A Snicket in Halifax, 1930s
silver gelatin print
image: 13 5/8 x 11 1/2 in. / 34.6 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Belgravia, London, February, 1953
silver gelatin print
image: 13 1/2 x 11 1/2 in. / 34.3 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Crowded, Improvised Air-Raid Shelter in a Liverpool Street Tube Tunnel, 1940
silver gelatin print
image: 13 1/2 x 11 1/2 in. / 34.3 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
East End Girl dancing the Lambeth Walk, 1930s
silver gelatin print
image: 13 3/8 x 11 1/2 in. / 34 x 29.1 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
East Sussex Coast, 1959
silver gelatin print
image: 13 1/2 x 11 1/2 in. / 34.3 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Magritte, 1966
silver gelatin print
image: 13 1/2 x 11 1/2 in. / 34.3 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Nude, London, March, 1952
silver gelatin print
image: 13 1/2 x 11 1/2 in. / 34.3 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Parlourmaid preparing a bath before dinner, 1930s
silver gelatin print
image: 13 15/8 x 11 1/2 in. / 34.6 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
People sheltering in the Tube, Elephant and Castle underground station, 1940
silver gelatin print
image: 13 1/4 x 11 1/4 in. / 33.7 x 28.6 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
After the Celebration, 1934
silver gelatin print
image: 13 1/2 x 11 5/8 in. / 34.3 x 29.5 cm
sheet: 16 x 12 in. / 40.6 x 30.5 cm
recto: signed, lower right
Self Portrait with Mirror, 1966
silver gelatin print
image: 13 1/2 x 11 5/8 in. / 34.3 x 29.5 cm
sheet: 15 7/8 x 12 in. / 40.3 x 30.5 cm
recto: signed, lower right
Young housewife in Bethnal Green, 1930s
silver gelatin print
image: 13 15/8 x 11 1/2 in. / 34.6 x 29.2 cm
mount: 20 x 16 in. / 50.8 x 40.6 cm
recto: signed, lower right
Bill Brandt, Self Portrait with Mirror, 1966
Bill Brandt (1904-1983) was a photographer famous for his photojournalistic work documenting aspects of British life. Although born in Hamburg, he relinquished his German heritage and claimed to have been born in London. In 1929, he started his photography career in France, where many artists were using photography as an artistic statement instead of just a documentary endeavor. In Paris, Brandt was influenced by the work of Man Ray, in whose studio he studied, and of Brassaï, who would become a lifelong friend.
When Brandt returned to England in 1931, his main interest became the varied socio-economic contrasts he observed among the British people, eventually publishing two monographs on the subject: The English at Home (1936) and A Night in London (1938). After World War II, Brandt’s style shifted back to the artistic, Expressionist style that he had learned as a young man. He focused on landscapes, nudes, and portraits. Portrait of a Young Girl is still widely reproduced, and Brandt said that he felt its technique may have inspired the film Citizen Kane. Brandt admired the work of Edward Weston and Orson Welles. Taking a cue from their words, he liked to use older cameras that did not mimic human vision capabilities, and he often employed wide-angled lenses, especially when he photographed nudes. These works are collected in Perspective of Nudes (1961).
A sampling of Brandt’s best works are showcased in Shadow of Light (1966). His photographs were first exhibited by Marlborough New York in 1976, followed by a second Marlborough exhibition that traveled between the New York and London galleries in 1981. The artist has been honored with several retrospectives, at the Museum of Modern Art, New York (1969), the Victoria and Albert Museum, London (2004), and a traveling exhibition organized by KBr Fundación MAPFRE, Barcelona (2020-2021). His Kensington home displays an English Heritage Blue Plaque, a rare achievement for a photographer.
Marlborough is pleased to publish a catalog to accompany its spring exhibition of Bill Brandt, entitled Perspective of Nudes. Composed of 35 photographs, the exhibition explores Brandt’s longitudinal study of the nude feminine form between 1945-1979. The accompanying gallery publication features an essay by Martina Droth, Deputy Director and Chief Curator at the Yale Center for British Art, and Paul Messier, Head of the Lens Media Lab at the Institute for the Preservation of Cultural Heritage at Yale University.
