William Eggleston - Photographs New York Tuesday, April 4, 2017 | Phillips

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  • Provenance

    Cheim & Read, New York

  • Literature

    Thames & Hudson, William Eggleston, pls. 16, 111, 112

  • Catalogue Essay

    Titles Include: Black Cadillac, Batiste House, 1996; Sofa, Batiste House, 1996; Blue Cars, King's Bar, 1996; Debbie's Hand, Batiste House, 1996; Lisa Nicole Carson, Batiste House, 1996; White Light Bulb, Batiste House, 1996

  • Artist Biography

    William Eggleston

    American • 1939

    William Eggleston's highly saturated, vivid images, predominantly capturing the American South, highlight the beauty and lush diversity in the unassuming everyday. Although influenced by legends of street photography Robert Frank and Henri Cartier-Bresson, Eggleston broke away from traditional black and white photography and started experimenting with color in the late 1960s.

    At the time, color photography was widely associated with the commercial rather than fine art — something that Eggleston sought to change. His 1976 exhibition at the Museum of Modern Art, Color Photographs, fundamentally shifted how color photography was viewed within an art context, ushering in institutional acceptance and helping to ensure Eggleston's significant legacy in the history of photography.

    View More Works


Pictures from Eve's Bayou

Santa Monica: The Gallery of Contemporary Photography in association with Caldecot Chubb, 1998. Six dye transfer prints.
Each approximately 11 5/8 x 17 1/4 in. (29.5 x 43.8 cm) or the reverse.
Each signed in ink in the margin; each signed, dated and numbered 3/6 by William J. Eggleston III, Managing Trustee, in ink, all within the Eggleston Artistic Trust stamp on the verso. Colophon. Enclosed in a green cloth clamshell portfolio case with gold embossed title.

$20,000 - 30,000 

Sold for $23,750

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Sarah Krueger
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Vanessa Hallett
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New York 4 April 2017