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拍品 10|MODERN PERSPECTIVES: PHOTOGRAPHS FROM A DISTINGUISHED EAST COAST COLLECTION
FRANTIŠEK DRTIKOL (1883–1961)
Horror, 1927
已結束2022年10月6日
成交價
USD 75,600
更多資訊
FRANTIŠEK DRTIKOL (1883–1961)
Horror, 1927
pigment print, mounted on board
signed and dated in pencil (mount, recto); blindstamped photographer’s credit (recto); signed and titled in ink and with a 1927 Salon International d’Art Photographique, Bethune, France label (mount, verso); credited, titled and dated on Guggenheim Museum exhibition label (frame backing)
image/sheet: 11 3/8 x 9 1/8 in. (28.8 x 23.1 cm.)
?mount: 15 1/2 x 11 5/8 in. (39.4 x 29.5 cm.)
At the time of this writing, no other prints of this image are known to exist.
Horror, 1927
pigment print, mounted on board
signed and dated in pencil (mount, recto); blindstamped photographer’s credit (recto); signed and titled in ink and with a 1927 Salon International d’Art Photographique, Bethune, France label (mount, verso); credited, titled and dated on Guggenheim Museum exhibition label (frame backing)
image/sheet: 11 3/8 x 9 1/8 in. (28.8 x 23.1 cm.)
?mount: 15 1/2 x 11 5/8 in. (39.4 x 29.5 cm.)
At the time of this writing, no other prints of this image are known to exist.
FRANTIŠEK DRTIKOL (1883–1961)
Horror, 1927
pigment print, mounted on board
signed and dated in pencil (mount, recto); blindstamped photographer’s credit (recto); signed and titled in ink and with a 1927 Salon International d’Art Photographique, Bethune, France label (mount, verso); credited, titled and dated on Guggenheim Museum exhibition label (frame backing)
image/sheet: 11 3/8 x 9 1/8 in. (28.8 x 23.1 cm.)
?mount: 15 1/2 x 11 5/8 in. (39.4 x 29.5 cm.)
At the time of this writing, no other prints of this image are known to exist.
Horror, 1927
pigment print, mounted on board
signed and dated in pencil (mount, recto); blindstamped photographer’s credit (recto); signed and titled in ink and with a 1927 Salon International d’Art Photographique, Bethune, France label (mount, verso); credited, titled and dated on Guggenheim Museum exhibition label (frame backing)
image/sheet: 11 3/8 x 9 1/8 in. (28.8 x 23.1 cm.)
?mount: 15 1/2 x 11 5/8 in. (39.4 x 29.5 cm.)
At the time of this writing, no other prints of this image are known to exist.
Private Collection, Prague;
Robert Koch Gallery, San Francisco, 1997;
The Collection of Henry Buhl, New York;
A Show of Hands: Photographs from the Collection of Henry Buhl, Sotheby's New York, December 12, 2012, lot 29;
acquired from the above sale by the present owner.
Robert Koch Gallery, San Francisco, 1997;
The Collection of Henry Buhl, New York;
A Show of Hands: Photographs from the Collection of Henry Buhl, Sotheby's New York, December 12, 2012, lot 29;
acquired from the above sale by the present owner.
'Drtikol did not consider light and shade only as compositional elements, but also as symbols of the spiritual and unearthly world. Together with geometric decorations they constituted a contradiction to the real sensual world.' (Vladimir Birgus, The Photographer Frantisek Drtikol, Kant, Prague, 2000, p.45.)
Known as the father of Czech modernist photography, František Drtikol was one of the first to photograph the nude in an artistic context. Created at the height of his career in the late twenties, Horror, 1927 exemplifies Dritikol’s mastery of both composition as well as of the laborious pigment printing process. Dramatic shadows and lighting set the stage for his subject as she reaches out into an abyss, her face and hands obscured by shadow, creating a silhouette against the soft orbital ray of light in the background. Elements of shadow, motion and light are expressively combined to produce an image exquisitely haunting.
Horror epitomizes the psychological and cinematic tension Drtikol explored in other photographic works made in the same period of time such as Desire, 1928, Laughter, 1927 and A Cry, c. 1927. One could say that Horror is a precursor to his turn to spiritual and esoteric ideas in the 1930s, when the photographer shifted his focus from photography to painting and dedicated himself to philosophical and Buddhist studies.
A beautiful, rich and likely unique pigment print, the work on offer here has an impressive exhibition history. Exhibition history ranges from the Salon International d'Art Photographique, in Béthune, France in 1927 to the Guggenheim Museum in New York for Speaking with Hands: Photographs from The Buhl Collection in 2004. Indeed, this work previously owned by Henry M. Buhl, and is therefore from one of the foremost private collections of photographs.
Known as the father of Czech modernist photography, František Drtikol was one of the first to photograph the nude in an artistic context. Created at the height of his career in the late twenties, Horror, 1927 exemplifies Dritikol’s mastery of both composition as well as of the laborious pigment printing process. Dramatic shadows and lighting set the stage for his subject as she reaches out into an abyss, her face and hands obscured by shadow, creating a silhouette against the soft orbital ray of light in the background. Elements of shadow, motion and light are expressively combined to produce an image exquisitely haunting.
Horror epitomizes the psychological and cinematic tension Drtikol explored in other photographic works made in the same period of time such as Desire, 1928, Laughter, 1927 and A Cry, c. 1927. One could say that Horror is a precursor to his turn to spiritual and esoteric ideas in the 1930s, when the photographer shifted his focus from photography to painting and dedicated himself to philosophical and Buddhist studies.
A beautiful, rich and likely unique pigment print, the work on offer here has an impressive exhibition history. Exhibition history ranges from the Salon International d'Art Photographique, in Béthune, France in 1927 to the Guggenheim Museum in New York for Speaking with Hands: Photographs from The Buhl Collection in 2004. Indeed, this work previously owned by Henry M. Buhl, and is therefore from one of the foremost private collections of photographs.
Jennifer Blessing, Speaking with Hands: Photographs from The Buhl Collection, Guggenheim Foundation, New York, 2004, pp. 119 and 212 (this print).
Vladimir Birgus, The Photographer František Drtikol, Kant, Prague, 2000, pl. 55.
Vladimir Birgus, The Photographer František Drtikol, Kant, Prague, 2000, pl. 55.
Béthune, France, Salon International d'Art Photographique, 1927.
San Francisco, Robert Koch Gallery, František Drtikol: Modernist Nudes, April 3–May 24, 1997.
New York, Guggenheim Museum, Speaking with Hands: Photographs from The Buhl Collection, June –September 2004, and thereafter to the Guggenheim Museum, Bilbao, Spain; Essen, Germany Folkwang Museum; and St. Petersburg, State Russia Museum; Moscow Museum of Modern Art.
Palm Beach Photographic Centre, In Good Hands: Selected Works from the Buhl Collection, March 2011.
Middletown, Delaware, Warner Gallery at St. Andrew's School, In Good Hands: Selected Works from the Buhl Collection, October - November 2011.
San Francisco, Robert Koch Gallery, František Drtikol: Modernist Nudes, April 3–May 24, 1997.
New York, Guggenheim Museum, Speaking with Hands: Photographs from The Buhl Collection, June –September 2004, and thereafter to the Guggenheim Museum, Bilbao, Spain; Essen, Germany Folkwang Museum; and St. Petersburg, State Russia Museum; Moscow Museum of Modern Art.
Palm Beach Photographic Centre, In Good Hands: Selected Works from the Buhl Collection, March 2011.
Middletown, Delaware, Warner Gallery at St. Andrew's School, In Good Hands: Selected Works from the Buhl Collection, October - November 2011.