Posts Tagged ‘Richard Avedon’

Design | Modernist Posters

Friday, May 1st, 2015

Paul Rand,
Minute Man, 1974
Estimate $1,000 > $1,500

Modernist Posters
Swann Auction Galleries
New York City | USA
Exhibition May 2, 4, 5, 6, 7
Sale 7 May 2015
13.30 EST / 18.30 GMT

AIA New York
Group of ten posters,
1990s > 2000s
Estimate $2,000 > $3,000

Richard Avedon,
The Beatles
One of four posters
and a banner, 1967
Estimate $2,000 > $3,000

If you punch ‘American posters’ into Google search, and click the Images option, page upon page of disordered, unsifted stuff will come up. There’ll be a few great designs you recognise instantly. Just a few. Much of it will be mediocre. A lot of it will be rubbish. You’ll wonder what some of it is doing there. If you refine your search and put in, say, ‘American film posters’, the first few pages at least will roughly match the subject, but it’ll be a random selection of everything with those key words attached. You could do the same for American music posters, or advertising posters. If you happen to  find a couple of items that you like, even if the colour is reasonably accurate, they’ll probably be in low resolution, so the detail will be fuzzy, which means you won’t get more than a general idea of what the original poster is like. If you feel like buying a poster, you’ll be lucky to find an original, and, if it’s more than a few years old, you’ll most likely have to put up with a copy, having little idea of the quality until it arrives.

Now that bidding online is commonplace, sales like next week’s Modern Posters at New York’s Swann Auction Galleries are open to a worldwide market, which is great for them, but in turn also allows us to look at a vast amount of original, often rare examples of graphic design on our computer monitors, or mobile devices, in fairly decent image resolution. The beauty is that all of the material has been examined by experts, and usually comes from private or corporate collections. These days, the sale catalogues, available in book-form for most auctions that can be ordered in advance on-line, are usually very well-researched and well-produced, and contain detailed information on each item, its provenance and general state. Sometimes the catalogues themselves become, over time, collectable.

Kenneth D Haak & Paul Smith,
Get All The News / And Get It Right /
The New York Times, c 1951
Estimate $1,000 > $1,500

George Maciunas,
USA Surpasses All The
Genocide Records!, 1969
Estimate $400 > $600

Often, just as on eBay, you can bid up to a certain deadline, but taking part in the live sales is more fun. With a bit of savvy and a few deft clicks, you can buy a design classic at a good price and arrange to have it delivered direct to your door. Better still, even if you have no intention of buying, but happen to be in the right place – in this instance, New York – you can stroll around the viewing exhibition inspecting any or all of the lots for free, returning as often as you want before the sale starts.

Swann’s auction includes archive Swiss, Polish, German, French and Japanese posters, as well as many by British artists. There’s a 1907 poster by Munich secessionist artist Franz von Stück, and a Peter Behrens design for the Deutsche Werkbund exhibition, 1914. Swiss polymath Max Bill is represented by an advertising poster (1932) for the modernist furniture company Wohnbedarf. No less than seven Cassandre posters are in this sale, including his famous Dubonnet (c1956) work, estimated at $2,000 – $3,000. Nine single lot Edward McKnight Kauffer posters range in estimated price from $500 > $18,000, while three Abram Games WWII works will also be sold. There’s a Massimo Vignelli (1963) poster for Pirelli, and a square poster by Gerit Rietveld.

Andy Warhol,
Fifth New York Film Festival /
Lincoln Center, 1967

Estimate $1,500 > $2,000

Tomi Ungerer,
The Voice / The Magician, 1968,
for The Village Voice
Estimate $500 > $750

Constantly exposed to a lot of American TV and films, and some American magazines – up until recently, unless we visited America, had access to the Art Director’s Club annuals, or specifically searched for them on the internet, Britons and Europeans rarely had the opportunity to see a representative selection of original American posters, let alone buy them. Comprising roughly 50% of the total number of lots, a small sample of these accompany this post.

The Modern Posters sale at Swann Auction Galleries also includes rare non-poster items, such as Herbert Bayer and Walter Gropius’s Staatliches Bauhaus in Weimar 1919 – 1923, bound volume, and Bayer’s Austellung / Europäisches Kunstgewerbe exhibition catalogue (a copy of which is in the MoMA collection), both with bold and uncompromising typographic cover treatments. There’s also a group of 7 copies of bauhaus, the school’s magazine, first published in 1926, with cover designs by Herbert Bayer, Joost Schmidt and Hannes Meyer, from the 1928-29 period, for which bidding is expected in the $3,000 > 4,000 bracket. A group of 8 issues of the magazine Vanity Fair, published between 1930-35 is estimated at $700 > 1,000.

Images Courtesy Swann Auction Galleries

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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances whatsoever, fall due, must be borne by the source supplier

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Books | Dankeschoen Karl Blossfeldt

Friday, April 11th, 2014

Bryonia alba
White bryony, tendrils

Karl Blossfeldt
The Complete Published Work
By Hans Christian Adam
Hardcover, 544 pp
13.97 x 19.558 cm / 5.5 x 7.7 ins
Multilingual edition: English, French, German
Published by Taschen, 2014

I happened to be living in Munich, in 1996, when Taschen published an earlier, slightly larger format, softback predecessor of this book that ran to only 96 pages. A German friend, aware of my interests in both plants and gardens, as well as photography, kindly gave this little gem to me as a present. However, I made the dreadful faux pas of blurting out that I had just bought a copy myself only the day before. While I sat there wishing that the ground beneath me would open and swallow me up, my friend, crestfallen and humiliated, took back the present with a rueful smile saying that perhaps it would make a valuable addition to her own book collection.

Polypodiaceae Aspidieae
Polypody, young unrolling leaf

Bryonia alba
White bryony, tendrils

Karl Blossfeldt, (1865 > 1932) was not a photographer. His plant photography was a by-product of the teaching philosophy he developed over thirty years and intended to publish. However the publishing project never came to fruition, nor did his plan to create an archive of plant photographs.

Growing up in the central mountains of Germany, Blossfeldt began his working life as an apprentice modeller in an ironworks before he was granted a scholarship for a drawing course in Berlin. By 1890, having won another drawing scholarship to study nature, he found himself travelling throughout southern Europe, collecting plant specimens, and using Rome as a base. Influenced by his Professor, Moritz Meurer, who was already using his own photography as reference for drawing, Blossfeldt began systematically photographing plants.

Back in Berlin in 1898, by now assistant to the director of the Kunstgewerbeschule and giving drawing lessons, he soon became a permanent instructor teaching ‘Modelling from Plants’. He was appointed professor of the school in 1921. His photographic work having come to the attention of a prominent gallerist, Karl Nierndorf, in 1925, Blossfeldt had his first exhibition the following year, as a result of which his pictures were widely published in periodicals and books on design theory and architecture. Nierndorf having taken over the management of Blossfeldt’s photographic output, arranged to have a book of his prints published under the title Urformen der Kunst / Art Forms in Nature. It received enthusiastic acclaim and quickly became recognised by critics as a major work of photography, leading to a second edition the same year. Wundergarten der Natur / The Magic Garden of Nature, his second book, a continuation of the same theme, was published in the year of his death, 1932. Both books are much sought after by collectors.

A product of the arts and crafts movement of the 19th century and scientific in their presentation and purpose, Karl Blossfeldt’s carefully-lit and simply arranged photographic plant portraits are never clinical; his compelling images of leaves, stems and flowers reveal their subjects’ tactile qualities, their intricacies and often almost magical forms. Pioneering an artistic approach to image-making that would be enormously influential on twentieth century photography – from the still lifes of Irving Penn, the white background portraits of Richard Avedon, to the houses and water towers of Berndt and Hilda Becker – his legacy is one of the most important and most beautiful collections of plant photography ever created.

Aesculus parviflora
Bottle brush, tips of twigs

The book I had bought in 1996 had only the photographer’s name, Karl Blossfeldt, as its title and contained a short, succinct and well-written text by Professor Doktor Rolf Sachsse, who currently teaches History and Theory of Design at the Hochschule der Bildenden Künste (Fine Arts Academy) Saar in Saarbrücken. Moving around a fair bit during the intervening years, somewhere along the line I mislaid my copy. I remember that it had cost me around 20 Deutschmarks, equating to about £8.27 or €10, in today’s money. The original price of Taschen’s bumper Karl Blossfeldt. The Complete Works was £24.99 / €30, however this new 544 page edition is available at a mere £12.99, about €16.00. Its author, Hans Christian Adam is a specialist in historical images, and has published numerous articles and books, including titles on travel and war photography, is the author of Taschen’s Edward Sheriff Curtis: The North American Indian, Eugène Atget: Paris and Berlin, Portrait of a City.

In 2002, my time in Germany drawing to an end, I was justly repaid for my earlier insensitivity and social clumsiness when, having bought another Taschen book Kunst des 20. Jahrhunderts / Art of the 20th Century as an auf wiedersehen – and thank you for your patience – present for my German teacher, an art history student, she promptly handed it back to me with a smile and a Dankeschoen, but telling she already had a copy.

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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Photography | Phi(Leap!) Halsman

Friday, January 24th, 2014

Like Two Erect Sentries,
My Mustache Defends the Entrance to My Real Self

From Dalí’s Mustache, 1954
©2013 Philippe Halsman Archive / Magnum Photos
Exclusive rights for images of Salvador Dalí:
Fundació Gala-Salvador Dalí, Figueres, 2014

Philippe Halsman, Astonish Me!
Musee de l’Elysee
Lausanne, Switzerland
29th January – 11th May, 2014

Murderer! The anti-semitic Austrian locals shouted at Philippe Halsman falsely accusing the 22-year-old of murdering his father who had accidentally perished while the Jewish pair were on a hiking holiday, far away from their Latvian home, in 1928. He was subsequently sentenced to ten years solitary confinement with hard labour.

Destined to become one of the leading experimental and portrait photographers of the 20th century, born Filips Halsman, aged fifteen he had found his dentist father’s old camera and spoke of ‘a miracle’ happening as he developed his first pictures of family and friends in the bathroom sink. A miracle certainly occurred when, due to the efforts of his sister Liouba, who launched a campaign for his release from prison, gathering support from leading European intellectuals like Albert Einstein, Thomas Mann, and Sigmund Freud, he was pardoned in 1930. French minister Paul Painlevé intervened, spiriting Halsman away to asylum in Paris. There the minister’s son, Jean, a scientific filmmaker, immediately gave his new photographer friend the best camera then available, a version of the Kodak 9×12, and began introducing him to the thriving Paris scene. Two years later, Halsman opened his first portrait studio in Montparnasse, where he photographed Marc Chagall, Le Corbusier and other writers and artists, using an innovative twin-lens reflex camera he had designed himself. Staying in the city for ten years, where he worked in fashion for Vogue, he also produced images for the early reportage magazines,Vu and Voilà, in 1940 as Paris was about to fall he fled the Nazis and moved to New York having obtained an emergency visa through the intervention of Albert Einstein.

Cover of the magazine Life with a
portrait of Marilyn Monroe jumping

November 9, 1959
©2013 Philippe Halsman Archive / Magnum Photos

Another image from the Life session
Marilyn Monroe, 1959

©2013 Philippe Halsman Archive / Magnum Photos

Working for Life – for which he shot 101 covers, before the magazine ceased publication in 1972 – and most major magazines in America and elsewhere, including Look, Esquire, The Saturday Evening Post and Paris Match, Halsman came into contact with famous celebrities such as Marilyn Monroe, Rita Hayworth, Duke Ellington, the Duke and Duchess of Windsor, Frank Sinatra, and Richard Nixon, to name but a few. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics, NBC, Simon & Schuster, and Ford. Having been elected as first president of the American Society of Magazine Photographers, he led the fight for photographers’ creative and professional rights, his photographic work winning him international recognition, in 1951 he was invited to join Magnum Photos to join as a ‘contributing member’, allowing the agency to syndicate his work outside the United States. A poll conducted by Popular Photography, in 1958, named Halsman one of the ‘World’s Ten Greatest Photographers’ alongside Ansel Adams, Richard Avedon, Henri Cartier-Bresson, Alfred Eisenstaedt, Ernst Haas, Yousuf Karsh, Gjon Mili, Irving Penn, and Eugene Smith.

In Paris, Halsman had studied the work of other artists and photographers, especially the surrealists, from whom he learned to make images that surprised his viewers. On meeting Salvador Dali In New York, in 1941, he embarked on what would become a thirty-seven-year collaboration with the artist that resulted in a continuos flow of highly creative, experimental, and often bizarre images up until the year before his death in 1979. These included some of Halsman’s most celebrated pictures: Dalí Atomicus and the Dalí’s Mustache series – technical masterpieces that not only challenged him, but pushed the boundary of photography to its limits. But often his simplest inventions such as ‘jumpology’ – in the early 1950s, he began asking his subjects to leap in the air for his camera at the conclusion of each sitting – would generate unique and equally surprising pictures. Witty and energetic images, offering a natural, spontaneous portrait of his subjects are an important part of his photographic legacy.

Dalí Atomicus, 1948
©2013 Philippe Halsman Archive / Magnum Photos
Exclusive rights for images of Salvador Dalí:
Fundació Gala-Salvador Dalí, Figueres, 2014

The Versatile Jean Cocteau, 1949
©2013 Philippe Halsman Archive / Magnum Photos

Artists, Dali, Dance, Entertainers / Men, Entertainers / Women, The Frenchman, Jumps, Marilyn Monroe, Musicians, New Year’s Cards, Nudes / Experimental, Paris 1930s, Politicians, Writers… the categories listed on the Halsman website bear witness to the vast range of the photographer’s work. Each image featured is testimony to the thought, the humour, and the hard work he invested in everything he produced. His picture books, among them, Unknown Halsman, Dali’s Moustache, Halsman at work, Portraits, Halsman on the Creation of Photographic Ideas and Jump Book serve to illustrate the photographer’s prodigious output.

The exhibition Philippe Halsman, Astonish Me! retrospective showcases the photographer’s entire career for the first time, from his beginnings in Paris in the 1930s to the tremendous success of his New York studio between 1940 and 1970. It includes 300 images and original documents, and is intended to shed new light on the work of the photographer. Produced by the Musée de l’Elysée, Lausanne, in collaboration with the Philippe Halsman Archive, it will afterwards be installed at Paris’s Jeu de Paume (13th October 13, 2015 – 14th February, 2016), and presented at the Kunsthal Rotterdam (24th February – 5th June , 2016), before being shown in venues in Barcelona and Madrid.

Two versions of the exhibition catalogue are being published: Philippe Halsman, Etonnez-moi!, in French from Editions Photosynthèses, and Philippe Halsman, Astonish Me!, in English version from Prestel Publishing.

All photographs by Philippe Halsman
Courtesy Musée de l’Elysée

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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Photography | Photographs, Photographs

Friday, March 30th, 2012

Sotheby’s, New York, USA
3rd April, 2012

Christie’s, New York, USA
5th April, 2012

So, these days you have no money problems.

That’s great to hear.

Sorry, I couldn’t really hear what you said… You want to do what?

To buy some photographs?

To buy a lot of photographs.

You want to create a collection.

But you know nothing about photography.

Oh, I see, that’s why you’re calling.

Uh huh. Yeah.

It’s kind of you to say so but really, I’m no expert.

OK. Perhaps I can help you, there.

Yes, you see, rather conveniently, there are a couple of auctions next week, both in New York, at Christie’s and at Sotheby’s, respectively – somewhat confusingly, each called ‘Photographs’ – in which a large quantity of work from those photographers regarded by the real experts as photography’s all time greats, is on sale.

You like the sound of that? Good.

You’ll be completely spoiled for choice. There are 350 items in the Christie’s sale, 204 at Sotheby’s.

No, no. I know you can. I understand that you can afford it. That’s not the problem. You can’t just buy everything, that’s all. It would just be crazy! Besides, I’m sure you’d prefer to be seen as a discerning sort of person – someone with a bit of taste – who doesn’t just throw their money around but on the contrary, has a keen eye for investment value.

That doesn’t bother you?

But surely, you don’t want to end up with a load of crap that you can’t offload on some other sucker, later.

Well, for one thing, in practical terms, you’ll have a fair number of duplicate prints, albeit each with different attributes: signed/unsigned, number within edition, etc. Then there’s condition to consider: excellent/very good/good/poor.

Yeah, you know some of the stuff is pretty old.

Old, you know, O-L-D. Early stuff…

Well, from my recollection, for instance: there’s a picture in the Sotheby’s sale taken by a guy by the name of Edward S Curtis. It’s called An Oasis in the Badlands. American. It’s of a Native American chief on horseback – very iconic but, in my opinion, his style often verges on the kitsch. It was photographed in 1905.

You didn’t know photography was that old? Well, here’s a surprise: it’s a hell of a lot older! The first permanent photograph was an image produced in France in 1826.

Kodak! Nooohhh! Much earlier than Kodak.

Anyway. Can I suggest you stick to one genre?

You don’t know what a genre is?

Well. Look. Let’s keep it simple. What about just buying landscape pictures? There’s tons of great stuff by Ansel Adams and Edward Weston you might like.

Yes, it’s all black and white.

You think black and white landscapes are boring. OK, there are some in colour by William Eggleston, who’s not really my cup of tea, but perhaps we should forget about landscapes.

Nudes? Yes, there are quite a few nudes. But, wouldn’t portraits be good? There’s a remakable Chuck Close, self-portrait called 5C – made from five unique, large-format, overlapping Polaroid prints – several Richard Avedon’s and some by Irving Penn, and loads of others at both venues.

Yeah, Avedon and Penn do nudes, too. Penn’s still life is amazing! A print of his Still Life with Grape and Moth, being sold by Christie’s is one of my all-time favourites. Then there’s…

Of course! Of course, nudes are certainly worth thinking about. However, how about starting to collect early modernist photography; Lásló Moholy-Nagy’s Alpenveilchen (Photogramm) will be in the Sotheby’s sale and his Scandinavia, shot in 1931 is at Christie’s. Christie’s are also selling Fire Escape, an amazing Alexander Rodchenko, photographed in 1927.

You don’t like ‘funny’ names.

No, no, nudes are certainly a possibility.

Flower pictures might be good, too, though. There’s the the Moholy-Nagy Alpenveilchen, I just mentioned – to you and me that’s a cyclamen – and Alma Levenson’s voluptuous Auratum Lily is at Sotheby’s. But there are a whole group of Robert Mapplethorpe’s flower pictures up for grabs in that sale, too.

Yes, he does do nudes.

So, if I understand you correctly, it’s just nudes, then, that you want to go for?

Er… interesting idea… and I must say, there are some very tastefully shot images of that variety by among others: Ruth Bernhard and Bill Brandt, included in both sales.

OK, yeah, I think I get it. You’d prefer more erotic stuff.

Female, I suppose?

I see. No preference. In their infinite variety, right? Big names as well as less well-known photographers – even a few with ‘funny’ names?

Well, it’s great that you’ve made a decision.

Yes, of course. It’s your money; I wouldn’t dream of telling you how to spend it. Glad I was able to help. Let me know how you get on but… er… could I ask a little favour in return?

I’m sure you’ll understand that… I shouldn’t really be seen… you know, to be associated with that sort of material. So I’d be grateful for your discretion… as a man of the cloth… I…

Photographs, from top
Sotheby’s Lot 192
Daido Moriyama How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1986
Oversized, signed in pencil on the reverse, framed, printed later
Estimate $15/25,000

Christies Lot 105
Robert Mapplethorpe Back, 1986
Gelatin silver print
Signed, title, date, number 2/10 in ink and copyright credit reproduction limitation stamp (on the reverse of the flush-mount)
Image: 23 x 19 1/8in. (58.5 x 48.5cm.)
Sheet/flush-mount: 24 x 20in. (61 x 50.8cm.)
Estimate $10,000 – 15,000

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Photography | Hollywood & Berlin in Detail

Friday, February 17th, 2012

Hollywood in Style: a homage to the icons of film
Camera Work, Berlin, Germany. Until 4th March, 2012
Robert Polidori
CWC Gallery, Berlin, Germany. Until 21st April, 2012

Based in the well-to-do Charlottenburg area of Berlin – one of the most galleried cities in the world – Camera Work is regarded as one of the world’s top 10 photography galleries. Named after the legendary, quarterly photographic journal published in New York by Alfred Stieglitz from 1903 to 1917, the gallery opened its doors in 1997 and has a well-earned reputation for presenting the work of many photography greats: Man Ray, Irving Penn, Peter Lindbergh, Peter Beard, Richard Avedon, Diane Arbus and Helmut Newton, but also for exhibiting young, up-and-coming artists.

The Kennedys archive, part of Camera Work’s permanent collection is a wide-ranging compilation of photographic work, official documents, private documents, and memorabilia of the Kennedy family. First put on show at the Camera Work building in 2004, it now has its own premises where, on the occasion of The 62nd Berlin International Film Biennale, Camera Work is exhibiting Hollywood in Style – much of the content also belonging to the gallery’s collection –  a photographic homage to the icons of film. Archive images by Edward Steichen and Horst P Horst that testify to the glamour of the screen legends of Hollywood’s Golden Age: Marlene Dietrich, Gary Cooper and Grace Kelly striking characteristicly elegant poses, are juxtaposed against more ballsy shots of 1950s bad boys James Dean and Marlon Brando. A sexy Sophia Lauren exemplifies the free spirit of 1960s movies; Jack Nicholson, the characterful 70s and 80s, while the distinctly sensual, provocative and style conscious stars of today: Angeline Jolie, Scarlett Johansson, Christian Bale and Johnny Depp, are captured by contemporary photographers: Nadev Kander, Annie Leibovitz and Anton Corbijn.

Emerging from the same stable, a second gallery CWC – Camera Work Contemporary, housed in a former Jewish girls’ school – opened last week in Berlin’s Mitte district, home to the city’s major internationally famous art galleries and will, alongside contemporary photography, exhibit large-scale retrospectives in painting and sculpture, as well as conceptual group exhibitions. As its debut, CWC presents Polidori, a major showing of the work – including some seen here for the first time – of the substantial oeuvre of the Canadian-born photographer, Robert Polidori, born in 1951, who lives in New York and Paris and has achieved international success via substantial photo stories in magazines such as The New Yorker, Architectural Digest, Geo and Vanity Fair. His work has been shown by numerous galleries and is also featured in the collections of several museums including the Metropolitan Museum of Art in New York, the Musée d’Art Contemporain de Montréal and the Martin-Gropius-Bau in Berlin. Famous for the extremely high level of detail in his photographs – literally nothing is left unsharp – the selected images, which on the surface appear as straightforward architectural and urban scenes – Gallery of the Battles, Chateau de Versailles, 1985 – Unit 4 Control Room, Chernobyl, 2001 – View of Central Park from the East, New York City, 2004 – possess the unnerving quality of drawing the viewer ever further in to examine and question each detail in turn and to puzzle endlessly over their relationship to one another and to the whole.

Images from top
Jeremy Irons with Monicle, London, 1990
© Michel Comte

Michel Anguir by Jacques D’Agar, 1675. Salle la Surintendance de Colbert,
Salles du XVII, Aile du Nord – RDC, Chateau de Versailles, 1984
© Robert Polidori

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Photography | Camera Works

Friday, September 30th, 2011

Sotheby’s New York, USA. Sale October 5th, 2011
Exhibition opens 30th September

Maybe you can’t afford to buy but if you are interested in 19th, 20th and 21st century collectable photography, many of the biggest names are here and Sotheby’s exhibitions are open to the public. Let’s start with fashion – Avedon, Horst, Penn. Peter Beard is also represented by his enormous and beautiful illustrated work: Maureen Gallagher and Late-Night Feeder (see below). A rare print of Diane Arbus’s disturbing portrait Viva is going under the hammer. Ansel Adams prints for sale include, among others: Moonrise, Hernandez, New Mexico, and a mural of Leaves, Mt. Rainier National Park. There are works by Edward Weston, Paul Strand, Edward Outerbridge and Imogen Cunningham. Prints of two well-known images – Spectacles and The First Round (see above) – by French modernist Pierre Dubreuil are also in the auction. From earlier times there’s a massive print of Alexander Gardner’s portrait of Abraham Lincoln. In addition to the prints, a complete collection of Alfred Stieglitz’s famed quarterly, Camera Work, is up for sale.

Top. Lot 110 Estimate $150/250,000
Pierre Dubreuil The First Round. Circa 1932

Above. Lot 170 Estimate $120/180,000
Peter Beard Maureen Gallagher and Late-Night Feeder, 2:00am. 1987

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and anything else that interests me and I think might interest you

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Swiss goes pop in Düsseldorf

Wednesday, February 23rd, 2011

Zeitgeist & Glamour: The decades of the jet set

February 5th – May 15th, 2011, NRW Forum Düsseldorf, Germany

Diane Arbus, Eve Arnold, Richard Avedon, David Bailey, Harry Benson, Guy Bourdin, Raymond Depardon, Terence Donovan, Elliott Erwitt, Ron Galella, Dennis Hopper, William Klein, Robert Mapplethorpe, Billy Name, Terry O’Neill, Bob Richardson, Jeanloup Sieff, Francesco Scavullo, David Bailey, Lord Snowdon, Bert Stern (Bert Stern’s Twiggy, VOGUE, 1967. © Bert Stern. See above)… just some of of the photographers, whose work is represented in this exhibition, many of whom were or became, alongside the glamorous subjects they followed from the Côte d’Azur, St. Moritz, Paris, London, Rome, and New York– among them, Brigitte Bardot, Jackie Kennedy, Maria Callas, Andy Warhol, Truman Capote, Mick Jagger, Karl Lagerfeld – jet-setters themselves.

On show are 400 photographs, never exhibited before in public, from the Swiss collector Nicola Erni that collectively capture the unique zeitgeist of the 2oth century’s Swinging 60s and early 70s – Warhol’s Factory, Studio 54, Swinging London, Blow up, Pop Art, sex, drugs and rock‘n’roll – as seen through the lens of famous portrait and fashion photographers. Individually, each of these was creating new styles of photography, developing new techniques and forms of presentation that shaped the visual culture of the era. The paparazzi (See picture above – which may well have been the product of a prior arrangement between and in the interests of both subject and photographer(s) – by Giacomo Alexis: Un gelato in faccia di Rino Barillari da Sonia Romanoff in Via Veneto, Roma, 1970. © Giacomo Alexis) are represented, too; a new breed of photographer, who took pictures of famous personalities in their private lives and sold them to whichever newspaper and magazine bid the highest.

Were you around in the 60s & 70s? What do/did you think about all this stuff?
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