Lawrence Schiller

Marilyn Monroe in Something's Got to Give - 5

1962

Artist: Lawrence Schiller, American (1936 - ) Title:Marilyn Monroe in Something's Got to Give - 7 Year: 1962 (printed 2007) Medium: Gelatin Silver Print, Signed in ink Edition: AP 3/...

Artist: Leo Matiz, Colombian (1917 - 1998) Title: Palm Hats Year: circa 1945 (printed 1991) Medium: Gelatin Silver Print, Signed in Pencil, verso Paper Size: 16 in. x 12 in. (40.64 c...

Artist: Lucien Clergue, French (1934 - 2014) Title: Trio de Saltimbanques, Arles Year: 1955 (printed 1992) Medium: Gelatin Silver Print, Signed in ink Edition: I/V Image Size: 20.5 x...

Artist: Maurizio Cattelan Title: Picasso Year: 1999 Medium: Photograph [Stamped and Numbered in Ink, verso] Edition: 39/1000 Size: 16 x 12 in. (40.64 x 30.48 cm)

Artist: Paul Vinet Title: Procession #3 Date: 2008 Medium: Gold Leaf on C-Print mounted on Dibond, signed, dated, and numbered verso Edition 2/3 Dimensions: 30 x 32 inches

Artist: Willie Miller, American (1940 - ) Title: South Beach Year: 1998 Medium: Color Photograph Size: 12 in. x 18 in. (30.48 cm x 45.72 cm) Frame Size: 17.5 x 23.5 inches

Rare one of a kind silver gelatin lith print on foma paper of a Cuban man grinding coffee in a tree stump. Contemporary documentary photograph, taken in Santiago De Cuba. Shot on medium format film and printed by hand in a traditional photo darkroom. Cuban coffee...

This is a UNIQUE print in large scale silver gelatin print photography, mounted on disband and framed in a black frame same as in the image featured here. The image showing the showroom is to show the scale of the work "In Situ". The image on the showroom image is of another work no longer available. TITLE: On Top of The World - Villa Prince Rainier, Eze-sur-Mer, France (THE MONTE CARLO SERIES). 1980-2011 Image size: 30 x 45 1/4 in. Framed size: 43 5/8 x 57 7/8 x 2 1/4 inches Unique Print in silver gelatin print mounted on disband and framed THE MONTE-CARLO SERIES (1980), Early works from 1980, Executed in 2011. Shot in abandoned 19th century villas in and around Monaco and Monte-Carlo between 1980 and 1982, the photographs feature young women in the artist's intimate circle of friends playfully posing in eccentric vintage attire...

UNIQUE PRINT SILVER GELATIN - silver gelatin print mounted on diebond and framed in black frame. THE MONTE-CARLO SERIES (1980), Early works from 1980, Executed in 2011. Shot in abandoned 19th century villas in and around Monaco and Monte-Carlo between 1980 and 1982, the photographs feature young women in the artist's intimate circle of friends playfully posing in eccentric vintage attire...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...

"Abramson comes much closer to recording the sound of these clubs than we would have any right to expect from a photographer." - Nick Hornby (London, 2009), Light On the South Side, ...

"A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his...