Shirt Art

Jean-Paul Belmondo and in Léon Morin, Priest is a vintage black and white photograph realized in 1961. Good conditions.

Little Tony is a vintage black and white photograph realized by Antonio Ciacci in the 1960s.. Good conditions.

Lorella Cuccarini and Alessandra Martinez is a vintage black and white photograph realized in the 1980s. Good conditions.

Exhibition - Life in Italy in 1960s  is a vintage black and white photograph realized in the 1960s, it is from a series of vintage photographs of the cultural and artistic events in ...

Marcello Mastroianni and Lauren Bacall is a vintage black and white photograph realized in the 1960s. Good conditions.

Brighton Pier - Signed limited edition archival pigment print - 1984, Edition of 10 The legacy of Ian is deeply woven into the fabric of our gallery. During his lifetime, Ian ...

Masc Regis is a modern artwork realized in 1970s by Erté (Romain de Tirtoff). Mixed clored tempera on paper. Hand signed on the lower margin. Provenance: Coll. G. Carandente, Roma...

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

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Christopher Anderson...

In a world that often silences hope, he dared to dream. With nothing but fire in his heart and vision in his eyes, the boy stood tall against the storms of doubt and fear. He had no ...

Tea Time is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. The artwork is depicted through confident strokes in a well-balanced composition.

Vintage Photo. The British Actor Stewart Granger.

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (issued by The Gal...

Vintage Photo. The Italian former actress, television and radio presenter, and lyricist Enrica Bonaccorti. Photo by ADN Kronos.

Vintage Photo. The Italian former actress, television and radio presenter, and lyricist Enrica Bonaccorti. Photo by ADN Kronos.

"Boabdil" and "Princesse Loitaine" from "La Derniere Lettre Persane." Paris, Librairie Centrale des Beaux-Arts, 1920. Original pochoir prints with gold paint.

Vintage Photo. The American Actor Paul Newman with Mario Andretti.

Lauren Bacall and Wilfred Hyde - Vintage Photo is a vintage black and white photograph realized in the 1960s. Good conditions.

Vintage Photo. "La fotografica" photo reportage agency - Torino By Studio Gherlone. Good condition.

Vintage Photo. The American Actor Kevin Kline in "Cry Freedom", a 1987 drama film directed by Richard Attenborough.

'Broccoli Boy', 2019 Hebru Brantely Acrylic on Canvas 48 x 40 in / 122 x 102 cm Unique Work, Signed by the Artist Brantley, drawing inspiration from artists like Jean-Michel Basquia...

Known for her bold visionary take on figurative realism, Erin Cone has twice been recognized in the national art press as one of the top young emerging artists in the country. After ...

'Young Navajo at Baseball' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibitio...

Acrylic, oil, pigment & paper on soviet-erra fabric biazi Born in 1995 in Zugdidi, Georgia, Gela Mikava is a Georgian contemporary artist who lives and works in Tbilisi. Traine...

Man with Kitten, 2023 acrylic on canvas 235 H x 130 W cm 92 33/64 H x 51 3/16 W cm The painting by Alexandru Rădvan is about our moments of 'respiro' about the minutes/seconds when...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #725. S...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #724. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

The Betrayal - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #723. ...

BOA - The Getaway (The Last Picture Show) - 2000 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #342. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

This triptych is three original photographs printed from the original camera negatives, shot by Bill Carroll in 1945, and printed in 2010. These images depict a young Norma Jeane at ...

Untitled - Renegade (The Last Stand) - 2004 48x46cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Cer...

Untitled - Renegade (The Last Stand) - 2004 48x46cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Cert...

1938 Studio stamp, verso Vintage gelatin silver print 9 x 7 inches This work is offered by CLAMP in New York City.

Nirvana, 2018 Oil on canvas (Signed on reverse) 27 9/16 H x 19 11/16 W in. 70 H x 50 W cm In his paintings, Radu Rodideal speaks about the concept of lo...

Spirited Bystander, 2018 Oil on canvas (Signed on reverse) 27 9/16 H x 19 11/16 W in. 70 H x 50 W cm In his paintings, Radu Rodideal speaks about the co...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

'Tropical Breeze, Madagascar' by Paul Samuel, 1979. American School watercolor ---- Signed lower left, 'Paul J. Samuel', (American, 20th century), titled 'Madagascar' and dated 1979...

Linda Stein, Gender Scrambling 799: Strong, Levin, Beckenstein Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Vic...

Untitled (Zuma Beach) - 1997 43x59cm, Edition of 4/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back and Certificate. Artist Inventory # 111.04. ...

Untitled (The Last Picture Show) - 2006 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 1015. Signature l...

Freude (Stage of Consciousness) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. feat...

Lonely Hearts (The Girl Behind the White Picket Fence) - 2013 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap ...

Farewell (Haley and the Birds) - 2013 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20c...

Einsam (Stage of Consciousness) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. feat...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Ghana Telekom Edition of 25 signed and numbered by the artist A man stands in front of a phone booth in Ghana. The advertising slogan reads: Linking people everywhere.... but no pho...

Forrest Gump Edition of 25 signed and numbered by the artist A tourist at the Cape of Good Hope in South Africa takes a photo and wears a T-shirt with the slogan from Forrest Gump. ...

House wife's Chores I (Suburbia) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1671 Not mounted. ...

Indian Summer VII (The Last Picture Show) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label Arti...

Time Traveller (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory N...

Into Eternity (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 893. 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...

Sudden Urge (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 809. 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...

Farewell (Haley and the Birds) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # ...

Showboat (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 22875. Signature label and Ce...

Last Chance (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 24104. Signature label and...

This is a unique photographic work by Andy Warhol depicting blue jeans with hand-drawn designs in Sharpie marker by Keith Haring, Andy Warhol and Kenny Scharf. Image dimensions: 8 ...

Unpredictable (29 Palms, CA) 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory number: 883...

Waiting (29 Palms, CA) - 1999 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory number: 99...

Audrey Hepburn, c19_17, 1953 -- Audrey Hepburn, ready in make-up and costume to play the title role in Paramount's Sabrina Fair. This shot is an out take from the photo essay in the ...

The Rolling Stones, a 1989 black and white stitched photograph shot for their "Steel Wheels " world tour, starring Keith Richards, Mick Jagger, Bill Wyman and Ronnie Wood. This Photo...