1,164 results for "david bowie"

NICK KNIGHT (*1958, Great Britain) Ming Xi wearing Chanel Haute Couture 2011 Hand-coated pigment print Sheet 176.2 x 111.7 cm (30 x 44 in.) Edition of 10, plus 2 AP; Ed. no. 1/10 Print only Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. The work is one of a recently published series of prints that took 10 years to produce due to the long development process they triggered. Inspired by 16th century...

NICK KNIGHT (*1958, Great Britain) Kate, British Vogue Cover, 1998 Hand-coated pigment print Sheet 101.6 x 76.2 cm (40 x 30 in.) Edition of 10, plus 2 AP; Ed. no. 2/10 Print only Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. The work is one of a recently published series of prints that took 10 years to produce due to the long development process they triggered. Inspired by 16th century...

NICK KNIGHT (*1958, Great Britain) Stella Lucia Deopito wearing Alexander McQueen, 2015 Hand-coated pigment print Sheet 152.4 x 111.7 cm (60 x 44 in.) Edi...

NICK KNIGHT (*1958, Great Britain) Rose V 2012 Hand-coated pigment print Sheet 117.4 x 76.2 cm (46 1/4 X 30 in.) Edition of 9, plus 2 AP; Ed. no. 4/9 Print only Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. The work is one of a recently published series of prints that took 10 years to produce due to the long development process they triggered. Inspired by 16th century still lifes, Knight applied various techniques such as heat and exposure to a photograph during the developing process, creating a picture with a wonderful effect in which the colours seemed to magically merge and develop a life of their own. Knight began this project when he and his wife were given access to the barium of the Natural History Museum in 1993 for his installation "Plant Power" Flora. From the 6 million different species available (it took him 3 years to sift through them all) he made a final selection of 46 specimens and almost 15 years later decided to publish 15 pictures...

NICK KNIGHT (*1958, Great Britain) Devon 1997 Hand-coated pigment print Image 152.4 x 101.6 cm (60 x 40 in.) Sheet 153 x 120.7 cm (60 1/4 x 47 1/2 in.) Frame 166 x 134.7 x 6.2 cm (60 1/4 x 47 1/2 in.) Edition of 12, plus 2 AP; Ed. 6/12 (from a sold out edition) Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. In 1997 Knight took this photograph of model Devon Aoki...

Untitled VII by Victor Pasmore, 1990 Additional information: Medium: screenprint 73.2 x 103.5 cm 28 7/8 x 40 3/4 in signed with initials, dated and numbered 61/70 in pencil Victor ...

Untitled IX by Victor Pasmore, 1990 Additional information: Medium:screenprint 73.4 x 104 cm 28 7/8 x 41 in signed with initials, dated and numbered 70/70 in pencil Victor Pasmore ...

NICK KNIGHT (*1958, Great Britain) Kate 2006 Hand-coated pigment print Image 122 x 89 cm (48 x 35 in.) Sheet 132 x 101.6 cm (52 x 40 in.) Frame 135 x 104.5 x 5 cm (53 1/8 x 41 1/8 x 2 in.) Edition of 5, plus 2 AP; Ed. no. 3/5 (from a completely sold out edition) Framed print Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. The work is one of a recently published series of prints that took 10 years to produce due to the long development process they triggered. Inspired by 16th century...

NICK KNIGHT (*1958, Great Britain) Gemma Ward, 2002/2016 Hand-coated pigment print Sheet 124.5 x 123.5 cm (49 x 48 5/8 in.) Edition of 5, plus 2 AP; Ed. no...

NICK KNIGHT (*1958, Great Britain) Amber Valletta and Shalom Harlow, British Vogue, 1995 Hand-coated pigment print Sheet 101.6 x 67.9 cm (40 x 26 3/4 i...

NICK KNIGHT (*1958, Great Britain) Red Bustle, Yohji Yamamoto, 1986/2010 Hand-coated pigment print Sheet 101.6 x 76.2 cm (40 x 30 in.) Edition of 10, plus 2 AP; Ed. no. 3/10 Print o...

NICK KNIGHT (*1958, Great Britain) Stella Lucia Deopito Profile wearing Alexander McQueen, 2015 Hand-coated pigment print Sheet 75.2 x 182.8 cm (29 5/8 x 7...

Audrey Hepburn was a British actress and model, active during Hollywood’s Golden Age. Starring in classic films, such as Roman Holiday and Breakfast at Tiffany’s. In the age of Eliza...

Audrey Hepburn was a British actress and model, active during Hollywood’s Golden Age. Starring in classic films, such as Roman Holiday and Breakfast at Tiffany’s. In the age of Eliza...

Frank Sinatra in Miami while filming ‘The Lady in Cement’, 1968 Francis Albert Sinatra was an American singer, actor, and producer who was one of the most popular and influential mu...

Audrey Hepburn was a British actress and model, active during Hollywood’s Golden Age. Starring in classic films, such as Roman Holiday and Breakfast at Tiffany’s. In the age of Eliza...

All Fine Art Photographs are limited edition, signed and numbered. Co-Signed by Terry O'Neill and Marianne Faithfull. 20" x 24" - Edition of 50 + 10 Art...

All Fine Art Photographs are limited edition, signed and numbered by Terry O'Neill from the Terry O'Neill Estate Available in: 20” x 24” LIFETIME PLATINU...

French actress Brigitte Bardot in Deauville, 1968. It is the first time she meets British actor Sean Connery before the filming of 'Shalako', directed by Edward Dmytryk. In 1968, O’Neill got the call to travel down to Almeria, Spain to take photos during the filming of ‘Shalako’. He already knew and worked with one of the stars, Sean Connery, but this would be the first time he would meet Connery’s leading lady, Brigitte Bardot. Bardot burst onto the film screens with starring roles in ‘And God Created Woman,’ ‘A Very Private Affair’ and ‘The Truth’ – all box-office successes in Europe. ‘Shalako’ would be an attempt for Bardot to cross-over to America and become a Hollywood star. Unfortunately, ‘Shalako’ did not translate into the box-office numbers the studio was hoping for, however it’s remembered for having brought two of the sixties most iconic, charismatic sex symbols together on the big screen! Brigitte Anne-Marie Bardot is one of the most iconic French actresses and models in the world. She is one of the best known sex symbols of the 1950s and 1960s and was widely referred to by her initials, B.B. With her heavy fringe, kohl-lined eyes, pouty lips and seductive curves, Brigitte Bardot captured the sixties bombshell zeitgeist. Like Marilyn Monroe and Audrey Hepburn, her image not only portrayed an era but an ideal that has remained indelibly imprinted in popular culture. Terry O’Neill is one of the world’s most collected photographers with work hanging in national art galleries and private collections worldwide. From presidents to pop stars he has photographed the frontline of fame for over six decades. O’Neill began his career at the birth of the 1960s. While other photographers concentrated on earthquakes, wars and politics, O’Neill realized that youth culture was a breaking news story on a global scale and began chronicling the emerging faces of film, fashion and music who would go on to define the Swinging Sixties. By 1965 he was being commissioned by the biggest magazines and newspapers in the world. No other living photographer has embraced the span of fame, capturing the icons of our age from Winston Churchill to Nelson Mandela, from Frank Sinatra and Elvis to Amy Winehouse, from Audrey Hepburn and Brigitte Bardot to Nicole Kidman, as well as every James Bond from Sean Connery to Daniel Craig and many other of your favorite celerities, models and famous political figures, royalty and fashion iconic names in fashion. He photographed The Beatles and The Rolling Stones when they were still struggling young bands in 1963, pioneered backstage reportage photography with David Bowie, Elton John, The Who, Eric Clapton, Chuck Berry and many more. His images have adorned historic rock albums, movie posters and international magazine covers. All Fine Art...

The Blue Door, Oil on Canvas Painting by Ivon Hitchens 1893-1979, 1972 Additional information: Medium: Oil on canvas 41 x 109 cm 16 1/8 x 42 7/8 in Signed and dated; titled and inscribed on a label attached to the stretcher This depicts the back door of Greenleaves, the Sussex home that Hitchens built for his family after being bombed out of London in 1940. The door had become a regular motif in Hitchens’ work by 1972, as had the distinctive use of a wide-format canvas, where guides the viewer across the surface. Hitchens’ concern lay in expressing the experience of a place, rather than creating a mere likeness, ‘my pictures are painted to be “listened” to’ he declared in a 1956 article for the Royal College of Art journal. His later work shows his commitment to ‘visual sound’, becoming brighter in colour and more fractious in form: ‘visual sounds is of first and greatest importance. Without it the picture is useless’. Provenance Private Collection, London Ivon Hitchens was a British painter, mainly of landscapes. 'Setting up canvas and box in all weathers, I seek first to unravel the essential meaning of my subject, which is synonymous with its structure, and to understand my own psychological reactions to it. Next I must decide how best it can be rendered in paint, not by a literal copying of objects but by combinations and juxtapositions of lines, forms, planes, tones, colours etc., such as will have an aesthetic meaning when put down on canvas ... My pictures are to be listened to.' (The Artist, personal memorandum, c.1954) "Hitchens was born in London, son of the painter Alfred Hitchens, and studied at St John's Wood School of Art (1911-12) and the Royal Academy Schools (several years on and off between 1912 and 1919). In 1920, he became a founder member of the progressive 'Seven & Five Society' and was the only artist to belong to it throughout its entire lifetime until its demise in 1935. During this time, he experimented with pure abstraction (he exhibited as one of the 'Objective Abstractionists' in 1934), but by the late 1930s he had created a highly distinctive style on the borderline between abstraction and figuration in which broad, fluid areas of lush colour, typically on a canvas of wide format, evoke but do not represent the forms of the English countryside that were his inspiration. In 1940, following the bombing of his London studio, he settled permanently at Lavington Common, near Petworth, in Sussex. His work altered little from then, apart from the fact that his palette changed from naturalistic browns and greens to more vivid colours such as bright yellows and purples. Contrary to what often happens when an artist remains constant in one style over several decades, Hitchens's work did not become stereotyped or banal. In addition to landscapes, Hitchens painted flowers and figure subjects (usually nudes) and he did several large murals, for example at Nuffield College, Oxford (1959), and the University of Sussex (1963). His work is represented in the Tate Gallery, London, and many public collections. His son John Hitchens (1940- ) is also a painter, mainly of landscapes and flower pieces." A Dictionary of Twentieth-Century Art, 1999 Other members of the Seven and Five Society included Henry Moore, Barbara Hepworth, John Piper, Cedric Morris, Ben and Winifred Nicholson, Christopher Wood and David Jones. They were the a driving force in the 1930s London...

Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate. Available Sizes: 16" x 20" Edition of 50 + 10 Artist Proofs 20”x24” Edition of 50 + 10 Artis...

Raquel Welch is an American actress and singer. She first won attention for her role in Fantastic Voyage (1966), after which she won a contract with 20th Century Fox. They lent her c...

L.P. IV (Blue on Red + Green), Oil & Cryla on Board Painting by Wilhelmina Barns-Graham, 1968 Additional information: Medium: Oil and cryla on board 40.4 x 40.4 cm 15 7/8 x 15 7/8 i...

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...