Press Agency ROL

Car Race in France, 1913 - Silver Gelatin Black and White Photography, Framed

1913

An original silver gelatin black and white photograph by Press Agency Keystone View Company. New York City skyscrapers, July 7th, 1931. Features: Original Silver Gelatin Print Photog...

This is a unique original silver gelatin black-and-white photograph with framing of New York City by night, circa 1950. Features: Original Silver Gelatin Photography framed. Press Ph...

An original silver gelatin black and white photograph shooted by photographer G. Devred for Press Agency ROL, Paris 1931. The Catherinettes March. The young ladies hold a hat box wi...

A unique original silver gelatin black and white photograph by French press Agency. View of the Rhone River in Lyon, France, March 1927. The view of the Rhone River was taken from t...

Derby Spectator A spectator looking through binoculars at the Derby horse races, Epsom, Surrey, June 1923. (Photo by Hulton / Getty Archive) Silver gelatin fibre print 10 x 12" p...

A photograph by Lawrence Schiller. “Robert Kennedy, San Diego” 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...

A photograph by Andy Warhol. “Jon Gould and Andy Warhol” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered FL06.00463 and...

A photograph by Andy Warhol. “Andy Warhol and Janice Dickenson” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered AWL254 by the Andy Warhol Founda...