The Edward Quinn Archive

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A total of 1615 images have been found for the keyword «AtWork».

  • Max Ernst working on the painting "Schwalbennest". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst working on the painting "Schwalbennest". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst working on the painting "Schwalbennest" ("Un nid d'hirondelle", "A Swallow's Nest") 1966. Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966 - Photo by Edward Quinn
  • Max Ernst. Behind him the painting "Tremblement de terre printanier". Seillans 1966. - Photo by Edward Quinn
  • Pablo Picasso signing "Beau gentilhomme espagnol et femme à barbe". Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso and Piero Crommelynck. Signing "Beau gentilhomme espagnol et femme à barbe". Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso signing. Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso signing. Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso dedicating "Pour Sabartés" (post mortem). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso dedicating "Pour Sabartés" (post mortem). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso drawing on a box (?). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso drawing on a box (?). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso drawing on a box (?). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso drawing on a box (?). Mas Notre-Dame-de-Vie, Mougins 1969. - Photo by Edward Quinn
  • Pablo Picasso and Jacqueline. Mas Notre-Dame-de-Vie, Mougins. 1969. - Photo by Edward Quinn
  • Pablo Picasso dedicating a book. Mas Notre-Dame-de-Vie, Mougins 1970. - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970.T his photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970.T his photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970. This photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Pablo Picasso working on the etching "Les coulisses du tableau: odalisque et peintre", 1970. Mas Notre-Dame-de-Vie, Mougins 1970.T his photo sequence was made during the making of Quinn’s film "Pablo Picasso l' homme et son oeuvre". "When Pablo Picasso was eighty-nine he asked Quinn to film him making a drypoint in order to demonstrate the steadiness of his hand". (Quinn in conversation with Marilyn McCully 1983) - Photo by Edward Quinn
  • Yaakov Agam, Israeli artist, leading exponent of optical and kinetic art at his studio in Paris 1974. - Photo by Edward Quinn
  • Kinetic Artist Hugo Demarco at his studio. Paris 1974. - Photo by Edward Quinn
  • Kinetic Artist Hugo Demarco at his studio. Paris 1974. - Photo by Edward Quinn
  • Max Ernst working on the sculpture "L'oiseau Janus" ("Vogel Janus") at his studio in Paris 1974. - Photo by Edward Quinn
  • Max Ernst working on the sculpture "L'oiseau Janus" ("Vogel Janus") at his studio in Paris 1974. - Photo by Edward Quinn
  • Max Ernst working on the sculpture "L'oiseau Janus" ("Vogel Janus") at his studio in Paris 1974. - Photo by Edward Quinn
  • Max Ernst working on sculpture "L'oiseau Janus" ("Vogel Janus") at his studio in Paris 1974. - Photo by Edward Quinn