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Vintage Contact Sheet Jaffa, Tel Aviv circa 1940s

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

Rare German Judaica. Arno Katz Foto for Atelier Bermann, Frankfurt, Germany. bears original stamp verso The Weimar Republic (German: Weimarer Republik [...

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...

People walking alongside puddle at Woodstock in Bethel NY 1969 Photographer is Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland...

Saul Leiter 3 Carolyn Brown and Remy Charlip Photography 14 x 11 inches Provenance Estate of Carolyn Brown, New York 2025. Saul Leiter (1923-2013) was born in Pittsburgh to a father who was a well-respected Talmudic scholar. His passion for the arts ignited during his late teenage years, and despite being urged to follow in his father's footsteps to become a Rabbi, he chose to forgo theological studies, moving to New York at the age of 23 to delve into painting. In the city, he formed a friendship with Abstract Expressionist painter Richard Pousette-Dart, who was exploring photography. This connection, along with a subsequent friendship with W. Eugene Smith, deepened his fascination with photography. Leiter's initial black and white images reveal a remarkable talent for the art form. By the 1950s, he also began to explore color, producing a substantial and noteworthy collection during the early stages of this medium. His uniquely muted color palette often imparts a painterly essence that distinguishes his work from that of others in his era. Leiter's inaugural showcase of color photography took place in the 1950s at the Artist's Club, a gathering spot for many Abstract Expressionists of that period. Edward Steichen included twenty-three of his black and white works in the influential 1953 exhibition "Always the Young Stranger" at the Museum of Modern Art and also showcased twenty of Leiter's color photographs during the 1957 MoMA event "Experimental Photography in Color. " In the late 1950s, art director Henry Wolf featured Leiter's color fashion photography...

Man Walking Past Parking Lot is a Black and White Photographic Print on Hahnemuhle Paper in an Edition of 10 in this size of 24" x 34". States of America is the photographic legacy of one of the UK’s leading photographic talents whose untimely death in 1991 ended prematurely the highly promising career of a distinctive and powerful photographic voice. Michael Ormerod was born in Cheshire in 1947. He lived in Newcastle, but spent many years travelling America. Fascinated by the American image, and following in the footsteps of Robert Frank, Ormerod took to the American West to find a washed out dream of capitalism. His images capture a strange juxtaposition of an American beauty tainted by a hidden sense of menace and corruption. The photographs are understated, but show an unseen America, where the industrial heartland is decaying, highways stand empty and towns are deserted. The subjects of Ormerod’s work are the disenfranchised. A teenager cycles through her neighbourhood wearing a Halloween-style hockey mask, a Native American man stands in a graveyard, their expressions are unreadable. The work subverts traditional American icons. A white picket fence is staved in, a huge billboard for Miss Teen Dakota USA stands next to an empty highway. Inverting the famous Hollywood sign, Ormerod photographs a Texaco sign...

A gorgeous black and white fibre print. Please contact the gallery for more information. Taken from the world’s largest photographic archive, (Hulton Archive and Getty Images), the ...

Queen Elizabeth with Princess Anne and Prince Charles- Press Photograph is an artwork realized by Associated Press photo. With the stamp of "copyright" on the rear. Fair conditions...