Outdoors Portrait Photography

Family Snapper 1959 Babe Paley (Mrs William Paley) by the pool. Her husband, William Paley is snapping the photographer at their cottage, Round Hill...

O'Brians Catch American actor Hugh O’Brian returns to the beach with a fish after a snorkelling expedition, Antigua in the West Indies, 1961. Gorgeous print measuring a large 30 x ...

A woman sunbathing nude by Tom Darlington's pool in Carefree, Arizona, April 1967. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure, a history of glamour that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Increasingly known for his influence, Aarons's casually glamorous jetset aesthetic can be seen today in fashion, art, and celebrity photography. Recent articles credit his work with inspiring the casually flawless style of top Instagram influencers, full of sunshine and escapism. Reference: "Dive in: how Slim Aarons art directed the poolside summer. French brand Maje are the latest label to take inspiration from Slim Aarons’ pictures of the jetset on holiday." Slim Aarons Sunbathing in Arizona...

The Heist - 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 #21978. 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 #910. S...

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

Women Working - Historical Photos is a vintage black and white photograph realized in the 1950s in Italy, it belong to album of women rights, protests, manifestation for their right ...

Ancient View of Rome is a Historical Photo in black and white realized in the 1800s. It belongs to historical album including photo of historical events and places, all meticulously ...

'Princess Ruspoli' 1979 Slim Aarons Limited Edition Estate Print - Oversized Princess Lucy Ruspoli stands in front of a colourful wall of old skis in Lech ...

Atlantic City by Louis Malle is  a vintage black and white photograph realized in 1980. Good conditions.

Princess Ruspoli Princess Lucy Ruspoli stands in front of a colourful wall of old skis in Lech am Arlberg, Austria, February 1979. Paper size 40 x 30" inch...

Roquebrune-Cap-Martin A view from a hillside in Roquebrune-Cap-Martin, southeastern France, looking toward Monaco, August 1970. Paper size 30 x 20" inches / 76 x 51 cm Estate S...

Winter Suntans Young women enjoy a relaxing sunbathe in snowy Gstaad. Paper size 40 x 30" inches / 101 x 76 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

In this midcentury landscape photograph, captured by society photographer Slim Aarons, a party of skiers adjourning for drinks at Squaw Valley, California, in 1961, one year after th...

Slim Aarons - Family Snapper - Estate Stamped Babe Paley (Mrs William Paley) by the pool. Her husband, William Paley is snapping the photographer at their cottage, Round Hill, Jamai...

"Sidewalk Club of the Motherlode" a Lithobrome photograh by Sigismund Blumann (American, 1872-1956). Signed "Sigismund Blumann" lower right. Titled "Sidewalk Club of the Motherlode" on verso. Image size, 11.25"H x 13.25"W. Between 1923 and 1932, his pictures were accepted at photographic salons in Amsterdam, Toronto, Rochester, Seattle, and Los Angeles. In 1927, a one-person exhibition of his bromoil prints traveled to camera clubs in Chicago, Akron, Cincinnati, and New York. In addition to bromoil, a process that yields pointillistic images, Blumann utilized such unusual processes as kallitype (Vandyke brown), lithobrome, and pastelograph (the latter two probably his own inventions) to create original photographs using chemical processes he invented. Sigismund Blumann (1872–1956) (figure 1) was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. From 1924 to 1933 Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently he established his own periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over fifteen years — Blumann found a large audience of mainstream pictorial photographers. In addition, he wrote five instructional books on photography...

Holidaymakers dining at the Eagle Club, Gstaad, Switzerland, March 1969. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim Aarons Es...

"Dawn Herders" Karo People, Omo Valley, Ethiopia, 2023 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 5...

February 1989: Pierre Vincent Marais holidays with friends on the island of Mustique in the Grenadines. Slim Aarons Estate Edition, Certificate of Aut...

"Alley of Giants" Madagascar, 2009 Available sizes: 20 x 30 in / Edition of 6 - $4,500 32 x 48 in / Edition of 6 - $7,500 50 x 75 in / Edition of 6 - $15,500 "As I watched the sun...

Circa 1950: Swimmer diving into rough water lashing against rocky cliffs at Acapulco, the Riviera of Mexico. (Photo by Evans/Three Lions/Getty Images) As ...

Flood in Shimodate- Japan is a vintage black and white photograph realized in 1970s. Good conditions except for some foxing.

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. In her new exhibition Churilla draws from her years spent as a swimmer, lifeguard, and athlete to capture the forgotten freedom and exuberance of days of youth spent on the water. Viva la Vida is a mix of timeless portraits and candid photographs "I’ve always been drawn to the water- now my art, my sense of athleticism, freedom and oasis have merged in a way", says Churilla. Her nod to iconic photographers from the past, such as Edward Weston, and Herbert List, is apparent in her portrait work. In another Christian & Nathan Fletcher is in the midst of a surf crusade off the coast of Islamorada, Florida. Christian pioneered a new revolution in surfing style with his aerial techniques. The artist’s genuine connection to her subjects allows the viewer to forget the presence of a camera and to be drawn into the personal narrative. The invitational image Longboard Afternoon, taken at Ditch Plains, Montauk, focuses on the portrayal of the atmosphere rather than the individual subjects. With a 70’s feel the viewer is intrigued by the layers of life, activity and parallel moments shared by silhouettes of surfers carrying longboards at hazy days end. One such image, Gustavo, depicts a male figure seated poolside with head bowed. The pose and the wet sheen to his hair and skin give the subject a classic, sculptural look. All the photographs exhibited in are in various sizes are printed on heavy weight cotton paper with the traditional glossy baryta surface in rich tones of black and white. Her artist mother, Barbara Churilla, involved her in creating art, sculpture, painting and photography from an early age. She was raised in Princeton, New Jersey. She graduated from School of Visual Arts in NYC with a BFA in Photography. Lynda began her photo assisting career with legendary photographer Bruce Weber. Over a period of almost a decade she traveled the world with Weber learning not only knowledge of photography, but also life. Eventually becoming his trusted first assistant before embarking on her own photography adventure. Churilla’s work has been celebrated in American Photo, where she was heralded as one of the young visionaries of 21st century. She has photographed numerous celebrities, such as Cameron Diaz, Jewel, Olivier Martinez, Coldplay, Pet Shop Boys...

War Cemetery is a photograph realized in the 1950s. Good conditions.

Ancient from Tokyo is an original vintage albumen print on single cardboard: 26 x 34 cm. Realized between the 1880s and the early 1890s. The image on the front 20.5 x 26 cm. Captio...

Vintage autographed portrait of Gregory Peck is a b/w postcard reproducing ta scene of the same-named movie. With the additional value of the black mark...

Vintage Photo from the Fascist period. Photo by Gherlone, Torino. Photo dimensions 17 x 23 cm. Includes passepartout.

circa 1960: Mrs A Watson Armour III (Jean Schweppe) with friends and family enjoying the pool on their estate at Lake Forest, Illinois. A Wonderful Time - Slim Aarons Slim Aarons Family Pool Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 60 x 60 inches $5100 48 x 48 inches $4500 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 16 x 16 inches $2150 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons Lake Forest, Vintage Poolside Glamour, Vintage Sport, Swimming, Vintage Holiday, 60s, vintage Illinois...

Dreamscene on Salt Lake (29 Palms, CA) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024....

'Bronco' is an Archival Inkjet Print by photographer Morgan Silk. Bronco is available in this size of 17" x 24" in a limited edition of 25. From the series 'Eclectica' by Morgan S...

Lost Within (29 Palms, CA), triptych - 2010 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Oasis (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm, Edition...

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

Jack's Place (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm, ...

Wonder Valley (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Jules and Jim (Renée’s Dream) - 2006 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20c...

Moonwalk (29 Palms, CA) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm, so...

Days of Heaven (Renée’s Dream) - 2006 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20...

Lost in Blue (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

When I Was with My Goat (The Girl Behind the White Picket Fence) - 2013 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published...

Winemaker Barone Bettino Ricasoli poses holding up a wine glass beside a table, on which stands three bottles of wine and a basket of grapes, in a vineyard in Siena, Italy, 1983. The...

In the camping is an original black and white photograph realized by the Agency of "LIALI, Roma" With the copyright and the stamp of Agency" and the hand-note on the rear. Good con...

Vintage Photo from the Fascist period. Photo by Studio Gherlone, Torino. Two joined photos. Very good condition.

Vintage Photo from the Fascist period in Itay. Photo by Riccardo Moncalvo, Torino. Photo dimensions 18 x 24 cm. Includes passepartout 30x50 cm. Good condition.

Vintage photo from fascism period. "La fotografica" photo reportage agency. By Gherlone-Torino. Good condition.

Young Prisoners 2 2009 Signed and numbered, verso Archival pigment print (Total edition of 7 + 2 APs) This work is offered by CLAMP in New York City.

Nepal. On the way from Dakh-na Bah to Barbara Valley (Auf der reise von dakh-na bah nach Barbara-Tal) - March 18th 1893 - is an original vintage black and white photo realized during...

The Cow Edition of 25 signed and numbered by the artist A cow on the top of the hills in the Bavarian Alps. Every year the cows are taken to the pastures on the mountain pastures w...

Because I Am (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. ...

Signed limited edition photographic print of Kurt Cobain, Dave Grohl and Krist Novoselic of Nirvana by photographer Kirk Weddle from the famous 1991 sw...

Wonder Valley (Sidewinder) - 2005 20x57cm, Edition of 10, plus 2 Artist Proofs. Archival Print based on the Super-8 footage. Certificate and signature label. Artist Inventory No ...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Negative code '23T' which is now housed and retir...

Train Crosses Plain (Wastelands) - 2003 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 544. Signature labe...

Shore Line (Zuma Beach) - 1999 20x24cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 1230. Not ...

Untitled (Sandcastles Series #3) 1963 Signed, verso Vintage print 3.5 x 3.5 inches (8.9 x 8.9 cm), image $5,000 This work is offered by ClampArt in New York City.

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...

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 ...

Flying (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #7980. 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...

1954: Two young women going snorkelling. Slim Aarons Snorkelling Chromogenic Lambda print Slim Aarons Estate Edition Printed later Complimentary dealer shipping to your framer. 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Internal: Slim Aarons, Snorkelling, Vintage sport, Beach Photography, Vintage Ocean photography, Vintage snorkelling...

Leonard Dalsemer and his family at their villa in Lyford Cay, New Providence Island, April 1974. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is p...