Deer Portrait by Tasha Ostrander

Excerpts from the artist's statement: "I use paint. fabric, found and sculpted objects, small pieces of metal and jewels to create varying and overlapping areas of visual rhythms an...

This venerable piece is from the collection of Linda Ronstadt. Purchased sometime in the 1970s. This highly prized Sauterelles pattern vase is adorned with frolicking grasshoppers a...

To celebrate the 100th anniversary of Hans J. Wegner in 2014, Maharam and Paul Smith collaborated with Danish furniture manufacturer Carl Hansen & Søn on a limited edition collection...

This is a delightful and bright pair of early 20th c. still lives from Belgium. They bring a lovely cheerfulness to any room and remind me of the romance of my earliest trips to Euro...

Authentic pair of Indian police shields made of bamboo. I am dating these to the 1940s. A brilliant depiction of how crowd control was done back in the day! These make a fantastic st...

This is a lovely early Uzbeki Suzani. Loosely translated, one of the embroidered lines says "You Be The Sun and Save The World". These colorful expressions add such warmth and vibran...

Original production still showing Robert De Niro on set with the director Michael Cimino.    

Lisa Tyson Ennis Fishing Weir Study III, Deer Island, 2010 Toned silver gelatin print 26 x 24 in Framed Edition 4 of 40

Lisa Tyson Ennis Fishing Weir Study VI, Deer Island, 2010 Toned silver gelatin print 26 x 24 in Framed Edition 4 of 40

Lisa Tyson Ennis Fishing Weir Study IV, Deer Island, 2010 Toned silver gelatin print 26 x 24 in Framed Edition 4 of 40

Untitled nude polaroid portrait by Franco Fontana (Italian, born 1933) Signed and dated.

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...