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Sebastian Hau

VERY SCARCE OPPORTUNITY to purchase this FANTASTIC title by Irving Penn ("Moments Preserved") -
in BRANDNEW CONDITION: super fresh white; new, mint, unread.

Showing Irving Penn photographs of "Still Life" between 1938 and 2000.
One of the best books by the famous American photographer (1917-2009). 

Irving Penn's books include Moments Preserved (1960), Worlds in a Small Room (1974), Inventive Paris Clothes 1909-1939 (1977), Flowers (1980), and Passage (1991). A retrospective of his work was exhibited at the Museum of Modern Art in New York in 1984. In 1997, the Art Institute of Chicago mounted a traveling international exhibition.

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IF YOU WIN MORE THAN 1 OF MY BOOKS IN THIS AUCTION, YOU WILL PAY ONLY 1 X SHIPPING COSTS -
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Schirmer and Mosel, Munich. 2001.

Hardcover with dustjacket. 275 x 285 mm. 144 pages. Photos: Irving Penn. Foreword: Irving Penn. Introduction: John Szarkowski. Acknowledgments: Irving Penn. Text in English.

Great photobook by Irving Penn - in perfect condition.

Irving Penn was an American photographer known for his fashion photography, portraits, and still lifes. Penn's career included work at Vogue magazine, and independent advertising work for clients including Issey Miyake and Clinique. His work has been exhibited internationally and continues to inform the art of photography.
Penn was born to a Russian Jewish family on June 16, 1917, in Plainfield, New Jersey, to Harry Penn and Sonia Greenberg. Penn's younger brother, Arthur Penn, was born in 1922 and would go on to become a film director and producer. Penn attended Abraham Lincoln High School where he studied graphic design with Leon Friend.[4][5]
Penn attended the Philadelphia Museum School of Industrial Art (now the University of the Arts) from 1934 to 1938, where he studied drawing, painting, graphics, and industrial arts under Alexey Brodovitch. While still a student, Penn worked under Brodovitch at Harper's Bazaar which published several of Penn's drawings.[citation needed]
Penn worked as a freelance designer for three years taking his first amateur photographs before taking Brodovitch's position as the art director at Saks Fifth Avenue in 1940. Penn remained at Saks Fifth Avenue for a year before leaving to spend a year painting and taking photographs in Mexico and across the US. When Penn returned to New York, Alexander Liberman offered him a position as an associate in Vogue magazine's Art Department. Penn worked on layout for the magazine before Liberman asked him to try photography.
Penn's first photographic cover for VOGUE magazine appeared in October 1943. The art department of the Office of War Information in London offered him a job as an "artist-photographer" but he volunteered with the American Field Service instead. After arriving in Naples with a boatload of American troops in November 1944. Penn drove an ambulance in support of the British Eighth Army as it alternately waited out weather and slogged its way north through a miserable winter in the Italian Apennines. In July 1945, he was transferred from Italy to India. He photographed the soldiers, medical operations, and camp life for the AFS, and various subjects while bivouacked in India. He sailed back to New York in November 1945.
Penn continued to work at Vogue throughout his career, photographing covers, portraits, still lifes, fashion, and photographic essays. In the 1950s, Penn founded his own studio in New York and began making advertising photographs. Over the years, Penn's list of clients grew to include General Foods, De Beers, Issey Miyake, and Clinique.
Penn met Swedish fashion model Lisa Fonssagrives at a photo shoot in 1947. In 1950, the two married at Chelsea Register Office, and two years later Lisa gave birth to their son, Tom Penn, who would become a metal designer.[10] Lisa Fonssagrives died in 1992. Penn died aged 92 on October 7, 2009 at his home in Manhattan.[1
His impact in the fashion industry Irving Penn’s work will always stand out because it holds features such as elegance, and aesthetic simplicity. His work was also placed in the most prominent magazines such as VOGUE, Harper’s Bazaar.
Best known for his fashion photography, Penn's repertoire also included portraits of creative greats; ethnographic photographs from around the world; Modernist still-life works of food, bones, bottles, metal, and found objects; and photographic travel essays.
Penn was among the earliest photographers to pose subjects against a simple grey or white backdrop and he effectively used its simplicity. During his early years at Vogue, the magazine's art director, Penn developed a bold graphic sensibility that complemented Penn's chic images and embodied modern taste. His use of monochromatic backdrops of black, white, or gray allowed him complete control of natural lighting conditions and enhanced the visual simplicity of his photographs. In an era when elaborate artificial lighting was the norm, his work stood out from the rest and influenced subsequent fashion photography.[17] Expanding his austere studio surroundings, Penn constructed a set of upright angled backdrops, to form a stark, acute corner. Subjects photographed with this technique included John Hersey, Martha Graham, Marcel Duchamp, Pablo Picasso, Georgia O'Keeffe, W. H. Auden, and Igor Stravinsky.
Beginning in 1964, Irving Penn began experimenting with platinum printing. Penn had spent his career up to that point making photographs that were seen almost exclusively in reproduction within the glossy pages of magazines and in his pivotal 1960 book Moments Preserved. Penn set himself the challenge of producing photographic prints that would surpass the technical limitations of reprographic media and deliver a deeper visual experience. He was drawn to the antiquated platinum process for its long grayscale – its ability to display a seemingly infinite array of gradations between pure white and absolute black.
The platinum process requires direct contact with the negative, without enlargement, so Penn first needed to create flawless negatives the same size as the desired print. He then hand-coated paper with platinum emulsion. When dry, the paper was sandwiched with the negative and exposed to light before processing. Rigorous experimentation revealed that recoating a print with a secondary emulsion and making a second or third exposure of the same image on a single sheet of paper yielded prints of greater depth and subtlety. Penn solved the problem of aligning and re-aligning the negative and the print surface over multiple exposures by borrowing a technique from the graphic arts: he mounted his paper on a sheet of aluminum with a series of registration guides along the top edge. Penn was guarded about the preparation of his emulsions and his precise formulations varied considerably. He frequently introduced palladium and iron salts into his coatings to achieve desired effects.
Penn's still life compositions are sparse and highly organized, assemblages of food or objects that articulate the abstract interplay of line and volume. Penn's photographs are composed with a great attention to detail, which continues into his craft of developing and making prints of his photographs. Penn experimented with many printing techniques, including prints made on aluminum sheets coated with a platinum emulsion rendering the image with a warmth that untoned silver prints lacked. His black and white prints are notable for their deep contrast, giving them a clean, crisp look.
While steeped in the Modernist tradition, Penn also ventured beyond creative boundaries. The exhibition Earthly Bodies consisted of series of posed nudes whose physical shapes range from thin to plump; while the photographs were taken in 1949 and 1950, they were not exhibited until 1980.
He continued to capture collections by his favorite designers, such as John Galliano for Dior, Karl Lagerfeld for Chanel, and Christian Lacroix, for Vogue, incorporating these darker themes into his images.

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866 objects

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