David Scheinmann Contemporary Art

"Love Saves The Day" Harland Miller, 2014 15 color silkscreen print on 410gsm Somerset paper 146 cm x 105 cm page size Edition 100 signed and numbered in pencil. One of the top three most desirable Harland Miller prints, this is a stunning large format print, mounted and framed in a white box frame. Frame size 162 cm x 121 cm Provenance: The Ingleby Gallery, Edinburgh, Scotland. purchased on 7th May 2016 In late 2012, Miller had his first solo show at Ingleby Gallery entitled "Overcoming Optimism" Harland Miller Harland Miller is both a writer and artist (his debut novel Slow Down Arthur Stick to Thirty was published in 2000) and his paintings of books simultaneously provide a subject for the painter and an outlet for the writer. They combine the emotive possibilities of abstract expressionism with the quick punch of words to deliver their message, and for all the macho grist of their making, and often overwhelming scale, they somehow express a frailty that hints at the human condition. As Miller has said: “Painting is the worst medium to express narrative, but perhaps the best to hit a nerve”. Harland Miller was born in Yorkshire in 1964. He has lived in New York and Berlin and currently lives and works in London. Biography 1964 Born Yorkshire, England 1984 – 1987 BA Chelsea College of Art, London 1987 – 1988 MA Chelsea College of Art, London Lives and works in London Solo Exhibitions 2020 York , So Good They Named It Once, York Gallery, York, UK - Millers largest Solo exhibition to date. 2019 Harland Miller, White Cube Hong Kong, China 2017 One Bar Electric Memoir, White Cube Mason’s Yard, London, UK 2016 Tonight We Make History (P.S. I Can’t Be There), Blain Southern, Berlin, Germany 2015 In Dreams Begin Monsters, Palacio Quintanar, Segovia, Spain 2013 Wherever You Are Whatever You’re Doing This One’s For You, Reflex Amsterdam, Amsterdam, The Netherlands A DECISIVE BLOW AGAINST IF., Other Criteria, London, UK 2012 The Next Life’s On Me, White Cube Gallery, London, UK On Overcoming Optimism, Ingleby Gallery, Edinburgh, UK Harland Miller, Galleria Marabini, Bologna, Italy 2011 Rocky VI, Galerie Alex Daniels - Reflex Amsterdam, The Netherlands Have You Ever Stopped To Wonder Why You’re Not Here, LAB Art, Beirut, Lebanon 2010 I'll Never Forget What I Can't Remember, Galerie Alex Daniels - Reflex Amsterdam, The Netherlands Butterside Down, Galleria Marabini, Bologna, Italy 2009 Harland Miller: Don’t Let the Bastards Cheer You Up, BALTIC Centre for Contemporary Art, Gateshead 2007 Siesta Forever – Come on and Sing My Song, The Fireplace Project, East Hamptons, USA 2005 Dear Son, This is one of the last of my few remaining pre marital possessions – look after it won’t you, Love Dad, Marianne Boesky Gallery, New York, USA 2002 To Jean, A Small Memento for a Great Effort, Love Alan, White Cube, London, UK 2000 First I was Afraid; I was Petrified, Fig.-1, London, UK 1995 Harland Miller, Enrico Navarra Gallery, Paris, France You Dig the Tunnel, I’ll Hide the Soil, Fakhoury Steinitz Gallery, Paris, France First I was Afraid I was Petrified, The Scotch House, Tel Aviv, Israel Group Exhibitions 2019 Summer Contemporary, Maddox Gallery, London, UK Art in the Culloden Estate and Spa, Gormley’s Fine Art, Holywood, UK Between the Lines, Maddox Gallery, London, UK Contemporary British Editions, Galerie Maximillian, London, UK 2018 TWENTY, Ingleby, Edinburgh, UK 2016 Daydreaming with Stanley Kubrick, Somerset House, London, UK 2014 What Marcel Duchamp taught me, Fine Arts Society, London, UK 2013 Once upon a time and a very good time it was…, Ingleby Gallery, Edinburgh, UK Sculpture in the Close, Jesus College, Cambridge, UK 2012 AKA Peace, ICA, London, UK Cool Britannia, Gallery Hyundai, New Space, Seoul, Korea 2010 Kupferstichkabinett: Between Thought and Action, White Cube, London, UK Exhibitionism, The Art of Display, Courtauld Institute of Art, London, UK 2009 Different Places, Different Stories, König-Heinrich-Platz, Duisburg, Germany Inspired, Mitchell Library (City Museum), Glasgow, UK TURPS BANANA 1, Galleria Marabini, Milan, Italy TURPS BANANA 2, Galleria Marabini, Bologna, Italy 2008 You Dig The Tunnel, I’ll Hide The Soil, White Cube, Hoxton Square and Shoreditch Town Hall, London, UK Voewood Projects, High Kelling, Norfolk, UK 2007 Summer Exhibition, Royal Academy of Arts, London, UK 2006 The Portrait, V22 Ashwin Street, London, UK Summer Exhibition, Royal Academy of Arts, London, UK 2005 Summer Exhibition, Royal Academy of Arts, London, UK 2004 Direct Painting, Kunsthalle Mannheim, Mannheim, Germany The Charged Image, Collection of Douglas Cramer, Joseloff Gallery, West Hartford, CT, USA 1996 Bad August, Richard Salmon...

For sale is an original signed museum-quality Magnum photographic print of David Bowie by the legendary MICK ROCK. Titled "David Bowie, Beverly Hills Hotel. 1972", this Magnum prin...

Print Archival pigment print Measures: 20.00 x 16.00 in 50.8 x 40.6 cm Edition of 100 This work is signed on a label on the verso. David Byrne, legendary frontman of American band The Talking Heads and author of How Music Works, was born in Dumbarton, Scotland in 1952. Byrne is a multi-intrumentalist most known for his high-energy performances and distinctive, wide-ranging voice. He formed The Talking Heads with fellow RISD student, Chris Frantz, and Frantz's girlfriend, Tina Weymouth, in 1975 while living in New York City. In 1990 he founded the world music record label Luaka Bop, which released music from artists including Os Mutantes, Tom Ze, and Zap Mama. Byrne's solo career has been broad and multi-disciplinary. Since the 1990s, Byrne has exhibited his visual artwork at numerous galleries including Pace/MacGill Gallery in New York City. In 2006 he released Arboretum, a collection of his philosophical drawings, published by McSweeney's. Byrne's drawings are what he calls "mental maps of imaginary territory." Says Byrne, "if you can draw a relationship, it can exist... the world keeps opening up, unfolding, and just when we expect it to be closed—to be a sealed sensible box—it shows us something completely surprising." In 2010, Byrne exhibited his piece "Guitar Pedals...

This super decorative art piece is designed as a mouse pad featuring the head of the iconic big-eyed cat, Mr. Hünter Cat, by Javier Calleja, one of the most internationally acclaimed...

For sale a fabulous Limited Edition signed print of "Bowie's Eye" by the legendary photographer RANKIN. Photographed in 1995 for "The Changing Faces of David Bowie" feature for Dazed & Confused Magazine, Issue 14. Edition 33/500. The print is framed and comes with a signed, numbered & stamped Certificate of Authenticity from Rankin, together with a signed, numbered & stamped sticky label which can be affixed to either the back of the print or the back of the frame. Description: “The chorus of “No Control”, one of the outstanding tracks for the new album Outside, co-produced by Brian Eno, echoes around the sparse, hangar-sized photographic studio. Heavy, black curtains...

For sale an original signed museum-quality Magnum 6x6 photographic print by MARTIN PARR (British, born 1952). Titled "Knowsley Safari Park, England, Great Britain. 1990", this Magn...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Bacchus in Repose Medium: Cyanotype Year: 1997 Edition: number 5/10 Measurement: Sight H 14", W 11"; with artist fame H 19.25"...

Artist: John Patrick Dugdale (New York, b. 1960) Title: The Spirit Eye Medium: Cyanotype Year: 1998 Edition: number 3/12 Measurement: H 14", W 11"...

An original one-off large format Polaroid photograph of Naomi Campbell for the Vivienne Westwood Active Resistance limited edition book produced by Opus. Signed by Naomi Campbell and photographer Zenon Texeira in marker pen. Large-format polaroids are extremely rare and unique and as the name suggests, they are of a large scale, the visible image dimensions being 52 cm x 67 cm. It is an autographed and one-off, unreproducible photograph, as there is no negative. Large Format Polaroids: The Polaroid 20×24 camera is a very large instant camera made by Polaroid, with film plates that measure a nominal 20 by 24 inches. Throughout its history, it has been used by many famous photographers, including Robert Rauschenberg and Andy Warhol. Ansel Adams also used the camera, notably to make the first official photographic Presidential portrait, of President Jimmy Carter in 1979. To celebrate Lady Gaga's new role as Creative Director of Polaroid, a portrait of her was shot with the 20×24 camera on June 30, 2010, at the Massachusetts Institute of Technology. This is the actual one-off Large Format Polaroid Photo taken on one of three of these cameras in existence which are soon to be obsolete because no more of the photographic paper can be made. The rare Polaroid 20 x 24 camera was brought from Prague to Paris and London for three separate photo shoots for The Official Vivienne Westwood Opus. Featuring Vivienne Westwood’s family and friends wearing clothes from her stunning collections, 97 selected Polaroids, shot by Zenon Texeira in black-and-white, colour and sepia, are displayed in the Opus. The photos were shown in various venues including the Serpentine Gallery in London on a worldwide tour to promote the book. Participants included: Vivienne Westwood, Pier Vittorio Aureli, Hilary Koob-Sassen, Ingo Niermann & Zak Kyes, Rasheed Araeen, Peter Cook, Richard Wentworth, Gilbert & George, Ben Vautier, Jonas Mekas, Jean-Jacques Lebel, Tom Mccarthy, Mark Wallinger, Yoko Ono, Barbara Steveni, Ekaterina Degot, Raqs media collective, Nathaniel Mellors, Lee Scrivner, Andrea Branzi, Henry Flynt, Marina Abramovic, Agnès Varda, Susan Hefuna, Stephen Willats, Falke Pisano, Adam Pendleton, Jimmie Durham...

EV Day. Purring Chamber Vertigo, 2013. Archival pigment print. Measures: 16 in. x 16 in. Signed and numbered on front. Edition: 60. Unframed. SNAP! by E.V. Day...

A framed C-print photography by British artist Sam Taylor-Wood (1967-). Entitled "Self-Portrait in a Single-Breasted Suit with Hare", the print was made in 2001 and its unique in this size at 9" h x 6" w. Presented in a wood frame. Provenance: Matthew Marks Gallery, NYC (label verso). Artist Biography (courtesy of Guggenheim Musuem Collection) Sam Taylor-Wood B. 1967, LONDON Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; the latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music, film, and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, creating a party-like environment in the gallery where the viewer is privy to these personal exchanges. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes the well-known art historical subject. Her video David (2004) evokes similar connotations and intimately unveils the much-photographed dynamic soccer icon David Beckham in deep sleep. Time and speed are often centerpieces of her videos, whether the rapid acceleration of a bowl of fruit’s decay process in Still Life (2001) or the illusion of frozen time in The Last Century (2006), for which the actors are in fact filmed in real time but remain impossibly still. Taylor-Wood’s first narrative film, Love You More (2008), borrows its title from a song by the 70s punk band Buzzcocks and chronicles the story of two teenagers who hear the recently released song together in a record store. Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995, 2001, 2004, and 2008), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), Musée d’Art Contemporain de Montréal (2002), Russian Museum in St. Petersburg (2004), Museum of Contemporary Art in Sydney (2006), Museum of Contemporary Art in Cleveland (2007), and Museum of Contemporary Art in Houston...

Entitled "Portrait of Me at Twilight", this photograph is by American photographer John Patrick Dugdale (1960-). The self-portrait, a toned cyanot...