Cindy Sherman, ‘Untitled Film Still No. 49’, Christie's

Signature: signed, numbered and dated 'Cindy Sherman 8/10 1979' (on the reverse)

The Museum of Contemporary Art Los Angeles; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Musée d'art contemporain de Bordeaux; Sydney, Museum of Contemporary Art and Toronto, Art Gallery of Ontario, Cindy Sherman Retrospective, February 1998-January 200, p. 85, no. 53 (another example exhibited and illustrated).

Luxembourg, Musée National d'Histoire et d'Art, Veronica's Revenge, March-April 1999.

Congrescos e Exposicions de Ponteverda, Veronica's Revenge, October-November 1999.

New York, The Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center and Dallas Museum of Art, Cindy Sherman, February 2012-June 2013 (another example exhibited).

A.C. Danto, Cindy Sherman Untitled Film Stills, Munich, 1990, n.p., no. 34 (illustrated).

R. Kraus, Cindy Sherman 1975-1993, New York, 1993, pp. 24-25 (illustrated).

D. Frankel, ed., Cindy Sherman: The Complete Untitled Film Stills, New York, 2003, p. 111 (illustrated).

E. Janus, ed., Veronica's Revenge: Contemporary Perspectives in Photography, Zurich, 1998, p. 210 (illustrated).

Metro Pictures, New York

The Lambert Art Collection

Their sale; Phillips, New York, 9 November 2004, lot 87

Acquired at the above sale by the present owner

About Cindy Sherman

Cindy Sherman established her reputation—and a novel brand of uncanny self-portraiture—with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Though her work continually re-examines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation. “I didn’t think of what I was doing as political,” she once said. “To me it was a way to make the best out of what I liked to do privately, which was to dress up.” Always in meticulous costumes, wigs, and makeup, Sherman has produced series in which she dresses as women from history paintings, fashion, and pornography. In the late 1980s and into the ’90s, she expanded her focus to more grotesque imagery, like the mutilated mannequins of her “Sex Pictures” (1992).

American, b. 1954, Glen Ridge, New Jersey, based in New York, New York