RICHARD AVEDON (1923-2004)
RICHARD AVEDON (1923-2004)
RICHARD AVEDON (1923-2004)
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RICHARD AVEDON (1923-2004)
11 More
RICHARD AVEDON (1923-2004)

Avedon Paris

RICHARD AVEDON (1923-2004)
Avedon Paris
New York: The Metropolitan Museum of Art, 1978. Portfolio of eleven gelatin silver prints; each signed and numbered 'Richard Avedon 70/75' in pencil with stamped title, date of image, edition, copyright creditand reproduction limitation (verso); each image 17 ¾ x 14 1/8in. (45.1 x 36cm.) or inverse, each sheet 18 1/8 x 14 ¼in. (44.8 x 36.2cm.) or inverse; seven contained in paper wrapper signed consecutively in pencil; all prints in turn contained in a paper wrapper, signed and numbered 'Richard Avedon 70/75' in pencil; contained in portfolio case with linen covers and impressed facsimile signature.

Photographed 1947 – 1957 and printed in 1978, this portfolio is number seventy from an edition of seventy-five, plus ten artist's proofs

Other prints from this portfolio are in the collections of The Metropolitan Museum of Art, New York and Victoria and Albert Museum, London.

1. Elise Daniels with Street Performers, Suit by Balenciaga, Les Marais, Paris, August 1948
2. Renée, The New Look of Dior, Place de la Concorde, Paris, August 1949
3. Dorian Leigh, Coat by Dior, Avenue Montaigne, Paris, August 1949
4. Carmen (Homage to Munkacsi), Coat by Cardin, Place Françoise Premier, Paris, August 1957
5. Dorian Leigh, Evening dress by Piguet, Helena Rubinstein apartment, Ile St.- Louis, Paris, August 1949
6. Dorian Leigh, Schiaparelli rhinestones, Pré-Catelan, Paris, August 1949
7. Sunny Harnett, Evening dress by Grès, Casino, Le Touquet, August 1954
8. Suzy Parker, Evening dress by Lanvin-Castillo, Café des Beaux Arts, Paris, August 1956
9. Elise Daniels, Turban by Paulette, Pré-Catelan, Paris, August, 1948
10. Suzy Parker and Robin Tattersall, Evening dress by Griffe, Folies-Bergère, Paris, August 1957
11. Marlene Dietrich, Turban by Dior, The Ritz, Paris, August 1955
Robert Mann Gallery, New York.
Acquired from the above by the present owner in 2008.
Harper’s Bazaar, October 1948 ((i) illustrated).
Harper’s Bazaar, October 1955 ((xi) illustrated, p. 28).
R. Avedon, Avedon Photographs 1947 – 1977, London 1978, pls. 3, 5, 6, 10, 11, 14, 15, 25, 38 and 44 ((i)-(ix) and (xi) illustrated, unpaged).
R. Avedon, An Autobiography The Photographs of Richard Avedon, London 1993, no. 43 ((ii) illustrated, unpaged).
C. Wilcox (ed.), The Golden Age of Couture. Paris and London 1947 – 1957, London 2007, p. 224.
New York, The Metropolitan Museum of Art, Avedon: Photographs 1947 – 1977, 1978 (other prints of (i) and (iv) exhibited).
New York, The Metropolitan Museum of Art, Photographs from the 1940s and 1950s: Selections from the Collection, 1990 – 1991 (another print of (i) exhibited).
New York, Whitney Museum of American Art, Richard Avedon: Evidence 1944 – 1994, 1994 (another print of (ii) exhibited; illustrated, p. 129).
Boston, Museum of Fine Arts, Avedon Fashion 1944 – 2000 The Definitive Collection, New York 2009, pp. 359 and 361 (other prints of (ii) and (viii) exhibited; illustrated, pp. 2-3, 44 (ii) and 109 (viii)).
Geneva, Gagosian Gallery, Avedon/ Paris, 2011 (another example of the portfolio exhibited).
Los Angeles, The Getty Center, Icons of Style: A Century of Fashion Potography, 1911 – 2011, 2018, no. 26 (another print of (ii) exhibited).

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Jeremy Morrison
Jeremy Morrison

Lot Essay

One of the most celebrated fashion and portrait photographers of his generation, Richard Avedon’s expansive oeuvre, from fashion photographs and advertisement campaigns, to his documentary reportage and formal portraiture, influenced and defined images of beauty, style and culture, from the wake of World War II to the first years of the new millennium. During a long career which saw him work first at Harper’s Bazaar, Vogue and The New Yorker, Avedon conceived pictures that, while deeply embedded in the tradition of photography, pushed the discipline’s confinements to new frontiers.
Under the tutelage of Alexey Brodovitch and editorship of Carmel Snow, Avedon leaped onto the scene at Harper’s Bazaar in 1944. Inspired by the work of Martin Munkacsi, his images animated the magazine page, moving away from a static style, to one that showed models full of life, smiling and, more often than not, mid-action. When a young Christian Dior was unveiling his ‘New Look’ of the season in 1947; Avedon was there to document it. And these photographs, along with others made in the 1950s, have become icons of the genre, reinventing the language of fashion photography.
Indeed, Paris was an inspiration for Avedon; a place of romance, elegance, style and fun ‘… it is surely his Paris work of this era that most memorably expresses the effervescent elegance of his youthful vision.’ P. Garner, ‘Richard Avedon: A Double-Sided Mirror’, in Avedon Fashion: 1944 – 2000, New York 2009, p. 19. He returned to Paris countless times over the years for Harper’s Bazaar and in 1957 consulted on the filming of Funny Face starring Audrey Hepburn and Fred Astaire as photographer Dick Avery; a parody on fashion world Avedon himself was part of. Hepburn would again work with Avedon in Paris for his famous shoot, ‘Paris Pursuit’ for Harper’s Bazaar in 1959, an extensive fashion story which demonstrated Avedon’s expression as artist, not merely photographer as he is credited as Art Director on the title spreads.
This portfolio of selected images shot in Paris was created in conjunction with Avedon’s first exhibition at the Metropolitan Museum of Art, New York in 1976; Avedon Photographs: 1947 – 1977 ? he was the first living photographer to ever be granted a show there and again in 2002. The theme of the exhibition was his fashion work, though the non-specific title invited spectators to read the images within frames of reference far broader than the label 'fashion' might have implied. This was the context in which Avedon created the present portfolio and no further prints having been made from these negatives with the exception of a limited number made in connection with museum exhibitions. Richard Avedon’s photographs have been exhibited in numerous major solo museum exhibitions, including The Smithsonian Institute, the Minneapolis Institute of Arts, the Amon Carter Museum and the Whitney Museum of American Art.

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