Billy Name, Edie, 1965.

B/w c-print, 14 x 11 inches, 35.6 x 27.94 cm. Signed. Estimate: from $1,600 to $1,800


Billy Name, Andy Warhol, 1965.

B/w c-print, 14 x 11 inches, 35.6 x 27.94 cm. Signed. Estimate: from $1,600 to $1,800


Billy Name, Nico, 1965.

Vintage gelatin silver print, 9 3/4 x 7 3/4 inches, 24.77 x 19.69 cm. Vintage. Signed. Estimate: from $6,000 to $8,000


Billy Name, Joe D'Allesandro, 1968.

Vintage gelatin silver print of double split negative, 4 1/4 x 6 1/2 inches, 10.8 x 16.5 cm. Vintage. Signed. Estimate: from $3,000 to $4,000

Artnet Auctions. Tuesday, August 04, 2009, 1:00 PM EST www.artnet.com

Billy Name
Billy Linich, known as Billy Name and Billy Goat, (born 22 February 1940 in Poughkeepsie, New York), is an American photographer, artist, filmmaker, lighting designer, and the main archivist of the Warhol era from 1964 to 1970. His brief romance and subsequent close friendship with Andy Warhol fostered substantial collaboration on Warhol's most influential work, including his films, paintings and sculpture. Linich became Billy Name among the coterie known as the Warhol Superstars, and he is considered one of the most significant. He was responsible for "silverizing" Warhol's New York studio the Factory, where he lived until 1970. His images of Edie Sedgwick, Lou Reed and the Velvet Underground, Nico, Ultra Violet, Bob Dylan, Mary Woronov and of Warhol himself, amongst others, are portraits of the height of the Pop art era. In 2001, the United States Postal Service used one of Billy Name's portraits of Warhol when it issued a commemorative stamp of the artist.

When Andy Warhol decided, during the last months of 1963, that he was too busy making films to take pictures at The Factory … he turned the task over to Billy Name. …Prior to his association with Andy, in the late 1950s and early 1960s, Linich had been involved in theatrical lighting design. First, under the tutelage of the pre-eminent lighting designer for the avant-garde dance world, Nick Cernovich, with whom Linich designed the lighting for the Spoleto Festival of Two Worlds in 1960, and then later at Judson Memorial Church, New York Poets Theater, and Living Theater, Linich illuminated the likes of dancers Lucinda Childs, Yvonne Rainer, Merce Cunningham, James Waring and Freddy Herko. And Andy's regard for Linich was high…. Within a short time, Linich became a permanent fixture at the Factory, having taken up residence in the back of the studio at 231 East 47th Street during his trademark silvering of its interior from January to April 1964. With his background in lighting and his innate sense of artistry and his desire to experiment, Billy Name produced an intensive body of work that captured for posterity his "silver years" at the Factory (1963-70). Billy Name's close friendship with Andy Warhol and his role as a trusted player in Warhol's artistic environment gave him the opportunity to focus his keen eye on the scene at the Factory, created by a core group of participants who largely improvised before the camera's eye, evolving a lively, cutting-edge mise-en-scene. … The unique position that Billy assumed gives his photographs a particular immediacy, intimacy and knowledge.[wiki]