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IMPORTANT PHOTOGRAPHS FROM THE COLLECTION OF DR. ANTHONY TERRANA William Eggleston Untitled (Near Minter City and Glendora, Mississippi) 1970 Dye transfer print, printed 1999. 13 3/8 x 21 3/4 in. (34 x 55.2 cm) Signed in ink in the margin; signed by William J. Eggleston III, Managing Trustee, titled, dated and numbered 9/15, all in ink within the Eggleston Artistic Trust copyright credit reproduction limitation stamp on the verso.
Provenance Acquired from the collection of the artist, Memphis Miller Block Gallery, Boston Exhibited William Eggleston Democratic Camera, Photographs and Video, 1961-2008, Whitney Museum of American Art, New York, 7 November 2008 – 25 January 2009; Haus der Kunst, Munich, 20 February – 17 May 2009, for another print exhibited Literature Fondation Cartier pour l'art contemporain, William Eggleston p. 119 Moore, Starburst: Color Photography in America 1970-1980, pl.136 Random House, Eggleston: Ancient and Modern, p. 53 Sussman and Weski, William Eggleston Democratic Camera, Photographs and Video, 1961-2008, pl. 12 Szarkowski, William Eggleston's Guide, p. 55 Weski and Liesbrock, How You Look At It: Photographs of the 20th Century, p. 33 Catalogue Essay “I don’t have a burning desire to go out and document anything. It just happens when it happens. It’s not a conscious effort, nor is it a struggle. Wouldn’t do it if it was.” Eggleston turned his lens on his environment, noting: “The way I have always looked at it is the world is in color. And there’s nothing we can do about that.” Thereby, Eggleston contemporized the modernist view, by introducing color into the cannon of photographic composition and thus expanding upon Henri Cartier-Bresson’s idea that “In a photograph, composition is the result of a simultaneous coalition, the organic coordination of elements seen by the eye.” Indeed, it is no surprise that Eggleston was the first photographer to work in color to be selected for a solo show under the venerable eye of John Szarkowski at The Museum of Modern Art, New York in 1976. InUntitled (Biloxi, Mississippi), 1972 (lot 1) Eggleston’s lens is not preoccupied with the facial features of his subject, an unexpected decision in the realm of portrait photography, but rather with the cascading of her lush, bright red hair. The resulting image becomes akin to the powerful brush stroke by such American Color Field School pioneers as Morris Louis or Helen Frankenthaler who lent dominance to color over form and subject. Likewise, in the present lot,Untitled (Near Minter City and Glendora, Mississippi), 1970, Eggleston presents viewers with a disarming scene that calls for nothing but a quiet, objective meditation on the vernacular. The absence of drama and the insistence on employing a non-judgmental lens gives way to a democratic approach in viewing the work, where the different compositional elements, including color, are granted equal weight in their aesthetic contributions. Other prints of this image are in the collections of The Museum of Modern Art, New York and the Metropolitan Museum of Art, New York. Read More Artist Bio William Eggleston American • 1939 William Eggleston's highly saturated, vivid images, predominantly capturing the American South, highlight the beauty and lush diversity in the unassuming everyday. Although influenced by legends of street photography Robert Frank and Henri Cartier-Bresson Eggleston broke away from traditional black and white photography and started experimenting with color in the late 1960s. At the time, color photography was widely associated with the commercial rather than fine art — something that Eggleston sought to change. His 1976 exhibition at the Museum of Modern Art, Color Photographs, fundamentally shifted how color photography was viewed within an art context, ushering in institutional acceptance and helping to ensure Eggleston's significant legacy in the history of photography. View More Works