Cindy Sherman, ‘Untitled Film Still #48’, Christie's

Cindy Sherman (b. 1954)

Untitled Film Still #48

signed, numbered and dated 'Cindy Sherman 1979 1/3' (on the reverse)

gelatin silver print mounted on board

30 x 40 in. (76.2 x 101.6 cm.)

Executed in 1979. This work is number one from an edition of three.

Signature: signed, numbered and dated 'Cindy Sherman 1979 1/3' (on the reverse)

Houston, Contemporary Arts Museum, Cindy Sherman, February-March 1980 (another example of a different size exhibited).

Minneapolis, Walker Art Center, Eight Artists: The Anxious Edge, April-June 1982, p. 41 (another example of a different size exhibited and illustrated).

Bonn, Rheinisches Landesmuseum, Lichtbildnisse: The Portrait in Photography, 1982 (another example of a different size exhibited).

London, Institute of Contemporary Art and Liverpool, Bluecoat Gallery, Urban Kisses/Slum Kisses, October 1982-Winter 1983 (another example of a different size exhibited).

Amsterdam, Stedelijk Museum; Ghent, Gewad; Bristol, Watershed Gallery; Southampton, Jack Hansard Gallery; Erlangen, Palais Stutterheim; West Berlin, Haus Am Waldsee; Geneva, Centre d'Art Contemporain; Copenhagen, Sonja Henie and Niels Onstad Foundation and Humlebæk, Louisiana Museum, Cindy Sherman, December 1982-April 1984, no. 30 (another example of a different size exhibited and illustrated).

Milwaukee Art Museum, New Figuration in America, December 1982-January 1983 (another example of a different size exhibited).

Stony Brook, Fine Art Center Gallery, Cindy Sherman, October-November 1983 (another example of a different size exhibited).

Akron Art Museum; Philadelphia, Institute of Contemporary Art; Pittsburgh, Carnegie Museum of Art; Baltimore Museum of Art; Des Moines Art Center; New York, Whitney Museum of American Art; Boston, Institute of Contemporary Art and Dallas Museum of Art, Cindy Sherman, June 1984-April 1988, pl. 30 (another example of a different size exhibited and illustrated).

Hartford, Wadsworth Atheneum, Cindy Sherman, January-March 1986 (another example of a different size exhibited).

London, National Portrait Gallery; Plymouth Arts Center; Southampton, John Hansard Gallery and Birmingham, Ikon Gallery, Staging the Self: Self Portrait Photography 1840s-1980s, November 1986-January 1987, pp. 77 and 126 (another example of a different size exhibited and illustrated).

New York, Whitney Museum of American Art and Boston, Institute of Contemporary Art; Cindy Sherman, July-October 1987, p. 17, pl. 30 (another example of a different size exhibited and illustrated).

Los Angeles, Museum of Contemporary Art, A Forest of Signs: Art in the Crisis of Representation, May-August 1989 (another example of a different size exhibited).

Milan, Padiglione d'Arte Contemporanea, Cindy Sherman, October-November 1990, pp. 28 and 91 (another example of a different size exhibited and illustrated).

Kunsthalle Basel; Munich, Staatsgalerie Moderne Kunst and London, Whitechapel Gallery, Cindy Sherman, March-September 1991, p. 24 (another example of a different size exhibited and illustrated).

London, Saatchi Collection, Cindy Sherman, Richard Artschwager, Richard Wilson, January-July 1991, pl. 78 (another example of a different size exhibited and illustrated).

Tokyo Metropolitan Museum of Photography, Exploring the Unknown Self: Self Portrait of Contemporary Women, June-August 1991, p. 21, pl. 1 (another example of a different size exhibited and illustrated).

New York, Museum of Modern Art, Recent Acquisitions: Photography, February-April 1993 (another example of a different size exhibited).

Washington D.C., Hirshhorn Museum, Directions: Cindy Sherman-Film Stills, March-June 1995, n.p., pl. 48 (another example of a different size exhibited and illustrated).

Hamburg, Deichtorhallen; Mälmo, Kunsthall and Lucern, Kunstmuseum, Cindy Sherman: Photoarbeiten 1975-1996, May 1995-February 1996, pl. 33 (another example of a different size exhibited and illustrated).

Rotterdam, Museum Boijmans-van Beuningen; Madrid, Museo Nacional Centro de Arte Reina Sofía; Bilbao, Sala de Exposiciones REKALDE and Baden-Baden, Staatliche Kunsthalle, Cindy Sherman, March 1996-March 1997, p. 16, no. 23 (another example exhibited and illustrated).

Shiga, Museum of Modern Art; Marugame Genichiro-Inokuma Museum of Contemporary Art and Tokyo, Museum of Contemporary Art, Cindy Sherman, July-December 1996, p. 78, pl. 27 (another example of a different size exhibited and illustrated).

New York, Museum of Modern Art, Cindy Sherman: The Complete Film Stills, June-September 1997 (another example of a different size exhibited).

Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery and Bordeaux, Musée d'art contemporain, Cindy Sherman Retrospective, November 1997-April 1999, p. 83, pl. 47 (another example of a different size exhibited and illustrated).

Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-September 2007, p. 316 (another example of a different size illustrated).

New York, Metropolitan Museum of Art, The Pictures Generation: 1974-1984, April-August 2009, pp. 134 and 327, pl. 86, no. 197 (another example of a different size illustrated and exhibited).

Greenwich, The Brant Foundation, Remembering Henry's Show, May 2009-January 2010, n.p. (another example of a different size exhibited and illustrated).

New York, Haunch of Venison, Your history is not our history, March-May 2010, p. 63 (another example of a different size exhibited and illustrated).

Greenwich, Bruce Museum, Cindy Sherman: Works from Friends of the Bruce Museum, January-April 2011, p. 36 (another example of a different size exhibited and illustrated).

Potomac, Glenstone Foundation, No Substitute, April 2011-January 2013, p. 123 (another example exhibited and illustrated).

New York, 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, pp. 21, 60, 71, 114 and 242, pl. 62 (another example of a different size exhibited and illustrated).

I. Blazwick, "Urban Kisses," The Literary Review, 1982, p. 24 (another example of a different size illustrated).

G. Marzorati, "Imitation of Life," ARTnews, September 1983, p. 84 (another example of a different size illustrated).

I. Takano and L. Simmons, Cindy Sherman, Tokyo, 1987, pp. 16-17 (another example of a different size illustrated).

S. Nairne, G. Dunlop and J. Wyver, State of the Art; Ideas and Images in the 1980s, New York, 1987, p. 132, pl. 101 (another example of a different size illustrated).

H. Smacula, Currents: Contemporary Directions in the Visual Arts, New York, 1989, p. 211 (another example of a different size illustrated).

C. Danto, Cindy Sherman: Untitled Film Stills, New York, 1990, no. 33 (another example of a different size illustrated).

D. Friend, The Meaning of Life: Reflections in Words and Pictures on Why We Are Here, New York, 1991, p. 155 (another example of a different size illustrated).

E. Jelinek, "Sidelines," Parkett No. 29, 1991, p. 83 (another example of a different size illustrated).

R. Krauss, Cindy Sherman: 1975-1993, New York, 1993, pp. 12-13, 222 and 226 (another example of a different size illustrated and on the cover).

P. de Laboulaye and J. de Ponton d'Armécount, Contemporary Photography-Group Lhoist Collection, Belgium, 1995, p. 137 (another example of a different size illustrated).

A. Adato, "Camera At Work," Life Magazine, May 1996, p. 120-121 (another example of a different size illustrated).

C. Vogel, "Pop Art Wins Another 15 Minutes," New York Times, 20 November 1996, p. C21. __

Una selección de las colecciones de la Eli Broad Family Foundation, exh. cat., Caracas, Museo de Bellas Artes, 1997, pp. 9-10 (another example of a different size illustrated).

J. Belcove, "The Sherman Act," W Magazine, June 1997, pp. 189-190 (another example of a different size illustrated).

H. Muschamp, "Knowing Looks," Artforum, summer 1997, p. 111 (another example of a different size illustrated).

B. Schwabsky, "Cindy Sherman: The Complete Untitled Film Stills," On Paper, November/December 1997 (another example of a different size illustrated).

C. Morris, The Essential Cindy Sherman, New York, 1999, p. 47 (another example of a different size illustrated).

D. Frankel, ed., Cindy Sherman: The Complete Untitled Film Stills, New York, 2003, pp. 156-157 (another example of a different size illustrated).

K. Johnson, _Are You Experienced?: How Psychedelic Consciousness Transformed Modern Art,_New York, 2011, p. 189.

S.P. Hanson, "Artist Dossier: Cindy Sherman," Art+Auction, February 2012.

Metro Pictures, New York

Skarstedt Gallery, New York

Acquired from the above 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