'HIPPIE FAMILY (KELLY)', SAN FRANCISCO, 1967
Platinum-palladium print, printed 1976. Signed, titled, dated and numbered 1/25 in pencil and with the photographer's copyright stamp, the 'Hand-coated by the photographer' stamp, and 'In addition to 25 numbered prints of this image in platinum metals, unnumbered, but signed, silver prints not exceeding a total of 15 may exist' stamp on the reverse. Mounted and framed.
Image 42.4 x 36 cm (16 ¾ x 14 ¼ in.);
sheet 58.8 x 45.5 cm (22 ⅓ x 18 in.)
This sheet is in overall very good condition. With very light, uniform yellowing to the print where it has been left exposed in the window mount. There are two remnants of tape on the reverse along the corners of the top edge.
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.
Private collection, UK
Irving Penn, Worlds in a Small Room, Grossman, New York, 1974, ill. p. 54;
John Szarkowski, Irving Penn, The Museum of Modern Art, New York, 1984, ill. pl. 134;
Alexandra Arrowsmith, Nicola Majocchi and Irving Penn, Passage: A Work Record, Alfred A. Knopf/Callaway, New York, 1991, ill. p. 166.
‘In 1967 there was word coming out of San Francisco of something stirring—new ways of living that were exotic even for California. People spoke of a new kind of young people called hippies […] They seemed to have found a satisfying new life for themselves in leaving the society they were born to and in making their own. It grew on me that I would like to look into the faces of these new San Francisco people through a camera in a daylight studio, against a simple background, away from their own daily circumstances.’—Irving Penn