Sale!!! Super RARE! Unique!!!!
William EGGLESTON - Sumner, Mississippi, Cassidy Bayou in Background, 1970,
Old Authentic Original Drawing Offset Print
Size: 19.8 cm x 13.2 cm
This is a print run controlled and validated on press by the client that the printer had archived as a color reference model and laminated to a support so that it can be preserved over time.
A wonderful testimony to traditional art printing
which unfortunately has completely disappeared today.
Remarkable print, close to a photograph, with beautiful brilliance, very powerful and dense colors.
Its rendering, contrast, its brightness, as well as its sharpness with sharp details, are absolutely magnificent.
Print made in 2000 by a former art printer Archival model Printer four-color printing enhanced with a glossy varnish
This previously unpublished Validation Print was found deep in an assembly workshop in the archives of a former art printing house, carefully preserved flat and protected from light. Although it is old with its 24 years of age, it remains in a good state of conservation. Some marks and traces of dirt on the back due to the printer's handling. However, the front is intact, in excellent condition and of extraordinary shine.
This old print comes from a first printing limited to a few copies in different tones, the customer selected one that he approved and validated as a “good to print” proof. It was kept by the printer and served as a color model for setting on the machine during reprints. When everything was compliant, the client signed the print which then became contractual, the client's approval committed the printer to obtaining an identical result for all the prints he had to produce.
Since he started using color in 1965, he has continued to hunt with his Leica equipped with a 50mm lens, a lens with which at full aperture, he obtains colors that are as precise as they are ultra-bright. That day, his eye falls on a magical scene, a black man in a white shirt who opposes a white man in a black suit, both hands in his pockets, upright in a wood, next to a beautiful American automobile.
“I am careful to organize what is in the frame, down to the smallest detail. » William Eggleston
A revolutionary and intentional image, the composition and exploitation of the possibilities given by color, an equation that he always tries to solve with simplicity, he just needs to add to the formula, light and colors, it is above all what he seeks, a totally radical and new approach which he imposes in the photographic world. Through his practice, he breaks all the codes of photography without ever worrying about it, non-conformist, lover of the banal, and of the use of the camera, for him, the place matters less than his creativity.
By combining sometimes shaky framing close to amateur photography, the color codes of the world of advertising, by magnifying what has no value. He demonstrates a surprising irony, thumbing his nose at classicism, opening a breach in the world of contemporary photography and becoming a reference for many photographers such as Martin Parr, no hierarchy in his choices, which he advocates, it is a democratic photography, new points of view, puts its critical eye on familiar places, denounces their fragile futility.
In the majority of his photographs, no title, we never really know the place where he took it, leaving a certain mystery hovering, perhaps in order to make the viewer want to find the place, he is attracted by the colors which are for him privileged moments where he can give them power. He is passionate about images on the run, which are the guiding idea of his work, he persists over the years in this approach to scenes which usually arouse indifference, but for him a colorful trash can on the public highway tells the story. much more.
“Nothing is more or less important. I wanted to make a photograph that could exist on its own, despite the subject of this photograph. » William Eggleston
He draws inspiration from popular art to invent the beginnings of ordinary fiction, a ceiling light on a red background, an orange Cadillac, a string of light garlands wound on a blue pole, a woman with long red hair leaning on a counter bistro or even the back of a car taken at ground level are the strange testimonies of his images.
His work focuses on ordinary subjects, he can include in his photographs, old tires, Dr Pepper dispensers, abandoned air conditioners, vending machines, empty and dirty Coca-Cola bottles, torn posters, poles and electric wires, barriers, no-way signs, detour signs, no-parking signs, parking meters and palm trees gathered on the same curb.
He helped bring color photography into the world of art; it was by discovering the work of Robert Frank and Henri Cartier-Bresson that he came to photography, which he initially practiced in black and white then quickly switches to color.
He brings together his series of photos, which he calls portfolio, photos which are incorporated as for example in “Lost and Found”, in “Los Alamos” or even in reference to Walker Evans, in “The Democratic Forest”, places or he keeps coming back, enriching his series over the years.
“I had to realize that what I had to do was to confront unknown territories. What was new at the time were shopping centers, and that’s what I took photos of. » William Eggleston
William Eggleston (1939) American photographer, born in Memphis, into a wealthy, bourgeois family, his father an engineer, cotton producer and his mother, daughter of a recognized judge. He spent his childhood and grew up in Sumner, Mississippi. At a very young age he was passionate about the piano, drawing and electronics, but quickly moved towards the world of visual media, enjoying buying postcards and cutting out images from magazines.
In 1954, at the age of fifteen, he was sent to boarding school at the Webb School. Without really liking studies, he studied as a dilettante without ever obtaining a diploma, taking courses for a year at Vanderbilt University in Nashville, then a semester at Delta State College and five years at the University of Mississippi. He is especially interested in everything artistic and has a great interest in photography, he joins art classes at Ole Miss, becoming fascinated with abstract expressionism with the painter Tom Young.
In 1957 he bought his first camera, a “Canon rangefinder” and in 1958 his very first Leica. In 1959 he discovered the work “Images à la Sauvette” by Henri Cartier-Bresson as well as the works of Walker Evans and Robert Frank, who immediately transmitted his photographic passion to him. He took his first photographs in black and white, in drawing inspiration from their work.
In 1965, he experimented with color, he began by photographing his intimate environment, the family plantation, the Tennessee countryside, his house and the streets of Memphis, immersing himself in an endless exploration of the daily universe of people who, like him, live in the South of the United States.
In 1967, he began using colored transparencies and went to New York where he met photographers Garry Winogrand, Lee Friedlander and Diane Arbus. He presented his work to John Szarkowski, curator of the photographic section at the Museum of Modern Art. From 1973 to 1974, he taught at Harvard, during this period he discovered the “dye-transfer” printing technique and from 1974 he used this technique, composing his first portfolio, entitled “14 pictures”.
In 1976, with the Museum of Modern Art in New York, he organized his first personal exhibition of color photographs, accompanied by his monograph, with the release of his work "Guide to William Eggleston", the exhibition is considered a turning point in the history of photography, marking the acceptance and recognition of color as an artistic form in its own right by the museum. After Ernst Haas in 1962, he became the second photographic artist to exhibit in color. That same year, he obtained a Guggenheim fellowship and was responsible for teaching courses in visual and environmental studies at the Carpenter Center at Harvard University, while continuing his “Los Alamos” project.
He began a collaboration with the Viva press agency, and met Andy Warhol, with whom he established a lasting bond, becoming familiar with the artist's circle, a relationship which helped to make his camera democratic. He then experimented with video, making a film he called “Stranded in Canton”.
In 1975, he received a new scholarship, that of the “National Endowment for Arts for photographer”. In 1978 he was awarded the National Endowment for the Arts prize. In 1979, film producer Caldecott Chubb published three volumes of his original photographs in fifteen copies, "Morals of Vision", "Wedgwood Blue" and "Flowers".
In 1980 he traveled to Kenya alongside Chubb and carried out a work called “The Streets Are Clean on Jupiter. ", the same year, he was responsible for carrying out the "Louisiana Project" by photographing the entire state of Louisiana. In 1982 he was invited to photograph the set of John Huston's film “Annie”. In 1983 he traveled to Berlin, Salzburg and Graz resulting in a photographic series “Kiss me Kracow” and carried out a report from Elvis Presley's house to Graceland. In 1986 the musician and director David Byrne asked him to document the making of his film “True Stories”. the “Brooks Museum of Art” in Memphis commissioned him for a photographic report in Egypt. In 1988 he began a series of color photographs on England which he called "English Rose", in 1989, he played the role of the father of musician Jerry Lee Lewis in the feature film, "Great Balls of Fire".
From 1992 to 1999, he traveled to China, went to Beijing, worked on several commissions for Delta Pine and Land, for Coca-Cola photographing the group's factories and received the “Distinguished Achievement Award” from the University of Memphis.
In 2000, the Cartier Foundation commissioned him to produce a photographic series on the American desert and “Paramount Pictures” for a report on Hollywood studios. From 2001 to 2003, he traveled the length and breadth of the planet, from Japan to Russia, from Italian Tuscany to Arles where he met Henri Cartier-Bresson. Between two trips, back home, he surveys his native land in the United States, from Pasadena in California to the Jersey Shore, from Queens, from New York to Niagara Falls. He will accept the gold medal for photography from the “National Arts Club” of New York. In 2003, he won the gold medal for photography from the “National Arts Club” of New York, then in 2004, the Getty Images Lifetime Achievement Award at the International Center of Photography. During a new trip to Hawaii he equipped himself with a new Hasselblad panoramic camera.
In 2009, the Cartier Foundation in Paris organized an exhibition for him, bringing together his photographs and his abstract expressionist drawings.
“I am at war with the evidence. » William Eggleston
Sale as is, no return.
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thanks a lot to the following photographers
Edward Weston
Daido Moriyama
Araki
Josef Koudelka
Saul Leiter
Ray K Metzker
Paolo Roversi
Helmut Newton,
Henri Cartier-Bresson
Ernst Haas
Harry Gruyaert
Annie Leibovitz
Peter Lindbergh
Guy Bourdin
Richard Avedon
Herb Ritts,
Ellen Von Unwerth
Comme des Garçons
Rei Kawakubo
Irving Penn,
Bruce Weber,
Edward Steichen,
George Hoyningen-Huene,
Hiro,
Erwin Blumenfeld
Bruce Weber,
Alex Webb
Robert Frank
Issey Miyake
Robert Doisneau
Steve Hiett
Gueorgui Pinkhassov
Andy Warhol
Yayoi Kusama
Magnum photos
Harry Callahan
Andre Kertesz
Elliott Erwitt
Bruce Davidson
Guy Bourdin
Steven Meisel,
Martin Munkacsi
Mario Giacomelli
Bruce Gilden
Sebastiao Salgado
Sarah Moon