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“The title is key,” said exhibition co-curator Duncan Forbes. “‘Fragile Beauty’ was chosen by Elton. It’s something that runs like a silver thread through the whole show: the vulnerability that underpins the human condition.”

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“We really began to construct this exhibition while sitting at Elton and David’s kitchen table,” confirmed Forbes. “This is a very personal collection. Some collections are built by art advisers; this is not a collection built by an art adviser. This is a collection passionately constructed by the two men that are in it.”

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For Newell, one of the most powerful works in the exhibition is the last self-portrait of Robert Mapplethorpe. “It tells a very sad story about an artist that we lost way too soon to Aids,” she said of the stark image of the American photographer holding a skull-topped walking cane, his gaze intense and direct. Known for his portraits, sensual depictions of flowers (one of which graces the cover of the “Fragile Beauty” catalogue) and portrayals of New York’s BDSM gay bars, Mapplethorpe died in 1989 at the age of 42. Newell added: “It’s a great reminder of how their collection crosses over into their lives and all of the work they’ve done with the Elton John Aids Foundation.”

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One section, too, is titled “Fragile Beauty”, featuring work by Mapplethorpe, Hujar and McGinley. Among the work of documentary photographerMary Ellen Mark, a portrait of a 14-year-old Seattle prostitute known as “Tiny” is particularly affecting, while the space centers on an encompassing floor-to-ceiling installation of Goldin’s 149-photo series “Thanksgiving.” Taken between 1973 and 1999, the images are a visual journal of the downtown New York art world and its debauchery, capturing Goldin’s own bruised and beaten face, the result of an abusive relationship, and the harrowing effects of drug addiction and Aids among her friends.

John’s own struggles with addiction have no-doubt informed his selection; it was after leaving rehab in 1990 that he began to collect photography. “He has told the story numerous times of seeing a print for the first time with fresh, sober eyes, and how impactful it was for him,” says Harbin, referring to a meeting with photography dealer David Fahey over lunch at a south-of-France chateau.

“I had just seen a collector in London so happened to have all these photographs with me,” recalled Fahey over Zoom. “It was suggested that I bring them out to show everyone… It was a fragile, delicate time for Elton and he responded emotionally to the pictures he was looking at,” of how John became enamored with the work of 20th-century fashion photographers such as Irving Penn, Herb Ritts and Horst P. Horst. “He selected about 10 pictures and then walked over and gave half of them to our host. It was a demonstration of his gift-giving abilities, and his need to share photographs with people.”

In an inscription to Fahey in the catalogue to John’s 2000 Atlanta exhibition, the singer notes the importance of their initial encounter; “otherwise my ignorance about photography and all its beauty would probably still be inside of me. Instead, my eyes have been opened to the most visual stirring world,” he wrote.

“He’s an obsessive collector,” added Fahey, noting John’s dramatic shift in focus from “striking, beautiful objects” into “hardcore documentary and photojournalism”.

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“Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection,” is on at the Victoria & Albert Museum, London, until January 5. 2025.

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