Provenance

Deborah Bell Photographs

Deborah Bell Photographs

Explore selected works

See all 12 works of art
The image displays sweeping curved lines and gradients, creating an abstract composition. Light and shadow play across the textured surface, resembling a coastal landscape with a shoreline curve. Dark areas convey depth while lighter sections suggest sand. The textures evoke rippling water or wind-blown sand dunes, connecting to the natural world through abstraction. Small, irregular shapes in the lower part could be interpreted as rocks or shells.
Rose Mandel, Untitled, c. 1960, gelatin silver print, Pepita Milmore Memorial Fund, 2024.40.2

Untitled

Rose Mandel · c. 1960 · gelatin silver print ·  Accession ID  2024.40.2

The image shows a top-down view of waves meeting a sandy shoreline. The horizon is not visible, focusing tightly on the water and sand textures. The wet sand is grainy, stretching diagonally across the frame. The sea is dark with white waves breaking on the shoreline. The color palette is grayscale, emphasizing the contrast between the sea and the sand.
Rose Mandel, Untitled, 1960, gelatin silver print, Pepita Milmore Memorial Fund, 2024.40.1

Untitled

Rose Mandel · 1960 · gelatin silver print ·  Accession ID  2024.40.1

The image shows a view of the ocean from a low vantage point near the water's surface. The horizon separates the sky and sea, with sunlight reflecting off the water. No identifiable objects are visible on the horizon. Waves and splashes are captured in motion, with spray frozen in the foreground. The color palette is primarily gray, emphasizing light and shadow on the waves and splashes.
Rose Mandel, Untitled (San Francisco), 1957, gelatin silver print, Pepita Milmore Memorial Fund, 2024.40.3

Untitled (San Francisco)

Rose Mandel · 1957 · gelatin silver print ·  Accession ID  2024.40.3

The image depicts five children and one adult standing outside a porch. The adult is leaning over the railing on the porch, while the children are gathered near the sidewalk. The children have various hairstyles and clothing, with one child wearing headphones. In the background, there are draped sheets and what appears to be a makeshift bed or couch. The scene is set in a residential area with a car parked on the street beside the house.
Earlie Hudnall, Jr., Street Champion, Fourth Ward, Houston, Texas, 1986, printed 1998, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund, 2022.109.2

Street Champion, Fourth Ward, Houston, Texas

Earlie Hudnall, Jr. · 1986, printed 1998 · gelatin silver print ·  Accession ID  2022.109.2

The image shows two rectangular boxes of "Macaroni moyen LA LUNE" by Bozon-Verduraz stacked on each other, with uncooked macaroni extending towards the foreground. The color palette of the image is monochromatic, with varying shades of black, white, and gray. The boxes are positioned in the background to the left, one atop the other, and the macaroni is fanned out in the foreground from the bottom left to the center right.
Florence Henri, Macaroni, 1929, gelatin silver print, R. K. Mellon Family Foundation, 2022.49.2

Macaroni

Florence Henri · 1929 · gelatin silver print ·  Accession ID  2022.49.2

The image shows an urban scene from an elevated viewpoint, looking out from a window across a row of buildings. The skyline consists of building tops, with a larger distant building visible in the background. In the middle section, more buildings with dimly lit windows are visible. Near the foreground, a bar with a figure inside is seen through large windows. The image is monochromatic with a grayscale palette, conveying a somber mood, heightened by the contrast between dark buildings and illuminated windows. The image appears to use a soft focus or blurred technique.
John Cohen, Tenth Street, New York City, 1959, gelatin silver print, Fund for Living Photographers, 2003.18.1

Tenth Street, New York City

John Cohen · 1959 · gelatin silver print ·  Accession ID  2003.18.1

This is a series of four black-and-white photographs arranged vertically. They all show the same urban street scene, although they each move incrementally farther down the street. The photograph on the top shows a sidewalk with tall arches on the right and a street on the left, more buildings beyond it. Far down the street in front of us, we can see a car parked next to the sidewalk. The second image appears to show us this same parked car, now seen up close. There are tall buildings on the left and right. Another car is parked behind this car, and father down the sidewalk is a street corner. The third photograph focuses on the second car and the street corner. Across the street, the sidewalk continues, with a street sign and distant, indistinct shapes on it. The last photograph seems to show us the end of this block, with stacks of tires on the right beside a brick building with the sign "Lee Tires" coming from it.
Vito Acconci, Blinks, 1969, 4 gelatin silver prints, Brinker Foundation Fund, 2007.58.1

Blinks

Vito Acconci · 1969 · 4 gelatin silver prints ·  Accession ID  2007.58.1

This is a poster of a person speaking passionately. The image features a large, stylized portrait of the person speaking, with their mouth open. In the lower right corner, there is a smaller full-body depiction of the same person at a microphone, raising their arm. The background is dark with blue rays radiating outward from the central portrait. Surrounding the large portrait are text and graphic elements conveying political messages, emphasizing themes of revolution and struggle. The text includes a quote about jailing revolutionaries and information about Fred Hampton. The overall style is bold and graphic, characteristic of protest or political art from the 20th century.
Emory Douglas, You Can Jail a Revolutionary, But You Can’t Jail a Revolution, 1969–1970, photo lithograph, Alfred H. Moses and Fern M. Schad Fund, 2022.109.1

You Can Jail a Revolutionary, But You Can’t Jail a Revolution

Emory Douglas · 1969–1970 · photo lithograph ·  Accession ID  2022.109.1

The image shows a woman from the waist up, seated slightly leaned against a cushioned surface or armrest. She is facing slightly to her right, with her chin tucked in and a gentle expression on her face. Her facial features include a smooth complexion and full lips, and her hair is neatly styled under an elaborate wide-brimmed hat adorned with large, ruffled flowers. She is wearing a long-sleeved, light-colored or white dress with structured shoulders. The sleeves have a glossy sheen, visible near the wrists. On her left wrist, she wears a bracelet with a rectangular watch face, and she has a ring on her left hand. Her nails are painted in a dark color. The background is a plain, softly lit wall without any discernible patterns or decorations.
Vera Jackson, Dorothy Dandridge, 1945, gelatin silver print, Pepita Milmore Memorial Fund, 2022.109.3

Dorothy Dandridge

Vera Jackson · 1945 · gelatin silver print ·  Accession ID  2022.109.3

The upper half of a woman is shown seated, leaning slightly against a textured wall. She is resting one arm on a wooden structure, possibly a staircase partially visible to the right. Her facial features include wide-set eyes, a straight nose, and a neutral expression with slightly open lips. Her hair is mostly concealed by a patterned headscarf tied at the back, with some short locks of hair visible around the sides of her face. She is dressed in a dark long-sleeved top with a lighter-colored collar and cuffs featuring a subtle floral pattern. Light falls diagonally across the image, casting shadows that create a striped effect on the wall behind her. In the background, there is a worn ladder and some coiled rope hanging in the shadows.
Dorothea Lange, Dorothy Brett, Painter, Taos, New Mexico, 1931, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund, 2022.49.3

Dorothy Brett, Painter, Taos, New Mexico

Dorothea Lange · 1931 · gelatin silver print ·  Accession ID  2022.49.3