Matt Hoyle Photography

Limited Edition #01/10 Black & White portrait of a road house Chef in Nikko, October 2022 by Taco Joustra. This portrait is part of a series titled "Faces of Japan". The museum quality fine art B&W print measures Height : 20.866 x Width : 15.994 inches. This includes the 0.787 inch white border The photograph will be signed and numbered . Japanese cuisine, also known as washoku, is characterized by its emphasis on seasonality, simplicity, and balance of flavors. It also places a strong emphasis on the appearance of dishes, with a focus on presentation. Sushi, ramen, and tempura are some of the most well-known Japanese dishes...

Gottfried Tollman (1921-1986) was an iconic German photographer living and working in Dusseldorf Germany. These black and white photographs in blonde wood framed sold as a pair are ...

Untitled nude polaroid portrait by Franco Fontana (Italian, born 1933) Signed and dated.

Living tribes by Colin Prior Indigenous peoples - 191 pages. Published by published by Constable & Robinson Ltd., 3 The Lanchesters, 162 Fulham Palac...

THEODORE GREER - 'Guadalupe River' - Contemporary landscape photographic digital print on paper - contained in a gallery matte - unframed - signed and titled - United States (Jemez S...

Vintage Lake Tahoe Area Photograph, dated 1931, of a large group of 9 or 10 people sledding in a beautiful double horse drawn luxury sleigh, during a win...

Françoise Gilot original lithograph 'Portrait of a Woman'. From the poetry book "Pages d'Amour" by André VERDET, editions Raison d'être, 1951, printe...

"Wonderful Time, An Intimate Portrait of the Good Life by Slim Aarons." New York: Harper & Row, Publishers. Stated first edition hardcover with no dust jacket, 1974. A photo essay do...

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...

A painted photographic portrait of a gentleman, American, late 19th century. sight: 5 by 7 inches frame: 12 ½ by 14 ½ inches

Karl Blossfeldt Photogravures Wundergarten der Natur, 1932. Hung together, these make a very impressive and modern wall display. Available in smaller groups or individually at $595...

A fantastic set of twenty 19th century framed etchings of Roman and Greek emperors, statesmen, and philosophers including Julius Caesar, Augustus Caesar, Cicero, Marcus Brutus...