Pasadena - Photography

A pair of large portrait photographs in oval ormolu frames This handsome couple come from Brest in France, I do not know the identity of the subjects but the pictures are by H Dub...

A pair of original B&W photographs being offered for sale for the first time. Taken by fashion designer/photographer George Machado from his book “Masculine” by Crown Publishers, NYC,1997. This diptych was printed in two sizes and selected in the final edit of he book. Hand printed the old fashion way. These photographs were printed in 1996 from the original negatives. 5 x 7 photos...

Black & White Photograph of "Thumbs Up" by Robert Francis Giandomenico, c. 1970 Photograph is mounted on Board "thumbs up emoji before the thumbs up emoji" "unframed - will look a...

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...

c. 1920 Man Ray Gelatin-Silver Photograph — “Dadaists on the Train” (Tristan Tzara & Friends), 1980s Print, Framed & Free Worldwide Shipping A moment of après-cabaret languor: this ...

A vintage wood framed photograph from Bali, Indonesia with a glass front. The black & white photo captures a young balinese boy in traditional ceremonial attire rehearsing for a perf...

Nicole Franco "Charros" 25x37in print San Miguel De Allende, Mexico, 2014 Edition 1/10 Fine Art Archival Print Printed on Sahnemühle

A fantastic vintage Boho original photograph. A chic 1960s fashion image of a young model. Acquired from a Palm Beach estate.

Contemporary black and white abstract photograph in a black rectangular frame.  

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.

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...

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