Pier 24 Photography from the Pilara Family Foundation Sold to Benefit Charitable Organizations Day Sale

Pier 24 Photography from the Pilara Family Foundation Sold to Benefit Charitable Organizations Day Sale

View full screen - View 1 of Lot 102. Clarence Lippard, Drifter, Interstate 80, Sparks, Nevada, 29 August 1983.

Richard Avedon

Clarence Lippard, Drifter, Interstate 80, Sparks, Nevada, 29 August 1983

Auction Closed

May 2, 05:08 PM GMT

Estimate

200,000 - 300,000 USD

Lot Details

Description

Richard Avedon

1923 - 2004

Clarence Lippard, Drifter, Interstate 80, Sparks, Nevada, 29 August 1983


a mural-sized diptych of gelatin silver prints, each mounted to aluminum, each with a stylus in the black margin, signed, dated and inscribed 'For Shelley' in ink, and with the photographer's 'In the American West' stamp on the reverse, framed together, 1983, printed in 1985

diptych: 59⅝ by 92½ in. (151.4 by 235 cm.)

frame: 62 by 94¾ in. (157.5 by 240.7 cm.)

Gift of the photographer to Shelley Dowell, assistant on In the American West

Fraenkel Gallery, San Francisco, 2005

Richard Avedon, An Autobiography (New York, 1993), pl. 88 

Richard Avedon: Evidence, 1944-1994 (New York, 1994), p. 80

Richard Avedon Portraits (New York: The Metropolitan Museum of Art, New York, 2002), unpaginated

Laura Wilson, Avedon at Work: In the American West (Austin, 2003), unpaginated

Michael Juul Holm, ed., Richard Avedon – Photographs 1946-2004 (Humlebæk: Louisiana Museum of Modern Art, 2007), p. 146

San Francisco, Pier 24 Photography, The Inaugural Exhibition, March – June 2010

San Francisco, Pier 24 Photography, About Face, May 2012 – April 2013

San Francisco, Pier 24 Photography, Looking Back: Ten Years of Pier 24 Photography, July 2019 – March 2022

This work comes originally from the collection of Shelley Dowell, studio manager and assistant on In the American West. This was one of a number of images that Avedon did not originally intend to print in an edition. From these images, he let all of his assistants select a print as a gift, noting on the reverse of each that they were unique. The critic Adam Gopnik later wrote about this image, which persuaded Avedon to revisit making a limited edition.