Paul Blanca Self-Portrait 1987

Rare Marilyn Monroe photograph by William Read Woodfield. Signed in pencil "Wm Woodfield" on verso. unframed image is distressed and has visible wrinkles and folds and three small ...

Black and White photo of African American Mother and Children Glossy Paper mounted on Foam Core Overall size = 18" x 24" Image size = 12" ...

President Kennedy Awards Alan Shepard NASA's Distinguished Service Medal John Glenn is also in the image all the way to the right. 16" x 16" Black and White photo Image is in...

Ray Metzker Original Photo with Picket Fence. Image area is 10.5 wide and 7" tall. Metzker often photographed fences. Signed on back.

Suzanne Opton Soldier Neal 427 Days in Iraq, 2005 16" x20" image size. Lambda Print Signed Dated, title on verso 1/8. Opton catches soldiers both on guard and off, looking out and looking inward simultaneously, and we can only imagine what they're thinking! Opton photographed 90 men and women for this series. Opton was the recipient of a 2009 Guggenheim Fellowship. Her soldier portraits...

Suzanne Opton Soldier Bruno, 355 days in Iraq 2004. 1/8 Lambda Print, signed, dated and titled on verso. Opton did an entire series of soldiers who are n...

Framed, signed and numbered on verso (#1 of 5 in a closed edition). Originally appeared as part of GarthIvan's first solo show at the Glasgow Art Club & Gallery in 2021. Archival pig...

Framed, signed and numbered on verso (#1 of 5 in a closed edition). Originally appeared as part of GarthIvan's first solo show at the Glasgow Art Club & Gallery in 2021. Archival pig...

Framed, signed and numbered on verso (#1 of 5 in a closed edition). Originally appeared as part of GarthIvan's first solo show at the Glasgow Art Club & Gallery in 2021. Archival pigments and bamboo rag linen paper. White timber box...

Framed, signed and numbered on verso (#1 of 5 in a closed edition). Originally appeared as part of GarthIvan's first solo show at the Glasgow Art Club & Gallery in 2021. Archival pigments and bamboo rag linen paper. White timber box...

Self-portrait by László Moholy-Nagy, 1926. A posthumous print from the original negative, circa 1972. Stamped by Foto Moholy-Nagy and Galerie Khlim. In original good condition...

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...