Terry O’Neill’s “Frank Sinatra on the Boardwalk” is one of the most
iconic images of the 20th century.
Taken on the set of the 1968 film, Lady in Cement, Terry O’Neill’s first
encounter with the legend not only produced a series of photographs
but was also the start of a working relationship between Sinatra and
O’Neill …

Medium
Condition
Immaculate
Signature
Hand-signed by artist, Verso Signature, right-hand corner
Certificate of authenticity
Included
Frame
Not included

Terry O’Neill’s candid photojournalistic portraits of creative and political luminaries have included Brigitte Bardot, The Beatles, Audrey Hepburn, Nelson Mandela, and Frank Sinatra, to name just a few, and have appeared on the covers of Life, Rolling Stone, and Vogue. Over the years O’Neill has formed close bonds with many of his sitters, evidenced by the intimate, snapshot-style nature of many of his photographs from the 1960s and ’70s. “I’m a reportage photographer, and I just like fading into the background,” says O’Neill. “The more discrete you are the better off you are.”

Selected exhibitions
2020
Terry O'Neill | "A Tribute to Terry O'Neill"Eduard Planting Gallery | Fine Art Photographs
Terry O'Neill: 'Every Picture Tells A Story', A RetrospectiveMaddox Gallery
2018
‘Faces of Kensington & Chelsea’ through generations from the swinging 60’s to todayIconic Images
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Frank Sinatra Boardwalk, Colourised, 1968, 1968

C-type print
20 × 24 in
50.8 × 61 cm
.
AU$20,000–AU$30,000
Location
Darlinghurst
Certificate
This work includes a certificate of authenticity.
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Terry O’Neill’s “Frank Sinatra on the Boardwalk” is one of the most
iconic images of the 20th …

Medium
Condition
Immaculate
Signature
Hand-signed by artist, Verso Signature, right-hand corner
Certificate of authenticity
Included
Frame
Not included

Terry O’Neill’s candid photojournalistic portraits of creative and political luminaries have included Brigitte Bardot, The Beatles, Audrey Hepburn, Nelson Mandela, and Frank Sinatra, to name just a few, and have appeared on the covers of Life, Rolling Stone, and Vogue. Over the years O’Neill has formed close bonds with many of his sitters, evidenced by the intimate, snapshot-style nature of many of his photographs from the 1960s and ’70s. “I’m a reportage photographer, and I just like fading into the background,” says O’Neill. “The more discrete you are the better off you are.”

Selected exhibitions (3)
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