EDWARD T. POLLACK FINE ARTS Photography

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 99 ID: ALO1534-006 Hand-signed ...

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (02158) 23...

8 x 10" vintage silver gelatin photograph of artist Jasper Johns at Whitney Museum exhibition of his work in New York City, October 1977. This is ...

11 x 14" vintage silver gelatin photograph of Pulitzer prize-winning playwright Tennessee Williams, close up portrait with diamond pinky ring, photographed in 1971. Signed by Jack Mitchell in pencil on the print verso. NOTE: minor corner bends/cracks can be slightly matted to conceal. Comes directly from the Jack Mitchell Archives...

Punctuated by documentary photo essays such as Black in White America, Fire Hydrant is one of Leonard Freed's most iconic in the Harlem series. In the image of Fire Hydrant, two chil...

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...

Fernando Botero in his Studio, Paris, 1992 by Jean-Michel Voge is a 13" x 19" archival pigment print in an edition of 5, printed by the photographer on handmade Japanese Awagami pape...

Kate #10, 2002 by Leonard Freed is an 8" x 10" hand printed. Signed by the photographer black and white photograph, stamped "vintage" by the Freed estate. Model and yogini Kate remai...

"No title (No 28)" Ballet Photography 36x36 in Ed. of 28 by Yevgeniy Repiashenko No title (No 28) by Yevgeniy Repiashenko Year photo was taken: 2018 Art Print Limited Edition of 28...

"Rise" Photography Edition 2/28 32" x 32" inch by Yevgeniy Repiashenko "Rise" Photography Edition of 28 Year photo was taken: 2017 This picture is a part of Spirit series. The pic...

Artist: Francesco Scavullo (after) Title: Sting, 1984 Portfolio: A Photographic Retrospective, Volume I: Song Medium: Gelatin Silver Print Year: 2004 Edition: AP 7/50 (aside from the...

A black-and-white photograph (analog) of a Parisian magazine/newspaper shopkeeper who exhibits a unique brand of French quirkiness and expressiveness in Paris of the 1980s. Shot on film, Shopkeeper, 1989 by Roberta Fineberg is a 14” x 11” gelatin silver print in an edition of 5. Signed, dated, and titled on recto (photo front) by the artist. Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, the development of ideas and color fields for her mixed media works. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary), play, timelessness, the enduring, and the significance of matter. RF’s selected exhibitions: Women of Spirit Zurcher Gallery New York (2025); Sojourner Gallery New York (2022); Phyllis Harriman Gallery New York studio shows (2020, 2022); CADAF online art...