Tri-State Area - Black and White Photography

Andy Warhol Hammer & Sickle, 1976 Acetate negative acquired directly from Chromacomp, inc. Andy Warhol's printer in the 1970s. accompanied by a signed letter of provenance from the r...

Erotica to save our souls. Archival pigment print on Hahnemühle Photo Rag. ARTSY: May 28, 2019: The Photographers Fighting Instagram’s Censorship of Nude Bodies, by Kelsey Ables. ...

Fire Hydrant, Harlem, 1963 by Leonard Freed is a 14" x 11" gelatin silver print signed by the photographer on verso (back of photo). Provenance: Freed estate LITERATURE: W. A. Ewin...

Nikita Khrushchev in front of Lincoln Memorial, 1959, Washington DC by Burt Glinn is one of the photographer's historical photographs. The portrait i...

Martin Luther King (MLK), 1964 by Leonard Freed is an iconic black and white documentary photograph, a portrait of one of the most influential African American personalities and civi...

Painter Helen Frankenthaler and sculptor David Smith in Frankenthaler's studio in New York City, 1957 is a gelatin silver print, 20” x 16”, signed and stamped by the Glinn estate. Th...

Artist 1: Jeff Koons, American (1954 - ) Artist 2: Howard L. Bingham, American (1939 - ) Title: GOAT: A Tribute to Muhammad Ali - CHAMPS Edition Book: Hardcover Book in Clamshell Box, signed and numbered on Frontispiece by Artists and Muhammad Ali Koons Sculpture Title: Radial Champs Sculptures: Blow Up Dolphin, Tire Sculpture...

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...

American photographer Burt Glinn photographed the Hollywood star in conversation with Mike Todd and film director John Huston for a “Stop Arthritis” event which took place in New Yor...

Fernando Natalici, "MTA Subway Voyeur" photograph, New York City, 2015: An artful and secretly explorative composition of everyday city life by heralded NY underground photographer, ...

This is an 39.5 x 59 inches archival giclée black and white print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. An e...

Audrey Hepburn, c19_13, 1953 -- Audrey Hepburn, ready in make-up and costume to play the title role in Paramount's Sabrina Fair. This shot is an out take from the photo essay in the ...

Gelatin silver print Signed, titled, dated, and numbered, verso 14 x 11 inches, sheet size (Edition of 5 + 2 APs) 20 x 16 inches, sheet size (Edition of 5 + 2 APs) From the series...

Vintage 1980s Grace Jones photograph: Grace Jones photographed on the scene of New York's Palladium nightclub circa 1989 by noted New York underground photographer, Fernando Natalici...

A black-and-white image shot on film, Roberta Fineberg captures on a carefree summer day a child's hand waving goodbye, prophetically perhaps at the Worl...

World Series Parade, New York City, 1954 by Leonard Freed, is an 11" x 14" gelatin silver later ("lifetime") print, signed on verso (back of print) by the photographer and stamped (magnum). The photograph was handprinted by Leonard Freed. Parade by Freed captures the joy of two majorettes en route in the streets of the city for the celebration of the New York Giants...

Andy Warhol Nicola (Nicky) Weymouth, ca. 1976 Acetate positive, acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Accompanied by a Letter of Provenance from the representative of Chromacomp Unique Frame included: Elegantly framed in a museum quality white wood frame with UV plexiglass: Measurements: Frame: 18 x 15.5 x 1.5 inches Acetate: 11 x 8 inches This is the original, unique photographic acetate positive taken by Andy Warhol as the basis for his portrait of Nicky Weymouth, that came from Andy Warhol's studio, The Factory to his printer. It was acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. It is accompanied by a Letter of Provenance from the representative of Chromacomp. This is one of the images used by Andy Warhol to create his iconic portrait of the socialite Nicola Samuel Weymouth, also called Nicky Weymouth, Nicky Waymouth, Nicky Lane Weymouth or Nicky Samuel. Weymouth (nee Samuel) was a British socialite, who went on to briefly marry the jewelry designer Kenneth Lane, whom she met through Warhol. This acetate positive is unique, and was sent to Chromacomp because Warhol was considering making a silkscreen out of this portrait. As Bob Colacello, former Editor in Chief of Interview magazine (and right hand man to Andy Warhol), explained, "many hands were involved in the rather mechanical silkscreening process... but only Andy in all the years I knew him, worked on the acetates." An acetate is a photographic negative or positive transferred to a transparency, allowing an image to be magnified and projected onto a screen. As only Andy worked on the acetates, it was the last original step prior to the screenprinting of an image, and the most important element in Warhol's creative process for silkscreening. Warhol realized the value of his unique original acetates like this one, and is known to have traded the acetates for valuable services. This acetate was brought by Warhol to Eunice and Jackson Lowell, owners of Chromacomp, a fine art printing studio in NYC, and was acquired directly from the Lowell's private collection. During the 1970s and 80s, Chromacomp was the premier atelier for fine art limited edition silkscreen prints; indeed, Chromacomp was the largest studio producing fine art prints in the world for artists such as Andy Warhol, Leroy Neiman, Erte, Robert Natkin, Larry Zox, David Hockney and many more. All of the plates were done by hand and in some cases photographically. Famed printer Alexander Heinrici worked for Eunice & Jackson Lowell at Chromacomp and brought Andy Warhol in as an account. Shortly after, Warhol or his workers brought in several boxes of photographs, paper and/or acetates and asked Jackson Lowell to use his equipment to enlarge certain images or portions of images. Warhol made comments and or changes and asked the Lowells to print some editions; others were printed elsewhere. Chromacomp Inc. ended up printing Warhol's Mick Jagger Suite and the Ladies & Gentlemen Suite, as well as other works, based on the box of photographic acetates that Warhol brought to them. The Lowell's allowed the printer to be named as Alexander Heinrici rather than Chromacomp, since Heinrici was the one who brought the account in. Other images were never printed by Chromacomp- they were simply being considered by Warhol. Warhol left the remaining acetates with Eunice and Jackson Lowell. After the Lowells closed the shop, the photographs were packed away where they remained for nearly a quarter of a century. This work is exactly as it was delivered from the factory. Unevenly cut by Warhol himself. This work is accompanied by a signed letter of provenance from the representative of Chromacomp, Andy Warhol's printer for many of his works in the 1970s. About Andy Warhol: Isn’t life a series of images that change as they repeat themselves? —Andy Warhol Andy Warhol’s (1928–1987) art encapsulates the 1960s through the 1980s in New York. By imitating the familiar aesthetics of mass media, advertising, and celebrity culture, Warhol blurred the boundaries between his work and the world that inspired it, producing images that have become as pervasive as their sources. Warhol grew up in a working-class suburb of Pittsburgh. His parents were Slovak immigrants, and he was the only member of his family to attend college. He entered the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, where he majored in pictorial design. After graduation, he moved to New York with fellow student Philip Pearlstein and found steady work as a commercial illustrator at several magazines, including Vogue, Harper’s Bazaar, and the New Yorker. Throughout the 1950s Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Directors Club and the American Institute of Graphic Arts. He had his first solo exhibition at the Hugo Gallery in 1952, showing drawings based on the writings of Truman Capote; three years later his work was included in a group show at the Museum of Modern Art for the first time. The year 1960 marked a turning point in Warhol’s prolific career. He painted his first works based on comics and advertisements, enlarging and transferring the source images onto canvas using a projector. In 1961 Warhol showed these hand-painted works, including Little King (1961) and Saturday’s Popeye (1961), in a window display at the department store Bonwit Teller; in 1962 he painted his famous Campbell’s Soup Cans, thirty-two separate canvases, each depicting a canned soup of a different flavor. Soon after, Warhol began to borrow not only the subject matter of printed media, but the technology as well. Incorporating the silkscreen technique, he created grids of stamps, Coca-Cola bottles, shipping and handling labels, dollar bills, coffee labels...

Fashion model Pamela Minchin photographed on the Isle of Wight wearing Fortnum and Mason’s dark burgundy Lastex satin swimsuit with ballet skirt, Harper’s Bazaar, July 1939. 'For ba...

Audrey Hepburn in Car, Writing, audrey_06 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is "doing homework" on her way to the studio. Image size is 22" x 32" (for 24...

Intended for Andy Warhol Marcel Proust, ca. 1976 Acetate positive acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Derivative on acetate, based on a photo by Otto Wegener...

Offset lithograph, signed in pencil by Newton. Acquired from a private collection, Paris, France.

"It’s difficult to describe how I felt lying flat on the ground with a two-tonne rhino only a few feet in front of me. It was, without a doubt, one of my most treasured memories and ...

Kate #16, 2002 is a vintage 8" x 10" black and white photograph from the series "Kate." Model Kate remains complicit in striking and defining dramatic poses for Freed. The photograph...

Kennedy Family Sailing nb_038_039 -- The Kennedy Family sailing on Nantucket Sound. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limi...

Jackie and Lee, "The Hike" Sunshine Parkway, Palm Beach, Florida 1963 -- "In February 1963, President and Mrs. Kennedy invited Mark (Shaw) to Palm Beach, Florida to photograph partic...

Gelatin silver print Studio stamp in red ink, verso 12 x 9.5 inches, sheet This photograph is offered by ClampArt, located in New York City. Robert Doisneau (1912-1994), along with ...

Available Sizes: 30" x 45" Edition of 15 40" x 60" Edition of 10 48" x 72" Edition of 5 The second I saw Eva; I knew I had to create a portrait of her. Her classic leopard appaloos...

Muscle Boy, Harlem, 1963 by Leonard Freed is a signed and numbered archival Iris print. The edition 25/100 was in a planned edition of 100 and halted at 25 prints (as annotated on ve...

A classic black and white photograph from the late 1930s to early 1940s, Two Women on The Subway in New York City is by a master of ...

Signed, dated and annotated 'Antartica' in pencil on the verso, copyright credit blindstamp in the margin. Includes black frame with white mat. Sebastião Salgado is a documentary ph...

Kate Moss Unitard, 1993 Silver Gelatin Print 30 x 30 inches Edition of 50 Cosigned by Terry O'Neill and Kate Moss Portrait of English fashion model Kate Moss, 1993. Terry O'Neill ...

Ed. 10/10 Additional sizes available upon request. Phoebe Fitz is a Miami-based artist specializing in underwater photography. Her images are a meditation on presence and embodim...

Prince Detroit 1980 by Leni Sinclair: A standout & timeless photograph of the late great Prince, shot by legendary Detroit photographer Leni Sinclair, 2016's Kresge Foundation's Emi...

Gelatin silver print Signed, dated, and numbered, verso 20 x 16 inches, sheet 15 x 15 inches, image (Edition of 30) From the series, "Primitive Behavior" This artwork is offered by...

In the Country, 1988 is by Roberta Fineberg. A black-and-white documentary-style portrait of a French woman in the countryside - from northeast France, the Haute-Marne, the subject is photographed against a backdrop of fresh-cut hay. Far from Paris the French maintain deep connections with the land - owning often an ancestral house in the countryside, often rustic, a nation equally rooted in the agrarian. An 11" x 14" gelatin silver print (analog/film) in an edition of 5, the photograph is signed and editioned on recto (in margin) by the artist. Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and the development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary photography), play, timelessness, the enduring, and the significance of matter. RF, living in New York City, began her career as an editorial photographer while studying in Paris. In France she contributed both photography and writing to publications, landing a column (photos and text) with The Saturday Review while exhibiting photographs in public spaces. Roberta Fineberg’s freelance photography appeared in Le Monde, Jeune Afrique, Paris Match, L’Officiel Femme, Ms, Weltwoche, Vanguardia, among others with images licensed through stock agencies. Photographs were selected for cover art at W.W. Norton, St. Martin’s Press, Harcourt, Bookspan, Simon & Schuster, etc. Print Regional Design Annual New York (2003) awarded her for book jacket photography for If Wishes Were Horses. In 1997 Macmillan published City Riders: A Story of Riding and Friendship her first book of black-and-white photographs and a story about three teenage girls in the 1990s who rode horses at the now-defunct Claremont Riding Academy and oldest stable in New York City. In 2023, RF created an interactive installation, works on paper on the female body, in a public space. In July 2022, Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2020, 2022), CADAF online art fair (2020), Gallery122 New York pop-up group...

20th Century School, Mountain Landscape, Black and White Photograph, unsigned, ebonized wood frame. Image: 19.25" H x 15.25" W; frame: 28.5" H x 24.5" W. Provenance: From a New York ...

Willy Nelson, 1993 by American photographer Leonard Freed is a series of (3) photographs, gelatin silver press RC prints, which are each signed verso (bac...

This is a 39" x 39" black and white archival giclée print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. It is an exp...

An 11" x 14" (Ed of 5) signed gelatin silver print of Friendship, 1994 by Roberta Fineberg is from a world of horse-crazy girls in New York City. A black-and-white photograph, friendship shared by three teenage girls who display their horseback riding bracelets. The girls wear the names of their horses engraved on the bracelets. The photograph was shot in the 1990s at the now defunct City stable, Claremont, on the Upper West Side of Manhattan. The photo is published in the book City Riders (1997) - Howell/Macmillan Publishers Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and the development of ideas for her photography, video, installations, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary photography), play, timelessness, the enduring, and the significance of matter. RF, living in New York City, began her career as an editorial photographer while studying in Paris. In France she contributed both photography and writing to publications, landing a column (photos and text) with The Saturday Review while exhibiting photographs in public spaces. Roberta Fineberg’s freelance photography appeared in Le Monde, Jeune Afrique, Paris Match, L’Officiel Femme, Ms, Weltwoche, Vanguardia, among others with images licensed through stock agencies. Photographs were selected for cover art at W.W. Norton, St. Martin’s Press, Harcourt, Bookspan, Simon & Schuster, etc. Print Regional Design Annual New York (2003) awarded her for book jacket photography for If Wishes Were Horses. In 1997 Macmillan published City Riders: A Story of Riding and Friendship her first book of black-and-white photographs and a story about three teenage girls in the 1990s who rode horses at the now-defunct Claremont Riding Academy and oldest stable in New York City. In 2023, RF created an interactive installation, works on paper on the female body, in a public space. In July 2022, Fineberg’s Double Helix was included in a Sotheby’s auction in New York City and exhibited in the preview show Contemporary Discoveries. Selected exhibitions include Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2020, 2022), CADAF online art...

Open and Limited Edition Silver Gelatin Prints Hand Signed by Bob Gruen 8" x 10" Unframed Open Edition 11" x 14" Unframed Open Edition 16" x 20" Unframed Open Edition 20" x 24" U...

Perestroika Glasnost signaled an historic openness in Russia in the early 1990s. Roberta Fineberg traveled to Moscow to document on film events unrolling in a country whose leader M. Gorbachev had declared the end of communism in the Soviet Union. The black-and-white image of musicians at a celebrated classical music...

Birmingham Children, 1963 by American photographer Leonard Freed is a 16" x 12" vintage gelatin silver photograph, signed verso (on back) by the photographer. A photo that depicts th...

Audrey Hepburn in Car, Writing, audrey_06 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is "doing homework" on her way to the studio. Image size is 13.75" x 20" (for...

Interested in “ordinary people" French photographer Willy Ronis was a postwar (WWII) photographer who roamed the streets whether In France or Italy, photographing people in love, at ...

Sepia-toned gelatin silver print Signed and numbered, verso 24 x 20 inches, sheet (Edition of 35) 39 x 26 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...

Sabine Weiss Alberto Giacometti dans son Atelier, 1954 (Giacometti in his studio), ca. 1970 Gelatin silver print mounted on paper Signed in graphite by Sabine Weiss on the mount directly underneath the photograph Frame Included This now iconic photograph of Alberto Giacometti in his studio was taken in 1954 by the celebrated photographer Sabine Weiss, who at the time, had unparalleled access to the artist. It was printed ca. 1970 and signed on the mount directly underneath the photograph in a limited edition of an undisclosed size. Highly collectible. Elegantly matted and framed in a museum quality wood frame with UV plexiglass. Measurements: Framed 18 x 14.5 x 1.25 inches Photograph 12.5 x 8.75 inches Sabine Weiss biography: For over sixty years, Sabine Weiss’s name has been synonymous with the seminal era of French Humanist photography. A living legend, Weiss’s images from 1950s Paris speak of a postwar time when a feeling of hope and joie de vivre could be felt in the people populating the city’s cafes, squares, streets, and in all corners throughout Paris. Weiss would photograph individuals going about their daily lives capturing their emotions and creating a style that combined spontaneity and informality, backed by photographer’s intuition and knack for seeing and celebrating the simple joys of life. As she said, “I take photographs to hold on to the ephemeral, capture chance, keep an image of something that will disappear: gestures, attitudes, objects that are reminders of our brief lives. The camera picks them up and freezes them at the very moment that they disappear. I love this constant dialogue between myself, my camera and my subject, which is what differentiates me from certain other photographers, who don’t seek this dialogue and prefer to distance themselves from their subject.” Originally from Switzerland, Weiss moved to Paris in 1946 where she first assisted fashion photographer Willy...

Savannah Spirit We The Nipple 30 x 30 inches Archival pigment print on Hahnemühle Photo Rag. Edition of 5 Signed by artist Erotica to save our souls. Latest press ARTSY: May 28, 2019: The Photographers Fighting Instagram’s Censorship of Nude Bodies, by Kelsey Ables. First artist featured: Savannah Spirit. In this self portrait, Savannah Spirit turns the tradition of black and white female portraiture back on itself. The muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Her artwork asserts that a woman is her own muse. Through her artistic, social and curatorial projects, Spirit also takes on technology and social media censors, who assume that the unclothed body of a human—especially a female human—is by definition, pornography, in need of control. Press FORBES: Savannah Spirit Wants to Trigger Your Trump VICE: Erotic Art Fights Trump with Scenes of Female Pleasure BULLETT: The Art Show Fighting Fascism with Erotica HUFFINGTON POST: Artists Are Resisting Trump's Misogyny with Erotic Art DAZED: The Erotic Show Taking on Donald Trump Internal: Savannah Spirit, Black and White Photography, Black and White Nude...

ABOUT THIS ARTIST: Thanassis Krikis was born in Kastoria, Greece. He studied fashion design and illustration at Parsons School of Design in New York.
 He is also a St. Martins Colleg...

Print: 10/23/98

Open and Limited Edition Silver Gelatin Prints Hand Signed by Bob Gruen 8" x 10" Unframed Open Edition 11" x 14" Unframed Open Edition 16" x 20" Unframed Open Edition 20" x 24" U...

Norman Parkinson Jane Birkin 1969 (printed later) Estate stamped and numbered edition of 21 English-French actress, singer, songwriter, and model Jane Birkin photographed wearing a ...

Vintage gelatin silver print Signed, inscribed, and dated in pencil, verso This photograph is offered by ClampArt, located in New York City. Hired by Andy Warhol as a photographer f...

Gelatin silver print Stamped and numbered, verso 11 x 14 inches, sheet 5 x 7 inches, image (Edition of 15) 16 x 20 inches, sheet 12 x 15.75 inches, image (Edition of 10) From the ...

Archival pigment print (Edition of 50) Signed and numbered, verso 20 x 16 inches, sheet From the series, "Shelter Dogs" This photograph is offered by ClampArt, located in New York ...

Douglas Kirkland Brigitte Bardot, Mexico (Cards) 1965 Silver gelatin print Numbered and Signed by Douglas Kirkland Edition of 24 French actress Brigitte Bardot photographed on set o...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. Savannah Spirit Listening to Debussy Edition 2/3 Edition of 3 "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Exhibition History: Woman March 31st – May 1st, 2018 Undercurrent Projects Also featuring works by: Lillian Bassman, Elinor Carucci, Louise Dahl-Wolfe, Nona Faustine...

"I remember the moment that the idea for Bodyscapes® came to me. I was thinking that the shape and structure of the universe repeated itself at every level and suddenly I had the ima...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. “In the 1950s few photographers, particularly men, chose their models from their own families. Meatyard, however, found inspiration in his three offspring. This was perhaps due to his interest in Ben Shahn’s postwar paintings of Italian children playing among the ruins of war; the dolls, puppets, and children in Rainer Maria Rilke’s poetry...