5 April 2013
LEE MILLER (1907-1977)
Object by Joseph Cornell, New York, 1933
gelatin silver print
signed in pencil (on the recto); inscribed 'To Julien, In deepest appreciation, Joseph Cornell, Nov. 1933' in ink and Lee Miller credit stamp (on the verso)
image/sheet: 8 1/8 x 6 1/8in. (20.5 x 15.5cm.)
mount: 12¼ x 10¼in. (31 x 26cm.)
Phillips de Pury, New York, November 14, 2009, lot 256
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
Penrose, The Lives of Lee Miller, Holt, Rinehart and Winston, 1985, p. 54; Livingston, Lee Miller Photographer, Thames and Hudson, 1989, p. 117
Lee Miller was first introduced to Joseph Cornell by Julien Levy, who exhibited each artist's work at his celebrated gallery in the last months of 1932. These exhibitions, which ran consecutively, were the first solo shows for both Cornell and Miller. Having spent the previous three years in Paris working with Man Ray and other Surrealist artists, Miller was drawn to Cornell and his work, and the creative interest was mutual. Cornell began to visit Miller's 48th Street studio every two to three weeks with a new object for her to photograph, and the resulting images are considered some of Miller's strongest from the period.
A guide to the pioneering photographer forever identified with the majesty of the American West — illustrated with exceptional works offered on 10 December
Fashion pictures have long been a staple of photography auctions, but why has 2019 seen such momentum in the market?
The pioneering gallerist David Gill on why he ‘had to jump’ for Cindy Sherman’s Untitled #125, 1983
New York of the 1940s, ’50s and ’60s was fertile ground for a generation of emerging street photographers, from Louis Faurer to Diane Arbus
The viewing showcases the most comprehensive selection of limited-edition handbags and Supreme accessories to ever come to Christie’s.
From Hawaii to New York, five properties that stars of the entertainment industry have called home (both in real life and on screen)