Travis Somerville Furniture

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"...

John Dugdale (American, b. 1960). Turbulent Dream, NYC, 1998. Platinum-palladium print. Image size 8-3/4 x 6-3/4 inches paper size with margins 17 x 14 inches Signed and editi...

“Smoking in Venice” 2003 by Stephen Elledge is a limited edition (10 total) direct print on aluminum backing.

Large modern nude painting by Larry Kessler. Has beautiful texture and brush mark. Signed LK and dated 03.

An abstract expressionist painting, from the Pacific Northwest, with a subtle color-form expanding beyond the canvas, exhibiting elaborate brushwork in oil. Titled 'BUI-94'.

Abstract Painting in Purple, Blue, Pink and Black in a Custom Black Wood Frame with Non Reflective Lucite

Abstract oil painting on canvas by Southampton listed artist Russell Christoffersen.

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

Oil painting on canvas by Chicago artist, William Stebbins. The painting features bright blues and purple tones alongside warm yellow and orange tones. Signed by the artist. Dimensi...

Sigfredo Chacon Venezuelan, 1950. Painting. Acrylic on canvas. Dimensions: 23-3/4 in. by 23-3/4 in. Sigfredo was born in Caracas in 1950. He studied at the School of Fine and Applied Arts Cristóbal Rojas (1963-1966) and Design Institute Neumann-INCE, Caracas (1966-1970). He continued his training as a designer at the Chelsea School of Art and the London College of Printing, England. In the early seventies he participated in the Young confrontations Venezuelan News, Gallery Current Study Hall Arturo Michelena...

Surrealist nude painting by Alex Alemany, Spanish, circa 1970s. Alemany's works are often described as "magical realism." This painting measures 32" H x 25.5" W and is unframed.

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...