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Brian DuffyDuffy - Banned Pirelli Ice Cream Girl - signed limited edition1972
1972
About the Item
Duffy - Pirelli Ice Cream Girl - banned - signed limited edition
BANNED OUTTAKE - ICE CREAM ON BREASTS - PIRELLI 1973
Image size 18x12" signed Archival Pigment print limited edition size of 12 only
On the 27th of October 1972 for the first time in Pirelli Calendar history, this image was banned. It was deemed too risqué even for a publication such as this. Derek Forsyth and Allen Jones were summoned to Pirelli’s head office in Chester square to explain themselves. The chairman of the company deemed the image too perverse and it was never published.
Duffy was one of the few photographers who was commissioned for three Pirelli calendars. His first two calendars were in 1965 and 1973 and his last shoot for Pirelli was also in 1973 for the Cinturato truck tyre calendar. Duffy worked with the pop artist Allen Jones and the airbrush artist Philip Castle. The airbrushing techniques used producing this calendar were incorporated on the David Bowie Aladdin Sane album cover in 1973.
More About Duffy :
AT DUFFY’S MEMORIAL SERVICE LORD DAVID PUTTNAM ADDRESSED THE FAMILY AND FRIENDS OF DUFFY AND SAID ‘THE WORLD NEEDS MORE DUFFY’S.’
HE THEN WENT ON TO CALL HIM A MAVERICK, SOMEBODY WHO WAS PREPARED TO TAKE RISKS WITH HIS ART FORM AND DESCRIBED DUFFY AS A ‘SUPREMELY TALENTED AND ESOTERIC MAN.’
‘A man who thrived on risks and challenges, who lived to create.’
In 2013 Duffy was voted as one of the top most 100 influential photographer’s of all time and he richly deserves that title. When Duffy felt he had pushed the boundaries as far as he could and was no longer satisfied with stills photography he abruptly shut his studio, attempted to burn all of his negatives and moved into commercials.
Despite repeated requests to return to still photography, give interviews or discuss his career, he became reclusive and his remaining negatives would have stayed in boxes under the stairs had it not been for the persistence of his eldest son, Chris.
Chris realised that Duffy’s name was slowly slipping into obscurity and regularly tried to persuade him to do something with his remaining archive. It wasn’t until 2006 when Duffy was diagnosed with the degenerative lung disease Pulmonary Fibrosis that he finally gave Chris the green light to start putting the archive together. The process was a labour of love for the first few years. Organising, scanning and databasing his negatives took many hours whilst Chris was running his own photographic studio.
In 2009 the opportunity to exhibit at Chris Beetles Gallery in Mayfair London (now Beetles & Huxley) gave Duffy the platform for his first ever exhibition which was hailed with great critical acclaim. The exhibition ignited an incredible interest in his work and there were regular queues to see the show.
During the process of putting the exhibition together, the BBC commissioned a documentary on Duffy’s life and work which aired in 2010. Chris then started on the first monograph but sadly Duffy was never to see this and passed away on 31st May 2010. Since 2010 Duffy’s work has been exhibited in numerous museums and galleries around the world. In 2012 the Victoria and Albert Museum requested use of the original Aladdin Sane record cover ‘dye transfer’ print for their British Design 1948-2012 cultural exhibition. In 2013 the V&A approached the archive for use of the newly released ‘Eyes Open’ version as the lead image for the ‘David Bowie is’ exhibition.
This exhibition has achieved record breaking numbers in several venues and has been seen by over 1.5 million visitors. Duffy’s name has now become recognised by an international audience and is now firmly back on the map.
In 2014 Duffy’s second book was released – Duffy Bowie: Five Sessions which covers his work with David Bowie. Written by Chris Duffy and Kevin Cann the book explores the chemistry and creation of these five iconic sets of images illustrated with interviews from people who were directly involved. The book is also available in French and Italian.
The archive is made up of negatives and contact sheets that have been retrieved from numerous UK and international publications; Vogue, French Elle, Glamour, The Sunday Times, The Telegraph to name but a few in addition to work held by independent archives. The process of exhibiting Duffy’s work continues and the future holds several more book projects illuminating Duffy’s eclectic and influential work.
ice cream pirelli calendar girls sex sexy erotic erotica nudes boobs glamour playful playboy bunny glamour shoot photography controversial
- Creator:Brian Duffy (1934-2010, British)
- Creation Year:1972
- Dimensions:Height: 18 in (45.72 cm)Width: 12 in (30.48 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU44934586862
Brian Duffy
Photographer Brian Duffy had an eight-year working relationship with David Bowie shooting five key sessions over this period, providing the creative concept as well as the photographic image for three album covers. First came the iconic 1973 shoot for the cover of Aladdin Sane, often nicknamed 'the Mona Lisa of pop', when Duffy interpreted Bowie's original title of 'A Lad Insane’ as “Aladdin Sane”. Duffy the went on to shot the cover for 'Lodger' in 1979 and in 1980, the cover for Scary Monsters (and Super Creeps). Duffy's input had a significant influence on the creation of Bowie's chameleon-like public persona and his continual pioneering reinvention.
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