Willy Ronis Art

Policewoman Playing Tag, New York City, 1978 by Leonard Freed, is a 16” x 20” gelatin silver photograph from the photographer's Police Work series and book. The photograph from the estate is stamped verso (back of photo) and signed by Brigitte Freed (widow). This is a black and white modern photograph...

Chris Smith (b.1937) Sparring silver gelatin fibre based print 20 x 30 in. / 34.5 x 48 in. / 46 x 66 in. signed and numbered printed later This work is available in the following si...

The subject, a nude, is shot from the female gaze. As a woman artist Roberta Fineberg enjoys working with life models for both her art and photography. The title of the photograph references both the cable release used to make the image and the volatility of human moods and emotions. Triggered, 1994 by Roberta Fineberg is 14" x 11" a gelatin silver print in an edition of 5 with 2 artist's proofs. Signed, dated, titled by the artist. Available: 3/5 Provenance: RF Archive *** Artist's Bio: As a photographer and visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and subjects such as the ephemeral (butterfly series), stolen moments (documentary work), play, timelessness, the enduring, and significance of matter. In July 2022, Roberta Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include: Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2022; 2020), CADAF online art fair (2020), Gallery122 New York pop-up group...

A 14" x 11" black-and-white (gelatin silver) contemporary portrait photograph of a female nude with classic symmetrical proportions that suggests Greek sculpture. A feminine and stat...

Edition 1/10 - Young Girl Running, Paris, France, Silver Gelatin Photograph Edition of 10 + 5 APs. Front: Signature and edition number with artists blind stamp. 
 Back: Ink stamp an...

George Platt Lynes 1950 Photograph #1 of Balanchine Ballet ‘Orpheus’. George Platt Lynes rare original vintage 1950 silver gelatin photograph of nude dancers Francisco Moncion and Nicholas Magallanes in George Balanchine's iconic mid-20th Century ballet Orpheus. Stamped on verso in dark blue ink at upper center, "GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK”. Photo shoot took place in NYC on March 21, 1950. Costumes and Set by ISAMU NAGUCHI. Photo is 7 5/8 x 9 1/4 inches, soft satin finish in excellent condition. This photograph is one from a collection of 14 different poses in this series of nude photographs of Moncion and Magallanes in Orpheus by Platt Lynes. Complete collection is available on request. Photographs from this celebrated series are in the 20th Century collections of the Metropolitan Museum of Art (NYC), Museum of Modern Art (MOMA, NYC), and the Columbus Museum. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950s. From age eighteen, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. He began photographing authors like Stein, Jean Cocteau, André Gide, and Colette and soon established himself as one of the premier fashion photographers in the Condé Nast stable, documenting the ballet companies of George Balanchine/Lincoln Kirstein, and pursuing a private obsession with seductive images of young male nudes rarely published in his lifetime. Orpheus represents a major 20th Century artistic collaboration between composer Igor Stravinsky, choreographer George Ballanchine, and artist/designer Isamu Naguchi. Orpheus is a thirty-minute neoclassical ballet composed by Igor Stravinsky in collaboration with choreographer George Balanchine in Hollywood, California in 1947. The work was commissioned by Ballet Society, later renamed New York City Ballet, which Balanchine founded with Lincoln Kirstein. Sets and costumes were created by Isamu Noguchi. Noguchi’s lyre harp from the production became the symbol of the New York City Ballet. Francisco Moncion (July 6, 1918 – April 1, 1995) was a charter member of the New York City Ballet. Over the course of his forty year career, choreographers George Balanchine, and Jerome Robbins in the New York City Ballet created 22 major roles for Moncion including the Dark Angel...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

Hand printed photograph by artist. Dry mounted on acid free board. Taken in Carmel California. Edition Print

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

Unique Silver Gelatin print from circa 1977 by Andy Warhol. Andy Warhol carried a camera with him obsessively. Similarly to his tape recorder, he used this technology not only as an...

January 11, 1967: Top British pop group the Rolling Stones taking a stroll through London's Green Park, from left to right, Mick Jagger, Bill Wyman, Charlie Watts, Brian Jones (1942 ...

Printed by Cole Weston from the original negative now housed at the Center for Creative Photography in Tuscon, Arizona, retired. The Weston Gallery is owned by Matthew (grandson of Edward Weston) and his wife Davi Weston and we've been dealing in fine art photography since 1975! Edward Weston (1886 – 1958) was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...