Ormolu Photography

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 ...

Oval format photographic view of Mineral Point, Wisconsin from the southwest, looking northeast. The work has been reframed in an oval silver leaf cove molding. American, Wisconsin,...

All handcrafted and very stylish pair of photo frames with inlaid Islamic designs. You don't necessary need to have an Arabic (inspired) interior to fall in love and decorate your home with these stunning Moorish picture frames. The workmanship is there for everyone to see and the combination of the warm colors of the wood and the inlaid shell simply is to die for. It is every antique sellers...

This late Victorian family portrait is in excellent original condition with frame intact and stamped at the back. A true conversation piece that will draw attention.

Large black and white photograph of Marilyn Monroe in a white dress existing a car in a beige wooden frame with beige matting. Some damage to frame finish.

This silver gelatin photograph was printed in New York City in the 1990s from the original negative. George Platt Lynes (1907 to 1955) was a legenda...

Late 19th century Photograph, Victorians in Tropics, domed glass with trompe l'oiel wood grain frame. Period Black White image has been pasted onto board and inserted into frame, needs a matt as the photo does not cover entire backing. Interesting subject matter of a Victorian couple...

Large collection of early 20th century strongman photographs. Each 5" x 7" silver gelatin photographs. Circa 1920. Would make a wonderful framed grouping. Unknown photographer.

Jan Saudek, Czech photographer, born 1935 Original Silver Gelatin print, photograph Title: "Portrait of lady", # Model print Finished , January 18, 1894 Signed lower right Silver g...

Very large sepia toned photograph of a serac on Mt. Athabasca. Titled "Serac". Signed but illegible.

Large Albumen photograph Panorama of The Rock of Gibraltar, circa 1870, Composed of three albumen prints, ca. 7" inches x 7 1/2" inches each, and l...

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...