French Chateau - Paris (models feeding chickens)
Harry Benson
French Chateau - Paris (models feeding chickens)
Archival Pigment Photograph
1977, Printed 2014
40 x 30 inches

Signed, titled, dated and # 10/35 on recto.

Frank Horvat - Givenchy Hat B, For Jardin Des Modes, Paris
Frank Horvat
Givenchy Hat B, For Jardin Des Modes, Paris
Archival Lambda Photograph
1958, printed 2014
23 3/4 x 31 3/4 inches

Signed, titled and dated verso. Signed and numbered (edition of 12) on recto.

Frank Horvat - Paris, for L'Officiel, B (Evening Dress by Lanvin)
Frank Horvat
Paris, for L'Officiel, B (Evening Dress by Lanvin)
Archival Pigment Photograph
1989, printed later
46 3/4 x 33 inches
Signed, titled, dated and numbered (edition of 12) in pencil on print verso.
Frank Horvat - Jardin des Modes, Le Chien qui Fume
Frank Horvat
Jardin des Modes, Le Chien qui Fume
Archival Lambda Photograph
1957, printed 2015
31 3/4 x 23 3/4 inches

Editioned 5/12 and signed on recto. Signed, titled, dated, location, print date, print location, medium on verso.

Frank Horvat - Metro Exit - Monique Dutto, Jours de France, Paris
Frank Horvat
Metro Exit - Monique Dutto, Jours de France, Paris
Archival Pigment Photograph
1959, printed later
33 x 46 3/4 inches

Signed, titled, dated and numbered (edition of 12) in pencil on print verso.

Frank Horvat - British Vogue A, Simone Daillancourt in Window
Frank Horvat
British Vogue A, Simone Daillancourt in Window
Silver Gelatin Photograph
1961, Printed Later
16 x 12 inches

Signed and # 6/30 on recto. Signed, titled and dated in pencil on print verso.

Frank Horvat - Pour Harper’s Bazaar, Haute Couture Avec Deborah Dixon
Frank Horvat
Pour Harper’s Bazaar, Haute Couture Avec Deborah Dixon (Spaghetti Girl, Rome)
Archival Lambda Photograph
1968, printed 2015
31 3/4 x 23 3/4 inches
Signed, titled and dated verso. Signed and edition # 5/12 on recto.
Frank Horvat - Models Tan Simone in Subway, Paris
Frank Horvat
Models Tan & Simone in Subway, Paris
Silver Gelatin Photograph
1958, Printed Later
12 x 16 inches

Signed and # 4/30 on recto. Signed, titled and dated in pencil on print verso.

Frank Horvat - Paris, Stern
Frank Horvat
Paris, Stern
Archival Pigment Photograph
1974, Printed Later
16 1/2 x 23 1/2 inches
Signed and numbered (edition of 30) on recto. Signed, titled and dated in pencil on verso.
Frank Horvat - Lingerie Ad for Chantelle
Frank Horvat
Lingerie Ad for Chantelle
Archival Pigment Photograph
1958, Printed 2010
23 1/4 x 16 1/2 inches

Signed and numbered (edition of 30) on recto. Signed, titled and dated in pencil on verso.

Jim Lee - Bathers
Jim Lee
Bathers
C-Type Color Photograph
1976, Printed 2015
40 x 60 Inches

Signed, titled, numbered 3/15, and dated on recto.

Jim Lee | Willy/Midget 2/1968
Jim Lee
Willy/Midget 2/1968
C-Type Color Photograph
1968, printed later
48 1/2 x 48 1/2 inches

Signed, titled, dated and editioned # 11/15 on recto.

Jim Lee - Loli, Red Shoes
Jim Lee
Loli, Red Shoes
C-Type Color Photograph
2010, printed 2015
40 x 60 inches

Signed, titled, dated and editioned 7/15 on recto.

Robert Farber - Laundromat
Robert Farber
Laundromat
Archival Pigment Photograph on Fiber based Paper
1994, Printed Later
30 x 40 Inches

Signed and numbered 4/10 on recto and verso.

Robert Farber - Walking the Dog
Robert Farber
Walking the Dog
Archival Pigment Photograph on Fiber based Paper
1994, Printed Later
30 x 40 Inches

Signed and numbered 9/10 on recto.

Robert Farber - Gia on the Lifeguard Stand
Robert Farber
Gia on the Lifeguard Stand
Archival Pigment Photograph on Fiber based Paper
1979, Printed Later
40 x 30 Inches

Signed and numbered 10/10 on recto.

Robert Farber - Gia on the Pew
Robert Farber
Gia on the Pew
Archival Pigment Photograph on Somerset Museum Rag
1978, Printed Later
20 x 30 Inches

Signed and numbered 8/8 on recto.

Robert Farber - Empire Diner
Robert Farber
Empire Diner
Archival Pigment Photograph on Fiber based Paper
1979, Printed Later
30 x 40 Inches

Signed and numbered 9/10 on recto and verso.

Arthur Elgort - Heather, Susan and Irene, Italian Vogue
Arthur Elgort
Heather, Susan and Irene, Italian Vogue
Silver Gelatin Photograph
1991, printed 2012
20 x 24 inches

Signed, titled, dated and # 7/30 on verso.

Arthur Elgort - Kate Moss at Café Lipp in Paris, Italian Vogue
Arthur Elgort
Kate Moss at Café Lipp in Paris, Italian Vogue
Silver Gelatin Photograph
1993, Printed later
40 x 60 inches

Signed, titled, dated and numbered (edition of 12) on artist's label on verso.

Arthur Elgort - Cindy Crawford in YSL, Paris, British Vogue
Arthur Elgort
Cindy Crawford in YSL, Paris, British Vogue
Silver Gelatin Photograph
1990, printed 2012
24 x 20 inches

Signed, titled, dated and # 2/30 on verso.

Arthur Elgort - Isabelle Townsend, Miami Beach, French Vogue
Arthur Elgort
Isabelle Townsend, Miami Beach, French Vogue
Silver Gelatin Photograph
1987, Printed later
20 x 24 inches

Signed, titled, dated and # 5/30 on verso.

Arthur Elgort - Christy Turlington, New Orleans, British Vogue
Arthur Elgort
Christy Turlington, New Orleans, British Vogue
Silver Gelatin Photograph
1990, printed 2012
16 x 20 inches

Signed, titled, dated and # 7/30 on verso.

Jack Welpott - Sabine Arlés (Seated at Table)
Jack Welpott
Sabine Arlés (Seated at Table)
Vintage Silver Gelatin Photograph
1973
9 1/2 x 7 7/16 Inches
Signed, titled and dated on verso.
Jack Welpott - Caroline
Jack Welpott
Caroline
Vintage Silver Gelatin Photograph
1984
9 x 11 7/8 Inches
Signed, titled and dated on verso.
Frank Majore - City of Women
Frank Majore
City of Women
Cibachrome Photograph
1995
35 x 28 Inches

Signed, titled, dated and editioned 1/3 on canvas verso.

Frank Majore - Head of Women
Frank Majore
Head of Women
Archival Pigment Photograph on Canvas
2009
26 x 22 inches

Signed, titled, dated and editioned 1/6 on canvas verso.

Ormond Gigli - Girls in the Windows
Ormond Gigli
Girls in the Windows
Archival Pigment Photograph
1960, printed 2015
31 x 31 inches
Signed and dated in pencil mount recto. Signed, titled, dated, and # 27/75 on verso.
Zoltan Gerliczki - Fauna
Zoltan Gerliczki
Fauna 02
Archival Pigment Photograph
2014
31 1/2 x 25 1/2 Inches

Signed, titled, dated, and editioned 2/6 on print recto.

Jeff Bark - Dazed & Confused Magazine May 2013 III
Jeff Bark
Dazed & Confused Magazine May 2013 III
C-Type Color Photograph
2013
40 x 30 inches

Signed, titled and dated on label affixed on verso. Editioned 1/3.

Jeff Bark - Another Magazine Fall/Winter 2013 II
Jeff Bark
Another Magazine Fall/Winter 2013 II
C-Type Color Photograph
2013
30 x 40 inches

Signed, titled and dated on label affixed on verso. Editioned 1/3.

Jeff Bark - Another Magazine Spring/Summer 2013
Jeff Bark
Another Magazine Spring/Summer 2013
C-Type Color Photograph
2012
30 x 40 inches

Signed, titled and dated on label affixed on verso. Editioned 1/3.

Arthur Elgort - Heather, Susan and Irene, Italian Vogue - TB
Arthur Elgort - Cindy Crawford in YSL, Paris, British Vogue - TB
Arthur Elgort - Isabelle Townsend, Miami Beach, French Vogue - TB

Fashion and the Female Form

11/22/2014 - 12/20/2014

INSTALLATION IMAGES

The genre of fashion photography and the genre of the nude are both well developed and long established interests of photographers although they can be thought of as quite different directions for photographers to work in. Fashion photographers’ emphasis on desires, fantasies, and projections of wish fulfillment underscores the psychology of fashion photography which plays into the unreal where the viewer is encouraged to escape into the picture and enter a rarified world where they can be participants. The history of the nude in photography has always stressed the real, personal, and the ephemeral with the private aspects of an individual revealed to the lens of the camera. The beauty of the uniqueness and imperfections of the individual are as fascinating as the idealized beauty of a body that conforms to society’s aesthetic standards of perfection. These standards have changed and evolved over time, just as our taste in fashion has.

There is an important intersection and much common ground in both genres. These kinds of photography celebrate female beauty and allure, whether adorned or unadorned. Since the 1920s both fashion photography (through the popularity of British and French Vogue under the direction of Carmel Snow and Diana Vreeland) and the nude (first championed through the art referential work of the Pictorialists starting as early as the 1910s) have been mature enough, and sophisticated enough disciplines to be mythologized. The pursuit of standards of “great fashion” and the championing of the beautiful nude have engendered a rich library of remarkably beautiful work. The range of work in both subjects has demonstrated the artists’ efforts to glorify women. The female allure has been inherent in photography almost from its inception and photography, by its very nature, acts to immortalize its subjects. The great practitioners of both fashion photography and the nude have produced works of brilliance and lasting power.

Beginning in the 1920s with the elegant work of George Hoyningen-Huene and Edward Steichen, there was a seriousness and sophistication given to fashion photography. Perhaps the greatest early watershed photographer to show the powers and expressive capability of photography in pursuit of fashion was Horst P. Horst, who was mentored by Huene. He is an example, as are many of the great fashion photographers, of a photographer known both for brilliant fashion based work and for photographing the nude. Horst deftly captured, or more accurately constructed memorable images through a daring integration of lighting, camera angle, and a careful modeling of the female form. He understood the architectural foundations of a great photograph. Every beautiful image had a central focus, and generally a secondary interest. A master of backlighting and using a three-quarter pose, Horst created almost magical images full of mystery, light, grace, and elegance.

First working with the f/64 group during the mid 20th century, Ruth Bernhard explored and understood the potential of the female body as an almost inexhaustible subject. The shapes and curves of the body activate her photographs so that they almost effortlessly spring to life. The volumes of the body play against gradations of light and create a fascinating human landscape. She produced a sensual but elegant and refined body of work, treating the female body through a classic approach. Bernhard was a pioneer in the same spirit as Horst. They both were sure-handed, unafraid of breaking through boundaries, and capitalized on the expressive potential of photography.

Patrick Demarchelier continues the lineage of great photographers of women, first gaining notoriety in the 1970s for his unique photographic style while working for Vogue as Horst had decades before. Primarily a portrait and fashion photographer of women, Demarchelier has made a prolific career shooting and capturing some of the most well-known personalities of the 20th century such as Princess Diana and Madonna and continues to do so today. His unique melding of personality and figure with background and setting creates a dynamic atmosphere in which his alluring subjects meet their full potential through his fluid and adaptable style. Demarchelier often references the frontal styles of Avedon in some of his direct frontal gaze portraits and creates a world of enhanced light. His continued success in representing the seductive side of a woman makes him one of the most in demand contemporary photographers.

Although Albert Watson has had a multi-faceted career shooting a variety of subjects, his portraits of women are among his most acclaimed work. Also a Vogue photographer beginning in the 1970s like Demarchelier, much of Watson’s personal and commercial work in fashion and nudes are imbued with a meditative aura and atmosphere. Through his expert use of lighting his subjects, and his soft, filtered range of colors, Watson’s portraits take the viewer into the image through his distinct visual with references from art history, cinema, and popular culture. His work can range from surreal to sublimely beautiful. Renowned for such images as his nudes of Kate Moss in Marrakech and his silhouette of Naomi Campbell, Watson explores female beauty and remains an unpredictable photographer. He has drawn inspiration from cinema, popular culture, and fine art.

The legacy of both fashion photographs and nudes has left us with sophisticated and well-crafted images which have set a high standard of aesthetic beauty and image composition. Today’s most talented photographers have a strong foundation to work from and are finding a contemporary voice to create fresh, great images.