4th of July (Cape Cod Massachusetts 1947) Photograph by Henri Cartier-Bresson

Archival pigment print by Paul Fusco. 15.75" x 17.75" Black painted floating frame included. Dimensions: 20.5" x 15.5" x 1.25" From the series with which Paul Fusco gained world fa...

Original artwork by John Gordon Gauld (Edition 1 of 1). Silkscreen on paper. Dimensions: 12" X 16" Painted white float frame. Framed dimensions: 18" X 14" X 1.5"

A 1 out of 1 chromogenic print by Tone Koene. 3 mm dibond mounted C-Print. Ton Koene is a photographer, illustrator and filmmaker. Winner of a Zilveren Camera and World Press Award....

Mixed media on paper by Rebecca Morgan. Dimensions: 5" x 8" Painted white float frame. Framed dimensions: 11" x 14" x 1.5" Rebecca Morgan works in painting, drawing, and cerami...

Vintage Black and White Photograph, Nantucket Harbor, circa 1935. James F. Barker (1871-1950) was an artist and photographer with generational history on Nantu...

The Pine Camp Military area near Watertown, NY, August by Jack Delano is a 13.38 x 17.75 inch silver gelatin print. This photograph features a group of children and adults surroundin...

Robert Frank Untitled from the Americans, 1958, Beats Culture, Black & White. Photogravure print, mid-century, France,wax tissue mounted on conservation matboard. Influenced by the work of Jakob Tuggener and Bill Brandt, as well as Walker Evans, Frank, a native of Switzerland, Frank was fascinated by documentary photography and the notion and image of "America." Frank secured a Guggenheim fellowship in 1955 to do something new and unconstrained by commercial diktats. "The Americans" was first published in 1958 in France, before its first run in the US in 1959. The photographs were shocking and notable for their distanced view of both high and low strata of American society, creating a complicated portrait of a period that was, then and now, considered to be a skeptical portrait of post-WWII American values but also deeply empathetic and profoundly evocative of ubiquitous loneliness. Frank found a tension in the gloss of American culture and wealth over race and class differences, which gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques. Shortly before the book was published in France, Frank returned to the US (1957) and met Jack Kerouac on the sidewalk outside a party. They started chatting. Frank showed him some of his photographs. Kerouac immediately told Frank "Sure, I can write something about these pictures." Kerouac would write the introduction to the American edition of the book, published two years later. Sociologist Howard S...

“Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20...