Lewis Koch

Totem of Unmeasurable Memory, 1995 Assemblage of 7 silver gelatin prints

1995

A rare black and white photograph of the famous 10th street coffee house gallery in NYC which served as the center of the art, poetry and music scene during the 1960's and 70's, attracting the likes of Andy Warhol, John Chamberlin...

This is a photo of Friedl Dzubas (Abstract Expressionist) at Castelli Gallery, signed in ink and with photographer stamp verso and hand written title.. Over a 50-year span, McDarra...

Man in Wheel Chair , Titled Terminal patient, Bird Cover Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-B...

This is a vintage silver gelatin photo of either Stan Lee or John Romita (I believe it is Romita but I am not sure) overlayed with a comic strip in a surrealist style. John Romita is an American comic-book artist best known for his work on Marvel Comics' The Amazing Spider-Man and for co-creating the character The Punisher. He was inducted into the Will Eisner Comic Book Hall of Fame in 2002. He graduated from Manhattan's School of Industrial Art in 1947, having attended for three years after spending ninth grade at a Brooklyn junior high school Among his instructors were book illustrator Howard Simon and magazine illustrator Ben Clements, and his influences included comics artists Noel Sickles, Roy Crane, Milton Caniff, and later, Alex Toth and Carmine Infantino, as well as commercial illustrators Jon Whitcomb, Coby Whitmore, and Al Parker. Romita entered the comics industry in 1949 on the series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it — and rightfully so". Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when comic-book inker Lester Zakarin, a friend from high school whom he ran into on a subway train, offered him either $17 or $20 a page to pencil a 10-page story for him as uncredited ghost artist. "I thought, this is ridiculous! In two pages I can make more money than I usually make all week! So I ghosted it and then kept on ghosting for him", Romita recalled. "I think it was a 1920s mobster crime story". The work was for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee. Romita ghost-penciled for Zakarin on Trojan Comics' Crime-Smashers and other titles, eventually signing some "Zakarin and Romita". Romita went on to draw a wide variety of horror comics, war comics, romance comics and other genres for Atlas. His most prominent work for the company was the short-lived 1950s revival of Timely's hit character Captain America, in Young Men #24–28 (Dec. 1953 – July 1954) and Captain America #76–78 (May–Sept. 1954).[21] Additionally, Romita would render one of his first original characters, M-11 the Human Robot, in a five-page standalone science-fiction story in Menace #11 (May 1954). While not envisioned as an ongoing character, M-11 was resurrected decades later as a member of the super-hero team Agents of Atlas. He was the primary artist for one of the first series with a black star, "Waku, Prince of the Bantu" — created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (Sept. 1954). The ongoing short feature starred an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (Nov. 1954). In the mid-1950s, while continuing to freelance for Atlas, Romita did uncredited work for DC Comics before transitioning to work for DC exclusively in 1958. "I was following the DC [house] style", he recalled in 2002. "Frequently they had another artist do the first page of my stories. Eventually I became their romance cover...

Rare vintage signed and dated silver gelatin black & white framed photograph. This photo is signed but I cannot make out the signature. It is from the aftermath of the six day war. Leonard Freed, Micha Bar Am, Henri Cartier-Bresson, David Rubinger...

Richard Gordon was born in Chicago in 1945. He studied Political Science at the University of Chicago and did not begin photographing until he worked at a photography studio in 1965. Early in Gordon’s career, Robert Frank critiqued his work and stated that he “loved photography too much.” Gordon frequently makes photographic references in his work and pays homage to the photographers who influenced him: Eugène Atget, Walker Evans, Robert Frank and Helen Levitt. Bookmaking has been an important element of Gordon’s photography from the beginning; he created his own press, Chimaera Press, and published Meta Photographs (Chimaera Press, 1978), One More for the Road: The Autobiography of a Friendship 1966-1996 (Flâneur Bookworks, 1996), American Surveillance: Someone to Watch Over Me (Chimaera Press, 2009), and Notes from the Field (Chimaera Press, 2012), as well as handmade and limited edition books. Richard Gordon’s photographs are represented in many institutional collections including: Art Institute of Chicago; Bibliothéque National, Paris; Centre Nationale de la Photographie, Paris; Corcoran Gallery of Art; J. P. Getty Museum (Wagstaff Collection); Library of Congress; Museum Ludwig, Cologne, Germany; Museum of Fine Arts, Houston; New York Public Library; Oakland Museum of Art; San Francisco Museum of Art; Santa Barbara Museum of Art; Stanford Museum of Art; and University of Colorado, Boulder. From the David C. and Sarajean Ruttenberg Collection The Ruttenbergs are longtime art lovers who have collected abstract expressionist paintings, African art, sculpture, graphics, old watches and photographs-lots and lots of photographs. They started collecting them in the 1960s when the medium was still the stepchild of the arts. They kept collecting until they had more than 3,000 prints, 99 of which are in the Art Institute exhibit, ``The Intuitive Eye: Photographs from the Collection of David C. and Sarajean Ruttenberg.`` The show encompasses the entire history of photography with black-and-white and color prints from every genre, It includes street photography by Walker Evans and Garry Winogrand, glamour shots by Edward Steichen and Richard Avedon, nudes by Robert Mapplethorpe and Nicholas Muray...

Tacita Dean (British, born 1965) Aerial View of Teignmouth Electron, Cayman Brac 16th of September 1998, 2000 Medium: Gelatin silver print on paper Dimensions: 21 x 26 cm (8 1/4 x 10...

Gelatin silver print 9 3/4 x 7 7/8 in 24.9 x 20.1 cm Printed by Radar Publikationen and Edition K.L.A.G. credit stamps verso. Photographers credit stamp verso.

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.