Barbra Streisand

Original 1966 American photographic production still used to promote this 1946 Film Noir starring Rita Hayworth and Glenn Ford. This film was directed by Charles Vidor. This beautif...

Original deluxe double weight studio photography Cecil Beaton (1904-1980) for My Fair Lady 1964. This film starred Audrey Hepburn and Rex Harrison and was directed by George Cukor. T...

Original deluxe double weight studio photography Cecil Beaton (1904-1980) for My Fair Lady 1964. This film starred Audrey Hepburn and Rex Harrison and was directed by George Cukor. T...

Original photographic production still for Sabrina 1954. This film starred Audrey Hepburn, William Holden and Humphrey Bogart and was directed by Billy Wi...

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 wonderfully composed black and white photographed by the noted photographer and graphic artist Lance Evans. I believe this dates to the late 1980s as the other we purchased is date...

Lawrence Schiller describes this photo of Barbra from 1968 as “The Nefertiti-like profile taken in London. There she exudes a regality that true divas portray. Her neck is long, her ...

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...