Ed Clark 1926-2019 Moroccan Series 1973 dry pigment on paper 36 x 46 inches signed and dated This is an outstanding example of Clark's work on paper, with bold, saturated colors and an early date. Provenance: private collection, Detroit, MI.
ED CLARK Untitled (Yucatan Series). Color intaglio relief on Arches, 1976-77. 400x580 mm; 16x23 inches, full margins. Artist's proof, aside from the edition of 12. Signed, dated "76" and inscribed "A/P" in pencil, lower right. Printed by Robert Blackburn's Printmaking Workshop, New York. From the Yucatan series. A very good impression with strong colors.
ED CLARK Untitled (Yucatan Series). Color intaglio relief on Arches, 1976-77. 545x705 mm; 21½x28 inches, full margins. Artist's proof, aside from the edition of 12. Signed, titled, dated "77" and inscribed "A/P" in pencil (all very pale), lower margin. Printed by Robert Blackburn's Printmaking Workshop, New York. From the Yucatan series. A very good impression with strong colors.
ED CLARK (1926 - 2019) For the Sake of the Search. Set of 3 etchings with relief rainbow rolls in colors on Arches and Rives paper, 1997. Each 191x215 mm; 7½x8½ inches, full margins. Each signed, dated, and numbered X/L (10/50) in pencil, lower margins. Published by G. R. N'Namdi Gallery, New York, on the occasion of the publication For The Sake of the Search.
Artist: Ed Clark, American (1926 - 2019) Title: American Vision Gallery Poster Medium: Poster Size: 42 x 52 in. (106.68 x 132.08 cm) Description: Ed Clark was a legendary Black American Abstract Expressionist. This poster for his exhibition at American Vision Gallery in 1990 features his work "Paris Series", originally completed in 1989 as an acrylic and dry pigment on paper mounted to canvas.
Artist: Ed Clark, American (1926 - 2019) Title: American Vision Gallery Poster Medium: Poster Size: 42 x 52 in. (106.68 x 132.08 cm) Description: Ed Clark was a legendary Black American Abstract Expressionist. This poster for his exhibition at American Vision Gallery in 1990 features his work "Paris Series", originally completed in 1989 as an acrylic and dry pigment on paper mounted to canvas.
ED CLARK (1926 - 2019) Untitled. Offset color lithograph, 1979. 600x800 mm; 23x31 1/2 inches, full margins. Artist's proof, aside from the edition of 200. Signed, dated, inscribed "AP" and numbered 1/26 in pencil, lower margin.
Ed Clark Untitled 1988 acrylic and gesso on canvas 35.375 h x 35.375 w in (90 x 90 cm) Signed, dated and inscribed to verso 'Clark 88 to Darwin - Ed Clark'. Provenance: Acquired directly from the artist, Collection of USAF Maj. Darwin I. Bell, North Carolina | Private Collection This work will ship from Lambertville, New Jersey.
Edward Clark (American/Tennessee, 1911-2000) rare signed photograph of President Franklin D. Roosevelt, British Prime Minister Winston Churchill, and Canadian Prime Minister Mackenzie King at the Quebec Conference, August 19, 1943. The three world leaders are pictured at lower left, seated, surrounded by the press corps. Clark's signature appears in the lower right of the image and also appears in the lower right margin along with the title of the photograph; however, the margin text has been scratched out, presumably by Clark himself. Matted and framed under plexiglass in a distressed stained wood frame. Image: 9 3/4" H x 13 1/8" W. Framed: 17 1/4" H x 20 1/4" W. Note: Although the Washington Post, in its 2000 obituary of Clark, mentioned him photographing Roosevelt and Churchill at their rare joint appearance in Quebec in 1943, this image is the first and only one we have been able to find taken at the event by Clark. Biography: Born in Nashville, photographer Ed Clark began working for The Tennessean Newspaper. Life Magazine made him a stringer in 1936. His famous 1942 photo of Alvin York registering for the draft brought an official job offer, but he refused to leave Nashville as he felt it was a better place to raise his young sons. During his career working for Life and several other magazines, he captured images of racial discrimination, Hollywood celebrities, and several presidents. He is perhaps best known for his 1945 photo of a grieving Navy musician playing in honor of Franklin D. Roosevelt's funeral train.
ED CLARK (1926 - 2019) Untitled. Offset color lithograph, 1979. 600x800 mm; 23x31 1/2 inches, full margins. Artist's proof, aside from the edition of 200. Signed, dated, inscribed "AP" and numbered 1/26 in pencil, lower margin.
ED CLARK (1926 - 2019) Untitled. Color lithograph on wove paper, 2000. 762x813 mm; 30x32 inches, full margins. Signed and numbered 12/25 in pencil, lower margin.
Ed Clark (1926-2019) Untitled, 1979 Lithograph in colors on wove paper, signed in pencil, dated and numbered 37/200, with full margins. 23 7/8 x 32in (60.6 x 81.3cm) sheet 26 x 34in (66 x 86.4cm)
Ed Clark Untitled, Paris Rubbish Bins 1952 oil on canvas 24 x 28 inches signed Provenance: private collection; descended in the family of Ed Clark's friend and neighbor in Paris from the early 1950s. This work is typical of Clark's early style, and the way the paint is applied on the sides of the rubbish bins and the dominant use of white is a preview of his later purely abstract work.
Edward (Ed) Clark American, 1911-2000 Selling Flowers on the Banks of the Seine, 1946 Silver gelatin print Hand-signed, dated, and notated "Life" along lower edge. Depicting a merchant on a rainy day, paused at the edge of a sidewalk overlooking the river. Mounted behind glass, metal frame. From Life: Paris Unadorned: Portraits of the City of Light, 1946 "In early 1946, photographer Ed Clark journeyed to Paris ("the grand courtesan of all cities," LIFE called the ancient town) to record the look and the feel of the French capital less than a year after the end of World War II. The pictures he made there chronicle not the cheerful, bawdy Paris of the popular imagination, but a place that, as LIFE told its readers, was a "grim and depressing disappointment" for any visitors expecting the Paris of Maxim's, the Ritz, the Folies Bergère, the Moulin Rouge and the city's other legendary, libidinous diversions. The Parisians themselves, meanwhile, were "cold, hungry, confused and tired above all, tired too busy keeping themselves alive to bother much about entertaining. . . . [The typical American GI in Paris at the time] felt cheated. Where was the Paris he had heard about?" The Paris [of Clark's photos] is the Paris of the Parisians and of anyone else who will take her. She is unadorned, somber and beautiful. Most of the pictures were taken in mist or rain, when the sharp, clean lines of the city's spires and the bridges pierce through a curtain of gray. This is the Paris that neither Germans nor GIs could change. Even in the age of the atom bomb, she is as indestructible as the river." About the artist: Ed Clark was a 20th century photographer who worked primarily for Life magazine. His best remembered work captured a weeping Graham W. Jackson, Sr. playing his accordion as the body of the recently deceased President Franklin D. Roosevelt was being transported to Washington, DC. His work came to the notice of Life, which made him a stringer in 1936. A 1942 photograph of World War I hero Alvin York registering for "The Old Man's Draft" brought a job offer, but he turned it down; "I was raising two young boys, and New York didn't seem like the place to raise them," he later explained. However, he changed his mind, becoming a staff photographer in 1944, after Life allowed him to remain in Tennessee for a few years.
ED CLARK (1926 - 2019) Untitled (For the Sake of the Search). Color etching printed with relief rainbow rolls on Arches paper, 1997. 191x215 mm; 7 1/2x8 1/2 inches, full margins. Signed, dated and numbered 47/95 in pencil, lower margin. Published by G. R. N'Namdi Gallery, New York, on the occasion of the publication of the book For The Sake of the Search.
ED CLARK (1926 - 2019) Untitled. Monoprint in oil on thick cream wove paper, 1982. 694x939 mm; 27 3/8x37 inches, full margins. Signed, dated and inscribed "monoprint" in pencil, lower right. Provenance: acquired from G. R. N'Namdi Gallery, Birmingham, MI; private collection, Michigan (1992).
ED CLARK (1926 - 2019) Untitled. Offset color lithograph, 1979. 600x800 mm; 23x31 1/2 inches, full margins. Signed, dated and numberd 173/200 in pencil, lower margin.
Ed CLARK (1911-2000) Test de conduite d’une Corvette de première génération sur une route ensablée aux environs de Los Angeles. Californie, États-Unis d’Amérique, 1953 Format de l’image : 40 × 42 cm – Format fini : 60 × 62 cm Tirage moderne argento-numérique sur papier Fujiflex. Encadrement bois noir et passepartout. Edition spéciale 1/1. Tampon sec sur le tirage. Test-driving a first-generation Corvette on dirt roads around Los Angeles. California, United States of America, 1953 Print format: 40 × 42 cm – Full size: 60 × 62 cm Modern C print on Fujiflex paper. Black wooden frame and mat. Special Edition 1/1. Embossed stamp.
Ed CLARK (1911-2000) L’actrice Marilyn Monroe porte sa célèbre robe en lamé or dessinée par le costumier Bill Travilla pour une publicité du film ‘Les hommes préfèrent les blondes’ de Howard Hawks. Los Angeles, Californie, États-Unis d’Amérique, 1953 Format de l’image : 50 × 40 cm – Format fini : 70 × 50 cm Tirage moderne argento-numérique sur papier Fujiflex. Encadrement bois noir et passepartout. Edition spéciale 1/1. Tampon sec sur le tirage. Actress Marilyn Monroe wearing her famous gold lame gown designed by Bill Travilla for a publicity still for the motion picture “Gentlemen Prefer Blondes”. Los Angeles, California, United States of America, 1953 Print format: 50 × 40 cm – Full size: 70 × 50 cm Modern C print on Fujiflex paper. Black wooden frame and mat. Special Edition 1/1. Embossed stamp.
Ed CLARK (1911-2000) L’acteur Américain Marlon Brando entrain de lire pendant une pose sur le tournage de son premier film ‘The Men’. États-Unis d’Amérique, 1949 Format de l’image : 40 × 38 cm – Format fini : 57 × 55 cm Tirage moderne à l’encre au charbon (piézographie) sur papier baryté Hahnemühle. Encadrement bois noir et passepartout. Edition spéciale 1/1. Tampon sec sur le tirage. American actor Marlon Brando reads a book during a break while filming “The Men”. United States of America, 1949 Print format: 40 × 38 cm – Full size: 57 × 55 cm Modern print on Hahnemühle baryta paper, Piezography processing. Black wooden frame and mat. Special Edition 1/1. Embossed stamp.
Ed Clark (American, 1926-2019) Creation, 2006 acrylic on canvas signed Ed Clark, titled and dated (verso) 72 x 84 inches. Property from the Collection of Dominic Pangborn, Grosse Pointe, Michigan Provenance: N'Namdi Center for Contemporary Art, Detroit, Michigan Lot Note: Often overlooked Abstract painter Ed Clark was born in New Orleans in 1926, raised in Chicago and despite his woeful lack of name recognition, had a significant influence on Post War American painting that cannot be understated. Arguably a product of racial inequality, the groundbreaking impact of Clark’s work was dampened by the establishment to a quiet storm on the landscape of abstraction for much of his life, with the appropriate attention finally paid to his import only in his later years propelled by a career spanning exhibit at the Art Institute of Chicago in 2013. Fittingly, Clark’s artistic journey began at the School of the Art Institute of Chicago, following service in the United States Air Force without seeing combat during World War II, Clark used his GI Bill of Rights Grant to enroll at SAIC, studying under the figurative tutelage of Louis Ritman. Still sponsored by the United States Government, he continued his education in painting at the Académie de la Grande Chaumière in Paris, ultimately making the city of light his studio home for decades to come. Arriving in Europe a figurative painter, Clark shifted his preferred form of expression to abstraction with a particular interest in the physicality and movement of the paint itself, in large part due to the influence of French painters Nicholas de Stael and Pierre Soulages. It was during his time in Paris, that Clark first employed his signature technique of using a push broom to athletically apply large sweeps of color to canvases laid on the studio floor in energized horizontal waves of material motion. This approach removed the effects of gravity on the medium from the process, placing the exerted activation of the paint entirely in Clark and his broom’s control and allowing as well, for an equitable treatment of all four edges of the picture plane and the fullest brush load application possible. In the late 1950s Ed Clark was a key contributor to the New York School of painting cofounding the cooperative Brata Gallery on 10th Street in 1957 and innovatively pioneering the use of shaped canvases in a group show later the same year. Shared formal sensibilities withstanding, Clark was adjacent to and never officially aligned with the Abstract Expressionists, following a 1958 solo show at Brata he did not show his paintings again in New York until the 70s, mostly exhibiting in Europe. Clark had established Paris as his base of practice, finding creative comradery there amongst fellow ex pat painters Beauford Delaney, Sam Francis and Joan Mitchell and enjoying the creative French freedom of being judged by the colors of his paintings and not the color of his skin. While Clark’s primary concern in painting was the active physicality of the composing process, the shrewd attention to color theory dynamics and the unique expression of imagined light as color were also consciously addressed on all the artist’s canvases. Inspired by this intense interest in light, Clark traveled the globe chasing atmospheres, the absorbed regional hues, opacity and spaces of Brazil, China, Cuba, Mexico, Martinique and Nigeria ultimately informing the pallete, energy and organization of the corresponding paintings. The resulting products purely abstract realizations by intent, the typically horizontal, two-dimensional tension of shapes, pigments and brushstrokes of the arrangements cannot escape evoking landscape reference, albeit of wonderfully mysterious locale. The viewer in turn enveloped by the distilled essence of the experienced environment as presented by Clark’s action in paint, a participant in an orchestral movement of mood, value and volume. The painting presently offered is a seminal late career work, distinctly demonstrating Clark’s rarified painterly vision, and reflecting the evolved refinement of a life’s commitment to pushing the language of non-objective expression into new realms. The aptly titled Creation from 2006 captures, like all of Clark’s best works, the beautiful functional agitation of making in two dimensions, a calculated and colorful big bang on canvas, defining the form of painted composition from the void of negative space. A modulated wave of light blue with accenting white crests splashes across the upper portion of the canvas, terrestrial green section peers through this gestural storm of inventive energy, slightly grounding the cosmic force. Deep reds aggressively churn and dance at the bottom of the picture plane, explosive and angry like molten magma or boiling blood, an exciting antagonist to the soothing space specifying sky-blue swath above. The powerful primaries harnessed, crash in the center, a collision of vivid color titans giving life to a calm cloud of blended purple a restful island in the primordial soup of Clark’s creative crescendo. Economic refrains of pink, white and magenta punctuate the captivating visual conflict bringing further comforting balance to the composition. In this symphony of shape and saturation overtures, Clark generously guides the audience’s eyes through the sublime struggle of all phases of the creation process from the ecstasy of inception, through the daring exercise of deciding directions to the culminative solution to problem of concocted space with the satisfying and elevating finishing strokes. Although the evidence of effort is integral to the painting, the artistry itself appears effortless as though a natural phenomenon articulating an accessible pattern of a greater divine order, a tangible display of a generous creators affirming toil, the ultimate product a transcendent artifact of the transformative and progressive experience of the maker making.
Ed Clark Abstract Composition 1979 offset lithograph in colors image: 23.5 h × 32 w in (60 × 81 cm) sheet: 26 h × 34 w in (66 × 86 cm) Signed, dated and numbered to lower edge '37/200 Clark 79'. This work is number 37 from the edition of 200. This work will ship from Wright in Chicago, Illinois. condition: Print is in overall good condition. There is a small tear in margin to lower edge measuring .25" and the upper right corner is softened. Sheet has a slight curl to it from storage. Unframed.
Ed Clark American, 1926-2019 Untitled (Paris 03), 2003 Signed, dated and inscribed Ed Clark Paris - 03 - 3 on the reverse Acrylic on canvas 24 x 24 inches (61 x 61 cm) Provenance: Norman Parish Gallery, Washington, DC Purchased from the above in 2004 by the current owner C
ED CLARK (1926 - 2019) Spatial Image III. Dry pigment on wove paper, 1982. 1346x1651 mm; 53x65 inches. Signed and dated in pencil, lower right. Typed label on the frame back supplying the title. Provenance: acquired from G. R. N'Namdi Gallery, Detroit; private collection, Michigan. Exhibited: Ed Clark: Recent Work, Randall Galleries, Ltd., New York, May 12 - June 5, 1982. Illustrated: June Kelly, Ed Clark: Recent Work, Randall Galleries, Ltd., New York, front cover. Ed Clark's pigment on paper artworks lies between intention and accident. Spatial Image III is an excellent example of his works on paper, and a significant work in his development of the dry pigment technique, inspired by Pueblo sand paintings of the American Southwest. After working in Taos, New Mexico, Clark created a new group of large-scale painting in acrylic and works on paper composed of brown, blue, red, and orange pigment during a three month stay in Paris. He reinterpreted the oval forms that preoccupied him in the 1960s, as glowing clouds of atmospheric color. In June Kelly's Randall Galleries catalogue essay, Clark describes this experimental approach: "With my hands forcing the colors, it is no longer the classic pastel technique. It is more akin to the sand painting of the Navajo and Pueblo Indians. The possibility of changing the image is immediate and the opportunity for spontaneity is greatly enhanced. For me it has been a personal breakthrough in the abstract experience." Born in New Orleans, Louisiana, he studied at the Art Institute of Chicago from 1946 to 1951, and in 1952 at the Academy de la Grande Chaumière in Paris, where he lived until 1958. George Sugarman then persuaded him to return to New York to help found the Brata Gallery with Ronald Bladen, Al Held and others. Clark exhibited there until 1966, when he returned to France for three more years. He has acknowledged the influence of the paintings of Nicolas de Stael and the music of Miles Davis and Charlie Parker, and later the gestural abstractions of Hans Hartung and Pierre Soulages. He exhibited internationally and his paintings are in numerous institutional collections including the Art Institute of Chicago, Brooklyn Museum, Detroit Institute of the Arts, Museum of Modern Art, Pérez Art Museum, Saint Louis Art Museum and the Whitney Museum of American Art.
ED CLARK (1926 - 2019) Untitled. Offset color lithograph, 1979. 600x800 mm; 23x31 1/2 inches, full margins. Signed, dated and numberd 15/200 in pencil, lower margin.
Ed Clark Untitled (from the New York Series) 1960 oil on canvas 58 h × 34.5 w in (147 × 88 cm) Signed and dated to lower left 'Clark 60'. Provenance: Steven Wolf Fine Arts, San Francisco | Private Collection, Los Angeles condition: Very good vintage condition. Linen substrate has darkened with age and is visible in the more thinly impastoed areas. Two patches to the verso with corresponding retouching to the recto, which are evident under UV light. One additional area with apparent retouching in green-painted area. A few fine mechanical cracks; but paint remains stable. Minor rubbed losses to paint along edges and to corners. Full conservator's report available upon request. Framed without glazing measuring 60 x 36 inches.
Ed Clark 1926-2019 untitled, Composition 1955 acrylic and gouache on paperboard 18 x 22 inches signed, dated and inscribed Paris recto; dedicated: To my dear friend, Al; also inscribed, "Paris" verso with artist's name Provenance: private collection, Philadelphia, PA
Ed Clark Untitled c. 2000 ink jet print sheet: 35 h × 36.75 w in (89 × 93 cm) image: 30 h × 31.75 w in (76 × 81 cm) Signed to lower right 'Ed Clark BAT'. This work is à bon a tirer apart from the edition of 25. condition: Work is in good overall condition. Very minor tear to upper right extreme edge and few minor creases to lower right corner and upper left edge. Image presents well with vibrant colors. Unframed.
ED CLARK (1926 - 2019) Untitled. Offset color lithograph, 1979. 609x825 mm; 24x32 1/2 inches, full margins. Artist's proof, aside from an edition of unknown size. Signed, dated and inscribed "A/P" in pencil, lower margin.
ED CLARK (1926 - 2019) Untitled. Color lithograph on wove paper, 2000. 876x914 mm; 34 1/2x36 inches, full margin. Signed and numbered 7/25 in pencil, lower margin.
ED CLARK (1926 - 2019 ) Untitled (Bahia Series) Acrylic and natural pigment on cotton canvas, 1988. 508x610 mm; 20x24 inches. Signed and dated in acrylic, verso. Provenance: private collection, New York; thence by descent to a private collection, California. This vibrant canvas is from the artist's 1988 Bahia series. Inspired by a visit to Jack Whitten in Crete in 1971, Ed Clark began to travel to various foreign countries to paint - including Nigeria, Martinique, Bahia and Morocco - through the 1980s. Another work from this series in the collection of the Museu de Arte Moderna Bahia. Ed Clark was a trailblazing, important international figure in post-war and contemporary abstract painting over a sixty year career. Born in New Orleans, Louisiana, he studied at the Art Institute of Chicago from 1946 to 1951, and in 1952 at the Academy de la Grande Chaumière in Paris, where he lived until 1958. George Sugarman then persuaded him to return to New York to help found the Brata Gallery with Ronald Bladen, Al Held and others. Clark showed there until 1966, when he returned to France for three more years. He has acknowledged the influence of the paintings of Nicolas de Stael and the music of Miles Davis and Charlie Parker, and later the gestural abstractions of Hans Hartung and Pierre Soulages. He exhibited widely internationally and his paintings are in numerous institutional collections including the Art Institute of Chicago, Brooklyn Museum, Detroit Institute of the Arts, Museum of Modern Art, Pérez Art Museum, Saint Louis Art Museum and the Whitney Museum of American Art.
ED CLARK (1926 - 2019) Untitled (Yucatan Series). Color intaglio relief on coated cream wove paper, 1976. 543x771 mm; 21 3/4x28 inches, wide margins. Artist's proof, aside from the edition of 12. Signed, titled, and inscribed "A/P" and "To Rick" in ink, lower margin. Printed at Robert Blackburn's Printmaking Workshop, New York. This impressive print is a rare artist's proof from Ed Clark's 1976-77 Yucatan series.
Ed Clark, Diego Rivera, c. 1945, Vintage gelatin silver print, 13.5" x 10.75". Signed in pencil on verso. Artist biography: Armed with a Leica, Nikon or Rolleiflex, Mr. Clark spent decades standing discreetly in the background on the stage of world history, capturing vivid and enduring images that linked millions of people with the great events and dominant figures of their times. He photographed Roosevelt and British Prime Minister Winston Churchill at their World War II meeting in Quebec. He showed Harry S. Truman on one of his morning walks through Washington; he portrayed Dwight D. Eisenhower in the Oval Office and soon-to-be President John F. Kennedy at home in Georgetown with his young daughter, Caroline. Other memorable photographs show a Nebraska wheat farmer, pausing to drink water from a canvas sack; movie stars Marilyn Monroe and Humphrey Bogart; the streets of Paris; a German boy on crutches standing amid the devastation of World War II; and German Luftwaffe leader Hermann Goering scowling at the war crimes trials. Mr. Clark "was one of a kind," his wife, Joyce, said last night from their home. He was born in Nashville and did not like school, she said. Although he had never had a lesson, he bluffed his way into a photographer's job at the Nashville Tennessean newspaper. He was on call round-the-clock, seven days a week, for $40 a month, but "he loved it," she said, and would have hauled about the heavy 8-by-10-inch view camera then in use for nothing. "He just had a natural talent" for photography, she said. This soon brought him to the attention of Life magazine, perhaps the world's premier outlet for photojournalism. Life made him a stringer in the 1930s. Later the editors wished to bring him on to the staff, but he would have none of New York. Finally, the magazine decided to base him in his native city, and he was there, his wife said, when the urgent message arrived in 1945 about Roosevelt's death in Warm Springs, Ga. "He drove all night," his wife said. He arrived in time to join a media swarm maneuvering for position as the hearse approached. Then he heard Jackson's accordion, playing one of Roosevelt's favorite songs, "Goin' Home." He wheeled about and saw the tears streaming down the bandsman's face. "I thought, 'My God, what a picture,' " Mr. Clark told an interviewer. He snapped a few quick shots with his Leica, hoping that nobody else was doing the same. No one was, and one of Mr. Clark's photos occupied a full page in the next issue of Life. One ranking lists the photograph among the century's 10 best, his wife said. "He was very proud of that picture," she said. "He had the eye of an artist . . . [and was] very unobtrusive, and very gentle. People didn't even realize he was there." After photographing postwar Europe, Mr. Clark was sent by Life to Los Angeles, and then brought to Washington in 1953 to cover the incoming Eisenhower administration. "He was the photographic voice of Middle America," Time photographer Dirck Halstead told the Sarasota Herald-Tribune. "He came to his assignments not as a cosmopolitan guy, but as the down-home boy from Tennessee that he was." (Washington Post)
Ed Clark, Hollywood, Clark Gable & Carole Lombard, c. 1939, Vintage gelatin silver print, 14" x 11". Signed and titled in pen on recto. Numbered in pencil on verso. Artist biography: Armed with a Leica, Nikon or Rolleiflex, Mr. Clark spent decades standing discreetly in the background on the stage of world history, capturing vivid and enduring images that linked millions of people with the great events and dominant figures of their times. He photographed Roosevelt and British Prime Minister Winston Churchill at their World War II meeting in Quebec. He showed Harry S. Truman on one of his morning walks through Washington; he portrayed Dwight D. Eisenhower in the Oval Office and soon-to-be President John F. Kennedy at home in Georgetown with his young daughter, Caroline. Other memorable photographs show a Nebraska wheat farmer, pausing to drink water from a canvas sack; movie stars Marilyn Monroe and Humphrey Bogart; the streets of Paris; a German boy on crutches standing amid the devastation of World War II; and German Luftwaffe leader Hermann Goering scowling at the war crimes trials. Mr. Clark "was one of a kind," his wife, Joyce, said last night from their home. He was born in Nashville and did not like school, she said. Although he had never had a lesson, he bluffed his way into a photographer's job at the Nashville Tennessean newspaper. He was on call round-the-clock, seven days a week, for $40 a month, but "he loved it," she said, and would have hauled about the heavy 8-by-10-inch view camera then in use for nothing. "He just had a natural talent" for photography, she said. This soon brought him to the attention of Life magazine, perhaps the world's premier outlet for photojournalism. Life made him a stringer in the 1930s. Later the editors wished to bring him on to the staff, but he would have none of New York. Finally, the magazine decided to base him in his native city, and he was there, his wife said, when the urgent message arrived in 1945 about Roosevelt's death in Warm Springs, Ga. "He drove all night," his wife said. He arrived in time to join a media swarm maneuvering for position as the hearse approached. Then he heard Jackson's accordion, playing one of Roosevelt's favorite songs, "Goin' Home." He wheeled about and saw the tears streaming down the bandsman's face. "I thought, 'My God, what a picture,' " Mr. Clark told an interviewer. He snapped a few quick shots with his Leica, hoping that nobody else was doing the same. No one was, and one of Mr. Clark's photos occupied a full page in the next issue of Life. One ranking lists the photograph among the century's 10 best, his wife said. "He was very proud of that picture," she said. "He had the eye of an artist . . . [and was] very unobtrusive, and very gentle. People didn't even realize he was there." After photographing postwar Europe, Mr. Clark was sent by Life to Los Angeles, and then brought to Washington in 1953 to cover the incoming Eisenhower administration. "He was the photographic voice of Middle America," Time photographer Dirck Halstead told the Sarasota Herald-Tribune. "He came to his assignments not as a cosmopolitan guy, but as the down-home boy from Tennessee that he was." (Washington Post)
Ed Clark, Ike's Trip, 1960, Vintage gelatin silver print, 8.75" x 13.25". Artist's credit for Life Magazine stamped on verso with title and date. Signed in pencil on verso. Numbered in pencil on verso. Artist biography: Armed with a Leica, Nikon or Rolleiflex, Mr. Clark spent decades standing discreetly in the background on the stage of world history, capturing vivid and enduring images that linked millions of people with the great events and dominant figures of their times. He photographed Roosevelt and British Prime Minister Winston Churchill at their World War II meeting in Quebec. He showed Harry S. Truman on one of his morning walks through Washington; he portrayed Dwight D. Eisenhower in the Oval Office and soon-to-be President John F. Kennedy at home in Georgetown with his young daughter, Caroline. Other memorable photographs show a Nebraska wheat farmer, pausing to drink water from a canvas sack; movie stars Marilyn Monroe and Humphrey Bogart; the streets of Paris; a German boy on crutches standing amid the devastation of World War II; and German Luftwaffe leader Hermann Goering scowling at the war crimes trials. Mr. Clark "was one of a kind," his wife, Joyce, said last night from their home. He was born in Nashville and did not like school, she said. Although he had never had a lesson, he bluffed his way into a photographer's job at the Nashville Tennessean newspaper. He was on call round-the-clock, seven days a week, for $40 a month, but "he loved it," she said, and would have hauled about the heavy 8-by-10-inch view camera then in use for nothing. "He just had a natural talent" for photography, she said. This soon brought him to the attention of Life magazine, perhaps the world's premier outlet for photojournalism. Life made him a stringer in the 1930s. Later the editors wished to bring him on to the staff, but he would have none of New York. Finally, the magazine decided to base him in his native city, and he was there, his wife said, when the urgent message arrived in 1945 about Roosevelt's death in Warm Springs, Ga. "He drove all night," his wife said. He arrived in time to join a media swarm maneuvering for position as the hearse approached. Then he heard Jackson's accordion, playing one of Roosevelt's favorite songs, "Goin' Home." He wheeled about and saw the tears streaming down the bandsman's face. "I thought, 'My God, what a picture,' " Mr. Clark told an interviewer. He snapped a few quick shots with his Leica, hoping that nobody else was doing the same. No one was, and one of Mr. Clark's photos occupied a full page in the next issue of Life. One ranking lists the photograph among the century's 10 best, his wife said. "He was very proud of that picture," she said. "He had the eye of an artist . . . [and was] very unobtrusive, and very gentle. People didn't even realize he was there." After photographing postwar Europe, Mr. Clark was sent by Life to Los Angeles, and then brought to Washington in 1953 to cover the incoming Eisenhower administration. "He was the photographic voice of Middle America," Time photographer Dirck Halstead told the Sarasota Herald-Tribune. "He came to his assignments not as a cosmopolitan guy, but as the down-home boy from Tennessee that he was." (Washington Post)
Ed Clark, Integration in Little Rock, 1957, Vintage gelatin silver print, 9" x 12.25". Artist's credit for Life Magazine stamped on verso with title and date. Signed in pencil on verso. Numbered in pencil on verso. Artist biography: Armed with a Leica, Nikon or Rolleiflex, Mr. Clark spent decades standing discreetly in the background on the stage of world history, capturing vivid and enduring images that linked millions of people with the great events and dominant figures of their times. He photographed Roosevelt and British Prime Minister Winston Churchill at their World War II meeting in Quebec. He showed Harry S. Truman on one of his morning walks through Washington; he portrayed Dwight D. Eisenhower in the Oval Office and soon-to-be President John F. Kennedy at home in Georgetown with his young daughter, Caroline. Other memorable photographs show a Nebraska wheat farmer, pausing to drink water from a canvas sack; movie stars Marilyn Monroe and Humphrey Bogart; the streets of Paris; a German boy on crutches standing amid the devastation of World War II; and German Luftwaffe leader Hermann Goering scowling at the war crimes trials. Mr. Clark "was one of a kind," his wife, Joyce, said last night from their home. He was born in Nashville and did not like school, she said. Although he had never had a lesson, he bluffed his way into a photographer's job at the Nashville Tennessean newspaper. He was on call round-the-clock, seven days a week, for $40 a month, but "he loved it," she said, and would have hauled about the heavy 8-by-10-inch view camera then in use for nothing. "He just had a natural talent" for photography, she said. This soon brought him to the attention of Life magazine, perhaps the world's premier outlet for photojournalism. Life made him a stringer in the 1930s. Later the editors wished to bring him on to the staff, but he would have none of New York. Finally, the magazine decided to base him in his native city, and he was there, his wife said, when the urgent message arrived in 1945 about Roosevelt's death in Warm Springs, Ga. "He drove all night," his wife said. He arrived in time to join a media swarm maneuvering for position as the hearse approached. Then he heard Jackson's accordion, playing one of Roosevelt's favorite songs, "Goin' Home." He wheeled about and saw the tears streaming down the bandsman's face. "I thought, 'My God, what a picture,' " Mr. Clark told an interviewer. He snapped a few quick shots with his Leica, hoping that nobody else was doing the same. No one was, and one of Mr. Clark's photos occupied a full page in the next issue of Life. One ranking lists the photograph among the century's 10 best, his wife said. "He was very proud of that picture," she said. "He had the eye of an artist . . . [and was] very unobtrusive, and very gentle. People didn't even realize he was there." After photographing postwar Europe, Mr. Clark was sent by Life to Los Angeles, and then brought to Washington in 1953 to cover the incoming Eisenhower administration. "He was the photographic voice of Middle America," Time photographer Dirck Halstead told the Sarasota Herald-Tribune. "He came to his assignments not as a cosmopolitan guy, but as the down-home boy from Tennessee that he was." (Washington Post)
Ed CLARK (1911-2000) Un jeune artiste peint une vue du Sacré-Cœur depuis la rue Norvins à Montmartre. Paris, France, 1946 Format de l'image : 50 x 40 cm Tirage moderne réalisé en piezographie sur papier baryté Hahnemühle. Encadrement bois noir et passe-partout 5 cm tournant. Edition spéciale 1/1. Tampon à sec sur le tirage. Young artist paints the Sacré Coeur from the Rue Norvins In Montmartre. Paris, France, 1946 Print Format: 50 x 40 cm Modern print on Hahnemühle baryta paper, Piezography processing. Black wooden frame, 5 cm mat. Special edition 1/1. Embossed stamp.
