Sup RARE Guy BOURDIN - 1980 Pentax Calendar, Old Authentic Drawing Offset Print

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Sup RARE Guy BOURDIN - 1980 Pentax Calendar, Old Authentic Drawing Offset Print:
$845.00

Sale!!! Mega RARE! Unique!!!

Guy BOURDIN - French Vogue, 1977

Old Authentic Original Drawing Offset print

Size: 22.4 cm x 26.7 cm

Beautiful Famous photo! Iconic!!!

A wonderful testimony to art printing which unfortunately has completely disappeared today.

Magnificent print, close to a photograph, very bright, contrasting and luminous, with beautiful density colors.

Its rendering as well as its definition with sharp details are absolutely remarkable.

This is a print that the printer had archived as a reference model and laminated to a support so that it can be preserved over time.

Print made in 1999 by a former art printer Archival model Printer four-color printing enhanced with a glossy varnish

This unpublished print was found deep in an assembly workshop in the archive lockers of a former art printing house, carefully preserved flat and protected from light in an envelope. Although it is old with its 24 years of age, it remains in a good state of conservation. Presence of traces of dirt and marks on the back due to manipulations by the printer. However, the front is intact, in perfect condition and of remarkable shine.

This copy was kept by the printer to serve as references for its calibration and coloring on the machine during reprints.

Size: 19.8 cm x 13.8 cm

In 1979, Guy Bourdin was in charge of producing the 1980 calendar for the Japanese firm, Pentax. He then composes his images like paintings, like this one, in an almost suspense film. He arranges and places his model lying on the ground, an image coming straight from the vital darkness of creativity and deepest inspiration of the photographer, his photographs, him master of fashion photography and a glamor saturated with colors and colors. eroticism, in this one, it is a flood of red, dense, still hot varnish which comes out of the mouth of its model, annihilating all desire in the lover of a night.

He never stops experimenting to go further, in order to go beyond the boundaries of photography, producing fashion images from another galaxy that go beyond established conventions, he is always ahead, ahead of and disrupting all the codes of the time.

He gives a photographic reading with expressionist accents, sometimes bordering on abstraction. He never stops experimenting to go ever further, in order to go beyond the boundaries of photography, producing images from another galaxy which go beyond established conventions, he is always ahead, anticipates and shakes up all the codes of the time. He has as much fun with the elements as his subjects, destabilizing, disorienting, erasing reference points, producing scenes with a new, elegant and original look.

“I try to let this imperceptible thing that is the lens act independently when it comes face to face with its subject. » Guy Bourdin

It was his campaigns for the shoe designer Charles Jourdan that revealed him to the general public and marked a long collaboration with the house. The brand's products are barely visible, as if he added them after the fact. A shoe becomes an insignificant element in a very elaborate theatrical production.

He places top models in the middle of calf's heads, a dish of sauerkraut or even ice cream cones, spends hours on the details of an image and does not want his photos to be kept in a simple box to shoes. Later, Madonna, loving his work, would even go so far as to plagiarize some of his images, as in her 2003 Hollywood music video.

In his images, he blurs the lines, those of fashion, where in an instant everything is played out in a composition straight from the vital darkness of creativity and the deepest inspiration. His narration is reduced to simpler terms and yet he tells a story in his photographs, he projects us into a scene, without any clues, creating an atmosphere both disturbing and fascinating that cannot exist in reality. Permanent tension and formal perfection are his signature which offers no solution to his enigmas, it is the beauty and aesthetics that he photographs.

In the vast majority of his images, he establishes associations between surrealism and film noir, with surrealism, he shares a certain irony and a sense of paradox, of the absurd, as well as a predilection for details in a perfectly orchestrated, black films, he adopts a taste for suspense, mixed with a sensuality between glamor and eroticism.

Dresses, clothes, shoes, cosmetics, jewelry, he uses them as evidence in a news item, fetishized, his photographs are interposed, held by the model, by displacements and shifts, mirrored scenes create spaces which are interspersed to give complex images, which separate desire and the desired object, the body as a commodity, the product to be sold are placed at a distance.

With images of never-before-seen visual force, Guy Bourdin established himself within the fashion press, for other advertising campaigns intended for the shoe designer Roland Pierre, or even for the lingerie designer Bloomingsdale's.

He knows how to brilliantly stage objects, he diverts them, installs a certain mystery, where no one can tell what is happening, that's what he looks for in a photograph, to leave doubt hovering, he pushes the spectator to ask questions, to discover the matrix, of what happened in the space of his photo.

He is alongside Helmut Newton, a true artistic dictator, the woman is powerful, she walks towards the camera, fixing the lens as if to challenge it with her gaze, she smiles little, but does so in a sardonic way, her Models are young and mischievous like mechanical dolls taking all the positions imposed by the photographer, with omnipresent makeup and striking lipstick, giving them the appearance of perfectly painted toys that Bourdin transforms into fashion pastiche. Guy Boudin is the only photographer to have developed a work of precise coherence while striving to make it elusive, ephemeral, never visible as a whole, as if he wanted it to self-destruct after his death.

“A photograph steals your soul. » Guy Bourdin

He is then at the height of his technical mastery, and the films made during the shooting sessions clearly show the intensity of his research, both visual and emotional, he uses in particular the principle of mise en abyme in his compositions. Although he uses black and white, he flourishes with color, his images are as if drawn with a pen, larded with garish and powerful colors which illuminate the situation created, the pictorial radicalism of the photographer definitively asserting itself, giving birth to his inimitable style.

Its design demonstrates that it is not the designated product that attracts the consumer but the imagery that carries it, achieved by staging a sensual story favoring fantasies, by an illustration of inaccessible dreams. His photographs are very polished, crudely lit and extremely strong. The models sometimes pose in provocative and often uncomfortable positions, in claustrophobic settings. The taste for framing, the saturation of colors, tinted by a multitude of tones are omnipresent and the use of models harks back to the seventh art. The mystery that results is reminiscent of the films of David Lynch, aesthetically close to perfection, never clear in substance.

His work deals with life, he knew before anyone else that sex and violence were going to become the most important factors in our society. But what interests him most is wanting to describe life. No photographer before him and certainly no other with such talent, has ever succeeded in combining the beauty of an accessory, a pair of shoes, a hat or even a piece of clothing.

His work is characterized by disturbing, often provocative and mysterious images, which initiated a radical change in the way advertising campaigns in the fashion field were approached. Never like in the work of Guy Bourdin, photographer and painter, friend of Man Ray, the models seem to evoke pop objects, reduced to pieces by an acute fantasy.

Provocative, sensual or elusive, Bourdin's women are immersed in a universe close to surrealism, the bizarre, a raw beauty, with an ultra-sharp aesthetic. He makes them live and breathe through the image. Some of his photographs are constructed like crime scene shots, such as those immortalized by the American photographer Arthur Weegee, who followed New York police officers on accidents and crimes, this is what Guy Bourdin adapts in his work , except that its victims are always women.

He asserts through his photos that the image is stronger than the motif, he forges a visual morality which allows him to break down the barriers of frivolity, glamor and decoration. All he has to do is make his idea factory work; he becomes the author of highly sophisticated productions, suggesting a story of rare complexity. He doesn't take photos, he creates images, paintings.

Following in the footsteps of Man Ray, Guy Bourdin's approach adopted a work, which subsequently influenced numerous photographers, such as Jean Baptiste Mondino and David LaChapelle.

Guy Bourdin (1928-1991) French photographer, born Guy Louis Banarès in Paris. He will be abandoned by his mother a year after his birth and adopted by Maurice Désiré Bourdin, who will then take care of his education. From 1948 to 1949, he was trained in photography during his military service in the air force in Dakar, Senegal.

In 1950, returning to civilian life, he exhibited his drawings and paintings in a Parisian gallery. In 1951, he met the painter and photographer Man Ray with whom he became friends. In 1952, at the gallery 29, rue de Seine in Paris, Guy Bourdin held his first photographic exhibition, with a catalog prefaced by Man Ray. In 1953 and 1954, he again exhibited his photographs as well as his drawings under the pseudonym Edwin Hallan. At the start of his career, he was quickly encouraged by Michel de Brunhoff, editor-in-chief of “Vogue France”. His first photos were published in the February 1955 issue of Vogue, then under the direction of Edmonde Charles-Roux, struck by the images that the young photographer had presented to him, said about him: “He looked like a schoolboy, and his photos of naked men and women, showing only their backs or posteriors to the camera. The chosen subject was far from what “Vogue” might have been interested in, but the quality of the work was exceptional. Touched by the talent of the young man, he was hired and very quickly became the official photographer for “Vogue”. Guy Bourdin's first series of photographs will be a subject on hats, the first image presented a Balenciaga hat with a small veil, with a dead fly on the model's face but which seemed very much alive. Other images will be taken in a butcher's shop, the model and her hat posing in front of calves' heads with their tongues hanging out. Bourdin then worked for “Vogue” magazine for 30 years, until 1987.

He became a recognized photographer in the world of fashion and advertising. His advertising campaigns for Charles Jourdan, from 1967 to 1981, made him known to the general public. In 1961, Guy Bourdin married Solange Gèze and had a son, Samuel in 1967. In 1967, he collaborated with the magazine “Harper's Bazaar” and his photos were published in the very young magazine “Photo”. In 1972 he worked for the version of “Vogue Italia” and “Vogue Anglais” in 1974.

He will also sign regular publications for “Marie-Claire, or even “Biba”, and will carry out numerous advertising campaigns for Charles Jourdan, Gianfranco Ferré, Claude Montanta, Chanel.

In 1985, finding it totally useless, he refused the grand national photography prize awarded to him by the Minister of Culture. On the other hand, in 1988, Bourdin accepted, with the sponsorship of Annie Leibovitz, the “Infinity Award” awarded by the “International Center of Photography” in New York, for his 1987 advertising campaign for the Chanel brand.

Less known than William Klein or Helmut Newton, Guy Bourdin adheres to the same surrealist movement. A worthy heir of Man Ray, whose assistant and friend he was in the early 1950s, the photographer expresses his concern for perfection, his desire to mix dream and reality, from his first photos. The extreme sensuality of the images mixed with surrealist staging has revolutionized the field of fashion photography. A great fashion and advertising photographer, Guy Bourdin left his mark on photography in the 60s and 70s, with legendary images. He cared little about his aura, even less about his heritage, and lived in complete anonymity.

Many of his photos, such as Madonna's "Hollywood" music video, were directly inspired by his work.

“I don’t take photographs, I make images. » Guy Bourdin

Sale as is, no return.

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Harry Gruyaert

Annie Leibovitz

Peter Lindbergh

Guy Bourdin

Richard Avedon

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Ellen Von Unwerth

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Rei Kawakubo

Irving Penn,

Bruce Weber,

Edward Steichen,

George Blumenfeld

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Steve Hiett

Gueorgui Pinkhassov

Andy Warhol

Yayoi Kusama

Magnum photos

Harry Callahan

Andre Kertesz

Elliott Erwitt

Bruce Davidson

Guy Bourdin

Steven Meisel,