10 Property of a Private American Collector Cindy Sherman Untitled Film Still #5A 1977 gelatin silver print 30 1/2 x 39 3/4 in. (77.5 x 101 cm) Signed, numbered and dated "Cindy Sherman 1/3 1977" on the reverse of the sheet. This work is number 1 from an edition of 3.
Provenance Metro Pictures, New York Private Collection, New York Skarstedt Gallery, New York Private Collection, acquired from the above in 2007 Sotheby's, New York, May 10, 2011, lot 5 Acquired at the above sale by the present owner Exhibited New York, Max Protech Gallery, Re: Figuration, 1979 (another example exhibited) New York, The Museum of Modern Art, Cindy Sherman The Complete Untitled Film Stills, June - September 1997 (another example exhibited) Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Moderne Kunst; Berlin, Martin Gropius Bau, Cindy Sherman May 2006 - September 2007, n.p. (another example exhibited) Literature Mark Rosenthal, et. al., Art of Our Time: The Saatchi Collection, London, 1984, p. 467 (illustrated) Peter Schjeldahl, Michael Danoff, Cindy Sherman New York, 1984, pl. 4 (illustrated) Arthur C. Danto, Cindy Sherman Untitled Film Stills, New York, 1990, pl. 4 (illustrated) Rosalind Krauss, Cindy Sherman 1975 - 1993, New York, 1993, pp. 14-15 (illustrated) Cindy Sherman Photographic Work 1975 - 1995, exh. cat., Hamburg, Deichtorhallen, 1995, cat. no. 7 (illustrated) Cindy Sherman exh. cat., Rotterdam, Museum Boijmans Van Beuningen, 1996, cat. no. 10, pp. 30-31 (illustrated) Cindy Sherman exh. cat., New York, Whitney Museum of American Art, 1997, pl. 4 (illustrated) Cindy Sherman Retrospective, exh. cat., Los Angeles, Museum of Contemporary Art, 1998, pl. 5, p. 57 (illustrated) Catherine Morris, The Essential Cindy Sherman New York, 1999, p. 35 (illustrated) Uta Grosenick, ed., Art at the Turn of the Millennium, Cologne, 1999, p. 467 (illustrated) Jasper Johns to Jeff Koons Four Decades of Art from the Broad Collections, exh. cat., Los Angeles County Museum of Art, 2001 Saatchi Collection, I am a Camera, London, 2001, n.p. Cindy Sherman The Complete Untitled Film Stills, exh. cat., New York, Museum of Modern Art, 2003, p. 56 (illustrated) Chery Krause Knight, "Just Another Day: Dutch Genre Themes in Cindy Sherman's Untitled Film Stil," Visual Resources, Vol. 20, no. 4, December 2004, pp. 275-286 (illustrated) Mark Sladen, Ariella Yedgar, Panic Attack! Art in the Punk Years, London, 2007, p. 156 (illustrated) Catalogue Essay “The still must tease with the promise of a story the viewer of it itches to be told.” Cindy Sherman Cindy Sherman’s renowned Film Stills created between 1977 and 1980 represent some of the most iconic photographic imagery of the last century; the present lot is the fifth still from the series of sixty-nine. Sherman shot the early Film Stills, including Untitled #5A, in the fall of 1977 in the New York City loft apartment on John and South Street that she shared with her then boyfriend, artist Robert Longo The genesis of Sherman’s Film Stills is her childhood fascination with the television culture of the 1960’s. The artist recounts a time when she was left alone to entertain herself during an adult dinner party: “I wound up watching TV in the basement, eating my little dinner alone watching Hitchcock’s Rear Window while the adults partied upstairs. I loved all those vignettes Jimmy Stewart watches in the windows around him - you don’t know much about any of those characters so you try to fill in the pieces of their lives.” (Cindy Sherman in Cindy Sherman The Complete Untitled Film Stills, exh. cat., The Museum of Modern Art, New York, 1997, p. 5) For the first six stills Sherman photographed herself acting out the daily life of the same blond female character. Untitled #5A, 1977 depicts this persona with a short and fashionable coif; she purses her glossy lips, clutching an airmail envelope with its iconic striped edges and the numerous pages of what appears to be a very lengthy letter. As Sherman describes the scene: “In #5 I have the edge of chair on one side, and I propped up a pillow on it, and a blanket over the pillow, to make it look like there might be someone sitting in the chair to whom I was reading the letter.” The fewer visual clu
10 Property of a Private American Collector Cindy Sherman Untitled Film Still #5A 1977 gelatin silver print 30 1/2 x 39 3/4 in. (77.5 x 101 cm) Signed, numbered and dated "Cindy Sherman 1/3 1977" on the reverse of the sheet. This work is number 1 from an edition of 3.
Provenance Metro Pictures, New York Private Collection, New York Skarstedt Gallery, New York Private Collection, acquired from the above in 2007 Sotheby's, New York, May 10, 2011, lot 5 Acquired at the above sale by the present owner Exhibited New York, Max Protech Gallery, Re: Figuration, 1979 (another example exhibited) New York, The Museum of Modern Art, Cindy Sherman The Complete Untitled Film Stills, June - September 1997 (another example exhibited) Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Moderne Kunst; Berlin, Martin Gropius Bau, Cindy Sherman May 2006 - September 2007, n.p. (another example exhibited) Literature Mark Rosenthal, et. al., Art of Our Time: The Saatchi Collection, London, 1984, p. 467 (illustrated) Peter Schjeldahl, Michael Danoff, Cindy Sherman New York, 1984, pl. 4 (illustrated) Arthur C. Danto, Cindy Sherman Untitled Film Stills, New York, 1990, pl. 4 (illustrated) Rosalind Krauss, Cindy Sherman 1975 - 1993, New York, 1993, pp. 14-15 (illustrated) Cindy Sherman Photographic Work 1975 - 1995, exh. cat., Hamburg, Deichtorhallen, 1995, cat. no. 7 (illustrated) Cindy Sherman exh. cat., Rotterdam, Museum Boijmans Van Beuningen, 1996, cat. no. 10, pp. 30-31 (illustrated) Cindy Sherman exh. cat., New York, Whitney Museum of American Art, 1997, pl. 4 (illustrated) Cindy Sherman Retrospective, exh. cat., Los Angeles, Museum of Contemporary Art, 1998, pl. 5, p. 57 (illustrated) Catherine Morris, The Essential Cindy Sherman New York, 1999, p. 35 (illustrated) Uta Grosenick, ed., Art at the Turn of the Millennium, Cologne, 1999, p. 467 (illustrated) Jasper Johns to Jeff Koons Four Decades of Art from the Broad Collections, exh. cat., Los Angeles County Museum of Art, 2001 Saatchi Collection, I am a Camera, London, 2001, n.p. Cindy Sherman The Complete Untitled Film Stills, exh. cat., New York, Museum of Modern Art, 2003, p. 56 (illustrated) Chery Krause Knight, "Just Another Day: Dutch Genre Themes in Cindy Sherman's Untitled Film Stil," Visual Resources, Vol. 20, no. 4, December 2004, pp. 275-286 (illustrated) Mark Sladen, Ariella Yedgar, Panic Attack! Art in the Punk Years, London, 2007, p. 156 (illustrated) Catalogue Essay “The still must tease with the promise of a story the viewer of it itches to be told.” Cindy Sherman Cindy Sherman’s renowned Film Stills created between 1977 and 1980 represent some of the most iconic photographic imagery of the last century; the present lot is the fifth still from the series of sixty-nine. Sherman shot the early Film Stills, including Untitled #5A, in the fall of 1977 in the New York City loft apartment on John and South Street that she shared with her then boyfriend, artist Robert Longo The genesis of Sherman’s Film Stills is her childhood fascination with the television culture of the 1960’s. The artist recounts a time when she was left alone to entertain herself during an adult dinner party: “I wound up watching TV in the basement, eating my little dinner alone watching Hitchcock’s Rear Window while the adults partied upstairs. I loved all those vignettes Jimmy Stewart watches in the windows around him - you don’t know much about any of those characters so you try to fill in the pieces of their lives.” (Cindy Sherman in Cindy Sherman The Complete Untitled Film Stills, exh. cat., The Museum of Modern Art, New York, 1997, p. 5) For the first six stills Sherman photographed herself acting out the daily life of the same blond female character. Untitled #5A, 1977 depicts this persona with a short and fashionable coif; she purses her glossy lips, clutching an airmail envelope with its iconic striped edges and the numerous pages of what appears to be a very lengthy letter. As Sherman describes the scene: “In #5 I have the edge of chair on one side, and I propped up a pillow on it, and a blanket over the pillow, to make it look like there might be someone sitting in the chair to whom I was reading the letter.” The fewer visual clu
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
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