Lions Gallery Photography

Mat measures 20 X 26 sight measures 13 X 19.5 This one has no mat. Mark Abrahamson is an American Postwar & Contemporary artist who was born in 1944. Mark completed a BA at Whitman...

Mat measures 20 X 26 sight measures 13 X 19.5 Jokang rooftop Jokhang, also known as the Qoikang Monastery, Jokang, Jokhang Temple, Jokhang Monastery and Zuglagkang, is a Buddhist te...

Mat measures 20 X 26 sight measures 13 X 19.5 Jiu Zhai Gai Sichuan nature preserve colorful painted architecture with lion painting and artisan working. Mark Abrahamson is an Ameri...

Mat measures 20 X 26 sight measures 13 X 19.5 This one has no mat. Mark Abrahamson is an American Postwar & Contemporary artist who was born in 1944. Mark completed a BA at Whitman...

Mat measures 20 X 26 sight measures 13 X 19.5 Barkhor Bazaar is one of the most famous of all places to go shopping in Lhasa. This circuitous street, that encompasses the world fam...

Mat measures 20 X 26 sight measures 13 X 19.5 Mark Abrahamson is an American Postwar & Contemporary artist who was born in 1944. Mark completed a BA at Whitman College in Walla Wa...

Mat measures 20 X 26 sight measures 13 X 19.5 Mark Abrahamson is an American Postwar & Contemporary artist who was born in 1944. Mark completed a BA at Whitman College in Walla Wa...

Large scale print, 24 X 36 inches. Framed to 29.5 X 41.5. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It...

Large scale print, 24 X 34 inches. Framed to 31 X 40. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It is ...

Large scale print, 24 X 34 inches. Framed to 29.5 X 39.5. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It is done in a sepia color tone. David Aschkenas is a self-taught photographer making fine art and freelance photography for the past 25 years. He has been the recipient of grants from the NEA and the Polaroid Corporation. He makes photographs for corporations and editorial clients around the world. Aschkenas has been a photographer in Pittsburgh for 30 years, specializing in editorial and fine art photography (he shot Richard Serra's Tilted Arc in the early 1980's) Inspired by Weegee, James Van Der Zee...

My Secret Business, 1992-1993 Duotone offset litho, Lithograph Sheet measures 30.13'' x 22.5'' (76 X 56 cm). 23 1/2 × 18 in (59.7 × 45.7 cm) image. Hand-signed by artist, Signed, da...

Doug Rickard (American b.1968) Limited Edition Archival Pigment Print. Features the work titled; A New American Picture - Detroit. Signed on verso and numbered 4/5. Work: 26 in. x 41 1/2 in. Frame: 26 1/2 in. x 42 in. Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. A New American Picture depicts American street scenes, located using the internet platform Google Street View. Over a four-year period, Rickard took advantage of Google’s massive image archive to virtually explore the roads of America looking for forgotten, economically devastated, and largely abandoned places. After locating and composing scenes of urban and rural decay, Rickard re-photographed the images on his computer screen with a tripod- mounted camera, freeing the image from its technological origins and re-presenting them on a new documentary plane. The low-resolution images that Rickard favors have a dissolved, painterly effect, and are occasionally populated with figures who acknowledge the camera, but whose faces are blurred, masking their identity. The photographs are thus imbued with an added surrealism and anonymity, which reinforces the isolation of the subjects and emphasizes the effects of an increasingly stratified American social structure. Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.Doug Rickard (born 1968) is an American artist and photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his computer monitor. His photography has been published in books, exhibited in galleries and held in the permanent collection of the San Francisco Museum of Modern Art. Rickard is best known for his book A New American Picture (2010). He is founder and publisher of the website on contemporary photography, American Suburb X, and the website These Americans which publishes some of his collection of found photographs. This work features a black, African American man in the foreground walking in a bleak neighborhood in Detroit, Michigan. Rickard was born in San Jose, California and brought up in Los Gatos in the San Francisco Bay Area. His father was a prominent pastor and many family members were preachers and missionaries, with a "very Reaganesque, patriotic view of America", a country "special and unique". Rickard studied United States history—slavery, civil rights—and sociology, at University of California, San Diego, and "lost his faith in this family vision. His adult view of America was a land not just of great achievement but also of massive injustice." At age 12 he witnessed his father having a secret extramarital affair, that years later in 1988 he confessed to his congregation. Rickard says this experience prompted him "to look for the fault lines in the American dream." He lives in Shingle Springs, near Sacramento, California. For his series A New American Picture, Rickard "wanted to look at the state of the country in these areas where opportunity is non-existent and where everything is broken down", where "the American dream was shattered or impossible to achieve". It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web. He cites as influences the photobooks American Photographs (1938) by Walker Evans, The Americans (1958) by Robert Frank, Uncommon Places (1982) by Stephen Shore and American Night (2003) by Paul Graham. The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010. To mark that occasion Rickard produced the first edition of the book, with the publisher White Press. Its first American museum show was at New York's Museum of Modern Art. Select Publications: Aperture Remix. New York: Aperture, 2012. A series of books made in homage to another Aperture publication, each in an edition of 5 copies. Rickard's was a response to Uncommon Places by Stephen Shore. The other publications were by Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling. Produced in conjunction with the exhibition Aperture Remix. A New American Picture. Nazraeli Press Six by Six, set 4 v. 5. Portland, OR: Nazraeli, 2012. Edition of 100 copies. The other volumes are by Robert and Kerstin Adams, Edward Burtynsky, Kenro Izu, Catherine Opie and Issei Suda. Staking Claim: a California Invitational. San Francisco: Modernbook, 2013. Photographs by Rickard as well as Matthew Brandt, Susan Burnstine, Eric William Carroll, John Chiara, Chris Engman, Robbert Flick, Todd Hido, Siri Kaur, Mona Kuhn, Matt Lipps, David Maisel, Klea McKenna, Mark Ruwedel, Paul Schiek and Christina Seely. Catalogue of an exhibition held at the Museum of Photographic Arts, San Diego, CA. Select Exhibitions: Solo exhibition 2012: Yossi Milo Gallery, New York, October–November 2012. Group Exhibitions 2010: Anonymes: L’Amérique sans nom: Photographie et Cinéma (Anonymous: Unnamed America in Photography and Film), Le Bal, Paris, September–December 2010. A thematic exhibition with works by Rickard as well as Jeff Wall, Walker Evans, Chauncey Hare, Lewis Baltz, Standish Lawder, Sharon Lockhart...

Wang Ningde (China, b. 1972) "Some days no. 23". Size: 48'' x 64.75'', 122 x 164 cm (image); 52'' x 69'', 132 x 175 cm (frame). Chromogenic print (c-print)...

Alfredo Valente (1899-1973) was an Italian born American photographer known for his prolific career chronicling Broadway theatre. He is also credited as a singer, painter, art collector, dealer, and cultural administrator. Valente was born in Calabria, Italy where he trained as a fine artist and opera singer. In 1927, he immigrated to the United States where he performed opera in public. However, his singing career did not take off and he pivoted to focus on his photography. In 1931, he became the photographer for the newly formed Group Theater, an experimental theater company based in New York co-founded by Lee Strasberg. By the mid-1930s, Valente was regularly published by magazines and newspapers, most notably Stage, a magazine dedicated to Broadway theater. Valente was lauded as one of the leading theater photographers of the day and his use of artistic camera angles and dramatic lighting became his signature. He also became known for portraying actors and dancers in costume, but not while performing. In addition to Broadway, Valente photographed American Ballet Theatre (then known as Ballet Theatre) during the company's formative years during the 1940s. He photographed some of Ballet Theatre's most prominent dancers, such as Harold Lang...

Rare German Judaica. Arno Katz Foto for Atelier Bermann, Frankfurt, Germany. bears original stamp verso The Weimar Republic (German: Weimarer Republik [...

The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers...

The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers...

The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers...

Marc Chagall (born Moïche Zakharovitch Chagalov; 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was assoc...

Marc Chagall (born Moïche Zakharovitch Chagalov; 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was assoc...

Neturei Karta (Jewish Babylonian Aramaic: נָטוֹרֵי קַרְתָּא nāṭōrē qarṯā, literally "Guardians of the City") is a religious group of Haredi Jews, formally created in Jerusalem, Briti...

Neturei Karta (Jewish Babylonian Aramaic: נָטוֹרֵי קַרְתָּא nāṭōrē qarṯā, literally "Guardians of the City") is a religious group of Haredi Jews, formally created in Jerusalem, Briti...

Neturei Karta (Jewish Babylonian Aramaic: נָטוֹרֵי קַרְתָּא nāṭōrē qarṯā, literally "Guardians of the City") is a religious group of Haredi Jews, formally created in Jerusalem, Briti...

Baril, Tom (American, b. 1952) Large format silver gelatin print still life of flowers photo. hand signed and dated 1997 by Baril in pencil below image. black and white photograph. i...

Andreas Bernhard Lyonel Feininger (December 27, 1906 – February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-...

Andreas Bernhard Lyonel Feininger (December 27, 1906 – February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-...

Andreas Bernhard Lyonel Feininger (December 27, 1906 – February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Lisa Klausner (American, 1955-) 1983 "Collins Avenue" Signed bottom right Frame: 28" X 32" Image: 14" X 18.5" This is printed on paper in pastel deco colors and appears to be a photo based color print. It might be hand tinted. She had a show "Lisa Klausner — “Seaside Oddities,' painted photographs at Barbara Gillman Gallery. She was one of Miami Beach’s first gallery owners, the woman who brought Andy Warhol to South Beach and brought Art Basel to Miami Beach. She was involved in artists Christo and Jeanne-Claude wrapping Biscayne Bay islands in hot pink. She loaned art for “Miami Vice.” She dealt with some of the world’s most important contemporary artists, including but not limited to, James Rosenquist, Herman Leonard and Nam June Paik. Lisa Klausner born in Northeast Ohio, Shaker heights. After college, she lived in South Florida and then New York City, where she worked as a photographer. Her work has appeared in the New York Times Magazine and is in the permanent collection at the Cleveland Museum of Art and the Brooklyn Museum. This is from the Miami Vice period when she lived and worked in Miami Beach, South Beach Art Deco district. “It was a desert,” said Lisa Klausner, 31, a photographer who was one of the first of the deco converts to move to Ocean Drive in 1981. She lived in the Cardozo...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...