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‘When art is purely art, it has a certain magic about it. It transcends whatever it is, it’s something you can’t quite put words to.’ Robert Mapplethorpe
Robert Mapplethorpe (1946-1989)
Ken, Lydia and Tyler, 1985
Details
Robert Mapplethorpe (1946-1989)
Ken, Lydia and Tyler, 1985
gelatin silver print, flush-mounted on board
signed, dated and numbered '4/10' in ink (margin); signed, date of image and of print in ink in photographer's copyright credit stamp, titled, dated and numbered in ink with various annotations in pencil (flush mount, verso)
image: 14 7/8 x 15 ¼ in. (38 x 38.7 cm.)
sheet/flush mount: 19.5/7 x 15 ¼ in. (49.7 x 38.7 cm.)
This work is number 4 from the edition of 10.
Ken, Lydia and Tyler, 1985
gelatin silver print, flush-mounted on board
signed, dated and numbered '4/10' in ink (margin); signed, date of image and of print in ink in photographer's copyright credit stamp, titled, dated and numbered in ink with various annotations in pencil (flush mount, verso)
image: 14 7/8 x 15 ¼ in. (38 x 38.7 cm.)
sheet/flush mount: 19.5/7 x 15 ¼ in. (49.7 x 38.7 cm.)
This work is number 4 from the edition of 10.
Provenance
Robert Miller Gallery, New York;
acquired from the above by the present owner.
acquired from the above by the present owner.
Literature
Mark Holborn, Dimitri Levas and Arthur Danto, Mapplethorpe, Jonathan Cape, London, 1992, p. 221;
German Celant and Arkady with Karole Vail, Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints, Deutsche Guggenheim, Berlin, 2004, cover and pl. 100. The image is juxtaposed with a 16th century study of the Three Graces by Jacob Matham after Hendrick Goltzius, underlining the origin of Mapplethorpe’s subtly subversive take on a classical theme.
German Celant and Arkady with Karole Vail, Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints, Deutsche Guggenheim, Berlin, 2004, cover and pl. 100. The image is juxtaposed with a 16th century study of the Three Graces by Jacob Matham after Hendrick Goltzius, underlining the origin of Mapplethorpe’s subtly subversive take on a classical theme.
Brought to you by
Elodie Morel