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拍品专文
'To appreciate photography one must dissociate it from other forms of art expression. Instead of holding a preconceived idea of art, founded on paintings, it must be considered as a distinct medium of expression -- a medium capable of doing certain things which can be accomplished no other way.' -- Paul Outerbridge Jr.
Paul Outerbridge Jr. was singularly obsessive in his quest for perfected Form, drawing inspiration from Cubist and Surrealist sources, while holding steadfastly to a Modernist aesthetic. His artistic pursuits intermingled with his commercial ones. Ide Collar is perhaps his most striking and recognizable image, and was born from this confluence of interests. Born from his first advertising assignment, for George P. Ide & Co. and which ran in the November, 1922 issue of Vanity Fair, the image caught the immediate attention of artist Marcel Duchamp who famously ripped it from the magazine and tacked it on his studio wall, declaring it a 'readymade'.
As quoted in Elaine Dines’, Paul Outerbridge: A Singular Aesthetic, the artist was a keen student of art history, writing to the Wilkes-Barre Camera Club that '... there can be no art without composition or design, and careful study of the old as well as the new masters, will reveal an underlying abstract composition in all their work. … [E]ven in back of the apparently most concrete subjects the underlying abstract will be found.'
As of this writing, only a handful of platinum prints are known to exist, including one in the collection of The Museum of Modern Art, New York, and another in the Elton John collection. The present lot is was acquired directly from the estate of Outerbridge by G. Ray Hawkins, who in turn sold it to the Spiegels in 1981, where it has remained ever since.
Paul Outerbridge Jr. was singularly obsessive in his quest for perfected Form, drawing inspiration from Cubist and Surrealist sources, while holding steadfastly to a Modernist aesthetic. His artistic pursuits intermingled with his commercial ones. Ide Collar is perhaps his most striking and recognizable image, and was born from this confluence of interests. Born from his first advertising assignment, for George P. Ide & Co. and which ran in the November, 1922 issue of Vanity Fair, the image caught the immediate attention of artist Marcel Duchamp who famously ripped it from the magazine and tacked it on his studio wall, declaring it a 'readymade'.
As quoted in Elaine Dines’, Paul Outerbridge: A Singular Aesthetic, the artist was a keen student of art history, writing to the Wilkes-Barre Camera Club that '... there can be no art without composition or design, and careful study of the old as well as the new masters, will reveal an underlying abstract composition in all their work. … [E]ven in back of the apparently most concrete subjects the underlying abstract will be found.'
As of this writing, only a handful of platinum prints are known to exist, including one in the collection of The Museum of Modern Art, New York, and another in the Elton John collection. The present lot is was acquired directly from the estate of Outerbridge by G. Ray Hawkins, who in turn sold it to the Spiegels in 1981, where it has remained ever since.