PROPERTY FROM THE PAUL TOMLINSON COLLECTION, DALLAS William Claxton Peggy Moffit in Rudi Gernreich's Topless Swimsuit 1964 Gelatin silver print, printed 1995. 19 5/8 x 15 7/8 in. (49.8 x 40.3 cm). Signed, titled, dated, numbered 8 in pencil and copyright credit reproduction limitation stamp on the verso. One from an edition of 25.
Provenance Fahey Klein Gallery, Los Angeles Literature Taschen, The Rudi Gernreich Book (Big Series Art), n.p.; The Metropolitan Museum of Art, The Model as Muse: Embodying Fashion, p. 86 Catalogue Essay Paul Tomlinson’s interest in fashion photography was triggered by his tenure as marketing director for an emerging fashion specialty chain in the late 1970s. Quickly thereafter, upon recognizing the relatively undiscovered talent of the leading photographers with whom he was privileged to collaborate, as well as the ample opportunities presented by the then-budding market for fashion photography, Mr. Tomlinson began amassing a collection that was as informed by guidance from fellow collectors, dealers and curators, as much as an unwavering trust of his own impeccable eye. With Herb Ritt’s Madonna, Hollywood, 1986, as one of the first seeds, Mr. Tomlinson’s collection gradually blossomed into a comprehensive repertoire, featuring works by photographers who, over the years, had come to form the pantheon of fashion photography, including Irving Penn Horst P. Horst, Melvin Sokolsky, and Albert Watson The collection’s impact was further reinforced by the artistic dialogue between works by the aforementioned photographers and those of non-fashion subject matter, such as Lynn Davis’s hauntingly beautiful icescapes. Citing “strength of imagery” and “distinctiveness” as deciding factors in his final selections, Mr. Tomlinson’s collection is one that has gracefully eschewed fads and trends in favor of a timeless style. Read More
PROPERTY FROM THE PAUL TOMLINSON COLLECTION, DALLAS William Claxton Peggy Moffit in Rudi Gernreich's Topless Swimsuit 1964 Gelatin silver print, printed 1995. 19 5/8 x 15 7/8 in. (49.8 x 40.3 cm). Signed, titled, dated, numbered 8 in pencil and copyright credit reproduction limitation stamp on the verso. One from an edition of 25.
Provenance Fahey Klein Gallery, Los Angeles Literature Taschen, The Rudi Gernreich Book (Big Series Art), n.p.; The Metropolitan Museum of Art, The Model as Muse: Embodying Fashion, p. 86 Catalogue Essay Paul Tomlinson’s interest in fashion photography was triggered by his tenure as marketing director for an emerging fashion specialty chain in the late 1970s. Quickly thereafter, upon recognizing the relatively undiscovered talent of the leading photographers with whom he was privileged to collaborate, as well as the ample opportunities presented by the then-budding market for fashion photography, Mr. Tomlinson began amassing a collection that was as informed by guidance from fellow collectors, dealers and curators, as much as an unwavering trust of his own impeccable eye. With Herb Ritt’s Madonna, Hollywood, 1986, as one of the first seeds, Mr. Tomlinson’s collection gradually blossomed into a comprehensive repertoire, featuring works by photographers who, over the years, had come to form the pantheon of fashion photography, including Irving Penn Horst P. Horst, Melvin Sokolsky, and Albert Watson The collection’s impact was further reinforced by the artistic dialogue between works by the aforementioned photographers and those of non-fashion subject matter, such as Lynn Davis’s hauntingly beautiful icescapes. Citing “strength of imagery” and “distinctiveness” as deciding factors in his final selections, Mr. Tomlinson’s collection is one that has gracefully eschewed fads and trends in favor of a timeless style. Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
