Highlights from Shake It Up Online

Launch Slideshow

Photographs from the Mario Testino Collection presents an exciting and intriguing exploration of key themes in contemporary photography from some of the most sought after artists of this genre. This fascinating collection offers both the seasoned collector and those investing in photography for the first time an opportunity to acquire important and collectable works from this genre. Proceeds from the auction will go towards the not-for-profit Museo MATE in Lima established by Mario Testino in 2013, which promotes and supports local and global culture in Peru.

Shake It Up / Online
1 September - 15 September 2017 | Online

Highlights from Shake It Up Online

  • Gregory Crewdson, Untitled (Bear with Pool of Milk), 1998. Estimate £15,000–20,000.
    Gregory Crewdson’s Untitled (Bear with Pool of Milk) 1998, is a haunting and cinematic constructed reality that exemplifies the artist's interest in artifice. His work combines the documentary style of William Eggleston and Walker Evans with a dreamlike quality reminiscent of such filmmakers as Steven Spielberg and David Lynch.

  • Roni Horn, Untitled #5, 1998.
    Estimate £15,000–20,000.
    Roni Horn’s Untitled #5 1998 exemplifies her long standing conceptual and aesthetic interest in doubling through her photographic practice. Her work has an emotional and psychological dimension, and can be seen to engage with post-Minimalist forms as vessels for affective insight, with nature and humankind central to her art.

  • Richard Mosse, Lac Vert, 2012.
    Estimate £10,000–15,000.
    This series of Richard Mosse’s oeuvre highlights the war in the Democratic Republic of Congo. He uses a special type of camera that imbues the greens from vegetation with a pink hue, thus suggesting Congo as a fantastical place with the surreal and dream-like quality he adds to his work. The series acts as a reflection of the lack of attention Congo receives in Western press, despite the millions of people who have died in the war.

  • Inez van Lamsweerde, The Widow (White), 1997.
    Estimate £10,000–15,000.
    Inez van Lamsweerde uses a surrealist language and displays a fascination with technological developments in her work. In The Widow, at first it seems van Lamsweerde has entered us into a narrative world with a young girl posing in the foreground, yet because of the strong colour scheme and formality of the composition, van Lamsweerde feels that the work no longer refers to a visible reality and the narrative is pushed away.

  • Florian Maier-Aichen, Untitled, 2004.
    Estimate £10,000–15,000.
    Florian Maier-Aichen’s works reinterpret landscape photography with obscure or aerial vantage points, seeming at the same time alien and familiar to us. His photographs address the issues of globalisation and visual perception, and he slightly alters each image to heighten the tension within the vast contemplative space, as in Untitled, 2004.

  • Vanessa Beecroft, VB43.035ali, 2000.
    Estimate £6,000–8,000.
    Vanessa Beecroft’s series VB43 was her first solo project in the UK, consisting of a performance event staged at Gagosian Gallery, London in 2000. This work, VB43.035ali, is one of the photographs taken during the performance where twenty-three pale, red-haired girls occupied the gallery space for hours. The Botticelli-like mass of girls illustrate Beecroft’s constant theme of group-identity in a new form.

  • Rineke Dijkstra, Hilton Head Island, SC, USA, 1992.
    Estimate £6,000–8,000.
    Rineke Dijkstra’s Hilton Head Island, SC, USA, 1992 is a striking example of the artist’s interest in the transitional phases of people and how their psychological states are expressed through their physical being.

  • Anne Collier, Spiritual Warfare, 2006.
    Estimate £6,000–8,000.
    In Anne Collier’s series Spiritual Warfare, she centrally composed images of found self-help artefacts. Here she has documented spirals of audio tapes, and although the work was designed to address messy emotional states, the photograph is undemonstrative. Unlike with other photographers, Collier’s photographic aptitude comes from the fact that she never holds a camera up to her eye.


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