Mark Shaw, 1921-1969

Miro in His Studio

2017

Audrey Hepburn, Frank McCoy on the Set of Sabrina, r2_2 -- Audrey Hepburn and makeup artist Frank McCoy on the set of Paramount's Sabrina Fair. Image size ...

Audrey Hepburn Under the Dryer Holding Cigarette, c10_16 – Photographed for LIFE in 1953, Audrey Hepburn, under the hair dryer, smokes a cigarette -- While working on the film Sabrin...

Audrey Hepburn, r1_2 -- Audrey Hepburn on the set of Sabrina Fair, "turns happily to chat with a colleague." Very protective of her privacy after hours, Audrey was known to enjoy "th...

Audrey Hepburn, Frank McCoy on the Set of Sabrina, r2_2 -- Audrey Hepburn and makeup artist Frank McCoy on the set of Paramount's Sabrina Fair. Image size ...

Audrey Hepburn, Wally Westmore on the Set of Sabrina, r1_12 – Audrey Hepburn, Wally Westmore on the Set of Sabrina, hepburn_03 – Audrey Hepburn gets a last minute touch up from the m...

Audrey Hepburn Under the Dryer Holding Cigarette, c10_10 – While working on the film Sabrina, Audrey Hepburn was shampooed every night -- She often conducted business with her agents...

The frequencies I am made of, Set Individual Image size: 68.8 in. H x 43.3 in. W Overall Image size: 68.8 in. H x 216.5 Gicleé print on cotton rag 68.8" H x 43.3" W Ed 4/5 + 1AP 201...

9-1-1 by Frank Schott 28 x 39 inches / 74cm x 102cm framed signed edition of 25 archival fine art pigment print artist signed + numbered certificate of authenticity framed "Moder...

Since the beginning of his career in the late 1980s, Juergen Teller has created both commercial and non-commercial photography, however he does not draw distinction between the two p...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. 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). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Flowered Umbrella by Denny Haskew Figurative Photographic Print 26x16" Framed in Black A woman photographed behind a waterwall taken during one of the artist's travels. ABOUT THE ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. “Peabrook is my Neverland,” Heal states, in reference to J.M. Barrie’s Peter Pan. “It is a fictional place often described as a metaphor for eternal childhood.” Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook. Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the “magical” representation of Heal’s home that she strove to depict. The simply framed 4” x 5”, 5” x 7” and 8” x 10” photographs sit within large mattes, in keeping with the classical quality of her images. “I really wanted to work in film again, and this project seemed the right one to do it with,” says Heal, who lists Sarah Moon and André Kertesz as artistic inspirations. The dark and mysterious invitational image, “Willow”, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden. The earth-toned image contains the unpredictable streaked effect of developed instant film. In another image, entitled “Sitting Room”, we see a positive image of a film negative. Most notable is the hanging rhinoceros head towering impressively over two antique sitting chairs...