Lillian Bassman

Black and White: Mary Jane Russell, Le Pavillion

1961

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. “In the 1950s few photographers, particularly men, chose their models from their own families. Meatyard, however, found inspiration in his three offspring. This was perhaps due to his interest in Ben Shahn’s postwar paintings of Italian children playing among the ruins of war; the dolls, puppets, and children in Rainer Maria Rilke’s poetry...

Chicago, 1963 / Printed 2009 Gelatin silver print (Edition of 100 + 5 APs) Signed and numbered by the artist 11 x 14 inches, sheet size 9 x 9 inches, image size This artwork is offered by ClampArt, located in New York City. In 1963, Danny Lyon spent time in a poor white area of Chicago called Uptown. Nicknamed ‘hillbilly heaven’, it was a very tough and deprived neighborhood. With a borrowed Rolleiflex...

Vintage gelatin silver print Signed in black ink, recto Credit stamped and numbered, verso of mount This photograph is offered by ClampArt, located in New York City. An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 6.5 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. “Madelyn Meatyard was an indulgent model. The role her husband usually chose for her was that of mother, posing with one or more of her three children. Here, he stations her before an arched window. The pious atmosphere created by this framing is contradicted by Madelyn’s everyday dress and by the dilapidated Venetian blinds behind her. Unlike a traditional religious icon, this Madonna gazes sternly into space, while her small child stands facing the maternal loins from which she sprang. Many photographers prior to Meatyard—such as Alfred Stieglitz, Edwards Weston and Harry Callahan—had produced series based on their beguiling wives.” —Judith Keller, Ralph Eugene Meatyard (London: Phaidon Press Limited, 2002), pp. 86-87 An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 6.75 x 6.75 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. “This photograph is found in the portrait section of the Time-Life publication "Photographing Children...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. “This image probably owes some of its inspiration to the abnormal characters in the stories of Flannery O’Connor’s 1955 collection, "A Good Man is Hard to Find." But Meatyard was also looking at Giorgio de Chirico and the European Surrealists and here employs their penchant for the lifeless mannequin figure. A headless dressmaker’s dummy...

Alice Cooper, Los Angeles, 1974, Printed Later Silver gelatin print 40 x 40 inches estate stamped and numbered edition of 50 with certificate of authenticity Terry O'Neill, Alice ...

Edition 4/200 Signed, dated and numbered in black ink on print margin by Harold Feinstein Harold Feinstein was born in Coney Island, New York, in 1931. He began photographing in 19...

This is a vintage black and white photograph (shot in 1961 and printed in 1975) of famed actor Gary Cooper by internationally renowned PhotographerSherman Weisburd. This Vintage photograph was developed from the original negative and is the last portrait photo taken before his death. This photo was selected as a possible cover for Good Housekeeping Magazine. It is hand signed in marker, lower right by Sherman Weisburd. Sherman Weisburd, known for his album cover photos of the 1960s and '70s and advertising work of the early '70s. Photographer for Playboy Magazine, TV Guide (Sonny & Cher), and Viva Magazine. Grammy nominated for his photo of Charles Aznavour, He shot Arlo Guthrie for the cover of Alice's Restaurant, Betty Ford for Ingenue magazine, Marilyn Monroe for Modern Screen magazine. He also shot Ashford & Simpson and was a cinematographer for Universal and Paramount pictures. Gary Cooper was an Oscar winning American actor. A major movie star from the end of the silent film era through to the end of the golden age of Classical Hollywood. Throughout his career, he sustained a screen persona that represented the ideal American hero. In the early 1930s, he expanded his heroic image to include more cautious characters in adventure films and dramas such as A Farewell to Arms (1932) and The Lives of a Bengal Lancer (1935). During the height of his career, Cooper portrayed a new type of hero—a champion of the common man—in films such as Mr. Deeds Goes to Town (1936), Meet John Doe (1941), Sergeant York (1941), The Pride of the Yankees (1942), and For Whom the Bell Tolls (1943). In the postwar years, he portrayed more mature characters at odds with the world in films such as The Fountainhead (1949) and High Noon (1952). In his final films, Cooper played non-violent characters searching for redemption in films such as Friendly Persuasion (1956) and Man of the West (1958). Cooper had a series of romantic relationships with leading actresses, beginning in 1927 with Clara Bow, who advanced his career by helping him get one of his first leading roles in Children of Divorce In 1929, while filming The Wolf Song, Cooper began an intense affair with Lupe Vélez...

Richard Lebowitz, b. 1937, American, (RISD Faculty 1964-1995, Photography; Professor Emeritus) Tom Young, b. 1951, American, (RISD MFA 1977, Photography) TIT...

Marilyn Monroe Vintage press photo. Photographer Eve Arnold for Magnum Photos. 1962 printed later. (I believe in the early 80's) Eve Arnold, OBE, Hon. FRPS 1912 – 2012 was an Ameri...

Lawrence Lipton May 17 1965 photographer Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-B...