Roy Schatt

In the mid-twentieth century, the landscape of American celebrity portraiture underwent a tectonic model shift, transitioning from the highly sanitized, heavily retouched glamour of the Hollywood studio system to a raw, psychologically penetrating aesthetic. At the vanguard of this visual revolution stood Roy Schatt (1909–2002), a polymathic artist whose background in painting, graphic illustration, and acting converged to create a photographic style characterized by emotional exposure and narrative authenticity. Championing the "unguarded moment," Schatt dismantled the defensive barriers of his subjects, eschewing the artificiality of strobe lighting in favor of the nuanced shadows and textures afforded by natural, available light.

Schatt’s career spanned over seven decades, during which he functioned not merely as a passive observer, but as a vital, embedded chronicler of the post-war theatrical and cinematic renaissance in New York City 2. His methodology resonated so profoundly with the prevailing dramatic theories of the era that Lee Strasberg, the legendary acting coach and director, appointed him the Official Photographer of The Actors Studio. Through this unprecedented access, Schatt captured defining images of theatrical luminaries, including Paul Newman, Marilyn Monroe, Steve McQueen, Tennessee Williams, and Rod Steiger.

However, it is his profound, symbiotic relationship with the actor James Dean that cemented Schatt’s position in the pantheon of visual arts. The photographs produced during their intense, year-long friendship—most notably the December 1954 "Torn Sweater" series—surpassed mere portraiture to become the defining iconography of post-war youth rebellion and the localized aesthetic of American "cool" 8. This exhaustive report provides a granular examination of Roy Schatt’s life, exploring his early artistic development, the theoretical framework of his "Method" photography, his collaborative dynamic with James Dean, and the enduring cultural, institutional, and market legacy of his monumental photographic archive.

Formative Years: The Canvas, the New Deal, and the Theater

The Intersection of Painting and Graphic Arts

Roy Schatt was born in New York City on November 21, 1909, entering a rapidly modernizing world that would soon experience profound economic and cultural upheavals. His initial foray into the visual arts was through painting and illustration rather than photography. He demonstrated an early, prodigious aptitude for the fine arts, studying painting under the tutelage of the legendary American illustrator N.C. Wyeth, and subsequently honing his technical skills at the Art Students League in New York and the Corcoran School of Art in Washington, D.C. 3. Wyeth’s pedagogy, which emphasized narrative illustration, dramatic chiaroscuro, and dynamic character staging, left an indelible mark on Schatt. This painterly understanding of light and spatial relationships became the structural bedrock upon which Schatt would later build his gelatin silver prints.

During the Great Depression of the 1930s, under the presidency of Franklin D. Roosevelt, Schatt participated in the Works Progress Administration (WPA), contributing murals that reflected the New Deal's commitment to public art and social realism. This era of social documentary art deeply impacted Schatt's worldview, fostering an appreciation for the gritty, authentic lived experience of the American populace over the manufactured idealism of the preceding decade. Concurrent with his mural work, Schatt found robust commercial success as a graphic artist and illustrator. He worked as an art director for Warner Bros. and created high-profile illustrations for the Batten Barton Durstine & Osborn (BBD&O) advertising agency, most notably on campaigns for the Lucky Strike Hit Parade and the U.S. Department of Agriculture.

Military Service and the Mechanics of Performance

The onset of World War II catalyzed an unexpected expansion of Schatt’s creative repertoire. Serving in the U.S. Army's Special Forces, Schatt was stationed in India, where he was tasked with utilizing his artistic skills as a graphic specialist. His wartime duties included creating recruitment and morale posters, writing editorials, and organizing military events 11. Significantly, it was during this deployment that Schatt began to study acting and directing, actively staging shows for the troops.

This immersion into the mechanics of stage performance, character motivation, and spatial blocking proved transformative. By standing on the stage and directing actors, Schatt gained a first-hand understanding of the performer's psyche—specifically, the psychological armor performers construct when placed before an audience. This empathetic insight would become the defining characteristic of his future portraiture.

Upon his return to New York City after the war, Schatt initially resumed his lucrative work in advertising and illustration 2. Concurrently, he continued to study acting and directing, immersing himself in the burgeoning Off-Broadway theater scene 11. However, photography, which had begun as an intermittent hobby, rapidly consumed his professional focus. He married Masha Arms, who herself became a pioneering photographer, and the two shared a profound dedication to the medium 11. Schatt established a darkroom and studio in his apartment at 149 East 33rd Street, which would soon evolve into a bustling nexus for the city's creative vanguard 11.

The Genesis of "Method" Photography

Rejecting the Hollywood Glamour Aesthetic

By the late 1940s and early 1950s, celebrity and theatrical photography were largely defined by the Hollywood studio system. Photographers of the era utilized harsh, directed lighting, extensive negative retouching, and highly choreographed, rigid poses to transform actors into flawless, untouchable deities. Roy Schatt’s approach was the absolute antithesis of this glamour photography.

Influenced by the advent of 35mm available-light photography and drawing inspiration from pioneers such as Erich Salomon, Henri Cartier-Bresson, Edward Weston, and Ansel Adams, Schatt sought a purer form of documentation. From Salomon and Cartier-Bresson, Schatt learned the art of photojournalistic stealth—capturing the "decisive moment" without disrupting the natural flow of reality. From Weston and Adams, he absorbed a profound reverence for the darkroom process, committing himself to the unmanipulated balance of light inherent in the gelatin silver print 2.

Schatt eschewed heavy studio strobes in favor of natural, ambient light. He recognized that artificial lighting often forced subjects into artificial emotional states. By relying on available light, he allowed his subjects to move freely, breathe naturally, and exist in a state of vulnerability. His goal was to strip away the highly mannered conventions of the time and invent an "uninhibited" style that brought out the naturalness, purity, and sincerity of his models 10.

The Synthesis of Acting and the Lens

What truly distinguished Schatt from his contemporaries was the psychological rigor he applied to the sitting. Because he was a trained actor, Schatt understood the defense mechanisms performers instinctively deploy when confronted with a camera lens. He applied the principles of "Method" acting—a technique derived from Konstantin Stanislavski that emphasizes psychological truth, emotional memory, and internal motivation—directly to his photographic process.

Schatt did not merely observe his subjects passively; he actively directed and provoked them. He understood that to elicit a genuine, unvarnished reaction, he needed to engage the actor's theatrical instinct. "Being an actor, I was able to recognize that theatrical instinct," Schatt explained. "I would direct and provoke and the scenes would become inspiration. But the photograph still must be honest and interesting beyond the performance". This emotionally exposed style, which mirrored the revolution occurring on the stages of New York, led to his designation as the "Method" photographer.

The Circle in the Square and Geraldine Page

Schatt’s rise to prominence was intimately tied to the theatrical renaissance occurring in Greenwich Village. A pivotal moment in his career materialized when he met theatrical director Jose Quintero, who was staging a highly anticipated revival of Tennessee Williams' Summer & Smoke at the Circle-in-the-Square Playhouse. 

Schatt was granted permission to photograph the cast, capturing the intense, smoldering energy of the production. His portraits went on display in the theater's lobby, catching the attention of the broader cultural elite.

The resulting portrait of the play's star, Geraldine Page, became a sensation and was subsequently featured in Harper's Bazaar and Vogue. The image, a striking, uncopyrighted publicity headshot, eschewed traditional beauty lighting for a stark, emotionally resonant composition that highlighted Page's complex internal life and theatrical gravitas 19. This mainstream exposure solidified Schatt's reputation as the premier visual interpreter of the new American theater, establishing him as a fixture in the Bohemian enclave of Greenwich Village.

The Actors Studio and Lee Strasberg

Schatt’s unique methodology found its perfect institutional parallel in The Actors Studio. In the 1950s, this New York institution became the epicenter of dramatic innovation, spearheaded by director Elia Kazan and acting coach Lee Strasberg 2. The Studio championed psychological realism, producing a generation of actors who would fundamentally redefine American cinema and theater.

Schatt frequently attended classes at The Actors Studio, blending into the background with his 35mm camera to document the grueling, emotionally draining exercises the actors underwent 2. Famed teacher Lee Strasberg immediately recognized the kinship between Schatt’s photographic philosophy and the Studio's acting philosophy. Impressed by Schatt's unparalleled ability to capture the internal life of the performer without disrupting their concentration, Strasberg officially named him the Official Photographer of The Actors Studio.

In this capacity, Schatt created an unparalleled archival record of the mid-century American theater. His apartment and makeshift studio became a gathering place for the theater community 12. His subjects from this era included a staggering array of talent: Paul Newman, Joanne Woodward, Rod Steiger, Arthur Penn, Ben Gazzara, Sidney Poitier, Martin Landau, Jerry Stiller, Anne Meara, and Arthur Miller.

His documentation of Marilyn Monroe during this period is particularly revelatory. Schatt photographed Monroe at The Actors Studio in 1955, capturing her not as the highly polished blonde bombshell of cinema, but as a serious, unadorned student of her craft 5. In images where she is seen departing the studio wearing a rain hat, sans makeup, or sitting intently next to Susan Strasberg, Schatt possessed the prescience to see the luminous star quality emanating from Monroe even in the austere, rigorous environment of the classroom 10. These photographs function as a precursor to the minimalist black-and-white portrait style that would dominate subsequent decades 10.

The Muse and the Mentor: Roy Schatt and James Dean

While Roy Schatt’s contributions to theatrical photography are monumental in their own right, his historical legacy is inextricably bound to his relationship with the actor James Dean. The photographs Schatt took of Dean between February 1954 and September 1955 constitute some of the most enduring, culturally significant iconography of the twentieth century6.

A Serendipitous and Transformative Meeting

The meeting between the veteran photographer and his greatest muse was entirely serendipitous. In February 1954, a mutual friend, actress Arlene Sax, brought a then-unknown James Dean to Schatt’s 33rd Street apartment studio, insisting that Schatt meet and photograph him6. Schatt’s initial impression of the twenty-three-year-old actor was highly unfavorable. He recalled Dean as being unkempt, slouching, and physically unimposing: "He was a squinty schlump of a person all bent over. He slouched, was unkempt and squinty. After a moment, he reached for my offered hand, grunted in response to my welcome and ambled to a seat at the far end of the couch".

However, this initial dismissal evaporated moments later. Attempting to break the ice and alleviate the tension in the room, Dean suddenly leapt from the couch to perform a dance from a recent play. "Castanets! Like this," Dean exclaimed as he jumped up 8. The physical transformation was mesmerizing. As Schatt later wrote in his 1982 book James Dean: A Portrait, "It transformed him. The small lump on the couch rose to become a thing of beauty. I couldn't get over how his unpleasant, pinched face gave way to handsome radiance. It was a transition I couldn't believe".

The Teacher-Student Dynamic and Mutual Creation

This dramatic introduction birthed an intense, year-long friendship. Dean, who possessed a ravenous, eclectic curiosity for the visual arts, was fascinated by Schatt’s camera work. At the end of their first meeting, Dean asked Schatt to document his daily activities, not in a formal sitting, but as an ongoing visual diary6. Furthermore, Dean asked Schatt to teach him the art of photography. Thus began a potent "teacher and student" relationship that blurred the lines between observer and subject 6.

Schatt mentored Dean in the mechanics of 35mm photography, the use of light meters, the operation of the Rolleiflex camera, and the complex alchemy of the darkroom 5. They spent countless hours together in Schatt’s studio, with Schatt guiding Dean on how to evaluate ambient light, compose a narrative frame, and develop negatives 14. This education fundamentally altered the dynamic between them. Because Dean intimately understood what it meant to be behind the lens, he became an active, highly conscious collaborator when he stepped in front of it 16.

Dean proved to be a capable photographer in his own right under Schatt's tutelage. Surviving archival materials include photographs taken by James Dean himself, which were hand-developed by Schatt in his darkroom. Notable among these are a portrait of actor Martin Landau taken by Dean, images of Schatt posing in front of an advertisement in the New York subway, and a highly rare 1954 portrait of Billy Gunn—the man who introduced Dean to the bongo drums and served as his understudy in The Immoralist 7. These artifacts reveal that their relationship was a true artistic exchange, characterized by a shared exploration of visual narrative and identity construction.

Documenting the "Disquieter of Calm"

Schatt’s photographs of Dean during this period capture a young man on the precipice of global superstardom, oscillating rapidly between boyish playfulness and intense, brooding introspection. Schatt photographed Dean walking down West 68th Street 16, playing the bongo drums with grim determination at Greenwich Village parties 29, peering through windows, smoking cigarettes beneath exit signs, and posing playfully with a light meter in Schatt's garden 3.

Reflecting on his subject's unique energy, Schatt noted, "I knew him as a friend and as a student. He was a disrupter of norms, a bender of rules, a disquieter of calm. Through the following pictures and vignettes, I hope to transmit a glimpse of his most insistent, and perhaps eternal, presence" 5.

The "Torn Sweater" Series: The Iconography of Rebellion

The crowning achievement of the Schatt-Dean collaboration occurred on December 29, 195410. The photographic session was commissioned by Life magazine, which was preparing a feature on the rising star ahead of the highly anticipated release of his first major film, East of Eden 10.

The Session and the Aesthetics of Disillusionment

During the shoot in Schatt's New York studio, the synergy between the two men reached its absolute zenith. Dean, by now well-versed in photographic technique and highly aware of his own physical geometry, actively co-directed the session 11. "The day I shot the photos, the session went extraordinarily well," Schatt recalled. "After a certain amount of horsing around, Jimmy behaved and became serious when I got the lighting set just right. He clicked, I clicked, and the photos clicked. He now had quite a bit of photographic experience himself, and after a while, I allowed him to direct some of the shots" 11.

For the session, Dean wore a heavily tattered, black V-neck sweater, a garment that visually communicated his rejection of the era's sartorial conformity. In the most famous frame of the resulting contact sheet (frames numbered 80 to 91 in white fountain pen ink by Schatt), Dean pulls the collar of the torn sweater up over his chin, his eyes staring piercingly into the lens with an expression that blends defiance, extreme vulnerability, and erotic energy 10.

In another striking pose during the session, Dean turned his head slightly to the left and looked down, lifting his arm toward his shoulder. Schatt asked him what he was doing, noting it was a strange pose. Dean replied, "Don't you see it? I'm Michelangelo's 'David'" 11. This conscious evocation of classical Renaissance sculpture demonstrates Dean’s sophisticated understanding of visual iconography, art history, and his own physical form as a canvas.

The Rejection by Life and Ultimate Cultural Triumph

Despite the undeniable emotional power and striking composition of the images, Life magazine rejected the "Torn Sweater" series 10. Frank D. Campion, the editorial representative for the magazine, informed Schatt that while he liked the photos, the editors wanted a "serious, more manly sitting" 28. In the deeply conservative climate of 1950s America, Dean’s fluid, emotionally volatile, and vulnerable masculinity was deemed too transgressive for the mainstream, middle-American readership of Life.

Ironically, it was this exact transgression that cemented the images' enduring legacy. In the post-war period, American youth were suffocating under the expectation of strict social conformity and rigid gender roles 8. James Dean, with his Adonis-like features and restless agitation, became the avatar for this localized teenage disillusionment 8. He was the chief rebel of the "Silent Generation," and Schatt’s photographs captured this disruptive ethos perfectly, serving as a visual prelude to Dean's defining role in Rebel Without a Cause 8.

Although they never ran in Life, the "Torn Sweater" images became the most recognized and heavily reproduced photographs of James Dean in the world 11. The images were reproduced endlessly on college dorm posters, utilized globally as the massive backdrop for the stage revue Grease on six- and twelve-sheet theater displays, and firmly established the visual archetype of the brooding American anti-hero 11.

The ultimate institutional validation of the image occurred decades later when the U.S. Postal Service selected it as the basis for a commemorative stamp. Issued on June 24, 1996, in Burbank, California, the 32-cent stamp was the second in the USPS "Legends of Hollywood" series 33. Designed by master realist artist Michael Deas and art directed by Carl T. Herrman, the stamp featured an oil painting based directly on Schatt's 1954 photograph, placing Dean against foreboding, darkening skies to reflect the inner turmoil of his characters 33. Printed by Stamp Venturers using a gravure process, the pane of 20 stamps featured star-shaped perforations and a hidden trademark symbol integrated into the dark gray background at the insistence of CMG Worldwide, the agency managing Dean's rights 18. The stamp sold 150 million copies, immortalizing Schatt's vision in the annals of American philately35.

Contrasting Lenses: Schatt, Stock, and the Pantheon of Cool

To fully appreciate Schatt's contribution to the James Dean mythos, it is necessary to contrast his work with that of Dennis Stock, a Magnum photographer who also documented Dean extensively in 1955, as well as contemporaries like Phil Stern and Sanford Roth 36.

Following their rejection of Schatt's "Torn Sweater" portraits, Life magazine commissioned Stock to shoot a photo essay tracing Dean’s roots under the title "Moody New Star"36. Stock traveled with Dean to Fairmount, Indiana, capturing the actor walking through his childhood farm, playing bongos in a field of cows and pigs, and sitting reflectively in Park Cemetery near the grave of his pioneer ancestors 36. Stock also captured the famous image of Dean walking through Times Square in the rain.

Stock’s photographs are brilliant exercises in environmental and biographical portraiture, situating the star within the geographical context of Middle America and the isolating expanse of the city. Schatt’s portraits, conversely, are pure psychological landscapes. Removed from any specific geographical context (save for the stark walls of the 33rd Street studio), Schatt’s Dean exists purely in the realm of emotion and character. Where Stock photographed the man returning home to grapple with his past, Schatt photographed the actor discovering his power and projecting his future. Together, the two photographers created a dualistic visual record that secured Dean's immortality following his tragic death in a car crash on September 30, 19556.

American Cool at the Smithsonian

The enduring cultural resonance of Schatt's psychological approach was formally codified in 2014, when the Smithsonian National Portrait Gallery in Washington, D.C., mounted the landmark exhibition American Cool 9. Curated by Joel Dinerstein and Frank H. Goodyear III, the exhibition sought to define the uniquely American concept of "cool"—a term originating in 1940s African American jazz culture, coined by saxophonist Lester Young, that connotes rebellious self-expression, charisma, and a stylish stoicism in the face of societal pressure43.

The curators established a strict historical rubric to select 100 individuals who embodied this ethos: they required an original artistic vision, cultural rebellion for a given generation, high iconic power, and a recognized cultural legacy 9. James Dean was naturally selected, and to represent him, the curators did not choose a film still, nor a Dennis Stock image, but rather Roy Schatt's smoldering 1954 gelatin silver portrait from the "Torn Sweater" series 9. 

As Goodyear noted in the exhibition catalog, Dean became famous not just for his acting roles, but because of the moody, iconic portraits that established his persona as a troubled loner in the collective consciousness; Schatt's photography "made cool possible" 46. (While the exhibition was lauded for its aesthetic curation, it also drew cultural criticism for its lack of diverse representation, particularly the severe underrepresentation of Asian Americans, highlighting the ongoing discourse around how national identity and "coolness" are historically codified 42).

Beyond Dean: A Diverse Mid-Century Portfolio

While James Dean remains his most famous subject, Schatt's portfolio extends far beyond the actors of Greenwich Village, serving as a comprehensive visual document of mid-century cultural shifts. He possessed a keen eye for the titans of the jazz world, photographing legends such as Billie Holiday, Dizzy Gillespie, and Louis Armstrong at the 1955 and 1957 Newport Jazz Festivals.

He documented towering literary figures, capturing playwright Brendan Behan in Paris in 1959, Arthur Miller backstage at the Circle in the Square, and author John Steinbeck in 19555. As the political climate shifted in the 1960s, Schatt's lens captured the urgency of the civil rights movement, most notably in a striking 1964 portrait of Malcolm X holding his hands to his head, projecting both immense intellectual weight and fatigue 6. He also turned his camera toward the architecture of the city itself, producing highly regarded gelatin silver flush-mounted works like his 1965 Portrait of the Empire State Building 6.

Archival Stewardship, Publications, and Market Valuation

Roy Schatt remained active as a photographer and educator for decades. He died from congestive heart failure in his Manhattan home on May 4, 2002, at the age of 921.

Publications and Institutional Recognition

Before his death, Schatt compiled his memories and photographs of Dean into the 1982 book James Dean: A Portrait (published originally by Delilah Books and later by Ruggles de Latour), which remains a vital primary text for film historians and photography collectors15. A second proposed volume, titled Faces of the 50's, was reportedly in the final stages of review by publishers, intended to showcase his broader portfolio of Actors Studio luminaries4.

Institutional recognition of Schatt's genius occurred early in his career. In January 1955, Edward Steichen, the legendary Director of the Department of Photography at the Museum of Modern Art (MoMA), selected a Roy Schatt photograph for the museum's permanent collection. Today, Schatt's vintage and modern prints are held by major institutions worldwide, including the International Center of Photography (New York), the National Portrait Gallery (Washington, D.C.), and the Art Institute of Chicago.

Estate Management

Following Schatt's death, the stewardship of his massive archive fell to his wife, Elaine Schatt, who served as the executor of the estate and meticulously authenticated posthumous sales of his work with signed certificates of authenticity 49. The estate is currently represented exclusively by Westwood Gallery NYC, in collaboration with Ron Cayen Inc. 5. In 2015, Westwood Gallery mounted a highly acclaimed exhibition, Roy Schatt: James Dean and The Actors Studio, featuring over 50 vintage and modern prints, which successfully reintroduced Schatt to a contemporary audience of collectors and critics 5.

Market Dynamics and Auction Realities

In the secondary art market, Roy Schatt's photographs command consistent, robust interest at major international auction houses, including Swann Auction Galleries, Bonhams, Christie's, and Heritage Auctions. Valuation is highly dependent on the printing date (vintage prints from the 1950s commanding a premium over later printings from the 1980s or 1990s), the presence of Schatt's signature in pencil or ink, whether the image is ferrotyped, and the presence of specific studio stamps (e.g., the coveted "149 E. 33rd Street" stamp) 1.

Conclusion

Roy Schatt’s legacy in the canon of twentieth-century photography is defined by a radical synthesis of artistic disciplines. By rejecting the highly manufactured artificiality of mid-century glamour photography and actively integrating the psychological rigor of "Method" acting into his practice, Schatt transformed the photographic portrait from a passive recording of celebrity into an active, often confrontational exploration of the human condition 1. His 33rd Street darkroom was not merely a laboratory for developing film; it was a collaborative theatrical space where the defensive barriers of his subjects were systematically dismantled 13.

Nowhere is this dynamic more historically crucial than in his collaboration with James Dean. Schatt did not just photograph an actor; he mentored a young artist, fostering a reciprocal creative environment that ultimately yielded the defining visual iconography of post-war youth rebellion 8. The "Torn Sweater" series endures not just because it captures a beautiful, doomed star, but because it captures a tectonic shift in American culture—the exact moment when vulnerability, emotional volatility, and anti-authoritarianism became inextricably linked to the concept of "cool" 28.

As his works continue to be exhibited in major institutions and meticulously preserved by his estate, Roy Schatt remains a towering figure in the history of the medium. He was the visual architect of the theatrical vanguard, a photographer whose profound empathy, psychological insight, and unyielding commitment to the "unguarded moment" allowed him to capture the souls of the artists who defined a generation.

Works cited

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41. Press Releases - Julien's Auctions, https://store.juliensauctions.com/exhibition-press-release?id=446&pid=77199ab4-1d17-4b60-93cd-de201f95851b

42. (Un)American, (Un)Cool - Asian American Writers' Workshop, https://aaww.org/unamerican-uncool/

43. 'American Cool' at Smithsonian National Portrait Gallery, Washington - Art Blart, https://artblart.com/2014/09/04/exhibition-american-cool-at-the-smithsonian-national-portrait-gallery-washington-dc/

44. Bob DylanArt Blart _ art and cultural memory archive, https://artblart.com/tag/bob-dylan/

45. Abstract ExpressionismArt Blart _ art and cultural memory archive, https://artblart.com/tag/abstract-expressionism/

46. American Cool: You'll Know It When You See It | National Geographic, https://www.nationalgeographic.com/photography/article/american-cool-youll-know-it-when-you-see-it

47. Roy Schatt Sold at Auction Prices - Artists - Invaluable.com, https://www.invaluable.com/artist/schatt-roy-dbzfw281qb/sold-at-auction-prices/?page=2

48. Malcolm X - Library of Congress, https://www.loc.gov/pictures/item/2009632160/

49. Roy Schatt Sold at Auction Prices - Invaluable.com, https://www.invaluable.com/artist/schatt-roy-dbzfw281qb/sold-at-auction-prices/

50. James Dean : a portrait : Schatt, Roy : Free Download, Borrow, and Streaming - Internet Archive, https://archive.org/details/jamesdeanportrai0000scha

51. Roy Schatt (1919-2002); Marilyn Monroe at the Actor's Studio, New York; and Steve McQueen - Bonhams, https://www.bonhams.com/auction/25760/lot/90/roy-schatt-1919-2002-marilyn-monroe-at-the-actors-studio-new-york-and-steve-mcqueen/

52. James Dean by Roy Schatt | Actuphoto, https://actuphoto.com/27382-james-dean-by-roy-schatt.html

53. Roy Schatt - Swann Auction Galleries, https://www.swanngalleries.com/profile/roy-schatt/