Women Photography

Wrapped 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 PL2019-804. ...

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

Acting Tough by BATIK signed limited edition POP ART print Paper Size Oversize 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print Limited to 10 only Note OTHER SIZES & FRAMING AVAILABLE BATIK is a London based contemporary pop artist fine art concept art conceptual fine art warhol pop art Al Pacino Lindsay Lohan Jane Fonda Mickey Rourke Christian...

Untitled 02 (Saigon) - 2003 Sold out Edition of 5, Artist Proof 2/2, 20x20cm, Archival C-Print, based on a Polaroid. Artist inventory Number 471. Not mounted. Stefanie Schneider...

Underwater black and white photograph of a young naked women. The model's face and her classic breast are covered with sunbeams. Original digital print on aluminum plate signed by t...

Hellbound - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-929. Not mounted...

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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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...

Papercute No.3 explores the sculptural qualities of light and shadow through delicately folded paper. The composition evokes a sense of movement, with fluid, organic curves resemblin...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

Once We Were Warriors (Stage of Consciousness) - part of the 29 Palms, CA project - 2007 - featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, ...

Nastassia Kinski for Playboy is a black and white photograph realized by Helmut Newton in 1983.  Black and white photograph.  From the series realized by Newton for Playboy magazin...

Faye Dunaway The Morning After, 1977 Co-Signed Edition Print by Terry O'Neill and Faye Dunaway Mint condition C print hand numbered 37 / 50 and hand signed by both photographer ...

Bert stern Marilyn Monroe pink angel Mythical photo of the last seance (1962) ink jet print by bert stern 2012 signed on both sides certificate signed by the artist in his lifetime ...

'Mermaid' 2016, Edition 1/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2016-813. Kirsten Th...

Carried away - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-970. Not moun...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Caroline ‘ Signed by Ian Sanderson lo...

Now I see you - 2016 80x80cm, Edition of 5 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2016-196. Not mo...

Black and white artistic and candid portrait of Marilyn Monroe in front of stores wearing a white dress. -- One-of-a-kind original vintage press print from the Celebrity Vault archi...

Verbier Vacation, 1964 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Holiday-makers take the sun on a mountain top in Ver...

'Ava Gardner Portrait' Limited Edition silver gelatin print ca 1950 Portrait of the actress Ava Gardner circa 1950. (photo by Pictorial Press / Alamy Archives) (photo by Pictorial...

This striking black-and-white photograph captures jazz legend Louis Armstrong during a candid moment at a press event in 1965. Armstrong is seen seated at a table, a cigarette delicately held between his fingers, as he gazes thoughtfully off to the side. His signature bow tie and formal attire reflect his polished style, while the slight smile on his lips hints at his charismatic personality. The image is framed by soft-focus floral arrangements in the foreground, which enhance the intimate setting. Microphones surround him, indicating his role as a prominent figure in the music industry. The lighting subtly highlights the contours of his face and the gleam of his watch, emphasizing the depth of character and experience in his expression. This photograph not only embodies Armstrong's iconic status but also captures the essence of his lively spirit and dedication to jazz music. About Tassilo Leher: Born in the dark years of World War II, Tassilo Leher became an icon of photographic art in divided Germany. As the son of war correspondent Karl Leher, whose lens captured moments of contemporary history, he was born in 1940 in the heart of Berlin. He shared not only the studio in the picturesque Prenzlauer Berg with his father, but also the mysterious world of the darkroom. While Karl Leher, an early riser, made use of the morning hours, Tassilo found his creative flow only by midday, often working late into the night. His camera knew no bounds: from the dazzling stars of East German show business like Phudys, Karat, Hildegard Kneef, Manfred Krug, Bubi Scholz, to international greats such as Dean Reed, Karel Gott, Jiri Korn, and Costa Cordalis – all found themselves in front of his lens. The Friedrichstadt-Palast and numerous film sets became his stages, where he played with light and shadow to perfectly frame famous...

Candid capture of star actress Marilyn Monroe with French actress Simone Signoret. Marilyn Monroe was an American actress and model. Known for playing comic "blonde bombshell" chara...

Underwater black and white (sepia) photograph of a young woman in tule scarf - with distorted reflection of her body in the water surface. Original gallery quality archival pigment ...

Edition 7 A beautiful naked woman is lying on a traditional wooden floor and enjoys the sun. These stunning photographs of Sieff’s subjects in Paris, in their homes, on the shores ...

Bette Davis iconic portrait by famed Hollywood art photographer George Hurrell from 1940. It is stamped on the verso with authentic Hurrell identification. This is a original mint ...

© Michael Putland Jimmy Page of Led Zeppelin Jimmy Page performs at Earls Court, London 1975 Jimmy Page is the legendary guitarist and founding member of Led Zeppelin, renowned fo...

Her last Call II (The Girl behind the White Picket Fence) - 2013 80x80cm, Edition 2/5, Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted and Shadow frame. Signed on back with Certificate. Artist Inventory # 16495.02. Featuring Heather Megan Christie. Offered is a piece from the movie: The Girl behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in a vintage Spartan travel-trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, Electa Editrice Portfolios, 1980. Published and printed ...

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...

Children, Harlem, 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: 7/10. Provenance: Freed archive. 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. 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...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

Bodypaint - 1991 by Byron Newman 40x30" in / 101 x 76 cm paper size C print limited edition to 15 only this size From a Calendar shoot from RMC in 1991. About the artist : Byron Newman (born in London, England, United Kingdom) is a British photographer. He has been a photographer for over 25 years. Most of the years in partnership with French actress Brigitte Ariel, his producer, stylist, muse and also his wife. Newman started out studying graphic design and photography at the London College of Printing. Afterwards, he interviewed and photographed musicians for Cream magazine in the 1960s and 1970s. He started his own fashion magazine Deluxe in 1977. From that experience he was offered a job in Paris as the art director with Mode International. Once there he also started working for LUI magazine where he was a staff photographer. Whilst there he met Brigitte Ariel. Playboy In 1982, whilst Newman and Ariel were in Hollywood on promoting her latest film, Hugh Hefner got in touch and met them at the Playboy Mansion. Byron has photographed for Playboy magazine, assisted by Brigitte, in the United States since 1984. His photographs appear in Playboy magazine and also are for the Playboy Special Editions. He has also photographed for Playboy's other foreign editions including Germany, France, Italy, Spain, Russia, Mexico, South Africa, Croatia etc. During the time Byron has worked for them, he has photographed some of Britain's top glamour models including Samantha Fox, Katie Price aka Jordan, Jessica-Jane Clement, Marina Baker (whom he had discovered and photographed for her Miss March 1987 pictorial), and 2006 Playboy Special Edition model of the year Louise Glover. His pictorial in Playboy USA (Sept 07) entitled "Rubber Rules" explores the sensuality of latex clothing...

Dirty Martini, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing...

An underwater black and white photograph of beautiful naked young woman breasts covered with air bubbles. “In my line of photography all best shots are ...

Marion - Signed limited edition archival pigment print , France, 2003 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 g...

Ava (1950) Silver Gelatin Fibre Print (photo by Pictorial Press / Alamy Archives) 1950, Portrait of the actress Ava Gardner circa. Additional Information: Unframed Paper Size: 1...

"Genesis" Photography Edition of 25 36" x 27" inch by Yevgeniy Repiashenko Photography Year photo was taken: 2019 Unframed - ships in a tube ...

Maya, 2018, Edition 6/7 plus 2 Artist Proofs, Digital C-print, Based on an original Impossible film, not mounted. Signed on the back and with certificate. Artist inventory PL2018-445...

Roots II is a limited-edition photograph (Digital Print on Baryta Fine Art paper) by contemporary artist Tamary Kudita. This photograph is sold unframed as a print only. It is avai...

Photography done for publication Mexico/Volk und Welt, signed by the author on the back.

MASSIMO LISTRI Gipsoteca di Canova a Possagno, Italy (Portrait of Interiors), 2019 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso ...

4" x 5" Unframed Closed Edition Photograph MAGNUM Photography Hand Signed by Werner Bischof

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...

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...

American model Jerry Hall with singer Mick Jagger of the Rolling Stones, photographed for Norman Parkinson’s exhibition at the National Portrait Gallery, London, July 1981. NORMAN P...

Designers' Homes, Viky Reynaud in Desses with Dahlias -- Photographed by Mark Shaw for a November 1953 issue of LIFE, socialite Viky Reynaud, a recent high school graduate, models a ...

'Come on' part of the series 'A girl called N.' - 2019, 20x20cm, Edition 4/7. Archival C-Print based on a Polaroid. Signature label and certificate. Artist inventory PL2019-51...

"Die Waldfee" Photography 39" x 31" in Edition of 7 by Kseniya Vashchenko Not framed. Ships rolled in tube. Available sizes: Edition of 15: 29.5" x 24" in Edition of 7: 39" x 31...

"Cheetah Who Shops" by B C Parade American silent film actress Phyllis Gordon (1889 - 1964) window-shopping in Earls Court, London with her four-yea...

Countess Jan Bonde in the Palace Hotel sleigh on Lake St. Moritz, Switzerland, 1983 Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim...

'Cheeky' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL219-660. Kirs...

ABOUT THIS ARTIST: Liz Von Hoene is an award winning fashion photographer and director known for her immaculate concept driven images that strike the right balance between sophistication and whimsy. Whether she’s shooting for brands like Dove, Diet Pepsi, Credit Suisse, L’Oreal, Tampax and Ligne Roset or diverse collaborative partners like Badgley Mischka, DSW, Kate Spade, Macy’s, Neiman Marcus and Target, Liz gives even the most familiar, everyday scene a fantastical twist. She transports us from the realm of the ordinary into the extraordinary. Starting with a no-nonsense approach, she lets the magic happen in front of the lens as simply as possible to keep the unexpected as human as possible. Liz’s personality is evident in her work as a photographer and director: at every turn, a sense of playfulness and polish, scaffolded by a carefully calculated vision. She meticulously compiles inspirations and influences, ranging from the everyday to the magnificent, making each image more inventive than the last. Liz Von Hoene is part of the Trunk Archive...

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...

Anne Gunning for Vogue Estate Print by Norman Parkinson Fashion model Anne Gunning in a pink mohair coat outside the City Palace with an elephant, Jaipur, India, photographed for V...

Marco Pittori has always worked with photography. He uses his own or the licensed photographs of others, such as renowned Los Angeles photographer Brad Elterman. "Brad’s photos provide a rare, often raunchy glimpse into a rock and roll history where it seems Brad is always at the right place at the right time, camera ready.” –DiscoSalt. By using licensed images of Brad Elterman’s photographs, he provides viewers with a window into a fascinating and exclusive time on Los Angeles’ Sunset Strip. This series of Marco Pittori’s layered photographs...

Edition of 7 Also available in 73 x 100 cm / 28.7 x 43.3 in, Edition of 3, price on request In this picture you can see a beautiful luscious naked heinie of a woman with a blue pill...

'Mirror, Mirror' (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. Artist inv...

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...