Null MISCELLANEOUS AUTHORS
Parkett Vol. 70
2004
Magazine co-edited by Christian …

Description

MISCELLANEOUS AUTHORS Parkett Vol. 70 2004 Magazine co-edited by Christian Marclay, Wilhelm Sasnal, Gillian Wearing 25.5 x 21.5 cm Pages 197 Defects

68

MISCELLANEOUS AUTHORS Parkett Vol. 70 2004 Magazine co-edited by Christian Marclay, Wilhelm Sasnal, Gillian Wearing 25.5 x 21.5 cm Pages 197 Defects

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Estim. 500 - 750 EUR

Hasselblad 503 CX, construction year 1992, No.11EH21082, lens Carl Zeiss S-Planar 1:5.6 120mm, accessories: compendium, Polaroid magazine, 120 magazine, film magazine 70 with matching prism finder, reflex finder, sports finder and various accessories; orig. instruction manual, case; traces of usage, shutter should be examined

Estim. 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.

Estim. 800 - 1 000 EUR

DAVID HAMILTON (London, 1933-Paris, 2016). "Young woman asleep", 1974. Photography on gelatin silver. Signed and dated. Measures: 17 x 23.5 cm. In this photograph the author focuses on the model from a high perspective. He avoids portraying the face, not only because the young woman is lying face down, but also because he leaves the model's head out of the frame. By the position and the explicit eroticism, the author offers us a revision of Coulbert's "The Origin of the World". David Hamilton was a British photographer and film director known for his photographs of young women and girls, mainly nude. His style of approach was referred to as "Hamilton Blur", Hamilton's images became part of a debate about "art or pornography". Her artistic skills began to emerge during a job in an architect's office. At the age of 20, he went to Paris, where he worked as a graphic designer for Peter Knapp of Elle magazine. After achieving recognition, he was hired by Queen magazine in London as an art director. However, Hamilton soon realised his love for Paris, and after returning there he became the art director of Printemps, the city's largest department stores'. While Hamilton was still working at Printemps, he began doing commercial photography, and the dreamy, grainy style of his images was critically acclaimed. His photographs were sought after by other magazines such as Réalités, Twen and Photo. His additional successes included dozens of photographic books; five feature films; countless magazine exhibitions; and museum and gallery exhibitions. In December 1977, Images Gallery, a studio owned by Bob Persky at 11 East 57th Street in Manhattan, showed his photographs at the same time Bilitis was launched. At the time, art critic Gene Thornton wrote in The New York Times that they revealed "the kind of ideal that was regularly expressed in the great paintings of the past". In his book, Contemporary Photographers, curator Christian Caujolle wrote that Hamilton worked with only two fixed devices: "a clear pictorial intention and a latent eroticism, apparently romantic, but asking for trouble". In addition to depicting young women, Hamilton composed photographs of flowers, men, landscapes, farm animals, pigeons and still lifes of fruit. Several of his photographs resemble oil paintings. Most of his work gives an impression of timelessness due to the absence of automobiles, modern buildings and advertisements. In 1976, Denise Couttès explained Hamilton's success by saying, "(his photographs) express escapism. People can only escape the violence and cruelty of the modern world through dreams and nostalgia". His soft-focus style came back into fashion in Vogue, Elle and other fashion magazines from 2003 onwards. The photobooks she debuted on screen in Bilitis. Later, he married Gertrude, who co-designed The Age of Innocence, but they divorced amicably.Hamilton divided his time between Saint-Tropez and Paris. He had enjoyed a renaissance in popularity since 2005. In 2006, David Hamilton, a collection of captioned photographs, and Erotic Tales, containing Hamilton's fictional short stories, was published. At the time of his death, Hamilton was working on another book, Monograph of Montenegro.

Estim. 10 000 - 15 000 EUR

HELMUT NEWTON (Germany, 1920- California, 2004). "Domestic Nude 7, Los Angeles, 1992. Gelatin silver, copy 9/15. Signed, titled, dated and numbered in pencil. Provenance: Maurizio Siniscaldo Gallery, Naples, Italy. Measurements: 45,2 x 36,2 cm (image). The series "Domestic Nude" that Helmut Newton carried out in Los Angeles in 1992 represented another turn of the screw for artistic and fashion photography. In it, he places women in provocative poses and in unusual domestic spaces: in the doghouse, leaning against the refrigerator.... They are not shown languidly as odalisques but empowered and defiant, without modesty and without admitting easy voyeurism. In "Domestic Nude" she explores the boundaries between the private and the public, between women as subject and object. Newton also carefully plans her compositions to maximize visual impact. 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.

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