189
189
Robert Frank
'CHARLESTON, S. C.'
Estimate
300,000500,000
LOT SOLD. 348,500 USD
JUMP TO LOT
189
Robert Frank
'CHARLESTON, S. C.'
Estimate
300,000500,000
LOT SOLD. 348,500 USD
JUMP TO LOT

Details & Cataloguing

Photographs

|
New York

Robert Frank
B. 1924
'CHARLESTON, S. C.'
oversized, signed, titled, and dated in ink on the image, flush-mounted to Masonite, the edges of the mount with black ink, framed, a Pace/MacGill Gallery label on the reverse, 1955, probably printed in 1967-68
15 1/2  by 22 3/4  in. (39.4 by 57.8 cm.)
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Provenance

Pace/MacGill Gallery, New York

Exhibited

Philadelphia Museum of Art, Photographs By Robert Frank, May - September 1969

Literature

Robert Frank, The Americans (New York, 1958), no. 13

'Robert Frank,' Aperture, 1961, p. 7

Willy Rotzler, 'Der Photograph Robert Frank,' Du, no. 251, January 1962, p. 17

Sarah Greenough and Philip Brookman, Robert Frank: Moving Out (Washington, D. C.: National Gallery of Art, 1994), pp. 173 and 197

Robert Frank: Story Lines (London: Tate Modern, 2004), frontispiece 6

Charlie LeDuff, 'Robert Frank's Unsentimental Journey,' Vanity Fair, April 2008, p. 167

Sarah Greenough, Looking In: Robert Frank’s The Americans (Washington, D. C.: National Gallery of Art, 2009), pp. xiii, 225, 463, and 465, and Contact no. 13

Peter Galassi, Robert Frank: In America (Stanford, 2014), p. 132

Catalogue Note

The dramatically oversized photograph offered here – printed nearly full frame, flush-mounted to Masonite, and with inked edges – is representative of Robert Frank’s exhibition presentation in the 1960s.  It was featured in the photographer’s 1969 solo exhibition The Photographs of Robert Frank, which originated at the Philadelphia Museum of Art and traveled to four other institutions through 1971.  At the time of this writing, it is believed that the photograph offered here is the largest print by Frank to appear at auction. 

The Americans, Robert Frank’s seminal photobook published in 1958, is at times a poignant visual record of race relations in 1950s America and Charleston, SC, remains one of its most culturally resonant photographs.  In Frank’s images of the South, we witness the European photographer’s first exposure to deeply-rooted racism and class stratification.  Frank authority Sarah Greenough notes that the photographer’s first images included obvious visual cues of segregation, such as ‘white’ or ‘colored’ water fountains and separate waiting areas but Frank quickly abandoned such prosaic conventions, however, in favor of more nuanced imagery (Looking In, p. 122). 

Photographs

|
New York