Hendrik Kerstens

Rufuse Veil

2008

c-print 21 x 19" 2007 edition of 15 Provenance- The Nevica Project, Chicago IL BIO- Born in Switzerland, Cornelia Hediger currently lives and works in NYC. She earned both her BFA ...

6-color screen print on Coventry rag paper 15.75 x 10 inches Edition of 300 Signed, dated and numbered on recto in pencil In originally packing and never removed.

Michael and Magdalena Frimkess Jacinto Lara Plate 1993 Stoneware and Glaze 7.5" wide Signed provenance- The Nevica Project Magdalena Suarez Frimkess, born 1929 in Venezuela Michael Frimkess...

Rare and huge work by Susumu Kamijo! Untitled oil pastel and pastel pencil on paper 72 x 94” 2019 signed

William O'Brien Untitled Drawing (INV# NP4044) ink on paper 11.88 x 9" (30 x 23 cm) 2004 signed by artist provenance - The Nevica Project Chicago-based artist William J. O’Brien is ...

KOREAN WRAPPING VASES 2 (INV# NP3741) Betty Woodman paper, pencil, acrylic paint, ink approx: 21.5 x 50” 2008 signed by artist very rare.

Silver print, titled (verso) by Paul Cadmus, 11cm x 13cm, (33cm x 38cm framed). the work is framed behind museum quality non-reflective UV glass. In 1937, the painters, Paul Cadmus...

Robert Capa (born Endre Ernő Friedmann October 22, 1913 – May 25, 1954) was a Hungarian–American war photographer and photojournalist. He is considered by some to be the greatest com...

Marilyn Monroe (splash), Something's Got To Give, May 23, 1962 Edition 6 of 15

Edition 72/75 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...

This is a black and white portrait of Marilyn Monroe with sparklers photographed by Lawrence Schiller in 1962. Edition 72/75 Lawrence Schiller only remembers the 60s in this way: Fa...

A photograph by Lawrence Schiller. ""Marilyn Monroe"" is a nude, figurative vintage silver gelatin photograph in black and white by American Post-War artist Lawrence Schiller. 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...