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This early exhibition print of Callahan’s silhouetted study of his wife Eleanor presents a very different interpretation of this well-known image. This print has a highly nuanced tonality, showing a range of dark grey and black tones against the warm white background. While the tones of Callahan’s later prints of this image were restricted to almost pure white and absolute black—highlighting the image’s graphic qualities—this print conveys a sculptural sense of volume, effects furthered by its comparatively large size.
The Museum of Modern Art label on the reverse of this print suggests that it was considered for Diogenes with a Camera, curator Edward Steichen’s exhibition series begun in 1952. While Callahan’s work was included in the very first Diogenes exhibition, it was not included in the series’ second outing referenced on its label, although it may have been considered for it. Another possibility is that it was included in MoMA’s 1962 exhibition Harry Callahan and Robert Frank, which Steichen had initially intended as another installment in the Diogenes series until Frank insisted on a different title.
The Masonite flush-mount is characteristic of MoMA’s exhibition presentation in the 1950s and 1960s, which gave the prints a three-dimensional presence on the wall not typically associated with photography.
來源
芝加哥Ehlers Caudill畫廊（1994年）
過往展覽
Diogenes With A Camera II, The Museum of Modern Art, November 1952 - March 1953
文學
El Mochuelo Gallery, Photographs: Harry Callahan, pl. 23
Haus der Photographie/Deichtorhallen Hamburg, Harry Callahan: Retrospective, p. 75
High Museum of Art, Harry Callahan: Eleanor, pl. 11
Szarkowski, Callahan, p. 55
人像 + 形態：攝影私人珍藏系列
333
《艾莉諾/剪影（芝加哥）》
1948年作
銀鹽照片
9 3/4 x 13 英吋（24.8 x 33 公分）
款識：簽名、Museum of Modern Art 「Diogenes With A Camera II」展覽標籤
鈴印：Study Collection（裱背）
估價
$20,000 - 30,000
成交價$76,200
Sarah Krueger
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skrueger@phillips.com
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美洲區主席暨攝影部全球主管
vhallett@phillips.com
攝影
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