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  • Provenance

    Phillips de Pury & Company, London, 22 November 2008, lot 34

  • Exhibited

    IVAM Centre Julio González, Valencia: Fundación Centro Ordóñez-Falcón de Fotografia-COFF, San Sebastián

  • Literature

    Avedon and Capote, Observations, p. 27; Farrar-Strauss and Giroux, Avedon Photographs 1947-1977, cover and p. 161; Harry N. Abrams, Inc., Woman in the Mirror: Richard Avedon, p. 78; International Center of Photography and The Richard Avedon Foundation, Avedon Fashion: 1944-2000, p. 131

  • 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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68

Marella Agnelli, New York Studio, December

1953
Gelatin silver print, printed 1981.
23 1/4 x 18 1/2 in. (59.1 x 47 cm).
Signed, numbered in ink, copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 50.

Estimate
$40,000 - 60,000 

Sold for $80,500

PHOTOGRAPHS

8 October 2010
New York