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[Portrait Photograph of Robert Duncan]
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[Portrait Photograph of Robert Duncan]

By Malanga, Gerard

[New York: Gerard Malanga], 1972. Photographs. Near fine. 1972. Image size 6 1/4 x 9 inches, sheet size 11x 14 inches, mat size 12 x 14 3/4 inches. Signed and dated "'72" by Gerard Malanga. Loosely mounted on new archival back with clear polyester protective cover. Light soiling and scuffing in mat. Minor soiling in margins of print. Image near fine. Portrait of poet Robert Edward Duncan (1919-1988). Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$500.00

[Portrait Photograph of Herbert Huncke]
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[Portrait Photograph of Herbert Huncke]

By Malanga, Gerard

[New York: Gerard Malanga], 1970. Photographs. Very good. [ca. early 1970s, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. 2 1/2-inch crease and light soiling in mat. Print fine. Portrait of Herbert Edwin Huncke (1915-1996), the drifter, grifter, and writer whose use of the word, "beat," is said to have inspired Jack Kerouac's adoption of the term for the Beat Generation.Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$750.00

[Portrait Photograph of Angus Maclise]
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[Portrait Photograph of Angus Maclise]

By Malanga, Gerard

[New York: Gerard Malanga], 1970. Photographs. Very good. [ca. early 1970s, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. 2 1/2-inch crease and light toning in mat. Print near fine. Portrait of Angus Maclise (1938-1979), percussionist, publisher, occultist, and poet. Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$500.00

[Portrait Photograph of Rene Ricard]
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[Portrait Photograph of Rene Ricard]

By Malanga, Gerard

[New York: Gerard Malanga], 1970. Photographs. Very good. [ca. early 1970s, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. Light soiling and scuffing in mat. Print fine. Portrait of actor, writer, and painter Rene Ricard (1946-2014).Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$750.00

[Portrait Photograph of Robert Creeley and His Dog, Spot]
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[Portrait Photograph of Robert Creeley and His Dog, Spot]

By Malanga, Gerard

[New York: Gerard Malanga], 1972. Photographs. Near fine. 1972. Image size 6 1/4 x 9 inches, sheet size 11x 14 inches, mat size 12 x 14 3/4 inches. Signed and dated "'72" by Gerard Malanga. Loosely mounted on new archival back with clear polyester protective cover. Light soiling and scuffing in mat. Minor soiling in margins of print. Image fine. Portrait of poet Robert White Creeley (1926-2005) with his dog, Spot, in Bolinas, California. Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$500.00

[Portrait Photograph of Edwin Denby]
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[Portrait Photograph of Edwin Denby]

By Malanga, Gerard

[New York: Gerard Malanga], 1970. Photographs. Near fine. [1970, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. Small dents and minor crackling in print, 2 1/2-inch crease and light toning in mat. Very good. Portrait of writer Edwin Denby (1903-1983).Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$500.00

[Portrait Photograph of Gerard Malanga with His Father, Gerardo Malanga]
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[Portrait Photograph of Gerard Malanga with His Father, Gerardo Malanga]

By Malanga, Gerard

[New York: Gerard Malanga], 1972. Photographs. Near fine. [1972, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. Very minor wear. Near fine. Self-portrait in a mirror of Gerard Malanga with his father, Gerardo Malanga, in Holly Hill, Florida. Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$750.00

[Cabinet Card Photograph of One-Legged Acrobat Georg Fabig]
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[Cabinet Card Photograph of One-Legged Acrobat Georg Fabig]

By Fabig, Georg; Schaller, W. A. (photographer)

Berlin: W. A. Schaller, Theater-Agentur, 1875. First Edition. Photograph. Near fine. [ca. 1870s]. Cabinet card (albumen photographic print mounted on card), approximately 6 1/4 x 4 1/4 inches. Printed caption, "Georg Fabig, einbeiniger Handacrobat," pasted in lower margin. Subject's autograph signature and rubber stamp of W. A. Schaller theater agency on verso. Mild wear and fading. Near fine. Cabinet card portrait of the one-legged circus acrobat, Georg Fabig, evidently issued by his Berlin talent agent, W. A. Schaller, whose rubber stamp appears on the verso. The item was part of the collection of the late Johnny Fox (1953-2017), the celebrated sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers.

$200.00

[Cabinet Card Photograph of Charles Tripp, "The Armless Wonder"]
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[Cabinet Card Photograph of Charles Tripp, "The Armless Wonder"]

By [Tripp, Charles B.; Bransby Cooper Pentz (photographer)]

York, Pa.: Pentz, [1887]. First Edition. Photograph. Near fine. Cabinet card (albumen photographic print mounted on card), approximately 6 1/2 x 4 1/4 inches. Stamp of photographer and inscription and signature of subject on verso, in his foot. Light wear, near fine. Cabinet card portrait of Charles Tripp, "The Armless Wonder," inscribed and signed by him, evidently during a tour in York, Pennsylvania, where the photograph was taken. Charles Broton Tripp (1855-1930) was one of the great human marvels of the late 19th and early 20th centuries. Born without arms, Tripp taught himself at a young age how to dress, eat, shave, write, and perform a variety of other tasks with his feet. He had become particularly noted for his calligraphy and woodworking skills when he left home for New York City at the age of 17 to seek employment with P. T. Barnum. Barnum immediately hired him, and Tripp would perform for the circuses of Barnum, Bailey, and the Ringling Brothers for the next 35 years and later for smaller carnivals. Throughout his career, Tripp inscribed and sold cabinet cards and postcards printed with his portrait, which typically shows him dressed in a fine suit and surrounded by instruments and products of his trade. The present photograph is a fine example, showing Tripp carving a piece of wood and exhibiting examples of his calligraphy and a paper doll he had created, presumably with the pair of shears lying in front of it. The portrait was made at the Pentz studio of York, Pennsylvania, and bears the following inscription in Tripp's foot: "Charles B. Tripp. Woodstock, Ontario Age 32 y's. William Kennedy July 30th 87." The cabinet card comes from the collection of the Johnny Fox (1953-2017), the celebrated American sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers. During his performances, Fox often described his first childhood encounters with sideshow performers and adoption of them as his personal heroes. Charles Tripp was one of his favorite historical examples, and it is clear that Tripp's contemporaries had held him in similar esteem. A newspaper in Salisbury, North Carolina, where Tripp spent his winters, published a tribute upon his death that read in part, "He never let the words 'I can't' enter his vocabulary and the fine accomplishments and achievements despite handicaps should be a challenge to those of us who possess all our faculties. He was a real hero in every sense of the word and overcame odds in life that would have submerged many a man with less determination and spirit."

$600.00

[Cabinet Card Photograph of Snake Handler]
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[Cabinet Card Photograph of Snake Handler]

By [Circus]

[S.l.: s.n.], 1885. First Edition. Photograph. Very good. [ca. mid 1880s]. Cabinet card (albumen photographic print mounted on card), approximately 6 1/2 x 4 1/4 inches. Subject's smiling face from a different photograph pasted on verso. Mild wear, tiny dent and stains in print, lower margin of card scuffed, light staining on verso. Very good. Cabinet card ortrait of a young woman snake handler, in white circus dress, gazing at the face of a boa constrictor draped over her shoulders. The subject and photographer are both unknown, but the plain, dark cabinet card mount suggests date of production in the mid 1880s, a significant period in the history of the American circus. The item was part of the collection of the late Johnny Fox (1953-2017), the celebrated American sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers.

$150.00

TWINS
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TWINS

By Mark, Mary Ellen

New York: Aperture, 2003. First Edition. Hardcover. Fine/near fine. Mark, Mary Ellen. Folio. [85],86-94,[2] pp. including numerous in-text photographic images. Publisher's cloth, spine stamped in silver. Signed and inscribed by the author/photographer, "For Valeria Johnny + Isabella With Love Mary Ellen 2005." Dust jacket lightly rubbed. Fine in a near fine dust jacket. Portraits of twins by the late photographer, Mary Ellen Mark (1940-2015), known for her work with unusual people. Mark photographed and interviewed the subjects at the annual Twins Days festival in Twinsburg, Ohio, in 2001 and 2002. This copy was warmly inscribed to Johnny Fox and his wife at the time, Valeria Duarte (and their dog, Isabella). Johnny Fox (1953-2017) was a celebrated American sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers, as well as a small reference library, of which this volume was a part.

$125.00

AMERICAN ODYSSEY 1963-1999
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AMERICAN ODYSSEY 1963-1999

By Mark, Mary Ellen

New York: Aperture, 1999. First Edition. Hardcover. Fine/very good. Mark, Mary Ellen. Folio. 151,[1] pp. including numerous in-text photographic images. Publisher's cloth, spine stamped in silver. Signed and inscribed by the author/photographer, "For Valeria + Johnny - I also _love_ the side show Fondly Mary Ellen 2003 New York." Some rubbing and a few small dents in dust jacket. Fine in a very good dust jacket. 36-year portrait retrospective of the late Mary Ellen Mark (1940-2015), who was named the previous year "Most Influential Woman Photographer" by AMERICAN PHOTO magazine. This copy was warmly inscribed to Johnny Fox and his wife at the time, Valeria Duarte, in the year of publication. Johnny Fox (1953-2017) was a celebrated American sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers, as well as a small reference library, of which this volume was a part.

$225.00

SLEEPING BEAUTY II : GRIEF, BEREAVEMENT AND THE FAMILY IN MEMORIAL PHOTOGRAPHY : AMERICAN & EUROPEAN TRADITIONS
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SLEEPING BEAUTY II : GRIEF, BEREAVEMENT AND THE FAMILY IN MEMORIAL PHOTOGRAPHY : AMERICAN & EUROPEAN TRADITIONS

By Burns, Stanley B., with Elizabeth A. Burns

New York: Burns Archive Press, 2002. First Edition. Hardcover. Near fine/Very good. Folio. [186] pp., including numerous black-and-white and color photographic illustrations. In English and French. Black cloth, stamped in silver, in matching black dust jacket. Signed by Stanley B. Burns on the title page and inscribed to Johnny Fox and Valeria Duarte on facing page, "Presented To Johnny & Val & The Freakatorium fellow affectionatos of the Macabre Stanley B. Burns at N.A.C. Lecture Nov 21, 2002." Light toning at edges of outer leaves. Dust jacket rubbed and lightly nicked. Near fine in a very good to fine dust jacket. The second book of the Burns Archive's SLEEPING BEAUTY series, documenting the its collection of bereavement photography, from 19th-century daguerreotypes of port-mortem portraits to walls of missing persons fliers in the aftermath of September 11, 2001. This copy was inscribed to Johnny Fox and his wife at the time, Valeria Duarte, in the year of publication. Johnny Fox (1953-2017) was a celebrated American sword swallower, sleight-of-hand artist, and proprietor of the Freakatorium / El Museo Loco, the first dime museum to appear in New York since the closing of Hubert's Museum in 1969. Located in a Lower East Side storefront from 1999 to 2005, the Freakatorium housed a collection of oddities, relics, photographs, and ephemera largely relating to human anomalies and sideshow performers, as well as a small reference library, of which this volume was a part.

$450.00

[Portrait Photograph of Andy Warhol & Parker Tyler]
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[Portrait Photograph of Andy Warhol & Parker Tyler]

By Malanga, Gerard

[New York: Gerard Malanga], 1969. Photographs. Very good. [1969, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 2/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. Small dents and minor crackling in print; toning, dust soiling, and several small ink smudges in original mat. Overall very good. Exceptional portrait of Andy Warhol and Parker Tyler taken in New York in 1969. Tyler (1904-1974) was best known as a poet and film critic and, in his earlier life, co-author with Charles Henri Ford of the experimental novel, THE YOUNG AND EVIL (Paris: Obelisk Press, 1933). The photo shows Tyler and - extraordinarily - Warhol at ease and smiling, the latter jokingly clutching the former's crotch. Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969, when the present photo was taken, and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120).

$1750.00

[Portrait Photograph of Taylor Mead]
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[Portrait Photograph of Taylor Mead]

By Malanga, Gerard

[New York: Gerard Malanga], 1971. Photographs. Very good. [1971, printed later]. Image size 10 x 6 3/4 inches, sheet size 14 x 11 inches, mat size 16 x 12 inches. Numbered 1/10 and signed in pencil on the mat by Gerard Malanga. Loosely mounted on new archival back, new archival matting between original mat and print, and clear polyester protective cover. A few small dents and very minor crackling in print; original mat toned at edges. Very good to near fine. Portrait of poet and actor Taylor Mead (1924-2013) swimming off Southampton Beach, Long Island, in 1971. Mead was a major figure in the Factory scene during the 1960s and a favorite fixture on the Lower East Side. His NEW YORK TIMES obituary called him "the quintessential Downtown figure": "He read his poems in a Bowery bar, walked as many as 80 blocks a day and fed stray cats in a cemetery, usually after midnight." Poet, photographer, and archivist Gerard Malanga (born 1943) was Warhol's right-hand man during the most important years of the Factory, where he worked from 1963 to 1970. Among his many collaborations with Warhol was the 1966/67 "Screen Tests" project. The project resulted in the 1967 book, SCREEN TESTS / A DIARY, which prints stills from film portraits of 54 poets, artists, musicians, and others, with poems by Malanga on facing pages. Malanga began pursuing portrait photography more actively in 1969 and left the Factory in 1970 to pursue the work further. Over the next several years, Malanga photographed dozens of people, famous and not famous, associated with the New York avant garde and produced a body of portraits noted for their warmth and a clear rapport between photographer and subject. In an essay published in the 2000 retrospective book, GERARD MALANGA : SCREEN TESTS, PORTRAITS, AND NUDES, Ben Maddow writes, "One feels, in spite of one's hard earned skepticism ... on first viewing the labors of Gerard Malanga, a sensation of spontaneous pleasure. Each image is an act of friendship, and conciously so." He quotes Malanga from a letter, "Nothing is faked or was done for any other purpose than as archival remembrance. I believe each person, as it were, gave me their picture" (p. 120). The present photograph of Taylor Mead is the cover image for SCREEN TESTS, PORTRAITS, AND NUDES.

$1250.00

BILL VIOLA
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BILL VIOLA

By Viola, Bill; David A. Ross & Peter Sellars, Curators

New York: Whitney Museum of Art, in association with Flammiron, 1997. Softcover. Very good. [1997]. Quarto. 205,[11] pp. including two folding leaves, color and black-and-white photographic images throughout. Publisher's pictorial wrappers. Warmly inscribed and signed by the author (dated 1998) on the title page. Corners lightly bumped, light shelfwear, else near fine. "The first major survey of the artist's work and the largest exhibition ever devoted to an individual video artist" - Whitney Museum of Art.

$30.00