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David Bowie, Aladdin Sane, Contact Sheet, 1973
细节
BRIAN DUFFY (1933-2010)
David Bowie, Aladdin Sane, Contact Sheet, 1973
archival pigment print, flush-mounted on board
signed in ink and blindstamped archive credit (margin); credited, signed by Chris Duffy and numbered '43/50' in ink in archive stamp (verso); and on accompanying Certificate of Authenticity
image/sheet/flush mount: 25 x 25 in. (63.5 x 63.5 cm.)
This work is number forty-three from an edition of fifty.
David Bowie, Aladdin Sane, Contact Sheet, 1973
archival pigment print, flush-mounted on board
signed in ink and blindstamped archive credit (margin); credited, signed by Chris Duffy and numbered '43/50' in ink in archive stamp (verso); and on accompanying Certificate of Authenticity
image/sheet/flush mount: 25 x 25 in. (63.5 x 63.5 cm.)
This work is number forty-three from an edition of fifty.
来源
Gallery Vassie, Amsterdam.
Acquired from the above by the present owner.
Acquired from the above by the present owner.
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
更多详情
Brian Duffy’s photograph of David Bowie for the cover of his 1973 album Aladdin Sane is perhaps one of the most recognisable album cover ever taken. In the guise of Aladdin Sane – an evolution of his Ziggy Stardust ego from the previous year – a gaunt, palely ethereal Bowie displays the distinctive red mullet and red and blue lightning bolt across his face that would come to typify his androgynous beauty and cosmic glamour. Duffy, a major photographer in the fashion world of the ‘swinging sixties,’ was chosen by Bowie’s manager for the shoot as a world-class talent who could help propel the singer to megastar status. In the session, it was Duffy’s mishearing of Bowie saying ‘a lad insane’ that led to the album’s title; he also came up with the design of the lightning bolt, inspired by the logo on an old ricecooker in the studio. Over the next few years Duffy would be instrumental in Bowie’s chameleonic visual identity, providing both the concept and photography for the covers of ensuing albums Lodger (1979) and Scary Monsters (And Super Creeps) (1980). It is Aladdin Sane, however, that has endured above all others as the archetypal image of one of the century’s greatest cultural icons.
荣誉呈献
Olivia Taylor