Unknown

Kate II - Oversize limited edition - Kate Moss

2020

Evening Dress (1955) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) Mrs. Augustus G. Paine II at the house of her father, Earl E. T. Smith, wearing an evening dress by...

Exclusive Fashions (1955) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) Mrs T.R. Potter and Mrs Edward Magnus (right) in the Saks of 5th Avenu...

Five Debutantes (1951) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) Five members of the Debutante Cotillion rehearse for the Christmas Ball at the Waldorf Astoria Hot...

'Beach Babe Kelly Grace' Grace Kelly on the set of To Catch A Thief, 1955. (Photo: AKG) mint condition Archival pigment print Measuring 12 x 16 inches...

New Mexico Old Boys by Homer Sykes Aztec, New Mexico, June 1971. Men playing dominoes in a bar with a pool table. 1970s USA oversize 30 x 20 inches ...

Super Giant Oversize - C3PO Star Wars Archival Pigment Print 1977 by Geoff Wilkinson / Mirror Trinity Group Archive size : 71 x 45.5" inches / 180 x 116 cm paper size print type ...

From the Hand Series Hand Holding an Eyeball Edition of 5 Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been featured in the June 2019 issue of Black & White Magazine and the photograph Boat House, Springs East Hampton is featured in the June 2019 issue of Luxury Magazine Gerry Giliberti is a print-based photographic artist who uses graphics, photography, sculpture and digital imagery to create abstract, surrealistic images and constructions that bring the viewer into a new visual world. Having a classical bachelor of fine arts education including printmaking, photography, sculpture, oil and watercolor painting, illustration, etching, silk-screening and other specialized printmaking processes, including archival photographic processing techniques, Giliberti laid the foundation for his unique ability to see simple images among complex textures. Others: Hands Title: Ball Size: 11” x 15” Edition: 2/5 Medium: Archival Pigment Print Price: $550 Title: Family Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Baseball Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Brothers Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Zoranne City Boy...

Keith Haring Subway Drawings Photograph: This photograph captures Keith Haring's epic conquest, producing public art across the New York City subw...

This is a vintage silver gelatin photo of either Stan Lee or John Romita (I believe it is Romita but I am not sure) overlayed with a comic strip in a surrealist style. John Romita is an American comic-book artist best known for his work on Marvel Comics' The Amazing Spider-Man and for co-creating the character The Punisher. He was inducted into the Will Eisner Comic Book Hall of Fame in 2002. He graduated from Manhattan's School of Industrial Art in 1947, having attended for three years after spending ninth grade at a Brooklyn junior high school Among his instructors were book illustrator Howard Simon and magazine illustrator Ben Clements, and his influences included comics artists Noel Sickles, Roy Crane, Milton Caniff, and later, Alex Toth and Carmine Infantino, as well as commercial illustrators Jon Whitcomb, Coby Whitmore, and Al Parker. Romita entered the comics industry in 1949 on the series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it — and rightfully so". Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when comic-book inker Lester Zakarin, a friend from high school whom he ran into on a subway train, offered him either $17 or $20 a page to pencil a 10-page story for him as uncredited ghost artist. "I thought, this is ridiculous! In two pages I can make more money than I usually make all week! So I ghosted it and then kept on ghosting for him", Romita recalled. "I think it was a 1920s mobster crime story". The work was for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee. Romita ghost-penciled for Zakarin on Trojan Comics' Crime-Smashers and other titles, eventually signing some "Zakarin and Romita". Romita went on to draw a wide variety of horror comics, war comics, romance comics and other genres for Atlas. His most prominent work for the company was the short-lived 1950s revival of Timely's hit character Captain America, in Young Men #24–28 (Dec. 1953 – July 1954) and Captain America #76–78 (May–Sept. 1954).[21] Additionally, Romita would render one of his first original characters, M-11 the Human Robot, in a five-page standalone science-fiction story in Menace #11 (May 1954). While not envisioned as an ongoing character, M-11 was resurrected decades later as a member of the super-hero team Agents of Atlas. He was the primary artist for one of the first series with a black star, "Waku, Prince of the Bantu" — created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (Sept. 1954). The ongoing short feature starred an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (Nov. 1954). In the mid-1950s, while continuing to freelance for Atlas, Romita did uncredited work for DC Comics before transitioning to work for DC exclusively in 1958. "I was following the DC [house] style", he recalled in 2002. "Frequently they had another artist do the first page of my stories. Eventually I became their romance cover...

RUN DMC at KIT KAT CLUB, New York City circa 1995 by heralded NY underground photographer Fernando Natalici. Notes Natalici: "I was taking pictures of DMC backstage prior to the show for the club and asked RUN if I could go on the stage for 2 minutes and get some shots showing the audience reaction, he said: right side, during “Walk This Way'... and the rest is history." Archival inkjet print. Dimensions: 20 x 16 inches Excellent overall condition. Hand-signed & numbered on the reverse from a limited edition of 20. Obtained directly from artist. About Fernando Natalici New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Fernando’s art design featured in the Jeffrey Deitch curated show “Area” at The Hole Gallery NYC in 2013, with his film stills from "Unmade Beds" & "The Foreigner"- two of the most significant underground films of the 1970’s New York Punk scene, exhibited at The Museum of The Moving Image in 2015. Recent Publications & Exhibits Jim Jarmusch: Music, Words & Noise (2015) Another Magazine (London, 2014) Black Book (2014) Curbed NY (2014) Photography Now (2013) The Museum of The Moving Image (New York, 2015) The Hole Gallery NYC (New York, 2014) The Chelsea Hotel (New York 2013) New York University Tisch School of The Arts (2013) _ Run-DMC was an American hip hop group from Hollis, Queens, New York, founded in 1981 by Joseph Simmons, Darryl McDaniels, and Jason Mizell. Run-DMC is widely acknowledged as one of the most influential acts in the history of hip hop culture and one of the most famous hip-hop acts of the 1980s. Along with LL Cool J, The Beastie Boys, and Public Enemy, the group pioneered new school hip-hop music. Run-DMC was the first group in the genre to have a gold album (Run–D.M.C., 1984) and be nominated for a Grammy Award. They were the first to earn a platinum record...

A rare, intimate photo of the legendary David Bowie taken at New York's Kit Kat Club in 1999 during a private VH1 event, by celebrated downtown photographer, Fernando Natalici. Dime...

Jean-Michel Basquiat Photograph by Nick Taylor of Gray: This rare Basquiat photograph was taken from Nicholas Taylor’s well-documented portfolio exploring his friendship with Jean-Michel Basquiat - a friendship which began when both collaborated on the historic New York No Wave band, “GRAY” in the late 1970s; before the two briefly lived together in the East Village. Selections from Taylor's portfolio were most notably exhibited as part of the Basquiat retrospective at London's Barbican in 2017 and have been featured in numerous noteworthy publications on Basquiat. "Basquiat knew funk, jazz and what was up. How many people were equally versed in Miles Davis and Funkadelic, Charlie Parker and Bootsy Collins, Thelonious Monk and the JBs?" (Glenn O'Brien, 'Gray Matters,' GQ, 2011) Archival Inkjet Print. 11 x 14 inches (including borders). Edition of 50. Arrives signed, titled and numbered by Taylor on the reverse. Excellent overall condition. Provided directly by artist. Lot 180 Gallery NY is an authorized dealer rep of Nick Taylor. Related exhibitions featuring this work: Basquiat: Boom for Real; Barbican London; September 2017-January 2018. Museum of the City of New York (NY, New Music: 1980-1986): 2021. Montreal Museum of Fine Arts (Seeing Loud: Basquiat and Music): 2022. Nicholas Taylor (American, b. 1953) is a renowned photographer and musician. Taylor moved to New York in 1977 to pursue a career as a photographer and it was through the vibrant New York art scene that he came to know the young artist, Jean-Michel Basquiat. It was, in fact, his intimate portfolio of photographs documenting his friendship with Basquiat that rocketed Taylor to fame. The two would collaborate in the No Wave band “Gray” before Taylor launched a successful career as a DJ famous for track-looping (named "DJ High Priest" by Basquiat). His track “Suicide Mode” would later be used in the soundtrack for Julian Schnabel’s 1996 film “Basquiat." Exhibitions: Basquiat: Boom For Real at the Barbican Centre, London (9/21/17- Present) Literature/Catalog Raisonne: Basquiat: Boom For Real (Eleanor Nairne/Dieter Buchart) Jean-Michel Basquiat: King For A Decade (Taka Kawachi) Jean-Michel Basquiat: 1981, Studio of The Street (Diego Cortez) For further history on Basquiat & his group Gray, please see: "Gray Matters," by Glenn O'Brien (GQ magazine, 4/21/11) "We formed a band: Jean-Michel Basquiat and the New York noise underground," The New Statesman, 9/29/17 "Bowie, Bach and Bebop: How Music Powered Basquiat" (New York Times 9/22/17) Glenn O'Brien, "Gray Matters," GQ Magazine April, 2011: "Gray’s approach to music was having heard music, to approach instruments and sound systems the way one would pick up a strange machine and try to intuit its operation and function. Since Basquiat didn’t know guitar technique, it seemed like a good idea to play one with a steel file. Michael Holman discovered that you could achieve a very nice effect by pulling masking tape off the skin of a snare drum... And then there was the clarinet that Basquiat liked to walk around with, that was as much a scepter and wand as wind instrument. This utterly charming 27-track album is chock full of the road not taken, which sounds so right just now. It is refreshingly stripped of flagrant virtuosity but it is conceived brilliantly, played perfectly, and arranged impeccably... If a wine can have notes of chocolate, leather, licorice, and tobacco, then this record can have notes of William DeVaughn, Willie Hutch, Marcel Duchamp, Larry Coryell, the Modernaires, Sergio Mendez...