Phillips de Pury & Company Offers a Major Auction of Photographs in October

Written by Anthony Peterson Tuesday, 24 April 2012 22:46

New York City.- Phillips de Pury & Company is pleased to announce its upcomiong auction of photographs at 450 Park Avenue in New York on October 4th. "The Arc of Photography: A Private East Coast Collection" is consistently buttressed by outstanding works depicting touchstones in the field of photography over 150 years, especially in the genre of identity and performance. Indeed, the strength of the collection lies in its breadth, providing a cohesive, chronological narrative addressing the various permutations the field has undergone while consistently addressing the topic of self-presentation, be it that of the photographer or the sitter. Amassed since 1997, the collection reflects a keen observational eye, supported by a strong scholastic acumen, which has meticulously secured the foundations that have provided inspiration for countless photographers on both sides of the Atlantic. Upon careful inspection, the dialogue between classic and contemporary photographers in the presentation of identity and its performative underpinnings becomes more evident.

The rare, satirical portrait of the beloved clown prototype, Pierrot, by the French fraternal duo Nadar and Adrien Tournachon in the mid 1850’s is an exceptional remnant of the prevailing popularity of parodying portraits, in all of their exaggerated poses, as favored by the French literati of that era. The heavy-handed expressiveness of the work resonates with Edward Weston’s "Tina with Tear", taken almost 70 years later, in its facile emotional legibility. Similarly, Nic Aluf’s portrait of Sophie Taeubur-Arp, 1920, which captures the Dadaist interest in the seemingly random assemblage of symbols in which the famed Swiss artist engaged, bears a strong parallel to Irving Penn’s portrait of the famed The New Yorker cartoonist, Saul Steinberg, in which he is reduced to a vaguely absurdist sketch that readily identifies his comical, sketchy style. And Gertrude Käsebier’s portrait of Auguste Rodin, 1905, somber and deeply meditative, is careful in highlighting the famed sculptor’s majestic presence and heavy hands, just as Gerard Richter’s portrait of the famed collaborative Brit couple, Gilbert & George, 1975, captures their interchangeable personalities and strong dynamism. Additional examples also abound in self-portraiture, where the photographers carefully cull an aspect within that they feel strongly denotes the performative role of the photographer in creating an image and presenting a self. André Kertész’s self-portrait from 1926, taken a mere year after the progressive Hungarian artist made the leap to the center of the avant-garde, Paris, presents the artist as a modern sophisticate amidst a Modigliani-inspired setting that aligned him with one of the leading artists of his day.

The self-conscious undertone of the work resonates with Andy Warhol’s Self Portrait in Drag, created almost half a century later, which likewise employs a playful undertone, rife in humor and alignment with an alternate personality to comment on social roles and selfhood. Similarly, Man Ray’s self-portrait, 1933, is comprised of disparate elements, fragments of his Surrealist imagination that derive their strength and narrative from their convergence within the image. This is redolent of Bruce Nauman’s own presentation of 5 images, in each of which the artist alters his mouth and skin, which collectively attest to Nauman’s innovative, corporeal engagements. And Edgar Degas’ 1895 reverential and noble self-portrait shown as a dignified savant within the confines of his library is as controlled and deliberate as Cindy Sherman’s Untitled # 382/The Actress, 1976-2000, in which she successfully staged her own self-presentation to assume a role that highlights the theatrical nature in self-portraiture. The Arc of Photography, therefore, stretches far past the chronological evolution that is readily discernible. Rather, it spans over the endless, groundbreaking ways in which photographers and their sitters have successfully collaborated in capturing their sense of self, be it real or invented, latent or explicit, proactively shaping their image and legacy.


Phillips was founded in London in 1796 by Harry Phillips, formerly senior clerk to James Christie. During his first year of business, Phillips conducted twelve successful auctions and soon the business was holding sales for some of the most distinguished collectors of the day including Marie Antoinette, Beau Brummel and Napoleon Bonaparte. To win business, Phillips combined business acumen with a flair for showmanship, introducing new ways to promote his sales such as elaborate evening receptions before auctions - an essential part of the auction business today. Phillips quickly gained the confidence of British society and remains the only auction house ever to have held a sale inside Buckingham Palace. When he died in 1840, Harry Phillips' son, William Augustus, inherited a strong and successful legacy and business. In 1879, William changed the firm's name to Messrs Phillips & Son.  In1882, William brought his son-in-law, Frederick Neale into the business, the company was renamed again as Phillips, Son & Neale. This name remained through the 1970s, when the company became Phillips. The company had a reputation for strong regional salerooms dotted throughout The British Isles, selling everything from furniture to art and estates. In 1999, the company was bought by Bernard Arnault, the chairman of the French luxury-goods brand, Louis Vuitton Moet Hennessey (LVMH). Shortly after the transaction, Mr. Arnault merged with the esteemed private art dealers, Simon de Pury and Daniela Luxembourg who were operating the Impressionist and Modern art gallery, de Pury & Luxembourg in Zurich. The new team at Phillips, de Pury & Luxembourg with headquarters on East 57th street held sales in Impressionist, American and Modern works of art in addition to watches and jewelry and design. In 2002, de Pury & Luxembourg took majority control of the company and in 2003, Simon de Pury moved the headquarters to the Meatpacking District in Chelsea, which at the time was just beginning to sprout as an international art district. With a new remit to focus solely on the sale of the best works of Contemporary Art, Design, Jewelry, Photography, and Editions, Phillips de Pury & Company began business in a spectacular and spacious gallery setting on 15th Street, overlooking the celebrated Highline and The Hudson River. It is in this space today where Simon de Pury, his partners, and team of specialists are dedicated to the company's unique approach to the auction market. In October 2008, Mercury Group, the Russian luxury retail company, acquired majority share of Phillips de Pury & Company to further enable the company’s expansion, including the opening of our flagship galleries at 450 Park Avenue. Visit the auction house's website at ... http://phillipsdepury.com

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