Modern & Contemporary Photographs
Sale: 9th November, 2012
Sale: 16th November, 2012
Sale: 16th & 17th November, 2012
Modern & Contemporary Photography
Exhibition: 23rd–27th November, 2012
Sale: 28th November, 2012
Are real women, as portraiture subjects for photography under-represented? Maybe. A glance through the catalogue of today’s Yann Le Mouel auction of Modern & Contemporary Photographs in Paris – one of four major European photography auctions this month – reveals that of the 261 lots some 42 are portraits of well-known 20th century male figures or groups, among them: politician Fidel Castro, artists Pablo Picasso and Andy Warhol, musicians Johnny Hallyday, Serge Gainsbourg, The Rolling Stones and The Beatles, Billy Idol, fashion designer Yves Saint Laurent, and photographer Donald McCullin. Although many unidentified females appear, often nude, partially-clothed or in a couple of instances, pornographic poses, famous or even identified women are rather less in evidence. Of the few labeled ladies, Princess Diana in tiara and pearls, photographed by Patrick Demarchelier, Colette by Janine Niepce and Weegee’s Norma Devine at Sammy’s Bar, New York, 4 December, 1944, strike a bold presence.
To mark the 65th anniversary of Magnum Photos, Sotheby’s Paris is offering a unique set of 65 images dedicated to the nude – an unusual subject for this co-operative, whose photographers are better known for chronicling world events – a very mixed bag of works in which images by Henri Cartier-Bresson and Eve Arnold are included alongside those from the younger generation of Magnum photographers, such as Paolo Pellegrin and Harry Gruyaert. Jane Mansfield and Marylin Monroe are amongst the mainly female subjects, of whom few others are identified. Elsewhere in the same sale, there’s an unusual full length photograph of Lizica Conreanu, Romanian dancer and member of Diaghilev’s Ballet Russes posed in a dance position, in the artist’s studio, by sculptor Constantin Brancusi, together with a stark, asymmetrical, untitled head and shoulders portrait of a woman by Dora Maar. Diane Arbus offerings include Woman with a Briefcase and Pocketbook, N.Y.C., 1962 and topless, Waitress, Nudist Camp, N.J., 1963. Bold, explicit images from Helmut Newton’s Big Nudes series, each identified by first name only, are also on offer.
A print of Peter Lindbergh’s The Wild Ones, shot in New York in 1991 that features super-models, Cindy Crawford, Tatjana Patiz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour is included in the Christie’s sale in Paris, next weekend. There’s a couple of pictures of Kate Moss, too, and hot American art photographer Alex Prager’s Eva, from the series Week-end, 2009. All beautiful, but do models really count as famous people? Perhaps a few, like Kate Moss, transcend their clothes-horse role and become celebrities, in the process taking on tangible personality. Striking close-ups by Man Ray of mannequins push female anonymity to the limit, however his striking, uncompromising profile of the surrealist artist, Bona, 1955 – who, with a little research, it was possible to discover is Bona de Mandiargues – has profound substance. Peter Beard’s Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961 is up close and feels very personal. Here too, Cecil Beaton’s multiple-exposure, portrait of actress Beatrice Lillie, shot around 1930, makes a strong statement. Interestingly, (always referred to as ‘first wife of László Moholy-Nagy‘) Lucia Moholy’s 1926 portrait of artist Lily Hilderbrandt, is one of the few images of named women, in these four November auctions, photographed by a woman. Another is Annie Liebovitz’s remarkable Louise Bourgeois, New York, from 1997, being sold at Berlin’s Villa Grisebach, where 184 lots are on offer, varying in content from recent architectural photography by minimalist photographer Hiroshi Sugimoto, Boring Photographs, 2000, 468 C-type prints by Martin Parr, and works by Daido Moriyama, to 1950s and 60s images by Will McBride and much earlier stuff from photography pioneers such as Karl Blossfeldt. Images of identifiable women, again, are few in number but there is a very sensuous, sexually-liberated, colour portrait of Marilyn Monroe, shot in 1962, from the man who surely captured her character and vivacity better than any other, Bert Stern – a snip at an estimated €1.000-1.500. There’s also a characterful and beguiling, 1976 close-up by Robert Lebeck of Romy Schneider in a tweed flat cap, smiling, with a cigarette in the corner of her mouth. Jackie Kennedy and her Sister at the Funeral of Robert Kennedy, New York, 1968, by the same photographer and showing the grieving sisters, kneeling side by side, hands clasped in prayer, draws the emotions in another direction. Milton H Greene’s 1952 portrait of Marlene Dietrich – recognisable from her swathe of blonde hair and perfectly-shaped legs – whose face isn’t shown, cleverly turns the negative aspect of anonymity on its head.
Anonymity itself is of course compelling and single names – probably often invented, sometimes with the intention of obscuring the the identity of the sitter or of adding exotic cachet – tantalising. Full, real names, however, lift the veil and bring the viewer into direct contact with the subject, whatever the sex, allowing us the privilege of intimacy and them the dignity of existence and perhaps a deserved place in history.
Images from top
From the Villa Griesbach sale:
Louise Bourjois, New York, 1997
Gelatin silver print
Marylin Monroe, From ‘The Last Sitting’, 1962
C-Print, 1978. Kodak-Paper
Marlene Dietrich, 1952
Milton H Greene
Vintage gelatin silver print with gouache
From the Christie’s sale:
Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961
Gelatin silver print mounted on cardboard, enhanced with ink, gouache
Kate Moss, Little Nipple, 2001
Archive Lambda print