Figurative Photography

Three Figures in Black - Morocco by Paul Greenberg depicts four people walking on a sidewalk. A small child walks with two figures cloaked in black, and carries a white toy attached ...

A flamenco dancer raises his hat in front of a poster advertising the virtuoso dancer Antonio (Antonio Ruiz Soler) in the national premiere of 'Ballet ...

'Party on the Steps' 1970 Slim Aarons Limited Estate Edition Print Guests by the pool at Nelda Linsk's desert house in Palm Springs, California, January 1970. The house was designed...

Edition of 25 signed and numbered by the artist An employee of a transportation company is unloading mannequins and grabs a mannequin's crotch. JJK is a pseudonym for one of the wo...

Edition of 25 signed and numbered by the artist An employee of a transportation company is unloading mannequins and grabs a mannequin's crotch. JJK is a pseudonym for one of the wo...

A flamenco dancer raises his hat in front of a poster advertising the virtuoso dancer Antonio (Antonio Ruiz Soler) in the national premiere of 'Ballet ...

A flamenco dancer raises his hat in front of a poster advertising the virtuoso dancer Antonio (Antonio Ruiz Soler) in the national premiere of 'Ballet ...

“Cream” Photography 36" x 28" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancholy series, we ...

Dukes of Windsor is a black and white vintage photo, realized in the early 1970s. It belongs to historical album including photo reportages of historical moment and political events,...

"Untitled 3" (En Rouge) Photography Edition 2/7 32" x 24" in by Larsen Sotelo Not framed. Ships in a tube. Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fi...

'Harbour Island' 1970 Slim Aarons Limited Estate Edition Print Harbour Island in the Bahamas, 1970. Paper size 40 x 60 inches / 101 x 152 cm Printed in 2024 - produced from the or...

Stefanie Schneider's Minis 'Untitled #2' (Beachshoot) featuring Radha Mitchell, 2005 signed and signature brand on verso Lambda digital Color Photographs based on the Polaroid Polar...

Slim Aarons 'New England Skiing' Two women recline on improvised sunbeds in Cranmore Mountain, New Hampshire, circa 1955 (Photo by Slim Aarons, printed later) This photograph epitom...

edition 1/7 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

'Palm Springs Life' 1970 Slim Aarons Limited Estate Edition Print Nelda Linsk (left, in yellow), wife of art dealer Joseph Linsk with guests by the pool at the Linsk's desert house ...

'Lake Tahoe Canoes' by Slim Aarons Young women canoeing on the Nevada side of Lake Tahoe, 1959. Three young women are pictured in their red, turquoise, and white coloured canoes on ...

'Poolside Promenade' 1961 Slim Aarons Limited Estate Edition Print A fashion show at the Colony Hotel in Palm Beach, Florida, 1961. Paper Size 40 ...

17 Rue des Rosiers Paris, France. A small Shul in the old Jewish quarter of Paris (the Pletzel), known as the ‘Zibetzin’, located at 17 Rue De Rosiers, The Lubavitcher Rebbe was kno...

'Penthouse Pool' 1961 Slim Aarons Limited Estate Edition Young women by the Canellopoulos penthouse pool, Athens, July 1961. Slim Aarons Chromogenic C print Printed Later Slim Aa...

Stefanie Schneider Minis - The Girl (The Girl behind the White Fence) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on the Polaroid Polaroid siz...

Meeting is a vintage photo, realized in the early-20th Century  Good conditions. It belongs to a historical and Nostalgic album including historical moments, places, families, artw...

Ahmadi Oil Fields by Steve McCurry depicts two figures standing in a fiery landscape. They are both dressed in white hazmat suits with gas masks. Both figures are fixated by the fire...

Artist: Josephine Cardin Medium: Photography Limited edition of 30 "Another conversation with no destination, another battle never won. Each side is a loser, so who cares who fired...

Punto Arenas - Vintage Photograph is a Silver salt print realized in the late 19th Century. Five photographs, applied on a Passepartout: Good condition and aged margins.

Artist: Josephine Cardin Medium: Photography Limited edition of 30 "Another conversation with no destination, another battle never won. Each side is a loser, so who cares who fired...

Brunch At Brennans Sunday brunch at Brennan’s restaurant, New Orleans. A Wonderful Time – Slim Aarons Slim Aarons Chromogenic C print Printed 2024 Slim Aarons Estate Edition Pr...

'Keep Your Cool' 1978 Slim Aarons Limited Estate Edition Carmen Alvarez enjoying a game of backgammon with Frank ‘Brandy’ Brandstetter in a swimming pool at Acapulco. Slim Aarons ...

'Catherine Wilke' by Slim Aarons Catherine Wilke joins the topless sunbathers on the island of Capri, 1980. A typical 'Slim' photograph chronicling the young and glamorous relaxing...

This picture comes from "MAPA FERROVIARIO" a movie about change and staying the same, how we get around, and making money from tourism. It's all about Yucatán, Mexico and places that...

This picture comes from "MAPA FERROVIARIO" a movie about change and staying the same, how we get around, and making money from tourism. It's all about Yucatán, Mexico and places that...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own." Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...

Stefanie Schneider's Minis 'Max by the Pool' (29 Palms, CA), 1999 signed and signature brand on verso Lambda Color Photographs based on the original Polaroid. Polaroid sized open ...

Candida Höfer (German, b. 1944) Teatro Degollado Guadalajara III, 2015 Medium: C-Print Dimensions: 30 × 39.2 cm (38 x 47 cm) Edition of 100: Hand signed on label, verso Condition: Ex...

Stefanie Schneider's Minis 'Memories of Love' (The Girl behind the White Picket Fence) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid...

Jeanne Moreau on the set of Mata Hari,

Fly (Bombay Beach) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signed on the back and with certificate. Artist invent...

#1 of 8, signed, numbered, dated Howard Schatz gave up a career as a retinal surgeon and a clinical professor to follow his passion for photography. Schatz first established a follo...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Sandrine ‘ who was captured on film in...

Man On the Horse is a black and white photograph of a painting realized by G.V Loune in the 1930s. Good conditions with slight foxing. Included a Passepartout:35 x 46 cm

American astronauts in Paris

'Lounging In Verbier' by Slim Aarons Holidaymakers in sun loungers on the slopes at Verbier, Switzerland, February 1964. This photograph epitomises the Travel, Lifestyle and Glamou...

Fashion model Liz Pringle drinking from a coconut at the Round Hill resort, Montego Bay, Jamaica, 1953. photo by Slim Aarons Slim Aarons silver gelatine fibre based print Printed...

The Fréjus dam disaster

'Conca dei Marini' 1984 Slim Aarons Limited Estate Edition Print A bay in Conca dei Marini, on the Amalfi coast in Italy, August 1984. Paper size 40 x 30 inches / 101 x 76 cm Pri...

Historical Photo-BenKhedda is a black and white vintage photo, realized in the mid-20th century. Good conditions and aged. It belongs to a historical album including historical mom...

'Swimmer And Sunbather' 1959 Slim Aarons Limited Estate Edition Print An underwater swimmer and a sunbather at the Cal Neva Lodge on the shore of Lake Tahoe, 1959. The Cal Neva reso...

'Keep Your Cool' 1978 Slim Aarons Limited Estate Edition Carmen Alvarez enjoying a game of backgammon with Frank ‘Brandy’ Brandstetter in a swimming pool at Acapulco. Slim Aarons ...

New England Skiing Two women recline on improvised sunbeds in Cranmore Mountain, New Hampshire, circa 1955. Photo by Slim Aarons Slim Aarons C Type photograph Paper size 40 x 4...

Holidaymakers on the pier at the Lido in Venice, 1957. (Photo by Slim Aarons/Getty Images) Slim Aarons Venice Vacation Chromogenic Lambda print 1957, 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. This artwork DOES include a certificate of authenticity from the authenticating body, the estate Collector will get the next number in the edition 40 x 40 inches $3950 30 x 30 inches $3350 24 x 24 inches $3000 12 x 12 inches $1800 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 Modern estate edition with estate blindstamp signature and hand number in lower margin 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 Venice...

Keith Haring Subway Drawings Photograph: This photograph captures Keith Haring's epic conquest, producing public art across the New York City subw...

Mother and Child is a black and white photograph of a painting realized by A. Von Mayden in the 1930s. Good conditions with slight foxing. Included a Passepartout:46 x 35 cm

Mother and daughter on their balcony in Beruit by Steve McCurry depicts a woman and child sitting outside. The woman looks down, concentrating on peeling her potatoes, while the girl...

Sunbathing in Venice A woman sunbathes wearing a novelty straw sun hat with built-in sunglasses, Venice, 1954. In this delightfully whimsical photograph by Slim Aarons, taken in 1...

A bold Black Liberation Army banner is featured among drummers and hippies in a 1971 Central Park protest. We see a rudimentary Super 8 video camera recording it all in the lower le...

"Emulsion 8" Photography 40'x40' inch Edition of 10 by Giuliano Bekor Printed on fujiflex mounted on aluminum laminated and framed with a costume floater frame. EMULSION series O...

"Michelle" Photography 28" x 20" inch Edition 1/20 by Lika Brutyan Archival pigment print on Hahnemühle Photo Rag Baryta. Not Framed. Ships in a tube. Lika Brutyan is American phot...

Jeffrey Tamblyn Dog Park Beach Medium: Digital Photography Year: 2020 Size: 16x20 in Edition: 25 Signed, dated and numbered by hand on label COA provided R...

Pikantwurst - 21st Century Still Life Color Figurative Food Photography Edition 3/5+2 AP Print is unframed and comes with a sticker signed by the artist Anja Hitzenberger photo se...