Mario Schifano Photography

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"...

This 1987 photogravure by Bruce Weber is a portrait of a golden retriever in profile—mouth open, tongue loose, gaze lifted with unwavering devotion toward someone just outside the fr...

Julius Shulman. Untitled, 2006 C-print. Measures: 19 ¾ in. x 16 in. Signed by Julius Shulman & Juergen Nogai on verso. Edition: 50 (not individually numbered). Unframed.

Mario Schifano "Acerbi" Year: 1990s Medium: Materic serigraph Edition: 99/199 Frame size: 110 x 80 x 5 cm Signed and numbered.

Artist: Greg Gorman (American, b. 1949) Title: Rex and Gregory, 1988 Gelatin silver print Image size: 18.75 x 14.75 inches Paper size: 19.75 x 15.875 inches Frame size: 24.8 x 1...

Artist: Philippe Halsman (1906-1979) Title: Marilyn Flirting Medium: gelatin silver prints Date: 1952 printed in 1981 Edition: 178/250 Size: image 12.5" x 8.75"; with frame 20.25" x...

A vintage 1964, gelatin silver photograph by John Adriaan, British photographer.

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...

Photograph of Marilyn Monroe by G. Barris Photograph taken in 1962 Printed in 1987 Photograph signed by the photographer on the lower righ...

Antique Hand Colored Photograph of Nantucket Street Scene by Marshall Gardiner (1884-1942), circa 1910, a period hand tinted photograph entitled "Nantucket Shearing Cart and Quakers" showing classic grey shingled houses on a cobblestone paved street, with a couple in horse drawn cart riding away from the viewer, and four women on doorstep and sidewalk, all dressed in period Quaker attire. It is interesting to note that the couple in cart are seated on antique Nantucket Bow Back Windsor chairs. The photograph was titled and hand signed in pencil across the bottom of the old acid foxed mat; the photograph is now mounted in new archival acid free matting, and a photocopy of the original pencil inscription has been preserved on the reverse. The photograph itself remains in excellent condition. H. Marshall Gardiner (1884-1942) was born on September 18, 1884 in Windsor, Ontario, and immigrated to the United States circa 1890, where his father W.H. Gardiner opened two photographic studios, one in Detroit during the winter months and a second at Mackinac Island during the more tourist-oriented summer months. Recognizing the potential of Florida's rapidly growing tourist trade, around 1894-95 he moved with his family from Detroit to Daytona, Florida which proved much more accommodating to the family's photographic business during the colder winter months. Marshall learned many of his photographic techniques from his father prior to going out on his own at a relatively early age. Whereas his father generally used wet collodian negatives, technology had advanced to where he was able to use gelatin dry plates in his earlier years, and later the less expensive and much more convenient roll film. Another very important lesson learned from his father was strategy of setting up shop in a tourist resort. Early in his career he traveled to Bermuda where he shot a series of beautiful Bermuda scenes that he hand-colored and successfully sold over a number of years to the local tourist trade. Around 1910, at the age of around 24, he first traveled to the island of Nantucket. The year-round population of Nantucket was then just over 2500, not nearly enough to sustain a photographic business for the entire year, so he opened a joint Photography and Art Supplies Store. Working as Nantucket's exclusive agent for Eastman Kodak, his business expanded to include the island's only photo-finishing service. However, with such a small year-round population, even the addition of a Gift Shop to compliment the hand-painted photographs, general portrait...

Artist: Philippe Halsman (1906-1979) Medium: Gelatin silver print Title: Dalí with Rhinoceros Date: 1956; Printed in 1981 as part of the ten-piece Dali Portfolio...

Artist: Philippe Halsman (1906-1979) Medium: Gelatin Silver Print Title: Dali Clockface Date: 1953; Printed in 1981 as part of the ten-piece Dali Portfolio...