Andy Warhol

Andy Warhol and Michael Jackson

c. 1981

A photograph by Andy Warhol. “Jon Gould and Andy Warhol” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered FL06.00463 and...

A photograph by Andy Warhol. “Andy Warhol and Janice Dickenson” is a silver gelatin print by American Pop Artist Andy Warhol. The artwork is numbered AWL254 by the Andy Warhol Founda...

A set of two photographs by Andy Warhol. “Farrah Fawcett Photo Shoot” is a set of two silver gelatin prints by American Pop Artist Andy Warhol. The artw...

A photograph by Andy Warhol. "Grace Jones and Steve Rubell" is a Post-War silver gelatin print by American Pop Artist Andy Warhol. The artwork is unsigne...

A photograph by Lawrence Schiller. “Robert Kennedy, San Diego” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

A photograph by Lawrence Schiller. ""Marilyn Monroe"" is a nude, figurative vintage silver gelatin photograph in black and white by American Post-War artist Lawrence Schiller. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. ""It was a time in which things happened awfully fast,"" Schiller says of the decade. ""It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future."" When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Robert Longo (American, born 1953) Untitled (Men in the Cities), 1976/2009 Medium: Set of two gelatin silver prints Dimensions: each 50.8 x 40.64 cm (20 x 16 in); overall 50.8 x 81.2...

Fela Kuti: A rare vintage collection of: 2 darkroom publicity photos circa ealry/mid 1980s. Each measuring 5x7 inches. 15+ 35mm transparencies of Fela performing live circa early/...

Rare 1979 Photograph of Jean Michel Basquiat 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. Silver Gelatin Print. 1979. 11 x 14 inches Hand singed and numbered in the margins from an edition of 5 A/P's. Very good overall vintage condition, with the exception of some minor signs of handling. Provenance: Obtained directly from artist Lot 180 is an authorized dealer rep of Nicholas Taylor Whilst Basquiat often provided glimpses into his conflicted character through his own art, Taylor’s photograph offers an intimate, and perhaps more honest, portrait from the outside. The clever exploration of light and dark reveals the dichotomies that divided the artist; both his fragile and playful, tender and brazen sides are unveiled. A soft glow is cast across Basquiat’s face, communicating a tenderness and affection that only a close friend could capture. About Nicholas Taylor 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 seminal No Wave band “Gray” and live together in the East Village, before Taylor launched a successful career as a DJ famous for track-looping. His track “Suicide Mode” would later be used in the soundtrack for Julian Schnabel’s 1996 film “Basquiat." Taylor has been directly referenced in at least two works by Basquiat and is responsible for first introducing the artist to Madonna before the two dated. Taylor's photographs of Basquiat were recently exhibited at London's Barbican and Frankfurt's Schirn Kunsthalle as part of the landmark Basquiat: Boom for Real exhibition; with Gray (Michael Holman & Nick...

Rare 1979 Photograph of Jean Michel Basquiat This rare Basquiat photograph was taken from Nicholas Taylor’s well-documented portfolio exploring his friendship with Jean-Michel Basqui...

Artist: ​Horst P. Horst (1906-1999) Title: Coco Chanel, Paris, 1937 Year: 1937 Medium: Silver Gelatin Print Size: 14 x 11 inches Condition: Excellent Inscripti...

Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Date stamped on verso Oct 27 1980 Provenance: Fr...