Larry Fink Art

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

Policewoman Playing Tag, New York City, 1978 by Leonard Freed, is a 16” x 20” gelatin silver photograph from the photographer's Police Work series and book. The photograph from the estate is stamped verso (back of photo) and signed by Brigitte Freed (widow). This is a black and white modern photograph...

This vintage silver gelatin contact print is signed in pencil on the front of the mount, with Portfolio One stamp and numbering in red crayon on the back of the mount. This print com...

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 prod...

Artist stamp on mount verso. Vintage gelatin silver print 13 1/2 x 10 1/8 in.

Bruce Cratsley, American (1944-1998) Vintage gelatin silver print Street Art A surrealist image of a man walking over a Sandro Botticelli chalk drawing in a NYC park Hand signed, titled and dated 1989 verso image (each): 15 1/4 x 15 1/4 inches, matted to 24 X 20 inches Provenance: From the collection of AGFA Graphics Corporation David Bruce Cratsley (1944 - 1998) was an American photographer specialized in still lifes, portraits of friends, and life in New York City. He had a reputation of master of light and shadow. Bruce Cratsley attended Swarthmore College, graduating in 1966, and then, in the early 1970s, The New School for Social Research, studying under Lisette Model. Cratsley worked for many years as a gallerist at Marlborough Gallery before quitting in 1986 to become a full-time photographer. As "Bruce Cratsley", he exhibited in various New York galleries, like: Laurence Miller Gallery, Howard Greenberg Gallery and Witkin Gallery. Cratsley was represented by Yancey Richardson Gallery, a dealer of fine art photography based in SoHo. He was photographed by Elsa Dorfman...

Bruce Cratsley, American (1944-1998) Vintage gelatin silver print Lifting Hand (Scot) Chez Moi A surrealist image of a hand with a light study Hand signed, titled and dated 1986-1988 verso image (each): 15 1/4 x 15 1/4 inches, matted to 24 X 20 inches Provenance: From the collection of AGFA Graphics Corporation David Bruce Cratsley (1944 - 1998) was an American photographer specialized in still lifes, portraits of friends, and life in New York City. He had a reputation of master of light and shadow. Bruce Cratsley attended Swarthmore College, graduating in 1966, and then, in the early 1970s, The New School for Social Research, studying under Lisette Model. Cratsley worked for many years as a gallerist at Marlborough Gallery before quitting in 1986 to become a full-time photographer. As "Bruce Cratsley", he exhibited in various New York galleries, like: Laurence Miller Gallery, Howard Greenberg Gallery and Witkin Gallery. Cratsley was represented by Yancey Richardson Gallery, a dealer of fine art photography based in SoHo. He was photographed by Elsa Dorfman...

Hand-crafted by world-renowned large format film photographer Bob Kolbrener. This image is available in the following sizes: 10x20 ($2,500) - 15x30 ($3,200) - 20x40 ($6,500). Please ...

An atmospheric and magical photo by master of the lens, photographic and cinematic, that captures a tranquil corner of Hyde Park. As Suschitzky himself said ...

Bruce Cratsley, American (1944-1998) Vintage gelatin silver print (Television) TV Head A surrealist image of a window mannequin man with a TV head. Hand signed, titled and dated 1987 verso image (each): 15 1/4 x 15 1/4 inches, matted to 24 X 20 inches Provenance: From the collection of AGFA Graphics Corporation David Bruce Cratsley (1944 - 1998) was an American photographer specialized in still lifes, portraits of friends, and life in New York City. He had a reputation of master of light and shadow. Bruce Cratsley attended Swarthmore College, graduating in 1966, and then, in the early 1970s, The New School for Social Research, studying under Lisette Model. Cratsley worked for many years as a gallerist at Marlborough Gallery before quitting in 1986 to become a full-time photographer. As "Bruce Cratsley", he exhibited in various New York galleries, like: Laurence Miller Gallery, Howard Greenberg Gallery and Witkin Gallery. Cratsley was represented by Yancey Richardson Gallery, a dealer of fine art photography based in SoHo. He was photographed by Elsa Dorfman...

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 upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Feminist T. Grace Atkinson Being Arrested As She Demonstrates Against Richard Nixon's War in Vietnam October 23, 1972 Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson...