Lee Friedlander: 15 Photographs (Double Elephant Press, 1973, Portfolio of 15 Vintage Gelatin Silver Prints)
Publisher: New York: The Double Elephant Press, 1973
Binding: No binding
Condition: As New / No dust jacket as issued
Item #: 114075
$110,000.00
Specifics
Please inquire. Pricing and availability are subject to change (price is net to all; promotional discounts do not apply).
PAYMENT: by check or wire transfer (please inquire about payment by credit card).
SHIPPING NOTE: due to size and weight, additional shipping fees may apply (calculated at actual cost).
First edition, first and only printing. Portfolio of 15 vintage gelatin silver prints, printed by Friedlander in New City, New York, and individually mounted on 4-ply Strathmore Artist Bristol boards; produced in an edition of 75 numbered copies plus 15 artist's proofs. Each print is signed and numbered in pencil on the mount by Friedlander. Image size of the prints range from 5-3/4 to 8-3/8 in the short dimension and from 8-7/8 to 12-3/4 in the long dimension, whether horizontal or vertical.
Housed in a reflective silver cloth clamshell portfolio case made by Rudolf Rieser, Cologne. Case dimensions are 16-3/8 by 21 x 1-5/8 inches; paper handmade by J. Barcham Green Ltd. and embossed by Bob Blackburn Workshop; text sheets printed by Ronald Gordon, The Oliphant Press, New York. The portfolio case contains the 15 mounted vintage prints, an embossed title page, a printed introduction by Walker Evans, and colophon sheet.
Titles include : T.V. in hotel room--Galax, Virginia, 1962; Bed in window--Cincinnati, Ohio, 1963; Women in window--New York City, 1963; Man in window--New York City, 1964; Plane over Bull--Kansas City, Missouri, 1965; Flag--New York City, 1965; Shadow--New York City, 1966; Party--New York City, 1968; Filling Station-- rear view mirror--Hillcrest, New York, 1970; Lee Av--Butte, Montana, 1970; Car & fence & bush--San Diego, California, 1970; Street scene, tress & houses--Hollywood, California, 1970; Statue--New Jersey, 1971; House, trailer, sign, cloud--Knoxville, Tennessee, 1971; Street scene--man, pole, etc.--Chicago, 1972.
[Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #5.]
Condition
As New (from Friedlander's personal archive).
Description
Lee Friedlander’s work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work.
From 1973 to 1974, Friedlander and his collaborative partner Burt Wolf edited four iconic portfolios at the Double Elephant Press in New York, featuring photographs by some of the most influential photographers of the twentieth century: Manuel Álvarez Bravo, Walker Evans, Garry Winogrand, and Friedlander himself. (The name, Double Elephant Press, is an allusion to the large size of the paper, which is known as a “double elephant folio.”) Each of the four limited edition portfolios contain fifteen photographs by each artist, representing their distinct visions and sensibilities. Taken as a whole, the endeavor represents a unique collaborative project that has become a touchstone in the history of photography.
In the introduction to 15 Photographs, Walker Evans writes: "Bemusing and sometimes dazzling are these prints. Seeing a brace of them, it becomes clear that this photographer artist is to be taken seriously even while he is grinning--because he uses photography with deadly aim to reflect and record only his own very special, personal vision of his world. It is oddly refreshing, unselfconsciously striking and unpredictably adventurous."
