20th Century Art 
1 October 2020
20th Century Art 
128

Irving Penn 1917–2009

Igor Stravinsky, New York

1948 / c. 1950
gelatin silver print 10 h × 8 w in (25 × 20 cm)
estimate: $20,000–30,000
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Signed, titled and dated to verso 'Irving Penn Igor Stravinsky, New York, Apr. 22 1948'. Stamped to verso 'Photograph by Irving Penn Copyright 1948 (Renewed 1976) by The Conde Nast Publications Inc. Not to be reproduced without written permission of the copyright owner'. Stamped and inscribed to verso 'Ref. 2175. Signed, silver prints of the negative not exceeding 25. Print made near to date of photographic sitting. IP'. Written to verso 'B.S. # 436'.
provenance: Eleanor Barefoot Gallery, New York | Acquired from the previous in 1999, Collection of David and Vivian Campbell, Toronto | Thence by descent, Barry Campbell

print

Sometime in 1948 I began photographing portraits in a small corner space made of two studio flats pushed together, the floor covered with a piece of old carpeting. A very rich series of pictures resulted. This confinement, surprisingly, seemed to comfort people, soothing them. The walls were a surface to lean on or push against. For me the picture possibilities were interesting; limiting the subjects' movement seemed to relieve me of part of the problem of holding on to them. 

Irving Penn

David & Vivian Campbell

20th Century Collectors and Philanthropists

David and Vivian Campbell were prominent philanthropists of the arts in Canada and collectors of early modern masters. Over the course of half a century, David and Vivian built a collection around intimate and dazzling works by giants of early 20th century art—Picasso, Matisse, Gris, Gauguin, Munch and Rodin among them—as well as later 20th century artists such as Will Barnet, Saul Steinberg and David Hockney, who grew out of the traditions of earlier masters, with a reverence for landscape and portraiture.

The scope of the century, along with the Campbells' distinct tastes within its vastness, are presented in the selection offered here; a landscape study of Le Pont Neuf by Paul Signac from 1895, the earliest work in the sale, shares the same musicality of color as Andy Warhol's screenprint of Beethoven from nearly one hundred years later. Portraits by Matisse and Hockney, done forty years apart, both present subjects that are quirky and grounded, executed with an economy and confidence of line. Irving Penn photographs Igor Stravinsky with the same adulatory nod seen in a portrait by André Kertész of his predecessor, Brassaï. An exuberant collage by Picasso celebrates the birth of his son, while Old Man's Afternoon by Will Barnet meditates on loss and aging. A thread evident throughout the selection is the ability for the art that we love to reflect the life that we live.

David and Vivian Campbell in their home in Toronto, 1997,
with Picasso's Jacqueline tricottant. Image: Jeff Goode.

Irving Penn 1917–2009

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Born in New Jersey in 1917, Irving Penn became recognized as one of the 20th century’s greatest photographers, helping to expand the understanding of the discipline beyond information and into the realm of fine art. Penn was one of Vogue’s top photographers for more than six decades, and he is celebrated for his body of work across fashion photography, portraiture, and still life.

Penn attended the Philadelphia Museum School of Industrial Arts from 1934 to 1938, where he studied with Russian immigrant Alexey Brodovitch in his Design Laboratory. After working as Brodovitch’s assistant at Harper’s Bazaar and taking various art directing stints, Penn was hired at Vogue in 1943, where he was tasked with prepping layouts and suggesting cover concepts to the magazine’s photographers. The publication’s art director, Alexander Liberman, observed Penn closely and, upon seeing recent contact sheets of Penn’s travel images, encouraged him to pursue photography. Penn went on to travel extensively for Vogue, and was given considerable creative freedom in terms of subject matter and style.

As Penn’s visual language developed, he drifted away from Vogue—some at the magazine felt his images were too severe—and towards advertising, where he was able to deepen his engagement with still life photography. As magazine budgets became tighter in the 1960s, the quality of printing declined, which led Penn to research earlier printing methods that would have more satisfying results. He thus pioneered his own process for platinum printing and created three major series specifically conceived for this method: Cigarettes, Street Material, and Archaeology.

Penn’s images showed, “the control of an art director fused with the process of an artist,” according to Merry A. Foresta, who co-organized the artist’s 1990 National Portrait Gallery retrospective. Noted for his minimalism and exacting sense of composition, Penn was also a master technician who applied his skills to an exciting variety of subject matter, from celebrities to shards of bone: “Probably most famous for photographing fashion models and cultural figures,” wrote Andy Grundberg, “[Penn] seemed equally at home photographing Peruvian peasants or bunion pads.”

Penn’s works are held in the permanent collections of institutions including the Art Institute of Chicago, the National Portrait Gallery, the Smithsonian American Art Museum, and the Morgan Library & Museum in New York. The Irving Penn Paper and Photographic Archives are held by the Art Institute of Chicago.

Auction Results Irving Penn

Irving Penn

Cigarette No. 37, New York

estimate: $20,000–30,000

result: $32,760

Irving Penn

Tennessee Williams, New York

estimate: $20,000–30,000

result: $18,750

Irving Penn

Untitled (Group of photographers, Oyster Bay)

estimate: $3,000–5,000

result: $5,207

Irving Penn

Untitled (Portrait of Johnny Mercer)

estimate: $3,000–5,000

result: $4,594

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