"Nude with Apple" Photography by Sam Haskins

Vintage black and white photograph, photography by Josef Ehm. "Resting Model II", circa 1960s, gelatin silver print. Josef Ehm: Czech, 1909-1989. Born in Habartov. Apprenticed i...

Pictorialist photograph of nude woman in a forest interior by Charles Cook. Silver print. Circa 1910. Charles J. Cook was a painter and pho...

Pictorialist photograph of a young woman. Silver print in the original oak frame. Inscribed on reverse R.S. Paddock, Early 20th century. Pictorialism is the name given to an intern...

Modernist nude photogravure. Circa 1910. Nicely framed and matted. Silver leaf frame.

Mid 20th century black and white photographs of classical sculpture. Set of three. As Mr Codax collected Czech photographers. Unsigned. Matted and framed. Provenance: Estate of Phill...

Nude bathers, fine early 20th century impressionist painting by David Humphrey (American 1872-1950.) Pastel on paper. Humphre...

Stunning collage with constructivist motifs by Camille Bryen (1907-1977) on a black and white nude photograph print by Rémy Duval. Dated 1937, monogrammed CB bottom left. This work is an early work by famous artist Camille Bryen. Camille Bryen is the artist name of Camille Briand, he was born in Nantes...

Artist: Greg Gorman (American, b. 1949), Title: With Her Hand on the Wall Year: 1988 Medium: Gelatin Silver print. Artist stamp verso Image size: 10.5"h x 8"w, overall (with ma...

Archive Photography of Marcel Duchamp early painting "Seated Nude". Printed, circa 1970. In original condition, with minor wear consistent with age and use, preserving a beautifu...

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...

The third series of photographs by fine Taxidermists Sinke & Van Tongeren After observing and analysing so many 17th century paintings, they were inspired to create a new series of work focused on still life masterpieces. They chose photography as the medium to portray their fine Taxidermy work interpreted through vanitas still lifes. The collection, ‘Les Peintures des Taxidermistes’, comprises eight works. Vanitas still lifes were enormously popular in the 17th century, often inspired by biblical themes and the saying that “All is vanity”. It reminded the viewer of his or her own mortality. For these series of still lifes Sinke & van Tongeren not only created meaningful scenes of taxidermy, they also mined their enormous collection of great finds to gather the most beautiful and unusual antiques to complement each scene. Title of this work; ’RÉUNION D’OISEAUX ÉTRANGERS’ Cabinets of curiosity were of monumental importance in the 16th, 17th and 18th centuries. Assembling them with interesting and rare objects was a competitive hobby amongst the elite, and to collect a great number of mounted species from everywhere in the world was the Holy Grail of the day. For ‘Réunion d’oiseaux étrangers’, we created that Holy Grail again, but this time stocking our cabinet with seemingly live species. This plentiful composition is staged in a cabinet with different boxes holding rare species such as a Toco Toucan, Scarlet ibis, Cock of the Rock...

The third series of photographs by fine taxidermists Sinke & Van Tongeren After observing and analysing so many 17th-century paintings, they were inspired to create a new series of ...