The Original Bowie Aladdin Sane Artwork Leads The Duffy Archive At Bonhams

See The Jean Genie In The Flesh…Sort Of

Known as the ‘Mona Lisa of Pop’ it is one of the most recognisable images of all time, David Bowie’s cover image for his iconic album Aladdin Sane, shot by Duffy. Now the original artwork leads the sale The Mona Lisa of Pop: The Duffy Archive running from 22 October – 5 November on bonhams.com and at Bonhams New Bond Street, London. It has an estimate of £250,000-300,000. All coming to auction for the first time, the sale will also feature the Hasselblad camera Duffy used to shoot Bowie for Aladdin Sane (1973) and Scary Monsters (1980), the only two surviving contact sheets for Aladdin Sane, and the stool Bowie sat on for the Aladdin Sane shoot. All items come directly from the Duffy Archive, established and managed by Duffy’s son, Chris Duffy…

Claire Tole-Moir, Head of Bonhams’ Popular Culture Department, commented: “Duffy’s iconic photography, paired with Bowie’s incomparable artistic vision, captured the spirit of a generation and cemented their place in cultural history. As collaborators, they produced a body of work that defined the visual language of the 1970s and beyond, influencing music, fashion, and photography. From the iconic album cover artworks to the actual cameras used, each piece has a story to tell. These items have been widely exhibited around the world, and with the David Bowie Centre opening at V&A East this September, this timely auction will be a rare and thrilling opportunity for collectors and fans to own a piece of Duffy / Bowie history.”

Duffy’s son, Chris Duffy, Founder and Managing Director of the Duffy Archive, commented: “Duffy and I began establishing the archive in 2006 to ensure that my father’s legacy and his iconic images were preserved and viewed. The works in the sale at Bonhams have been exhibited worldwide in museums and galleries. At this key moment of recognition for the iconic Duffy/Bowie collaboration, I feel it’s right that a small but significant part of the Duffy Archive collection is available for many to share in this legacy.” I thank Bonhams for hosting the exhibition of his work for sale and for their sensitive approach to his unique contribution to pop culture.

The Mona Lisa of Pop: The Duffy Archive will be on view in a free exhibition at Bonhams New Bond Street running from 22 October – 5 November.

Left to right: Duffy: The Hasselblad 500C camera used by Duffy to photograph the Aladdin Sane & Scary Monsters (and Super Creeps) album artworks, 1970, 3. Estimate: £10,000 – 15,000. Brian Duffy: Duffy’s stool used by David Bowie for the Aladdin Sane shoot, circa 1970s. Estimate: £500 – 700. Duffy (1933-2010): One of Five original vintage prints from the Scary Monsters shoot with David Bowie as ‘Pierrot’, the sad clown, 1980, 5. Estimate: £8,000 – 10,000.

Photo Duffy©Duffy Archive

Highlights of the sale include:

• Duffy (1933-2010): The Original Dye Transfer Print Artwork for the INSIDE COVER of David Bowie’s Aladdin Sane album. Estimate: £150,000 – 200,000.

• Duffy (1933-2010) Five original contact sheets for Bowie’s album Scary Monsters. Estimate: £8,000 – 10,000.

• Duffy: The Hasselblad 500C camera used by Duffy to photograph the Aladdin Sane & Scary Monsters (and Super Creeps) album artworks, 1970, 3. Estimate: £10,000 – 15,000.

• Duffy (1933-2010): Five original vintage prints from the Scary Monsters shoot with David Bowie as ‘Pierrot’, the sad clown, 1980, 5. Estimate: £8,000 – 10,000.

• Duffy: An original handwritten note by Duffy explaining the lightening bolt deisgn on Bowie’s face for Aladdin Sane. Estimate: £800 – 1,200.

The iconic Aladdin Sane album cover was photographed by legendary British photographer Brian Duffy (15 June 1933 – 31 May 2010), one of the key photographers of the swinging sixities, during a 1973 London studio session. Bowie’s manager, Tony Defries, commissioned the shoot with instructions to create a high-impact, superstar-making cover. The striking red-and-blue lightning bolt across Bowie’s face was Duffy’s idea, and was painted by makeup artist Pierre La Roche. Duffy brought the luxe production values he’d already applied to the 1973 Pirelli calendar, where he’d collaborated with airbrush artist Philip Castle – who also later added the single airbrushed teardrop on Bowie’s clavical bone that completed the cover design. For the reproduction, Duffy opted for a Kodak process called dye transfer, which produced a greater depth of colour and the right kind of surface for airbrushing. The shoot was one of five sessions Bowie and Duffy collaborated on, a creative partnership that lasted 9 years and also resulted in covers for Lodger and Scary Monsters (and Super Creeps).

Written by Duffy’s son, Chris Duffy, and Kevin Cann, Duffy Bowie: Five Sessions covers Duffy’s work with David Bowie, exploring the chemistry and creation of these five iconic sets of images illustrated with interviews from people who were directly involved.

“Duffy asked David what the album was to be called, and David replied “A Lad Insane”. Duffy interpreted this as ‘Aladdin Sane’; I guess a genie vision and thoughts of rubbing an Aladdin’s lamp must have appeared to him.”     – Chris Duffy

For nearly four decades following the April 1973 release of Aladdin Sane, the iconic eyes-closed image remained the only widely seen frame from the shoot. That changed in 2010, when David Bowie and the Duffy Archive gave the green light for a color, eyes-open alternate version to be used on the cover of Kevin Cann’s book Any Day Now. The same striking image was later used by the V&A to promote their landmark 2013 exhibition, David Bowie Is…

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