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Elizabeth Taylor and Montgomery Clift share a laugh on the way to the Natchez Mississippi location for "Raintree County", 1956, Archival Pigment Print

Elizabeth Taylor and Montgomery Clift share a laugh on the way to the Natchez Mississippi location for "Raintree County", 1956

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Sophia Loren tussles Elvis Presley’s hair at the Paramount Commissary, Hollywood, 1958, Archival Pigment Print

Sophia Loren tussles Elvis Presley’s hair at the Paramount Commissary, Hollywood, 1958

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Marlon Brando rehearses with choreographer Michael Kidd for his role in "Guys & Dolls", 1955, Archival Pigment Print

Marlon Brando rehearses with choreographer Michael Kidd for his role in "Guys & Dolls", 1955

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Elizabeth Taylor being photographed by English society photographer Anthony Beauchamp, Palm Springs, 1951, Archival Pigment Print

Elizabeth Taylor being photographed by English society photographer Anthony Beauchamp, Palm Springs, 1951

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Jean Seberg, portrait at Maxim’s Restaurant during the filming of "Bonjour Tristesse", Paris, 1957, Archival Pigment Print

Jean Seberg, portrait at Maxim’s Restaurant during the filming of "Bonjour Tristesse", Paris, 1957

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Audrey Hepburn, on her first trip to Hollywood, reads letters from home in her hotel room after a long day at Paramount Studios, Chapman Hotel, Los Angeles, 1953, Archival Pigment Print

Audrey Hepburn, on her first trip to Hollywood, reads letters from home in her hotel room after a long day at Paramount Studios, Chapman Hotel, Los Angeles, 1953

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Burt Lancaster, Frank Sinatra, and Ernest Borgnine having a laugh on the set of "From Here to Eternity", 1953, Archival Pigment Print

Burt Lancaster, Frank Sinatra, and Ernest Borgnine having a laugh on the set of "From Here to Eternity", 1953

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Rock Hudson trying to type in his trailer, but the fans are a bit distracting, on location in Italy for "Farewell To Arms", 1957, Archival Pigment Print

Rock Hudson trying to type in his trailer, but the fans are a bit distracting, on location in Italy for "Farewell To Arms", 1957

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Anne Bancroft watches from the shadows on the set of "The Graduate", 1967, Archival Pigment Print

Anne Bancroft watches from the shadows on the set of "The Graduate", 1967

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Montgomery Clift and Lee Marvin wait to begin filming on the set of "Raintree County", 1956, Archival Pigment Print

Montgomery Clift and Lee Marvin wait to begin filming on the set of "Raintree County", 1956

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Louis Armstrong plays an impromptu concert for Bing Crosby, Grace Kelly and the crew on the set of "High Society", 1956, Archival Pigment Print

Louis Armstrong plays an impromptu concert for Bing Crosby, Grace Kelly and the crew on the set of "High Society", 1956

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

James Dean looks over a music score on the set of "Rebel Without a Cause", 1955, Archival Pigment Print

James Dean looks over a music score on the set of "Rebel Without a Cause", 1955

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Jane Fonda on the set of "They Shoot Horses Don’t They?", 1969, Archival Pigment Print

Jane Fonda on the set of "They Shoot Horses Don’t They?", 1969

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Humphrey Bogart at Liza Minelli's sixth birthday party held at Ira Gershwin's home, 1952, Archival Pigment Print

Humphrey Bogart at Liza Minelli's sixth birthday party held at Ira Gershwin's home, 1952

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 24 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Richard Burton, portrait on the set of "The Desert Rats", Los Angeles, 1953, Archival Pigment Print

Richard Burton, portrait on the set of "The Desert Rats", Los Angeles, 1953

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Audrey Hepburn as Eliza, descends the stairs in her new ballgown on the set of "My Fair Lady", Burbank, CA, 1963, Archival Pigment Print

Audrey Hepburn as Eliza, descends the stairs in her new ballgown on the set of "My Fair Lady", Burbank, CA, 1963

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Jack Lemmon quietly smokes his cigar on the set of "Luv", 1966, Archival Pigment Print

Jack Lemmon quietly smokes his cigar on the set of "Luv", 1966

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Judy Garland waits as Director Ronald Neame sets up his shot, "I Could Go On Singing", London, 1962, Archival Pigment Print

Judy Garland waits as Director Ronald Neame sets up his shot, "I Could Go On Singing", London, 1962

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Audrey Hepburn portrait in cowboy hat on the set of "Green Mansions", 1958, Archival Pigment Print

Audrey Hepburn portrait in cowboy hat on the set of "Green Mansions", 1958

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Shirley MacLaine watching the dance rehearsal (in mirror) for "Can Can", 1959, Archival Pigment Print

Shirley MacLaine watching the dance rehearsal (in mirror) for "Can Can", 1959

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Mia Farrow on the Sistine Chapel set of "Rosemary’s Baby", 1967, Archival Pigment Print

Mia Farrow on the Sistine Chapel set of "Rosemary’s Baby", 1967

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Rex Harrison peers ominously from the shadows on the set of "Midnight Lace", 1960, Archival Pigment Print

Rex Harrison peers ominously from the shadows on the set of "Midnight Lace", 1960

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Natalie Wood during "Rebel Without A Cause" under the watchful eye of Director Nicholas Ray, 1955, Archival Pigment Print

Natalie Wood during "Rebel Without A Cause" under the watchful eye of Director Nicholas Ray, 1955

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Gregory Peck as F. Scott Fitzgerald drinks heavily on the set of "Beloved Infidel", 1959, Archival Pigment Print

Gregory Peck as F. Scott Fitzgerald drinks heavily on the set of "Beloved Infidel", 1959

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Pearl Bailey and choreographer Herb Ross on the set of "Carmen Jones", 1954, Archival Pigment Print

Pearl Bailey and choreographer Herb Ross on the set of "Carmen Jones", 1954

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Dorothy Dandridge on the set of "Carmen Jones", Otto Preminger's film of the Bizet Opera, 1954, Archival Pigment Print

Dorothy Dandridge on the set of "Carmen Jones", Otto Preminger's film of the Bizet Opera, 1954

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

20 x 16 inches, Ed. of 25

24 x 20 inches, Ed. of 25

40 x 30 inches, Ed. of 15

60 x 40 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Audrey Hepburn, photographed by Cecil Beaton, on the set of "My Fair Lady", 1963, Archival Pigment Print

Audrey Hepburn, photographed by Cecil Beaton, on the set of "My Fair Lady", 1963

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Marilyn Monroe and director George Cukor chat on the set of "Let’s Make Love", 1960, Archival Pigment Print

Marilyn Monroe and director George Cukor chat on the set of "Let’s Make Love", 1960

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 15

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Frank Sinatra inside Casino, gaming tables behind, during the filming of ”Ocean's 11”, Las Vegas, 1960, Archival Pigment Print

Frank Sinatra inside Casino, gaming tables behind, during the filming of ”Ocean's 11”, Las Vegas, 1960

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 10

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Jack Lemmon prepares to end it all on the New York Location for "Luv", 1966, Archival Pigment Print

Jack Lemmon prepares to end it all on the New York Location for "Luv", 1966

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 10

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Frank Sinatra on the set of "The Judy Garland Show", 1962, Archival Pigment Print

Frank Sinatra on the set of "The Judy Garland Show", 1962

Archival Pigment Print

Estate Stamped, titled, dated, numbered verso

 

Available Estate Prints:

16 x 20 inches, Ed. of 25

20 x 24 inches, Ed. of 25

30 x 40 inches, Ed. of 10

40 x 60 inches, Ed. of 10

 

*Contact regarding Lifetime print availability.

Press Release

Phil Stern & Bob Willoughby: Picture’s Up

November 4, 2021 through January 8, 2022

Exhibition Reception: Thursday, November 4th 

 

The Fahey/Klein gallery is pleased to present “Phil Stern & Bob Willoughby: Picture’s Up”, an exhibition of photographs by two legendary photojournalists and Hollywood photographers. As chroniclers of Hollywood and the Jazz scene, both Stern and Willoughby produced iconic images during their long and illustrious careers. Their photographs convey an extraordinary access, and mutual trust, between photographer and subjects. Phil Stern and Bob Willoughby – in their unique and individual ways - pioneered a behind-the-scenes approach to documenting Hollywood that contributed to an entire era’s visual vocabulary of “cool” that feels undeniably authentic today.

 

PHIL STERN:

Phil Stern’s career in photography began early on, as a high school student growing up in New York, Stern swept floors in a Canal Street photo studio while working nights taking pictures for the notoriously noir Police Gazette. Phil Stern enlisted in the Army in 1942 and joined the ranks of the elite “Darby’s Rangers” as a combat photographer. Stern was well known among his war colleagues for putting himself front and center as he documented battles in North Africa and Sicily. The credit stamp “Photo by PHIL STERN”, which ran alongside his images in the armed forces newspaper Stars and Stripes, became synonymous with a truly genuine image taken under fire by a daring young photographer.  Wounded in action, at the Battle of El Guettar, in Tunisia, Phil Stern was awarded a Purple Heart. After returning home to Los Angeles, he was assigned to cover the homecoming of Darby’s Rangers for LIFE magazine, which helped usher in his second career, as a Hollywood documentary photographer. Phil Stern began working for Look, LIFE, and Collier’s to chronicle what would become a shared American history.

Phil Stern’s straight forward approach and charming demeanor earned him all-access to President John F. Kennedy’s inaugural gala, studio mogul Sam Goldwyn’s inner sanctum, on-set lunches with Frank Sinatra, and holidays in Acapulco with John Wayne and Gary Cooper. Phil Stern photographed on over a hundred movie sets, including the legendary films “Citizen Kane”, “A Star is Born”, “The Wild Ones”, “Guys and Dolls”, and “West Side Story”. Stern also became a fixture at studio sessions with Jazz superstars such as Ella Fitzgerald, Louis Armstrong, Art Tatum, and Dizzy Gillespie and shot more than sixty album covers.

In 2001, Phil Stern donated his catalogue of Hollywood images to the Academy of Motion Pictures Arts and Sciences. His photographs have been collected and exhibited internationally.

 

BOB WILLOUGHBY:

Bob Willoughby began his career as an assistant to photographers Wallace Seawell and Paul Hesse. He was the first photographer retained by a Hollywood studio to take on-set promotional stills for sale to magazines. With the rise of LIFE and Look magazines, a demand was created for compelling photo stills from movie sets. Over a career that spanned three decades, Willoughby had more than 125 motion picture assignments, including A Star Is Born, The Man with the Golden Arm, Raintree County, My Fair Lady, The Graduate, The Lion in Winter and Rosemary’s Baby.

In addition to his work on Hollywood film sets, Willoughby was responsible for a number of technical innovations, including the silent blimp for 35mm still cameras - which became common on film sets. He was the only photographer working on films at the time to use radio-controlled cameras, allowing him unprecedented coverage in otherwise impossible situations, and he had special brackets built to hold his still cameras on or over the Panavision cameras.

His body of work, documenting this historic era of filmmaking, is unsurpassed. He captured with wonderful perception the most famous actors and directors of the time on and off the set, in unguarded moments of repose, vulnerability and high drama. He had a unique ability to capture what was essential to each film.

“Sometimes a filmmaker gets a look at a photograph taken on his own set and sees the ‘soul’ of his film in one still photograph. It’s rare, but it happens. It happened to me in 1969, the first time I looked at the work of Bob Willoughby during the filming of They Shoot Horses, Don’t They?”

­— Sydney Pollack from the introduction to Bob’s autobiography

In 1998, the Academy of Motion Picture Arts and Sciences in Hollywood honored Willoughby with a major retrospective exhibition of his work. He was awarded the Lucie Award for Outstanding Achievement in Still Photography in New York in 2004. His photographs are in the permanent collections of The National Portrait Gallery, Washington, D.C.; The National Portrait Gallery, London; The National Museum of Photography, Bradford, UK; Bibliothèque Nationale de France, Paris; The Museum of Modern Art, Film Department, New York; The Academy of Motion Picture Arts and Sciences, Beverly Hills; The Metropolitan Museum of Art, New York; The Tate Gallery Collection, London; Théâtre de la Photographie et de l’Image, Nice; and Musée de la Photographie, Charleroi, Belgium.

 

Press Photographs Available on Request