Null MISCELLANEOUS AUTHORS
Parkett Vol. 40/41
1994
Reviewed in collaboration wit…

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MISCELLANEOUS AUTHORS Parkett Vol. 40/41 1994 Reviewed in collaboration with Francesco Clemente, Peter Fischli/David Weiss, Gunther Forg, Damien Hirst, Jenny Holzer, Rebecca Horn, Sigmar Polke 25.5 x 21.5 cm Pages 250 Unblemished

40

MISCELLANEOUS AUTHORS Parkett Vol. 40/41 1994 Reviewed in collaboration with Francesco Clemente, Peter Fischli/David Weiss, Gunther Forg, Damien Hirst, Jenny Holzer, Rebecca Horn, Sigmar Polke 25.5 x 21.5 cm Pages 250 Unblemished

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Stima 12 000 - 14 000 EUR

HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (paper). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

Stima 600 - 700 EUR

PHILIPPE HALSMAN (Riga, 1906 - New York, 1979). "Flemish couple," 1950. Silver gelatin photograph. Presents the artist's stamp on the back "Copyright by Philippe Halsman". Measurements: 18 x 13 cm; 40 x 30 cm (frame). Halsman studied electrical engineering in Dresden, after being accused of the murder of his father, he spent two years in prison. Upon his release Halsman decided to move to France, where he began contributing to fashion magazines such as Vogue and soon earned a reputation as one of France's top portrait photographers. Famous for his sharp rather than soft-focused, tightly cropped images. When France was invaded by Germany, Halsman fled to Marseille. He eventually managed to obtain an American visa, with the help of his family friend Albert Einstein, whom he later photographed in 1947. Halsman had his first success in the United States when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later, in 1942, he found work at Life magazine, photographing hat designs; In 1941 Halsman met surrealist artist Salvador Dalí and they began collaborating in the late 1940s. The 1948 work Dalí Atomicus explores the idea of suspension, depicting three cats flying, a bucket of water thrown and Dalí in the air. The title of the photograph is a reference to Dalí's work Leda Atomicus, which can be seen to the right of the photograph behind the two cats. Halsman and Dalí eventually published a compendium of their collaborations in the 1954 book Dali's Moustache, which features 36 different views of the artist's distinctive mustache. Another famous collaboration between the two was In Voluptas Mors, a surrealist portrait of Dalí next to a large skull, in fact a tableau vivant composed of seven nudes. In 1947 Halsman took what would become one of his most famous photos of a mournful Albert Einstein, who during the photo shoot recounted his regret over his role in the United States pursuing the atomic bomb. The photo would later be used in 1966 on a U.S. postage stamp and, in 1999, on the cover of Time magazine, when it called Einstein the "Person of the Century." In 1951, NBC commissioned Halsman to photograph several popular comedians of the era, including Milton Berle, Sid Caesar, Groucho Marx and Bob Hope. The photographer developed a philosophy of jump photography, which he called jumpology.He published Philippe Halsman's Jump Book in 1959, which contained a tongue-in-cheek discussion of jumpology and 178 photographs of famous jumpers.

Stima 2 500 - 3 000 EUR

PHILIPPE HALSMAN (Riga, 1906 - New York, 1979). "Dali's Moustache," c. 1954. Silver gelatin photograph. Features slight corner creases that do not affect the work. Signed in pencil and stamped on verso. "Copyright by Philippe Halsman". Measurements: 20 x 16 cm: 40 x 44 cm (frame). Halsman studied electrical engineering in Dresden, after being accused of the murder of his father, he spent two years in prison. Upon his release Halsman decided to move to France, where he began contributing to fashion magazines such as Vogue and soon earned a reputation as one of the best portrait photographers in France. Famous for his sharp rather than soft-focused, tightly cropped images. When France was invaded by Germany, Halsman fled to Marseille. He eventually managed to obtain an American visa, with the help of his family friend Albert Einstein, whom he later photographed in 1947. Halsman had his first success in the United States when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later, in 1942, he found work at Life magazine, photographing hat designs; In 1941 Halsman met surrealist artist Salvador Dalí and they began collaborating in the late 1940s. The 1948 work Dalí Atomicus explores the idea of suspension, depicting three cats flying, a bucket of water thrown and Dalí in the air. The title of the photograph is a reference to Dalí's work Leda Atomicus, which can be seen to the right of the photograph behind the two cats. Halsman and Dalí eventually published a compendium of their collaborations in the 1954 book Dali's Moustache, which features 36 different views of the artist's distinctive mustache. Another famous collaboration between the two was In Voluptas Mors, a surrealist portrait of Dalí next to a large skull, in fact a tableau vivant composed of seven nudes. In 1947 Halsman took what would become one of his most famous photos of a mournful Albert Einstein, who during the photo shoot recounted his regret over his role in the United States pursuing the atomic bomb. The photo would later be used in 1966 on a U.S. postage stamp and, in 1999, on the cover of Time magazine, when it called Einstein the "Person of the Century." In 1951, NBC commissioned Halsman to photograph several popular comedians of the era, including Milton Berle, Sid Caesar, Groucho Marx and Bob Hope. The photographer developed a philosophy of jump photography, which he called jumpology.He published Philippe Halsman's Jump Book in 1959, which contained a tongue-in-cheek discussion of jumpology and 178 photographs of famous jumpers. It presents slight folds in the corners that do not affect the work.

Stima 50 - 100 EUR

Stephen Raul Anaya (American, B. 1946) Compendium Maleficarum, Etching Description: A surreal etching & aquatint depicting various animals and a witch figure among vegetation, titled Compendium Maleficarum. Type: Etching & aquatint Materials: Wove paper, ink Markings & Inscriptions: Signed, titled, indicated as an artist's proof, and dated Date: 1973 Maker: Stephen Raul Anaya (American, B. 1946) Dimensions: 23.5" x 34" image, 29.5" x 41" sheet. Provenance: From the Rodger LaPelle Galleries collection, Philadelphia, Pennsylvania. Very good condition

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