LOT DETAILS

Materials:

gelatin silver print

Size Notes:

image: 23 by 18 ¼ in. (58.4 by 46.4 cm.)

Edition:

gelatin silver print, flush-mounted to linen, signed and editioned '19/50' in ink and the photographer's copyright, title, and edition stamps on the reverse, framed, 1955, printed in 1980; accompanied by the original typed invoice and receipt, on the photographer's 407 East 75th Street studio letterhead, dated 11 April 1980 and 11 September 1980 (3)

Description:

SIGN UP or LOG IN

Condition:

Please note the colors and shades in the online catalogue illustrations may vary depending on screen settings. This photograph is in generally excellent condition. The following are visible only in high raking light: a very faint 2-inch linear impression near the upper right edge; a pin-point-sized impression to the left of the elephant's right foot; and barely discernible hairline scratches in the lower third of the image. The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Literature:

Harper's Bazaar, September 1955, p. 215 Avedon Photographs: 1947-1977 (New York, 1978), pl. 159 and back cover Richard Avedon: Evidence, 1944-1994 (New York: Whitney Museum of American Art, 1994), p. 53 Richard Avedon: Made in France (San Francisco, 2002), unpaginated Richard Avedon, Woman in the Mirror (New York, 2005), p. 37 Michael Juul Holm, ed., Richard Avedon - Photographs 1946-2004 (Humlebæk: Louisiana Museum of Modern Art, 2007), p. 35 Carol Squiers, Vince Aletti, et al., Avedon Fashion: 1944-2000: The Definitive Collection (New York: The International Center of Photography, 2009), p. 137 and 172-3 (variants) Nancy Hall-Duncan, The History of Fashion Photography (Rochester: George Eastman House, 1979), p. 137 Helen Gee, Photography of the Fifties: An American Perspective (Tucson, 1984), p. 84 David Bailey and Martin Harrison, Shots of Style: Great Fashion Portraits Chosen by David Bailey (London, 1986), cat. no. 7 Martin Harrison, Appearances: Fashion Photography Since 1945 (New York, 1991). p. 73 Anthony T. Mazzola, ed., 125 Great Moments of Harper's Bazaar: A Commemorative Collection of Outstanding Photographs (New York, 1993), cover and pl. 3 Keith F. Davis, An American Century of Photographs from Dry-Plate to Digital: The Hallmark Photographic Collection (New York, 1999), pl. 368 Ingrid Sischy et al., Chorus of Light: Photographs from the Sir Elton John Collection (Atlanta: High Museum of Art, 2000), p. 189 Harold Koda, The Model as Muse: Embodying Fashion (New York: The Metropolitan Museum of Art, 2009), p. 50 20th Century Photography (Cologne: Museum Ludwig, 2012), p. 29 Quentin Bajac et al., eds., Photography at MoMA: 1920 - 1960 (New York: The Museum of Modern Art, 2016), pls. 274 and 276 Paul Martineau, Icons of Style: A Century of Fashion Photography (Los Angeles: The J. Paul Getty Museum, 2018), pl. 111

Provenance:

Acquired from the photographer, 1980 Private collection