Null CINDY SHERMAN
(1954)
Cindy Sherman. Photographic Work 1975-1995
1995
Illust…

Description

CINDY SHERMAN (1954) Cindy Sherman. Photographic Work 1975-1995 1995 Illustrated monographic catalog published on the occasion of exhibitions held at Deichtorhallen, Hamburg (May 25-July 30, 1995), Konsthall, Malmo (Aug. 26-Oct. 22, 1995) and Kunstmuseum, Lucerne (Dec. 8, 1995-Feb. 11, 1996) 30 x 24 cm Schirmer Art Books Edition Pages 170 Defects

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CINDY SHERMAN (1954) Cindy Sherman. Photographic Work 1975-1995 1995 Illustrated monographic catalog published on the occasion of exhibitions held at Deichtorhallen, Hamburg (May 25-July 30, 1995), Konsthall, Malmo (Aug. 26-Oct. 22, 1995) and Kunstmuseum, Lucerne (Dec. 8, 1995-Feb. 11, 1996) 30 x 24 cm Schirmer Art Books Edition Pages 170 Defects

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Estim. 20 - 40 EUR

Batch of 11 exhibition catalogs and brochures, including exhibitions in the United States (Balzac and his time, French Embassy), photocopies of 2 catalogs from 1950, bulletin de la société archéologique du vendomois (2001), "Moi Paris" (Michelet centenary, 1975), Le Parisien chez lui au XIXe (1977),La comédie humaine et ses objets (Toulouse, 1970), Saché, Michel et Calmann Levy (BnF, 1986), etc. Lot of 6 volumes: Balzac à Vendôme. Tours, Gibert-Clarey, 1949 Launay & Jouanne, Balzac alençonnais. Poulet-Malassis, 1949. Chanoine de Laugardière, Satellites of Balzac. Bourges, Dusset, 1941. Letter on flyleaf. Métadier, Balzac en son pays. C.L.D., 1993. Letter from Métadier. 2 issues of Maurras' Dictionnaire politique et critique (1961) containing the article Balzac. Attached is a set of 64 plates in a folder entitled "Honoré de Balzac - Documents". [Bicentenary of Balzac's birth] Almanach de Honoré de Balzac. G.D. Editions, 1998. In-8 square. Weekly diary by Desquesne and Clifford, presenting biographical aspects, excerpts from the work, opinions of other personalities on Balzac, etc. Publisher's full binding, portrait on front cover, gilt edges. A good copy. Also included Rodin et Balzac, catalog of the 1973 Stanford University exhibition (pages detached from spine). Lot of 11 books: Balzac à Saché. Société Honoré de Balzac de Touraine, 1998. Sent by Paul Métadier. Lettere di donne a Balzac (letters from women to Balzac). ECIG, 1995. Bilingual edition. A Balzac - Fougères - 1950. Quinzaine Balzac en Vendômois - November 1980. Mon cher George - Balzac et Sand, Histoire d'une amitié. Gallimard. In blister. Bucciol, Da Versailles a Villa Galvagna. Nuova dimensione, 1999. Monselet, D'un souper offert par Balzac. Rouen, Alinéa, 2003. On sheets. Bulletin de la société historique et archéologique, 1933, n°10. Contains article: La princesse de Belgiojoso place de la Madeleine. R du Pontavice du Heussey, Balzac en Bretagne. Renne, Caillière, 1885. Encyclopédie par l'image Balzac. Bookseller Hachette. Nadine Satiat, Balzac. 1999

Estim. 10 000 - 12 000 EUR

ROBERT MAPPLETHORPE (New York, 1946- Boston, 1989). "Lisa Lyon," 1982. Gelatin silver, printed in 1982, mounted. Exemplar 1/10. Provenance: Sean Kelly Gallery, New York, Phillips, "SPOTLIGHT: Photographs from a Private London Collection," 2023 and Private Collection, Spain. Bibliography: R. Mapplethorpe, Lady: Lisa Lyon, New York: St. Martin's, 1983, p. 94 (variant). Signed and dated by Michael Ward Stout, executor, in ink, copyright ownership, limitation of reproduction and signature stamp on reverse of recessed mount. Measurements: 38.7 x 38.4 cm: 66 x 64 cm (frame). Lisa Lyon achieved fame as the first female world bodybuilding champion. In 1980 she met Mapplethorpe and began a great friendship that led to a prolific artistic relationship. Lyon's physique allowed the photographer to portray subjects of his interest such as androgyny, the anatomy of classical statuary or even American culture. Since 1980, Mapplethorpe began a series of portraits in which Lyon was captured under his lens in multiple ways, one of them being photography. All this work was immortalized in the book Lady: Lisa Lyon (1983). American photographer, known for her sensitive yet forceful treatment of controversial subjects in the black and white medium of photography. Her work included a variety of subjects, including celebrity portraits, male and female nudes, self-portraits, and images of dead flowers. His most controversial work is of the BDSM subculture in the late 1960s and early 1970s in New York City. The homoeroticism of this work fueled a national debate over public funding of controversial artwork. Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibition "New Colors." His body of work features a wide range of subject matter, but his primary focus and the bulk of his work is erotic imagery. He would refer to some of his own work as pornographic, aiming to arouse the viewer, but which could also be considered great art.His erotic art explored a wide range of sexual themes, depicting the BDSM subculture of New York in the 1970s, depictions of black male nudes and classic nudes of female bodybuilders. Mapplethorpe was a participant observer in much of his erotic photography, participating in the sexual acts he was photographing and engaging sexually with his models. Other subjects included flowers, especially orchids and lilies, children, statues, and celebrities and other artists, such as Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading, and Patti Smith. Smith was a roommate of Mapplethorpe's and a frequent subject of his photography, including an iconic, somber photograph that appears on the cover of Smith's first album, Horses. His work often referenced religious or classical imagery, such as a 1986 portrait of Patti Smith that recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created more than 150 photographs of bodybuilder Lisa Lyon, culminating in the photo album Lady, Lisa Lyon, published by Viking Press and featuring text by Bruce Chatwin. Bibliography: R. Mapplethorpe, Lady: Lisa Lyon, New York: St. Martin's, 1983, p. 94 (variant)

Estim. 12 000 - 15 000 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981). "Space2," Providence, Rhode Island, 1976. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 17 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.5 x 13.5 cm (image); 26.2 x 21.5 cm (paper). Francesca Woodman made this series in Providence, where she was a student, after having spent some time in Rome (on a scholarship). In the "Space2" series, Woodman photographs herself interacting with architectural spaces, often dilapidated or abandoned. She uses these spaces not only as settings, but as active elements of the composition. Walls, doors and windows become an integral part of the images, interacting with her body in symbolic and visual ways. Woodman uses spaces that evoke a sense of abandonment that contrast with her physical presence, adding a layer of tension and vulnerability to the images. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Estim. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

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