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  • Literature

    Avedon, Evidence, 1944-1994, p. 135; Harper’s Bazaar, September 1954; Harry N. Abrams, Inc., Woman in the Mirror: Richard Avedon, p. 51; Harrison, Appearances: Fashion Photography Since 1945, p. 71; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 191; International Center of Photography and The Avedon Foundation, Avedon Fashion: 1944-2000, p. 123

  • Artist Biography

    Richard Avedon

    American • 1923 - 2004

    From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." 

    Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious.

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Sunny Harnett, model. Dress by Grès. Casino, Le Touquet, Paris, August

Gelatin silver print from Avedon/Paris, printed 1978.
17 3/4 x 14 1/8 in. (45.1 x 35.9 cm).
Signed, numbered in pencil, copyright credit reproduction limitation, portfolio, edition, title and date stamps on the verso. One from an edition of 75.

$15,000 - 20,000 

Sold for $27,500


9 April 2011
New York