Paulette Tavormina

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...

Julius Shulman. Untitled, 2006 C-print. Measures: 19 ¾ in. x 16 in. Signed by Julius Shulman & Juergen Nogai on verso. Edition: 50 (not individually numbered). Unframed.

Artist: Philippe Halsman (1906-1979) Title: Marilyn Flirting Medium: gelatin silver prints Date: 1952 printed in 1981 Edition: 178/250 Size: image 12.5" x 8.75"; with frame 20.25" x...

A vintage 1964, gelatin silver photograph by John Adriaan, British photographer.

Artist: Philippe Halsman (1906-1979) Medium: Gelatin Silver Print Title: Dali Clockface Date: 1953; Printed in 1981 as part of the ten-piece Dali Portfolio...

Deverne (1927-2012) was a visual artist most interested in abstract geometric forms and textures. He was not known for photography and accordingly this surviving image is quite rare....

Photograph of Marilyn Monroe by G. Barris Photograph taken in 1962 Printed in 1987 Photograph signed by the photographer on the lower righ...

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...

Original American black and white studio photographic production still for Alfred Hitchcock's Classic thriller starring Cary Grant, Eva Marie Saint, Ja...

Artist: Quentin Shih (aka Xiaofan Shi; Chinese, 1975-) Title: "Rey Mascullo, Yesmany Ramirez and Javier Lopez", From La Habana In Waiting Part A. Year: ...

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"...

A framed photograph by Chinese American photographer Don Hong-Oai (1929-2004). Entitled "Three Friends", the work is a sepia toned gelatin silver print. It has inscription of "taken in Beijin in 1985" and with three artist's stamps in red ink. Presented matted and framed under Plexiglas. The sight is 10.5"h x 13.5"w. It is one of the matching pair from an American collection. Don Hong-Oai was born in Canton, China but raised and educated in Saigon, Vietnam. At age 13 he began an apprenticeship at a Chinese photo and portrait shop. In 1979 he immigrated to the United States and settled in the Chinatown of San Francisco. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin...