Bernice Abbott Art

Black and white contemporary documentary photograph of a girl, skipping in Paris, France. Street photography, blurred figurative photograph in action. Photographed on 35mm film and ...

Office Party, New York City, 1966 by Leonard Freed is a gelatin silver later print, 16 x 20, signed verso (on back) by the photographer. Freed enjoyed sto...

The photograph captures and translates the American South of the 1960s. Southern State, 1964 by Leonard Freed, is an 11” x 14” gelatin silver photograph from the photographer's Black...

Diver, Dortmund, Germany, 1965 by Leonard Freed is a 16” x 20” gelatin silver print, signed and stamped (on back of photo) by the widow Brigitte Freed. This contemporary photograph i...



"Two Men Kissing" is a celebration of gay love. Unlike Saudek’s hallmark surreal and dreamlike photographs, for this work the artist documents shared...

Inspired by the geometric paintings by Cuban artist Carmen Herrera and minimalist photography, a rare one of a kind gelatin silver print, toned with sepia/selenium toned and printed by hand in a traditional darkroom using...

Deauville, France, 1964 by American photographer Leonard Freed is a black and white contemporary photograph that captures chic style and loving embrace of a couple at the seaside tow...

Signed on the back.

Businessmen in London, 1973 by Leonard Freed is signed verso (on back) by the photographer. This is a 20" x 24" vintage gelatin silver print, also stamped verso, focuses on British m...

American photographer Burt Glinn's Stripper, Crazy Horse Saloon, Paris, 1956, is a 16" x 20" gelatin silver print, signed and authenticated by the Glinn estate. This photo offers an ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced...

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...