BRIAN DUFFY'S VIBRANT LONDON

Michael Caine Dubbed the “Black Trinity”, Londoners Brian Duffy, David Bailey and Terence Donovan took some of the most iconic photographs of the 1960s. But few now know of Duffy who, in 1979, set fire to his negatives in his studio backyard, destroying most of his life’s work. Now this controversial 76-year-old, who has forged a second career as a furniture restorer, is set for renewed recognition. His surviving work is now on view at London’s Chris Beetles gallery, the first ever exhibition of his photographs.

Duffy, Bailey and Donovan, three working-class boys with cockney accents and attitude, turned the gentlemanly world of 1950s photography on its head. They collectively redefined the role of the photographer and ultimately became as famous as their subjects: actors, models, musicians, royalty and politicians. Their photographs—punchy, full of attitude and sexuality—captured a vibrant London; a city where Jean Shrimpton graced the pages of Vogue, the songs of the Beatles echoed through cafes and Michael Caine’s woman-chasing “Alfie” thrilled cinema audiences.

Throughout the 60s and 70s Duffy’s career soared as he shot close-cropped images with exaggerated angles for fashion magazines, minimalist studio portraits with white backgrounds in the style of Richard Avedon, stylish Pirelli calendars and award-winning commercials for Smirnoff and Benson & Hedges.

Then, in 1979, Duffy snapped. Tired of the cut-throat commercial world he inhabited he built a bonfire and began to throw his negatives onto the flames. It was only when local council officers came to investigate the thick, black smoke that Duffy’s attempt to wipe out his life’s work was thwarted. The negatives that were saved languished in boxes until 2007, when Duffy’s son recognised their value.

Chris Beetles’s minimalist gallery provides an apt backdrop for the 49 black-and-white photographs on display (the antithesis of the glossy colour pictures that Duffy’s commercial clients demanded). The shots include portraits of Keith Waterhouse and Willis Hall, both playwrights, the lens focusing on the eyes, other features blurred by the short depth of field; a studio portrait of a determined Harold Wilson, then prime minister; a captivating, grainy nude of Grace Coddington, a model; and an angular shot of Shrimpton in a clingy minidress, her perfect features frozen in action.

Most compelling of all is a 1964 vintage silver gelatin print of Michael Caine (pictured), in black suit and white shirt, brow furrowed, eyes raised skywards, cigarette in mouth, the epitome of cool—and an apt legacy for its enigmatic creator.

“Duffy” is at Chris Beetles, London, until November 7th. See also The Duffy Archive

~ HELENA DOUGLAS