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Ausgewählte Werke


Julia Margaret Cameron

Kalkutta 1815 – 1879 Kalutara, Ceylon

Claude & Lady Florence Anson, August. 1870

Vintage. Albuminabzug. 28,4 × 23,2 cm. (11 ⅛ × 9 ⅛ in.) Auf Originalkarton (54,5 x 39,4 cm) aufgezogen, darauf unten mittig von unbekannter Hand beschriftet. Auf Kartonrückseite von unbekannter Hand beschriftet und beziffert.  [3325]

ProvenienzVirginia Woolf, London / Howard Ricketts, London (bis 1975) / Galerie Arnoldi-Livie, München / Privatsammlung, München

EUR 10.000 – 15.000
USD 11,600 – 17,400

Claude & Lady Florence Anson, August

Auktion 336Donnerstag, den 2. Dezember 2021, 18.00 Uhr

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Literatur und AbbildungVergleichsliteratur und -abbildung:
Ausst.-Kat.: Julia Margaret Cameron 1815-1879. Southampton, The John Hansard Gallery, The University; Bonn, Rheinisches Landesmuseum; Madrid; Fundacion Juan March; Paris, Centre National de la Photographie; New York, International Center of Photography, 1984/85, S. 47, Abb. I.35 (dort spiegelbildlich) / Ausst.-Kat.: Cameron: Her Work and Career. Rochester, International Museum of Photography at George Eastman House; Williamstown, The Sterling and Francine Clark Art Institute; Detroit, The Detroit Institute of Art; Cincinnati, Art Museum, 1986/87, S. 70 (dort spiegelbildlich und betitelt: Days at Freshwater) / Julian Cox und Colin Ford (Hg.): Julia Margaret Cameron. The Complete Photographs. London 2003, S. 396, Abb. 923 (dort spiegelbildlich) / Ausst.-Kat.: Julia Margaret Cameron: 19th Century Photographer of Genius. London, National Portrait Gallery; Brandford, National Museum of Photography, Film & Television; Los Angeles, the J. Paul Getty Museum, 2003/04, S. 181 (dort spiegelbildlich)

„In 1865, when she was fifty, her son’s gift of a camera gave her at last an outlet for the energies which she had dissipated in poetry and fiction and doing up houses and concocting curries and entertaining her friends. Now she became a photographer.
All her sensibility was expressed, and, what was perhaps more to the purpose, controlled in the new born art. The coal-house was turned into a dark room; the fowl-house was turned into a glass-house. Boatmen were turned into King Arthur; village girls into Queen Guenevere. […] Like a tigress where her children were concerned, she was as magnificently uncompromising about her art. Brown stains appeared on her hands, and the smell of chemicals mixed with the scent of the sweet briar in the road outside her house. She cared nothing for the miseries of her sitters nor for their rank. The carpenter and the Crown Prince of Prussia alike must sit as still as stones in the attitudes she chose, in the draperies she arranged, for as long as she wished.” (Virginia Woolf: Julia Margaret Cameron, 1926. In: Julia Margaret Cameron. The J. Paul Getty Museum, Los Angeles 2018, S. 36-37)

• Berühmteste Porträtphotographin ihrer Zeit
• Ihre Werke befinden sich u.a. im Victoria & Albert Museum, London, im Metropolitan Museum, New York, im Museum of Modern Art, New York
• Ehemals aus dem Besitz von Virginia Woolf, einer Großnichte von Julia Margaret Cameron

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