A young person in curlers at home on West 20th Street, NYC 1966
These were purchased at auction from a private estate; we believe them to be reproductions derived from the Bea Feitler set numbered 5/50 that was later acquired by the Smithsonian and then reproduced in 2018. There is no estate stamp on verso.
We have custom framed each piece with UV protection glass.
18.5” x 18.5”
*On all art framed with glass, we recommend air shipping for the safest delivery.
About the artist:
In late 1969, Diane Arbus started working on a portfolio—her first box set of ten photographs she’d plan to sell. When she died in 1971, she’d completed printing only 8 out of 50 sets, only four of which were numbered and signed. The set marked 5/50 went to Bea Feitler, art director at Harper’s Bazaar. For her, Arbus added an eleventh photograph, A woman with her baby monkey, NJ, 1971.
This portfolio—A Box of Ten Photographs—and Arbus herself are known as being “responsible for ushering photography’s acceptance to the realm of ‘serious’ art.” Shortly before she died, she was the first photographer to ever be featured in Artforum—and shortly after, she was the first photographer included at Biennale in Venice.
“Confronting an Arbus photograph, you lose your ability to know—to think or feel, and certainly to judge—anything. She turned picture-making inside out. She didn’t gaze at her subjects; she induced them to gaze at her.” — Peter Schjeldahl, The New Yorker
These were purchased at auction from a private estate; we believe them to be reproductions derived from the Bea Feitler set numbered 5/50 that was later acquired by the Smithsonian and then reproduced in 2018. There is no estate stamp on verso.
We have custom framed each piece with UV protection glass.
18.5” x 18.5”
*On all art framed with glass, we recommend air shipping for the safest delivery.
About the artist:
In late 1969, Diane Arbus started working on a portfolio—her first box set of ten photographs she’d plan to sell. When she died in 1971, she’d completed printing only 8 out of 50 sets, only four of which were numbered and signed. The set marked 5/50 went to Bea Feitler, art director at Harper’s Bazaar. For her, Arbus added an eleventh photograph, A woman with her baby monkey, NJ, 1971.
This portfolio—A Box of Ten Photographs—and Arbus herself are known as being “responsible for ushering photography’s acceptance to the realm of ‘serious’ art.” Shortly before she died, she was the first photographer to ever be featured in Artforum—and shortly after, she was the first photographer included at Biennale in Venice.
“Confronting an Arbus photograph, you lose your ability to know—to think or feel, and certainly to judge—anything. She turned picture-making inside out. She didn’t gaze at her subjects; she induced them to gaze at her.” — Peter Schjeldahl, The New Yorker
These were purchased at auction from a private estate; we believe them to be reproductions derived from the Bea Feitler set numbered 5/50 that was later acquired by the Smithsonian and then reproduced in 2018. There is no estate stamp on verso.
We have custom framed each piece with UV protection glass.
18.5” x 18.5”
*On all art framed with glass, we recommend air shipping for the safest delivery.
About the artist:
In late 1969, Diane Arbus started working on a portfolio—her first box set of ten photographs she’d plan to sell. When she died in 1971, she’d completed printing only 8 out of 50 sets, only four of which were numbered and signed. The set marked 5/50 went to Bea Feitler, art director at Harper’s Bazaar. For her, Arbus added an eleventh photograph, A woman with her baby monkey, NJ, 1971.
This portfolio—A Box of Ten Photographs—and Arbus herself are known as being “responsible for ushering photography’s acceptance to the realm of ‘serious’ art.” Shortly before she died, she was the first photographer to ever be featured in Artforum—and shortly after, she was the first photographer included at Biennale in Venice.
“Confronting an Arbus photograph, you lose your ability to know—to think or feel, and certainly to judge—anything. She turned picture-making inside out. She didn’t gaze at her subjects; she induced them to gaze at her.” — Peter Schjeldahl, The New Yorker