Greg Williams

James Bond Archives. Signed, Limited Ed Book & Fine Art Print ‘Casino Royale'

2021

When the cinematic Bond was born. The most complete account of the making of the first James Bond film, Dr. No (1962). “Bond, James Bond.” Since Sean Connery uttered those immortal...

Purple Haze, 2014 40 x 60 in (102 x 152 cm) Archival Platine Print Edition of 7 The photographer Los Angeles–based photographer Michael Muller has circled the globe shooting c...

Scar Flower, 2009 40 x 60 in (102 x 152 cm) Archival Platine Print Edition of 7 The photographer Los Angeles–based photographer Michael Muller has circled the globe shooting c...

Tear You Apart, 2009 43 x 60 in (109 x 152 cm) Archival Platine Print Edition of 7 The photographer Los Angeles–based photographer Michael Muller has circled the globe shootin...

This archival illustrative photography pigment print on cotton rag by Andrew Pinkham measures 20in x 16in and is signed and numbered. This piece is part of a small edition of 10. "...

a series of observations on French master paintings and their opulent gilded frames GILDED DRAMA by Frank Schott 40 x 32 inches / 102 cm x 8...

Colosseo Quadrato by Frank Schott, from a series of photographic observances capturing urban textures and color palettes of Roman architecture 30 x ...

Katie Eleanor, ‘Your Hand, Your Tongue III’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...