plus 2 Artist Proofs. Based on a Polaroid, Archival C-print. Signed on the back and with certificate. Artist inventory PL2017-155. Not mounted. ...

Crushing - 2017, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2017-792. Not mount...

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

Ormond Gigli's Sardinia, Italy, 1969, is a limited edition archival pigment print. A 22.5" x 20" print in an edition of 8 is signed recto (front of photo). Provenance: the artist's...

"David Bowie, New York City, 1973" photograph by Neal Preston. "Photo by Neal Preston" hand written on front lower right corner. This framed photograph was previously displayed in a ...

Archival pigment print Signed and numbered, verso 12 x 12 inches (Edition of 10) 25 x 25 inches (Edition of 10) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Evžen Sobek...

After midnight - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-932. No...

Lisa - Signed limited edition archival pigment print - Edition of 10 This image was captured on film in 1994. This print that is being offered is a high-quality Archival Pigment ...

Sombras, 2023 by Ricky Cohete Archival pigment print Image size: 36 in H x 24 in W. Edition of 10 + 1AP Unframed _________________________ Ricky Cohete was born in a coastal city i...

An underwater black and white photograph of a beautiful naked model on her knees at the bottom of the pool. Original gallery quality archival pigment print signed by the artist. Lim...

Centre Line, by Ricky Cohete From the series "Acto Uno" Archival Pigment print Medium size: 24 in H x 36 in W. Edition of 10 + 1AP Unframed 2020 Black and White Photograph All pric...

Pin Ups - David Bowie and Twiggy Oversize Print by Justin De Villeneuve 40 x 40 inches / 101 x 101 cm Chromogenic print signed & numbered by artist editio...

Original color photograph hand developed from the original negative by Bert Stern. This photo is part of The Last Sitting portfolio, taken six weeks before Marilyn Monroe’s death in ...

163.05.12 is a limited-edition colour photograph by contemporary artist Klaus Kampert from the series "Water Creatures". This photograph is a limited edition of 15 copies, it is sol...

Delilah Right Red Hand I, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 200...

Divine Nude No.13 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It...

Winter Suntans Young women enjoy a relaxing sunbathe in snowy Gstaad. Slim Aarons Archival Pigment Print. Printed 2024. Slim Aarons Estate Edition. Produced utilising the only ori...

Dasha & Mari - Tennis - limited edition 30x30" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful fi...

From The Jon Gould Collection of Andy Warhol Photographs Each photo is unique and blind embossed “Andy Warhol” in the lower right corner Provenance: Gift of the Artist to Jon Goul...

David Bowie, Aladdin Eyes Open, 1973 by Brian Duffy. This photograph was taken during the photo shoot for the album cover for Aladdin Sane, January 1973, London. This is an exquisite FRAMED* Archival Pigment print. *Note delivery includes secure art crating & shipping. Framed in black wood with glass and matt Stamped by The Duffy Archive, UK. Supplied with certificate of authenticity. Gorgeous print measuring 115 x 115 x 3 cm (framed). The image area is 95 x 95 cm. Produced utilising the original contact sheet. We ship regularly using Fedex Express services and ship to all international locations. About these images : “It wasn’t until we saw the contact sheets the next day I remember thinking, God this is spectacular. You just knew you had cracked it, boy, did you know it.” Celia Philo DAVID BOWIE: FIVE SESSIONS PHOTOGRAPHS BY DUFFY Brian Duffy photographed David Bowie over five sessions between August 1972 and April 1980, and made the iconic Aladdin Sane album cover image. January 1973–Session two–Aladdin Sane. It has been called ‘The Mona Lisa of Pop’. Who could have imagined that the moment he clicked the shutter on the Hasselblad in early 1973 that one of those images would become known as a cultural icon? – Chris Duffy Some background to the shoot. The background stories to the Aladdin Sane shoot are told in rich detail in the book Bowie Duffy – Five Sessions. In particular it is a delight to read Duffy’s (a self confessed Marxist anarchist) analysis and compare that with the measured tone of Tony Defries. If you don’t have a copy of the book, here’s a flavour of their respective views – which amount to much the same thing – just expressed in different ways. First up, Tony Defries: “I was looking for an iconic cover image and artwork that would help me to persuade RCA that Bowie was sufficiently important to warrant megastar treatment and funding in order to propel him to exactly that status. Engaging a master, world-class photographer to shoot the project /brand and to design the artwork was the best way to send that message. Brian had the ability to make the mundane image interesting and the interesting image fascinating.” Then Duffy: “Tony wanted to make the most expensive cover he could possibly get a record company to pay for, because he realised that if it cost fifty quid, well, so what – but if it cost £5,000 the record company were now having to pay attention. He said “Can you make it expensive?“and I said “No problem old love.” I proposed– One: A Dye-transfer. A genius method of being able to spend the most amount of money to get a reproduction from a colour transparency onto a piece of paper. Two: Get the plates made, where? Switzerland. Then employ me to design it and create it – even better and more wasteful.” The Aladdin Sane session was a real team effort. The location was Duffy’s studio at 151a King Henry’s Road in Primrose Hill, London, which had been the setting for the Ziggy Stardust session the previous August. Duffy had agreed with Tony Defries that his design agency, Duffy Design Concepts, which he ran with Celia Philo, would design the sleeve. Present in Primrose Hill on that January day in 1973 were Duffy, David Bowie, Celia Philo, Tony Defries, French make-up artist Pierre Laroche, and Duffy’s studio manager Francis Newman, who also acted as his assistant that day. Follow-up work on the detailed airbrushing required to create the final artwork was carried out by Philip Castle. What about that lightning bolt flash and the liquid pool? The idea for the lightning bolt came from David Bowie. The realisation of that lighting bolt into the form that appeared on the sleeve was down to Duffy. Its source is believed to be a rice cooker that was in Duffy’s studio – and which had a small logo with a red and blue flash. Francis Newman remembers, “Pierre stared to apply this tiny little flash on his face and when Duffy saw that he said, “No, not like that, like this” and literally drew it right across his face and said to Pierre, “Now, fill that in.”” The red colour was lipstick. Adding the pool of liquid to the collarbone was Duffy’s idea, and this was brilliantly airbrushed in as part of the post-production work by Philip Castle. David Bowie explained the background to Rolling Stone magazine, that it was a “Lightning bolt. An electric kind of thing. Instead of, like, the flame of a lamp, I thought he would probably be cracked by lightning. Sort of an obvious-type thing, as he was sort of an electric boy. But the teardrop was Brian Duffy’s. He put that on afterward, just popped it in there. I thought it was rather sweet.” DAVID BOWIE David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie (/ˈboʊi/ BOH-ee),[2] was an English singer-songwriter and actor. He was a leading figure in the music industry and is considered one of the most influential musicians of the 20th century, acclaimed by critics and musicians, particularly for his innovative work during the 1970s. His career was marked by reinvention and visual presentation, with his music and stagecraft having a significant impact on popular music. During his lifetime, his record sales, estimated at 140 million albums worldwide, made him one of the world's best-selling music artists. In the UK, he was awarded ten platinum album certifications, eleven gold and eight silver, and released eleven number-one albums. In the US, he received five platinum and nine gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996. Born in Brixton, South London, Bowie developed an interest in music as a child, eventually studying art, music and design before embarking on a professional career as a musician in 1963. "Space Oddity" became his first top-five entry on the UK Singles Chart after its release in July 1969. After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of his single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which won him widespread popularity. In 1975, Bowie's style shifted radically towards a sound he characterised as "plastic soul", initially alienating many of his UK devotees but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie starred in the cult film The Man Who Fell to Earth, directed by Nicolas Roeg, and released Station to Station. The following year, he further confounded musical expectations with the electronic-inflected album Low (1977), the first of three collaborations with Brian Eno that came to be known as the "Berlin Trilogy". "Heroes" (1977) and Lodger (1979) followed; each album reached the UK top five and received lasting critical praise. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters (and Super Creeps), and "Under Pressure", a 1981 collaboration with Queen. He reached his commercial peak in 1983 with Let's Dance; the album's title track topped both UK and US charts. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle. He also continued acting; his roles included Major Jack Celliers in Merry Christmas, Mr. Lawrence (1983), Jareth the Goblin King in Labyrinth (1986), Pontius Pilate in The Last Temptation of Christ (1988), and Nikola Tesla...

Haiti Holiday, 1981 Chromogenic Lambda Print Estate edition of 150 A woman wearing a translucent white blouse and holding a cocktail stands in a swimmi...

Baby you can drive my Car (Bombay Beach) - 2019 80x80cm, Edition of 5 plus 2 Artist Proofs, Archival C-Print based on a Polaroid. Signed on the back ...

Mist - Signed limited edition archival pigment print, Edition of 5 Contact me if you are interested in another photograph of my store, we can always discuss This is an Archival Pi...

BROOKE SHADEN A Storm to Move Mountains, 2011 Photo on Velvet Fine Art Paper 10 × 10 in. Image 18.25 x 18.25 in. Framed Edition 7 of 15 Channeling the...

Karen Christy by Pompeo Posar is a lot of two photographic prints on single coated paper. Photographs published on Playboy 12-1971 and realized by magazine's official Photographer Pompeo Posar(1921-2004) Handwritten notes on back. Dim: cm 25 x 21 Excellent conditions Different nude portraits of Playmate Karen Christy realized with a vouyeristic point of view by master of erotic photography

Artist: Fritz Henle Title: Frida Kahlo in her Studio Medium: Original Silver Gelatin Photograph, (produced from film) Edition Size: 7/25 Year of Work: 1936 Dimensions: 14 x 14" Frame...

Sophie - Signed limited edition archival pigment print, 1995 - Edition of 10 A classical approach, sensual not sexual This image was captured on film. The negative was scanned...

Terry O’Neill is one of the twentieth century's most accomplished and collected photographers, whose work hangs in national galleries and private collections around the globe. Since ...

Paper size: 17 x 22 in., Image size: 18 x 12.8 in. Signed, titled, and dated in pencil on print verso. Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait...

Edition 25 A nude male model is lying on a big rock. Portrait from the back. From personality portraits and advertising campaigns to magazine layouts and fine art work, Greg Gorman has developed a unique style in his profession. His distinctive use of light in his black and white portraits is one of the identifying aspects of a Gorman photograph. Gorman’s strength has been photographing motion picture and music personalities. His work has been used in film advertising and publicity campaigns as well as album and CD covers. Some of the motion picture celebrities that he has photographed include Ben Affleck, Lauren Bacall, Alec Baldwin, Antonio Banderas, Kim Basinger, Marlon Brando, Pierce Brosnan, Kevin Costner, Bette Davis, Robert De Niro, Brad Pitt, Andy Garcia, Sir Anthony Hopkins, Dustin Hoffman, Sophia Loren, Al Pacino, Barbra Streisand, Kiera Knightley...

'California Dreaming' (Bombay Beach) 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Ar...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 11 x 14 inches. Artist studio stamp on verso. 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...

Maria Magdalena (Sidewinder), 2005 Edition of 1/10, 50x40cm, digital C-Print based on an expired Polaroid photograph. Signature label and Certificate. Not mounted. Stefanie Schnei...

Jack Mitchell mid-20th Century beautiful nude of ballet dancer Zane Wilson in 1972. Zane Wilson was a spectacular principal dancer with the legendar...

Black and white capture of star actress Marilyn Monroe close up, wearing a dark hat. -- One-of-a-kind original vintage press print from the Celebrity Vault archives. Own a piece of ...

A black and white photograph of a young woman with flowers

Stefanie Schneider Polaroid sized unlimited Mini 'Beachshoot' - 1999 signed in front, not mounted. 1 Digital Color Photograph based on a...