Bardot by Bill Lovelace

22nd February 1965: Brigitte Bardot as she appears in ‘Viva Mexico’ a film made in Mexico and directed by Louis Malle. (Photo by William Lovelace/Express/Getty Images)

  • Resin Prints

    From £90

    Silver Gelatin Prints

    From £135

    • £
    • £

    Framed Print

    From £165

    • £

    Print Only

    From £90

    • £

    Framed Print

    From £195

    • £

    Print Only

    From £135

    • £

    This is Classique, at its longest edge the print will be 35.5 cm long with an overall length of 51cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 137.5 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 154.17 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats on the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 200 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 225 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 250 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 304.17 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 216.6666 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats on the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 295.83 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 345.83 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 375 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 516.6666 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 79.166 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 83.333 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 100 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 116.6666667 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 141.6666667 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 183.3333333 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 286.6666667 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 112.5 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 154.17 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 204.17 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 245.83 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 275 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 404.17 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 516.6666 £

    (Rest of the World £40)


    (Rest of the World £15)

About Bill Lovelace

William ‘Bill’ Lovelace worked for the Daily Express during the newspaper’s ‘golden’ period, the1950s and 1960s. During that period the Express was arguably unchallenged in terms of the quality of its news pictures.

Employing around 60 photographers at the time, Bill was a true photojournalist in every sense of the word and his work can arguably be compared with that of Terry Fincher who won many awards during that time.

Others employed by The Express were Harry Benson, Reg Lancaster, George Stroud and Terry Disney to name but a few.

Paul Newman by Bill Lovelace

American film actor Paul Newman at the Oscars award ceremony in Hollywood. Newman died on September 26th, 2008. An Italian newspaper close to the Vatican said that “Newman was a generous heart, an actor of dignity and style rare in Hollywood quarters”. During his life, Newman set up many charities including Newmans Own, a food company whose profits go to charity and Serious Fun Children’s Charity. (Photo by William Lovelace/Getty Images)

In 1955 he joined the staff of the Daily Express and stayed for 36 years. After just one year with the newspaper he was asked to set up the Paris bureau. After two highly successful years he returned to London and in 1958 was again asked to set up another bureau overseas – this time in New York.

Lovelace’s five years in the US produced some of the most memorable material of his career from the Civil Rights disturbances in the south to the Beatles tours in the north. Bill’s ability to get extremely close to his subjects was uncanny and his intimate portraits of personalities such as Elizabeth Taylor and Martin Luther King are perfect examples.

Returning to London in 1965, Bill covered news stories all over the world for the next 20 years until he decided to take early retirement in 1986 though he continued to work for the newspaper on a part-time basis until 1991.

About Bill Lovelace

William ‘Bill’ Lovelace worked for the Daily Express during the newspaper’s ‘golden’ period, the1950s and 1960s. During that period the Express was arguably unchallenged in terms of the quality of its news pictures.

Employing around 60 photographers at the time, Bill was a true photojournalist in every sense of the word and his work can arguably be compared with that of Terry Fincher who won many awards during that time.

Others employed by The Express were Harry Benson, Reg Lancaster, George Stroud and Terry Disney to name but a few.

Paul Newman by Bill Lovelace

American film actor Paul Newman at the Oscars award ceremony in Hollywood. Newman died on September 26th, 2008. An Italian newspaper close to the Vatican said that “Newman was a generous heart, an actor of dignity and style rare in Hollywood quarters”. During his life, Newman set up many charities including Newmans Own, a food company whose profits go to charity and Serious Fun Children’s Charity. (Photo by William Lovelace/Getty Images)

In 1955 he joined the staff of the Daily Express and stayed for 36 years. After just one year with the newspaper he was asked to set up the Paris bureau. After two highly successful years he returned to London and in 1958 was again asked to set up another bureau overseas – this time in New York.

Lovelace’s five years in the US produced some of the most memorable material of his career from the Civil Rights disturbances in the south to the Beatles tours in the north. Bill’s ability to get extremely close to his subjects was uncanny and his intimate portraits of personalities such as Elizabeth Taylor and Martin Luther King are perfect examples.

Returning to London in 1965, Bill covered news stories all over the world for the next 20 years until he decided to take early retirement in 1986 though he continued to work for the newspaper on a part-time basis until 1991.

Related Products

Bubbles by Roger Bamber

Bella the baby elephant at Chessington Zoo in 1970. Her keepers bought bubble kits to amuse her.. Bella, an Asian Elephant, born in 1968, plays with bubble kits at Chessington Zoo in 1970.  Bella was supplied to Chessington by Tyseley Pet Store, Birmingham. Bella died in May 1990.buy a photo , buy a picture, buy a picture of an elephant, buy a print, pachyderm, black and white, b/w  puy prints ,buy framed picture , buy a framed print.

 

The 40th of a Second by Roger Bamber

It is the 14th of June In 1958 and a 13-year-old boy stands anxiously on the platform of the Down-line at Grantham Railway Station. The imminent arrival of a train was eagerly awaited ..Clutching a Kodak Brownie Cresta ll , this was a not a passenger wishing to travel but a train spotter excited by steam engines.

photojournalism, buy photojournalism, buy a print, buy photography, buy a photograph, framed, charcoal frame, white frame, black frame, wall art, hang on the wall wallart, interior design, designers , interiors, wall, black and white, ian tyas , Getty images, Hulton collection, buy a gift, mothers day, fathers day , gift, present buy Northcliffe collection print

St. Paul’s In The Blitz by Herbert Mason

Art of photojournalism limited editions for sale from the collections of Northcliffe and Hulton Getty and the Evening Standard. For sale as print c-type or giclee art for your wall for office or home. wall art.  framed pictures in quality frames. Delivered to your door. Each photo has a certificate and caption and a biography of the photographer

The Blitz: World War II: Britain: Air Raids: Fire of London. A symbol of survival.

St Paul’s Cathedral rises above the smoke and flames of one of the worst nights of bombing experienced in Britain.

On 29th December 1940 when the Thames was a low watermark and after the early bombing run had severed the water mains, the Luftwaffe’s aircraft dropped more than 10,000 incendiary bombs on the City. By some miracle, the landmark church and its dome remained untouched as thousands of firefighters and troops fought to prevent the ancient heart of London being destroyed by an inferno.

The picture was taken by Daily Mail photographer Herbert Mason – it became one of the most famous images of the war. When German bombers were making one of their heaviest raids, Mason climbed to the roof of the newspaper’s headquarters Northcliffe House. With incendiaries falling around him, he watched building after building around St Paul’s ablaze. Then he caught a glimpse of the Cathedral in a momentary gap in the smoke and recorded his historic picture. This picture is one of the huge Northcliffe collection