Portrait Photography

Fountain Head (Stay) - 2008 featuring Ryan Gosling 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5204 Not...

11 x 14" vintage silver gelatin photograph of Broadway Star Patti LuPone's first professional headshot signed by Jack Mitchell on the verso. Comes direct...

Henry (Stay) - 2006 featuring Ryan Gosling 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5248 Not mounted...

Phone Call (The Last Picture Show) - 2000 20x20m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

Guy with Radio, East 7th Street January 01, 1977 Vintage gelatin silver print 14 x 11 inches Arlene Gottfried was a New York City street photographer celebrated for her intimate a...

8 x 10" vintage silver gelatin photograph of Obie Award-winning Broadway (and Off-Broadway) stage actress Gloria Foster, photographed in New York City, 1966. This is a print that was...

Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads 1995 Signed and numbered in black ink, verso Archival pigment pri...

New in Town (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signa...

© Michael Putland David Bowie David Bowie at his home Haddon Hall, Beckenham, Kent, UK 1972 David Bowie was a visionary British singer, songwriter, and actor known for his eclecti...

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...

Edition of 10 Portrait of the young Supermodel Christie Turlington. Fashion and fine art embrace each other in the photography of Jacques Olivar (b. 1941), where the miseen-scene o...

Fun Loving Criminals III by BATIK Archival pigment pop art print of infamous criminal arrest mugshots of Tupac, Eminem, Vanilla Ice, Michael Jackson, Justin Bieber...

The Beatles were an English rock band formed in Liverpool in 1960. With a line-up comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they are regarded as the mo...

This series of photographs were taken for a European calendar. The idea was to create postcards with several countries on different continents, in the images the artist decided to cl...

Big Boy (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2266 Not mounted. Stefanie Schneide...

Childhood Memories (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2295 Not mounted. Stefan...

Henry and Athena - Henry's Memory Sequence (Stay) - 2006 featuring Ryan Gosling and Elizabeth Reaser 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate...

The Bird Man (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

“No great artist ever sees things as they really are. If he did, he would cease to be an artist” - Oscar Wilde Men, Women, and Drag, draws inspiration from his diverse roles as a ph...

Portrait of Annie Lennox is a vintage photographic print on RC paper. Hand-written notes on the back. Excellent conditions. Dim: cm 24 x 18 In the pic...

Kneeling, Sandcastles (Bobby Kendall and Jay Garvin), early-1960s Signed, verso Vintage C-print 3.5 x 3.5 inches This work is offered by CLAMP in New York City.

This piece is an original artwork by Jason Chen titled "The Unconscious Mind III". It is made of archival pigment prints from the artist's photography that he then cuts into strips a...

Precious (Chicks and Chicks and Sometimes Cocks) - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Ar...

Limited Edition 5 More sizes on request The photographic work of the internationally well-known Austrian photographer Andreas H. Bitesnich is captivating by its beauty and aesthetic...

Memory Sequence (Stay) - 2006 with Ryan Gosling 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2003. No...

Memory Sequence Disco (Stay) - 2006 with Ryan Gosling 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2006...

What I leave behind - 2021 - 20x24cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-102...

Audrey Gets Her Hair Done (1952) Silver Gelatin Fibre Print - Oversized (Photo Phillip Harrington / Alamy Archives) Actress and fashion model Audrey Hepburn preparing for a scene ...

At the petrol station is an original vintage silver salts photograph, made by the great Russian Constructivist artist Aleksandr Michajlovic Rodčenko (Saint Petersburg, 1891 - Moscow, 1956) in 1935 ca. Printed later, presumably between the 1940s and the 1950s. In very good conditions, it is rare and precious. A scene of ordinary life is portrayed in an unusual point of view. The oblique cuts, the use of diagonal as the dynamics of this image, the close position of the machine are constants of Rodčenko'style and something of absolutely revolutionary and innovative at that time in the field of photography! Provenance: Museum of Modern Art, Oxford, Great Britain; Forum Auction, London; Private Collection. Bibliography: Alexander Rodchenko. Catalog of the retrospective exhibition published from the Museum of Modern Art, Oxford, 1979. Aleksandr Michajlovič Rodčenko (St. Petersburg, 1891 - Moscow, 1956) Aleksandr Michajlovič Rodčenko was a Russian painter, photographer and graphic designer, a leading figure of the Russian avant-gardes who collaborated in the establishment of the Constructivist movement. In 1924 Rodcenko definitively abandoned painting as the main artistic medium to embrace photography...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

Relaxing at La Coquille Palm Beach Florida Mrs Guinness of Palm Beach 1954 by Toni Frissell- 20 x 16" inches / 51 x 41 cm paper size Archival pigment print unframed (framing av...

16 x 20" vintage silver gelatin photograph of professional bodybuilder Arnold Schwarzenegger (and future film star and Governor of California) posing at the top of his form in Octobe...

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...

11 x 14" vintage silver gelatin photograph of John Lennon and Yoko Ono photographed November 2, 1980, the last comprehensive photo session of Lennon's life. Signed by Jack Mitchell o...

Historical Photo  -Mohammad Khider is a black and white vintage photo, realized in the 1960s. Good conditions and aged. It belongs to a historical album including historical moment...

Troubled Henry (Stay) with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5091. Not...

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

Without You (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 934. 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...

Leonard Cohen is a black and white vintage photo, realized in Mid 20th Century . The photo depicts the Canadian poet and songwriter. Hand signed. Good condition and aged. It belon...

Fire Hydrant, Harlem, 1963 by Leonard Freed is a 19" x 13" limited edition photograph. The portrait is signed verso (back of photo) by the estate and Brig...

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...

Brilliant Shadow (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 22720. Signature labe...

Norma Jeane Mortenson or better known as Marilyn Monroe – iconic, beautiful and maybe the most known Hollywood Stars of the 20th century. Born and raised in Los Angeles, USA, she spe...

Portrait of Smiling Elvis Presley is a vintage photographic print on single-coated paper. Photograph is a portrait certainly from official distribution. On the back a ink stamp of ...

The bearded one… in Old Havana. The Spirit of the Revolution series documents the generation of Cubans that saw the dramatic changes of 1959 as young adults. They have a strength of...

Diana H. Bloomfield "Figurative" Statement I began this ongoing series of my daughter over eighteen years ago. These particular images work as narratives. Alone, or in combination, ...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 10, 20x30cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artis...

The Getaway (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 23256. Signature label and...

Joan Crawford (1933) Silver Gelatin Fibre Print - Oversized (Photo by Pictorial Press / Alamy Archives) 1933 Joan Crawford (1905-1977) US film actress. Additional Information: U...

Fan Mail 1952 by Slim Aarons printed 2023 Slim Aarons Limited Estate Edition Marilyn Monroe (1926 – 1962), wearing a red negligee trimmed with black lace, sorts out her fan mail s...

Drawn to street photography, Roberta Fineberg visited Moscow for extended periods in 1989-1990, witnessing Russian President Mikhail Gorbachev's politics of "Glasnost/Perestroika" ("Openness"). The celebrated Soviet dancer and choreographer Maya Plisetskaya...

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...

Silver Gelatine Print by Erich Andres, 1941. This photograph, taken in 1938 on Amrum, shows a lighthouse keeper standing on the observation deck of the lighthouse. He is wearing a u...

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...

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...

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...

Boudoir III, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing p...

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...

Yeshiva Students, New York City, 1954 by Leonard Freed is a black-and-white photograph of three young Jewish Youth, studying at a yeshiva. This is a gelatin silver lifetime print, 16...