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拍賣 2022年11月22日格林尼治時間下午2:00
\n
\n倫敦伯克利廣場30號 W1J 6EX（地圖）
\n
\n預展 11月16至22日

\n\n

星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\n
\n巴黎精品預展
\n2022年11月7至11日
\n星期一至四上午10:00-下午6:00，星期五只限預約
\n
\n巴克路46號巴黎 75007（地圖）

\n","auctionDetailsSmall","倫敦拍賣 2022年11月22日","extraInfo","

Rachel Peart
\n倫敦部門主管
\nRPeart@phillips.com
\n
\nYuka Yamaji
\n攝影部歐洲區主管
\nYYamaji@phillips.com
\n
\n一般查詢
\n+44 20 7318 4092

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Photographs London at 30 Berkeley Square.

\n\n

Explore a virtual reality walkthrough of our Photographs preview in London. Travel through our galleries and browse a selection of photographs from Peter Hujar, Richard Avedon, Nick Brandt, Zhang Huan, Wolfgang Tillmans, Ellen von Unwerth, and more, alongside an outstanding collection of ULTIMATE Newcomers.

\n\n

Photographs London

\n\n

Auction /

\n\n

22 November 2022 2pm GMT

\n\n

30 Berkeley Square, London, United Kingdom, W1J 6EX (map)

\n\n

Viewing /

\n\n

16 November - 22 November
\nMonday-Saturday 10:00am-6:00pm
\nSunday 12:00pm-6:00pm

\n\n

Concurrently, A Classic Vision: Photographs from A Private European Collection is an online-only sale dedicated to a Private European Collection, featuring 55 classic photographs by renowned 20th-century photographers, including Henri Cartier-Bresson, Bill Brandt, Elliott Erwitt, and Garry Winogrand.

\n\n

Online Auction /

\n\n

16 - 23 November 2022
\n
\nOpening: 12pm GMT 16 November

\n\n

Closing: 2pm GMT 23 November
\n
\nViewing 16 - 23 November 2022
\nMonday-Saturday 10:00am-6:00pm
\nSunday 12:00pm-6:00pm
\n23 November 10:00am-2:00pm

\n\n

Discover More from Photographs London >

\n\n

Recommended Reading

\n\n

Ellen von Unwerth: In Conversation >

\n\n

ULTIMATE Newcomers >

\n","publishDate","2022-11-17T12:56:02.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/108845146/vr-walkthrough-photographs-london-22-november-2022","displayOrder",4,"auctionEditorialID",1686,"editorialID",4042,"flocklerID",108845146,"https://flockler.com/thumbs/sites/889/evu1-94d9667a-e157-419e-a324-e70bd37eb8b8_s600x0.png","Yuka Yamaji, Head of Photographs, Europe, and celebrated photographer Ellen von Unwerth discuss her enduring relationship with Polaroids and the stories behind some of her most memorable moments from the ULTIMATE selection.","Ellen von Unwerth: In Conversation","

Ellen von Unwerth, Miami Blues, Kate Moss, Miami, 1993. Photographs London.

\n\n

ULTIMATE ELLEN VON UNWERTH showcases an exclusive selection of 20 unique Polaroids taken by famed fashion photographer Ellen von Unwerth. Offered as a part of our London Photographs auction, this dedicated offering provides a fun and insightful glimpse into her creative process, capturing defining moments during the supermodel heyday of the 1990s and early 2000s. Many of the works were created during editorial assignments for international publications, including Vogue US, and Vogue Italia. This curation presents von Unwerth as a storyteller who creates narratives that embrace spontaneity, sensuality, and joyfulness and features some of the biggest names in fashion, including Kate Moss, Claudia Schiffer, Naomi Campbell, Karen Mulder, and Nadja Auermann.

\n\n

Von Unwerth’s instantly recognizable images of strong, sensual, and playful women will be unveiled for the first time in Phillips’ Paris galleries from 7 to 11 November. The Polaroids will then travel to London for a public preview from 16 to 22 November at 30 Berkeley Square before being offered in the Photographs auction on 22 November.

\n\n

YUKA YAMAJI: Are all 20 works in our ULTIMATE selection Polaroid Type 100 prints, shot on peel-apart film?

\n\n

ELLEN VON UNWERTH: Yes.

\n\n

YY: Were they all taken with a Polaroid camera? Or were you using a camera with a Polaroid back?

\n\n

EvU: I used a Polaroid camera with peel-apart film.

\n\n

YY: Did you begin using the Polaroid as a tool to preview a picture before you took it?

\n\n

EvU: Yes, I always used the Polaroid before shooting with my camera to check on lighting and subjects.

\n\n

\n\n

Ellen von Unwerth, Jump Over The Eiffel Tower, 1987. Photographs London.

\n\n

YY: The earliest Polaroid in the offering dates back to 1987.

\n\n

EvU: Yes, Jump Over the Eiffel Tower was taken during one of my first ever fashion shoots.

\n\n

YY: How did you capture this dynamic image?

\n\n

EvU: I wanted to express the joy of being in the romantic city of Paris. So, I had the couple jump on a trampoline and tried to catch them at the right angle so they could be seen with the Eiffel Tower.

\n\n

YY: For me, this work encapsulates the magic of Polaroids. It captures so much within the tiny frame – joy, energy, movement, spontaneity, and even the Eiffel Tower!

\n\n

What stood out for you about shooting Polaroids?

\n\n

EvU: The Polaroids I used would give you a direct idea of what your photographs were going to look like. 30 years ago, until not that long ago, we didn't have digital cameras where we could check the result instantly. Polaroids also stood out for me because they are little art objects, which are one of a kind. At first, I threw the Polaroids away as they were only there as a check-up for the pictures shot on film. I would also give lots of them away as people would always ask for them. That was until I came to appreciate the value of each one.

\n\n

\n\n

Ellen von Unwerth, Miss America, Claudia Schiffer, Saint Tropez, 1994. Photographs London.

\n\n

YY: This photograph of Claudia Schiffer calls attention to the wonderful reds and blues that are unique to Polaroids. What was this image taken for?

\n\n

EvU: Miss America was for a 1994 calendar shoot in the South of France. We had Claudia play 12 different roles. I remember in one she is like a thief, climbing on the roof, and this one was based on Uncle Sam.

\n\n

YY: Do you have Polaroids of the other 11 roles?

\n\n

EvU: Unfortunately, this is one of the only ones that survived.

\n\n

YY: Most of the Polaroids on offer were taken in the 1990s. What significance does this decade hold for you?

\n\n

EvU: When I started researching my Polaroids for the Phillips auction, I really tried to focus on the iconic models of the 90s, mixed with more recent celebrities and series. It was at the time when I first started working and the decade still holds some of my favorite memories.

\n\n

\n\n

Ellen von Unwerth, Splendor in the Garden, Kate Moss, Miami, 1993. Photographs London.

\n\n

YY: This 1993 Polaroid of a young Kate Moss resembles a photograph of candid moment and not a test shot?

\n\n

EvU: Yes, this is Kate in Miami, having coffee in the garden. She must have been about 16, right after the cover of The Face  with Corinne Day. We were there for a beauty shoot for American Vogue with the most amazing editor Grace Coddington.

\n\n

YY: In contrast, this 1995 work is clearly a test shot for a shoot and Kate is playing a particular role.

\n\n

EvU: This was a shoot with Kate and the editor Camilla Nickerson for American Vogue. We imagined Kate as a young actress in Paris, dreaming of a big career. I loved the effect of having her there in real life and on the TV screen at the same time. I took lots of Polaroids to capture the best angle.

\n\n

\n\n

Ellen von Unwerth, Casting Kate, Kate Moss, Paris, 1995. Photographs London.

\n\n

YY: Of the 20 Polaroids in this offering, 17 were taken between 1987 and 1999 and only three were taken between 2000 and 2005. Did you stop taking Polaroids when you transitioned to digital photography?

\n\n

EvU: I still use the Polaroid on certain shoots. I used to use it all the time on analog shoots as it was our only way of previewing images. Nowadays, I use it because of the nice feel it gives. Unfortunately, the peel-apart Polaroids are almost impossible to find; I still have some in the fridge that I keep for special art projects.

\n\n

YY: Polaroid continues to make integral films, including SX-70 and 8x10.

\n\n

EvU: Yes, I sometimes use the modern version of Polaroids, the ones which pop out directly, making that lovely sound. I love their strange quality and their "hit-or-miss moments" as you cannot control their exposure in the same way as you could with the old ones. I love the spontaneity of Polaroids; everybody is always excited to see them appear and they add a nice energy to my set. Instant results and art objects that you can give to the talent or pin to the wall really create a specific atmosphere, which I love.

\n\n

\n\n

Ellen von Unwerth, Big Spender, Naomi Campbell and Stephanie Seymour, Los Angeles, 1991. Photographs London.

\n\n

YY: What was the narrative behind this 1991 picture?

\n\n

EvU: This was a shoot inspired by the movie Sweet Charity for Vogue Italia. I had all the hottest models of the moment on set: Naomi, Stephanie Seymour, Shana and Tatjana Patitz. I had my future husband play the Big Spender. However, I was not sure this was such a good idea as while we were shooting, I saw him looking at all the sexy girls as they tried to turn him on, just like in the movie.

\n\n

YY: How would you describe this selection of 20 Polaroids?

\n\n

EvU: I would say that the selection reflects some of my most known shoots, including supermodels, fashion stories for Vogue, and exuberant celebrities.

\n\n

YY: What place does your Polaroids hold within the wider body of your work?

\n\n

EvU: The Polaroids hold a special place in my photography. For me, it is the most spontaneous medium as Polaroids always come with amazing surprises. They also hold a special place in my heart; when my daughter was young, I would always take a Polaroid home for her that had been signed by the talent. I have to say her collection is now pretty extensive!

\n\n

YY: Lastly, what does photography mean to you?

\n\n

EvU: Photography is my voice. It is the way to share my vision of the world and society with an artistic eye. It is a tongue-in-cheek kind of way to enhance and glamorize reality, hopefully to inspire people now and for generations to come.

\n\n

Discover More from Photographs London >

\n\n

Recommended Reading

\n\n

The Big Picture: Photographs from the Amon Carter Museum of American Art >

\n\n

How Peter C. Bunnell Inspired an Entire Generation of Photography >

\n","2022-10-30T22:20:24.000000Z","https://www.phillips.com/article/107492867/ellen-von-unwerth-in-conversation",3,1679,4008,107492867,"https://flockler.com/thumbs/sites/889/princegyasi-d88ad2a1-4288-4cf0-b59f-8bfc67420bdb_s600x0.png","Debuts from the ULTIMATE selection at Phillips 22 November Photographs auction in London. ","ULTIMATE Newcomers ","

Prince Gyasi, The Arrival, 2022. ULTIMATE: Photographs London.

\n\n

Whether the first or the last, a one-off or the only, each work in Phillips' ULTIMATE collection is a rare masterpiece on offer exclusively in our 22 November London Photographs auction. The photographs in the collection span the globe, from the heart of South Africa to small town America, as well as quiet, etheral scenes, each delivering meditations on place, belonging, and presence from some of the most saught-after names in photography.

\n\n

Alice Mann

\n\n

\n\n

Alice Mann, Dr Van Der Ross Drummies, Cape Town, South Africa, 2017. ULTIMATE: Photographs London.

\n\n

From 2017 to 2020, South African artist Alice Mann (b.1991) photographed the aspirational, all-female teams of her homeland's drum majorettes, affectionately known as "Drummies." Perfectly capturing the spirit of this unique sport, the present work represents one of the first teams that Mann worked with at Dr Van Der Ross Primary School in Cape Town. "I was struck by how confident and self-assured the girls were," recalls Mann, "and how they instructed me on how they wanted me to make the portraits." Here, we see a moment of collective joy as the girls dance together in their white-heeled boots and matching silver-sequined uniforms, complemented by their fluffy, colourful busbies. In her series Drummies, Mann "challenges the view of young South African women as disempowered victims" by expressing the pride, determination and empowerment of these young female athletes. Mann has received numerous awards, notably the Taylor Wessing Photographic Portrait Prize for this series in 2018. Drummies has been widely exhibited, most recently at the Kunsthal Rotterdam, and is the subject of her first monograph, published in 2021. Another print from the edition is held in the JPMorgan Chase Art Collection.

\n\n

Carl Corey

\n\n

\n\n

Carl Corey, 2412 • Luck, Wisconsin from Habitat, 2008. ULTIMATE: Photographs London.

\n\n

Wisconsin-based artist Carl Corey’s (b.1954) oeuvre is characterized by graphic simplicity, playful humor, and a keen interest in documenting the "Man Made America" of the Midwest. For the present work from Habitat, a series of cultural topographies, he traveled to the village of Luck in Wisconsin to photograph its town sign against an empty night landscape. "I wanted to visit the area on a summer night to allow for the ambient light on the sign and the distant water tower," Corey explains. "The night isolates all surroundings and allows for the best interpretation regarding my intentions with the photograph." For him, "luck" is somewhat a metaphor for small town America, and he uses the vivid green of the lawn contrasted with the bold red text to drive the viewer’s experience. Here, with his sleek yet offbeat style, the artist presents an ambiguous tableau, unoccupied by people, that provides no fixed or clear meaning. Corey has exhibited widely, published four photobooks and received numerous awards, notably a Guggenheim Fellowship in 2019. His work is held at the Portland Art Museum in Oregon, the Madison Museum of Contemporary Art in Wisconsin, the New York Public Library Photography Collection, and the Princeton University Art Museum, among others.

\n\n

Susan Gamble

\n\n

\n\n

Susan Gamble, Knickers & Stockings from Body in Question, 1982. ULTIMATE: Photographs London.

\n\n

Auction Debut

\n\n

A pioneer in the use of holography as art, Susan Gamble (b.1957) creates mesmerizing holograms that showcase the medium’s distinctive spectral colors, moiré patterns, and illusion of three-dimensionality in unprecedented ways. To create the one-of-a-kind diptych offered here, Gamble "dressed" each 8x10 photographic glass plate with lingerie and then exposed it to a laser to record imprints of the garments directly onto the plate. Due to this analogue, cameraless process, whereby each hologram is a single exposure, the resulting works that form the Body in Question series are each unique and show variations. As the artist explains: "A hologram has a very fine resolution and dynamic range. I chose these very delicate and feminine subjects to explore this aspect; the sharp and brilliant definition of the materials – lace and nylon – are seen in silhouette against a brilliant interference of sunset colors." Gamble’s 1982 holograms hark back to William Henry Fox Talbot’s 19th-century lace experiments from photography’s first decade. Requiring illumination from the rear, these transmission holograms are best displayed on a plinth.

\n\n

Together with Michael Wenyon, her creative partner since 1983, Gamble was named UNESCO laureate in 1993 for aesthetic development in technology. The artist duo has exhibited internationally and their works reside in such prominent institutions as the V&A, London; the MIT List Visual Arts Center, Cambridge, Massachusetts; the Boston Athenæum; and the National Portrait Gallery, Washington, DC.

\n\n

Jeremy Cowart

\n\n

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Jeremy Cowart, Houston in Red, Lightograph IV, 2022. ULTIMATE: Photographs London.

\n\n

Auction Debut

\n\n

In 2014, Jeremy Cowart’s (b.1977) 15-year career as a celebrated portrait photographer and his long-term experimentation with various mediums culminated in the creation of his first Lightograph, an interactive digital work. Using Profoto strobes and Canon DSLRs, the artist captures the same subject in the same pose in rapid succession through multiple lightings. In the artist’s proprietary Lightograph portraiture technique, only the light moves and the subject remains still. "There are no 3D or AI effects or any post-work in general," Cowart notes. "A Lightograph is achieved with analogue methods and studio lighting." Minted as an NFT, the featured digital artwork Houston in Red, Lightograph IV illuminates and darkens as light moves across its varied surfaces: the subject’s skin, the high-shine fabric of his jacket and the many pearls adorning his necklace. Resembling a 19th-century cased photograph, the striking portrait is displayed within a leather-bound case with velvet borders and a passe-partout. In this unique work, which oscillates between light and shadow, analogue and digital, and historical and contemporary, Cowart invites the viewer to experience his portraiture for the 21st century. His photographs have been published in Rolling Stone, The New York Times and Nylon and his digital series Block Queens and Lightographs have been featured across NFT collecting platforms.

\n\n

Ilona Langbroek

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\n\n

Ilona Langbroek, Longing for Insulinde #1 from Silent Loss, 2021. ULTIMATE: Photographs London.

\n\n

Auction Debut

\n\n

Dutch artist Ilona Langbroek’s (b.1970) enigmatic series Silent Loss is inspired by her family history in the former Dutch East Indies, known also as Insulinde. This body of work explores the traces of a complex colonial past and the lost identity of a generation who were forced to leave their country after the Indonesian National Revolution. In Longing for Insulinde #1, an elegant figure wears a kimono (an indoor attire of Dutch and Dutch-Indo women in the former colony) with her face hidden behind a parasol. The atmospheric use of color, light, and shadow exudes a sense of mystery and melancholy that immediately recalls the 17th-century painters of the Dutch Golden Age. Using post-production and printing techniques, Langbroek crafts a mesmerising tableau that transports the viewer to another place and time. Her first solo museum show, Traces, is currently on view at Museum Hilversum.

\n\n

Prince Gyasi

\n\n

\n\n

Prince Gyasi, The Arrival, 2022. ULTIMATE: Photographs London.

\n\n

Ghanaian artist Prince Gyasi (b.1995) creates powerful images that are hyper-colorful and hopeful to tell the stories of marginalized individuals from his home city of Accra. Gyasi has synaesthesia, a neurological condition that causes a blending of the senses, and "sees" letters, numbers, and the days of the week as particular colors. His unique sensibilities are reflected in The Arrival, featured here – the vibrant pinks against the jewel blues and the dramatic pops of bright yellow imbue the work with an otherworldly quality. "I see hope as pink," notes the artist, "and blue signifies calmness. [...] The Arrival highlights the breakthrough of a once struggling fisherman in Jamestown." He has collaborated with numerous high-profile brands, including Apple, Puma, and Virgil Abloh’s Off-White, and his editorial features include a March 2021 cover of Madame Figaro with Naomi Campbell. Gyasi is also the co-founder of the non-profit organisation Boxed Kids, which helps to provide education for children in Accra.
\n

\n\n

Discover More from Photographs London >

\n\n

Recommended Reading

\n\n

Ellen von Unwerth: In Conversation >

\n\n

How Peter C. Bunnell Inspired an Entire Generation of Photography >

\n","2022-11-04T19:03:09.000000Z","https://www.phillips.com/article/107865560/ultimate-newcomers",1676,4021,107865560,"https://flockler.com/thumbs/sites/889/avedon-758fdab6-e947-4156-8373-0580402b01eb_s600x0.png","London Photographs to offer psychedelic portraits of the Fab Four on 22 November. ","Richard Avedon’s Iconic Beatles Portfolio","

Richard Avedon, The Beatles Portfolio: John Lennon, Ringo Starr, George Harrison and Paul McCartney, London, August 11, 1967. © The Richard Avedon Foundation. Photographs London.

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Issued in a discrete edition and rendered in the intensely saturated colors of the dye-transfer process, Richard Avedon’s portraits of The Beatles leverage the photographer’s unfailing eye for the cultural moment and capture the genre-defying impact of four of the 20th century’s most significant musicians. Richard Avedon’s The Beatles Portfolio, first published in Look magazine in January 1968, is as much a collective portrait of John Lennon, Paul McCartney, George Harrison, and Ringo Starr as it is of the decade in which it was made. The musicians and the photographer were at the height of their abilities when they came together in a penthouse studio in Thompson House, London, in August of 1967, to make these images, and the resulting portraits represent a collaboration of visionary proportions.

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Look, January 1968, cover.

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By 1967, Avedon had established a formidable reputation as a fashion and portrait photographer at Harper’s Bazaar, where he had worked under Alexey Brodovitch from 1945 through 1965. This two-decade period saw a multitude of social and cultural changes and, as the conservative tide began to turn in the 1960s, Avedon’s work remained at the visual vanguard in terms of form and content, and continually challenged photography’s conventions. In doing so, not only did Avedon embrace the changing norms, but more so, pushed them to the forefront of the general consciousness.

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The Beatles had followed their own remarkable trajectory throughout the 1960s. Having sold millions of albums worldwide, The Beatles had reached an unprecedented level of stardom and been appointed Members of the Order of the British Empire by Queen Elizabeth II in 1965. When they convened in London to be photographed by Avedon in 1967, they were coming off a remarkable run of releases – Rubber Soul (1965), Revolver (1966), and Sgt. Pepper’s Lonely Hearts Club Band (1967) – each of which pushed the expressive boundaries of popular music and recast rock 'n' roll as the artform of the moment. With these albums, the group increasingly employed experimental recording techniques and incorporated orchestral, Indian and other non-western musical influences. Sgt. Pepper marked the culmination of this period and stands today as one of the great musical accomplishments of the 20th century.

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Advertisement for the Look Poster editions, designed by Richard Avedon.

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Avedon’s approach to photographing The Beatles in the aftermath of Sgt. Pepper’s release marked a surprising and profound departure from the austerity of his trademark approach. His fashion and portrait photographs were characteristically shot in front of a pristine, seamless white backdrop and rendered in crisp black-and-white prints. The Beatles, progenitors of an entirely new musical experience and avatars of the cultural zeitgeist, clearly required a different treatment. Avedon made the bold choice to photograph the band in color and then employ an array of photographic techniques – most notably solarization to yield images that transcend portraiture and rise to the level of icons.

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I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.
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—Richard Avedon
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Each member of the group bears his own specific attribute: John Lennon wears glasses that seemingly gaze into an interior infinity; Paul McCartney embodies flower power; George Harrison displays an all-seeing eye on his palm; and Ringo Starr holds the ultimate symbol of peace: a white dove. Avedon’s portraits borrow productively from the psychedelic iconography of the day and channel the lysergically saturated lightshows seen at rock concerts to create a visual analogue of The Beatles’ sound. The Beatles Portfolio encapsulates the unique creative energies of the band and showcases Avedon’s ability to craft compelling imagery that is of its own time and, simultaneously, for the ages.

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Auction Information /

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Photographs London

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22 November 2022 2pm GMT

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30 Berkeley Square, London, United Kingdom, W1J 6EX (map)

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Discover More from Photographs London >

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Recommended Reading

\n\n

Ellen von Unwerth: In Conversation >

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How Peter C. Bunnell Inspired an Entire Generation of Photography >

\n","2022-11-04T17:17:58.000000Z","https://www.phillips.com/article/107858977/richard-avedons-iconic-beatles-portfolio",1,1675,4020,107858977,"https://flockler.com/thumbs/sites/889/cotswolds-25a5ec30-37cc-4364-a10e-113f63cd6fd6_s600x0.png","Pride of place for photographs across styles and eras in Phillips' 22 November offering. ","A View from the Garden: Photographs from a Private Cotswolds Collection","

Andrea Bernardi’s residence in the Cotswolds.

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The works which inspire and motivate a collector are as unique as the displays they take in the home, creating arrangements that tell the stories of pieces as part of a whole. Sarah Krueger, Head of Department, New York, and collector Andrea Bernardi discuss his enchanting collection A View from the Garden: Photographs from a Private Cotswolds Collection, on offer with Phillips' main Photograph sale on 22 November in London.

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SARAH KRUEGER: Your beautiful collection encompasses so many important artists across various genres and periods. What would you say is the common thread and/or feeling throughout when you were building this selection?

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ANDREA BERNARDI: The common thread is that all of the images are related to memories, or I should say feelings of memories in my life from childhood to present.

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SK: In this selection, what was the first work you acquired and what about it specifically spoke to you?

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AB: The Armpit by Mapplethorpe. I bought it in the '90s not knowing who Robert Mapplethorpe was.

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SK: Fascinating! Collecting has always been an instinctual for you.

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What about the medium of photography do you find most engaging/exciting?

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Andrea Bernardi’s residence in the Cotswolds.

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AB: I am obsessed with black and white American street photography. I grew up watching old Hollywood movies and I believe street photography documents real life in America from the '50s through to the '80s.

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SK: When did you start collecting in general and when did you start to delve into photographs in your collecting?

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AB: In 1996, I went to see an exhibition at the Public Library on Fifth Avenue, New York. It was titled A History of Women Photographers. It was the first time I saw an exhibition of just photographs. I noticed one of the photos in the exhibition was by Eva Barrett. I had a photograph of my grandmother taken by her. I felt so inspired and that was really the first ever photograph in my collection.

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SK: What an incredible story.

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How do you like to live with the artworks in your collection?

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AB: I like to see them daily.

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Andrea Bernardi’s residence in the Cotswolds.

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SK: How do you choose where to place a photograph or work of art within your home?

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AB: Always by theme and by instinct.

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SK: There’s a fascinating tension in your collection between abstraction and figuration. We don’t always see works by, for example, Alison Rossiter and Marco Breuer alongside images by Diane Arbus and Garry Winogrand. Is this a distinction that you, as a collector, make? Or are your choices more intuitive?

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AB: I use the three-second "emotional technique." If I feel an emotional connection within three seconds of seeing the photograph, then it resonates with my feelings and I absolutely love it and need to have it. Be careful when using this technique. It could become an addiction…

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SK: You’re quite right!

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The two Peter Hujar works you have are exceptional. Can you tell us what brought you to these two works?

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AB: When I moved to New York, the life on the piers on the Hudson River by the West Side Highway was exactly like the one in Hujar’s Christopher Street Pier #2 (Crossed Legs). He really captured that moment and it made me so happy to see. The Cow with Straw in its Mouth of course is iconic. No other photographer besides Hujar captured animals with such humanity allowing them to be truly seen.

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SK: I almost hate to ask this, but which of these photographs will you miss the most?

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AB: None of them. I am happy other people will be able to love them as much as I did.

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Andrea Bernardi’s residence in the Cotswolds.

\n\n

Discover More from Photographs London >

\n\n

Recommended Reading

\n\n

Ellen von Unwerth: In Conversation >

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ULTIMATE Newcomers >

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work is in digital format. Please contact the Photographs department with any questions.",{"_166":72,"_167":168},"additionalImagePaths",{"_584":124,"_585":586,"_587":598,"_16":599,"_590":600},{"_584":124,"_585":586,"_587":588,"_16":589,"_590":591},"isActive","componentType","RichText","componentId",11873,"新標題 42393","componentItems",[592],{"_584":124,"_593":594,"_595":596,"_597":-7},"componentItemId",15365,"htmlCaption","

In what currency will I be bidding?

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The auction will be conducted and invoiced in British Pounds (GBP).

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What forms of payment are accepted?

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You can pay for this NFT Lot in GBP or in Ether. If you wish to pay for this NFT Lot in Ether you must satisfy the Cryptocurrency Conditions set out in our Additional Conditions of Sale applicable to Cryptocurrency Payments.

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You acknowledge and agree that the price of Ether can be volatile and subject to upward and downward movements. You acknowledge that the conversion rate between these Accepted Cryptocurrencies and GBP will change during and after the auction until the Lot is paid for. Phillips does not offer cryptocurrency conversion functionality during the auction. Bidders are responsible for making their own currency conversion calculations when bidding in the auction.

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How much will I have to pay?

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If you are the successful bidder on an NFT Lot, you must pay the total purchase price for the Lot (calculated as described in the Conditions of Sale plus network and other fees required to transfer the NFT to your Digital Wallet as described in the Additional Conditions of Sale Applicable to NFT Lots).
\n
\nIf you elect to pay for an NFT Lot in Ether and satisfy our Cryptocurrency Conditions (see above), the GBP purchase price as shown on your invoice will be converted automatically into Ether using the Coinbase Commerce rate of exchange at the time the buyer accesses the Coinbase Commerce platform to make payment using the QR code or link we will issue to you.

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Are resale royalties payable to the artist on re-sales of the NFT?

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If resale royalties are payable to the artist on subsequent resales of the NFT, this will be stipulated in the NFT Lot’s smart contract. Where they exist, re-sale royalties will be a percentage of the re-sale price of the NFT. It is therefore important that you review (or seek professional help to review) and understand the operation of the NFT’s smart contract (including any rights and restrictions contained in the smart contract) before bidding.

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Depending on where the NFT Lot is re-sold, additional artist resale royalties and transaction duties may apply to the transaction under applicable law. These would be additional to and not in substitution for any resale royalties imposed by the NFT’s smart contract.

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BY REGISTERING TO BID YOU ACKNOWLEDGE AND AGREE AS FOLLOWS

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You are bidding for yourself and not on behalf of anyone else
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If you are the successful bidder, you will be buying the NFT only. You will not be buying the digital artwork asset identified by the NFT. For further details please read the Additional Conditions of Sale for NFT Lots
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You have a wallet capable of supporting and accepting the NFT token type listed in the NFT Lot description
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You can only pay for the Lot in Ether if you satisfy the Cryptocurrency Conditions set out in our Additional Conditions of Sale applicable to Cryptocurrency Payments. These include requirements for you to make payment:
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- \n\t\t
  from a single digital wallet registered in your name maintained on one of the following platforms:
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  - \n\t\t\t
    Coinbase Custody Trust;
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  - \n\t\t\t
    Coinbase, Inc.;
    \n\t\t\t
  - \n\t\t\t
    Fidelity Digital Assets Services, LLC;
    \n\t\t\t
  - \n\t\t\t
    Gemini Trust Company, LLC; or
    \n\t\t\t
  - \n\t\t\t
    Paxos Trust Company, LLC;
    \n\t\t\t
  \n\t\t
- \n\t\t
  using funds obtained from legal activities and belonging to you.
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We cannot accept cryptocurrency payments:

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\n\t
from digital wallets hosted on other exchanges or self-hosted wallets;
\n\t
\n\t
from multiple digital wallets; or
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\n\t
if you are resident in or otherwise subject to the laws of a country or territory which has banned or restricted payments in cryptocurrency (such as the People’s Republic of China);or
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you fail to satisfy our client identification and verification checks or other vetting procedures; or
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other circumstances exist which would expose you or Phillips to potential legal or regulatory actions or fines by completing the transaction in cryptocurrency.
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\nIf we cannot accept payment from you in cryptocurrency for these or other reasons, you must make payment in GBP.
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\nFor the full terms and conditions which apply to the sale of this Lot, please read the Conditions of Sale, London Auctions, the Additional Conditions of Sale applicable to NFT Lots, the Additional Conditions of Sale applicable to Cryptocurrency Payments.

\n","imageUrl",11872,"DETAIL-HEADER-DISABLED 77755",[601],{"_584":124,"_593":602,"_595":603,"_597":-7},15364,"

“A Lightograph ultimately reflects our own humanity because we are more than a still-life. We are multi-faceted and multi-dimensional.”
\n—Jeremy Cowart

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In 2014, Jeremy Cowart’s (b.1977) 15-year career as a celebrated portrait photographer and his long-term experimentation with various mediums culminated in the creation of his first Lightograph, an interactive digital work. Using Profoto strobes and Canon DSLRs, the artist captures the same subject in the same pose in rapid succession through multiple lightings. In the artist’s proprietary Lightograph portraiture technique, only the light moves and the subject remains still. ‘There are no 3D or AI effects or any post-work in general,’ Cowart notes. ‘A Lightograph is achieved with analogue methods and studio lighting.’ Minted as an NFT, the featured digital artwork Houston in Red, Lightograph IV illuminates and darkens as light moves across its varied surfaces: the subject’s skin, the high-shine fabric of his jacket and the many pearls adorning his necklace. Resembling a 19th-century cased photograph, the striking portrait is displayed within a leather-bound case with velvet borders and a passe-partout. In this unique work, which oscillates between light and shadow, analogue and digital, and historical and contemporary, Cowart invites the viewer to experience his portraiture for the 21st century. His photographs have been published in Rolling Stone, The New York Times and Nylon and his digital series Block Queens and Lightographs have been featured across NFT collecting platforms.

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\"\" — Jeremy Cowart working in his studio with his lighting set.

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\"\" — Stills from portrait shoot for *Houston in Red, Lightograph IV*.

\n\n

$\"\"$

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57

謝里美．考禾特

《紅色侯斯頓，光影 IV》

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謝里美．考禾特