Michel Comte

Street Photography /2000, Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print Signed, titled, negative date and print date on verso. Ana Maria Cortesão...

Street Photography /2001. Sanctuary of Fátima, Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print Signed, titled, negative date and print date on verso. ...

The Pole Vault, 1936 Photography by Alexander Rodchenko Gelatin silver print, on Agfa barite paper. Printed in 1987 by Alexander Lavrentiev from the original negative from around 1936. Limited edition of the Griffelkunst-Vereinigung e.V., Hamburg. Photographer’s Stamp A. M. Родченко (Cyrillic) on the backside image/sheet: 18 x 23.8 cm Alexander Rodchenko (1891–1956) was a Russian avant-garde artist, photographer, and graphic designer, renowned for his contributions to the Constructivist movement. He studied painting at the Kazan School of Art before moving to Moscow, where he became a pivotal figure in the Russian avant-garde. Rodchenko embraced geometric abstraction and worked across various media, including painting, sculpture, and photomontage. He was a leading innovator in Soviet photography...

A framed black and white street photograph by Vivian Maier (American, 1926-2009), "Untitled, June 25, 1961". This is a gelatin silver print printed in 201...

Large original gelatin silver print photograph of a sculptor w/ stone marble sculpture of mother and child. Set in a beautiful period silver gilt wood frame w/ mat and glass. Circa 1...

Jan Saudek, Czech photographer, born 1935 Original silver gelatin print, photograph Title: Jan Saudek, "2 Big 4 U", # 295 Model print Finished , June 30, 1895 Signed lower right S...

A framed black and white street photograph by Vivian Maier (American, 1926-2009), untitled and undated (circa 1950s), This is a gelatin silver print print...

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 framed black and white street photograph by Vivian Maier (American, 1926-2009), entitled "New York, NY, December 2, 1954", this is a gelatin silver prin...

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"...

Jan Saudek, Czech photographer, born 1935 Original silver gelatin print, photograph Title: ''The Gurl'' #362 The Gurl Model print Finished February 5, 1888 Signed right Silver g...

A framed black and white street photograph by Vivian Maier (American, 1926-2009), entitled "New York, NY, September 3, 1954", this is a gelatin silver pri...