Lot 22
  • 22

Peter Lindbergh

Estimate
100,000 - 150,000 GBP
bidding is closed

Description

  • Peter Lindbergh
  • ‘Mathilde, Paris', 1989
  • Silver print
Unique oversized pigment print, flush-mounted to aluminium. Signed, titled, dated and numbered 1/1 on the reverse. Framed.

Provenance

Gagosian Gallery, Paris

Literature

Rolling Stone, October, 1989;
Peter Lindbergh: Images of Women, Schirmer Mosel, 1997, ill. p. 107.

Condition

This silver print is in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Peter Lindbergh is not interested in a specific type of woman; by contrast, he is inspired by women often shunned from the fashion world for not being ‘model-like’.  His motivation particularly came from how these women presented themselves in the nude, and their ability to command the camera in a liberating strike for female-kind.

He created fashion icons by presenting them in unusual locations. Mathilde is a perfect example of this predilection.  The photograph is a tribute to Erwin Blumenfeld who had, half a century earlier, photographed Lisa Fonssagrives in a white dress as she stood on the Eiffel Tower. But unlike Blumenfeld, encapsulating Mathilde wearing just riding pants, Lindbergh offers a new modern interpretation of women with his approach being “not to violate the model’s personality by transforming them with makeup and hair, but to find their personality”.