Item #6061 Richard Avedon: Made in France. Richard Avedon, photographer, contributor Judith Thurman.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.
Richard Avedon: Made in France.

Sign up to receive email notices of recent acquisitions.

Richard Avedon: Made in France.

San Francisco: Fraenkel Gallery, 2001. Folio (15” x 11.5”), pictorial white boards, linen spine with printed title, etc.,reproduced rubber-stamp title on upper cover. 56 pp. 40 b&w illus. Author inscription on copyright map. CONDITION: Good+, light soiling to covers; contents bright and clean.

First trade edition, inscribed by Avedon to fashion editor Polly Allen Mellen and her husband Henry as follows: “For dear Polly & Henry—a la recherche de temps perdu. Love Dick Avedon 2001.” 

This exhibition catalog features Avedon’s work for Harper’s Bazaar in 1950s Paris complimented by images of period production notes, rescued and reproduced in their original form. One such note, by editor-in-chief Carmel Snow, regarding a photo with favorite model Suzy Parker modeling a Gres white chiffon evening gown, partying with two handsome males, instructs “Note how much you can see of the bosom.” Other Avedon “stable” models pictured here include Audrey Hepburn (here with Art Buchwald!), Carmel, and China Machado. Gowns are from Balmain, Dior, Lanvin-Castillo and others, locations include Cafe des Beaux Arts, Moulin Rouge, Sheherazade in Paris. 

Commentary from Judith Furman, New Yorker fashion writer, describes the influence of Richard Avedon on the world of fashion photography, capturing the Paris bohemian culture as it was embraced by Hollywood films such as Sabrina, Funny Face, Gigi and American in Paris. About this book, Avedon said “A picture in a magazine is a view without a window. Here you have the window—the context of production. It's pure chance that these prints escaped the garbage pail.”

Polly Allen Mellen (1924–) was a fashion editor and stylist who worked for Harper's Bazaar (under Diana Vreeland) and later Vogue (under Vreeland and Grace Mirabella)—her career spanning over sixty years. She served as a nurse's aide during WWII and moved to New York in 1949. At Harper’s Bazaar she met her future longtime collaborator Richard Avedon, who initially found Mellen “too noisy.” In time, however, Avedon would describe her as “the most creative sittings editor I ever worked with.” Mellen’s work at Harper’s and later Vogue, Nicolas Ghesquiere has argued, came to “define a new, more modern ethos about clothes and how women wore them. With an almost playful daring, [the ethos] brimmed with a kind of strong, smart, unabashedly celebratory feminine independence—as well as an artful element of provocation and extravagance—that Mellen herself embodied and drew upon in her collaborations” (Ghesquiere, Polly Mellen). Over the course of her career, Mellen worked with such photographers as Newton, Avedon, Arthur Elgort, Irving Penn, Steven Meisel, and Mario Testino. Polly and Henry Wigglesworth Mellen (1920–2014) married in 1965.

Richard Avedon was born in New York in 1923, studied photography at the New School during the late 1940s, spent twenty years as a photographer for Harper’s Bazaar creating iconic images we continue to recognize, moved to Vogue after disputes over his desire to work with models of color, became first staff photographer at the New Yorker. Avedon used his commercial work to support his social projects, and published many books including Portraits, Nothing Personal, Observations, and Evidence.

Item #6061

Price: $750.00