LOT Phillips de Pury & Company  /  PHOTOGRAPHS PART II  / 

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ELIOT PORTER (American, 1901-1990) INTIMATE LANDSCAPES (PORTFOLIO OF 10 DYE-TRANSFER PRINTS) sig...

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ELIOT PORTER (American, 1901-1990) INTIMATE LANDSCAPES (PORTFOLIO OF 10 DYE-TRANSFER PRINTS) sig...
ELIOT PORTER (American, 1901-1990) INTIMATE LANDSCAPES (PORTFOLIO OF 10 DYE-TRANSFER PRINTS) signed "Eliot Porter" in pencil below each image portfolio printing information stamped on verso of each mount: "This print has been published in an edition of 250, and was selected by the artist from the exhibition: Eliot Porter: Intimate Landscapes, The Metropolitan Museum of Art, New York. This dye-transfer print was made under the supervision of Eliot Porter by Berkey K&L, New York. Copyright (c) 1979 by Daniel Wolf Press Inc., and Eliot Porter" 10 dye-transfer prints each mounted on board each approximately: 13 1/2 x 10 3/4 in. (34.3 x 27.3 cm) each mount: 23 x 17 in. (58.4 x 43.2 cm) late 1950s-1970s this portfolio is from an edition of 250 PROVENANCE Private Collection, NEW YORK LITERATURE Martha A. Sandweiss, ELIOT PORTER: PHOTOGRAPHS AND TEXT, Boston, 1987, pls. 28, 41, 46, 48 (4 of the 10 illustrated) In 1940, after abandoning a successful career as a medical doctor, Eliot Porter devoted himself to photography. Rekindling a childhood passion, Porter first chose to photograph birds, then gradually focused his camera on a wider range of natural phenomena. By the 1960s, Porter was widely recognized as a premier nature photographer, and began to publish his pictures in association with the Sierra Club. His 1979 exhibition at the Metropolitan Museum of Art, from which the present works derive, was the first one-man show of color photographs to be hosted by the museum. As the present portfolio demonstrates, Porter traveled far and wide to create images of untouched wilderness. Not only did he traverse the United States, but he also visited such remote locations as Iceland and the Galapagos Islands. Despite their geographic diversity, the present works are united by their intimate focus on specific natural phenomena. Rather than shoot panoramic views, Porter captured smaller incidents like water trickling down a gulch, or flowers struggling to grow between rocks. By contemplating nature at such a close range, Porter emphasized his unerring sense of composition and precise control of color relationships. "The photographs Porter traveled great distances to make raise the issue of whether it is possible to minimize or even to remove the association an image has with a particular culture or continent. One aspect of his work is undoubtedly a tendency to degeographize the image. The selections presented here are notable for the way they defy specific identification with the places where they were made. In this way, Porter's visual intelligence is a fountainhead for photographers of a later generation" (Weston J. Naef, "Afterword," INTIMATE LANDSCAPES: PHOTOGRAPHS BY ELIOT PORTER, exh. cat., New York: The Metropolitan Museum of Art, 1979, p. 133).
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