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Online Auction

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18 - 25 June 2020

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450 Park Avenue, New York (map)

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Online Bidding Guide >

\n\n

The countdown timer above indicates when the first lot in the sale will close. Each subsequent lot will close one minute after the preceding lot. If a bid is placed in the final three minutes of bidding time on a lot, there will be a bidding extension of 3 minutes, so that there will always a be 3-minute period between the last bid placed and the closing time of that lot. These extensions will continue indefinitely until there is no more bidding activity on the lot for a period of 3 minutes. The extension of one lot's closing time does not affect the closing times of other lots in the Online Only sale, so it is possible that lots will close out of numerical order.

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As a result of the unprecedented COVID-19 pandemic and recent New York State and City mandated restrictions on commercial operations, Phillips regrets that we are unable to make lots from this sale available for pre-Auction, in-person inspection. If you purchase any Lot(s) from this sale, Phillips will permit you a seven (7) day period to physically inspect each Lot following its delivery to you, and you may, at no cost to you, give us written notice that you wish to cancel your purchase of that Lot within its seven (7) day period.

\n","auctionDetailsSmall","Online Auction 18 - 25 June 2020 ","extraInfo","

Sarah Krueger
\nHead of Department, Photographs

\n\n

+1 212 940 1245

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Horst P. Horst Mainbocher Corset (Mme. Bernon), Paris, August 11, 1939.
\nEstimate: $8,000-12,000.

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In honor of our online-exclusive auction, Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman, Phillips asked luminaries from the fields of fashion and fashion publishing to give us their view of what makes a truly memorable fashion photograph.

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Ivan Shaw is the Corporate Photography Director at Condé Nast. He was the co-author of Around That Time: Horst at Home in Vogue, author of Patti Hansen: A Portrait and recently produced Tonne Goodman: Point of View and Hunks & Heroes: Jim Moore, Four Decades of Fashion at GQ.

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Arthur Elgort Wendy Whitelaw on Park Ave., New York City, 1981. Estimate: $5,000-6,000.

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“Sometimes it’s what we don’t see in a fashion photograph that makes it so memorable. In both Horst P. Horst’s legendary Mainbocher Corset (Mme. Bernon), Paris, August 11 (Lot 17) and Arthur Elgort’s iconic Wendy Whitelaw on Park Avenue, New York City (Lot 62) we are captivated by what we aren’t shown. What is Mme. Bernon thinking as she looks down to observe her body in the corset and holds her arms up almost as guard rails? Where is Wendy Whitelaw going with her head held down and dress strap hanging off her shoulder? Apparently, Mme. Bernon was in tears when the image was taken at 4:00 am in the Vogue Paris studios: she and Horst were reeling from the impending Nazi invasion of Europe. Wendy Whitelaw was actually the makeup artist on a Vogue shoot, not the model, and in this image, she was just heading back to the location van. Only the doorman glaring in the distance knows if there is more to this story.”

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Gordon Parks Untitled, New York, N.Y., 1956. Estimate: $5,000-7,000.

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Simon Chilvers is Men’s Content Director at MATCHESFASHION. Attracted to the work of Gordon Parks, Untitled, New York, N. Y. (Lot 3) and James Galanos Fashion, Hollywood, California (Lot 48), he commented, “A memorable fashion image has to quite quickly move the viewer in some sense, ideally making them do a double-take or at least urge them to look again. The clothes and accessories in the image should naturally be part of the thrill of this scene, evoking something about the mood and period in which the photograph was captured; fashion’s role in culture is to document the highs and lows of our lives as much as it is to decorate them. I think it is also safe to say that a splash of drama can help keep certain pictures in mind too, whether that be a dash of vibrant color in a dress, a brooding Manhattan skyline or a particularly quirky styling prop.”

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Gordon Parks James Galanos Fashion, Hollywood, California, 1961. Estimate: $5,000-7,000.

\n\n

Charlie Scheips is a painter, curator and writer living in Manhattan. He was the founding director of the Condé Nast Archive and is the author of numerous books on fashion, art and culture, including American Fashion and Elsie de Wolfe’s Paris: Frivolity Before the Storm.

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William Klein Dolores Wants a Taxi, New York (Vogue), 1958. Estimate: $5,000-7,000.

\n\n

“We look back to the 1950s as an era marked by American prosperity but also a time of normalcy and suburban conformity. Unlike more traditional mass-market women’s publications of the era, Vogue and Harper’s Bazaar projected more forward-thinking aspirational images for their sophisticated readers. In William Klein’s iconic Dolores Wants a Taxi, New York (Lot 30), shot for Vogue in 1958, we find the confident model in a ‘shocking’ pink coat with a leashed Great Dane navigating fearlessly amid a sea of Manhattan traffic. While in Lillian Bassman’s earlier and elegant Barbara Mullen, Essex House, New York (Lot 23), of 1950, we glimpse an intimate moment of refined cosmopolitan glamour. And while each of these, as well as the other iconic images of the period, were originally conceived to promote available fashion pieces for purchase, today, some six decades later, they capture a long-vanished era of mid-century sophistication that would soon be swept away forever by the ‘youth quake’ of the 1960s.”

\n\n

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Lillian Bassman The Little Furs, Barbara Mullen, Russian broadtail jacket by Trigère and hat by Lilly Daché, Essex House, New York, 1955. Estimate: $12,000-18,000.

\n\n

William Norwich is a New York based interior design and fashion editor at Phaidon, and a journalist formerly of Vogue and The New York Times. Phaidon’s iconic bestseller The Fashion Book, called "the fashion bible" by Vogue, is now revised and updated in a stunning new edition to showcase more than 500 of fashion's greatest names by A‐ Z.

\n\n

\n
There is photography that sets out to be art, but the image that sets out to be fashion photography focuses on how the clothing joins forces with setting and subject to tell a story.
\n— William Norwich
\n

\n\n

“I’m with Grace Coddington, the celebrated Vogue fashion editor,” William declares, “when it comes to what makes an iconic fashion image versus an image that is purely iconic. ‘In fashion photography, rule number one is to make the picture beautiful and lyrical or provocative and intellectual—but you have to see the dress, the clothing,’ says Grace. There is photography that sets out to be art, but the image that sets out to be fashion photography focuses on how the clothing joins forces with setting and subject to tell a story. This is true even for nudes that are considered fashion photography. What you don’t see is as much of the story as what you do see.”

\n\n

“When working on the expanded and updated new edition of The Fashion Book, the team at Phaidon sought the most impactful images to represent the industry internationally. As well as designers and influencers, this includes work by Cass Bird, Petra Collins, Pamela Hanson and Steven Klein along with legends Lillian Bassman, Horst P. Horst, Richard Avedon and Helmut Newton. Almost everything goes in fashion image-making today thanks, or no thanks, to social media; but one truth remains: the clothing stays in the picture.”

\n\n

\n","publishDate","2020-06-22T15:34:24.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/59655929/what-makes-a-memorable-fashion-photographs-online-auction","displayOrder","auctionEditorialID",835,"editorialID",3036,"flocklerID",59655929,"https://flockler.com/thumbs/sites/889/142993_uc307082-8f857e99-71ac-4e99-a830-7d3e56b3fec2_s600x0.jpg","The longtime gallerist reflects on some of his most-loved works coming to auction, and his relationships with the photographers who took them. ","Peter Fetterman on His Favorite Photographs","

Sheila Metzner Campidoglio, 1986.
\nTailor-Made: Fashion Photographs from the Collection of Peter Fetterman, 18-25 June.

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William Klein

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William Klein Sandra + Mirror, Time Square, New York (Vogue), 1962.

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"William Klein was not the first fashion photographer to work outside the confines of a studio. But no one seemed to embrace the city street as a backdrop for telling a story as successfully as he did. He imbued fashion photography with an incredible energy and spirit. No one has the guts that William Klein has, and the energy that emanates from these images is unrivaled. Bravo William!"

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Gordon Parks

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Gordon Parks Untitled, New York, N.Y., 1956.

\n\n

"Gordon Parks was one of the great photojournalists of the 20th century. But what is less known is that he was also one of the great fashion photographers of the era. While his hard-hitting journalistic images confronted the real truths of the world, Parks’ fashion work documents an incredible, seemingly impossible, level of elegance. What I love about this image is that I’m immediately captivated by this woman’s story. She’s coming home, obviously, after a long evening, deep in her own thoughts. Gordon Parks takes us with her on our own journey."

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Melvin Sokolsky

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Melvin Sokolsky Bubble Seine, Paris, 1963.

\n\n

"Bubble Seine, Paris by Melvin Sokolsky is probably one of the most important images in the history of fashion photography. It can be hard to remember there was a pre-digital, pre-photoshop era, and Melvin and his team expended the most incredible energy and effort to create this, hoisting a glass bubble with an elegant model over the Seine. Incredibly dangerous, incredibly gutsy. This print, which was made using the platinum process, really brings out the nuances of the fashion and the model. It’s one of the most special images in the history of fashion photography."

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Lillian Bassman

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Lillian Bassman Paris Gala Night, Barbara Mullen, Dress by Patou, Paris, 1949.

\n\n

"One of my longest and most rewarding collaborations with a photographer was with Lillian Bassman. She was one of the most inspiring people I’ve ever met. The first thing I used to do after landing at JFK was rush to her studio to sit with her, just for an hour, because I knew spending an hour with Lillian would set me right for my whole New York trip. What she had to offer that was really special was the insight she had into the female models she photographed. What Lillian managed to get was this incredible understanding of their intimate lives: their husbands, lovers, children. They would open up to Lillian, and she in turn would imbue her images with this insight. Elegant, graceful, beautiful, touching and very moving."

\n\n

Horst P. Horst

\n\n

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Horst P. Horst Bombay Bathing Fashion, Oyster Bay, N.Y., 1950.

\n\n

"Horst was one of the truly great classic fashion photographers. After an incredibly distinguished career in Europe, he moved to New York just at the beginning of the War. He built an amazing house for himself in Oyster Bay, which became a kind of salon for all the greats in the design and fashion world: Chanel, Dali, Coward. Everybody who was anybody came to visit him. This is such a beautiful image, shot in his house. It’s really my favorite image from his body of work. It’s the use of sunlight and shadow and the simple straw mats, as well as the natural rapport between the two models that he managed to capture. A true gem."

\n\n

Len Prince

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Len Prince Ford Model VIII, N.Y.C., 1991.

\n\n

"What’s wonderful about my day job is that sometimes one comes across an extraordinary young talent. I met Len Prince in New York a few years ago, and he showed me these photographs that he collaborated on with the Ford modeling agency. I just fell in love with the images, and to me, it captured the best of the past while managing to give it a modern twist. This image is one of my favorites. Flash-forward to a couple of years ago, we were at Paris Photo and in walks a gentleman who’s completely entranced by this image. When I went to check on him, he said, 'This is the most beautiful face I’ve ever seen' and it turned out after our discussion that he was France’s top plastic surgeon. He bought it, and he’s lived with that face every day of his life since."

\n\n

Sarah Moon

\n\n

\n\n

Sarah Moon Fashion 4, Yohji Yamamoto, 1996.

\n\n

"Sarah Moon is a one-of-a-kind photographer. If you were a dress designer, it would be your dream to have Sarah Moon photograph your collection. There is no one in the history of fashion photography that evokes such romanticism, such mood. She started out as a model, so she knows the craft from both ends. She has an incredible technical skill and use of color. When I look at her images, I’m transported into a pre-Raphealite panting. This is the first time one of her prints in a large format has ever come to auction."

\n\n

\n","2020-06-12T18:43:58.000000Z","https://www.phillips.com/article/59282484/peter-fetterman-photographs-auction-tailor-made-fashion-photography",1,831,3014,59282484,"https://flockler.com/thumbs/sites/889/143002_uc307108-8a413f9a-d291-4f71-9312-856f829eccf8_s600x0.jpg","Our online auction of fashion photography, all from the collection of Santa Monica gallerist Peter Fetterman, captures the medium's creativity throughout the 20th century. ","Tailor-Made","

Gordon Parks James Galanos Fashion, Hollywood, California, 1961.

\n\n

Phillips is pleased to present Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman, an online auction that celebrates designers at the forefront of fashion over the last century and the photographers who captured their timeless creations in indelible images. Whether taken within the controlled confines of the studio or on the bustling streets of Rome, Paris, or New York City, fashion photography is the pursuit of elegance, and its practitioners have continually labored to create images that not only serve their immediate editorial or advertising purposes but also give their viewers the thrill of seeing something new and exciting. Each of the photographs in this auction encapsulates a moment of perfect elegance in an imperfect world.

\n\n

\n\n

Melvin Sokolsky Bubble Seine, Paris, 1963.

\n\n

Fashion photography has always been a driver of innovation in the medium, both technically and aesthetically, and it can be argued that some of the most adventurous work in photography was created under the banner of fashion. The need to create ever-new imagery to keep pace with the evolving styles of the day, combined with the competitive nature of magazine publishing and advertising, required photographers to continually reinvent the genre. It was these catalysts that, for instance, drove William Klein out of the studio to make fashion images that have more in common with his street work than conventional fashion photography. The same impulse inspired Melvin Sokolsky into the realm of the fantastical, with his models suspended in bubbles, or levitating over swank dinner parties. The challenge to create something entirely new inspired Ormond Gigli to surmount the many logistical and technical difficulties that resulted in his justly famous Models in the Windows, New York City.

\n\n

\n
I’ve often envied those that photograph life; I avoid it. I start from nothing; I make up a story which I leave untold. I imagine a situation which doesn’t exist. I wipe out a space to invent another. I shift the light, I render everything unreal, and then I try.
\n— Sarah Moon
\n

\n\n

\n\n

Sarah Moon Fashion 10 (N.Y. Times), 1998.

\n\n

The photographs in this sale show a constant refinement of the genre and an incorporation of new elements. Sarah Moon and Lillian Bassman are both masters of mood, rendering their models in a romantic soft-focus and, in Moon’s case, employing an evocative palette of colors at odds with the glossy saturated colors typically found in fashion magazines. Gordon Parks and Jerry Schatzberg, who both worked in cinema, bring a sense of movement and narrative to their imagery. While Georges Dambier, Norman Parkinson, Brian Duffy, and William Helburn create impossibly elegant images of modern women moving through the metropolis.

\n\n

\n\n

Lillian Bassman More Fashion Mileage Per Dress, Barbara Vaughn, Harper's Bazaar, New York, 1954.

\n\n

Whether fanciful, fun, graceful, or gritty, the photographs in Tailor-Made: Fashion Photographs from the Peter Fetterman Collection demonstrate their makers’ complete mastery of the medium, their deft use of studio and natural light, their ability to collaborate with models in a vast array of settings, and their expansive understanding of what makes a great, compelling, and enduring fashion photograph.

\n\n

We feel confident that you will find images in this hand-picked selection that are tailor-made to suit your tastes.

\n\n

\n\n

Sheila Metzner Campidoglio, 1986.

\n\n

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59

Len Prince

Ford Model V

完整圖錄內容

Len Prince