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  • Provenance

    Christie's, Paris, Avedon: Photographs from the Richard Avedon Foundation, 20 November 2010, lot 47

  • Literature

    Avedon: Photographs 1947-1977, Farrar, Straus and Giroux, 1978, pl. 106
    Avedon: An Autobiography, Random House, 1993, pl. 273
    Richard Avedon: Evidence, 1944-1994, Random House, 1994, p. 150
    Richard Avedon: Woman in the Mirror, Abrams, 2005, pp. 154-155
    Avedon Fashion: 1944-2000, ICP/ Abrams, 2009, pp. 246, 363

  • 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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136

Penelope Tree, Mask by Ungaro, Paris studio, January

1968
Gelatin silver print, printed in 1981.
52.1 x 49.3 cm (20 1/2 x 19 3/8 in.)
Signed, numbered 39/50 in ink, copyright credit reproduction limitation, title, date and edition stamps on the reverse of the linen flush-mount.

Estimate
£10,000 - 15,000 

Contact Specialist
Genevieve Janvrin
Head of Photographs, Europe
+44 20 7318 4092

Photographs

London Auction 19 May 2016