The Edward Quinn Archive

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

  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris Oct 14 1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso and Luciano Emmer during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso, Luciano Emmer and cameraman Giulio Gianini during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso working on first version of plate of a woman (Irène Rignault, Madame X), during filming of "Pablo Picasso", directed by Luciano Emmer. Madoura pottery, Vallauris 14.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythological figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Pablo Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Picasso would sometimes squeeze a vase before the clay had hardened, molding it into a representational shape. "To give it life," he once said, "I have to wring its neck." Delighted that he could make the clay respond to any fantasy that passed through his mind, he shaped mythologicat figures such as fauns and satyrs, as well as vases representing graceful women, bulls, goats, fish, and above all, owls and doves. Here Picasso is working on small bird sculpture, Luciano Emmer film. Madoura pottery, Vallauris 14./15.10.1953. - Photo by Edward Quinn
  • Pablo Picasso at work. Studio Le Fournas 1953. - Photo by Edward Quinn
  • A member of the film team of Luciano Emmer. Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • A member of the film team of Luciano Emmer. Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Clapperboard for the film directed by Luciano Emmer. Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Clapperboard for the film directed by Luciano Emmer. Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)", ("Woman with a key"). Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is collecting a branch to ad to the sculpture. The branch was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is adding a branch to the sculpture which was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is adding a branch to the sculpture which was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is adding a branch to the sculpture which was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn
  • Pablo Picasso working in his sculpture studio Le Fournas making a sculpture figure with odds and ends from his scrap heap. Here he is adding a branch to the sculpture which was later replaced by a key. The finished sculpture got the name "La femme à la clé (La Taulière)" ("Woman with a key"). Le Fournas, Vallauris 1953. - Photo by Edward Quinn