[ARCHIVES] Richar NAPIER (photographer and designer) for Ser - Lot 135

[ARCHIVES] Richar NAPIER (photographer and designer) for Serge Altieri, illustrator for Cardin Set of three binders containing silver gelatin prints and Kodak Safety Film 5063 negatives of architectural views from the artist’s trip to Moscow and throughout the Soviet Union, notably the Caucasus and Central Asia. There are some very beautiful shots, often taken from a bird’s-eye view, of St. Basil’s Cathedral, Tatlin’s Monument, Bukhara, the Motherland Monument, etc. Envelope containing the photographs, marked “Ready for printing” by Serge-Fortis Rolle for Cardin, addressed to Vogue Décoration magazine 21 prints (A4 size), including the monument to Vera Mukhina, *The Worker and the Kolkhoz Woman*, and the artist’s own creation. Envelope (A4) containing Polaroid prints and slides from the trip through Russia and Central Asia Set (A4) of more than sixty plates and their negatives of architectural views of Russia Envelope (A4) containing Futurist works addressed to Cardin for the designer Sergio Altieri. [ARCHIVE] Richard Neper for Sergio Altieri, designer at Cardin A set of three folders containing contact sheets of gelatin-silver prints and negatives on Kodak Safety Film 5063. The collection includes architectural photographs taken during the author’s travels through Moscow and various regions of the Soviet Union, including the Caucasus and Central Asia. Among the photographs are numerous striking views, often taken from elevated vantage points, including St. Basil’s Cathedral, the Monument to the Third International (Tatlin’s Tower), Bukhara, the “Motherland” monument, and others. An envelope containing photographs, addressed to Serge Fortis Rolle at Maison Cardin, for publication in Vogue Décoration magazine; contains 21 A4-sized silver gelatin prints, including images of Vera Mukhina’s monument “The Worker and the Collective Farm Woman,” as well as the artist’s own creative projects. An A4-sized envelope containing Polaroid photographs and color slides taken during a trip through Russia and Central Asia. An A4-sized set of more than sixty contact sheets of architectural views of Russia and the corresponding negatives. An A4-sized envelope containing materials on Russian Futurism addressed to designer Sergio Altieri at the House of Cardin. Provenance: Sergio Altieri Archive. Napier was 32 years old when he passed away. In the stagnant year of 1983, an exhibition by the Parisian fashion designer, avant-garde graphic artist, designer, and photographic artist took place in the immediate vicinity of the Kremlin. An exhibition he curated himself. Just as he saw it, just as he envisioned it… just as he deemed right. An exhibition bearing the least resemblance to Socialist Realism—practically the only possible style in the Soviet Union, a country that had faded into oblivion. The name Richard Napier was first heard in Moscow in 1983, when the exhibition “Richard Napier: Forms and Images—Graphics, Photography, Design” opened. The exhibition caused a tremendous stir. And no wonder! In the very height of the stagnant years, right in the heart of socialist Moscow, an avant-garde graphic artist, designer, photographic artist, fashion designer, stylist, and architect was being exhibited! But what’s most surprising is that just one year later, Richard Napier’s exhibition took place at the Sattar Bahluulzade Art Gallery. And what