Post-War Photography

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...

BRUCE OF LOS ANGELES - Classic mid 1950s gelatin silver photograph of popular physique model BOB FORBES by celebrated 20th Century photographer BRUCE BELLAS also known as Bruce of Lo...

William Eggleston (American, b. 1939), Okra Scale, Dye Transfer Print, circa 1980, signed, dated, and numbered edition "1 of 3" to verso, white wood frame. Image: 17.5" H x 11.75" W....

George Platt Lynes Photograph #8 of dancer Francisco Moncion 1949. George Platt Lynes rare original vintage 1949 gelatin silver photograph of dancer Francisco Moncion. Stamped on verso - GEORGE PLATT LYNES. Photo is 7 3/4 x 9 1/2 inches, glossy finish in excellent condition. This photograph is #8 from a collection of 12 different poses in this series taken in Platt Lynes's NYC studio in 1949 (as per the NY Public Library archives). The cloud backdrop is recognizable in other Platt Lynes photographs. Moncion was a personal friend of Platt Lynes and this photograph is from Moncion's personal photographic collection. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950s. From age eighteen, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. He began photographing authors like Stein, Jean Cocteau, André Gide, and Colette and soon established himself as one of the premier fashion photographers in the Condé Nast stable, documenting the ballet companies of George Balanchine/Lincoln Kirstein, and pursuing a private obsession with seductive images of young male nudes rarely published in his lifetime. Platt Lynes photographs are in the collections of every major art museum and university archive including the Metropolitan Museum of Art, Museum of Modern Art, Yale Art Museum, and the Smithsonian. Francisco Moncion (July 6, 1918 – April 1, 1995) was a charter member of the New York City Ballet. Over the course of his forty year career, choreographers George Balanchine, and Jerome Robbins in the New York City Ballet created 22 major roles for Moncion including the Dark Angel in Orpheus, Death in La Valse, Prince Ivan in Firebird, and the Boy in Afternoon of a Faun. He was also a choreographer and a talented painter who exhibited alongside Miro, Picasso and Carrado Cagli. Moncion was a popular model for many famed mid-century (late 1930s, 1940s - 1950s) figure photographers including Platt Lynes, Carl van Vechten, Maurice Seymour...

A photograph by Lawrence Schiller. “Paul Newman and Robert Redford, Butch Cassidy and the Sundance Kid” is a vintage silver gelatin photograph in black and white by American artist L...

Bandstand II, captured on a visit to his grandparents in Eastbourne in 1985, this black and white photograph collection by Samuel Field is a beautiful reminder the British seaside of...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

A silver gelatin print by Post War artist Lawrence Schiller. "End of the Day, Marilyn Monroe, "Something's Got to Give"" is a black and white...

A photograph by Lawrence Schiller. “Marilyn 12, No. 29” is a chromogenic print in color by American artist Lawrence Schiller. The artwork is unsigned and editioned 72/75. Lawrence Sc...

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...

'Bandstand', set of three framed artworks, captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of da...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Captured on a visit to Samuel Field's grandparents in Eastbourne, this collection is a beautiful reminder of days gone by. This artwork is a limited edition of 25, gloss photographi...

Captured on a visit to Samuel Field's grandparents in Eastbourne, this collection is a beautiful reminder of days gone by. This artwork is a limited edition of 25, gloss photographi...

George Platt Lynes 1948 Photograph #14 of George Balanchine’s Ballet ‘Orpheus’. George Platt Lynes rare original vintage 1948 gelatin silver photograph (dated by the NY City Public Library) of nude dancers Francisco Moncion and Nicholas Magallanes in George Balanchine's iconic mid-20th Century ballet 'Orpheus'. Stamped on verso in dark blue ink at upper center, "GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK”. Photo shoot took place in NYC. Costumes and Set by ISAMU NAGUCHI. Photo is 7 5/8 x 9 1/4 inches, soft satin finish in excellent condition. This photograph is from Francisco Moncion's original collection given to him by George Platt Lyons. It is one of 14 different poses in the 'Orpheus' series. 8 different photographs are remaining for sale and are available on request. All are original Platt Lyons gelatin silver prints original to Moncion's collection and are stamped by the photographer. Photographs from this celebrated series are in the permanent collections of the Metropolitan Museum of Art (NYC), Museum of Modern Art (MOMA, NYC), the NYC Public Library, and many university art archives. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950...

A photograph by Lawrence Schiller. “Elliott Gould, Donald Sutherland, Jo Anne Pflug” is a vintage silver gelatin photograph in black and white by Ame...

hand colored photograph of green apples. Still-Life. framed in wood with gold leaf corners.

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...

Fred Herzog BC Electric/Sherwood 1962 Archival pigment print Edition: 6/20 Framed with Tru Vu AR Glass: 30 x 48 in This is the largest format the picture is available in. Fre...

René GROEBLI (*1927, Switzerland) 1246, 1956 Vintage silver gelatin print on Baryta paper Sheet 23 x 19.5 cm (9 x 7 5/8 in.) Unique Framed Signed and date...

Fred Herzog Elysium Cleaners 1958 Archival pigment print Framed with Tru Vu AR Glass: 30 x 48 in Edition: 12/20 This is the largest format the picture is available in. Fred...

A photograph by Lawrence Schiller. “Paul Newman in the motion picture "Cool Hand Luke” is a figurative, silver gelatin photograph in black and white by ...

René GROEBLI (*1927, Switzerland) 531, 1952 Vintage silver gelatin print on Baryta paper Sheet 19.5 x 28.2 cm (7 5/8 x 11 1/8 in.) Unique Framed Signed an...

René GROEBLI (*1927, Switzerland) 521, 1952 Vintage silver gelatin print on Baryta paper Image 27.6 x 19 cm (10 7/8 x 7 1/2 in.) Sheet 34 x 23 cm (13 3/8 x 9 in.) Unique Framed Signed and dated on verso This photograph is part of the MoMA permanent collection. René Groebli (born in Zurich, Switzerland in 1927) secured his place among the elite of Swiss post-war photographers with his 1949 portfolio MAGIE DER SCHIENE (RAIL MAGIC). In the early fifties Groebli worked as reporter for Life, Picture Post and other international magazines. During the following years he owned a studio for industrial and advertising photography. In 1957 the American Color Annual named him MASTER OF COLOR. In the early 80s Groebli stopped working for advertising and rediscovered for himself the possibilities of expression that black & white photography offers. In 1999 the Zurich Kunsthaus (Art Museum) showed a representative selection of his photographs from the years 1946 to 1996. With NUDES René Groebli gives us a work for sensuous pleasure that had grown over half a century. In the long history of sensual art photography one is hard pressed to find anyone comparable to the Swiss photo...

A photograph by Lawrence Schiller. “Barbra Streisand (fur hat)” 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...

René GROEBLI (*1927, Switzerland) 307, 1946 / 1952 Vintage silver gelatin print on Baryta paper Sheet 21.5 x 17 cm (8 1/2 x 6 3/4 in.) Unique Print only S...

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

René GROEBLI (*1927, Switzerland) 1248, 1956 Vintage silver gelatin print on Baryta paper Image 17 x 20.2 cm (6 3/4 x 8 in.) Unique Framed Signed and date...

René GROEBLI (*1927, Switzerland) 1247, 1956 Vintage silver gelatin print on Baryta paper Sheet 19.7 x 21.2 cm (7 3/4 x 8 3/8 in.) Unique Framed Signed an...

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. “Barbra Streisand (photo session)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Sch...

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...

A photograph by Lawrence Schiller. “Barbra Streisand (in her hotel room)” 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...

This black and white portrait of actor Paul Newman was taken by Lawrence Schiller in 1967 on the set of the movie "Cool Hand Luke". A silver gelatin photograph by Post War artist Larry Schiller. This celebrity photograph...

A silver gelatin print by Post War artist Lawrence Schiller. ""Let's Make Love", Marilyn Monroe" is a black and white photograph of Marilyn Monroe...

Street Photographer Mitchell Funk breaks with tradition and shoots street photography in color. Today in 2022, this does not seem like a big deal. But 50 years ago, in 1972, it was q...