Lot 302
  • 302

Andreas Feininger

Estimate
10,000 - 15,000 USD
bidding is closed

Description

  • Andreas Feininger
  • 'THE PHOTOJOURNALIST' (DENNIS STOCK)
  • Edition 18 of 110
  • Gelatin silver print
signed in ink and with the credit, title, date, copyright, annotation and edition stamp, with number '18/50 + 10' in pencil, on the reverse, framed, the Buhl Collection label on the reverse, 1955, printed in 1992

Provenance

Circle Gallery, New York, 1992

Exhibited

Palm Beach Photographic Centre, In Good Hands: Selected Works from the Buhl Collection, March 2011

Middletown, Delaware, Warner Gallery at St. Andrew's School, In Good Hands: Selected Works from the Buhl Collection, October - November 2011

Literature

Andreas Feininger (Morgan & Morgan, 1973), p. 77

John Loengard, ed., LIFE Faces (New York, 1991), pp. 9 and 127

Condition

This print is in generally excellent condition. The information in ink that is written on the back of the frame duplicates the information in pencil that is found on the reverse of the print itself: credit, title, date, edition number, copyright Time Warner, and the fact that it was printed in the Time Life Photo Lab.
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.

Catalogue Note

'When Dennis Stock won a contest for young photographers in 1951, LIFE asked Andreas Feininger to photograph him. "I don't know why," says Feininger, who is famous for his cityscapes and photographs of shells and skeletons.  "I normally don't photograph people.  We went to a studio where there were lots of lights handy and sort of fooled around.  Actually this started a series of photographs I would do:  I became fascinated with the strange things people put in front of their faces as part of their professions"' (LIFE Faces, p. 127).