O. Winston Link

A Summer s Evening and Train #2, Luray, Virginia

1950 s

Signed in pencil on verso; Stamped with photographer's copyright on verso Gelatin Silver Print Image: 15 1/2 x 19 3/8 inches; Paper: 16x20 inches; Matted 20x24 inches

Signed in pencil on verso; Stamped with photographer's copyright on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"

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...

Stop That Train Bryson City, North Carolina - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 72" Unframed 52" x 87" Framed Edition of 12 Large 52.5" x 102" Unframed 67.5" x 117" Framed Edition of 12 "Train robbers hold a firm place in the mythological lore of the American West. Attacks on trains were a common occurrence when the rule of law was either difficult to implement or simply non-existent. Thin governance was an accepted danger on the Final Frontier. What is perhaps surprising is that history has looked fondly on the bandits, as if their means of living was laudable and even romantic. Our affection for the underdog knows no bounds and Hollywood played to this emotion by often characterising the bandits as lovable and misunderstood rogues. The narrative was often that the bad guys were the train owners for having the wealth in the first place; maybe they had disposable moral fibre as well. It was a dog-eat-dog world. No more was this better articulated than in the classic 1969 Western buddy film Butch Cassidy and the Sundance Kid starring Paul Newman and Robert Redford. The film - which was loosely based on fact - cemented both actors at the top of the Hollywood A-list, not just because of their acting, but because the public found affection for their characters and their affable, wise cracking roles. It was as if they played the good...