. Alexey BRODOVITCH Untitled (from the Ballet series, Les Sylphides), 1935-37 Gelatin silver print; printed 1950’s 8 x 10 inches Inscribed “To Patty with affection. Alexey” in ink, dated ”1935” in pencil and photographer's address stamp on print verso. 0103549-111 $35,000.00

. Ted CRONER Central Park South, 1947-48 Gelatin silver print, printed later 16 x 20 inches Signed in pencil and photographer's copyright stamp with title, date, and print date in pencil on print verso. 0036029 $10,000.00

. Ted CRONER Taxi, New York Night, 1947-48 Gelatin silver print; printed later 24 x 20 inches Signed in pencil and photographer's stamp with title, date, and print date in pencil on print verso. 0043204 $15,000.00

. Bruce DAVIDSON Brooklyn Gang, 1959 Gelatin silver print; printed later From an edition of 15 40 x 30 inches Mounted. Signed in pencil on label affixed to mount verso. 0104523 $22,000.00 (price includes frame)

. Bruce DAVIDSON Brooklyn Gang, 1959 Gelatin silver print; printed c.1959 Image size: 5 x 7 3/8 inches Mount size: 8 x 10 inches Mounted. Signed in pencil on mount verso. 0130183 $25,000.00

. Louis FAURER Untitled, 1947 Gelatin silver print; printed later 11 x 14 inches Signed, dated and annotated "N.Y.C." in ink on print recto. 0058212 $4,500.00

. Louis FAURER Staten Island Ferry, 1946 Gelatin silver print; printed 1981 11 x 14 inches Signed, titled, and dated in pencil on print verso. 0093400-111 $6,000.00

. Robert FRANK Men of Air, Macy's Day Parade, New York, 1948 Gelatin silver print; printed 1960s 14 x 11 inches Signed and dated in ink on print recto. 0141380 $75,000.00

. William KLEIN Atom Bomb Sky, New York, 1955 Gelatin silver print; printed later From an edition of 30 27 3/4 x 41 1/4 inches Mounted. Signed in ink on label affixed to mount verso. 0132826-111 $40,000.00

. William KLEIN Candy Store, New York, 1955 Gelatin silver print; printed later 11 3/4 x 15 3/4 inches Signed, titled and dated in pencil on print verso 0042283 $4,500.00

. Saul LEITER Untitled, 1950s Gelatin silver print; printed 1970s 5 x 7 inches Signed in ink on print verso. 0103478 $12,000.00

. Saul LEITER Times Square, New Year's Eve, 1951 Gelatin silver print; printed 1970s 11 x 14 inches Signature and annotations in pencil on print verso. 0072448 $10,000.00

. Leon LEVINSTEIN Handball Players, Houston Street, New York, 1970 Gelatin silver print; printed later 20 x 16 inches Photographer's credit stamp in black ink on print verso. 0092670-111 $15,000.00

. Leon LEVINSTEIN Coney Island, c.1960 Gelatin silver print; printed c.1960 11 x 12 inches Mounted. Estate stamp on label affixed to mount verso. 0050840-111 $8,000.00

. Helen LEVITT NYC, c.1942 Gelatin silver print; printed c.1960’s 7 x 10 inches Signed, titled and dated in pencil on print verso. 0141264-111 $15,000.00

. Helen LEVITT N.Y., c.1942 Gelatin silver print; printed c.1942 6 1/2 x 8 1/2 inches Signed, titled and dated in pencil on print verso. 0113260-111 $24,000.00

. Lisette MODEL Running Legs, 42nd Street, New York, 1940-41 Gelatin silver print; printed 1964 15 1/2 x 19 1/2 inches Signed, dated, and print date in ink on print verso. 0112506-111 $28,000.00

. Lisette MODEL Cafe Metropole, New York, c.1946 Gelatin silver print; printed 1976 19 1/4 x 15 3/8 inches Signed and numbered in pencil with photographer's copyright stamp on print verso. 0101031 $9,000.00

. WEEGEE The Human Cannonball, 1943 Gelatin silver print; printed c.1955 13 3/8 x 10 inches Photographer's “Weegee The Famous” credit stamp and photographer's ”451 West 47th Street, New York City” address stamp on print verso. 0141403 $25,000.00

. WEEGEE Easter Sunday, Harlem, c.1940 Gelatin silver print; printed c.1955 13 1/4 x 10 1/2 inches Photographer's “Weegee The Famous” credit stamp, photographer's ”451 West 47th Street, New York City” address stamp, and photographer's ”6526 Selma Avenue, Hollywood” address stamp on print verso. 0141402 $18,000.00

HOWARD GREENBERG GALLERY TO PRESENT THE NEW YORK SCHOOL: PHOTOGRAPHS, 1936 – 1963

THE ADAA ART SHOW FEBRUARY 27 – MARCH 1, 2020 PARK AVENUE ARMORY

Ted CRONER, Central Park South, 1947-48

NEW YORK— It was an extraordinary time for photography in New York City. Rules were broken. Innovation was paramount. The spirit of existentialism soared. And in the process, a group of photographers would go on to rock the very foundations of photography.

Known as the New York School, they were a loosely defined cadre of forward-thinking photographers whose influence helped shape the trajectory of Howard Greenberg Gallery. Some of their most iconic images will be on view in The New York School: Photographs, 1936- 1963 at Howard Greenberg Gallery at The Art Show, presented by the Art Dealers Association of America, from February 27 through March 1, 2020 at the Park Avenue Armory.

From the 1930s through the 1960s, photography in New York developed a distinct aesthetic due to a number of factors, including the influx of prominent European artists as a result of the two World Wars, the growing use of photography in magazines and books, as well as film noir and burgeoning social movements. A group of photographers emerged that showed “the sustained aesthetic quality, authority, and invention in their work that define artistic innovators,” according to Jane Livingston, a former curator at the Los Angeles County Museum of Art, whose seminal 1992 book The New York School: Photographs, 1936 – 1963, has characterized the genre.

The exhibition at Howard Greenberg Gallery at The Art Show will include work by photographers including Diane Arbus, Alexey Brodovitch, Ted Croner, Bruce Davidson, Louis Faurer, Sid Grossman, William Klein, Leon Levinstein, Saul Leiter, Helen Levitt, Lisette Model, and Weegee, among others.

As Livingston notes in her book, “The photographic style of the New York School is characterized by a conscious breaking of the rules of photography. The photographers belong to what has been characterized in poetry circles as the Robert Lowell generation: ‘those last outriders of a spent romanticism.’ However, their style has nothing to do with the sublimity or self-absorption we ordinarily associate with romanticism: rather it is an utterly tough-minded, sometimes consciously un-artistic modality.”

Photography and photo history before the 1930s were defined in a linear manner with rigid categories, but by 1936, photography had expanded into a much more multidisciplinary practice. The editorial influence on photography by Harper’s Bazaar art director Alexey Brodovitch and his Design Laboratory, combined with the vast cultural melting pot of New York City forged a refinement of radical visual ideas. Photographers began developing an editorial focus and creative rigor that made their images visually striking but humanistic. With their brand of touch-minded romanticism, they captured the increasingly interesting intersections of culture commerce and people that were unique to New York City during their time.

Nearly three decades after the publication of Livingston’s book, the legacy of the New York School of photographs remains as influential and absorbing as ever.