Heather James Fine Art Figurative Photography

"After Hours" is a photograph by Marilyn Minter and is a chromogenic print. The framed photograph measures 87 1/2 x 57 3/4 x 2 in. The piece is edition 1 of 3. The work is part of her "Dirty" series. Marilyn Minter was born in Shreveport, Louisiana in 1948 and raised in Florida. As a student at the University of Florida...

"Satiric Dancer" is a photograph by Andre Kertesz. The photograph is signed verso, "Paris 1926, A. Kertesz". The framed piece measures 18 1/4 x 15 1/4 x 3/4 in. Kertész's work was i...

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

A photograph by Andy Warhol. “Mother Goose” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA09.00613, FA09.00581, a...

A photograph by Andy Warhol. “Bob Colacello” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA05.03274, FA05.03296,...

A set of two photographs by Andy Warhol. “Farrah Fawcett Photo Shoot” is a set of two silver gelatin prints by American Pop Artist Andy Warhol. The artw...

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...

A photograph by Andy Warhol. “Andy Warhol and Janice Dickenson” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered AWL254 by the Andy Warhol Founda...

A photograph by Andy Warhol. “Jon Gould and Andy Warhol” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered FL06.00463 and...

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

A photograph by Andy Warhol. “OJ Simpson” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA05.02742; and AWL035 by the...

A photograph by Andy Warhol. “George” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA05.08290 and AWL215by the Andy Warhol Foundation. The art...

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...

A photograph by Andy Warhol. “Absolute Vodka” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA09.01832, FA09.01831, and AWL045 by the Andy Warh...

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...

A set of four (4) photographs by Andy Warhol. “Donald Baechler” is a set of four Polaroids, Polacolors by American Pop Artist Andy Warhol. The artwork is numbered FA05.00957, FA05.00...

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...

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...

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

A polaroid by Andy Warhol. ""Andy Painting"" is a Post-War Polaroid in a bold palette of blacks and reds by American Pop Artist Andy Warhol. The work has been given the Warhol Founda...

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 set of four photographs by Andy Warhol. “Sao Schlumberger” is a set of four Polaroids, Polacolors by American Pop Artist Andy Warhol. The artworks a...

A photograph by Andy Warhol. "Grace Jones and Steve Rubell" is a Post-War silver gelatin print by American Pop Artist Andy Warhol. The artwork is unsigne...

A photograph by Tseng Kwong Chi. "Jean-Michel Basquiat" is a contemporary Cibachrome print in a palette of whites, purples, and browns by East Village artist Tseng Kwong Chi. The art...

A photograph by Andy Warhol. "Carolina Herrera" is a Polaroid, Polacolor by American pop artist Andy Warhol. The artwork is numbered FA04.07026 and AWL064. The work is embosed in the...

A photograph by Andy Warhol. "Jane Fonda" is a Polaroid, Polacolor by American pop artist Andy Warhol. The artwork is numbered FA04.05052, FA04.05059, FA04....

A set of two photographs by Andy Warhol. "Andy Warhol Abroad" is a set of two Polaroids, Polacolors by American pop artist Andy Warhol. The artwork is numbered FA01.00184, FB01.00004...

A photograph by Andy Warhol. "Cheryl Tiegs" is a Polaroid, Polacolor by pop artist Andy Warhol. It is numbered FA04.05400 and AWL013. Andy Warhol — who fa...

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...

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...