Train Portrait Photography

Yeshiva Students, New York City, 1954 by Leonard Freed is a black-and-white photograph of three young Jewish Youth, studying at a yeshiva. This is a gelatin silver lifetime print, 16...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

Dogs, USA, Greenwich, CT is a 5" x 7" black and white photograph, stamped “vintage” by the Freed estate on verso (back) of gelatin silver press. Provenance: Freed archive. The photo...

Friends, 1989 by Roberta Fineberg is a black-and-white photograph of friends in a Parisian bar in the Marais. The silhouetted figure is contrasted against the contours pf a female fa...

Willy Nelson, 1993 by American photographer Leonard Freed is a series of (3) photographs, gelatin silver press RC prints, which are each signed verso (bac...

A black and white photograph of a woman dressed in costume - goddess of the hunt, the moon, and nature - in mythology, Diana, the huntress a maiden with blond braids and a gold tiara. The mask on the back of the goddess invites us into the spirit world ... the subject photographed at a countryside masked ball in St Martin d'Ardeche, France. Diana the Huntress, France, 1989 by Roberta Fineberg is a signed 14 x 11 gelatin silver print in an edition of 5. Provenance: RF Archive *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and the development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary photography), play, timelessness, the enduring, and the significance of matter. RF, living in New York City, began her career as an editorial photographer while studying in Paris. In France she contributed both photography and writing to publications, landing a column (photos and text) with The Saturday Review while exhibiting photographs in public spaces. Roberta Fineberg’s freelance photography appeared in Le Monde, Jeune Afrique, Paris Match, L’Officiel Femme, Ms, Weltwoche, Vanguardia, among others with images licensed through stock agencies. Photographs were selected for cover art at W.W. Norton, St. Martin’s Press, Harcourt, Bookspan, Simon & Schuster, etc. Print Regional Design Annual New York (2003) awarded her for book jacket photography for If Wishes Were Horses. In 1997 Macmillan published City Riders: A Story of Riding and Friendship her first book of black-and-white photographs and a story about three teenage girls in the 1990s who rode horses at the now-defunct Claremont Riding Academy and oldest stable in New York City. In 2023, RF created an interactive installation, works on paper on the female body, in a public space. In July 2022, Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2020, 2022), CADAF online art fair (2020), Gallery122 New York pop-up group...

Untitled (Three Cowboys on Horseback) depicts 3 cowboys riding horses out in a Western landscape. The figures are silhouetted by the harsh sunlight. One of the cowboys is swinging hi...

In the Country, 1988 is by Roberta Fineberg. A black-and-white documentary-style portrait of a French woman in the countryside - from northeast France, the Haute-Marne, the subject is photographed against a backdrop of fresh-cut hay. Far from Paris the French maintain deep connections with the land - owning often an ancestral house in the countryside, often rustic, a nation equally rooted in the agrarian. An 11" x 14" gelatin silver print (analog/film) in an edition of 5, the photograph is signed and editioned on recto (in margin) by the artist. Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and the development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary photography), play, timelessness, the enduring, and the significance of matter. RF, living in New York City, began her career as an editorial photographer while studying in Paris. In France she contributed both photography and writing to publications, landing a column (photos and text) with The Saturday Review while exhibiting photographs in public spaces. Roberta Fineberg’s freelance photography appeared in Le Monde, Jeune Afrique, Paris Match, L’Officiel Femme, Ms, Weltwoche, Vanguardia, among others with images licensed through stock agencies. Photographs were selected for cover art at W.W. Norton, St. Martin’s Press, Harcourt, Bookspan, Simon & Schuster, etc. Print Regional Design Annual New York (2003) awarded her for book jacket photography for If Wishes Were Horses. In 1997 Macmillan published City Riders: A Story of Riding and Friendship her first book of black-and-white photographs and a story about three teenage girls in the 1990s who rode horses at the now-defunct Claremont Riding Academy and oldest stable in New York City. In 2023, RF created an interactive installation, works on paper on the female body, in a public space. In July 2022, Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2020, 2022), CADAF online art fair (2020), Gallery122 New York pop-up group...

Fire Hydrant, Harlem, 1963 by Leonard Freed is a 24" x 20" gelatin silver photograph signed by the photographer on verso (back). Provenance: Freed archive. LITERATURE: W. A. Ewing, N...

Nikita Khrushchev in front of Lincoln Memorial, 1959, Washington DC by Burt Glinn is one of the photographer's historical photographs. The portrait i...

Open Edition Blind stamp on print margin. Signed by Estate, titled, dated and copyright date in pencil on artist stamp. Paper size: 20 x 16 in., Image size: 18 3/4 x 14 1/2 in. Fram...

Fashion Show, 1963, Harlem, USA by Leonard Freed, is a 11” x 14” gelatin silver print, which appears in the photographer's seminal Black in White America book (p. 104). The photograp...