Lot 8
  • 8

Robert Mapplethorpe

Estimate
25,000 - 35,000 GBP
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Description

  • Robert Mapplethorpe
  • 'Lydia', 1987
  • Silver print
Vintage silver print, dry-mounted to card. Signed and dated in black ink in the photographer's copyright stamp, and titled, dated and numbered 2/10 in an unknown hand on the reverse.

Literature

Janet Kardon, Robert Mapplethorpe: The Perfect Moment, University of Pennsylvania, Institute of Contemporary Art, Philadelphia, 1988, ill. p. 95;
Robert Mapplethorpe, Ten by Ten, Schirmer/Mosel, Munich, 1988, ill. pl. 54.

Condition

This print is in overall very good condition. With a small scratch (approx. 2 cm) in the lower left quadrant, and a small crease (approx. 1 cm) in both the upper left and right quadrants, only visible in raking light. With a small, minor area of discolouration to the print in the lower left quadrant, on the edge of the image, and slightly softened corners.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Mapplethorpe’s photographs dominated the 1980s. The decade marked the peak of his career; he produced numerous powerful and provocative images, the treatment of which garnered international fame.  In contrast to his celebrity portraits, his photographs of both male and female nudes rendered in an almost statuesque fashion demonstrate his fascination with the human body. These images, such as Lydia, often show only sections of the human figure in unusual compositions, appearing almost sculptural in form.  “To make pictures big is to make them more powerful”, Mappethorpe has claimed, and this certainly seems to be the case with Lydia; the large-scale adds to the power of this image. Taken only a few years before his death in 1989, Lydia is an example of Mapplethorpe’s continued creativity and staggering ability to create iconic images.