Henry Horenstein Portrait Photography

An artist who puts his life on the line for his art. Chris Burden was at the forefront of the conceptual art movement in the early 1970s. Prelude to 220, or 110 is one of his most ...

16x20” Limited Edition Next available edition printed upon purchase. Other sizes available. Please allow 4 weeks for production.

Contemporary sepia toned photograph, portrait of a young man Sepia toned silver gelatin print, edition of 25 16 x 16 inches in wood frame with wire backing This contemporary portr...

Attr. Chauncey Hare (1934-2019) "Sacramento Valley, California" 1969 Gelatin silver print 19.75"x16" unframed Unsigned "These photographs were (or 'this...

Street Photography /2001. Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print. Signed, titled, negative date & print date on verso. Ana Maria is visual a...

Attr. Chauncey Hare (1934-2019) "Cincinnati, Ohio" 1971 Gelatin silver print 19.75"x16" unframed Unsigned "These photographs were (or 'this photograph w...

New York City based wildlife and street photographer Viet Chu, captured this breathtaking monochrome shot of a profile of a Zebra on a Black background. This image was taken in 2016,...

A photograph by Lawrence Schiller. “Paul Newman in the motion picture "Cool Hand Luke” is a figurative, silver gelatin photograph in black and white by ...

A photograph by Lawrence Schiller. “Barbra Streisand (fur hat)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Street Photography /2000. Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print, Signed, titled, negative date & print date on verso. Ana Maria is visual ...

THE STRAWBERRY BLONDE, James Cagney, having black eye applied by makeup artist Perc Westmore, on-set, 1941/ Everett Collection. 20x16 " inches paper siz...

16x20” Premiere Archival Print Limited Edition Next available edition printed upon purchase. Please allow 4 weeks for production.