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  • Literature

    Avedon, Woman in the Mirror, p. 36
    Avedon & Brodkey, Avedon Photographs, 1947-1977, back cover and pl. 159
    Bailey & Harrison, Shots of Style: Great Fashion Portraits, cat. no. 7
    Davis, An American Century of Photography, From Dry-Plate to Digital: The Hallmark Photographic Collection, pl. 368
    Fraenkel Gallery, Richard Avedon: Made in France, n.p.
    Gee, Photography of the Fifties: An American Perspective, p. 84
    Hall-Duncan, The History of Fashion Photography, p. 137
    Harrison, Appearances: Fashion Photography since 1945, p. 73
    Harry N. Abrams, Inc., Avedon Fashion: 1944-2000, p. 137
    High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 189
    Mazzola, 125 Great Moments of Harper’s Bazaar, pl. 3
    Random House, Evidence, 1944-1994: Richard Avedon, p. 53
    The Metropolitan Museum of Art, The Model as Muse: Embodying Fashion, p. 50
    Harper’s Bazaar, September 1955, p. 215

  • Catalogue Essay

    “I saw the elephants under an enormous skylight and in a second I knew. I then had to find the right dress and I knew there was a potential here for a kind of dream image.” RICHARD AVEDON

  • 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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IMPORTANT PHOTOGRAPHS FROM THE COLLECTION OF DR. ANTHONY TERRANA

17

Dovima with elephants, Evening dress by Dior, Cirque d'Hiver, Paris, August

1955
Gelatin silver print, printed later.
23 x 19 3/4 in. (58.4 x 50.2 cm)
Signed and numbered 18/50 in ink on the verso; title, edition and copyright credit reproduction limitation stamps on the reverse of the linen flush-mount.

Estimate
$60,000 - 80,000 

Sold for $92,500

Contact Specialist
Vanessa Kramer Hallett
Worldwide Head of Photographs
[email protected]
+ 1 212 940 1245

Important Photographs from the Collection of Dr. Anthony Terrana

2 & 3 April 2013
New York