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This Limited Edition of 100 copies is beautifully slipcased in a custom wooden box. The book is signed and numbered on the colophon page and includes an original Avedon print. The image is of Suzy Parker and Gardner McKay at the Cafa des Beaux Arts, Paris in August 1956 from page 34 of the book. The print is also signed and numbered and comes in a separate envelope within the slipcase that is carefully packed in vellum.
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Richard Avedon is widely considered one of the most important and influential photographers in history. He was born in New York in 1923, and after studying photography at the New School during the late 1940s, he spent 20 years as a photographer for Harper's Bazaar, creating many signature fashion images that remain recognizable to this day. He also worked for Vogue and contributed to publications such as Look and Life, becoming famous for his original work with portraits of artists, powerful politicians and anonymous subjects in his series, In the American West. His portraits for The New Yorker are among the most iconic of the twentieth century. Avedon died in 2004 after recent exhibitions at the The Metropolitan Museum of Art, New York and the Fraenkel Gallery, San Francisco. The Richard Avedon Foundation was established in 2005.From The New Yorker:
These witty, ravishing photographs were taken in the late fifties, when Avedon was still shooting Paris couture for Harper's Bazaar—Suzy Parker, in a Lanvin-Castillo evening dress, bent over a pinball machine at Café des Beaux-Arts; Audrey Hepburn, in Dior, propped up against the bar at Maxim's like a bejewelled fountain pen. Avedon has chosen to reproduce these images not as they first appeared, however, but in facsimiles of the engravers' prints, annotated with grease-pencil scribbles, copyright stamps, and precise, typed labels composed by the editor-in-chief of Harper's Bazaar, Carmel Snow. "A picture in a magazine is a view without a window," Avedon explains. "Here you have the window—the context of production." It was a shrewd decision: the gritty frames at once lend his fantasies a renewed buoyancy and tether them to the familiar. But perhaps the most haunting vision in this volume—an encounter between deaf-mutes and dancers in a strip club—is to be found in an afterword, written by the photographer, which has the dark power of a Flannery O'Connor story.
Copyright © 2005 The New Yorker
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