Berenice abbott

Explore the stunning photographs and unique perspective of Berenice Abbott, a renowned photographer known for her captivating images of urban life and architectural wonders.
A Wonderful Life: Photographs from the Peter Fetterman Collection - C-Heads Magazine Robert Capa, Richard Avedon, Elliott Erwitt, Marilyn Monroe, Edward Steichen, Elliott Erwitt Photography, Elizabeth Taylor, Elliott, Sally Mann

“I’m attracted to images of beauty and style, and images that confirm the joy of being alive” tells Peter Fetterman in conversation with Laura Paterson. In the upcoming Peter Fetterman curated photography auction “A Wonderful Life” you will find an incredible collection of great pictures inviting you to linger.

Pierre Cal
Berenice Abbott: Paris Portraits 1925–1930 Portrait, Portraits, Berenice Abbott, Paris, Man Ray, Black White, Photography, Photography Magazine, Photographer

Abbott began her photographic career in Paris in 1925, taking portraits of some the most celebrated artists and writers of the day, including Marie Laurencin, Jean Cocteau, Peggy Guggenheim, Coco Chanel, Max Ernst, André Gide, Philippe Soupault and James Joyce. Within a year her work was exhibited and acclaimed. Paris Portraits 1925–1930 features the results

Leandro Olgiati
Berenice Abbott. Cedar Street from William Street, Manhattan. March 26, 1936 | MoMA Man Ray, Berenice Abbott, Vintage New York, Eugene Atget, New York City, Manhattan, Williams Street, New York Public Library, York City

Berenice Abbott. Cedar Street from William Street, Manhattan. March 26, 1936. Gelatin silver print. 9 1/2 × 7 1/4" (24.1 × 18.4 cm). Thomas Walther Collection. Abbott-Levy Collection funds, by exchange. 1601.2001. © 2024 Estate of Berenice Abbott. Photography

Berenice Abbott: Rebels of Paris | by Prudence Peiffer | NYR Daily | The New York Review of Books Paris, Man Ray, Eugene Atget, Berenice Abbott, Avant Garde, Peggy Guggenheim, Marcel Duchamp, Lucia Joyce, James Joyce

The photographs in Berenice Abbott’s Paris Portraits 1925-1930 document how international the community of modernists was between the wars, and are evidence of Abbott’s first experiments with lighting, angles, and equipment. The portraits’ sparseness only amplifies the ambition they contain—of both subjects and photographer. One of the pleasures of a great portrait is the unending present exposure it offers us, as if the sitter is just about to reveal something. Abbott’s client list is…

J Paul Heiner