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  • Provenance

    Metro Pictures Gallery, New York; Private Collection; Stellan Holm Gallery, New York; Private Collection

  • Exhibited

    Munich, Sammlung Goetz, Jurgen Klauke, Cindy Sherman, September-March, 1995 (another example exhibited); Paris, Musée National d'Art Modern, Centre Georges Pompidou, Fémininemasculine – Le sexe de l'art, October 1995 – February 1996 (another example exhibited); New York, Museum of Modern Art, On the Edge: Contemporary Art from the Wener and Elaine Danheisser Collection, September 1997 – January 1998 (another example exhibited); Toronto, The Power Plant, American Playhouse – The Theatre of Self-Representation, June-September, 1998 (another example exhibited); Tokyo, Hara Museum of Contemporary Art, Hanover, Akademie der Kunst and New York, P.S.1, The Promise of Photography – The DG Bank Collection, October 1998 – October 1999 (another example exhibited); Museum für Gegenwartskunst Basel, Richard Prince – Photographs, 8 December, 2001 – 24 February, 2002 (another example exhibited)

  • Literature

    D. Salvioni, ‘Richard Prince, Realist' in ParkettI, No. 34, Zurich, 1992; L. Phillips, Richard Prince, New York, 1992; E. Janus, Victoria's Revenge – The Lambert Art Collection, Zurich, 1998; C. Morris, The Essential Cindy Sherman, New York, 1999; B. Mendes, B. Ruf and G. van Tuyl, eds., Richard Prince, Paintings – Photographs, Basel/Zurich/Wolfsburg, 2002, pp. 118-119 (another example illustrated); R. Brooks, J. Rian and L. Sante, Richard Prince, 2003, p. 42 (illustrated); N. Spector, ed., Richard Prince, Ostfildern-Ruit, 2007, p. 32 (another example illustrated)

  • Catalogue Essay

    Engaging in a dual conversational piece masquerading their identity by becoming androgynous doubles of each other, Sherman and Prince hide themselves behind wigs and make-up posing the viewer with the question of accepted wisdom within the truthfulness of the photographic image. Demanding a uniqueness of authorship on the singularity of the subject, the potential disruption of the sexes is blurred through the critical intervention into the form of portraiture. Perfectly complimenting each others practice both photographers hint at each others working manners by addressing Sherman's standard dress-up signature and Prince's gestures toward isolating the figure(s) and creating a reflection, in this case a double-twist take on gender and personal character.
    "As early as the late 1970s, both artists came to realize that by isolating and removing mass-culture imagery by re-contextualizing them through performance or by re-photography and severe cropping, a new dialogue became possible where thevarious codes of representation including gender and class could be re-examined.These photographs do more than document--they are also imposing norms of behavior by portraying men and women in revealing poses."(B.Appel, ‘Prince and Sherman are top photography performers at Spring NYC Contemporary Art Auctions' in Contemporary Works, August 28, 2007)

207

Double Self Portrait

1980
Set of two Ektacolour photographs.
Each: 50.8 x 61cm. (20 x 24 in).
Signed ‘R.Prince' and numbered of 10 on the reverse of each. This work is from an edition of 10.

Estimate
£150,000 - 200,000 

Sold for £241,250

Contemporary Art Evening Sale

29 June 2008, 5pm
London