Francesca Woodman

a sequence of 3 photographs on a single sheet, signed and inscribed 'hank. i really appreciate your being so pleasant to me' in ink on the reverse, 1977-78, printed no later than 1979; accompanied by a typed letter from Woodman, dated 15 June 1979 in ink, and an addressed and stamped envelope to Hank Londoner (Phaidon, pp. 164-65, variant) (3)

The photographer to Hank Londoner, 1979

This series also appears in 'Tradition and the Unpredictable: The Allan Chasanoff Photographic Collection: Museum of Fine Arts, Houston,' p. 144 This photograph is in generally good condition. There are various linear and spiderweb-like surface cracks that break the emulsion slightly, most noticeably one that runs directly through the images, as well as a soft handling crease in the left margin that does not break the emulsion. There is a ½-inch diagonal indentation in the right margin that does not break the emulsion. The corners are rubbed and there are a few stray fingerprints in the margin. On the reverse are 3 ½-inch losses and adhesive deposits, as well as light smudges. The letter, typed on onion-skin paper, is trimmed along the left edge (likely by the photographer). The upper corners are bent. The envelope is in fair condition, as would be expected.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In the letter accompanying these photographs, Woodman writes, 'I went out and bought two eels and snuck them back to the hotel room whereupon they immediately escaped from the bag[.]  I had not know[n] they were so rambunctious also they secrete a smelly stuff that is more like formaldehy[de] than fishy[.]  Finally they tired out and I took four pictures[,] tried to think of how I was going to get rid of them. . .'

Israeli-born fashion photographer Hank Londoner, from whose collection this photograph and the following two lots come, first met Woodman in New York City in 1979.  Londoner's first impression of Woodman, who doggedly had kept phoning the photographer in order to be his assistant, was that of a 'scrunchy little girl.'  When she opened an antique Italian accounting book in which she had mounted a selection of her photographs, Londoner, however, was immediately 'blown away.'

Woodman worked for Londoner intermittently over the next one to two years, and he describes her as both his worst assistant and the most likeable.  A symbiotic relationship grew out of her assistantship, and the two became great friends, travelling to cliffs in upstate New York and sailing on his boat in Florida.  Woodman saw Londoner as a mentor and continually sent samples of her current endeavors for his consideration.  The two remained in touch and 'talked shop' until a few days before her untimely death.