Miniature Photography

Burt Glinn’s black-and-white photograph of Robert Kennedy (RFK) documents a day-in-the-life euphoric moment from Robert Fitzgerald Kennedy’s (RFK) Campa...

Jumping A Hurdle (1886) - Silver Gelatin Fibre Print (Photo by Eadweard J. Muybridge/George Eastman Museum/Getty Images). Jumping a hurdle; saddle; bay horse, Daisy, between 1884 a...

The Dwell - 2018 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival Print on Hahnemühle photo rag paper, based on the Mixed Media collage of a Spectra Polaroid and glitter. Si...

Warhol superstar Ultra Violet, art dealer Jason McCoy and art historian Ron Caran photographed nude for 'After Dark' magazine in 1971. This is a vintage gelatin silver print, made b...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. 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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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...

"Figure 3" (2022) by Matthew Alfonso Durante is an original handmade mixed media painting that depicts a nude female model in front of a greyscale landscape. This piece measures 10 x...

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot without flash in available light. The photographs he made of her during the week March 24–30, 1955 as she prepares for two appearances; opening night of Cat on a Hot Tin Roof at the Morosco Theatre and being fitted with a burlesque corset for her ride on a pink elephant at a charity event at Madison Square Garden. (from Wikipedia) This is a unique silver gelatine print, made in 1988 from the original negative.

Adult film star Cal Culver (AKA Casey Donovan) 'After Dark' magazine nude study, photographed in 1972. This is a vintage gelatin silver print, selenium t...

Bosque Tropical Húmedo Nuquí, 2021 by Miguel Winograd From the Series Sin título Selenium- Toned Gelatin Silver Prints Sheet Size: 14 in H x 11 in W Image size: 12.5 in H x 10 in W ...

Little Red Ant (2016), Edition 1/7. 30 x 38 cm. Printed in Canson Barita Fiber Rag 310gr, based on a Fuji Instant Film (not mounted). Signed on back with Certificate. Once / Cris...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Black and white fine art landscape photography. Antelope Canyon sandstone formation detail, Page, Arizona, USA. Archival pigment ink print as part of a limited edition of 9. All Gera...

Signed by the artist on the front. Taken in 1967; 1991 print.

Underwater black and white photograph of a naked young woman in a pool. Original print on aluminum plate with solid black backboard. The artwork needs no additional framing: it can...

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...

Fly Away Home, 2019, Edition 1/10 plus 2 Artist Proof, 20x20cm. Art Print based on an original Polaroid on Hahnemuhle photo rag paper. Signature label and certificate. Not mounted....

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

M (Immaculate Springs) - 1998 - 20x20cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature Label and Certificate. Artist inventory...

Let it be (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 Inventory #...

This albumen silver print is signed and numbered in the negative. Printed c. 1880s.

Silver Gelatine Print by Erich Andres, ca 1950. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

Surf Wagon, St. Petersburg Beach by Al Satterwhite is a black and white photograph featuring a group of teenagers sitting on top of a car filled with surfboards. Archival Pigment P...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Untitled (Alan in the Barn), New Hampshire 1975 Signed, dated, and numbered in pencil, verso Vintage gelatin silver print (Edition of 2) 14 x 11 inches, sheet This work is offere...

Perso nell'immensità, 1955. Men and hats, in the streets of New York. Work sold in perfect condition, print on baryta paper 310 grs pigment inks of museum quality, limited edition of...

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...

Women's Rights Movement - Historical Photos is a vintage black and white photograph realized in the 1970s in Italy, it belongs to an album of women rights, protests, manifestation fo...

Rome in the Early 20th Century is a black and white vintage photo, realized in the 1930s. It belongs to historical album including photo of historical events and places, all meticulo...

A unique original silver gelatin black and white photograph. Paris, The Parc Monceau public garden, 20th June 1926. Features: Original Silver Gelatin Print Photography Unframed. Press Photography. Press Agency: Anonymous. Photographer: Anonymous. Title: Paris, The Parc Monceau public garden, June 20th, 1926. View of the Roman colonnades in the garden. Provenance: Private collection. Image Size: 4.57 in high (11.6 cm) by 6.22 in wide (15.8 cm) - Archivally matted in a 17 by 13 mat. The piece will be shipped in a mat (17 by 13 in) that fits a standard-sized frame. No ink stamp, no legend. Note: The last picture shows the Parc and the Roman colonnades today. Reference: The eighth arrondissement of Paris, France, is home to the public park known as Parc Monceau, at the junction of Boulevard de Courcelles, Rue de Prony, and Rue Georges...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Vintage Photo of an orientalist Painting - Cityscape is a vintage photograph realized in the early 20th Century.  The photo belongs to Albumen of historical painting, photographs, m...

Untitled (Visiting Brownsville) Mike Tyson visits his old neighborhood, Brownsville, Brooklyn, 1987 Signed and numbered, verso Archival pigment print 11 x 17 inches (Edition of 15...

Unframed. 2023. Signed on the back. Narrower than "The Journey's End." This photograph was taken a year after the artist's husband died, revisiting the same path but photographing ...

'Untitled' by Stefanie Schneider (Beachshoot) 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory Nr. 898.08, ...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Queen Elizabeth with Princess Anne - Vintage press realized in the 1950s. London. Good conditions and aged.

Original black-and-white lobby card for the film "The Hunchback of Notre Dame" (1939) featuring Charles Laughton and Maureen O'Hara. This vintage cinema memorabilia piece captures a ...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

These days are also bringing "full windows", happily full with books. Done during a city walk. Hope you like the look, limited edition of 15. Signed by the author.

Sandstill No.3 London, United Kingdom 2021 From limited edition of 20. The photograph is signed front bottom right corner and comes with a certificate of authenticity, signed dat...

Three Boys in Organza Jumpers 1960s/2022 Estate stamped and numbered on label, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Edition o...

Ellen VON UNWERTH (*1954, Germany) Sisterhood, New Orleans, 1998 Unique Polaroid Image 7.5 x 9.5 cm (3 x 3 3/4 in.) Sheet 8.6 x 10.7 cm (3 3/8 x 4 1/4 in.) Frame 29 x 24.5 x 4 cm (11...

A unique, original silver gelatin black and white photograph. Charenton le Pont, an eastern suburb of Paris, France, June 1926. A view of the canal with its barge boats in Charenton...

11 x 14" vintage silver gelatin photograph of Conductor, Pianist & Composer Michael Tilson Thomas in 1971. Signed by Jack Mitchell on the print verso. Comes directly from the Jack Mi...

Tell me what I am to do (Till Death do us Part) - 2005 20x20cm, Edition 2/10. Digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 932...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

Tree on the Waterfront Study 2, Portugal - no. 21297 Black and white fine art monochrome landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gera...

Available Sizes: 11" x 14" $6,000.00 Edition of 25 + 5 AP 16" x 20" $8,000.00 Edition of 20 + 4 AP 20" x 24" $10,000.00 Edition of 20 + 4 AP 30" x 40" $16,500.00 Edition of 2...

Framing Included in Listing Price, Free Shipping for the US, 14-Day Return Policy. One 4.5 x 3.25 inch unique vintage Kodak print of Karl Lagerfeld by Antonio Lopez. Prints are on ...

So what? - 2020, Edition of 7 plus 2 Artist Proof Archival Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-855. Not mounted. Kirst...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot wit...

A unique original silver gelatin black and white photograph. The International Autumn Fair in Lyon, France, March 19, 1927. Still a lot of people at the entrance of The Internationa...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006, 20x20cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatu...

Gelatin silver print on paper, a later printing by Cole Weston With the Edward Weston stamp verso, signed, titled, dated, and numbered in pencil by Cole Weston verso: PL40-K-4 Comes ...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

This is a black-and-white photograph of the Arc de Triomphe in Paris, France, taken in 1952. The image shows the monumental arch, a symbol of French national pride and history, locat...

Karine - 2018 Edition of 10, 30x20cm. Archival Print. Signature label and Certificate. Not mounted. Tao Ruspoli (born 7 November 1975) is an Italian-American filmmaker, phot...

This photograph by Jack Pierson is offered by CLAMP in New York City. Artist signature stamp in black ink, verso; Also dated 2018 and inscribed, verso

Finnish photographer Pentti Sammallahti depicts nature, eroded and broken down by civilization, but does not put man and the environment in opposite camps. He sees an equal relations...