The Edward Quinn Archive

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A total of 679 images have been found for the keyword «PaintingUtensils».

  • Salvador Dalí shows the set up from which he hopes to obtain the painting, a sea urchin is placed on a small chair and in its mouth, the "Aristotle's lantern", he puts a swan’s feather or other light object. The swan’s feather (he owns two swans which swim around in the sea in front of his home at Port Lligat) is allowed to slightly touch a sheet of blackened paper. The movements then made by the "oursin" are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí shows the set up from which he hopes to obtain the painting, a sea urchin is placed on a small chair and in its mouth, the "Aristotle's lantern", he puts a swan’s feather or other light object. The swan’s feather (he owns two swans which swim around in the sea in front of his home at Port Lligat) is allowed to slightly touch a sheet of blackened paper. The movements then made by the "oursin" are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí works on his experiments with the sea urchin (oursin) holding a swanfeather or a dried flower and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués, on the Costa Brava 1957. - Photo by Edward Quinn
  • Watched by his wife Gala, Salvador Dalí works on his experiments with the sea urchin holding a swan feather and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués, on the Costa Brava 1957. - Photo by Edward Quinn
  • Watched by his wife Gala, Salvador Dalí works on his experiments with the sea urchin holding a swan feather and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués, on the Costa Brava 1957. - Photo by Edward Quinn
  • Watched by his wife Gala, Salvador Dalí works on his experiments with the sea urchin holding a swan feather and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués, on the Costa Brava 1957. - Photo by Edward Quinn
  • Salvador Dalí works on his experiments with the sea urchin holding a swan feather and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Port Lligas on the Costa Brava 1957. - Photo by Edward Quinn
  • Salvador Dalí works on his experiments with the sea urchin holding a swan feather or a dry flower and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués on the Costa Brava 1957. - Photo by Edward Quinn
  • Salvador Dalí works on his experiments with the sea urchin he calls Sputnik holding a dried flower and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués on the Costa Brava 1957. - Photo by Edward Quinn
  • Salvador Dalí shows the set up from which he hopes to obtain the painting, a sea urchin is placed on an overturned inkwell glass and in its mouth, the"Aristotle's lantern", which has the movements of a human hand) he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • First results of Salvador Dalí's experiments with the sea urchin holding a swanfeather or a dried flower and moving backwards and forewards thus marking the blackened paper. These experiments he is carrying out at his studio in his Spanish home at Portlligat, Cadaqués on the Costa Brava 1957. - Photo by Edward Quinn
  • The set up from which Salvador Dalí hopes to obtain the painting, a sea urchin is placed on an overturned inkwell glass and in its mouth ("Aristotle's lantern" which has the movements of a human hand) he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí shows the set up from which he hopes to obtain the painting, a sea urchin is placed on an overturned inkwell glass and in its mouth, the"Aristotle's lantern", he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • The set up from which Salvador Dalí hopes to obtain the painting, a sea urchin is placed on an overturned inkwell glass and in its mouth ("Aristotle's lantern" which has the movements of a human hand) he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • The set up from which Salvador Dalí hopes to obtain the painting, a sea urchin is placed on an overturned inkwell glass and in its mouth ("Aristotle's lantern" which has the movements of a human hand) he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí shows the set up from which he hopes to obtain a painting: A sea urchin is placed on an overturned inkwell glass and in its mouth, the "Aristotle's lantern", he puts a swan’s feather or here a light dried up flower. The object is allowed to slightly touch a sheet of blackened paper. The movements then made by the sea urchin are traced on the paper. The display board shows a sea urchin fossile. At Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. The display board shows a sea urchin fossile. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates his Canadian painter friend Philips the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Dalí demonstrates his Canadian painter friend Philips the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. The display board shows a sea urchin fossile. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates his view of the origin of the sea urchin, a liquid which takes on a particular form. At Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí with his sea urchins. A swan's feather he puts in the sea urchin's mouth is allowed to slightly touch a sheet of blackened paper. The movements then made are traced on the paper. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • Salvador Dalí demonstrates the origin of the "oursin", a liquid which takes on a particular form. Here he is seen using milk and water. At Salvador Dalí's house, Portlligat, Cadaqués 1957. - Photo by Edward Quinn
  • David Hockney working on the drawing "Carlos" at his studio in Paris 1975. - Photo by Edward Quinn
  • Alberto Magnelli at his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Alberto Magnelli at work at his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Alberto Magnelli at his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Alberto Magnelli at his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Alberto Magnelli at his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Alberto Magnelli in the garden of his studio La Ferrage, Plan-de-Grasse 1957. - Photo by Edward Quinn
  • Pablo Picasso at La Californie, Cannes 1957. - Photo by Edward Quinn
  • Pablo Picasso showing Suzanne wood sculptures "The Bathers (Les Baigneuses)". La Californie, Cannes 1957. - Photo by Edward Quinn
  • La Californie, Cannes 1957. (see also Pic560264) - Photo by Edward Quinn
  • Pablo Picasso with colorized "Femme dans l'atelier" for Edward Quinn. La Californie, Cannes 21.11.1957. - Photo by Edward Quinn
  • Pablo Picasso colorizes "Femme dans l'atelier". La Californie, Cannes 21.11.1957. - Photo by Edward Quinn
  • Pablo Picasso colorizes "Femme dans l'atelier". La Californie, Cannes 21.11.1957. - Photo by Edward Quinn
  • Pablo Picasso colorizes "Femme dans l'atelier". La Californie, Cannes 21.11.1957. - Photo by Edward Quinn
  • Ripolin can in the foreground. La Californie, Cannes 1958 - Photo by Edward Quinn
  • Ripolin can in the foreground. La Californie, Cannes 1958. - Photo by Edward Quinn
  • La Californie, Cannes 1959. - Photo by Edward Quinn
  • Jacqueline, Theodor "Teto" Ahrenberg, Swedish collector, and his wife Ulla. Pablo Picasso signing a photo by Edward Quinn. La Californie, Cannes 25.10.1959. - Photo by Edward Quinn
  • La Californie, Cannes 1959. - Photo by Edward Quinn
  • Pablo Picasso at La Californie, Cannes 1959. - Photo by Edward Quinn
  • Pablo Picasso at La Californie, Cannes 1959. - Photo by Edward Quinn
  • Mario Prassinos at his atelier. Eygalières 1960. - Photo by Edward Quinn
  • Paloma Picasso watching her father Pablo Picasso dedicating "Faune (Pour mon ami E. Quinn) see Pic600664. La Californie, Cannes 1960. - Photo by Edward Quinn
  • Paloma Picasso watching her father Pablo Picasso dedicating "Faune (Pour mon ami E. Quinn) see Pic600664. La Californie, Cannes 1960. - Photo by Edward Quinn
  • Paloma Picasso watching her father Pablo Picasso dedicating "Faune (Pour mon ami E. Quinn) see Pic600664. La Californie, Cannes 1960. La Californie, Cannes 1960. - Photo by Edward Quinn
  • Pablo Picasso and Paloma Picasso. La Californie, Cannes 1960. - Photo by Edward Quinn
  • Painting ustensils of Hans Hartung at his apartment, Promenade des Anglais, Nice 1961. - Photo by Edward Quinn
  • Hans Hartung at work at his apartment, Promenade des Anglais, Nice 1961. On the table his painting utensils which were part of the mystery of his technique to obtain the special effects. - Photo by Edward Quinn
  • Hans Hartung at work at his appartment, Promenade des Anglais, Nice 1961. - Photo by Edward Quinn
  • Hans Hartung. Nice 1961. - Photo by Edward Quinn
  • Hans Hartung at his apartment, Promenade des Anglais, Nice 1961. - Photo by Edward Quinn
  • Hans Hartung at his apartment, Promenade des Anglais, Nice 1961. - Photo by Edward Quinn
  • Hans Hartung with a small bird sculpture. At his house in Saint-Paul-de-Vence 1961. - Photo by Edward Quinn
  • Amédée Ozenfant. Cannes 1961. - Photo by Edward Quinn