Miniature Portrait Photography

11 x 14" vintage silver gelatin photograph of artist Ellsworth Kelly in his New York studio, 1967, 7/25. Signed by Jack Mitchell lower right, and in pencil on the reverse.. Comes dir...

Red Roses (Oxana's 30th Birthday) - 2007 from the 29 Palms, CA project 24x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label with ...

Portrait of Edward VII and Alexandra - Forth Bridge is a black and white vintage photo, realized in the early 20th century. It belongs to historical album including masterpieces of h...

The Journey II- Shot 2019 on 600 film. Influenced by 1950s and 1980s cinema, The Journey sees a young woman heading off into the unknown where fate and chance all come into play. Th...

Untitled - 2017 30x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on t...

The Old Days - Florence is a black and white vintage photo, realized in the early 20th century.  It belongs to historical album including historical moment, royal families, and poli...

Drowning the Noise - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory - PL202...

Archival pigment print Signed and numbered, verso 18 x 12 inches, image (Edition of 8 + 1 AP) 30 x 20 inches, image (Edition of 5 + 2 APs) This photograph is offered by ClampArt, ...

Vintage black and white photograph depicting Diego Armando Maradona wearing the Napoli shirt. Very good condition.

Leisure and Fashion, Colony Hotel, 1961 - Palm Trees and Glamour in Palm Beach by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 1...

Framed, signed 9x12" print of Amy Winehouse taken at a laundromat in London by Jake Chessum. Frame measures 16.5 x 14/5 x 1" Framed in a simple black frame, matting and UV protected conservation clear glass Jake recalls the session: “I travelled from NYC to London in February 2004 to do a press shoot with Amy Winehouse. It was a classic February day: cold, wet, foggy and dark by about 4pm. We met at her flat and went to a few of her local haunts: a cafe, a launderette, Primrose Hill. The record company were very hands off and didn’t pressure us to do any particular set ups. We just went with the flow. She was really entertaining: funny, smart and cooly indiscreet. I am a huge jazz fan and I remember we talked about music, London and New York.” Jake grew...

Kenn Duncan (1928-1986). Woman with Turban and Feathers, ca. 1973. 11 x 14 inches; 12 x 15 inches framed. The print was used for publication in After Dark Magazine. From the estate of William Como, Editor in Chief, After Dark Magazine. Kenneth Duncan was born September 22, 1928, in New Jersey. He began his career as a skater and then a dancer. After breaking his foot and taking a six-week course on photography at a YMCA, he became a photographer. Duncan worked as a principal photographer for After Dark and Dance Magazine. His photographs also regularly appeared in Vogue, Harper's Bazaar, Life, Time, and Newsweek. In addition, he photographed a score of Broadway shows, including Hair, Applause, The Elephant Man, and Sophisticated Ladies and many dance and Broadway stars including Chita Rivera...

Don't give up on us, Baby (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature...

Jacqueline  Kennedy is a black and white vintage photo, realized in 1960s.  The photo depicts the American First Lady, Jacqueline Kennedy, wife of John Fitzgerlad Kennedy, 35° Presi...

Time Out (Haley and the Birds) - 2013 40x39cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1...

Last Season I - so I walked away from my Valley (Wastelands), diptych - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist...

Silver Gelatine Print by Erich Andres, 1950 This black-and-white photograph from 1950 shows three young men working in what appears to be a mine. The boys are gathered around a larg...

Blown Away (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventor...

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

This exquisite heliogravure after Sir Cecil Beaton (1904–1980), titled John Weissmuller, from the folio Cecil Beaton, Electa Editrice Portfolios, 1981, originates from the 1981 editi...

You're not taking care of me! (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signa...

There is no Solution (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

Flying (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #7870. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway...

Feathered (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. Signature label and Certificate Ar...

Helen Frankenthaler Hand signed and inscribed photograph, ca. 1987 Photograph printed on offset lithograph Hand signed and inscribed by Helen Frankenthaler on the front Frame Include...

A black and white photograph from 1956 that captures John Huston, celebrated film director during the filming of The Misfits featuring Marilyn Monroe. John Huston, 1956 by Burt Gli...

Nick Vedros Men! Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 8x12in Edition: 15 Signed, dated and numbered by h...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Wild Boy (Stranger than Paradise) - 1997 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist Inventory ...

Backcasting (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Randy and I (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1170. Signature label and Cer...

Seagulls (Zuma Beach) - 1999 20x24cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 198. Not mou...

Dreamgirl (Chicks and Chicks and Sometimes Cocks) - 2019 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. A...

Last Season II - so I walked away from my Valley (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist invento...

Blue Mountains (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1160. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Published in: WASTELANDS, published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007), Stranger Than Paradise, Scott White Contemporary, San Diego, (S) (2012) 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. Dust bowl 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...

Untitled - 2014, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certifi...

Ether, (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory # ...

Breaking the Waves (Zuma Beach) - 1999 20x25cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory #110....

Seagull (Zuma Beach) - 1999 20x24cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 520. Not moun...

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 Invent...

Highway One (Zuma Beach) - 1999 20x24cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 201. Not ...

Miranda - Shot 2017 on 600 Film Influenced directly by Australian New Wave Cinema and the films of Peter Weir where the protagonists are profoundly affected...

Those Kabuki players you see in my photographs are not with the mainstream Kabuki companies in Tokyo. They are with localized small groups located in various parts of Japan. They are...

Love (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. Featuring Udo Kier and Radha Mitchell 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based...

Reinventing oneself, I - 2019, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory ...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles...

Maa Saraswati 2013 Signed and numbered in black ink, verso Digital C-print (Edition of 500) 7 x 5 inches $100 This work is offered by CLAMP in New York City.

Play among the Stars (Till Death Do Us Part) - 2005 80x30cm including white frame, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certific...

Portrait of Miranda Martino  is a vintage black and white photograph realized in the 1970s. Good conditions.

Vintage Photo. The Italian Actress Lea Massari on the set of a movie.

I love you (Till Death do us Part) - 2007 - 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 8661, not ...

Limited Edition of 10 Framed size 27 x 37 cm All works are Archival Pigment prints, floating in an all black wooden frame behind museums glass.  More sizes on request. Sara Punt's w...

The Letter (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory No. 8846. Not mounted. MARGARITA (OFF) "I must go. I can feel his breath on the trail el Diablo...

You don't love me! (Till Death do us Part) - 2008 - 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 859...

Dust Bowl Weary (Wastelands) - 2003 Edition of 10, 38x37cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No 1185.01 Not mounted. Off...

Above Water (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signa...

This 1970 portrait photograph, captured by society photographer Slim Aarons, features guests by the pool at Nelda Linsk's desert house in Palm Springs, California, January 1970. The ...

Play among the Stars (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...