Helmut Newton Helmut Newton Photographien Berlin: Camera Work, 1998. Ten gelatin silver prints, bound in a folio volume. Each approximately 14 1/4 x 9 1/2 in. (36.2 x 24.1 cm) Each signed, titled and dated in pencil on the verso; numbered AP 2 in ink on the colophon. One from an edition of 10 plus artist's proofs. Contained in a matching slipcase.
Literature Angeletti and Oliva, In Vogue, p. 233 Haenlein, The Artificial of the Real, p. 131 Harrison, Appearances: Fashion Photography Since 1945, p. 232 Scalo, Helmut Newton Pages from the Glossies-Facsimiles 1956-1998, pp. 316, 384-385 Taschen, Helmut Newton Work, pp. 123, 172 and 209 American Vogue, May 1975, p. 106 French Vogue, April 1978, pp. 127-127 for all, various works illustrated Catalogue Essay Titles in plate order: Arielle after a Haircut, Paris, 1982; Woman Examining Man, U.S. Vogue, Saint Tropez, 1975; By-product of an Advertising Sitting, Paris, 1975; Jodie Foster, Hollywood, 1987; Paloma Picasso Saint Tropez, 1973; Lisa Lyon at Home, Venice, California, 1981; Jerry Hall, Spitting, French Vogue, Paris, 1978; Eva with Pickelhaube, Monte Carlo, 1993; Jenny Kapitän, Pension Dorian, Berlin, 1977 andBig Nude III, Henrietta, Paris, 1980 Please reference lot 18 for an essay on this artist Read More Artist Bio Helmut Newton German • 1920 - 2004 Helmut Newton's distinct style of eroticism and highly produced images was deemed rebellious and revolutionary in its time, as he turned the expected notion of beauty, depicted by passive and submissive women, on its head. Depicting his models as strong and powerful women, Newton reversed gender stereotypes and examined society's understanding of female desire. Newton created a working space for his models that was part decadent and part unorthodox — a safe microcosm in which fantasies became reality. And perhaps most famously of all, Newton engendered an environment in which his female models claimed the space around them with unapologetic poise and commanding sensuality. His almost cinematic compositions provided a hyper-real backdrop for the provocative images of sculptural, larger-than-life women, and enhanced the themes of voyeurism and fetishism that run throughout his work. View More Works
Helmut Newton Helmut Newton Photographien Berlin: Camera Work, 1998. Ten gelatin silver prints, bound in a folio volume. Each approximately 14 1/4 x 9 1/2 in. (36.2 x 24.1 cm) Each signed, titled and dated in pencil on the verso; numbered AP 2 in ink on the colophon. One from an edition of 10 plus artist's proofs. Contained in a matching slipcase.
Literature Angeletti and Oliva, In Vogue, p. 233 Haenlein, The Artificial of the Real, p. 131 Harrison, Appearances: Fashion Photography Since 1945, p. 232 Scalo, Helmut Newton Pages from the Glossies-Facsimiles 1956-1998, pp. 316, 384-385 Taschen, Helmut Newton Work, pp. 123, 172 and 209 American Vogue, May 1975, p. 106 French Vogue, April 1978, pp. 127-127 for all, various works illustrated Catalogue Essay Titles in plate order: Arielle after a Haircut, Paris, 1982; Woman Examining Man, U.S. Vogue, Saint Tropez, 1975; By-product of an Advertising Sitting, Paris, 1975; Jodie Foster, Hollywood, 1987; Paloma Picasso Saint Tropez, 1973; Lisa Lyon at Home, Venice, California, 1981; Jerry Hall, Spitting, French Vogue, Paris, 1978; Eva with Pickelhaube, Monte Carlo, 1993; Jenny Kapitän, Pension Dorian, Berlin, 1977 andBig Nude III, Henrietta, Paris, 1980 Please reference lot 18 for an essay on this artist Read More Artist Bio Helmut Newton German • 1920 - 2004 Helmut Newton's distinct style of eroticism and highly produced images was deemed rebellious and revolutionary in its time, as he turned the expected notion of beauty, depicted by passive and submissive women, on its head. Depicting his models as strong and powerful women, Newton reversed gender stereotypes and examined society's understanding of female desire. Newton created a working space for his models that was part decadent and part unorthodox — a safe microcosm in which fantasies became reality. And perhaps most famously of all, Newton engendered an environment in which his female models claimed the space around them with unapologetic poise and commanding sensuality. His almost cinematic compositions provided a hyper-real backdrop for the provocative images of sculptural, larger-than-life women, and enhanced the themes of voyeurism and fetishism that run throughout his work. View More Works
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
