理查德德．阿维顿 1959年作 《柯德莉．夏萍、阿特．布赫瓦德、西蒙妮、芭芭拉．梅伦、佛雷德里克．艾伯施塔特、雷金纳德．克南博士的Balmain、Dior、Patou、Maxim's晚礼服–巴黎，8月》

款识：签名、编号 2/25
铃印：版权信用、复印限制、标题、日期（边缘）

“I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera.”
—Richard Avedon
From the inception of his outstanding career, first at Harper’s Bazaar and later at Vogue, Richard Avedon challenged the norms of editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. ‘I am always stimulated by people,’ Avedon explained, ‘almost never by ideas.’ Avedon’s interest in people is on full display in his playful photograph of the incomparably elegant Audrey Hepburn. Hepburn, in the good company of supermodels Simone D’Aillencourt and Barbara Mullen, receives the attentions of American humourist Art Buchwald. Actor Reginald Kernan and Avedon’s assistant Frederick Eberstadt round out the trio of gentlemen, and the picture draws its energy from the interplay of the characters with one another and is compositionally anchored by Hepburn’s slyly side-eyed glance. In this refined composition, Avedon perfectly encapsulates the persona of one of the most beloved figures in the history of film and fashion.


来源:
纽约，富艺斯，2012 年 10 月 2 日，拍品编号 33

文学:
Harper's Bazaar, September 1959, pp. 154-55 (variant)R. Avedon & H. Brodkey, Photographs, 1947-1977, New York: Farrar, Strauss & Giroux, 1978, pl. 40Avedon Fashion: 1944-2000, New York: Abrams, 2009, pp. 112-113

银盐照片（后印）

condition:
Neutral toned print on semi-gloss double weight paper with margins. One minor crimp in upper centre near edge and minimal creases in lower left/right quadrants, all visible only under raking light. Margins with minor hairline cracks in top edge, upper left and lower right corners, not affecting the image. This work is sold framed.

Sheet: 50.2 x 60.3 cm (19 3/4 x 23 3/4 in.)
Frame: 69.9 x 85.1 cm (27 1/2 x 33 1/2 in.)

作者简介:
From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious.

创作年代:
1959年作