Beschreibung:

Robert Frank1924 - 2019'Hoboken N. J.' (Parade)
gelatin silver print, signed, titled, and dated in ink in the margin, numerical notations in pencil and circular label with annotations in ink on the reverse, 1955, printed no later than 1978image: 8⅛ by 12¼ in. (20.6 by 31.1 cm.)Condition reportPlease note the colors and shades in the online catalogue illustration may vary depending on screen settings.
This print, on paper with a surface sheen, is in generally excellent condition. The following are visible in the image and margins, upon close examination in raking light: several sharp creases, 1/2-to-2 inches in length, some of which appear to break the emulsion. The upper paper-ply is peeling slightly in the lower left margin corner. 
On the reverse, '274'; ‘8-195' [crossed out], and '243' are written in pencil and 'P/K A-20 (II)' is written in ink on a circular yellow sticker in an unidentified hand.
When examined under ultraviolet light, this print appears to fluoresce.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceAcquired from the photographer, 1978LiteratureThe Americans, no. 1 
‘Robert Frank’, Aperture 9:1, 1961, p. 6
Willy Rotzler, ‘Der Photograph Robert Frank ’ Du, January 1962, p. 16
John Szarkowski, The Photographer’s Eye (New York: The Museum of Modern Art, 1966), p. 155
Robert Frank, The Lines of My Hand (Tokyo, 1972), p. 56
LIFE Library of Photography: Documentary Photography (New York,1972), p. 168
Robert Frank (New York, 1976), front cover 
Robert A. Sobieszek, Masterpieces of Photography: From the George Eastman House Collections (New York, 1985), p. 247
Marianne Fulton, Eyes of Time: Photojournalism in America‎ (New York Graphic Society, 1988), p. 177
John Szarkowski, Photography Until Now (New York: Museum of Modern Art, 1989), p. 258
Sarah Greenough and Philip Brookman, Robert Frank Moving Out (Washington, D. C.: National Gallery of Art, 1994), pp. 111 and 175
Peter Galassi, American Photography 1890-1965 from The Museum of Modern Art (New York: The Museum of Modern Art, 1995), p. 215
Lisa Phillips, The American Century: Art & Culture, 1950-2000 (New York: Whitney Museum of Modern Art, 1999), pl. 108
Peter Galassi, Walker Evans & Company (New York: The Museum of Modern Art, 2000), pl. 316
Emma Dexter and Thomas Weski, eds., Cruel and Tender: The Real in the Twentieth-Century Photograph (London: Tate Modern, 2003), p. 101
Philip Brookman and Vicente Todolí, Robert Frank Storylines (London: Tate Modern, 2004), frontispiece 3
Charlie LeDuff, 'Robert Frank's Unsentimental Journey,' Vanity Fair, New York, April 2008, p. 165
Sarah Greenough, Looking In: Robert Frank’s The Americans (Washington, D. C.: National Gallery of Art, 2009), cover, pp. 211 and 460, and Contact no. 1
Christian A. Peterson, Masterpiece Photographs from the Minneapolis Institute of Arts: The Curatorial Legacy of Carroll T. Hartwell (Minneapolis Institute of Arts, 2009), p. 89
Jean Dykstra, 'Poetry of the Moment,' Art & Antiques, November 2009, p. 78
David Campany, The Open Road: Photography & The American Road Trip (New York, 2014), p. 45
Peter Galassi, Robert Frank in America (Göttingen, 2014), p. 107Catalogue noteRobert Frank’s Hoboken N. J. (Parade) is perhaps the most indelible photograph from The Americans. As the first photograph in Frank’s seminal volume, Hoboken has become the representative icon for the whole series. Of these images, Frank wrote, “I have attempted to show a cross-section of the American population. . .The view is personal and, therefore, various facets of American life and society have been ignored. . . My photographs are not planned or composed in advance and I do not anticipate that the on-looker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind—something has been accomplished.” (US Camera 1958, p. 115)  Hoboken N. J. (Parade) is among Frank’s most aesthetically accomplished work. Made during the festivities of the city of Hoboken’s centennial in March 1955, the image is simultaneously documentary and conceptual. Two figures are pictured observing a parade. Framed in the windows of an unassuming brick building, the faces are obscured – the sitter at left in the shadows of her apartment and the sitter at right shrouded by a billowing American Flag. The mood is surprisingly dark for an image made during celebration. Indeed, in Frank’s handling, the flag is both a utilitarian tool of pageantry and a statement on American politics in the post-war era. Hoboken N. J. (Parade) has been immortalized in every major monograph on the photographer and has been included in countless exhibitions globally.