William Eggleston Untitled (Stage 14 Parking Lot, Hollywood)
William Eggleston
b. 1939
Untitled (Stage 14 Parking Lot, Hollywood)
Iris print, signed in ink in the margin, the photographer's copyright stamp, with edition '4/7' in ink, on the reverse, framed, 1999-2000, printed in 2001
image: 45.5 by 68.7 cm (17⅞ by 27 in.)
frame: 64 by 81.1 cm (25¼ by 31⅞ in.)
Condition Report:
Please note the colours and shades in the online catalogue illustration may vary depending on screen settings.
This Iris print, on matte-surface paper, is in generally excellent condition. The colours remain bright and saturated, with no apparent signs of fading. The print is tipped to a mount in the upper margin corners. 'EAT # 0105.080' is written in an unidentified hand in ink on the reverse.
Catalogue Note:
Many argue that William Eggleston’s unique visual practice single-handedly propelled colour photography into the realm of fine art. His images of cars and car parks are a cornerstone of his Americana-infused landscapes. A close look at the present image reveals a playful twist, an optical illusion. While the background of the image seems to be dominated by a sweeping blue sky, one discovers that it is in fact a painted wall, likely part of a film set.
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William Eggleston
b. 1939
Untitled (Stage 14 Parking Lot, Hollywood)
Iris print, signed in ink in the margin, the photographer's copyright stamp, with edition '4/7' in ink, on the reverse, framed, 1999-2000, printed in 2001
image: 45.5 by 68.7 cm (17⅞ by 27 in.)
frame: 64 by 81.1 cm (25¼ by 31⅞ in.)
Condition Report:
Please note the colours and shades in the online catalogue illustration may vary depending on screen settings.
This Iris print, on matte-surface paper, is in generally excellent condition. The colours remain bright and saturated, with no apparent signs of fading. The print is tipped to a mount in the upper margin corners. 'EAT # 0105.080' is written in an unidentified hand in ink on the reverse.
Catalogue Note:
Many argue that William Eggleston’s unique visual practice single-handedly propelled colour photography into the realm of fine art. His images of cars and car parks are a cornerstone of his Americana-infused landscapes. A close look at the present image reveals a playful twist, an optical illusion. While the background of the image seems to be dominated by a sweeping blue sky, one discovers that it is in fact a painted wall, likely part of a film set.