Limited Edition 8x10'' Prints
Why do people buy art? Perhaps as an investment, or based on a personal connection – perhaps the subject matter has a particular resonance. Irrespective of motive, for many, buying into the art market remains an aspiration. Magnum Photos has, since the mid-'80s, sold prints with prices starting at approximately $1,500. Magnum Editions is a range produced with the utmost care and excellence, offering the same quality that you would expect in a fine print, at a more affordable price.
The first collection of Magnum Editions features unforgettable photographs from 16 Magnum photographers. These images reflect some of the diversity of practice among Magnum’s members: capturing events and individuals pivotal to world affairs, personal reflective moments, levity, and the beauty of everyday moments.
The 16 images are available as 8x10" Magnum archive stamped, archival pigment prints, now in a limited edition of 100 each. Selling for $399, unframed, these limited edition prints will never be available at this size and price again.
In the late 1960s, Dennis Stock took to the road to create a portrait of California during the peak of America’s countercultural heyday. In this image, taken at Venice Beach Rock Festival, Stock captures just one of the attempts of California's non-conformists to reshape society according to the ideals of love and peace. He described the voyage as nothing less than extraordinary: “A recent trip blew my mind across this state of being, as I collected images along the way to remember the transient quality of the Big Trip.”
This photograph was taken in Chile in 1987, just after Harvey had left his staff photographer job at National Geographic. He was experiencing a renewed sense of freedom at the time, and has said of this image: “On my right wrist is a small tattoo: a red balloon. Why? It’s in honour of the 50s French classic short film The Red Balloon. Saw it when I was a kid […] When I saw this boy in Santiago, Chile, that ultimate image of freedom popped into my head. There are all kinds of freedom. Creative freedom being one of the most rewarding.”
In 1970 Ian Berry, freshly returned from a gruelling trip across three continents, found himself in the small Paris flat of French singer and pop-culture icon Serge Gainsbourg - which he shared with his partner, the English singer and actress Jane Birkin. The pair shared a relationship often played out in the public eye, through photographs, but also through music – evidenced not least by the duet 'J'taime… moi non plus', which was banned in some countries for its lyrical content. In spite of being a highly popular image, it is something of an anomaly for a photographer who rarely worked with the famous.
René Burri photographed many modernist icons: Le Corbusier at work, Picasso in his home, and the construction and inauguration of Brasilia - Oscar Niemeyer’s purpose-built capital city. This image depicts the work of another modernist, the influential Mexican architect Luis Barragán. Designed in collaboration with his protege, Andrés Casillas, and built in 1968 on the outskirts of Mexico City, Cuadra San Cristóbal was designed for a Swedish equestrian family who Barragán had met while riding at a nearby club. Pictured is an area of the home constructed to exercise the family’s horses.
This image - taken from the window of Erwitt’s own apartment overlooking New York’s Central Park - captures the photographer’s daughters watching the Macy's Thanksgiving Day Parade pass by in 1988. Started by the Macy’s department store chain in 1924 the parade has been televised nationally every year since 1952. Outside the window floats a giant effigy of Snoopy from Charles M Schulz’s comic strip Peanuts, a staple of the parade since 1968, boasting more appearances than any other cartoon character to date. Erwitt noted recently that, sadly, the floats now run on shorter tethers, and only rarely do they reach his windows.
Nikos Economopoulos’ major early projects saw him photographing his native Greece and its neighbors and the Balkan peninsula following the fall of Yugoslavia. All of this work was made in black and white, but later the photographer became focused on making color work - reveling in the opportunities the medium offered, “Black and white transcends reality by removing a very significant part of it: the color. Its simplicity and deductive character allow for abstraction… Color is more realistic. To get the same outcome, the same contrasts and tensions, the same sense of intensity is more complicated… You need to engage other tools, like the quality of light and a sense of balance between colors.”
This photograph - one of Depardon's best known from his period working in New York - offers a view of the Empire State Building from Manhattan’s East Side and wryly nods to the stark contrasts the city embodied. Economic success on Wall Street had fuelled a speculative real estate boom, but crime and unemployment were still issues many New Yorkers had to contend with on a daily basis. It would be another decade of regeneration before New York began to resemble the city we know it as today.
Eve Arnold began photographing Marilyn Monroe after the actress saw her pictures of Marlene Dietrich in Esquire. They met at a party and Monroe asked: “If you could do that well with Marlene, can you imagine what you can do with me?” So began their professional relationship, which, other the years, turned into friendship. Arnold photographed Monroe six times over the decade she knew her, the longest of these sessions was a two-month stint during the filming of 'The Misfits'.
On June 4 1989, hundreds of Chinese student protesters were killed when they clashed with the military after a lengthy standoff in and around Beijing’s Tiananmen Square. Having photographed the rising tensions, and the erection of the students’ ‘Goddess of Democracy’ statue, Stuart Franklin was present to witness the protest being crushed: “As I was photographing the tank, I had very clear memories of the Prague Spring of 1968, when citizens faced off with Russian tanks... Authorities inside [my] hotel confiscated footage, but I packed my film into a box of tea and gave it to a French student who was heading back to Paris. She got it to Magnum.”
David Seymour worked on numerous commercial commissions for major publications, including shooting portraits of some of the most iconic cultural figures of the 20th century, including Sophia Loren, Pablo Picasso and Richard Avedon. This photograph of Audrey Hepburn was taken in Paris in 1956, three years after her breakout starring role in Roman Holiday, for which she won the BAFTA for Best Actress. Seymour’s biographer, Carole Naggar, wrote of his portraiture work: “His unobtrusive manner and sense of humour, his ability to listen, helped in the creation of portraits that went beyond the usual ‘glamour shots’, conveying an air of relaxed intimacy.”
Born to Greek immigrant parents in the American South, Constantine Manos first started photographing in his native South Carolina, documenting the segregated state as the nascent civil rights movement gathered steam.He went on to shoot his career-making project on the remote villages of Greece’s myriad islands - all of this early work made in black and white. This image, from the photographers 'American Color' project, captures the photographer’s love of color that developed later in his career.
Burt Glinn’s work on the set of Suddenly Last Summer, a 1959 movie adaptation of Tennessee Williams’ one-act play of the same name - offers a window onto a production that was fraught with tension. Twenty-five-year-old Elizabeth Taylor starred alongside Katharine Hepburn and Montgomery Clift. Glinn followed the cast and crew from Shepperton Studios in London to S'Agaro in Spain, photographing Taylor at work and behind the scenes. In spite of the tumultuous production, and mixed reviews, Taylor was nominated for the Academy Award for Best Actress for the film.
Bruno Barbey was born in Morocco and grew up in various parts of the country: Rabat, Salé, Marrakech and Tangiers. In the course of a long career, Barbey has traveled all over the world, but it is to Morocco that the photographer keeps returning. Central to his more than 50 years of work in the nation has been his use of color film - a move inspired by an assignment working for Vogue in Brazil in 1966. Key also to many of Barbey’s Morocco photographs is an air of abstraction, and this image embodies so many central aspects of the photographer’s work in his nation of birth.
The Berlin Wall - a heavily guarded concrete barrier that physically and ideologically divided the city - was built in 1961. Leonard Freed documented the wall being erected, as well as the experiences of those living on its western side in the following years as Germany came to terms with being a nation divided. Freed particularly focused upon the comparatively freewheeling youth in the West - perhaps the best-known of those images being this, taken in Berlin’s Tiergarten part in 1965.
Guy le Querrec was in Berlin shortly after the fall of the Berlin Wall on November 9, 1989. The initially simple structure which had, over decades, grown into a sprawling and militarised ‘death strip’ symbolised the Cold War and to many the Soviet hold over portions of Europe. With the wall’s fall Berlin and its inhabitants found themselves unified once more, and a period of festivity ensued. This image captures the newfound freedom and openness which permeated the city after unification.
This image was shot at the end of basic training at women's army Training Base no. 12 at Tzrifin, the central base of the Israeli Women's Corps. “I happened upon this lovely and colorful fashion show happening in front of the bulk of monotonous Khaki clad young soldiers,” remembers Bar-Am, “The contrast was smashing and the real show was followed by a mock fashion show by the soldiers themselves in which the parade ground doubled as catwalk.”