David Bowie is photographed crouched down and crooning onstage during his late American tour in 1976. Gone is the make-up, the glitter, and the outrageous clothes of previous tours, and in its place is a white-suited Gatsby look.

CMarlon Brando is photographed on the set of Bernardo Bertolucci’s controversial 1973 masterpiece The Last Tango In Paris. The film's raw portrayal of sexual violence and emotional turmoil led to international controversy and drew various levels of government censorship in different jurisdictions.

Honor Blackman stands in a bikini on the beach for a publicity shot to promote the 1964 James Bond film Goldfinger. Spelled out in the sand is the name of her character, Pussy Galore.

Grace Slick, frontwoman of Jefferson Airplane, performs with the band at Monterey Pop Festival in California in 1967. Slick was one of the earliest female rock stars alongside her close contemporary Janis Joplin and was a key figure in San Francisco's early psychedelic music scene in the mid-1960s.

Enid Boulting is photographed wearing a Helena Geffers suit for a British Vogue photoshoot in March of 1950. Boulting was the face of Biba Cosmetics in the late sixties and appeared on four British Vogue covers. 

Founders of The Jazztet, trumpet player Art Farmer and tenor saxophonist Benny Golson hold their instruments as they stand amongst the rubble. Williams took this picture as part of a photoshoot for the September 1960 cover of Jazz publication DownBeat magazine.

Antonio Lopez is photographed filming Jerry Hall at Dunn’s River Falls in Ocho Rios, Jamaica. Hall wears a bikini from Electric Fittings with Saint Laurent Rive Gauche jewels for the British Vogue magazine shoot in May of 1975.

Chuck Negron of American rock band Three Dog Night is photographed on stage in the early 1970s.  Ed Caraeff would form a tight relationship with the band and become their official tour photographer for many years.  

Raquel Welch stands surrounded by a group of men on the set of the film The Beloved (aka Sin and Restless), written and directed by George P. Cosmatos, in Cyprus in 1970. The actress, along with her costar Richard Johnson, took no salary for the film, just expenses and a share of the profits. 

Lee Marvin smokes a cigarette on the set of Stuart Rosenberg's comedy western Pocket Money in Tucson, Arizona in 1971. The American Western buddy comedy sees Paul Newman, a cowboy who is down on his luck, team up with his old partner (Lee Marvin) to complete his latest job for a shifty businessman. 

Terence Stamp and Jean "The Shrimp" Shrimpton are photographed at Stamps flat in London for The Daily Express published on June 29, 1965. The couple was regarded as the "faces of the 60s" by Vogue magazine. Now, over 50 years after this iconic photograph was captured, photographer Terry O’Neill and long-time friend Terence Stamp have co-signed Fine Art Print editions.

Supermodel Kate Moss poses for a close-up on the set of a London photoshoot. This was shot in 1992, just before Kate's breakout Calvin Klein campaign that would make her a star.

Roger Moore is photographed as the famed British Secret Service agent James Bond. He was the lead in seven Bond features and O'Neill recalls going to the set of Live and Let Die thinking he would "go take photos of Roger Moore, but [he] came out knowing that [he] just took photos of James Bond.”

Celia Hammond is photographed by Norman Parkinson wearing goggles and a headdress made of silk chiffon for Queen magazine in 1964. Hammond became a favorite model of Parkinson's and credits the rise of her career to him and his photographs. 

American fashion model Nena von Schlebrügge is photographed wearing a damson velvet hat by Pierre Cardin during a photoshoot for Queen magazine on August 31, 1960.  The photoshoot featured Schlebrügge modeling in a helicopter flying over the Eiffel Tower. 

Faye Dunaway takes breakfast by the pool as she reads the day’s newspapers at the Beverley Hills Hotel on March 29, 1977.  This photograph of the morning after she won an Oscar for Best Actress in a Leading Role for Network is widely considered to be one of the defining images of Hollywood.

Actress Romy Schneider is photographed as part of a promotional shot for the 1972 film The Assassination of Trotsky. The drama, directed by Joseph Losey, explores the mystery surrounding the 1940 killing of Russian Revolution leader Leon Trotsky.

Marianne Faithfull poses in a corset, stockings, and suspenders for an early publicity photo in London 1966.  Faithfull's manager, Andrew Loog Oldham, was also the first manager of the Rolling Stones and asked Terry O'Neill to work with his other new acts. 

Grace Coddington is photographed wearing a fleece collarless coatdress by Jane Jane for British Vogue in August of 1966. The picture was taken by Norman Parkinson who also shot Coddington's first-ever Vogue photos after she won the publication's Young Model Competition. 

Actress Raquel Welch in a photo conceived by photographer Terry O'Neill after Welch noted that she was afraid that the press would "crucify" her for her film choices, taken on the Fox Lot in the late 1960s. Originally deemed too scandalous for promotional use at the time, the photo wasn't published until 30 years later, on the cover of The Sunday Times magazine, and is now one of O'Neill's most iconic and collected works.

Jimi Hendrix is photographed performing on stage with The Experience in 1969. Adorned in his easily recognizable headscarf and vest, Hendrix was both a musical and style icon of the 1960s before his death at age 27. 

Pelé is photographed getting carried off the field by fans after winning the FIFA World Cup Final against Italy at the Estadio Azteca in Mexico City on June 21, 1970. The Brazillian footballer was instrumental in securing his team's way to the final, having scored 14 of Brazil's 19 goals in the tournament.

John Fogerty, lead singer and guitarist of Creedence Clearwater Revival, is photographed performing with the band at the Oakland Coliseum Arena in California in 1970. The show would be recorded and released as an album years later, becoming known as The Concert. 

Steve McQueen wears aviator sunglasses as he sits on his desk at his Hollywood office in 1969. McQueen's antihero persona, emphasized during the height of the counterculture of the 1960s, made him a top box-office draw for his films of the late 1950s, 1960s, and 1970s.