The Photographers 2015 by Alex Moore

ÂŠ Beetles+Huxley / Osborne Samuel Beetles+Huxley 3-5 Swallow Street London W1B 4DE 020 7434 4319 gallery@beetlesandhuxley.com www.beetlesandhuxley.com Osborne Samuel 23a Bruton Street London W1J 6QG 020 7493 7939 info@osbornesamuel.com www.osbornesamuel.com Compiled and edited by Flora La Thangue Written by Thea Gregory, Giles Huxley-Parlour, Flora La Thangue, Alex Moore and Josh Leon Design by Richard Moore of RM Designs Colour separation and printing by Geoff Neal Litho Limited All images ÂŠ the artists and may not be reproduced without permission Front cover: Ruud van Empel, Theatre #9, 2013

FORWORD

Herbert Ponting

Jerry Schatzberg

120

Edward Steichen

Marc Lagrange

125

Edward Weston

KATE MOSS

Josef Sudek

Mario Sorrenti

130

André Kertész

Glen Luchford

132

Martin Munkácsi

Terry Richardson

134

Margaret Bourke-White

Bruce Weber

136

Erwin Blumenfeld

Annie Leibovitz

138

Manuel Álvarez Bravo

Juergen Teller

140

Harold Edgerton

Chuck Close

142

Yousuf Karsh

David Sims

144

Bill Brandt

Inez van Lamsweerde and Vinoodh Matadin

146

Henri Cartier-Bresson

Mario Testino

148

Willy Ronis

Mert and Marcus

150

Robert Doisneau

Bert Hardy

Bohnchang Koo

154

Robert Capa

Ishiuchi Miyako

159

Yevgeny Khaldei

Toshiko Okanoue

162

Edouard Boubat

Keiichi Tahara

167

Louis Faurer

Tim Flach

170

Dorothy Bohm

Michael Kenna

175

Garry Winogrand

Robert Polidori

180

Roger Mayne

Alex MacLean

184

Leonard Freed

Ruud van Empel

191

René Burri

Paolo Ventura

196

Neil Libbert

Zhang Kechun

199

Nick Danziger

104

Richard Learoyd

202

Richard Avedon

106

Justin Partyka

204

Melvin Sokolsky

110

Tatsuo Suzuki

208

Peter Lindbergh

114

Ren Hang

212

David Bailey

116

Aki Lumi

217

THE AMANA SALTO PORTFOLIO

London in the Ascendant This will be our sixth instalment of The Photographers, which is always the most fun (and frenetic) exhibition of the year. It all begins in early summer, when the team and I start to source the works, make sense of the thematic groups and finally write the catalogue. It is a tremendous project to work on, freed as we are from the constraints of most normal exhibitions, and we always learn a huge amount in the process. I am also always guilty of holding up the catalogue printing by gleefully adding in pictures at the last minute, much to the chagrin of the team who are keen on schedules and other such things. The show seems to get bigger and better each year, and in part we are able to do this because of a seismic change in the photography market that we have been lucky enough to experience. Fifteen years ago London was an insignificant backwater in the photography market, there were just a handful of dealers (very good they were too), and photography was ranked somewhere alongside Oceanic tribal masks in our national museums (now also a very trendy collecting field!). Things have changed a lot since then. London is becoming a major destination for photography, and we are seeing a new generation of collectors as a result. When I first organised a photography exhibition in 2006, as a young, green gallery assistant at the Chris Beetles Gallery, Chris and I were fairly sure that it was a bad idea. We loved Terry O’Neill’s photographs, threw ourselves into the exhibition, embraced the press attention, but did not expect to sell many. Unbeknownst to us we were just about to catch a wave that was just beginning to reach our shores from America – photography collecting. The show was a roaring success, and we decided to open a gallery. But others have also ridden the wave here in London, and have both reacted to and fuelled the interest in the medium in the UK. Our national museums have done a tremendous job at promoting photography properly, and regularly, for the first time. The V&A, Tate Modern, National Media Museum, and National Portrait Gallery in particular have led the way, and the Photographers Gallery – the only dedicated public space in London – has also transformed itself into a marvellous and stimulating venue. They all have numerous exhibitions and special hangs per year, and have superb curators who have at last been given a larger stage than before. At the end of 2015, a

photography fan landing at Heathrow would find it hard to see all the photography on show in one trip. They would certainly struggle if they also tried to see all the commercial gallery shows. For my competitors have expanded with the pace of change, and I am now one of many dealers who work with photography, although there are still only a dozen or so that focus on it exclusively. There is also a dedicated art fair – Photo London. It means we have to work harder at Beetles+Huxley, but I heartily embrace it. The more that the industry grows in the UK, the better the choice for collectors and the stronger the market will become as a result. Why has this happened? As mentioned above, it is partly the result of our public institutions and private dealers promoting the medium properly, but it also due to a wider cultural uptake of the medium. Photography exhibitions have gained an audience beyond a niche of enthusiasts, and are now widely visited by a broader art-loving public. At a more basic level, the surge in the numbers of people using photography every day on their smart phones has probably helped too. Amongst those people able to collect art, there has been a sudden realisation that photography represents a wonderful opportunity; aesthetically, intellectually and, given the relatively low prices, financially too. All of these factors have contributed to the vibrant city of photography that we see today, and I can only see it getting more so. The Photographers has grown each year as a result of this, and we are delighted to combine forces with the brilliant Osborne Samuel Gallery on Bruton Street, who are co-hosting the exhibition with us for the second time. Across our two spaces we have been able to create an exhibition that highlights many of the wonderful collecting areas within the medium, and it has enabled us to include many pieces that would have been impossible had we only had one gallery to fit them in! Perhaps next year we will need three galleries. I hope that you will be able to visit both spaces to enjoy this wide-ranging and unusual photographic treat, the teams at both Beetles+Huxley and Osborne and Samuel look forward to seeing you. Giles Huxley-Parlour 2015

Herbert Ponting 1870-1935 Herbert Ponting was renowned for his adventurous approach to photography. His most famous work was taken during the British Antarctic Expedition, 1910-1913, when he became the first professional photographer to capture the Antarctic. Ponting was born in Salisbury, Wiltshire, on 21 March 1870. He was the son of Francis W. Ponting, a successful banker, a career that his father hoped his son would follow. On leaving school, he took a job at a bank in Liverpool. However, in 1892, he gave up his position and travelled to the West Coast of America. It was here that he met his future wife, Mary Biddle Eliot, whom he married in 1895. With the help of his family’s money, Ponting bought a farm in California, but they returned to England six years later after the farm failed. After only a short period of time, however, Ponting returned to the United States, where he became interested in photography. An acquaintance commenting on one of his stereoscopic photographs suggested that he approach publishing companies and enter his work into photographic competitions. In 1901, he travelled to the Far East to photograph the people, landscapes, and wildlife of countries including Burma and Japan. The results were published in several magazines, including Harpers Bazaar, and The Illustrated London News. Ponting’s first book: In Lotus Land, Japan was published in 1910, by which time he had an established reputation as a successful photographer. In 1910, Ponting set sail with the rest of Captain Robert Falcon Scott’s British Antarctic Expedition as the expedition’s official

photographer, personally chosen by Scott. Both his established reputation and his connection with Cecil Meares, who was in charge of the dogs for the expedition, helped him acquire the post. The Geographical Journal wrote at the time, ‘the British Antarctic Expedition should be very well served by the camera in Mr Ponting’s hands’. He remained in Antarctica for just over a year, during which time the other members of the expedition witnessed his great enthusiasm for representing nature. Ponting went to great lengths to take the best photograph, on one occasion narrowly missing an attack from killer whales. He insisted on using the traditional glass-plate technique for developing his photos, his cumbersome cinematograph and large amount of developing equipment added to the difficulty of his task. On his return to England in February 1912, Ponting was disappointed by the lack of response to his photographs and films. Hearing of the subsequent deaths of Scott and the four other men who reached the pole, he set out to promote the legacy of the expedition. He held several lectures, and produced the film, Great White Silence, which received great acclaim. In the last few years of his life, Ponting turned away from photography, investing in business ventures, which made him very little money. At the time of his death in London, 1935, he was almost destitute. Ponting is remembered as a technically skilled photographer, and his photographs have become crucial in establishing both the legacy of Robert Scott and the enduring myth of his polar exploits.

01 Herbert Ponting, Cavern in an Iceberg, 1910 Stamped with photographer’s signature and title ink stamp Green-toned carbon print mounted on board, printed early 1930s 18 x 12 1/2 inches

02 Herbert Ponting, Bernard Day, Cape Evans, Antarctica, 1 August, 1911 Inscribed â&#x20AC;&#x2DC;Day Digging out the Snow by Motors, Aug 1, 1911â&#x20AC;&#x2122; in an unknown hand on reverse Early silver gelatin contact print, printed 1920, 4 1/2 x 6 1/2 inches

03 Herbert Ponting, Captain Oates and Rows of Siberian Ponies in the Terra Nova, 1911 Inscribed ‘Captain Oates with Ponies on the “Terra Nova”’ in an unknown hand on mount Unknown photograph fixed to reverse of mount Early silver gelatin print, mounted on card, 4 1/2 x 6 1/2 inches

Edward Steichen 1879-1973 As a groundbreaking photographer, gallerist and museum curator, Edward Steichen was a driving force in establishing photography as an art form in its own right. He dedicated his life to the medium, leaving behind a legacy of images and exhibitions that were unequalled in their influence in the worlds of photography and art. Steichen was born Eduard Jean Steichen in Luxembourg, on 27 March 1879. Two years later his family emigrated to America and settled in St Francis, a suburb of Milwaukee, where his father had found work in a copper mine. Steichen showed a natural talent for draughtsmanship at school, and left to serve an apprenticeship at the American Fine Arts Company, a lithography firm, where he was soon made a designer. He was an accomplished painter and, after buying his first camera in 1895, pursued both photography and painting in his spare time. He was interested in Impressionism, and was influenced by such painters as Claude Monet and James Abbott McNeill Whistler, and the Pictorialist photographers championed by Camera Notes – the journal of the Camera Club of New York, edited by Alfred Stieglitz. In 1900, Steichen travelled to Paris to continue his artistic education at Académie Julian, visiting New York en route. There he sought out Stieglitz, the famous Pictorialist photographer and magazine editor, and showed him some of his photographs. Stieglitz was impressed, and bought three. In the same year, he also visited London where he participated in an exhibition of Pictorialist photographs with Frederick Holland Day and Alvin Langton Coburn.

Steichen returned to New York in 1902 and began working as a commercial photographer, gaining particular fame for his portraits, which included J P Morgan and Auguste Rodin. In the same year his friendship with Stieglitz blossomed, and he became a founding member of a group of photographers called the Photo-Succession. Organised and championed by Stieglitz, the group consisted of American Pictorialist photographers and was intended as a joint effort to promote photography as a fine art. They held group exhibitions, and Stieglitz published their pictures in Camera Notes and then, from 1903-17, in his own publication, Camera Works. Steichen’s pictures from this period are thick with atmosphere and painterly qualities, displaying dramatic contrast and strong graphic design. Images such as The Flatiron (1904), and The Pond-Moonlight (1904) have since become seminal works within the Pictorialist movement. The relationship between Stieglitz and Steichen developed further when, in 1905, they opened a gallery at 291 Fifth Avenue called ‘Little Galleries of the Photo-Succession’ (soon becoming known as simply ‘291’). This gallery was to become the principal exhibition space for photography in New York, but also for work by artists of the European avante-garde. In 1906 Steichen returned to Paris, and set about sourcing their pictures for his gallery, which became an outlet for them in America. Together, Stieglitz and Steichen showed work by Henri Matisse, Henri de Toulouse-Lautrec, Auguste Rodin, Pablo Picasso, Paul Cézanne, Constantin Brancusi, and many other artists. However, whilst Steichen appreciated the Modernist style of such artists, he took longer to develop his own style, which remained firmly Pictorialist.

04 Edward Steichen, Winston Churchill for ‘Vanity Fair’, 1932 Silver gelatin print, printed c. 1932 9 1/2 x 7 1/2 inches

During the First World War, Steichen was posted to Europe to run the aerial photography division of the American Expeditionary Force, and he remained there until 1919. The clarity of the aerial photographs convinced Steichen to change his style and embrace the clear, sharp images that cameras could make. He abandoned the soft-focus and heavy retouching of his earlier work.

success at promoting photography in America, particularly at 291 Gallery, and this appointment was to be his apotheosis. Between 1947 and 1962, Steichen organised over forty exhibitions, and also bought photographic prints for the museum.

In 1923, Steichen received his first major break as a photographer, when he became chief photographer for Condé Nast Publications. For the next fifteen years he took fashion photographs for Vogue and portraits for Vanity Fair, becoming hugely influential in both fields. His portraits of Gloria Swanson (1924) and Greta Garbo (1928), for example, have become icons in the history of photography. He closed his studio in 1938 in order to concentrate on another passion, plant breeding.

Then, in 1955, he organised the most successful photographic exhibition of all time, entitled The Family of Man. It consisted of over five hundred prints by photographers from sixty-eight countries, and its purpose was to highlight similarities between nations, and to demonstrate that the human experience is universal. It was toured extensively and, by the time it closed, over nine million people had seen the exhibition. Quite apart from its curatorial ambitions, The Family of Man was also important in that it established photography as a suitable medium for museum exhibitions.

After the Second World War, Steichen changed paths again and became Director of the Department of Photography at the Museum of Modern Art, New York. He had already had significant

Steichen was married three times, to Clara Smith, to Dana Desoro Glover, and then to Joanna Taub. He died on 25 March 1973 in West Redding, Connecticut.

05 Edward Steichen, Fred Astaire in Funny Face, 1927 Edward Steichen took this portrait of legendary dancer and actor, Fred Astaire, for Vanity Fair in 1927. Astaire was starring in the musical Funny Face (Gershwin and Gershwin), during its original run on Broadway. He starred alongside his sister, Adele Astaire, who worked as his dance partner until her marriage in 1932. Funny Face opened on November 22, 1927, as the very first show at the newly built Alvin Theatre, and marked Astaire’s first performance dressed in evening dress with top hat, a striking look that would come to define his career. Inscribed with ‘Vanity Fair, 1927 #18’ Silver gelatin print, printed c. 1927 9 1/2 x 7 1/2 inches

06 Edward Steichen, The Photographerâ&#x20AC;&#x2122;s Favourite Model, Marion Morehouse in a Cheruit Gown, Vogue, 1927 Silver gelatin print, printed c. 1960 13 5/8 x 10 3/4 inches.

Edward Weston 1886-1958 Edward Henry Weston was born on 24 March 1886 in Highland Park, Illinois, as the second son of Edward Burbank Weston, an obstetrician, and Alice Jeanette Brett, a Shakespearian actress. Alice died when Weston was five years old and his sister, Mary, brought him up in Chicago. When he was sixteen Weston’s father gave him a Bull’s Eye #2 camera that he used to photograph Chicago and his aunt’s farm. He developed his own photographs and showed a natural talent for the medium. His first photograph was published in Camera and Darkroom in 1906. Shortly afterwards, Weston moved to California and worked briefly as a surveyor before becoming an itinerant photographer.

Weston’s reputation and fame grew as Modotti and he staged a series of well-received exhibitions but it was after his return to California in 1926 that he started producing the still lifes and closeups of natural forms and nudes for which he is best remembered. Modotti described his study of a shell, Nautilus (1927), as ‘mystical and erotic’ in recognition of Weston’s attention to surface texture. Weston’s urge to render ‘the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh’ can be considered as the beginning of a tradition of West Coast artists interested in psychological implications of surface texture continuing through the work of Ed Ruscha and the Pop artists.

In 1908 Weston enrolled in the Illinois College of Photography in Effingham, Illinois, but by the age of 21 he was back in California, working as a retoucher for several portrait studios in Los Angeles. Weston married his first wife, Flora Chandler, in 1909. They had four children together but within several years the couple became estranged and Weston would have a string of affairs with models, studio assistants and members of the burgeoning Bohemian scene in LA.

In 1929 Weston moved to Carmel, California, where he focused on photographing abstract, natural forms. He became a founding member of Group f/64 in 1932 alongside Ansel Adams, Imogen Cunningham and Willard Van Dyke. Naming themselves after the optical term denoting the level to which the camera lens had to be set in order to ensure maximum sharpness in both foreground and background, the group aimed to achieve an aesthetic of precise crispness that would allow for the ‘true’ nature of the subject to emerge. Weston would state his aim as ‘to clearly express my feeling for life with photographic beauty, present objectively the texture, rhythm, form in nature, without subterfuge or evasion in technique or spirit, to record the quintessence of the object or element before my lens, rather than an interpretation, a superficial phase, or passing mood’. For Weston, the camera could distil the subject to an elemental pureness, stripping away any painterly pretence.

Weston opened his own studio in Tropico, California, in 1911, named ‘The Little Studio’. He quickly gained international renown for the quality of his portraits undertaken in the fashionable soft focus Pictorialist style. He met Margrethe Mather in 1912 who became his model and studio assistant. Mather had previously been a prostitute and was part of the Bohemian scene in LA. Weston was attracted to her uninhabited lifestyle and he would later say that she continued to be the most important influence over his work long after their relationship had finished. The photographs Weston took of the Armco Steelworks in Middletown, Ohio, in 1922 marked a turning point in his career. He replaced his Pictorialist style with a precise, often abstract, Modernist aesthetic. The same year he went to New York and met the group of photographers associated with Alfred Stieglitz and Georgia O’Keefe. In 1923 Weston moved to Mexico City and opened a studio with his assistant and lover, Tina Modotti. During his time in Mexico,

Weston became the first photographer to receive a Guggenheim Fellowship in 1936. Using the grant to go out West with his assistant and wife-to-be Charis Wilson, he produced 1,400 negatives. In 1946 the Museum of Modern Art, New York, staged a major retrospective of Weston’s work, cementing his reputation as not only one of the most important photographers of the twentieth century, but also as one of the most important artists. In his later years Weston suffered from Parkinson’s disease but he oversaw the printing of his work by his sons Brett and Cole. He died on 1 January 1958 at his home in Carmel. 19

07 Edward Weston, Cloud, 1936 Inscribed with title and â&#x20AC;&#x2DC;book 1 #18â&#x20AC;&#x2122; on reverse. Silver gelatin print, printed c. 1936, 7 1/2 x 9 1/2 inches

08 Edward Weston, Nude, 1936 Signed by Cole Weston and stamped â&#x20AC;&#x2DC;Negative by Edward Westonâ&#x20AC;&#x2122; on reverse of mount Silver gelatin print mounted on board, printed later by Cole Weston. 7 1/4 x 9 1/2 inches

Josef Sudek 1896-1976 Josef Sudek was born in Kolín, Bohemia, on 17 March 1896. His father was a house painter, who died when Sudek was three. In 1915, he left to serve in the First World War as a soldier for the Austro-Hungarian Army. Having fought on the Italian front for a year, he suffered serious injuries, resulting in the loss of his right arm. He spent the following three years in various hospitals, and began to take photographs out of boredom.

large-format cameras offered. Despite the movement from Pictorialism to Modernism throughout the 1920s and 1930s, Sudek stayed true to his original vision. He preferred to shoot dream-like scenes, with soft light, diffused through a foggy window or an overcast day. He was drawn to desolate, gloomy landscapes, simple, solitary objects and the quiet, unpopulated street scenes of Prague – a city to which he dedicated his whole life.

In 1922, Sudek enrolled at the School of Graphic Arts in Prague, where he studied for two years. In 1924, he founded the Czech Photographic Society, with photographer friends he had met at school, such as Jaromir Funke. He photographed the restoration of St Vitus Cathedral in Prague, which earned him a reputation as the official photographer for the city. From 1927, he worked for a number of magazines, co-publishing and illustrating both Panorama and Zijeme.

In 1949, Sudek started experimenting with a Kodak panoramic camera, capturing Prague and the surrounding landscapes. The camera would produce 3 1/2 x 12 inch negatives and would capture an angle of 142 degrees. Over a ten-year period, he produced 284 of these panoramic landscape photographs, eventually publishing them in a book called Praha Panoramaticka.

Despite having only one arm, Sudek used very heavy and cumbersome equipment. His love for still life compositions and detailed landscapes meant that he needed the image quality that

In 1974, Sudek had a large exhibition at the George Eastman House, Rochester, New York. He died two years later in Prague, on 15 September 1976, when he was 80 years old. Later, larger retrospectives were mounted in his honour in both Prague and Brno, in the Czech Republic.

09 Josef Sudek, Rose in Glass, c. 1950 Sudek’s career straddled many of the major developments which led to photography being considered an artform. In the 1920s he embraced Pictorialism, the major movement that sought to raise photography’s artistic credentials by focusing on the medium’s poetic potential, and that embraced artificial techniques to heighten emotional response. Sudek returned to Pictorialism in the 1940s, after a period of more concentrated Modernism. Rose in Glass is typical of this richly atmospheric later work that focuses on his studio in Prague. and its environs. Silver gelatin print, printed c. 1950 10 1/2 x 8 1/4 inches Provenance: Barry Friedman Ltd, New York, 1998

10 Josef Sudek, Untitled, c. 1960 Silver gelatin print, printed c. 1960 6 3/4 x 9 1/4 inches

11 Josef Sudek, Prague, c. 1950 Silver gelatin print, printed later 9 1/8 x 11 1/2 inches

André Kertész 1894-1985 André Kertész is widely regarded as one as of the most important figures in the history of photography. Although he failed to gain popular recognition in the early stages of his career, his later photographs are now amongst the most famous images of the twentieth century.

continuously for Condé Nast from 1949 to 1962. During his time in New York, Kertész developed his fascination for capturing images of people reading, particularly in outside spaces such as parks, window ledges and balconies.

Born Kertész Andor in Budapest on 2nd July 1894, Kertész was the son of middle-class Hungarian-Jewish parents. Following the death of his father, a stock-broker, Kertész was expected to forge a similar career, and he attended an academy of commerce in Budapest. However, the outbreak of war in 1914 prevented him from pursuing a career in banking, and he served in the Austro-Hungarian army until he was wounded in 1915. During his service, his passion for photography grew, and he established himself as a promising amateur photographer. Despite returning to work at the stock exchange when the war ended in 1918, he continued to pursue photography in his spare time and, in 1922, received an honorary diploma from the Hungarian Association of Photography.

In 1952, Kertész and his wife moved to a 12th floor apartment near Washington Square. With the aid of a telephoto lens, the view of snow-covered tracks and silhouettes in the park became the focus of some of his most effective photographs, taking on the guise of visual puzzles. Kertész was both devoted and reliant on his wife and, when she died in 1977, he became increasingly reclusive, seldom leaving the apartment. During this phase, he began to rely on his telephoto lens to peer out into the world, and took some of his most interesting, abstracted cityscapes. He also enjoyed using a Polaroid camera, with which he created surreal, still-life photographs of his possessions. He remained in New York until his death on 28 September 1985.

In October 1925, Kertész moved to Paris in an attempt to establish himself as a professional photographer. He was one of many Hungarian artists who had emigrated in this period, including Brassaï, Robert Capa and Julia Bathory. He did not gain immediate success, and had to accept various low-paid jobs initially to support himself. However he persisted with photography, becoming associated with members of the growing Dada movement and, in 1927, he exhibited 42 photographs at the left-bank gallery, Au Sacre du Printemps. In 1928, Kertész began using a Leica, the camera regarded as the favourite of the young generation of photo-reporters that emerged during this decade. The ‘purist’ phase in Kertész’s work, identified with his time in Paris and pieces such as Mondrian’s Glasses and Pipe (1926), and Fork (1928) helped to build Kertész’s reputation as a photographer. He gained popular acclaim for his exhibitions after 1928, and his association with Lucien Vogel’s VU magazine, which was launched that March, further enhanced his fame. In 1933, Kertész published his first book of photographs, entitled Enfants. Kertész emigrated to New York in 1936, intent on establishing himself as a photographer in America, and signed a contract with the Keystone photography agency. He began his association with magazines including Vogue, Harper’s Bazaar and Coronet in 1937 and worked 26

Throughout his later life, Kertész’s work was featured in many exhibitions throughout Europe and America, including a one-man exhibition at the Museum of Modern Art, New York, in 1964. However, despite this, Kertész still felt personally unsuccessful and unrecognised by both critics and the art community. Nevertheless, it is undeniable that his work as a photographer is now fully appreciated and his legacy as an idiosyncratic and influential photographer has been acknowledged by critics internationally.

12 André Kertész, Washington Square, New York, 1954 This is a rare early print of this celebrated image, taken two years after Kertész moved to Washington Square Park. For over twenty five years from 1952 he rehearsed finding the perfect composition of trees, fences and people in the square which was celebrated in his 1975 book, Washington Square. This is the best known of these images. It’s snowy setting helps to reduce the composition down to contrasting lines and shapes, as well as to generate an atmosphere of peaceful, wintry solitude. This beautiful silver gelatin print may have been given as a Christmas card to one of Kertész’s friends. Silver gelatin print, printed c. 1954, 5 x 3 3/4 inches Provenance: Estate of André Kertész, Robert Koch Gallery, San Francisco

Martin Munkácsi 1896-1963 Martin Munkásci was born in Kolozsvár, Austria-Hungary, on 18 May 1896. He started photographing sporting events for a local newspaper but his career took off when he happened across and photographed a brawl that turned into a high profile trial. The photographs led to a job in Berlin in 1928, working as a photojournalist for the magazine, Berliner Illustrirte Zeitung. Munkácsi travelled all over the world on assignment and also took on fashion commissions for the magazine, Die Dame. In 1934 Berliner Illustrirte Zeitung was nationalised by the Nazis and was forced to publish propaganda photographs. Munkásci left for New York where he found new work with the fashion magazine, Harper’s Bazaar. Munkásci applied his approach to documenting sport to his fashion photography. His energetic images embraced the speed of the modern era, capturing style in motion. In 1936 Munkásci became a full-time member of staff at Life magazine and during the 1940s he became one of the most sought after photojournalists in the United States. He died on 13 July 1963 in New York City.

13 Martin Munkácsi, Germany, c. 1932 Inscribed with title and date on reverse Silver gelatin print, printed c. 1932 13 1/4 x 10 5/8 inches

14 Martin MunkĂĄcsi, Olivia de Havilland, 1936 Inscribed with title and stamped with â&#x20AC;&#x2DC;5 Prospect Placeâ&#x20AC;&#x2122; address ink stamp on reverse Silver gelatin print, printed c. 1936, 11 1/4 x 9 1/4 inches

Margaret Bourke-White 1904-1971 Margaret Bourke-White was a pioneering aerial photographer and is remembered as one of the first female photojournalists. Born in New York on 14 June 1904 into a middle class family, Bourke-White was home-schooled by her mother. Her father was an engineer and inventor. She began to take photographs to finance herself whilst a student at Cornell University and, by 1928, developed a particular eye for architectural and industrial photography. In 1930 she was taken on by Fortune magazine, and despatched to the Soviet Union to photograph its industrial installations. Soon she was their principal photographer, and her career took off quickly. She became well known for scaling the Chrysler Building during its construction in 1930 to produce some of the most memorable images of New York ever taken. In 1936, Bourke-White became one of the founders of Life magazine, and contributed its first cover image â&#x20AC;&#x201C; an artfully composed shot of the Fort Peck Dam, Montana. This was the first of many assignments for the magazine. During the Second World War, Bourke-White became the first female photojournalist both to be allowed in combat zones and to fly in a combat mission. At the end of the war, she took shocking images of the newly liberated Buchenwald concentration camp that reverberated around the world. Bourke-White died in Darien, Connecticut, on 27 August 1971 after a long battle with Parkinsonâ&#x20AC;&#x2122;s disease.

15 Margaret Bourke-White, Aerial View of the Rockefeller Centre, 1939 Stamped with photographerâ&#x20AC;&#x2122;s credit ink stamp, Time Inc. copyright ink stamp and numeric stamp on reverse Silver gelatin print, printed c. 1939, 10 3/8 x 13 1/2 inches

16 Margaret Bourke-White, Aerial View of Single Family Houses, Muncie, IN, 1937 Inscribed with photographer’s credit, ‘Used in Life May 10 1937’ ink stamp, Time Inc. file ink stamp and Time Inc. copyright ink stamp on reverse Silver gelatin print, printed c. 1937, 8 3/4 x 12 3/4 inches

Erwin Blumenfeld 1897-1969 Born in Berlin in 1897, Erwin Blumenfeld became one of the greatest innovators of twentieth century photography. From his early black and white nudes to his colourful and glossy fashion photography of the 1950s and 60s, he consistently pushed both stylistic and technical boundaries. Blumenfeld was given his first camera at the age of ten, and as a teenager he regularly experimented with photography. He became involved with the German Dadaist circle after the First World War, experimenting with collage, combining his own photographs with magazine cuttings. In 1921, Blumenfeld married Lena Citroën, and together with their new baby daughter, Lisette, moved to Holland in 1923. In Holland, Blumenfeld set up a small shop, where he discovered a fully equipped darkroom behind a boarded up door, left by the previous owner. He began to photograph his customers and quickly became an active part of the Dutch art scene. Blumenfeld was hugely influenced by Man Ray, and began his own experiments in his darkroom, using techniques such as multiple exposures and solarisation. His work was published in the French magazine Photographie in 1935 and the first issue of Verve magazine in 1937. This exposure lead

to an introduction to French Vogue by the legendary photographer, Cecil Beaton. One of Blumenfeld’s most iconic images appeared in Vogue in 1939 – an unharnessed Lisa Fonssagrives, dress billowing, balancing atop the Eiffel Tower, Paris. Blumenfeld was interned at several concentration camps during the Second World War. On release, he concentrated all of his efforts on obtaining a visa to escape to America. He succeeded in June 1941, and set sail across the Atlantic. In New York, Blumenfeld went on to work for Harper’s Bazaar and American Vogue. His highly stylistic fashion photography helped shape the look of the 1940s and 50s. His first double-page spread was in 1944, and featured his daughter Lisette’s legs. One of his most dramatic and experimental fashion shots reduced his model Jean Patchett to a pair of lips, a beauty spot, and one single eye. It was used as the cover of Vogue in 1950, and is now considered one of the magazine’s most iconic covers. Blumenfeld died in July 1969 after self-inducing a heart attack. He did not take his heart medicine before repeatedly running up and down the Spanish steps in Rome.

17 Erwin Blumenfeld, Nude in Broken Mirror, New York, 1944 Stamped with photographer’s estate ink stamp on reverse Ferrotyped silver gelatin print, printed c. 1944 13 1/2 x 10 1/4 inches

Manuel Álvarez Bravo 1902-2002 Manuel Álvarez Bravo is widely considered to be the most important photographer in the history of Latin American photography. Born in Mexico City on 4 February 1902, he left school at the age of 12 in order to help support his family after his father’s sudden death. He went to work in a textile factory and then at the National General Treasury as a bureaucrat but resumed his education in 1918 when he enrolled at the Academia Nacional de Bellas Artes to study painting and music. He purchased his first camera in 1923 after meeting the German photographer Hugo Brehme. Álvarez Bravo began working for the magazine, Mexican Folkways, where he met editor and fellow photographer, Tina Modotti, who introduced him to the lively community of artists and intellecuals in Mexico City. When Modotti was deported from Mexico in 1930, Álvarez Bravo became the magazine’s editor. He had his first solo exhibition in 1932. Whilst Álvarez Bravo’s early work in the 1920s shows the influence of Edward Weston in its concentration on abstract still lifes, his focus changed in the 1930s to the urban landscape of Mexico City. In the late 30s Álvarez Bravo became increasingly involved with the Surrealists and in 1939 André Breton used his photograph The Good Reputation Sleeping (1939) for the cover of an exhibition catalogue. The photograph has since become one of Álvarez Bravo’s best known images.

Álvarez Bravo became well known for his surrealistic photographs of people and places of Mexico City. He was a key figure in the cultural movement following the Mexican Revolution that became known as the Mexican Renaissance and photographed the work of Mexican mural painters including Diego Rivera. Álvarez Bravo’s work addressed the huge cultural and social changes that took places in Mexico after the revolution, documenting both towns and countryside with a particular emphasis on the depiction of labour. Much of his iconography involves Mexican folklore and myth, especially the rituals surrounding the Day of the Dead festival. Over 150 solo exhibitions of Álvarez Bravo’s work were mounted during his lifetime. He died on 19 October 2002 at the age of 100.

18 Manuel Álvarez Bravo, Portrait of the Eternal, 1935 Álvarez Bravo shows Isabel Villaseñor, an artist, poet, singer and icon of Mexico’s post-revolutionary period, peering into a small mirror. Whilst her long flowing hair is a symbol of idealised Mexican feminine beauty and intellect, the mirror hints at vanity and draws attention to the ephemerality of youth and beauty. The passing of time and death are common themes in Álvarez Bravo’s work, frequently tied to reverence for the dead in Mexican culture. The photograph seeks to show death to be a paradoxically eternal phenomenon. Signed and inscribed ‘Mexico’ on reverse Silver gelatin print, printed later, 10 x 8 inches

Harold Edgerton 1903-1990 Harold Edgerton was a celebrated electrical engineer who pioneered stroboscopic photography in order to make images of fast moving subjects, and in the process invented the electronic flash. His photographs were highly innovative, winning many major awards, and have subsequently become admired by art collectors and museums the world over.

Inspired by a childhood love of photography, Edgerton went on to photograph all manner of interesting subjects that could be frozen by his flash systems – bullets breaking through playing cards, animals in motion, sportsmen kicking balls and milk dropping into a pool of liquid. The images captured the public’s imagination and Coronet featured in MOMA’s first photography exhibition in 1937.

Born on 6 April 1903 in Nebraska, Edgerton was from a long-standing American family who could trace their direct ancestry back to the Mayflower. His father was an influential local figure and politician. Edgerton trained as an electrical engineer at the University of Nebraska, Lincoln, and then pursued a Masters degree at the Massachusetts Institute of Technology, Cambridge, where he was made a professor in 1934.

Edgerton’s invention developed in sophistication over time, and had additional, unplanned uses. He was hired by the US military during the Second World War to develop flashes for aerial reconnaissance, and also to photograph atom bomb tests in the Pacific. In the 1950s Edgerton befriended the underwater explorer and pioneer, Jacques Cousteau, and developed technology for him that improved underwater photography.

It was in 1931, while studying for his Masters, that Edgerton developed an electronic flash system to enable him to photograph a motor in action. This began a lifelong pursuit that made him into one of the most famous photographers of the twentieth century. His revolutionary electronic flashes also gained him great demand amongst industrial clients.

Throughout all of this Edgerton continued to teach at MIT and was known for being friendly and generous with his knowledge. He died on 4 January 1990 at the age of 86. He was survived by his wife Esther, and their three children.

19 Harold Edgerton, Bullet through Jack of Hearts, 1960 Signed and inscribed with title on reverse Silver gelatin print, printed later 14 1/4 x 18 3/8 inches

20 Harold Edgerton, Dyedrop into Milk, 1960 Signed on reverse Dye transfer print, printed later, 15 3/4 x 14 inches

21 Harold Edgerton, Milkdrop Coronet, 1957 Signed on reverse Dye transfer print, printed later, 18 1/4 x13 1/4 inches

Yousuf Karsh 1908-2002 Born on 23 December 1908 in Mardin, Turkey, Yousuf Karsh became one of the most significant portrait photographers of the twentieth century. After the Armenian Genocide, Karsh’s parents sent him to Quebec, Canada, in 1924 to stay with his uncle, George Nakash, who worked as a photographer. By assisting his uncle during his free time from school, Karsh developed his own taste for photography – also gaining experience as an apprentice with portrait photographer, John Garo. In 1932, Karsh set up his own photographic studio in Ottawa, close to the Canadian government buildings. This location allowed Karsh to undertake official government portraits. Indeed, the Prime Minister himself soon commissioned Karsh to take portraits of dignitaries that visited Canada, one of whom was Winston Churchill. Karsh’s portrait of Churchill has become one of the most reproduced portraits in the history of photography. As he grew in renown, Karsh’s singular style – particularly the use of dramatic lighting – made him irresistible to a vast number of the twentieth century’s celebrities, from Audrey Hepburn to Fidel Castro. Karsh’s photographs are held in galleries and museums worldwide, and he published over fifteen books of his iconic portraits. During his career, Karsh received numerous awards, including the Medal of the Royal Canadian Academy of Arts (1975) and the Companion of the Order of Canada (1990), as well as obtaining over 24 honorary degrees. Karsh died in Boston aged 93 on 13 July in 2002. 22 Yousuf Karsh, Winston Churchill, 1941 Churchill visited the Canadian government to make a speech on 30 December 1941. Karsh achieved Churchill’s solemn expression by taking away his newly lit cigar. The resulting, thunderous face was subsequently interpreted as British fortitude in the face of the Nazi threat in Europe. This portrait remains one of Karsh’s most significant, and brought him international prominence. It was also his first portrait to possess the iconic ‘Karsh of Ottawa’ copyright. Signed and inscribed ‘Ottawa’ Silver gelatin print, printed 1950s, 19 1/8 x 15 1/4 inches

Bill Brandt 1904-1983 Bill Brandt was born in Hamburg, Germany on 3 May 1904, into a wealthy family of bankers and merchants. He spent his early years in Germany, and then, as he suffered from tuberculosis, at sanatoria in Switzerland and Austria. He moved to London in 1933. Brandt’s early work was a mixture of photojournalism for magazines such as Picture Post, and personal photographic projects were published as books including The English At Home (1936), and London At Night (1938). Both as a photojournalist and an Anglophile, Brandt was drawn to the British class system, and much of his work highlights its inequalities during the inter-war years. He also became particularly well known during the Second World War, for his images of Londoners sheltering from the Blitz in Underground stations. From the mid 1940s, Brandt’s work changed dramatically, as he concentrated almost exclusively on the female nude for the remainder of his career. With an eye that was drawn in equal measure to Surrealism, photojournalism and conceptual art, Brandt has been recognised as one of the most influential and important British photographers of the twentieth century. Brandt died in London on 20 December 1983.

23 Bill Brandt, Parlourmaid and Under-Parlourmaid Ready to Serve Dinner, 1936 Brandt staged this scene of a parlourmaid and her junior in his uncle’s house. The photograph appeared in his first book, The English at Home (1936), which cast a satirical look over the social divide and notions of English propriety. Brandt wanted the scene to appear obviously staged in order to highlight the theatricality of English social customs. In his introduction to Brandt’s book, Raymond Mortimer said that the photographer ‘shows himself not only to be an artist but an anthropologist. He seems to have wandered about England with the detached curiosity of a man investigating the customs of some remote and unfamiliar tribe. And his illustrated report brings home very amusingly the variety and importance in England of clothes.’ The photograph is now considered a turning point in the history of documentary photography in its self-conscious construction and cutting critique of social etiquette. Signed Silver gelatin print, printed circa 1975 15 x 12 inches

24 Bill Brandt, Gold Cup Day at Ascot, 1933 Signed, inscribed with date and stamped with photographer’s credit ‘Bill Brandt’ ink stamp on reverse, Silver gelatin print, printed c. 1950, 9 1/8 x 7 3/4 inches

25 Bill Brandt, Nude, Hampstead, London, September 1952 Signed on mount, Witkin Gallery label on reverse of mount Silver gelatin print, mounted on board, printed 1970s, 13 x 11 inches . Provenance: Witkin Gallery, New York

26 Bill Brandt, Stonehenge after Thomas Hardy, c. 1946 Stamped with photographer’s credit ‘Bill Brandt’ ink stamp on reverse Early silver gelatin print, 9 x 7 3/4 inches

27 Bill Brandt, Charlie Brown’s Limehouse, 1945-50 Inscribed with title and stamped with ‘Bill Brandt’ credit ink stamp on reverse Silver gelatin print, printed c. 1947, 10 x 8 3/4 inches

28 Bill Brandt, Gull’s Nest, Isle of Skye, 1947 Inscribed with title and stamped with ‘Bill Brandt’ credit ink stamp on reverse Silver gelatin print, printed 1950s, 9 1/4 x 7 1/2 inches

Henri Cartier-Bresson 1908-2004 Henri Cartier-Bresson was one of the co-founders of Magnum Photos in 1947 and, in addition, is arguably the most influential photographer of the twentieth century. Champion of the ‘decisive moment’, he brought a new aesthetic and practice to photography, initiated modern photojournalism, and shaped a generation of photographers. Cartier-Bresson was born on 22 August 1908, the eldest of five children of a wealthy textile manufacturer and his wife, the scion of a Normandy landowning family. Brought up in a bourgeois suburb of Paris, he was educated at the École Fénelon, and then at the Lhote Academy, a studio run by the Cubist painter, André Lhote. An underlying dissatisfaction with painting, and a year at Cambridge University from 1928-29, disrupted Cartier-Bresson’s development as a painter, and he found himself increasingly drawn to the more immediate (and fashionable) medium of photography. Independently wealthy, living off an allowance from his father, CartierBresson was free to experiment and, after buying a Leica 35mm camera in 1932, he began travelling extensively. Between 1932 and 1935 he visited Italy, Spain, Morocco, and Mexico, developing his love, and genius, for the medium.

During the Second World War, Cartier-Bresson was captured by the Nazis, escaped and joined the French Resistance. He was honoured with an exhibition at the Museum of Modern Art, New York, in 1947. In the same year, he joined forces with fellow photographers Robert Capa, George Rodger and David Seymour to found a new photographic agency, Magnum Photos, to be based in Paris and New York. Cartier-Bresson’s post-war career was dominated by his work for Magnum, which in turn was often commissioned by Life magazine. His remit for the agency was to cover India and China, but in fact he travelled widely for the next twenty years, also taking assignments in the USA, France, Italy, Yugoslavia, Greece, Egypt, Iran, Pakistan, Indonesia and many other locations. Swiftly becoming one of the world’s most sought-after photojournalists, Cartier-Bresson covered many of the great events of the twentieth century. He also published a series of highly influential books beginning with the seminal Images à La Sauvette (1952), followed by The Europeans (1955) and then over thirty more, the last being Landscape Townscape (2001). In 1968 he retired from photography, returning to his first love, drawing, for the remainder of his life. Cartier-Bresson died at his home in Provence on 3 August 2004, a few weeks short of his 96th birthday.

29 Henri Cartier-Bresson, Seville, 1933 Signed and stamped with photographerâ&#x20AC;&#x2122;s blind stamp Silver gelatin print, printed 1980s 11 x 14 inches

30 Henri Cartier-Bresson, Brie, France, 1968 Signed and stamped with photographerâ&#x20AC;&#x2122;s blind stamp Silver gelatin print, printed 1980s 16 x 20 inches

31 Henri Cartier-Bresson, Avenue des Champs-Elysees, Paris, France, 1968 Signed and stamped with photographerâ&#x20AC;&#x2122;s blind stamp Silver gelatin print, printed 1980s 11 x 14 inches

Willy Ronis 1910-2009 More so than his contemporaries Henri Cartier-Bresson, Robert Doisneau and Brassaï, Willy Ronis is remembered foremost as the photographer of Paris. Whilst Ronis’ vision is more romantic, humanist and poetic than his counterparts, throughout his long career he endeavoured to capture the true spirit of the city and its people. Ronis was born in Paris on 14 August 1910. Both his parents were Jewish refugees who had fled to France to escape the pogroms of Eastern Europe. His father was a studio photographer and the young Ronis helped with printing and retouching. Ronis found the studio environment oppressive and instead became preoccupied with drawing and music. He spent time in the Louvre studying the Old Masters but started taking photographs at the age of 15 when his father gave him a Kodak camera. He became a talented violinist and would later draw similarities between music and photography, saying, ‘many of my photographs are taken from above, either looking down or up, three planes in one image, like three different melodies in a fugue which work together to give the piece structure and harmony’. Ronis gave up music to take over the studio in 1932 when his father became ill. The lyricism of Ronis’ compositional nuances coupled with the rhythm of his repeated shapes echo this early interest in music. Ronis’ early photography was preoccupied with social unrest and the rise of the leftist Popular Front. His first published photograph shows a street demonstration on Bastille Day in 1936. He maintained a lifelong commitment to Leftist causes. Despite the political intent with which Ronis’ career began, he is best remembered for his romanticised vision of Paris and its inhabitants. He preferred to walk around his local area of Belleville-Ménilmontant with camera in hand rather than travel. Ronis described the spontaneity of this approach, saying, ‘most of my photographs were taken on the spur of the moment, very quickly, just as they occurred’. Whilst this aligns Ronis’ work with the

‘decisive moment’ of his friend, Cartier-Bresson, whereas the latter’s photography maintained the distanced gaze of the street photographer par excellence, the former’s is coloured by the intimacy and empathy with which he knew and understood the people of Paris. During the Second World War Ronis was a meteorologist with the French air force and served briefly with the artillery. He refused to wear the yellow badge during the Nazi Occupation and fled south of the occupied territory. During this time he discovered a passion for the landscape and culture of Southern France and would return to Provence in 1972 when he became a photography teacher at the School of Fine Arts, Avignon, and Saint Charles, Marseille. During the war he also met his wife, Marie-Anne Lansiaux, who became the subject of one of his most famous photographs, Nu provençal (1949). The photograph shows Marie-Anne washing at a sink in a rustic room whilst on holiday in Provence. Ronis photographed her again much later whilst she suffered from Alzheimer’s disease, hidden almost completely in an autumnal forest. Ronis won the Prix Kodak in 1947 but rather than joining the Magnum Photo Agency, recently established by his friends, David Seymour and Robert Capa, he took up with the Rapho Agency whose members included Doisneau and Brassaï. In 1955 Ronis was included in Edward Steichen’s vast The Family of Man exhibition that encapsulated the humanist spirit of photography at the time. In his later career Ronis went on to enjoy an array of awards and honours including the Prix Nadar (1981), being made Honoured Photographer at Les Rencontres d’Arles (1980) and Commander of the Ordre des Arts et des Lettres (1986). In 1995 the Museum of Modern Art, New York, commissioned a touring retrospective that was intended to mark his centenary. Ronis died, however, at the age of 99 on 12 September 2009, the year before the exhibition opened.

32 Willy Ronis, Homme sur un Banc, 1954 Inscribed with date, stamped with ‘Photo Willy Ronis’ ink stamp, ‘11 rue Bargue’ and crossed out ‘7 rue Charbonniers’ ink stamps, and ‘signature obligatoire’ ink stamp on reverse Silver gelatin print, printed c. 1954. 8 3/4 x 7 3/4 inches

33 Willy Ronis, Villa Medicis, 1981 Signed, inscribed ‘négatif = 1981, tiré pour moi-même en 1983’ and stamped with ‘12, Rue Beccaria’ copyright address ink stamp on reverse Silver gelatin print, printed 1983, 12 1/2 x 8 1/4 inches. 12 1/2 X 8 1/2 inches

34 Willy Ronis, Manif pour la Defense du Cine, 1948 Signed, inscribed with title and date, stamped with ‘Life Magazine’, ‘Photo Willy Ronis’, ‘Willy Ronis, 46, Rue de Lagny’, crossed out ‘7, Pass Des Charbonniers’ and ‘Life print by Richard Rose’ ink stamps on reverse Silver gelatin print, printed 1948, 7 1/2 x 9 1/2 inches

35 Willy Ronis, Skiers at Mageve, 1938 Signed Silver gelatin print, printed later Printed on 20 x 16 inch paper

Robert Doisneau 1912-1994 Robert Doisneau was born in Gentilly, Val-de-Marne, France, on 14 April 1912. He studied Lithography at L’École Estienne in Chantilly, but upon graduation found his degree useless, as the trade was on the decline. Once he had found work at a pharmaceutical company, he became fascinated with photography, and taught himself its foundations. In 1930, he began to embrace photography as a hobby and would wander the streets of Paris recording French life. In 1932, he sold his first photograph to the newspaper L’Excelsior, and soon after found work as an assistant to the sculptor and photographer, André Vigneau. However, this was curtailed by his military service. In 1934, Doisneau found work at a Renault factory in BoulogneBillancourt, taking advertising photographs, and it was there that he had his formal training in photography. He was drafted into the Second World War, in 1939, fighting first in the army and later in the Resistance. Throughout the war, he used his skills as an engraver to forge passports and identification papers as well as photographing Paris through its stages of Occupation and Liberation. When Paris

was officially liberated in 1944 Doisneau captured many, now famous, photographs of euphoric Parisians. Doisneau gained recognition with his post-war photographs, and began selling them to Life magazine. In 1946, he joined the French photography agency, Rapho, and remained with them, despite being asked by Henri Cartier-Bresson to join Magnum Agency in 1947. In 1949, Vogue hired Doisneau but he did not enjoy fashion photography, as he felt more involved on the streets than the wealthy, upper-class clientele that patronised the magazine. However, his fashion work did not stop him from continuing to roam the streets, photographing playful Parisian scenes. Between the years 1949 and 1956, Doisneau published six books of street photography, but interest in his work faded from the 1960s as the French lost their taste for his humanist style. He continued to work, however, and produced advertising work and celebrity portraits for the next few decades. He spent most of his life in Montrouge, Paris, and died there on 1 April 1994.

36 Robert Doisneau, Les Lilas de Menilmontant, 1956 Signed Inscribed with photographer’s initials, title and date on reverse Silver gelatin print, printed later 11 1/2 x 10 inches

Bert Hardy 1913-1955 British press photographer Bert Hardy was born into a working class family in Blackfriars, London, on 19 May 1913. The eldest son in a family with seven children, Hardy left school at the young age of 14 to work in a chemist’s shop which also processed photographs. Hardy’s first break came when he managed to snap King George V and Queen Mary as they passed through his borough in a carriage. The young photographer was able to sell 200 small prints of his shot, and use the success to buy his first Leica with which he went on to freelance for The Bicycle magazine. In 1941 Hardy joined the increasingly respected Picture Post, becoming the magazine’s chief photographer after just a few months. He later served as a military photographer from 1942-46, taking part in the 1944 D-Day landings and covering the liberations of Paris. After returning from the war, Hardy began to receive substantial critical acclaim for his photographs. Three of his pictures were selected to be in Edward Steichen’s famous Family of Man exhibition. After writing an article for an amateur photography magazine claiming that photographers did not need expensive equipment to create good photographs, Hardy staged a carefully posed photograph of two women sat on the railings of Blackpool’s promenade using a Kodak Box Brownie in 1951. This photograph has since gone on to become an iconic image of post-war Britain. Since his death in 1955, memorials to Hardy’s life and work have been erected in St Bride’s Church, Fleet Street and the Priory on Webber Street, London.

37 Bert Hardy, Untitled, 1950 Stamped with photographerâ&#x20AC;&#x2122;s signature ink stamp and â&#x20AC;&#x2DC;2 Burrows Mewsâ&#x20AC;&#x2122; address ink stamp on reverse Silver gelatin print, printed before 1966 8 1/4 x 11 3/4 inches

38 Robert Capa, Loyalist Soldiers Running up Hill, Battle of Rio Segre, Aragon Front, Spain 7 November 1938 Stamped â&#x20AC;&#x2DC;Atelier Robert Capaâ&#x20AC;&#x2122; on reverse Early silver gelatin print, 7 x 9 1/4 inches

Robert Capa 1913-1954 Robert Capa was one of the most celebrated photographers of the midtwentieth century and, with André Kertész, Brassaï, Martin Munkácsi, and László Moholy-Nagy, formed part of a group of influential Hungarian photographers whose impact on the medium was profound. He is particularly well known for his photographs of the Second World War, and for co-founding Magnum Photos. Robert Capa was born Endre Friedman on October 22, 1913 in Budapest, Hungary. He was born into a Jewish family that co-owned a hair-salon. When he was eighteen Capa was exiled from Hungary for his political affiliations and went to Berlin. With the support of his parents he enrolled at the German Academy for Politics to study journalism. However, the increasingly faltering Hungarian economy caused his parents’ business to fail and funding for his studies came to an end. In need of money, Capa found employment at a photo agency as a darkroom assistant. His talent for photography began to develop, and he was given his first camera by the agency’s director, Simon Guttmann. Guttmann was also responsible for Capa’s first large commission when, in December 1932, he sent him to Copenhagen to photograph the great Russian revolutionary Leon Trotsky. Capa remained in Berlin for two years until Hitler’s rise to power meant that, in 1933, he was forced to flee to Vienna. Soon after, he gained permission to return home to Budapest where he stayed for a few months before going to Paris in September that year where he met André Kertész and changed his name to the more American ‘Robert Capa’. Commissions increased and, in July 1936, he was sent to cover the Spanish Civil War. Early in November 1938 Capa covered two crucial battles on the Aragon front, in northeast Spain. On November 5 he was at Mora de Ebro, on the Ebro river, with Ernest Hemmingway. Hoping to prevent the Loyalists from crossing the river, the fascists had bombed the Mora bridge and opened the dams in the north. The day ended in a massive Loyalist retreat. The next night, in an effort to divert the fascists from Mora, Loyalist troops launched an offensive near Fraga, on the Rio Segre, about forty miles to the north. When news of the offensive reached Barcelona early in the morning of November 7, Capa rushed to the Front. The British magazine Picture Post published eleven pages of the photographs Capa made that day and hailed him as ‘the greatest war photographer in the world’.

Capa remained in Europe until the outbreak of World War II when he fled to New York. He joined Life magazine as their war correspondent, and was sent to areas of Europe and Northern Africa to cover the action on the front line. In particular, on 6 June 1944, Capa covered the D-Day landings in Normandy, riding in the landing craft with the soldiers. He captured every detail, taking eleven roles of film and risking his life for the photographs. Their impact was unparalleled, and they have become some of the most important war photographs ever taken. Capa’s bravery, and the brilliance of these photographs, secured his reputation as one of the most exciting photographers of his time. In August 1944 the French Forces of the Interior (largely made up of Resistance fighters) liberated Paris from the Nazis, just prior to the arrival of the US Third Army. After a short battle in which 71 resistance fighters died, the Germans surrendered. Capa followed the French into Paris, and the resulting pictures were published in Life magazine that September. He photographed both the celebrations of the Parisians, and the close-quarter fighting that resulted from pockets of German soldiers. Sniper fire in particular was a constant danger, and shots were even fired during the French victory parade down the ChampsÉlysées on 29th August. When the war was over Capa returned to Paris where he met, and fell in love with, Ingrid Bergman. His affections were so strong that he followed her back to America, and attempted to start a new career as a Hollywood film director. However, he met with little success and soon returned to working for Life. In 1947 Capa, with fellow photographers Henri Cartier-Bresson, David Seymour, William Vandivert and George Rodger, decided to establish a cooperative photographic agency, to give themselves control over commissions. They called it Magnum Photos, and Capa devoted his life to the new agency, both in New York and Paris. Robert Capa’s final assignment for Life lead to his death. He was in Japan working on an exhibition associated with Magnum. From there, Life sent him to South East Asia to cover the First Indochina War. At 2.55pm on 25 May, 1954 he stepped on a landmine and was killed. 65

39 Robert Capa, Allied Troops in Paris Attacking Germans Entrenched in Public Buildings, 11 September 1944 Inscribed with title and date, stamped with ‘Life’ magazine / photographer’s credit stamp, ‘Used in Life Overseas’ edition stamp, ‘Time Inc.’ Picture Collection ink stamp and Purcell Book ink stamp on reverse’ Silver gelatin print, printed c. 1944, 11 x 10 inches

40 Robert Capa, Captured German Officer with Allied Soldiers during Paris Liberation, 1944 Inscribed with title and date, stamped with ‘Life’ magazine / Capa credit stamp, Time Inc. Picture collection, ‘Aug 31 1944’ stamp and Purcell Book ink stamp on reverse Silver gelatin print, printed c. 1944, 11 x 10 3/4

Yevgeny Khaldei 1917-1997 Yevgeny Khaldei was born on 23 March 1917 into an Orthodox Jewish family in Donbass, Ukraine, during the year of the Russian Revolution. Khaldei’s mother was killed when he was one year old as a pogrom erupted in the Ukraine. The bullet that killed her passed through his side whilst she held him. His father and three of his four sisters were killed by the Nazis during the Second World War. As a child Khaldei built a camera out of a piece of card and his grandmother’s glasses. His early portraits of Soviet miners and steelworkers were published in his local newspaper and he started working for the Soviet press agency TASS at the age of nineteen. Khaldei worked as a Red Army photographer throughout the Second World War and was present at key moments including the Red Army offensive in Japanese Manchuria. He photographed Jews liberated from the ghetto of Budapest and Nazis at the Nuremburg Trails. Notably, when Hermann Göring objected to being photographed by a Jew, an American MP used a baton to make him face Khaldei’s camera. Khaldei also worked on commission to produce portraits of State leaders including Joseph Stalin, Mikhail Gorbachev and Boris Yeltsin. He worked for TASS until he was sacked in 1948. He attributed his dismissal to anti-Semitism. After leaving TASS, Khaldei undertook freelance work before working for the newspaper Pradva from 1959 to 1970. His wartime photographs were published in 1984 in a book entitled Ot Murmanska do Berlina (From Murmansk to Berlin). In a 1995 interview with The New York Times he said: ‘I have just always wanted people to know what really happened in their time. I would have to say that many times my heart was broken. But I also witnessed greatness.’ Khaldei died on 6 October 1997 in Moscow.

41 Yevgeny Khaldei, Soviet Soldiers Raising a Red Flag over the Reichstag, Berlin, 1945 Khaldei’s most famous photograph shows a Red Army soldier raising the Soviet flag over the Reichstag in Berlin in celebration of the Soviet victory in East Germany. Khaldei had seen Joe Rosenthal’s photograph of the flag raising at Iwo Jima and wanted to create a similarly triumphant image. Whilst the Soviet army was approaching Berlin, Khaldei’s uncle made a flag out of three red tablecloths taken from TASS and sewn together. The seams of the tablecloths are visible in the photograph. The photograph is a re-enactment of an earlier flag raising at which no photograph was taken as it was erected in the dark and subsequently shot down by German soldiers the next day. Khaldei’s photograph was taken after the surrender of the Reichstag rather than during the battle. Khaldei altered the photograph in the darkroom before publication to hide evidence of looting as one of the soldiers was wearing two watches. He also added dark clouds of smoke for dramatic effect. Speaking about the photograph, Khaldei said that he had been waiting for the shot for ‘fourteen hundred days’. The secrecy of the Soviet media meant that the identity of the photographer was disputed for a long time. The photograph was only attributed to Khaldei after the fall of the Soviet Union. Signed and stamped with Itar-Tass address ink stamp on reverse Silver gelatin print, printed 1991-7 11 1/2 x 7 3/4 inches

42 Yevgeny Khaldei, Soviet Soldiers Raising a Red Flag over the Reichstag, Berlin, 1945 Signed and stamped with Itar-Tass address ink stamp on reverse Silver gelatin print, printed 1991-7, 11 1/2 x 7 3/4 inches

Edouard Boubat 1923-1999 Edouard Boubat was born in Paris on 23 September 1923, the son of an army chef. In 1938 he enrolled at the École Estienne in Paris, where he studied photo-engraving. During the Second World War he worked as a photogravure printer but from 1943 he endured two years labour at a factory in Leipzig, Germany. When he was 23 he sold one of his prize possessions, a six-volume dictionary, in order to buy his first camera. A year later his first professional photograph was exhibited at the Salon Internationale de la Photographie and he was awarded the Kodak Prize. Boubat’s photography continued to go from strength to strength and, in 1950, was first published in the Swiss magazine Camera. Then, in 1951, he was employed by the French publication Réalités, where he would work for just short of two decades. Like most of his generation, Boubat was profoundly affected by conflict. He had grown up listening to the horrors of the First World War from his father, and his own experiences compounded his hatred of it. Emerging into the bleak reality of post-war France, photography became a way for Boubat to cope. This was true for other photographers at the time, particularly Boubat’s contemporary, Robert Doisneau. They first exhibited together in 1951, and together they presented a view of France as a country of romance, beauty and greatness again, ignoring the poverty and misery caused by the Second World War. This attitude coloured Boubat’s photography throughout his career, as he travelled the world for Réalités and other publications, eschewing war-zones and instead focusing on the minutiae of daily life and its pleasures. Boubat died in Paris in 1999, leaving behind an extensive archive.

43 Edouard Boubat, Cafe De Flore, Saint Germain des Pres, Paris, 1953 Signed Signed, inscribed with â&#x20AC;&#x2DC;Paris Saint Germain des Pres, 1953â&#x20AC;&#x2122; and date on the reverse Silver gelatin print, printed later 9 1/2 x 14 1/4 inches

44 Edouard Boubat, Inde, Madras, 1971 Inscribed with photographer’s name, title and date, and stamped with photographer’s ‘12 Rue Bouchut’ ink stamp on reverse Silver gelatin print, printed c. 1980 4 1/2 x 7 inches

45 Louis Faurer, Garage, Park Avenue, New York City, c. 1950 Signed Silver gelatin print, printed later 7 3/4 x 11 1/2 inches

Louis Faurer 1916-2001 Born on 28 August 1916 in Philadelphia, Louis Faurer became celebrated as a fashion photographer during the 1950s and 60s. He also built up a considerable personal archive of street photography. Faurer received minimal public exposure or recognition for his street photography, but his contemporaries, Robert Frank (with whom he shared a dark room), William Eggleston and Walker Evans, lauded its calibre. After winning a photography contest in the ‘Philadelphia Evening Public Ledger’ in 1937, Faurer decided to pursue photography as a career. During the Second World War he served in the US army as a photographic technician, and then moved to New York City in 1946. In 1948 his first fashion photograph was published in an issue of Junior Bazaar, at the behest of the fashion photographer, Lillian Bassman. More work followed and, in 1950, he was hired as a full-time staffphotographer at Flair magazine. Despite having regular commercial employment, Faurer continued to take candid street-photographs, alongside his fashion work.

Faurer was inspired by the photography of the Farm Security Administration, part of President Roosevelt’s ‘New Deal’. The FSA had hired photographers and writers to record the plight of farmers during the Great Depression in the 1930s. The programme produced many of the most well-known Depression-era photographs. It was after one of the most famous FSA alumni, Walker Evans, recommended Faurer to the art director at Vogue that Faurer managed to properly establish himself as a fashion photographer. He shot for magazines such as Vogue, Harper’s Bazaar, Life and Glamour for over 20 years. Faurer’s work was included in two exhibitions at Museum of Modern Art, New York, in 1948 and 1955. His first solo show of his personal work was in 1959 at Helen Gee’s Limelight Gallery in New York. In 1984 he was injured in a car accident and was henceforth unable to work. He died on 2 March 2001, at the age of 84.

Dorothy Bohm Born 1924 Born Dorothea Israelit on 22 June 1924 in Königsberg, East Prussia, into a prosperous Jewish Lithuanian family, Bohm had a turbulent childhood. One of her earliest memories is of a Hitler Youth parade outside her family home. The family moved to Memel, Lithuania, a town on the Baltic Sea, to avoid the growing threat of Nazism. Being well-known Jewish industrialists, Bohm’s family were victim to Nazi anti-Semitism. Her father, Tobias, was attacked on the radio and their house was stoned. As a child, Bohm was kicked as she walked through the town and called ‘jüdische Kröte’ (Jewish toad). Having refused to adhere to the ‘Heil Hitler’ salute she left school to be educated at home.

work would be held there in 1986. Bohm moved to London in 1950 and then went to live in Paris in 1954 for a year before spending time in both New York and San Francisco and then returning to settle in Hampstead, north London, where she still lives now. In the late 1950s, the Red Cross helped Bohm to contact her parents who were living in Riga, Latvia. Bohm discovered that they had been deported by the Russians during the war to separate labour camps in Siberia. In 1960 Bohm finally received a visa to allow her to travel to visit her parents. This made her one of the earliest Western photographers to photograph Moscow and Leningrad. In 1963 her parents moved to England.

Warned that the Nazis would march on Memel the following day, the Israelits left the town and moved to Šiauliai, the second largest city in Lithuania but Bohm was then sent to join her older brother in England. As her train was about to depart for England, her father gave her his Leica camera as a leaving gift. Bohm would loose contact with her parents for twenty years. At the German border a guard noticed that she was carrying a photo album with pictures of a youth group wearing the Star of David but let her continue on her journey. She arrived in England in June 1939, three months before the outbreak of war.

Bohm’s first solo exhibition was held at the Institute of Contemporary Arts, London, in 1969 and her first book, A World Observed, was published in 1970 with a forward written by the Surrealist artist, Roland Penrose. Penrose was an enthusiastic supporter of Bohm’s work, her witty contrasts played out on city streets chiming with the Surrealists’ pursuit of the uncanny. ‘She has condensed humanity’, he said, ‘made it more stable and visible.’ Bohm has subsequently published over a dozen books through the course of her career. After a major exhibition at the ICA featuring work by Bohm, Don McCullin and Tony Ray-Jones, one of the exhibition’s organisers, Sue Davies, saw fit to open a gallery in London dedicated to photography. Bohm hence became instrumental in the founding of the Photographer’s Gallery and served as its associate director for fifteen years. In 1980 the BBC produced a television documentary, Dorothy Bohm – Photographer, about her life and work. She was made an Honorary Fellow of the Royal Photographic Society in 2009.

Bohm started school in Sussex but moved to Manchester to join her brother in 1940 where she started studying photographic technology at the Manchester College of Technology and also worked for a City & Guilds qualification which she completed in two years rather than the expected four. In Manchester she met Louis Bohm, a Polish Jew and chemistry student, who she would marry in 1945. Having worked for the photographer Samuel Cooper for four years, Bohm set up her own portrait studio that she named Studio Alexander, using her nom de guerre, Dorothy Alexander. After a trip to Switzerland in 1947 piqued her interest in the creative potential of photography outside the studio, Bohm began travelling extensively to the USA, Mexico, the USSR, Africa and the Far East. She first visited Israel in 1948 where she photographed prolifically. Later she would play a key role in instigating a photography department in the Israel Museum, Jerusalem, and a major retrospective of her 76

Still working today, Bohm’s work is often characterised by the interaction of the human subject with two-dimensional representations of the figure in the form of posters, advertisements and signs. Whilst the warm humanism of her work is often compared to that of her contemporaries Bert Hardy, Willy Ronis and Robert Doisneau, Bohm has said that she thinks the fact she is a woman has allowed her achieve a particular intimacy with her subjects, blending into a crowd to photograph with an unobserved candour. Bohm’s latest monograph, About Women, will be published in December 2015.

46 Dorothy Bohm, Approach to the Castle, Lisbon, 1963 Signed Silver gelatin print, printed 1970s 11 x 15 inches

47 Dorothy Bohm, Billingsgate, London, c. 1960 Signed Silver gelatin print, printed 1970s 14 3/4 x 10 3/4 inches

48 Dorothy Bohm, Cordoba, Spain, c. 1960 Signed Numbered 5/10 on reverse, silver gelatin print, printed 1970s 11 1/2 x 11 1/2 inches, from an edition of ten

49 Dorothy Bohm, Jerusalem, Israel, 1970 Signed Silver gelatin print, printed 1970s 11 1/2 x 10 inches

50 Dorothy Bohm, Near the Old Les Halles, Paris, 1953 Signed Silver gelatin print, printed 1970s 9 1/2 x 8 1/2 inches

51 Dorothy Bohm, Rue de La Loi, Brussels, 1949 Signed, numbered 7/10 on reverse Silver gelatin print, printed 1970s 13 1/4 x 10 inches, from an edition of ten

52 Dorothy Bohm, West 82nd Street, New York City, 1956 Signed, numbered 6/10 on reverse Silver gelatin print, printed 1970s 12 x 10 inches, from an edition of ten

Garry Winogrand 1928-1984 Garry Winogrand was an American photographer who became a significant pioneer of street photography in the 1960s and 70s. One of the key photographers of a generation that included Diane Arbus, Joel Meyorowitz and Lee Friedlander, Winogrand’s signature style combined a dazzling visual and photographic dexterity with the documentation of both social issues and daily life in urban America. Primarily a photographer of New York, his extensive archive is one of the great records of the city from the period. Winogrand was born on 14 January 1928 into a working class immigrant family in the Bronx, New York. His parents worked in the garment industry. After finishing high school Winogrand spent a year in the US airforce before enrolling in a painting course at the City College of New York. He then moved on to study painting and photography at Columbia University in 1948. In 1951 he briefly studied photojournalism under Alexey Brodovitch, the great art director who influenced the careers of many celebrated twentieth-century photographers. Known for his abrasive pictures and bold approach, Winogrand developed a style that was influenced by earlier figures such as Walker Evans and Henri Cartier-Bresson, but that was more aggressive in its look and technique – a look that was in tune with 1960s aesthetics. However, despite the unsolicited and intrusive nature of many of his pictures Winogrand was not a cruel photographer – in fact his friend, Diane Arbus, once described his work as ‘without malice’. Instead

it is a restless, obsessive, enormous record of American street life, the making of which allowed little time for niceties. Sean O’Hagan has said that ‘many of his reluctant subjects only seem to register his presence at the very moment he presses the shutter… as is often the case with Winogrand’s photographs, you long to find out what happened next’. Winogrand’s work is built up of personal projects that were funded in the early years by commercial work, and later by three Guggenheim Fellowships that he was awarded in 1964, 1969 and 1979. He also earned a living through teaching photography at various universities in the 1970s. Winogrand was extremely prolific, and it was in part due to this that his archive contains such a wide-ranging view of post-war America. The subject matter that he tackled ranged from hippies to Harlem, and it covers most of the key themes of the age from racial tension to the explosion of youth culture. While most his work was taken on the streets of New York, he also photographed in Texas and Los Angeles during the 1970s and the final years of his life. Winogrand died suddenly of gallbladder cancer in 1984 at the age of 56. He left behind thousands of undeveloped rolls of film, testimony to his obsession with taking photographs as opposed to processing and editing them. Many of these photographs have been exhibited posthumously in a series of touring exhibitions. Winogrand was married three times, and had three children.

53 Garry Winogrand, Doorman Ralph Savastani Walking Poodle on the Upper East Side, NYC, 1966 Inscribed with title and stamped with ‘Life’ magazine copyright and information ink stamp on reverse Silver gelatin print, printed c. 1966 12 x 9 inches

54 Garry Winogrand, Beverly Hills, California, 1978 Signed on reverse Silver gelatin print, printed later 8 7/8 x 13 1/4 inches

55 Garry Winogrand, Charles Butler Pushing a Schrafft’s Coffee Wagon up Madison Avenue in Midtown, NYC, 1966 Signed, inscribed with title and stamped with ‘Life’ magazine ink stamp on reverse Silver gelatin print, printed c. 1966 8 1/2 x 11 3/4 inches

Roger Mayne 1929-2014 Roger Mayne was born in Cambridge on 5 May 1929, and studied chemistry at Oxford University, where he began to take photographs. By 1951 he had begun to contribute pictures to Picture Post and, in 1954, he moved to London, determined to forge a career as a freelance photographer. He found modest success, taking on various projects that included photographing the artists that lived and worked in St Ives, Cornwall. 1956 was a breakthrough year for Mayne as his portraits were shown in solo exhibitions at the Institute of Contemporary Arts, London, and at George Eastman House, New York. That same year, he began his seminal study of Southam Street in West London, which continued intermittently for five years. It remains his most important work, and established his reputation as an influential photojournalist. In the series, he documented daily life, with particular focus on children and their outdoor games. The original series is now owned by the Victoria and Albert Museum, and is a valuable record of Londonâ&#x20AC;&#x2122;s urban environment in the 1950s. Mayne married the actor, director and playwright, Ann Jellicoe, in 1962, with whom he collaborated on several projects including The Shell Guide to Devon (1975). He is best known for his street photography taken during the 1950s, but was a significant contributor to The Sunday Times Magazine in the 1960s, and continued to be in demand as a photographer into the twenty-first century. He died in 2014.

56 Roger Mayne, Teddy Boy and Girl, Petticoat Lane, 1956 Signed, inscribed with date and ‘*87’ Signed, inscribed with title and date, and numbered ‘hm 34” on reverse Silver gelatin print, printed 1987 10 1/4 x 14 3/8 inches

57 Roger Mayne, Teddy Boys Gambling, Princedale Road, 1956 Signed, inscribed with date and â&#x20AC;&#x2DC;*91â&#x20AC;&#x2122; Signed, inscribed with title and date, and numbered 4241 on reverse Silver gelatin print, printed 1991, 13 x 9 1/2 inches

58 Roger Mayne, Teddy Girls, Battersea Fun Fair, 1956 Signed, inscribed with date and â&#x20AC;&#x2DC;*84â&#x20AC;&#x2122; Signed, inscribed with title and date, and numbered 5213 on reverse Silver gelatin print, printed 1984, 13 3/4 x 10 1/2 inches

59 Roger Mayne, Two Boys Holding Snowballs, London, 1950s Inscribed ‘Bethnal Green, London’ and stamped with ‘Photo Researchers Inc’ ink stamp on reverse Silver gelatin print, printed 1950s, 6 3/4 x 9 3/4 inches

Leonard Freed 1929-2006 Leonard Freed was born in Brooklyn, New York, on 23 October 1929 to working-class Jewish parents of Eastern European descent. Although Freed initially wanted to be a painter, he enrolled at the New School and studied in the famous ‘design laboratory’ of Alexey Brodovitch, the art director of Harper’s Bazaar. After his studies, Freed went hitchhiking through Europe and North Africa and took up photography to finance himself. Freed’s first major project concerned New York’s Hasidic Jews. Although not religious, Freed had been raised in a Jewish household and maintained an interest in his cultural roots. He moved to Amsterdam in 1958 and photographed the Jewish community there. He went on to publish several books about the Jewish communities of Europe. Another of the major thematic concerns of Freed’s work was the Civil Rights movement in America. He documented the National Association for the Advancement of Colored People (NAACP) and their battle against discrimination and segregation. Notably he photographed Martin Luther King Jr’s march across the United States from Alabama to Washington and children playing in the streets of New York when the racial divisions in the city led to ghettoization in the 1950s and 60s. When Freed was still a young photographer, the Director of Photography at the Museum of Modern Art, Edward Steichen, was

impressed by his work and bought three of his photographs for the museum. Steichen told Freed to remain an amateur to avoid his work becoming dull when professional and to ‘preferably be a truck driver’. Freed’s photographs of the day to day running of a police department resulted in his exhibition The Spectre of Violence at the Photographers’ Gallery, London, in 1973. The entrance to the exhibition was through black curtains, after which a flash went off in front of a photograph of a corpse in order to feel like a crime scene. The exhibition highlighted the similarities between Freed and the mid-century New York reportage photographer, Weegee. Freed also mounted the exhibition What is Man? at the Benedictine convent in Cockfosters, London, in response to Steichen’s ground-breaking The Family of Man exhibition. Freed joined the Magnum Photos agency in 1972 and went to photograph the Yom Kippur War in 1973 and the crisis in Israel in 1967-8. He produced many photo-essays and over twenty books covering themes such as Spain after Franco and the North Sea oil industry. His work was characterised by his documentary but sympathetic approach to the people and their way of life in the multiplicity of locations he visited. He died on 26 November 2006 in Garrison, New York.

60 Leonard Freed, Harlem, New York, USA, 1963 Signed on reverse Silver gelatin print, printed 1980s 18 1/4 x 12 1 /2 inches

61 René Burri, Peking Summer Palace, 1964 Signed, inscribed with title and date, and stamped with ‘René Burri, Magnum Photos’ copyright ink stamp on reverse Silver gelatin print, printed c. 1964 4 1/4 x 6 1/4 inches

René Burri 1933-2014 René Burri was born in Zurich on 9 April 1933. His career as a photographer began early when, at the age of 13, he photographed Winston Churchill as he drove past in an open top car on a visit to Switzerland. Burri studied photography under Hans Finsler and filmmaking at the Zurich School of Arts and Crafts. He first took up a Leica camera whilst undertaking national service with the Swiss army. He went on to work as an assistant cameraman, firstly on the set of the Walt Disney film Switzerland (1955). Burri joined the Magnum Photo Agency in 1955. Shortly after joining, his reportage about deaf-mute children, ‘Touch of Music for the Deaf’, received acclaim when it was published in Life magazine. He went on to publish in Look, Paris-March and The Sunday Times but his work was most widely circulated through the Swiss weekly, Du. His work became characterised by an empathetic humanism combined with strong composition through geometry, architecture and form. He would have a long association with Magnum, opening the Magnum Gallery in Paris in 1962 and becoming the chair of Magnum France in 1982. Witness to many of the major news events and conflicts of the mid twentieth century, Burri photographed the building of the Berlin Wall and the wars in Vietnam, Cambodia and Lebanon. He was in Egypt when the Suez crisis unfolded and met President Gamal Abdel Nassesr whom he would later accompany on a trip along the length of the desert border with Syria in celebration of the United Arab Republic, a brief cooperation between the two countries. Reflecting on his reportage work, Burri said, ‘every time I walked away after having a gun held to my head, I thought, you’ve been lucky one more time’. Burri’s 1962 book The Germans was created in response to Robert Frank’s The Americans as a tongue-in-cheek study of what he considered to be a particularly German way of life. After spending six months in Argentina Burri published his book Gaucho in 1968, with an introduction by Jorge Luis Borges. The book tells of Burri’s trip to the Argentinian pampas in search of a gang of cowboy outlaws who

were presumed to have disappeared generations earlier. Having lost all hope of finding the cowboys, Burri was invited to a barbeque where his host asked him what his favourite colour was. Burri replied ‘blue’ and the next day a blue station wagon arrived to take him on what became a months-long trip with the gauchos. Gaining the scoop that all the press photographers wanted, in 1963 Burri was granted access to photograph Che Guevara in the midst of the Cuban missile crisis. He also photographed many celebrities including artists Pablo Picasso, Alberto Giacometti and Yves Klein, the film director Jean Renoir and the architect Le Corbusier. A career retrospective at the Maison Européenne de la Photographie, Paris, accompanied by a catalogue including work covering half a century was mounted in 2014. Burri died on 20 October 2014. He left his archive of 30,000 photographs to the Musée de l’Élysee, Lausanne.

62 René Burri, Sao Paulo, Brazil, 1960 In an interview in 2012, Burri spoke about his famous photograph taken on the rooftops of Sao Paolo: ‘Did I know those men were there when I took the photograph? No. I went up there out of curiosity. I remember taking the elevator to the roof. Buildings weren’t guarded in those days; they didn’t have guardians as they have now. It was a question of getting to the top and knocking on the door. And then saying “excuse me”… So I walked out onto the terrace and at the moment those guys came from nowhere and I shot five images.’ Burri took the photograph with a telephoto lens. Magnum founder and godfather of modern photojournalism, Henri Cartier-Bresson, was Burri’s mentor at Magnum and was well-known for being evangelical about shooting with a 35mm-90mm lens. When Cartier-Bresson called the photograph ‘brilliant’ Burri found great mirth in the fact that he had used a 180mm lens. ‘At that point I broke loose from my mentor’, he said, ‘I killed my mentor!’ Signed Modern silver gelatin print 11 1/2 x 17 1/4 inches

Neil Libbert Born 1938 Neil Libbert has spent fifty-five years as an award-winning photojournalist for the Observer, Guardian and other publications. Born in Salford, Manchester, in 1938, Libbert studied at the Regional College of Art, Manchester, opening his own studio in 1957. From there he joined the staff of the Manchester Guardian, moving to the paper’s London office in 1961. He stayed there until 1965, when he began to work under contract for publications such as The Sunday Times, the New York Times and The Illustrated London News. In 1968 Libbert started freelancing again, and worked as a photojournalist covering a wide variety of subject matter. Until recently he covered performing arts photography for the Observer. Among the variety of celebrated names he has captured over his long career are Winston Churchill, Kingsley Amis, Francis Bacon, George Best, Patrick Lichfield, Helen Mirren and Harold Pinter. Libbert has also earned renown for his street photography and reportage, being recognised for his coverage of the 1981 Brixton riots. In 1999 he was named Nikon News Photographer of the Year and was also the recipient of a World Press Photo Award for his exclusive coverage of the bombing of the Admiral Duncan pub in Soho, London, which made the front page of the Guardian. Libbert’s work about the homeless has received great praise. Libbert’s work has been exhibited at galleries including Stables Gallery, New Mexico, and the Whitechapel Gallery, London. A solo exhibition of his photographs was mounted at the National Portrait Gallery, London, in 2012.

63 Neil Libbert, East 98th Street, Harlem, NY, 1960 Signed, inscribed with title and date, and stamped with â&#x20AC;&#x2DC;Printer Robin Bellâ&#x20AC;&#x2122; ink stamp on reverse Silver gelatin print, printed 2015 Printed on 12 x 16 inch paper

64 Neil Libbert, New Orleans, Louisiana, USA, 1960 Signed and inscribed with title and date on reverse Silver gelatin print, printed 2014, printed on 16 x 12 inch paper

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65 Neil Libbert, New York City, 1960 Signed and inscribed with title and date on reverse Silver gelatin print, printed 2015, printed on 16 x 12 inch paper

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66 Neil Libbert, Greyhound Station, Las Vegas, Nevada, 1960 Signed and inscribed with title and date on reverse. Silver gelatin print, printed 2015, printed on 16 x 12 inch paper

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67 Neil Libbert, News Vendor, New York City, 1964 Signed, inscribed with title and date and stamped with â&#x20AC;&#x2DC;Printer Robin Bellâ&#x20AC;&#x2122; ink stamp on reverse Silver gelatin print, printed 2015, printed on 16 x 12 inch paper

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Nick Danziger Born 1958 Nick Danziger was born in London but grew up in Monaco and Switzerland. He studied at the Chelsea College of Art and gained a Masters in Fine Art. He was awarded a Winston Churchill Memorial Fellowship in 1982 which enabled him to spend 18 months on the ancient Silk Route from Turkey to China, travelling on foot and by traditional local transport, documenting everything he saw in the form of diary entries and photographs. This then formed his first book, Danziger’s Travels in 1987 swiftly followed by Danziger’s Adventures in 1993. His third book was published in 1996 called Danziger’s Britain which inspired his photo-book The British, which won the Best Monochrome Illustrated Book in 2002 and was selected as one of the best photography books of the year by The Sunday Times. This book included Danziger’s ground-breaking studies of Tony Blair and which won him the World Press Photo First Prize. Danziger has been travelling the world for 25 years taking photographs and making documentary films. Most of his work is based on people living in difficult circumstances, particularly young people. In 1996, Danziger adopted three children from an orphanage in Kabul, Afghanistan. In 2007 he was awarded an Honorary Fellowship of the Royal Photographic Society and he holds the Royal Geographical Society’s Ness Award. Danziger has works in public collections including the National Portrait Gallery, London, the National Media Museum, Bradford, and the Gallery of Modern Art, Glasgow.

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68 Nick Danziger, Glasgow, Broken Fire Hydrant, Parkhead, 1994 Signed and inscribed with date Silver gelatin print 11 3/4 x 15 3/4 inches

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69 Richard Avedon, Sunny Harnett and Alla, Evening Dresses by Balmain, Casino, Le Touquet, August 1954 Signed, numbered 17/25, and stamped with title, date and copyright ink stamp on reverse Silver gelatin print, printed 1997, 15 1/2 x 23 1/4 inches From an edition of 25

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Richard Avedon 1923-2004 Richard Avedon’s contribution to photography, particularly fashion and portraiture, was amongst the most far-reaching and influential of any of his contemporaries. The elegance, inventiveness and probing nature of his eye meant that he was in constant demand from the 1940s through to his death in 2004. Equal in stature to his great rival, Irving Penn, Avedon played a key role in developing and defining American visual culture throughout that period. Avedon was born on 15 May 1923, in New York. His father was the proprietor of Avedon’s, a department store on Fifth Avenue, and his mother was from a family of clothing manufacturers, so he was brought up in a wealthy, cultured milieu. As a child he was obsessed with fashion magazines, and would stick clippings from them onto the walls of his bedroom. He was educated at De Witt Clinton High School, and then Columbia University where he studied philosophy. In 1942 he joined the Merchant Marines, and was assigned to the photographic department. Taking thousands of portraits of sailors, he learned skills that would aid him in many aspects of his future career as a portraitist. In 1944, Avedon enrolled at the New School for Social Research in New York, in the class of Alexey Brodovitch – the designer, and art-director of Harper’s Bazaar (1938-58). Brodovitch and Avedon became close, and the latter’s photographs soon began appearing in Junior Bazaar and then, in 1946, in Harper’s Bazaar itself. This was the beginning of a nineteenyear career with the magazine, that catapulted Avedon to the heights of fame as a photographer. With the close patronage of Brodovitch and the magazine’s editor, Carmel Snow, Avedon was given many of the most desirable jobs. Following the lead of earlier photographers such as the Hungarian, Martin Munkácsi, Avedon took his models out of the studio and onto the streets. Many of his images from this Harper’s Bazaar period were taken in and around Paris, with his models placed in glamorous, stereotypical French environments such as cafes and nightclubs.

Whilst becoming one of the most significant fashion photographers of his day, Avedon also simultaneously developed as a portrait photographer, creating some of the most famous celebrity and documentary portraits of the twentieth century. His sitters included Buster Keaton, Judy Garland, Audrey Hepburn, Marlon Brando, the Beatles, Marilyn Monroe, Rudolf Nureyev, Brigitte Bardot, Fred Astaire, Cary Grant, John Huston, and a whole host of celebrated personalities throughout the six decades in which he worked. Whilst pursuing a successful career as a fashion and portrait photographer, Avedon became increasingly involved in projects to photograph the dispossessed and disadvantaged. His early projects included photographing the Civil Rights Movement in the 1960s, and documenting the long death of his father from cancer between 1969 and 1973. In 1978, he was asked by the director of the Amon Carter Museum, Texas, to photograph a series of portraits for an exhibition to be called, The American West. Over the next six years, Avedon spent time travelling around the Western states of the USA in search of subjects. This project confirmed Avedon’s status as a great documentary portraitist. In 1992, Richard Avedon was hired by The New Yorker magazine as its ‘staff’ photographer. A lowly job-title for such a celebrated photographer, it belied a more significant opportunity. Avedon was ostensibly given free reign to photograph whoever and whatever he wanted, and he seized the chance with customary zeal. Over the next decade, he photographed portraits of Saul Bellow, Hillary Clinton, Stephen Sondheim and others, whilst trawling his archive to give the magazine unseen images of Marilyn Monroe, Audrey Hepburn and W.H. Auden. Avedon died on 1 October 2004. He was married twice – first to the model, Dorcas Nowell (1944-49), and then to Evelyn Franklin (19512004), with whom he had one son, John, and four grandchildren.

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70 Richard Avedon, Jean Shrimpton, Toga by Forquet, Paris Studio, August 1965 Signed, numbered 50/50, and stamped with title, date and copyright ink stamp on reverse Silver gelatin print, printed 1981, 23 1/2 x 19 inches From an edition of 50

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71 Richard Avedon, Suzy Parker, Evening Dress by Dior, Paris Studio, August 1956 Signed, numbered 7/50, and stamped with title, date and copyright ink stamp on reverse Silver gelatin print, printed 1981, 23 1/4 x 19 1/4 inches From an edition of 50

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Melvin Sokolsky Born 1933 Melvin Sokolsky was born in 1933 in New York City and raised on the Lower East Side. He had no formal photographic training but used his father’s box camera from the age of ten. Sokolsky began his career at Harper’s Bazaar, after being recruited by the prolific art director, Henry Wolf, at the age of twenty-one. It was for this publication that he produced his most iconic and inventive series in 1963. Known as the ‘bubble’ series, the images depict models floating in giant clear plastic bubbles, apparently suspended in midair over streets in Paris. Sokolsky’s innovative series anticipated the change of language that was to later emerge in fashion photography. The series combines surrealism and the world of high fashion, with a nod to the increasing popularity of street photography. Sokolsky was inspired by a detail from Hieronymus Bosch’s Garden of Earthly Delights, in which a couple appear to be trapped in a bubble emerging from the earth below. Determined to bring this evocative image into reality, Sokolsky set himself the task of building his very own ‘bubble’. It was produced in ten days using Plexiglass and aircraft aluminium, and the design was based on that of a Fabergé Egg. Suspended by an eight-inch aircraft cable, the ‘bubble’ was hoisted above street scenes in Parisian villages and suspended above the Seine, with Sokolsky’s favourite model, Simone d’Aillencourt, encased within. Sokolsky is now celebrated as an important pioneer of illusory fashion photography. He has worked for Vogue and The New York Times, as well as Harper’s Bazaar. He also photographed the entire editorial content of McCall’s Magazine, which was a first for its time. Sokolsky has been awarded twenty-five Clio Awards for his work in the field of advertising. He currently lives in Los Angeles.

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72 Melvin Sokolsky, Over New York, 1963 Signed on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium 37 x 30 inches, from an edition of 25 + 3 aps

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73 Melvin Sokolsky, On the Seine, 1963 Signed on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium 30 x 30 inches, from an edition of 25 + 3 aps

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74 Melvin Sokolsky, Bicycle Street, 1963 Signed on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium 30 x 30 inches, from an edition of 25 + 3 aps

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Peter Lindbergh Born 1944 Peter Lindbergh is one of the most significant and sought after fashion photographers of the past forty years, and was closely associated with the rise of the ‘supermodel’ during the 1980s. Lindbergh was born on 23 November 1944 in Poland, and grew up in a working class family in Duisberg, Germany. His parents were not artistic but he developed a love for art and painting by looking through books, and went on to study painting at the College of Art in Krefeld. He switched his attention to photography in 1971 when he became an assistant to the German photographer, Hans Lux. In 1978 Lindbergh moved to Paris, and within a few years had become one of the most in-demand fashion photographers in the world – an incredible achievement considering his background. His biggest break came in 1988, when the newly appointed editor of American Vogue, Anna Wintour, signed him to the magazine. This was the era of the ‘supermodel’ and Lindbergh became one of the phenomenon’s principal instigators. The ultimate example of this was his 1990 cover for British Vogue that featured Linda Evangelista, Naomi Campbell, Tatjana Patitz, Cindy Crawford and Christy Turlington. Lindbergh has continued to work as a leading fashion photographer in the intervening years, and has been fêted as one the most influential photographers of his generation by critics and museums worldwide. His public exhibitions include the Pushkin Museum of Fine Arts, Moscow (2002) and the Museum of Modern Art, New York (2010). Lindbergh lives between Paris, New York and Arles and had been married twice. He has four children.

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75 Estelle Lefebure, Karen Alexander, Rachel Williams, Linda Evangelista, Tatjana Patitz, Christy Turlington, Vogue U.S.A., Santa Monica, California, 1988 Signed, inscribed with title and date and numbered 2/25 on reverse Silver gelatin print, printed later 19 1/2 x 23 1/2 inches, from an edition of 25

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David Bailey Born 1938 David Bailey has become synonymous with London during the 1960s. As famous as his subjects, and with a voracious appetite for work, parties and his female sitters, he became the principal inspiration for the protagonist of Michelangelo Antonioni’s film, Blow-Up (1966). He and his friends, Terence Donovan and Brian Duffy, were together dubbed the ‘Black Trinity’ by elder rival Norman Parkinson, and represented the young, working-class, heterosexual new face of fashion photography. Bailey was born in Leytonstone, East London, on 2 January 1938 into a traditional, working class family, and experienced a typical wartime childhood. After leaving school at fifteen, he struggled to find a career until he was demobbed from National Service in 1958 and settled on photography. Bailey’s first break was securing an assistant’s job at the studio of John French, the well-known fashion photographer. Later that year he was contracted to Vogue magazine, and became sought after for commissions.

Bailey’s reputation was backed up by a talent for composition that incorporated stark white backgrounds, uncompromising crops, and striking poses. He was to photography what the Rolling Stones were to pop music – his images radiated youth and sexuality, and helped to define the look of British fashion and style during the period. During the early 1960s, his professional and personal relationship with the model, Jean Shrimpton, was a key factor in cementing this fame. Championed by Vogue, Bailey and Shrimpton created numerous, iconic fashion images, and became one of the key celebrity couples of their time. In 1965, Bailey’s celebrated Box of ‘Pin-Ups’, a catalogue of celebrities in London at the time, lent further controversy to his fame as it featured the London gangsters, Reggie and Ronnie Kray. This only fuelled the nation’s appetite for Bailey and, working mostly for Vogue, he became the most famous and influential British fashion photographer of the 1960s.

76 David Bailey, Paul McCartney, 1968 Inscribed ‘Bailey, David, sa productions’ and ‘Mccartney’ in an unknown hand on reverse Silver gelatin contact print, printed late 1960s 10 x 8 inches

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77 David Bailey, Andy Warhol and the Gang Signed and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamps on reverse Silver gelatin print, printed c. 1965 15 1/2 x 10 inches

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78 David Bailey, David Hockney, 1969 Signed, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamps on reverse Silver gelatin print, printed c. 1965 15 1/2 x 10 inches

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Jerry Schatzberg Born 1927 During the 1960s, Jerry Schatzberg captured some of the most iconic and intimate portraits of a generation of celebrated figures. Born in the Bronx, New York, in 1927, Schatzberg studied at the University of Miami before working as an assistant to Bill Hepburn. His fashion photography has been published in Vogue, McCalls, Esquire, Glamour and Life. Schatzberg’s portraits are characterised by their narrative quality, combining emotion and understated actions. Schatzberg never gave specific direction to his subjects, giving them free rein to find their own moment, and allow their personality to come through in his shots. He photographed the most notable artists and thinkers of the 1960s, from Robert Rauschenberg and Andy Warhol through to Jimi Hendrix and Frank Zappa. His most celebrated portraits are those of Bob Dylan, who he photographed for the cover of his album Blonde on Blonde, released in 1966. Schatzberg has said of their relationship: ‘as a photographic subject, Dylan was the best. You just point the camera at him and things happen. We had a good rapport and he was willing to try anything.’ Schatzberg began working as a film director in the early 1970s, during the renaissance of American cinema. His debut was Puzzle of a Downfall Child in 1970, following it in 1971 with The Panic in Needle Park, and Scarecrow, 1973, which shared the grand prize at the 1973 Cannes Film Festival. These films focus on the troubled outsiders in American society – drug addicts, criminals and misfits. These films solidified Schatzberg’s position among the foremost American filmmakers of the 1970s. Schatzberg lives and works in New York City.

79 Jerry Schatzberg, Bob Dylan, 1965 Signed and numbered on reverse Silver gelatin print, printed 2015 Printed on 24 x 20 inch paper, from an edition of twenty

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80 Jerry Schatzberg, Bob Dylan, 1965 Signed and numbered on reverse Silver gelatin print, printed 2015, printed on 24 x 20 inch paper From an edition of twenty

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81 Jerry Schatzberg, Bob Dylan, 1965 Signed and numbered on reverse Silver gelatin print, printed 2015, printed on 24 x 20 inch paper From an edition of twenty

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82 Jerry Schatzberg, Bob Dylan, 1965 Signed and numbered on reverse Silver gelatin print, printed 2015, 50 x 50 inches From an edition of five

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Marc Lagrange Born 1957 Marc Lagrange is a fine art photographer based in Belgium. Born in the Congo in 1957, Lagrange came to photography after a career in engineering, and has since become highly sought after for his exquisitely conceived and executed photogaphs. Often building entire sets to stage his photographs, Lagrange is best known for his sensual and exotic nude studies that are thick with atmosphere and character. The resulting silver and platinum prints are highly detailed, owing to his use large format cameras and, in particular, 8 x 10 inch polaroids. Lagrange has been exhibited worldwide, and has been commissioned by numerous major fashion brands. He has also published several books including Polarized (2009), Diamonds and Pearls (2013) and Hotel Maritime â&#x20AC;&#x201C; Room 38 (2014).

83 Marc Lagrange, Millionaire Woman, 2009 Signed and numbered on reverse Platinum print, printed 2013, 28 x 22 inches From an edition of twelve

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84 Marc Lagrange, Icarus I Signed and numbered on reverse Platinum print, printed 2013, 28 x 22 inches From an edition of twelve

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Kate Moss was born in Croydon, Greater London, in 1974. In 1988, at the age of 14, she was scouted at JFK airport by Sarah Doucas, the founder of Storm Models. That chance encounter was the start of a long and prolific career for Moss, as both model and muse. The Kate Moss Portfolio was produced by Danziger Projects in collaboration with the model herself. The eleven 30 x 24 inch prints celebrate not only the model’s distinctive beauty, but also her range and diversity. Taken by eleven of the world’s leading photographers, the portfolio covers the first fifteen years of the supermodel’s career. The eleven works, chosen by Moss herself, were printed by master printer David Adamson. Each image evokes the distinctive style and artistry of Moss’s favourite photographers, signifying important working relationships and career-defining moments. Mario Sorrenti’s intimate nude portrait was taken when the pair were lovers, right at the start of both of their careers; whereas Chuck Close produced a candid image of the model’s body, just after she had given birth to her daughter, ten years later. The portfolio speaks of Moss’s well-known ability to bring out the best in photographers, and of her incomparable status as the modern muse.

Mario Sorrenti Born 1971 A self-taught photographer, Mario Sorrenti was born in Naples, Italy, in 1971, into an artistic family. Relocating to New York at the age of ten, Sorrenti has been based in the city ever since. He is best known for taking some of the most enduring images of supermodel Kate Moss in the early 1990s. It was this work that caught the attention of art director Phil Bicker, leading to his first advertising commission for Calvin Klein. Sorrenti worked as a model during his youth, and was the subject of photographs by Richard Avedon, Bruce Weber, and Steven Meisel. His earliest photographic projects were extremely personal; he assembled his black and white images of loved ones, including thengirlfriend Kate Moss, into dense diaries. Sorrenti has since worked on editorials for Vanity Fair, Vogue and W and worked on advertising campaigns for Chanel, Prada and Max Mara. Working either in subtle black and white, or bold colour, Sorrentiâ&#x20AC;&#x2122;s work is defined by strong shadows and controlled lighting. He is fascinated by the image-making process and often experiments with unusual and dynamic compositions. Sorrenti has held exhibitions at the Victoria and Albert Museum, London, and the Museum of Modern Art, New York. He lives and works in New York with his wife, Mary Frey, and their two children. 85 Mario Sorrenti, Kate Moss, 1993 Sorrenti was hired to shoot his muse and girlfriend, Moss, for Kleinâ&#x20AC;&#x2122;s Obsession for Men campaign. The pair were sent away to stay in a small holiday house and a remote island together â&#x20AC;&#x201C; and spent days on end shooting together. The subsequent images, portraits of a nude Moss, emphasising her waif-like frame, launched both the careers of model and photographer, and have since become iconic. Sorrenti was fanatical about taking the perfect shot of Moss and the shoot placed a strain on their relationship. They broke up shortly afterward. Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 25 3/4 x 21 1/4 inches

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Glen Luchford Born 1968 Glen Luchford is a highly respected British fine art and fashion photographer and film maker. Born in 1968 in Brighton, Luchford left school and moved to London at the age of 15. In London he worked in a hair salon. Luchford first signed up with the New York agency, Art and Commerce, and then went on to sign exclusively for Prada in 1997. He subsequently worked on a range of high profile advertising campaigns for clients including Yves Saint Laurent and Calvin Klein. His work is frequently featured in Vogue, Harper’s Bazaar, LOVE, Dazed & Confused and Vanity Fair. Luchford was one of the first photographers to work with Kate Moss in the early years of her career. His shots of the young model on the streets of New York show her high-spirited, boisterous character. He has also photographed many cultural figures including Dennis Hopper, Madonna and Björk. He is known for his highly constructed, cinematic staging and dramatic lighting. His 2001 film Here to Where about a man stranded in an airport was nominated for the Michael Powell Award at the Edinburgh International Film Festival. Luchford gained international acclaim from his collaborative project, Closed Contact, undertaken with the British artist, Jenny Saville. Luchford referenced Saville’s large scale paintings of nudes in his photographs of the artist’s body. Conceived to challenge perceived ideas about female beauty, the series was shown at Gagosian Gallery; the Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

86 Glen Luchford, Kate Moss, 1994 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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87 Terry Richardson, Kate Moss, 1994 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010, 25 3/4 x 21 1/4 inches

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Terry Richardson Born 1965 Terry Richardson is a controversial American fashion photographer, famous for sexually charged studio sessions and an edgy, ‘amateur’ aesthetic that can be likened to brightly-lit studio snapshots. Often featuring naked or semi-naked models and celebrities, this confrontational, hard-hitting style borrows from a wide range of influences, from pornography to Andy Warhol. It has won him legions of fans, a $160,000 per day fee, and an unsavoury reputation that he has repeatedly denied. He is also well-known for his explicit personal photography that has been exhibited in several major galleries and has been published by Taschen. Richardson was born on 14 August 1965 to Bob Richardson, a celebrated fashion photographer, and Norma Kessler, an actress. His early family life was jet-set but dysfunctional, and included an early exposure to drugs, mental-health issues and his father’s suicide attempt. Richardson’s parents divorced when he was four and he lived with his mother, first in New York City and then Woodstock. He recalls a creative and artistic environment that included music and museums, but also a darker side. His mother’s lovers included Jimi Hendrix and Kris Kristofferson, and he would often be left alone at night while she went out. His father meanwhile was living in Los Angeles and dating the seventeen-year-old Angelica Huston. In a 2014 profile in New York magazine Richardson recalls staying with his father and having to listen to him having sex with Huston every day. For twenty years he had very little to do with his father, who subsequently sank into depression and homelessness. In the early 1970s Richardson moved to California with his mother and her new husband, the Beatles protégé, Jackie Lomax. They eventually settled in Ojai after she suffered mild brain damage in a car accident on the way to collect him from therapy. At about the same time his step-father’s record contract fell apart and the family began to struggle financially. Richardson attended Hollywood and Nordhoff high schools and was a predictably troubled teenager. He set about becoming a punk musician, and also began experimenting with photography, taking pictures of his friends and their unorthodox lifestyles.

In 1994 Richardson moved to New York and began to seek a photography career in earnest. He enjoyed a temporary reconciliation with his father, who advised him about how to approach editors and even proposed that they work together as ‘The Richardsons’. A few magazine shoots resulted but it quickly fell apart due to his father’s difficult nature. Now on his own, Richardson found early success with Vibe magazine. This helped him land an advertising campaign with British designer, Katherine Hamnett. The resulting pictures, featuring cavorting models and pubic hair, won Richardson an early notoriety and the attention of the fashion industry. He was hired by Tom Ford at Gucci, then Sisley – for whom he photographed a smiling model’s face being splashed with milk from a cow’s udder – and was soon photographing regularly for magazines include The Face, I.D., GQ, and Rolling Stone. Although he was popular for his wild images, the fashion industry also liked him because he was punctual, fast, professional and humble, a reputation that has since been eclipsed by his wider notoriety. Richardson’s signature style, which often simply features a flashlit model against a white wall, marked him as one of a generation of photographers rebelling against the over-stylised fashion pictures of the 1980s. His pictures are gritty, messy and full of upbeat energy. Another of his trademarks is to feature himself next to the models with his thumbs up, wearing the same untucked lumberjack shirt, big plastic glasses, and cheerful expression. Today Richardson remains one of the fashion industry’s most influential photographers, and he has developed an extraordinary archive of images featuring many of the celebrated models and cultural icons of the last 20 years, including Barack Obama. Openly celebrating his own sexually promiscuous lifestyle, he has courted significant controversy. While Richardson has never denied that his studio is a more louche environment than most, he has always vehemently opposed any suggestion that models have been coerced or forced into inappropriate situations against their will. He has been publicly supported by various well-known names. Richardson lives and works in New York.

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Bruce Weber Born 1946 Bruce Weber was born in rural Greensburg, Pennsylvania, in 1946. A prolific photographer, Weber has worked on numerous iconic fashion campaigns, and shot for several major fashion publications. Initially studying theatre studies in Ohio, Weber moved to New York in the early 1960s to pursue film direction. It was only after receiving encouragement from acclaimed American photographer Diane Arbus, that Weber joined the New School for Social Research, studying under Lisette Model.

Weber’s photographs are held in the permanent collections of the Victoria and Albert Museum, London, and the Museum of Modern Art, Paris. Alongside his photographic work, Weber has produced a number of films, including the Oscar-nominated Let’s Get Lost, released in 1988. Weber is married to Nan Bush, his agent, with whom he sometimes collaborates. He lives and works in Miami.

Weber had his first solo exhibition at Razor Gallery, New York, in 1974, and soon after began photographing advertisements and commercials for Ralph Lauren and Calvin Klein. By 1982 he was credited by The New York Times as one of the pre-eminent fashion photographers of the time, in a list including names such as Helmut Newton and Irving Penn.

Weber shot the young Kate Moss in 1997, for the second, and last, issue of Joe’s Magazine, published in 1998. Joe’s paid little attention to celebrities or advertisers, and became a short-lived platform for photographers to experiment. Weber’s series features a nude Moss, aged 23, cavorting and laughing with two young children; together the three roll in the shallows of the sea and blow bubbles in a grassy garden. The images are not retouched: Sam Shahid, the layout designer for Joe’s said ‘we didn’t fool around with the images much, this magazine didn’t have to worry about what anyone thought, so we could focus on the quality of the pictures rather than what was shown in them.’ Weber’s images of Moss were joyous, and revelled in the laughter and youth of the subjects. Weber has said ‘I have always been attracted to the innocence in people because I feel like it’s the thing that most reveals them.’

Weber almost exclusively photographs in black and white, and prefers to use natural light and natural settings. He has become renowned for his images that celebrate youthful masculinity and the male form. In the late 1980s, his campaigns for Calvin Klein and Ralph Lauren featured male athletes, Tom Hintnaus and Andy Minsker, pioneering the ‘all-American’ idealised athletic look that was to prevail in throughout the 1990s.

88 Bruce Weber, Kate Moss, Golden Beach, Florida 1997

Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 25 3/4 x 21 1/4 inches

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89 Annie Leibovitz, Kate Moss for â&#x20AC;&#x2DC;American Vogueâ&#x20AC;&#x2122;, October 1999 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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Annie Leibovitz Born 1946 Annie Leibovitz is a leading American photographer who is best known for her elaborately staged celebrity portraits. Over forty years, principally working for Rolling Stone and Vanity Fair, Leibovitz has conceived and executed hundreds of cover pictures that have often become their subject’s defining image. Born in Connecticut on 2 October 1949, Leibovitz was the third child to Marilyn and Samuel Leibovitz. Her mother was a dance instructor, and her father was a lieutenant colonel in the US Air Force. At Northwood High School she developed an interest in art, and so went on to study painting at the San Francisco Art Institute.

In 1983 she moved from Rolling Stone to Vanity Fair, having been hired by its hotshot female editor, Tina Brown. New to the role herself, Brown set about reinvigorating the magazine with better journalism and photography, the latter being provided by Leibovitz and other photographers such as Harry Benson and Helmut Newton. As a project it was a huge success, and Brown took readership up from 200,000 to 1.2 million.

In 1970 Leibovitz photographed Allen Ginsberg at a peace rally, and submitted them to Rolling Stone magazine. The art editor was so impressed that he introduced her to the magazine’s founder, Jann Werner. A year later, after she had graduated from college, Werner hired Leibovitz on a permanent contract. Within three years she was the chief photographer.

During this process Leibovitz became one of the most celebrated photographers in the world. The magazine would finance exceptionally complicated and expensive shoots that involved huge quantities of equipment and dozens of crew being flown around the world. Leibovitz rarely focused on the bottom-line, and instead pursued the perfect shot, whatever the cost. She photographed a host of stars and many of these often elaborately conceived images, such as Arnold Schwarzenegger on skis at the top of an Idaho ski-slope, or Whoopi Goldberg in a bath of milk, helped to grab the attention of customers in newsagents around the world.

A glittering early career followed which included two years on tour with The Rolling Stones from 1975, and an exhausting schedule producing covers for the magazine on a bi-weekly basis. This resulted in portraits of numerous musicians and celebrities, many of which have since become iconic – none more so than her 1980 cover featuring a naked John Lennon and a fully clothed Yoko Ono embracing on the floor

Leibovitz has continued to work for Vanity Fair ever since, although she also began a relationship with Vogue in 1998. She has become known in more recent years for her dramatic cover and spreads for Vanity Fair’s annual ‘Hollywood’ Issue. Despite being one of the world’s highest paid photographers, Leibovitz encountered financial difficulties in the late 2000s and was forced to refinance her debts by offering her entire archive as security.

As her career progressed she became known for her fanatical attention to detail and vigorous work ethic. Leibovitz would regularly exhaust her subjects with long, drawn-out shoots, often late into the night. She would continue until she felt she had ‘got the shot’, often enabling her to tease out something of her subject’s true personality in the process. Leibovitz’s personal style also developed from politically engaged photojournalism in the early years to a more polished, lighthearted, intimate portraiture by the late 1970s. It was to be the look that became associated with Rolling Stone, and one that she would develop further working for other magazines in the 1980s and 90s.

Leibovitz has had retrospectives in museums and galleries around the world, and her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), and Pilgrimage (2011). Leibovitz was in a long-term relationship with the writer and intellectual, Susan Sontag, until Sontag’s death in 2004. She has three children, and lives in New York.

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Juergen Teller Born 1964 Juergen Teller’s photography is provocative and raw. His photographs often look snapsnot-like, although he received rigorous formal training at Munich’s Bayerische Staatslehranstalt für Photographie in the 1980s. Born in Erlangen, Germany in 1964, Teller moved to London in 1986. He found his first success in England shooting for magazines i-D and The Face. He has since successfully worked as both a commercial and fine art photographer, excelling in both fields. Teller has created innovative and sometimes challenging advertising campaigns for designers such as Yves Saint Laurent, Vivienne Westwood and Céline. In 2003, Teller himself posed naked for the designer Marc Jacobs’ campaign. Whether commercial or personal, Teller’s work is often over-exposed and harshly lit as he shoots his subjects using two Contax G2 cameras with on-board flash – one in each hand. He never uses digital, and

never retouches his images. They tend to be carefully staged, although never posed. He has taken several candid images of Kate Moss, often without makeup, lounging, laughing, and with cigarette in hand. He says of working with the supermodel, ‘she is a free spirit, she enjoys being photographed. We are both open-minded and enjoy each other’s company. I let her be her; I have ideas; she tries things out; we play around – we have fun taking photographs.’ Teller was awarded the 1993 Photography Prize at Festival de la Mode, Monaco, and the 2003 Citibank Photography Prize in association with the Photographer’s Gallery. His work has been shown at Tate Modern, and the Victoria and Albert Museum, London, and the Museum of Modern Art, New York. In 2007, Teller represented Ukraine at the 52nd Venice Biennale. The Institute of Contemporary Arts, London held a retrospective of the artist’s work in 2013. Teller lives and works in London.

90 Juergen Teller, Kate Moss, 2000 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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Chuck Close Born 1940 Chuck Close is a celebrated contemporary artist, respected for challenging the boundaries of portraiture. Born in Monroe, Washington, on 5 July 1940, Close started taking art lessons when he was eight years old. Three years later his father died of a stroke and a strained relationship developed between Close and his mother. Growing up, he was closest to his grandmother. Close attended the University of Washington, Seattle, and then won a scholarship to the prestigious Yale Summer School of Art and Music in 1961. He went on to work as an art teacher at the University of Massachusetts before moving to New York City and settling in SoHo in 1967. Close works in both painting and photography to produce powerful portraits and studies of the human face. He is known for his varied use of media and works with watercolour, etchings, woodcuts, silkscreens and tapestry as well as outmoded photography methods

including Polaroid and daguerreotype. Close’s portraits frequently distort or alter the human face whilst maintaining a high level of realism. Often working from photographs, he creates paintings that consist of grids filled with rings of colour that add up to a highly naturalistic effect when viewed from the appropriate distance. In 1988 a rare spinal artery collapse left Close severely paralysed and bound to a wheelchair. He continued working after what he refers to as ‘the Event’ by painting with a brush strapped to his wrist. Close also suffers from prosopagnosia, also known as ‘face blindness’, meaning that he does not recognise three-dimensional faces. He has hinted that this was one of the reasons behind his focus on portraiture. Close was awarded the National Medal of Arts by President Clinton in 2000 and is a member of the American Academy of Arts and Letters. He sits on the President’s Committee on the Arts and the Humanities.

91 Chuck Close, Kate Moss, 2008 Close photographed Kate Moss in 2003 for W magazine. Using daguerreotype, the nineteenth-century process, allowed him to retain a rich level of detail in his shots. Close also recreated his photographs of Moss as jacquard tapestries. Moss had recently given birth to her daughter but Close recalls that she did not betray any selfconsciousness in front of the camera. ‘Usually when I’m doing a nude, they immediately put a robe on the second I’ve taken the picture,’ he said, ‘but she sat there for hours naked and talking, so very comfortable. It was quite amazing.’ Moss was delighted by Close’s candid shots of her face and body. ‘I thought my pictures of Kate were rather rough,’ he said, ‘but she loved them. She said, “I’ve had enough pretty pictures taken of me”.’ Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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David Sims Born 1966 David Sims is a leading British fashion photographer who made his name with several innovative campaigns in the 1990s. Sims was born in Sheffield in 1966 and began his photographic career in the early 1980s by assisting the photographers Robert Erdmann and Norman Watson. In 1985 he began working for i-D magazine where he developed a minimalist and stark aesthetic. Then, in 1993 he photographed a groundbreaking campaign for Calvin Klein which featured a young Kate Moss. This series of photographs helped to propel both of them to stardom, and contributed to Sims being named ‘Young Fashion Photographer of the Year’ at the Hyeres Film and Photography Festival in 1994, and again in 1996. Following this success Sims has gone on to work for virtually every major fashion magazine including British and US Vogue, The Face, Arena, Dazed+Confused and Harper’s Bazaar – to which he has been exclusively contracted for periods of the 1990s and 2000s. He has also worked on campaigns for fashion brands such as Alexander McQueen, Balenciaga, Valentino and Stella McCartney. Sims lives in Cornwall with his wife, the fashion designer Luella Bartley, and their two children.

92 David Sims, Kate Moss, 2008 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 25 3/4 x 21 1/4 inches

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93 Inez van Lamsweerde and Vinoodh Matadin, Kate Moss, 2007

Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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Inez van Lamsweerde and Vinoodh Matadin Born 1963 / 1961 Both born in Amsterdam, the Netherlands, Inez van Lamsweerde (born 1963) and Vinoodh Matadin (born 1961) are a fashion photographer duo known for their striking celebrity portraits and radical fashion photography. The pair met whilst studying at the Art Academy, Amsterdam, and have worked together since 1986. In 1992 a year-long residency awarded to van Lamsweerde by PS1 Contemporary Art Center, New York, marked the beginning of the pair’s fascination with digital techniques and computer manipulation. In a breakthrough story in British style magazine, The Face, in April 1994, the duo digitally superimposed their own photographs onto backgrounds purchased from an image bank. The resulting imagery was surreal and unsettling, and launched their international career. The darkly glamorous tone pre-empted the end of the ‘grunge’ aesthetic that had prevailed in fashion photography during the early 90s, and earned the duo multiple editorial commissions from fashion magazines Visionaire and Vogue, alongside an advertising campaign for Vivienne Westwood. The couple moved permanently to New York in 1995 and married in 1999. When they started their collaboration, Matadin was credited as the stylist and van Lamsweerde as the photographer. It was only in America, when they began shooting for Vogue, that the couple began to use a joint credit. They have since worked regularly

for such magazines as Vanity Fair, Harper’s Bazaar, i-D and The Gentlewoman. As well as their editorial works, van Lamsweerde and Matadin are celebrated portrait photographers. Van Lamsweerde and Matadin’s portraiture has moved away from their earlier interest in digital manipulation, but shows a preoccupation with extreme gesture, expression and playful pose. The photographers often enlist the help of a professional choreographer to help their subjects relax and move more fluidly. On set, the couple photograph their subjects simultaneously from different angles; van Lamsweerde tends to shoot head-on, while Matadin moves around the subject. Having now worked together for 25 years, there is hardly any verbal communication between the two on set. The duo have photographed the supermodel Kate Moss on numerous occasions; as a Greek goddess for W Magazine in 2006, and sporting a false beard in 2005 for Marc Jacobs. In 2010, they filmed the model on set without her knowledge and turned the voyeuristic footage into a campaign for the fashion house Balmain. Van Lamsweerde and Matadin’s work has been exhibited internationally and 2013 saw their work exhibited at Gagosian Gallery, Paris. The couple live and work in New York City with their son.

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Mario Testino Mario Testino is a world-renowned Peruvian fashion photographer, famed for photographing the Royal Family, Kate Moss, Naomi Campbell and Madonna. Testino was born on 30 October 1954 in Lima, Peru, into a middle class Catholic family as the eldest of six children. As a child Testino excelled in maths and consequently went to study economics firstly in Lima and then in San Diego, California. On campus Testino was well known for wearing pink flares and platform-heeled shoes. Deciding to go to London to study photography in 1976, Testino assisted in the studios of John Vickers and Paul Nugent. He worked as a waiter and lived in a disused hospital notorious as the location for huge parties. First published in Vogue in 1983, through the course of the 1980s and 90s Testino became the most sought after fashion photographer in the industry. Testino is credited with injecting creative energy into many advertising campaigns of fashion houses including Gucci, Burberry, Dolce and Gabbana, Valentino and Versace. Editor-in-chief of American Vogue, Anna Wintour, said that ‘fashion photography is this uneasy mix of art and commerce and I think nobody understands this better than Mario’. Testino’s frequent work with Kate Moss is credited with enhancing her supermodel status. He first photographed Moss when she was 16. ‘With some models you can fall asleep’, he has said, ‘but a day with Kate is always a memorable day.’

Born 1954

Testino’s most popular portraits include those of the Royal Family, particularly his 1997 series of Diana, Princess of Wales. He was also the official photographer for the engagement photographs of the Duke and Duchess of Cambridge. He cites the legendary British photographer, Cecil Beaton, as a key influence on his work. Similarly to Beaton, Testino’s success lies in his unashamed escapism and love of glamour combined with a desire to capture the essential personality of his sitters, a style which has become known as ‘luxury realism’. His exhibition Portraits at the National Portrait Gallery, London, in 2002 showed over 100 photographs and became the museum’s most visited exhibition in its history. The exhibition then went on a four year worldwide tour. Curator of Photography at the National Portrait Gallery, London, Terence Pepper, has described Testino as the ‘John Singer Sargent of our times’. Although sometimes criticised for enhancing celebrity obsession, Testino has been compared favourably to court portraits like Hans Holbein and Joshua Reynolds. Testino has undertaken extensive charity work and as a Save the Children ambassador has raised funds to build a playground in a Moscow children’s hospital. He also donated a sitting at Elton John’s White Tie and Tiara Ball to raise $1.8million for AIDS charities. In 2014 Testino was presented with an honorary OBE in recognition of his services to photography and charity.

94 Mario Testino, Kate Moss, 2008 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 25 3/4 x 21 1/4 inches

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Mert and Marcus Born 1971 / 1971 Mert Alas and Marcus Piggott are two fashion photographers who work together under the soubriquet Mert and Marcus. As a duo they have photographed many of the most significant fashion campaigns of the last fifteen years, and are known for their sophisticated and contemporary style. The pair met in Hastings in 1994, and began a romantic relationship that then blossomed into a professional one as their combined love of photography developed. Both had travelled to England to work in the fashion industry â&#x20AC;&#x201C; Alas from Turkey and Piggott from Wales. After a period of experimentation the pair began to approach magazines through friends and contacts, and succeeded immediately by landing the cover of Dazed+Confused magazine. Since then, Mert and Marcus have become some of the most innovative yet dependable fashion photographers in the industry and have worked for major magazines such as Interview, Love, American Vogue, and Arena. They are particularly known for their pictures of women and have photographed many of the most famous stars of recent years including Kate Moss, Gisele Bundchen and Scarlett Johansson.

95 Mert and Marcus, Kate Moss, 1993 Signed and numbered 2/30 on reverse Archival pigment print, printed 2010 21 1/4 x 25 3/4 inches

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Established in 2012, Amana Salto is a printing and publishing company based in Kaigan, Tokyo, specialising in the platinumpalladium printing process. Working with a host of internationally renowned artists, Amana Salto has played a vital role in the revival of platinum printing. Platinum printing is one of the oldest printing techniques. Invented at the end of the nineteenth century and used into the earlier twentieth, it was the preferred printing method of masters Alfred Stieglitz, Edward Steichen and Paul Strand. It went out of fashion, however, with the arrival of the silver gelatin print. The unparalleled aesthetic merit of the platinum print has recently led to its long-overdue revival. The following selection of prints shows the exceptional level of craftsmanship and technical innovation involved in the modern platinum process. The four artists â&#x20AC;&#x201C; Bohnchang Koo, Ishiuchi Miyaki, Toshiko Okanoue and Keiichi Tahara â&#x20AC;&#x201C; have all created platinum portfolios that highlight tonal subtleties and contrast.

The Platinum Process A light sensitive solution containing platinum and palladium salts is brushed onto 100% cotton paper. The paper is dried and exposed, in contact with the enlarged negative, to ultra-violet light. The exposed paper is then developed so that the metal salts are reduced back to a metallic state to form an image, before it is put through a series of clearing baths. This results in a final print that consists of metal particles embedded in the fibres of the paper. As it does not react to other metals, platinum is a very stable element. This makes it the most archival method of printing photographs. Properly preserved, a platinum print should last for thousands of years.

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Bohnchang Koo Born 1953 Bohnchang Koo was born in South Korea in 1953, and has become one of the leading figures in Korean photography. He studied photography at the Fachhochschule in Hamburg, Germany, in the mid 1980s where he developed a practice concerned with the passing of time, history and transcience. He is also an influential teacher who has taught at various international universities including the Seoul Institute of the Arts, Korea, and Central Saint Martins, London. Bohnchang Kooâ&#x20AC;&#x2122;s most recent project is Vessel in which he travelled to various museums around the world in search of ceramics from the Korean Joseon dynasty â&#x20AC;&#x201C; a type of porcelain that is celebrated in the history of folk art. These bowls, vases, and pots are famous for an elegant and restrained appearance that valued form over decoration. Bohnchang Koo sought to convey this in his paired down compositions that emphasise shape and surface. He also focused on the details and flaws that have become part of the history of the objects. In a broader sense this project reunites a Korean national treasure that has been dissipated around the globe.

96 Bohnchang Koo, White Vessels (JM 01-2), 2006 Signed and numbered Platinum palladium print, printed 2015 Printed on 20 x 24 inch paper From an edition of two

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97 Bohnchang Koo, White Vessels (JM 09), 2006 Signed and numbered. Platinum palladium print, printed 2015, printed on 14 x 11 inch paper From an edition of two

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98 Bohnchang Koo, White Vessels (JM 05-1), 2006 Signed and numbered Platinum palladium print, printed 2015, printed on 14 x 11 inch paper From an edition of two

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99 Bohnchang Koo, White Vessels (JM 10), 2006 Signed and numbered Platinum palladium print, printed 2015, printed on 14 x 11 inch paper From an edition of two

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Ishiuchi Miyako Born 1947 Having considered giving up photography several times in her earlier career, Ishiuchi Miyako has gone on to become one of the most critically acclaimed contemporary Japanese photographers. Ishiuchi was born on 27 March 1947 in Kirya-City, Nitta District, but grew up in Yokosuka, Kanagawa. Her parents met during the war after her mother’s first husband was declared missing, presumed dead. Her mother discovered whilst she was still pregnant with Ishiuchi that her first husband was in fact still alive. Their divorce was made official the same year that Ishiuchi was born. When Ishiuchi was six, the family moved from their small rural town to Yokosuka, a sprawling port city south of Tokyo, near Yokohama, where they lived in a small studio apartment in a poor neighbourhood. During the 1950s Yokosuka became the homeport of the United States Seventh Fleet, serving as a vital naval based during the Korean War and the Vietnam War. The US servicemen stationed in Yokosuka were notorious for heavy drinking and prostitution and the maledominated town profoundly affected Ishiuchi’s early work. She was frightened of Dobuita Dōri (Gutter Alley), the main street full of bars and brothels, having been told that she would be raped if she went there. She would recall associating it with the smell of semen. Disillusioned by Yokosuka, Ishiuchi left as soon as possible to go to university to study design. She failed her first year coursework and transferred to the textiles department. Notably, much of her photography centres on themes of clothing and texture. Involved in the student protests of 1968, in 1970 Ishiuchi formed a women’s liberation group with fellow students. She left university in her final year, just before she was due to graduate. In 1975 Ishiuchi received a gift of some photographic equipment that had belonged to her boyfriend’s aunt. She set up a darkroom in her parents’ home and began a project to photograph the streets of her hometown that had exerted such a powerful influence on her as a child. Her study of Yokosuka would result in her trilogy of projects: Yokosuka Story, Apartment and Endless Night. The projects challenge

the idea of the ‘new Japan’, thought of as the post-war era of peace and prosperity. Her work was featured in a group exhibition of ten women photographs Hyakkaryōran (‘Riot of Flowers’) in 1976 and she went on to win the Kimura Ihei Memorial Photography Award for the series Apartment the same year. At this time the style of photography known as are, bure, boke (‘rough, blurred, out-of-focus’), as practiced by Daido Moriyama and other photographers associated with the avant-garde magazine, Provoke, was popular in Japan. Using the heavy grain produced by overdeveloping underexposed negatives, practitioners of the style sought gritty realism in order to show things ‘the way they are’. Deeply influenced by are, bure, boke, Ishiuchi’s early work revels in the fact that the photograph is made up of grains. However, unlike her contemporaries, Ishiuchi’s love of the photograph’s grain relates to its similarity to the grain of textiles. Her practice embraces the visceral quality of the chemical transformations intrinsic to the creation of photographs. Ishiuchi’s work often addresses ideas of age and the manifestation of time on the body. One photograph led her to photograph the hands and feet of women born in the year of her birth whilst in another, entitled Mother’s, she documented the scars of her mother’s body. Although driven by her own personal history, Ishiuchi’s work speaks of the far-reaching effects of the war on Japanese society. In her series Hiroshima she photographed the clothing and objects left behind in the wake of the atomic bomb. As Amanda Maddox has said, Ishiuchi’s ‘identity is defined by war and steeped in myth’. Continuing with the themes of time, clothing and the body, Ishiuchi undertook a series in 2013 entitled Frida in which she photographed the clothes and personal effects of the Mexican artist, Frida Kahlo. Ishiuchi represented Japan at the Venice Biennale in 2005 and has been the subject of numerous exhibitions worldwide. In 2014 she received the Hasselblad Foundation International Award in Photography and in October 2015 a major exhibition of her work took place at the J. Paul Getty Museum, Los Angeles.

100 Ishiuchi Miyako, Club & Courts, #72, 1988-90 Signed and numbered Platinum palladium print, printed 2015, printed on 20 x 24 inch paper From an edition of eight

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101 Ishiuchi Miyako, Club & Courts, #18, 1988-90 Signed and numbered Platinum palladium print, printed 2015, printed on 20 x 24 inch paper From an edition of eight

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Toshiko Okanoue Born 1928 Born in 1928, in Kochi, Japan, Toshiko Okanoue grew up in Tokyo. She began to make photo collages while she was studying fashion design and drawing in Bunka Gakuin in the early 1950s. When she first began working, she had very little art historical knowledge, and knew nothing of the Surrealist movement. In post-war Japan, a shortage of goods and materials meant the country was flooded with commodities from foreign countries. Okanoue used fragments from Western fashion magazines such as Life, Harper’s Bazaar and Vogue, to create radical compositions combining body parts, animals and inanimate objects in dynamic arrangements. Although the component parts of her collages originated from Western sources, Okanoue herself regarded her technique of image making as deeply rooted in Japanese tradition. She thought of her works as a form of hari-e (‘hari’ meaning pasting and ‘e’ meaning a picture in Japanese), a traditional Japanese technique of making pictures by pasting small pieces of coloured paper onto pasteboard.

It was only in 1952, upon meeting the poet and artist Shuzo Takiguchi, that Okanoue found her own place in art history. Takiguchi was a leading figure of the Surrealist movement in Japan, and introduced Okanoue to the works of the famous Surrealist, Max Ernst, whose style had a decisive influence on her. During the subsequent six years, Okanoue produced over 100 works. Her collages remained idiosyncratic and dreamlike in their juxtaposition of contradictory imagery. In 1953 and 1956, she held solo exhibitions at Takemiya Gallery, Tokyo. However, as with many Japanese women of this era, her marriage in 1957 ended her artistic career. Okanoue returned to her hometown of Kochi, where she now lives. She is married to the painter Fujino Kazutomo. Her work faded into obscurity and was overlooked for almost 40 years. However, it was rediscovered by the curator of the Tokyo Metropolitan Museum of Photography in the mid 1990s, and has since gained recognition for its contribution to the Japanese avant-garde. In 1996 her works was shown in Meguro Museum of Art, and has subsequently been collected by the Museum of Fine Arts, Houston, and the Museum of Modern Art, New York.

102 Toshiko Okanoue, Visit in Night, 1950 Signed on photographer’s label on reverse Platinum palladium print, printed 2015 17 x 14 inches From an edition of ten

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103 Toshiko Okanoue, Fantasy, 1953 Signed on photographerâ&#x20AC;&#x2122;s label on reverse Platinum palladium print, printed 2015, 17 x 14 inches From an edition of ten

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104 Toshiko Okanoue, A Trait Angel, 1954 Signed on photographerâ&#x20AC;&#x2122;s label on reverse Platinum palladium print, printed 2015, 17 x 14 inches From an edition of ten

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105 Toshiko Okanoue, Modern History, 1956 Signed on photographerâ&#x20AC;&#x2122;s label on reverse Platinum palladium print, printed 2015, 17 x 14 inches From an edition of ten

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Keiichi Tahara Born 1951 Keiichi Tahara is a Japanese photographer who is renowned for his exploration of light through photography, installation and conceptual art. Born on 20 August 1951 in Kyoto, Japan, Tahara learnt about photography as a child from his grandfather, who was a professional photographer. Tahara tells of how he was travelling in France in 1972 with a theatre troupe as a lighting technician when he encountered a sharp, bright light in an attic space. Not used to finding such a quality of light in Japan, he was inspired and spent the next thirty years in Paris, practicing as a photographer. Tahara’s first series, Ville (1973-6) concerned the light in Paris, which he considered particular to the city. This was followed by Fênetre (1973-80) for which he won the Best New Photographer Award at Les Rencontres d’Arles. Through the 1990s, Tahara’s work developed to include sculpture and urban light installation. His light sculpture, Garden of Light (1989) in Eniwa, Hokkaido, explores the connection between light and sound as it responds to music. In 1993 his installation in the moat of the Castle of Angers, Fighting the Dragon, was the first light sculpture in France. Despite the breadth of Tahara’s practice, it always centres on the interrelation of light and solid object. As the famed French theorist, Félix Guattari, says in his essay ‘Les machinations de lumière de Keiichi Tahara’, ‘no matter what means of expression Keiichi Tahara appropriates in his works, they are always premised on their reconstruction as light and shadow… these works are constantly inflected as they perennially shift and transform’. Tahara’s light sculptures are installed at permanent locations worldwide but his work has also been extensively exhibited by museums. In 1993 he was made a Chevalier of the French Order of the Arts and Letters. A major retrospective, Keiichi Tahara ‘Sculpteur de lumière’, was held at the Maison Européenne de la Photographie, Paris, in 2014.

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106 Keiichi Tahara, In-between, 2014 Signed on case Set of 18 platinum palladium prints Printed on 8 x 10 inch paper From an edition of fifty

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Tim Flach Born 1958 Tim Flach was born in 1958 in London. He first took up photography at the age of 18 during his one-year foundation course. Flach went on to study Communications Design at the North East London Polytechic from 1977 to 1980 and then Photography and Painted Structures at Saint Martin’s School of Art from 1982 to 1983. Flach has three major bodies of work; Dog Gods focuses on the diversity of dog breeds, More Than Human uses principles of human portraiture to explore whole range of animal species, and Equus is a comprehensive photographic study of horses. Equus falls into three categories; the first contains a range of close-up, conceptual studio portraits, the second explore the horses in relation to location, and the third explores the relationship between horses and humans. In his studio work, Flach creates deliberately ambiguous close-ups of his subjects. He has stated that his images ‘aim to illuminate… the relationships between human and non human animals – to make an enquiry into how these relationships occupy anthropocentric space within the contexts of ethics, history, science and politics.’ Flach often titles his images with the animals’ given ‘human’ names, to evoke notions of the time and emotion devoted to these captive animals, such as Jambo the Chimp, Sméagol the Raven, and Hassan the Arabian horse. Flach has contributed to National Geographic, Smithsonian Magazine, The Sunday Times, The New York Times and New Scientist. He is an Honorary Fellow of the Royal Photographic Society and has work in several major collections, including the National Media Museum, Bradford. He lives and works in London, with his wife and son.

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107 Tim Flach, Spirit, 2011 Signed on reverse Digital c-type, mounted on aluminium, printed 2015 38 x 48 inches, from an edition of five

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108 Tim Flach, Kinda Ready, 2007 Signed on reverse Digital c-type, mounted on aluminium, printed 2015 Printed on 55 x 48 inch paper, from an edition of five

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109 Tim Flach, Danteâ&#x20AC;&#x2122;s Neck, 2010 Signed on reverse Digital c-type, mounted on aluminium, printed 2015 Printed on 24 x 20 inch paper, from an edition of twenty-five

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Michael Kenna Born 1953 Michael Kenna was born in 1953 in Lancashire, England, into an Irish Catholic family. From an early age Kenna aspired to be a priest and, aged eleven, began studying at a seminary school. However, art quickly became his strongest subject and at the age of 17 he enrolled at Banbury School of Art in Oxfordshire. He studied painting and then photography, before going on to pursue a degree in photography at the London College of Printing. Initially Kenna concentrated on commercial photography, however he soon turned to landscape after seeing the work of Bill Brandt, Josef Sudek, Eugène Atget and Alfred Steiglitz. In 1977 Kenna moved to San Francisco where a number of galleries started to exhibit his work. He quickly settled into life in California where he lived and worked as a photographer for over thirty years. Kenna looks for interesting compositions and arrangements within the natural landscape. He is drawn to certain times of day and night, preferring to photograph in the mist, rain and snow. Working solely in black and white, he has said: ‘I prefer suggestion over description. The world is pretty chaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding and/or creating calm shelters from the storm, places where quiet and solitude is encouraged and inner contemplation possible. I think we could all use a break from time to time...’ His photographs are held in permanent collections at the Bibliothèque Nationale, Paris, the National Gallery of Art, Washington DC, Tokyo Metropolitan Museum of Photography, and the Victoria and Albert Museum, London. Kenna currently lives in Seattle, with his wife and children. 110 Michael Kenna, Afternoon Light, Shibeca, Hokkaido, Japan, 2004 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print, 8 x 7 3/4 inches From an edition of forty five

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111 Michael Kenna, Sakurajima Volcano, Kagoshima, Kyushu, Japan, 2002 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp on reverse, sepia toned silver gelatin print 7 3/4 x 8 inches, from an edition of forty five

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112 Michael Kenna, Sheltered Cove, Tojimbo, Honshu, Japan, 2002 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp on reverse, sepia toned silver gelatin print 7 3/4 x 8 inches, from an edition of forty five

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113 Michael Kenna, Seven Posts in Snow, Rumoi, Hokkaido, Japan, 2004 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp on reverse, sepia toned silver gelatin print 8 x 7 3/4 inches, from an edition of forty five

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114 Michael Kenna, White Copse, Study 3, Wakkanai, Hokkaido, Japan, 2004 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s Copyright ink stamp on reverse, sepia toned silver gelatin print 8 x 7 3/4 inches, from an edition of forty five

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Robert Polidori Born 1951 Robert Polidori was born in Montreal, Quebec, in 1951. He moved to the United States when he was ten years old, and then moved to New York in 1969, aged 18. In New York he worked as an assistant to the filmmaker Jonas Mekas, producing a number of avant-garde films in the early 1970s. It was only in 1980, when he received a Masters degree from the State University of New York, Buffalo, that he turned his attention to producing photographs. He is now widely recognised for his luscious, large-format colour photographs that reflect on the human environment. His photographic career began in the early 1980s whilst he was living in Paris, when he began to document the restoration of the Château de Versailles. This has evolved into a vast thirty-year project. Concerning the project, Polidori has said: ‘What interests me is a notion of social portraiture. With Versailles, I had the opportunity to witness museum restoration, but I realised that what was really going on was historical revisionism. What does it mean to restore something? It means to make something old, new again. It’s a temporal paradox…’ Clearly interested in more than just the aesthetics of interior spaces, Polidori thinks of rooms as metaphors and vessels for memory –

places marked by history, and the lives lived there. His projects have included photographing apartments in New York’s Lower East Side, shortly after their tenants had died, the spaces of Castro’s Havana and the devastation both inside the Chernobyl nuclear power plant and in the nearby town of Pripyet. Polidori was commissioned to record the aftermath of the flooding caused by Hurricane Katrina in New Orleans. The resulting photographs are quietly haunting. The ravaged houses and their mud-soaked rooms become metaphors for human fragility. Polidori has twice been awarded the Alfred Eisenstaedt Award for Magazine Photography, and won the World Press Award for his coverage of the Getty Museum’s construction in 1998. He has published eleven photo-books, most recently After the Flood (2006) and a three-volume compilation of his images of Versailles, Parcours Museologique Revisite (2006). His works are held in the collections of the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York, and the Victoria and Albert Museum, London. Polidori lives and works in both Paris and New York City.

115 Robert Polidori, Velours Frappe et L’Echelle, 1985 Signed, inscribed with title and numbered 10/10 on reverse of mount Chromogenic print mounted on aluminium, printed c. 2004 50 x 40 1/4 inches From an edition of ten

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116 Robert Polidori, Salle le Sentiment Religieux, (7) anr.01.007, Salles du xvii, Aile du Nord - R.D.C., Chateau de Versailles, France, 2008 Signed and numbered 2/10 on photographerâ&#x20AC;&#x2122;s label on reverse of mount Chromogenic print, mounted on aluminium, 61 x 50 inches, from an edition of ten

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117 Robert Polidori, Salle la Creation de lâ&#x20AC;&#x2122;Academie de Peinture et de Sculpture, (11) anr.01.011, Sale du xvii, Aile du Nord - R.D.C., Chateau de Versailles, France, 2007 Signed and numbered 1/10 on photographerâ&#x20AC;&#x2122;s label on reverse of mount Chromogenic print, mounted on aluminium, 61 x 50 inches, from an edition of ten

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Alex MacLean Born 1947 Alex MacLean was born in Seattle, Washington on 8 January 1947 and grew up on an eleven acre ‘hobby farm’, just outside Washington DC. He was interested in photography from an early age and when he was nine went on holiday to Europe taking his clamshell Brownie camera. Whilst studying for his undergraduate degree at Harvard University MacLean enjoyed photographing the landscapes of subsistence farming surrounding him. He went on to gain a Masters degree in architecture from Harvard during the course of which he regularly undertook field research, using his camera as the main source for gathering information. When he was offered the chance to research from the air, MacLean discovered it gave him the best view for site analysis and, in 1975, he went on to acquire his pilot’s license. This helped him fulfil his ambition to photograph our rapidly changing environment and document our impact on the landscapes below. That same year MacLean founded his company, Landslides, specialising in aerial photography for architects, designers, planners and environmentalists. The company continues to thrive today and

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MacLean has gone on to amass a huge archive of streetscapes, parks, gardens, campuses, plazas, mining and extraction pits and urban design developments across parts of America and Europe. The commissions MacLean has received through Landslides also allow him to explore his personal artistic practice which is chiefly concerned with development, industry and humanity’s footprint on the natural world. With only one minor accident and one camera lens lost, MacLean continues to spend two to three hours per day flying across America observing the dramatic landscape below watching it evolve and change. As he said in an interview for Photographer’s Forum in 1994: ‘It’s easy to fall into imitations yourself. I try to take a fresh approach to all the shots, to be really open to what I’m seeing rather having a premeditated idea about what I’m going to shoot, or forcing a statement out of something that’s not there. My good pictures really come from my being responsive.’ Currently living in Lincoln, Massachusetts, MacLean has published twelve books and received multiple awards, most recently receiving the CORINE International Book Award.

118 Alex MacLean, Snowmobile Tracks on the Clearwater River, Alberta, Canada, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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119 Alex MacLean, Waste Channels, Suncor Mine, Alberta, Canada, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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120 Alex MacLean, Steam and Smoke Rise from Upgrading Facility at Syncrude Mildred Lake Mine, Alberta, Canada, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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121 Alex MacLean, Ore Runoff, Duluth, MN, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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122 Alex MacLean, Tailing Piles, Hibbing, MN, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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123 Alex MacLean, Cliffside Rivulets, Mountain Iron, MN, 2014 Signed, inscribed with title and date, and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Digital c-type, printed 2015, printed on 30 x 40 inch paper From an edition of 9 + 2aps

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Ruud van Empel Born 1958 Dutch artist Ruud Van Empel was born in Breda in 1958. After graduating in Graphic Design from the Academie St. Joost, van Empel worked briefly as a designer and later as a creative designer specialising in theatre décor. In 1995 van Empel made the transition from stage to stagedphotography when he presented his first photographic project entitled The Office, a series of portraits showing people in digitally constructed workplaces. The project was largely black and white due to the limitations of technology at the time, namely a computer which ‘crashed every five minutes’, which prevented van Empel from producing full-scale colour montages until the new millennium. ‘When I made them I did not actually plan to start a career in art, I was just enjoying myself making things on my new computer.’ Referencing 1930s cinema, van Empel produced mysterious and sometimes unnerving scenes, which combined the real and the unreal. This would become a consistent theme throughout his work. His subjects are constructed from a digital palette of digital eyes, ears, noses and more. As his skill and technology has developed, van Empel has become able to construct human beings with almost frightening accuracy.

In 2009 van Empel presented three bodies of work as part of the touring Picturing Eden exhibition curated by Deborah Klochko of George Eastman House. These were Venus, Moon and the critically acclaimed World. These three series of digitally constructed portraits of children have become van Empel’s most exhibited and recognized works. One element that has drawn particular attention is the frequent appearance of black children in his work. Although it is not intended as any particular statement, van Empel has commented on the portrayal of black children in Dutch media as often ‘poor’ or ‘suffering’. ‘I received some positive responses from black audiences, who said they liked the way my work portrays black children in a respectful and beautiful way rather than as a victim.’ A recurring theme in van Empel’s work is the innocence of children, portrayed particularly through the choice of clothing, which adorns his subjects. The artist has meticulously chosen clothing, which reflects the formal Sunday dress that he and his siblings would wear to church as children. The accuracy of this clothing is integral in his work and he will often digitally construct garments from memory through photographic materials and patterns that he ‘stitches’ together.

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124 Ruud van Empel, Theatre #9, 2013 Signed, inscribed with title and numbered on reverse Archival pigment print, printed 2015 39 1/2 x 118 inches From an edition of ten

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125 Ruud van Empel, Identity #4, 2015 Signed, inscribed with title and numbered on reverse Archival pigment print, printed 2015, 33 x 23 1/2 inches From an edition of thirteen

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126 Ruud van Empel, Identity #5, 2015 Signed, inscribed with title and numbered on reverse Archival pigment print, printed 2015, 33 x 23 1/2 inches From an edition of ten

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Paolo Ventura Born 1968 Paolo Ventura is an Italian artist, regarded as a master of staged photography. Ventura was born in Milan, Italy, in 1968 as one of twins. His father was a celebrated children’s book designer and would tell the family stories as they sat around the dinner table. His eccentric grandmother took the twins to see the circus and street performers. Ventura’s twin brother, Andrea, is now a painter and illustrator and Ventura has said ‘being the one with the least talent for drawing, I decided to become a photographer to avoid the mortifying confrontation with my family’. Ventura graduated from the Accademia de Belle Arti di Brera in 1991, having worked as a photographer’s assistant whilst at college. As a photographer in Milan, the fashion industry presented a comfortable income. Having worked as a fashion photographer for ten years, shooting commissions and travelling, Ventura was bored by the industry and decided to pursue a career as a fine art photographer. In 2001 Ventura moved to Brooklyn, New York, and started making dioramas inside a closet. Working with objects found in the streets and at flea markets, he began building Lilliputian environments to photograph. Typically engineering narratives that unfold through a series of images, Ventura’s photographs are rooted in a fantastical, historical past that reverberates with mystery and subterfuge. His first series, War Souvenir (2005), found inspiration in his grandmother’s wartime memories. Having grown up surrounded by stories about the war, Ventura has described them as ‘the soundtrack to [his] youth’. Working like an illusionist, Ventura undertakes a complex process to produce each of his images. ‘I think of the image – mostly while

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walking during the day, or sitting in a café’, he has explained, ‘slowly, the image appears to me completely and in the tiniest detail.’ Ventura then makes some sketches before going out to find materials to build the diorama. Having lit it with table lamps or ceiling lights, he takes Polaroids to carry around with him and evaluate before shooting the scene on a Pentax 6 x 7 camera. Ventura then sometimes paints his prints to enhance the otherworldly quality of the scenes. Set during the Nazi occupation of Italy, Ventura’s series, The Automaton (2010), tells the story of an elderly Jewish watchmaker living in the Jewish ghetto in Venice. Old and lonely, the watchmaker builds an automaton called Nino to keep him company and act as a distraction against the likelihood of deportation to the ‘final destination’. Exhibited at the Museo Fortuny, Venice, The Automaton is typical of Ventura’s fascination with time and how it may be suspended through art. His work centres on the interpretation and manipulation of history, questioning the trust placed in memory and documentation. Related to this, he challenges the boundaries between artistic mediums and the reliance of history on the photographic image: ‘I use photography because what people see in photographs they believe is real – even if they know it is a model. When you go to see a film you know it’s a setup, but you cry, you get excited, you are deeply touched. People want to believe what they see on film.’ Theatrically staged, Ventura’s scenes are portals to a historically located but ambiguous past, whilst rich with invention and allusion. Ventura’s work was featured at the Italian Pavilion of the 2011 Venice Biennale and has been collected by the Maison Européenne de la Photographie, Paris, the Boston Museum of Fine Art, the Library of Congress, Washington D.C., and the Museo Palazzo Fortuny, Venice. Ventura lives and works in both New York and Italy.

127 Paolo Ventura, Sogno Invernale #2, 2015 Signed, inscribed with title and date, and numbered Signed on reverse Painted archival pigment print with collage 40 x 30 inches, from an edition of two

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128 Paolo Ventura, Cinema de Via Correggio, 2015 Signed, inscribed with title and date, and numbered Signed on reverse Painted archival pigment print with collage 40 x 30 inches, from and edition of two

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Zhang Kechun Born 1957 Zhang Kechun was born in 1980 in Sichuan, China, and started painting when he was a child. He studied art and design and worked as a designer in Chengdu before becoming interested in photography. His first series The Yellow River documented the effects of modernisation along the river. Zhang’s second series Seascapes is a homage to Hiroshi Sugimoto’s famous series by the same title. Zhang received the inspiration for The Yellow River from Chengzhi Zhang’s novel River of the North. The project took him on a journey along the river from the coastal flats of Shandong to the mountains of Qinghai on a fold-up bicycle, all the time carrying with him a large format Linhof camera. The Yellow River is considered the cradle of Chinese civilisation but also to be a threat, capable of breaking its banks anytime. The areas surrounding the river have been devastated by flooding in recent years and Zhang’s photographs capture the emotional impact of this on the local population with an eerily quiet atmosphere. The river constantly dwarfs the people who rely on, rendering them vulnerable to its might. ‘I wanted to photograph the river respectfully’, Zhang has said, ‘it represents the root of the nation’. Zhang shot on cloudy days and overexposed the photographs to produce a soft, subtle tonal range. Whilst the project was not intended to confront environmental issues in the same way that Nadav Kander did so in his work on the Yangtze River, Zhang found that ecological matters became unavoidable. ‘I started off wanting to photograph my ideal of the river, but I kept running into pollution,’ he has said, ‘I realised that I couldn’t run away from it, and that I didn’t need to run away from it.’ Zhang won the Discovery Award at Les Rencontres d’Arles for The Yellow River in 2014. Working with the agency Most, Zhang also undertakes editorial and advertising commissions. He won the National Geographic Picks Global Photo Contest in 1998 and was shortlisted at the World Photography Awards in 2013. He has been exhibited at Photoquai, Paris; the Beijing Photo Biennale and the Dehli Photo Festival, India.

129 Zhang Kechun, A Man Standing on an Island in the Middle of the River Shaanxi, China, 2012 Signed and numbered on reverse of mount Archival pigment print, mounted on aluminium 42 1/2 x 52 3/4 inches, from an edition of five

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130 Zhang Kechun, A Family Spending the Weekend under a Bridge, Shandong, China, 2011 Signed and numbered on reverse of mount Archival pigment print, mounted on aluminium 42 1/2 x 52 3/4 inches, from an edition of five

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Richard Learoyd Born 1966 Richard Learoyd is one of the most influential and innovative photographers working today. Famous for using a room-sized camera obscura to make his images, Learoyd’s technique results in unique prints that are outstanding in their detail and ambition. Learoyd was born in Lancashire, England, in 1966 and studied Fine Art Photography at Glasgow School of Art. His professor was the esteemed photographer, Thomas Joshua Cooper, and it was here that he first began experimenting with using a camera obscura to make his images. The camera obscura, literally meaning ‘dark chamber,’ has a long history and is considered an ancestor of the camera. In its simplest form it was originally just a room with a single small hole, through which a beam of light shone, resulting in an upside-down image on the opposite wall. By exposing the beam of light directly onto photographic paper Learoyd makes do without a negative, resulting in a print that contains no grain – a pure photographic imprint that is a unique impression. Both in his technique and emphasis on print as object, Learoyd’s work has much

in common with nineteenth century photography, and in particular the daguerreotype. In an interview with Aperture magazine in 2015 Learoyd confirmed this debt: ‘I see my work more in the lineage of the French—referring to daguerreotypes: those non-reproducible photographic objects whose multi-planed surface and miraculous depth of field fascinate me. With my work I am interested in the moment when the image becomes dye and color, when the illusion of it being a reflection or projection breaks down. I think you get that sense with daguerreotype images: you see the object before the illusion.’ His work has been collected by numerous important museums including the John Paul Getty Museum, Los Angeles, the Tate Modern, London, the Victoria and Albert Museum, London and the Metropolitan Museum of Art, New York. In October 2015 a major exhibition of his work opened at the Victoria and Albert Museum, to be followed in 2016 by an exhibition at the John Paul Getty Museum.

131 Richard Learoyd, Olga, 2011 Inscribed ‘a gift for Olga from Richard Learoyd’ C-type, mounted on aluminium 31 x 31 inches A unique print

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132 Justin Partyka, Farmhouse Kitchen Pantry, Norfolk, 2008 Signed, inscribed with title and numbered on reverse Digital c-type, printed 2013, 14 x 20 inches From an edition of 10

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Justin Partyka Born 1972 Justin Partyka was born in Norfolk in 1972 and trained as folklorist at Memorial University in Newfoundland, Canada. For fifteen years Partyka has been photographing throughout the East Anglian counties of Norfolk and Suffolk, exploring a world of rabbit catchers, reed cutters, and the region’s small-scale agrarian farmers. He calls them ‘the forgotten people of the flatlands’, who have an intimate relationship with the landscape that surrounds them. It is a way of life that is deeply rooted in the past and its traditional methods and knowledge. Partyka tells the story of these farmers and the fields they work, immersing himself in their world. His painterly use of colour and the particular qualities of the East Anglian light captures this timeless way of rural life. His photographs first received recognition when they were included in the exhibition of British landscape art, A Picture of Britain at the Tate Gallery, London, in 2005. Since then they have appeared in various publications including GRANTA, the Drawbridge, and burnmagazine.org. They were shown as a major solo exhibition at the Sainsbury Centre for Visual Arts, Norwich, in 2009. In 2010 Partyka was commissioned by Full Circle Editions to produce a new series of photographs in the Cambridgeshire Fens, which were featured in the new edition of the book Fenwomen (2011). With his creative partner Bee Farrell, Paryka launched Backroad Books, a small publishing house for limited edition photography books. Their first publication was Field Work: Photographs from East Anglia released in October 2011. A major exhibition of these photographs was shown at the Museum of English Rural Life, Reading, in 2012

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133 Justin Partyka, Field with Frost, Norfolk, 2006 Signed, inscribed with title and numbered on reverse Digital c-type, printed 2013, 14 x 20 inches From an edition of 10

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134 Justin Partyka, Farmhouse Kitchen with Table, Norfolk, 2006 Signed, inscribed with title and numbered on reverse Digital c-type, printed 2013, 14 x 20 inches From an edition of 10

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Tatsuo Suzuki Born 1965 Tatsuo Suzuki is a Japanese street photographer, living and working in Ota, Tokyo. Born in 1965, Suzuki came to photography later than most. Having had a successful career in business, he started photographing the streets of Tokyo in 2008. Although largely self-taught, in 2014 Suzuki studied for a year at Resist Photo School, Tokyo. His work was first exhibited in Kanagawa, Japan. Suzuki uses long exposures and intense contrasts to capture the frenetic atmosphere of the Tokyo streets. He works mainly in black and white, considering it to be ‘more emotional and more aggressive’ than colour. With reference to the sharp tonal and composition contrasts of William Klein and Robert Frank, Suzuki creates a street theatre brimming with diversity and eccentricity. Working in relation to the tradition of Japanese street photography made famous by Daido Moriyama, Suzuki captures the spirit of the Japanese metropolis with courageous candour whilst maintaining a perceptive empathy. Also a punk rock guitarist, Suzuki’s images buzz with the hectic energy of the city streets. Taking up the gauntlet laid down by the greats of twentieth-century street photography, Suzuki photographs with an urgency and dynamism that allows him to produce rambunctious street scenes interlaced with thoughtful character studies. Using his camera, he slices through a scene, employing Henri Cartier-Bresson’s maxim of ‘the decisive moment’. ‘Hesitation’, he has said, ‘is the enemy of street photography’. Since 2008 Suzuki has won a host of awards for his photographs and in 2015 a solo exhibition of his work was held at the second edition of Photo Shanghai. The Photographers 2015 is Suzuki’s first exhibition in the United Kingdom.

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135 Tatsuo Suzuki, Portrait, Shibuya, Tokyo, 2011 Signed, inscribed with title and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium Printed on 20 x 24 inch paper, from an edition of twenty

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Clockwise from top left: 136 Matsuri, Shibuya, Tokyo, 2014; 137 Shinjuku, Tokyo, 2012; 138 A Lady at the Station, Tokyo, 2014; 139 Speed, Tokyo, 2008; Signed, inscribed with title and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium Printed on 20 x 24 inch paper, from an edition of twenty

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Clockwise from top left: 140 Shibuya, Tokyo, 2013; 141 A Girl with a Cigarette, 142 Shibuya, Tokyo, 2014; 143 Mirror, Shiuya, Tokyo, 2014 Signed, inscribed with title and numbered on photographerâ&#x20AC;&#x2122;s label on reverse of mount Archival pigment print, printed 2015, mounted on aluminium Printed on 20 x 24 inch paper, from an edition of twenty

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144 Ren Hang Signed C-type, printed 2015,10 x 15 1/2 inches From an edition of ten

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Ren Hang Born 1987 Born in 1987 in Chang Chun, Jilin province in Northeast China, the avant-garde photographer Ren Hang is now based in Beijing. A selftaught photographer, he first began shooting his closest friends, aged 21, whilst a studying for a degree in advertising. He has since become one of the most provocative and uncompromising photographers working in China today.

prefer things to look natural and you can only get that on film.’ A desire for the organic has also led the photographer to focus purely on the nude. Hang’s images are instantly recognisable as a tangle of naked limbs, using the natural world either as backdrop or foil. His latest work sees his models disappear behind giant lily pads, sit precariously atop trees, and use tulips or cacti as props.

Hang’s photographs depict naked bodies as sculpture. Sometimes explicit, sometimes beautiful, often humorous, Hang’s works have a snapshot-like feel, and appear playful and spontaneous. They are, however, carefully staged, with the photographer choreographing his models, who are still mostly close friends of the artist. He has stated; ‘I like shooting my friends because they trust me, which makes me feel more relaxed. I can only take my best work when I’m in that state.’ Although open to the element of chance, Hang has a clear vision of each image’s final composition, and asks his subjects to contort and intertwine their bodies to produce unfamiliar angles.

The explicit content of Hang’s work has led to obscenity charges and the censorship of his work in his home country. China does not allow outdoor nudity, so he has to be very careful when shooting. Despite the restrictions, Hang has enjoyed international acclaim. The artist, Ai Weiwei, invited him to join the group exhibition Fuck Off 2 in the Netherlands. The exhibition showcased the new wave of twentiethcentury Chinese art. Hang has also gone on to shoot for numerous fashion brands and magazines including Tank, Chinese GQ and French Vice. In 2015 Hang has exhibited internationally, holding solo exhibitions in Tokyo, Paris, Vienna and New York.

Hang shoots on film, stoically resisting the tidal wave of popularity in China for digital SLR. ‘I’ve always shot onto film,’ he has said, ‘I

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145 Ren Hang Signed C-type, printed 2015, 10 x 15 1/2 inches From an edition of ten

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146 Ren Hang Signed C-type, printed 2015, 10 x 15 1/2 inches From an edition of ten

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147 Ren Hang Signed C-type, printed 2015, 10 x 15 1/2 inches From an edition of ten

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Aki Lumi Born 1957 Born in Tokyo, Japan, in 1957, Aki Lumi is a contemporary photographer living and working in Paris. His work combines photography, drawing and drafting to derive meaning from the manmade world. Over the past fifteen years Lumi has been building a reputation for innovation within the medium of photography. Through manipulation and intervention Lumi’s works question the experience of landscape, obstructing the view and distorting the senses. In his attempts to subvert traditional notions of perspective, Lumi delves into the subconscious, exploring the possibilities of the constructed world and its relationship to subjective experience. His series, The Garden, seamlessly combines analogue and digital platforms to travel through the sublime to hint at mystery and secret. Sensorially dense, memory combines with dream to produce a sense of passage into Lumi’s interior world. Similar notions are at play in the work Traceryscape in which Lumi delicately draws lines onto to the photographs, pointing out the hidden connections between space, place and the viewer. This sensitive and considered approach underpins Lumi’s work, revealing exuberance towards nature and its possibilities. Lumi has exhibited in Japan, France and China at galleries including Vanguard Gallery, Shanghai; Galerie 21, Tokyo; and Espace Van Gogh, Arles. The Photographers 2015 at Beetles+Huxley is the first time Lumi’s work has been shown in the United Kingdom.

148 Aki Lumi, Garden no. 6, 2012 Signed and inscribed with title and date on reverse of mount Archival pigment print, printed 2015, mounted on aluminium, 56 x 47 inches From an edition of ten

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149 Aki Lumi, Garden no. 2, 2005 Signed and inscribed with title and date on reverse of mount Archival pigment print, printed 2015, mounted on aluminium, 27 x 43 1/4 inches From an edition of seven

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150 Aki Lumi, Traceryscape - nz310, 2014 Signed and inscribed with title and date on reverse Acrylic pigment ink on silver gelatin print, 36 1/2 x 28 inches Unique print

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151 Aki Lumi, Traceryscape - nz310, 2006 Signed and inscribed with title and date on reverse Acrylic pigment ink on silver gelatin print, 16 x 20 inches Unique print

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