Philip-Lorca diCorcia

the complete series of 76 chromogenic prints, each flush-mounted, the 'Storybook Life' stamp, signed, editioned '2,' and numbered sequentially in ink, on the reverse, 9 framed and 67 in a brown-lettered natural linen portfolio, 1978-1999, printed in 2003, no. 2 in an edition of 4 (10)

Pace/MacGill Gallery, New York, 2003

Philip-Lorca diCorcia, A Storybook Life (Sante Fe, 2003) (the complete series)

This complete series of 76 chromogenic prints is in generally excellent condition. The colors remain vibrant and saturated with no apparent fading. All but one of the prints are annotated by the artist in ink on the reverse. This annotation is slightly visible through the prints in the lower right margin corner. 'PL.+ numbers' is written in pencil in an unidentified hand at the upper right corner of the reverse of each mount. Each plate is numbered in sequence from 0 to 75 by the photographer in black ink on the reverse of the mount. The plate list and further conditions notes are as follows: 0. Ventura, 1979 1. Hartford, 1979: Upon close inspection, tiny deposits of indeterminate nature are visible in the upper margin. 2. Singapore, 1993: Upon close inspection a tiny fiber deposit is visible along the upper edge. 3. Hartford, 1980 4. Oklahoma City, 1999: Under high raking light, a tiny scratch that may break the emulsion is visible at the upper left quadrant. 5. New York City, 1983: There are two tiny deposits in the margin. 6. DeBruce, 1999 7. New York City, 1984 8. New York City, 1985 9. Truro, 1988 10. Salonika, 1980: There are two tiny deposits in the margin. 11. Los Angeles, 1981 12. Norfolk, 1979 13. Willowemoc, 1988: There is a tiny deposit in the margin. 14. Tokyo, 1993: There are two tiny deposits in the margin. 15. New Haven, 1978 16. Laguiole, 1992 17. Los Angeles, 1990 18.Los Angeles, 1997: There is a tiny scratch that appears to break the emulsion along the upper edge. 19. Willowemoc, 1987 20. New Haven, 1979 21. Naples, 1994 22. Kansas City, 1980 23. Singapore, 1993 24. Hartford, 1978: The upper left margin is soiled. 25. Ouarzazate, 1991: The upper left margin is soiled. 26. Wellfleet, 1992: Upon close examination, two minor scratches that does not appear to break the emulsion are visible. The reverse of the mount is soiled. 27. Los Angeles, 1980 28. Atlantic Ocean, 1975: There is a tiny scratch that appears to break the emulsion along the upper edge. In high raking light the following are visible: minor soiling and linear scratches at the upper left corner; and soiling and pinpoint-sized impressions in the upper left margin. 29. Singapore, 1993 30. Skopelos, 1993: Under high raking light, a few matte areas are visible in the margin. 31. Wellington, 1996 32. Los Angeles, 1980 33. Bethel, 1992 34. Long Beach, 1980 35. Wellfleet, 1993 36. Hartford, 1977: There are four small abraded areas in the emulsion. The white paper base is slightly visible. 37. Berlin, 1991: There is a tiny deposit in the margin. 38. Hartford, 1980 39. Hartford, 1980 40. Kent, 1979 41. Skopelos, 1994 42. Cairo, 1988: There are two tiny deposits in the margin. 43. Wellfleet, 1993: Under high raking light, a few matte areas are visible in the white margin. 44. Los Angeles, 1997 45. Hartford, 1979 46. Salonika, 1980 47. New Haven, 1978 48. Naples, 1995: Under high raking light, a few matte areas are visible in the white margin. 49. Hartford, 1978 50. New York City, 1982 51. New York City, 1999 52. Formentera, 1994 53. Ventura, 1991 54. Los Angeles, 1990 55. Los Angeles, 1997: A tiny deposit of indeterminate nature is visible in the margin. 56. New York City, 1989 57. Coney Island, 1994 58. Los Angeles, 1992 59. Naples, 1995 60. Paris, 1998: Upon close inspection, the following are visible: scattered tiny fiber deposits; and a tiny deposit of indeterminate nature at the upper edge. 61. Milan, 1985 62. Los Angeles, 1981 63. Los Angeles, 1981 64. Naples, 1995: Under high raking light, a few matte areas are visible in the white margin. 65. New York City, 1996 66. DeBruce, 1999 67. Berlin, 1997 68. New York City, 1996: Under high raking light, a tiny matte deposit of retouching is visible in the upper left quadrant. 69. New York City, 1984 70. Antipaxos, 1980 71. Wellfleet, 1993 72. Tehran, 1995 73. Hartford, 1978 74. Harford 1989 75. Hartford, 1980 The portfolio box is slightly soiled. The spine has a few deposits of orange paint and two deposits of indeterminate nature.
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.

For A Storybook Life, Philip-Lorca diCorcia selected 76 photographs spanning three decades of his career. Meant to be viewed as a whole and in a specific order (as illustrated on pages 82 - 87), these images juxtapose banal and incongruous scenes to build a fable-like narrative of free association. Although diCorcia is most well-known for photographing strangers or hired actors, in A Storybook Life he deliberately selected relatives and friends as his subjects.

A Storybook Life was issued in a limited edition of only four complete sets.  As the series of 76 images is intended to be read as a whole, the photographs are not to be divided without prior consent of the photographer.