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Ide Collar, 1922

Ide Collar, 1922
platinum print
stamped photographer's Estate credit with number '887-C' in pencil and numbered '007' in pencil (verso); titled and credited on affixed gallery label (frame backing board)
image: 4 3/4 x 3 3/4 in. (12 x 9.5 cm.)
sheet: 5 x 4 in. (12.7 x 10.1 cm.)
Acquired directly from the estate of the artist by G. Ray Hawkins Gallery, Los Angeles, California, 1976;
acquired from the above by the present owner, 1981.
Vanity Fair, vol. 19, no. 3, November 1922, p. 5.
Henry Hoyt Moore, Camera Pictures, Clarence H. White School of Photography, New York, 1924, n.p.
Graham Howe and G. Ray Hawkins (eds.), Paul Outerbridge Jr.: Photographs, Rizzoli, New York, 1980, p. 31.
Exhibition catalogue, Paul Outerbridge: A Singular Aesthetic, Laguna Beach Museum of Art, Laguna Beach, 1981, pl. 9, p. 49.
Exhibition catalogue, A Collective Vision: Clarence H. White and his Students, University Art Museum, California State University, Long Beach, 1985, p. 25.
Exhibition catalogue, On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, National Gallery of Art, Washington D.C., 1989, pl. 221, p. 282.
Jeannine Fiedler, Paul Outerbridge Jr. Photographs, Schirmer Art Books, Munich, 1993, pl. 9.
Manfred Heiting (ed.), Paul Outerbridge, Taschen, Cologne, 1999, p. 49.
Paul Martineau, Paul Outerbridge: Command Performance, J. Paul Getty Museum, Los Angeles, 2009. pl. 17.
Special notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

Lot Essay

'To appreciate photography one must dissociate it from other forms of art expression. Instead of holding a preconceived idea of art, founded on paintings, it must be considered as a distinct medium of expression -- a medium capable of doing certain things which can be accomplished no other way.' -- Paul Outerbridge Jr.

Paul Outerbridge Jr. was singularly obsessive in his quest for perfected Form, drawing inspiration from Cubist and Surrealist sources, while holding steadfastly to a Modernist aesthetic. His artistic pursuits intermingled with his commercial ones. Ide Collar is perhaps his most striking and recognizable image, and was born from this confluence of interests. Born from his first advertising assignment, for George P. Ide & Co. and which ran in the November, 1922 issue of Vanity Fair, the image caught the immediate attention of artist Marcel Duchamp who famously ripped it from the magazine and tacked it on his studio wall, declaring it a 'readymade'.

As quoted in Elaine Dines’, Paul Outerbridge: A Singular Aesthetic, the artist was a keen student of art history, writing to the Wilkes-Barre Camera Club that '... there can be no art without composition or design, and careful study of the old as well as the new masters, will reveal an underlying abstract composition in all their work. … [E]ven in back of the apparently most concrete subjects the underlying abstract will be found.'

As of this writing, only a handful of platinum prints are known to exist, including one in the collection of The Museum of Modern Art, New York, and another in the Elton John collection. The present lot is was acquired directly from the estate of Outerbridge by G. Ray Hawkins, who in turn sold it to the Spiegels in 1981, where it has remained ever since.

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