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Lot Essay
Erwin Blumenfeld’s early exposure to the world of fashion began with an apprenticeship at a women’s apparel store in 1913 at the age of sixteen in Berlin. The store attracted numerous artists, many of whom came to shape the young Blumenfeld and his interest in photography. It became clear from an early age that his interest did not lay in capturing reality but rather in interpreting and transcending it.
In 1936 Blumenfeld moved to Paris and soon signed with French Vogue with the help of photographer and friend Cecil Beaton. During that period, Blumenfeld continued to shape his skills in fashion and figural photography, often experimenting with unorthodox methods, from double-exposure to solarization.
Fleeing war-torn Europe, Blumenfeld moved to New York in 1940. His distinctive style became more graphic and abstract, incorporated striated and perforated screens, fabrics, mirrors and sharp shadows, and he cemented himself as one of the most prolific photographers for Vogue. Two of the images in the present grouping were illustrated in Vogue in the 1940s, in color, and several images represented within the portfolio. All of the prints are vintage and were printed either in Paris or New York.
The present owner acquired these prints from the photographer and gallery owner F.C. Gundlach, in Hamburg. In the 1950s, Gundlach traveled to New York from Hamburg. He mentioned to his friend and model Eileen Ford that he was only interested in meeting two people: Richard Avedon and Erwin Blumenfeld. Upon meeting Blumenfeld, the two instantly recognized each other's German accents and connected over their time spend in Berlin. Gundlach was one of the artist's most supportive patrons and dear friends until the latter's death in 1969.
In 1936 Blumenfeld moved to Paris and soon signed with French Vogue with the help of photographer and friend Cecil Beaton. During that period, Blumenfeld continued to shape his skills in fashion and figural photography, often experimenting with unorthodox methods, from double-exposure to solarization.
Fleeing war-torn Europe, Blumenfeld moved to New York in 1940. His distinctive style became more graphic and abstract, incorporated striated and perforated screens, fabrics, mirrors and sharp shadows, and he cemented himself as one of the most prolific photographers for Vogue. Two of the images in the present grouping were illustrated in Vogue in the 1940s, in color, and several images represented within the portfolio. All of the prints are vintage and were printed either in Paris or New York.
The present owner acquired these prints from the photographer and gallery owner F.C. Gundlach, in Hamburg. In the 1950s, Gundlach traveled to New York from Hamburg. He mentioned to his friend and model Eileen Ford that he was only interested in meeting two people: Richard Avedon and Erwin Blumenfeld. Upon meeting Blumenfeld, the two instantly recognized each other's German accents and connected over their time spend in Berlin. Gundlach was one of the artist's most supportive patrons and dear friends until the latter's death in 1969.