THOMAS WALTHER COLLECTION Richard Avedon June Leaf Sculptress, Mabou Mines, Nova Scotia, July 17, 1975; Robert Frank Photographer, Mabou Mines, Nova Scotia, July 17, 1975 Two gelatin silver prints. Each 24.5 x 19.5 cm (9 5/8 x 7 5/8 in). Each signed, numbered 15/50, 19/50, respectively, in ink and copyright credit reproduction limitation, title, date, edition stamps on the verso.
Provenance Pace/MacGill Gallery, New York Literature (i) Richard Avedon Portraits, New York: Farrar, Straus and Giroux, 1976, n.p.; Richard Avedon An Autobiography, New York: Random House, 1993, pl. 216; J. Livingston, A. Gopnik, Evidence, 1944–1994, Richard Avedon New York: Random House, 1994, pp. 65 and 157; Woman in the Mirror: Richard Avedon Harry N. Abrams/ The Richard Avedon Foundation, 2005, pp. 166–67; (ii) Richard Avedon Portraits, New York: Farrar, Straus and Giroux, 1976, n.p.; Richard Avedon An Autobiography, New York: Random House, 1993, pl. 33; J. Livingston, A. Gopnik, Evidence, 1944–1994, Richard Avedon New York: Random House, 1994, p. 157; M. M. Hambourg, M. Fineman, R. Avedon, P. de Montebello, Richard Avedon Portraits, New York, Harry N. Abrams, 2002, n.p. Catalogue Essay “A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”RICHARD AVEDON Read More Artist Bio Richard Avedon American • 1923 - 2004 From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious. View More Works
THOMAS WALTHER COLLECTION Richard Avedon June Leaf Sculptress, Mabou Mines, Nova Scotia, July 17, 1975; Robert Frank Photographer, Mabou Mines, Nova Scotia, July 17, 1975 Two gelatin silver prints. Each 24.5 x 19.5 cm (9 5/8 x 7 5/8 in). Each signed, numbered 15/50, 19/50, respectively, in ink and copyright credit reproduction limitation, title, date, edition stamps on the verso.
Provenance Pace/MacGill Gallery, New York Literature (i) Richard Avedon Portraits, New York: Farrar, Straus and Giroux, 1976, n.p.; Richard Avedon An Autobiography, New York: Random House, 1993, pl. 216; J. Livingston, A. Gopnik, Evidence, 1944–1994, Richard Avedon New York: Random House, 1994, pp. 65 and 157; Woman in the Mirror: Richard Avedon Harry N. Abrams/ The Richard Avedon Foundation, 2005, pp. 166–67; (ii) Richard Avedon Portraits, New York: Farrar, Straus and Giroux, 1976, n.p.; Richard Avedon An Autobiography, New York: Random House, 1993, pl. 33; J. Livingston, A. Gopnik, Evidence, 1944–1994, Richard Avedon New York: Random House, 1994, p. 157; M. M. Hambourg, M. Fineman, R. Avedon, P. de Montebello, Richard Avedon Portraits, New York, Harry N. Abrams, 2002, n.p. Catalogue Essay “A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”RICHARD AVEDON Read More Artist Bio Richard Avedon American • 1923 - 2004 From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious. View More Works
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.jpg "Quelle: Christie's")
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