Page 1

Photographs New York, 4 April 2019


85. Helmut Newton


154. Dorothea Lange


Photographs New York, 4 April 2019

Auction & Viewing Location

Photographs Department Contact

450 Park Avenue, New York 10022

+1 212 940 1245

Auctions

Deputy Chairman, Americas, Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com

4 April, 10am, Photographs (lots 59–253) 4 April, 5pm, Passion & Humanity: The Susie Tompkins Buell Collection (lots 1–58)

Viewing 27 March – 3 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040119 or Photographs.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Head of Department, New York Sarah Krueger skrueger@phillips.com Senior International Specialist Christopher Mahoney cmahoney@phillips.com Senior Specialist Caroline Deck cdeck@phillips.com Specialist Rachel Peart rpeart@phillips.com Specialist, Regional Director, Chicago Carol Ehlers cehlers@phillips.com Cataloguer Clare Milliken cmilliken@phillips.com Administrator Alexander Weinstock aweinstock@phillips.com


Our Team. Executives. Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

Senior Advisors. Hugues Jofre

Arnold Lehman

Ken Yeh

Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com

Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Deputy Chairmen. Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com

Miety Heiden

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Deputy Chairman, Europe, Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com


189. Pierre Dubreuil


214. Sharon Core


Phillips Division of

Photographs New York. Vanessa Hallett

Sarah Krueger

Christopher Mahoney

Caroline Deck

Deputy Chairman, Americas, Worldwide Head of Photographs vhallett@phillips.com +1 212 940 1243

Head of Department, New York skrueger@phillips.com +1 212 940 1225

Senior International Specialist cmahoney@phillips.com +1 212 940 1208

Senior Specialist cdeck@phillips.com +1 212 940 1247

Rachel Peart

Carol Ehlers

Clare Milliken

Specialist rpeart@phillips.com +1 212 940 1246

Specialist, Regional Director, Chicago cehlers@phillips.com +1 773 230 9192

Cataloguer cmilliken@phillips.com +1 212 940 1252

Genevieve Janvrin

Yuka Yamaji

Sophie Busby

Kate Finefrock

Co-Head of Department, Europe gjanvrin@phillips.com +33 153 71 77 87

Co-Head of Department, Europe yyamaji@phillips.com +44 20 7318 4098

Associate Specialist, Head of Sale sbusby@phillips.com +44 20 7318 4092

Associate Specialist kfnefrock@phillips.com +44 20 7901 7940

Europe.


Business Development. Americas.

Europe.

Vivian Pfeifer

Guy Vesey

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com

Client Advisory. Americas. Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director +1 212 940 1313 pknight@phillips.com

Director of Trusts, Estates & Valuations +1 212 940 1272 jjones@phillips.com

Business Development Associate +1 212 940 1342 egrimm@phillips.com

Yassaman Ali

Vera Antoshenkova

Client Advisory Director +44 20 7318 4056 yali@phillips.com

Client Advisory Manager +44 20 7901 7992 vantoshenkova@ phillips.com

Giulia Campaner Mendes

Europe.

Asia. Jasmine Yan

Iori Endo

Client Advisory Director +852 2318 2015 jasmineyan@phillips.com

Client Advisory Manager +44 20 7318 4039 iendo@phillips.com

Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com


International Specialists & Regional Directors. Americas. Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com

Regional Representative, Chicago +1 310 922 2841 lauren.peterson @phillips.com

Senior Specialist, 20th Century & Contemporary Art, Denver +1 917 657 7193 mdekoning@phillips.com

Regional Director, Los Angeles +1 323 383 3266 bkoh@phillips.com

Specialist, Miami +1 917 583 4983 vgarcia@phillips.com

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com

Regional Director, Palm Beach +1 508 642 2579 maurasmith@phillips.com

Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com

Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France +33 686 408 515 lcalmels@phillips.com

International Specialist, 20th Century & Contemporary Art, France +33 6 42 09 97 39 crivollet@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 633 12 32 04 lbarret-cavy@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com

Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Kyoko Hattori

Jane Yoon

Sujeong Shin

Regional Director, Japan +81 90 2245 6678 khattori@phillips.com

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea +82 10 7389 7714 jyy@phillips.com

Associate Regional Representative, Korea +82 10 7305 0797 sshin@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan +886 908 876 669 mlee@phillips.com

Associate Regional Representative, Singapore +65 9128 6277 christinefernando @phillips.com

International Specialist, South East Asia +852 2318 2025 sma@phillips.com

Europe. Dr. Nathalie Monbaron

Dr. Alice Trier

Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Shanghai +86 13911651725 wenjiazhang@phillips.com

Associate Regional Representative, Shanghai +86 139 1828 6589 aliciazhang@phillips.com

Senior Specialist, Watches & Jewellery, Taiwan +886 2 2758 5505 cyen@phillips.com

Asia.


59. Adam Fuss

b. 1961

From the series ‘My Ghost’, 1998 Unique gelatin silver print, fush-mounted. 38 x 30 1/4 in. (96.5 x 76.8 cm) Signed on a label accompanying the work. Estimate $10,000-15,000 Provenance Cheim & Read, New York

60. Seydou Keïta

1921-2001

Untitled (two sisters with their arms around each other), 1956-1957 Gelatin silver print, printed 1998. 16 x 15 3/4 in. (40.6 x 40 cm) Signed twice and dated in ink in the margin. Estimate $6,000-8,000 Provenance Stephen White, Los Angeles Literature Scalo, Seydou Keïta, p. 238


61. Sally Mann

b. 1951

The New Mothers, 1989 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled, dated, numbered 13/25, copyright notation and edition information in pencil on the verso. Estimate $20,000-30,000 Provenance Joel Soroka Gallery, Aspen Literature Mann, Immediate Family, n.p.


62. Carrie Mae Weems

b. 1953

#3156 from American Icons, 1989-1990 Gelatin silver print. 14 3/8 x 14 1/4 in. (36.5 x 36.2 cm) Signed, dated and numbered 1/3 in pencil on the verso. Estimate $12,000-18,000 Provenance P.P.O.W., New York

Please reference the note with lot 64 for additional information.

63. J. D. ‘Okhai Ojeikere

1930-2014

Mkpuk Eba and Coiling Penny Penny, 1974 Two gelatin silver prints, printed 2013. Each approximately 18 x 17 5/8 in. (45.7 x 44.8 cm) Each signed, dated, annotated in ink, credit stamp and credit blindstamp in the margin; both signed and annotated in pencil by Philippe Salaün, printer, in pencil and printer’s stamp on the verso. Estimate $8,000-12,000 Provenance André Magnin, Paris, author and curator Literature Magnin, J.D. ‘Okhai Ojeikere: Photographies, pp. 6-7


Property from a Private West Coast Collection

64. Carrie Mae Weems

b. 1953

High Yella Girl from Colored People, 1988-1989 Toned gelatin silver print with Prestype and frame, printed 1997. 13 3/8 x 14 3/4 in. (34 x 37.5 cm) Overall 29 1/2 x 29 1/2 in. (74.9 x 74.9 cm) Signed, dated and numbered ‘AP 2/2’ in ink on the verso. One from an edition of 5 plus 2 artist’s proofs. Estimate $25,000-35,000 Provenance Weinstein Gallery, Minneapolis

Since her frst photography course at The Studio Museum in Harlem at the age of twenty-one, Carrie Mae Weems has utilized photography, sculpture, text, audio, video, and installation to explore and re-contextualize cultural identity and relationships. In particular, she has harnessed the photographic medium’s power to help dispel cultural myths. Presented here is a portrait from her series Colored People, in which Weems paired brightly toned photographs with classifying labels. In doing so, Weems underscores the restrictive and outdated social values assigned to skin tones and labels—proudly reclaiming them with their new colorful iterations.

Similarly, in her American Icons series (lot 62), Weems highlights the pervasiveness of racism in contemporary society. By confronting viewers with objects and images that continue to have a cultural presence, Weems highlights the existing attitudes relating to race that are perpetuated through these seemingly innocuous objects. Weems’ powerful work is in collections around the world including The Metropolitan Museum of Art, New York; The Museum of Fine Arts, Houston; The Museum of Modern Art, New York; and The Tate Modern, London.


65. Adam Fuss

b. 1961

From the series ‘My Ghost’, 1999 Unique gelatin silver print. 35 x 31 1/2 in. (88.9 x 80 cm) Signed in wax pencil, printed title, date and number ‘AF3027’ on a label accompanying the work. Estimate $15,000-20,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City

66. Adam Fuss

b. 1961

For Allegra from the series ‘My Ghost’, 2009 Daguerreotype. 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm) Signed, dated and annotated ‘AFD 313’ in ink on the reverse of the frame. Estimate $8,000-12,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City


67. Sally Mann

b. 1951

Untitled from Deep South, 1998 Gelatin silver print, toned with tea. 37 x 46 3/4 in. (94 x 118.7 cm) Signed, titled, dated and numbered 5/10 in pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Edwynn Houk Gallery, New York, 1999 Literature Bulfnch Press, Sally Mann: Deep South, p. 67

68. Sally Mann

b. 1951

Untitled from Deep South, 1998 Gelatin silver print, toned with tea. 39 x 47 1/2 in. (99.1 x 120.7 cm) Signed, titled, dated and numbered 3/10 in pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Edwynn Houk Gallery, New York, 1999 Literature Bulfnch Press, Sally Mann: Deep South, p. 59


69. Ori Gersht

b. 1967

Wildfowers from Flowers, 2004 Chromogenic print, fush-mounted. 48 1/2 x 60 1/2 in. (123.2 x 153.7 cm) Signed on a label accompanying the work. Number 1 from an edition of 6. Estimate $20,000-30,000 Provenance Mummery + Schnelle, London Phillips, London, 21 May 2015, lot 37


70. Chris McCaw

b. 1971

Instant #1, 2014 Single pack of 10 Fuji difusion transfer prints. Each 3 3/4 x 2 7/8 in. (9.5 x 7.3 cm) Framed 11 1/2 x 42 in. (29.2 x 106.7 cm) Each initialed, dated, sequentially numbered 1-10 and copyright notation in ink on the verso. Estimate $5,000-7,000 Provenance Aperture, New York, 2015

Since 2003, Chris McCaw has experimented with sun-burning photographic papers. Here, McCaw used a 40-inch lens to amplify the power of the sun and transform an entire pack of stacked Fuji difusion flm. With a single exposure McCaw created ten distinct impressions of the sun in which light exposed only the top layer of flm, while the sun’s channeled heat transformed all ten layers to varying degrees.

71. Ori Gersht

b. 1967

Time Afer Time: Blow Up 09, 2007 Chromogenic print, fush-mounted. 39 1/4 x 29 3/8 in. (99.7 x 74.6 cm) Number 4 from an edition of 6. Estimate $10,000-15,000 Provenance CRG Gallery, New York Sotheby’s, New York, Contemporary Living, 28 July 2016, lot 47


72. Irving Penn

1917-2009

Columbine/Aquilegia vulgaris: William Guiness, New York, 2006 Pigment print. 21 1/4 x 19 1/2 in. (54 x 49.5 cm) Signed, initialed twice, titled, dated, annotated in ink, copyright credit (courtesy of Vogue) reproduction limitation and edition stamps on the reverse of the fush-mount. One from an edition of 16. Estimate $20,000-30,000

Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XI


73. Irving Penn

1917-2009

Three Asaro Mud Men, New Guinea, 1970 Selenium toned gelatin silver print, printed 1984. 19 x 19 in. (48.3 x 48.3 cm) Signed, initialed, titled, dated in ink, credit, copyright credit (courtesy of Vogue) and Condé Nast reproduction limitation and edition stamps on the reverse of the mount. One from an edition of 25. Estimate $40,000-60,000

Provenance Halsted Gallery, Birmingham, Michigan Literature Hambourg and Rosenheim, Irving Penn: Centennial, pl. 149 Penn, Passage: A Work Record, p. 193 Szarkowski, Irving Penn, pl. 108 Westerbeck, Irving Penn: A Career in Photography, pl. 31

An additional print of this image is in the collection of The Metropolitan Museum of Art, New York.


74. Peter Beard

b. 1938

Tsavo East (early ‘60’s), (as Brör Blixen knew it in the ‘20’s + ‘30’s), West of Daka Dima/ near the Tiva for The End of the Game/ Last Word from Paradise, 1960 Toned gelatin silver print with applied ink, paint and blood with afxed stamp, gelatin silver and chromogenic prints, executed later. 47 x 95 1/2 in. (119.4 x 242.6 cm) Overall 53 x 101 1/2 in. (134.6 x 257.8 cm) Signed, titled, dated and annotated in ink on the recto; ‘The Time is Always Now’ copyright credit reproduction limitation stamp and label on the reverse of the frame. Estimate $150,000-250,000 Provenance The Time is Always Now, New York Literature Taschen, Peter Beard, pl. 177, variant

With a dynamic visual lexicon that combines photography, collage, painting and text, Peter Beard’s Tsavo East fuses the seminal elements that have defned his work over the last 60 years. This mural-sized collage weaves together Beard’s endless fascination with the natural world, beauty, and cultural exploration. Anchoring the work is the central image, Tsavo Before the Die-Of, one of Beard’s most poignant photographs referencing the annihilation of 35,000 elephants in his adopted home of Kenya. Combined with it is a masterful composition of seemingly disparate parts: gelatin silver and chromogenic prints that include portraits of author Karen Blixen and big game hunters J.A. Hunter and Philip Percival, alongside his iconic images such as Magritte Ramme and World Record Elephant Tusks and Large Tusker (c. 150 lbs per side); hand applied blood and paint with his trademark handprint across the lower edge; the abstract movement and buildup of paint pooling in the lower right corner; the precisely placed postage stamp of East Africa’s native Superb Starling in the upper right of the main image; and a quote from Karen Blixen’s Out of Africa: “In the very old days the elephant upon the roof of the earth, led an existence deeply satisfying to himself and for to be set up as an example to the rest of creation.” Tsavo East exemplifes the most celebrated characteristics of Beard’s oeuvre: a harmonious visual amalgamation of commentary, scale, and media.


75. Peter Beard

b. 1938

Uganda, 1966 Gelatin silver print with ink and paint, executed 2006. 9 7/8 x 7 in. (25.1 x 17.8 cm) Signed, titled and dated in ink on the recto; signed, titled and dated in ink within a Peter Beard Studio copyright credit reproduction limitation stamp on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the Peter Beard Studio, New York


76. Peter Beard

b. 1938

Large tusker (c. 150 lbs per side), Tsavo North, near hunting block 33/ Ithumber Hill on the Athi-Tiva dry river, February, 1965 Gelatin silver print with watercolor paint and ink, executed later. 15 x 22 1/4 in. (38.1 x 56.5 cm) Overall 24 1/2 x 28 1/4 in. (62.2 x 71.8 cm) Signed, titled, dated and annotated in ink on the recto; ‘The Time is Always Now’ label and copyright credit reproduction limitation stamp on the reverse of the frame. Estimate $35,000-45,000

Provenance The Time is Always Now, New York Phillips, London, 2 November 2017, lot 20 Literature Beard, Zara’s Tales from Hog Ranch: Perilous Escapes in Equatorial Africa, p. 159, variant Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, p. 136, variant Taschen, Peter Beard: The End of the Game, pp. 4-5, variant


77. Irving Penn

1917-2009

Gerbera Daisy/Gerbera jamesonii “Husky,” New York, 2006 Pigment print. 14 x 18 1/2 in. (35.6 x 47 cm) Signed, initialed twice, titled, dated, annotated in ink, Condé Nast copyright credit reproduction limitation and edition stamps on the reverse of the fush-mount. One from an edition of 10. Estimate $25,000-35,000 Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XIV


78. Irving Penn

1917-2009

Cottage Tulip: Sorbet, New York, 1967 Platinum palladium print, printed 1987. 17 3/8 x 17 7/8 in. (44.1 x 45.4 cm) Signed, initialed, titled, dated, numbered 2/9, annotated, credited in ink and/or pencil and copyright credit Condé Nast reproduction limitation stamp on the reverse of the aluminum fush-mount. Estimate $50,000-70,000

Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XVII Penn, Passage: A Work Record, p. 164, variant Penn, Still Life, n.p., variant Westerbeck, Irving Penn: A Career in Photography, pl. 52, variant


79. Lynn Davis

b. 1944

Iceberg #24, Disko Bay Greenland, 2000 Gelatin silver print. 36 x 36 in. (91.4 x 91.4 cm) Signed, dated, numbered 8/10 in ink and credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Edwynn Houk Gallery, New York

80. Robert Mapplethorpe

1946-1989

Skull + Crossbones, 1983 Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm) Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 3 from an edition of 10. Estimate $8,000-12,000 Provenance Sotheby’s, New York, 9 October 2009, lot 176


Property of an Important East Coast Collector

81. Robert Mapplethorpe

1946-1989

Calla Lily, 1987 Gelatin silver print. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm) Signed, dated and numbered 4/10 in ink in the margin; signed in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $40,000-60,000

Provenance Christie’s, New York, 23 April 1996, lot 531 Literature Random House, Mapplethorpe: Pistils, p. 119


82. Robert Mapplethorpe

1946-1989

Lisa Lyon, 1981 Gelatin silver print, fush-mounted. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm) Signed and numbered ‘AP 1/2’ in ink in the margin. One from an edition of 10 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance From the artist to Lisa Lyon Phillips de Pury & Company, London, 16 May 2009, lot 74 Literature St. Martin’s Press, Lady: Lisa Lyon, p. 78

83. Robert Mapplethorpe

1946-1989

Lisa Lyon, 1980 Gelatin silver print. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) Signed and numbered ‘AP 1/2’ in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. One from an edition of 15 plus 2 artist’s proofs. Estimate $6,000-8,000 Provenance From the artist to Lisa Lyon Phillips de Pury & Company, London, 16 May 2009, lot 76 Literature Kardon, Robert Mapplethorpe: The Perfect Moment, p. 11 Random House, Mapplethorpe, p. 153 St. Martin’s Press, Lady: Lisa Lyon, p. 23


84. Irving Penn

1917-2009

Kate Moss (Hand on Neck), New York, April 25, 1996 Platinum palladium print. 16 1/2 x 16 1/2 in. (41.9 x 41.9 cm) Signed, initialed, titled, dated, numbered 5/13 in ink, dated, annotated in pencil, copyright credit (courtesy of Vogue) reproduction limitation and credit stamp on the reverse of the aluminum fush-mount. Estimate $60,000-80,000 Provenance Private Collection, San Francisco


85. Helmut Newton

1920-2004

Sie Kommen, Paris (Dressed and Naked), 1981 Four gelatin silver prints. Each print of Dressed is 761/2 x 373/4 in. (194.3 x 95.9 cm). Each print of Naked is 76 1/8 x 34 3/4 in. (193.4 x 88.3 cm). Overall Dressed dimensions are 77 3/4 x 78 1/4 in. (197.5 x 198.8 cm). Overall Naked dimensions are 77 1/ 2 x 72 1/4 in. (196.9 x 183.5 cm). Each signed, titled, dated, numbered 1/3 and annotated ‘Lef Side,’ ‘Right Side,’ ‘Dressed,’ or ‘Naked’ in pencil on the verso. Estimate $600,000-800,000 Provenance Acquired directly from the artist, early 1990s Literature French Vogue, November 1981, pp. 164-165, variant presentation, there titled Une Taille Fine et un Buste Parfait Newton, Helmut Newton: Big Nudes, n.p. Newton, World Without Men, p. 72 Felix, The Best of Helmut Newton, pls. 31-32 Harrison, Appearances: Fashion Photography Since 1945, pp. 40-41 Heiting, Helmut Newton: Work, pp. 188-189 Lagerfeld, Helmut Newton 47 Nudes, p. 47 (Naked) Puschkin Museum, Helmut Newton in Moskau, The Photographic Work, 3 October - 5 November 1989, p. 41 Scalo, Helmut Newton: Pages from the Glossies: Facsimiles 1956-1998, pp. 430-431, variant presentation Schirmer Mosel, Helmut Newton: Aus dem Photographischen Werk, pp. 31-32 Taschen, Helmut Newton: Work, pp. 188-189 Kicken and Förster, Points of View: Masterpieces of Photography and Their Stories, pp. 248-249 Koetzle, Photo Icons: Vol. 2, pp. 142-151

Sie Kommen, Paris (Dressed and Naked), the title for Helmut Newton’s stunning diptych, translates from German to English as “they are coming.” It is an imposing diptych of four super-women on the march. Posed exactly in the same way in the lef and right halves, they are triumphant and empowered both in their high fashion suits and in their nudity. Further, the present lot is a rare exhibition-sized printing, which imbues the models with a towering presence, and places all who stand before this monumental installation, in the path of the models’ powerful, verging on dangerous, beauty.

First used as a two-page spread in French Vogue in 1981, Sie Kommen, Paris marked a turning point in Newton’s work. Newton started working for French Vogue in the 1960s and had become famous for introducing erotic subjects to fashion photography. In his earlier work, the location in which he photographed his models added to the sexual fantasy of his images, but with Sie Kommen, Paris, Newton lef the lush interiors and streets of Paris and shot his subjects in a studio. In Sie Kommen (Dressed) we see the interior of the studio where the white backdrop touches the foor. In contrast, in Sie Kommen (Naked) the clothes disappear with the exception of high heels, and the studio becomes a boundless white space. As Karl Lagerfeld once noted, it is only with high heels that “. . .a woman [is] really naked for Newton.” With no supporting props the dressed and naked models become the whole story. Anne Tucker, who curated the frst American retrospective of Newton, said “Big Nudes, for me, is where he steps away from the fashion magazines and came into his own on what a Helmet Newton woman was. . . Look at the way these women are boldly striding in these pictures. . . They are Amazons.” One can only imagine the efect such a subversively powerful image had on the public when it frst appeared in French Vogue. Since then, Sie Kommen, Paris, has become an icon and has been illustrated extensively. It is the centerfold image in Newton’s provocative book Helmut Newton: Big Nudes, 1990. In his introductory essay for Big Nudes, Karl Lagerfeld states that for Newton “. . .there is no ‘weaker sex’. . . His women are part of a ‘strong’ sex.” Lagerfeld goes on to discuss the three periods of Newton’s life: the Berlin of his youth, “his spiritual home” from which Newton fed in 1938 afer the horrors of Kristallnacht (during which his father was interned); “the unknown mysterious Australian period” where Newton enlisted in the Australian army; followed by Paris, where he arrived “in 1956 in a white Porsche with red leather upholstery.” It is in the fashion world of Paris that Newton created this enduring image of sex, glamour, and female power, which boldly resonates from this exceptional presentation of Sie Kommen, Paris.


86. Joel Brodsky

1939-2007

Jim Morrison, The Doors, The American Poet, New York City, 1967 Archival pigment print, printed later. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm) Signed, titled ‘American Poet,’ dated and numbered 22/28 in pencil in the margin. Estimate $15,000-25,000 Literature The Best of the Doors, album cover

87. Mark Morrisroe

1959-1989

Reclining Nude; Laura Brown, 1984-1985 Chromogenic print with applied ink. 11 5/8 x 16 3/4 in. (29.5 x 42.5 cm) Overall 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated, numbered 2 and copyright notation in ink in the margins. Number ‘2’ from an edition of 12. Estimate $5,000-7,000


88. Annie Leibovitz

b. 1949

John Lennon and Yoko Ono, The Dakota, New York, December 8, 1980 Dye destruction print. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) Signed, titled, dated and numbered 7/40 in ink in the margin. Estimate $18,000-22,000 Provenance Sidney Janis Gallery, New York, 1983 Private Collection, New Haven Literature Harper Collins, Annie Leibovitz: Photographs 1970-1990, cover, pp. 114-115 Leibovitz, Master Set, pl. 41 Pantheon, Annie Leibovitz: Photographs, n.p. Random House, Annie Leibovitz at Work, p. 47

89. Mona Kuhn

b. 1969

George, 2003 Chromogenic print. 29 3/4 x 29 3/4 in. (75.6 x 75.6 cm) Signed, titled, dated, numbered 3/8 and copyright notation in pencil on the reverse of the fush-mount. Estimate $4,000-6,000 Provenance Yossi Milo Gallery, New York Literature Steidl, Mona Kuhn: Photographs, p. 73


Property from a Private West Coast Collection

90. Robert Mapplethorpe

1946-1989

Apartment Windows, 1977 Gelatin silver print, printed 2010. 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fushmount. Number 6 from an edition of 10. Estimate $10,000-15,000 Provenance Weinstein Gallery, Minneapolis

91. Nan Goldin

b. 1953

Jimmy Paulette on David’s Bike, N.Y.C., 1991 Dye destruction print. 15 3/8 x 23 1/4 in. (39.1 x 59.1 cm) Signed, titled, dated, numbered 2/25 and inscribed in ink on the verso. Estimate $7,000-9,000 Provenance Acquired directly from the artist Literature Bibliothek der Fotografe, Portfolio: Nan Goldin, cover


92. Peter Hujar

1934-1987

Two Queens in a Car, Halloween, 1977 Gelatin silver print. 14 1/2 x 14 1/2 in. (36.8 x 36.8 cm) Signed, titled, dated, annotated by Stephen Koch, Executor, in pencil, estate and estate copyright credit reproduction limitation stamps on the verso. Estimate $12,000-18,000 Provenance Matthew Marks Gallery, New York

93. Robert Mapplethorpe

1946-1989

Ajitto, 1981 Gelatin silver print, printed 2009. 17 5/8 x 13 7/8 in. (44.8 x 35.2 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fushmount. Number 12 from an edition of 15. Estimate $10,000-15,000 Provenance Robert Miller Gallery, New York Literature Schirmer/Mosel, Robert Mapplethorpe: The Black Book, frontispiece Kardon, Robert Mapplethorpe: The Perfect Moment, p. 70 Martineau and Salvesen, Robert Mapplethorpe: The Photographs, pl. 99 Random House, Mapplethorpe, p. 164


94. Dave Heath

1931-2016

Jennine/Pommy Vega, NYC, circa 1957 Gelatin silver print, printed 1962. 5 3/8 x 7 1/4 in. (13.7 x 18.4 cm) Signed and annotated ‘1’ in ink in the margin; titled, dated and annotated in pencil on the verso. Estimate $7,000-9,000 Provenance Simon Lowinsky Gallery, New York Literature Heath, A Dialogue with Solitude, pl. 64

95. Ray K. Metzker

1931-2014

Untitled (Chicago), 1958 Gelatin silver print. 6 x 8 3/8 in. (15.2 x 21.3 cm) Signed, annotated ‘Vintage I’ and ‘58 AB-21’ in pencil on the verso. Estimate $5,000-7,000 Provenance Private Collection, Boston


96. Irving Penn

1917-2009

Cigarette 47, New York, 1972 Platinum palladium print, printed 1974. 23 1/2 x 18 1/2 in. (59.7 x 47 cm) Signed, initialed, dated, numbered 3/3, variously annotated including ‘neg. no. 47’ in pencil, and copyright credit reproduction limitation stamp on the reverse of the aluminum fush-mount. Estimate $30,000-50,000

Provenance Pace/MacGill Gallery, New York, 2004 Literature Hambourg and Rosenheim, Irving Penn: Centennial, pl. 165 Hamiltons Gallery, Irving Penn: Cigarettes, pl. VII

An additional print of this image is in the collection of The Metropolitan Museum of Art, New York.


97. Daido Moriyama

b. 1938

Brigitte Bardot Poster, Aoyama, 1969 Silkscreen on canvas, printed 2012. 42 1/2 x 53 1/2 in. (108 x 135.9 cm) Signed in Japanese and rōmaji and numbered 2/3 in ink on the reverse. Estimate $8,000-12,000 Literature San Francisco Museum of Modern Art/ D.A.P. Publishers, Daido Moriyama: Stray Dog, pl. 84

98. Daido Moriyama

b. 1938

How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. 22 3/4 x 15 1/8 in. (57.8 x 38.4 cm) Signed in Japanese and rōmaji in pencil on the verso. Estimate $5,000-7,000 Literature Phaidon, Daido Moriyama, cover, p. 111 Daiwa Radiator Factory, Daido Moriyama: The Complete Works Vol. 2 1974–1992, p. 407 Fondation Cartier pour l’art contemporain, Daido Moriyama, p. 57 Galerie Kamel Mennour, Daido Moriyama: Remix, n.p. Shimane Art Museum, Hunter of Light: Daido Moriyama 1965–2003, pl. 348


99. Daido Moriyama

b. 1938

Stray Dog, Misawa, Aomori, 1971 Silkscreen on canvas, printed 2012. 43 x 56 1/4 in. (109.2 x 142.9 cm) Signed in Japanese and rōmaji and numbered 4/5 in ink on the reverse. Estimate $12,000-18,000 Literature San Francisco Museum of Modern Art/ D.A.P. Publishers, Daido Moriyama: Stray Dog, cover (detail), pl. 22 Fondation Cartier pour l’art contemporain, Daido Moriyama, pp. 8-9 Tucker, The History of Japanese Photography, p. 249

100. Hiroshi Sugimoto

b. 1948

Saint Benedict Chapel, 2000 Gelatin silver print. 22 7/8 x 18 3/8 in. (58.1 x 46.7 cm) Signed in pencil on the mount; blindstamp number ‘16/25, 951’ in the margin. Estimate $8,000-12,000 Provenance Fraenkel Gallery, San Francisco Literature Museum of Contemporary Art, Chicago, Sugimoto: Architecture, pp. 26, 31


Property of a Distinguished Private Collection

101. Hiroshi Sugimoto

b. 1948

Tasman Sea, Ngarupupu, 1990 Gelatin silver print. 16 5/8 x 21 3/8 in. (42.2 x 54.3 cm) Signed in pencil on the mount; blindstamp title, date and number ‘15/25, 330’ in the margin. Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York Fraenkel Gallery, San Francisco

Property from a Private West Coast Collection

102. Doug & Mike Starn b. 1961 and b. 1961 Seascape in Fog, 1987-2002 Three toned gelatin silver prints on thai mulberry paper with metallic push pins. Each 14 1/2 x 11 1/2 in. (36.8 x 29.2 cm) Overall 14 1/2 x 34 1/2 in. (36.8 x 87.6 cm) Signed, dated and numbered 4/15 in ink on the reverse of the frame; printed title, date and number 4/15 on an artists’ label afxed to the reverse of the frame. Estimate $6,000-8,000 Provenance Weinstein Gallery, Minneapolis


103. Hiroshi Sugimoto

b. 1948

Ionian Sea, Santa Cesarea, 1993 Gelatin silver print. 16 5/8 x 21 1/4 in. (42.2 x 54 cm) Signed in pencil on the mount; blindstamp title, date and number ‘7/25, 425’ in the margin. Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco, 1995 Collection of Howard Stein, New York Phillips, New York, The Odyssey of Collecting: Photographs from Joy of Giving Something Foundation, 4 April 2017, lot 109 Exhibited Hope Photographs, The National Arts Club, New York, February – March 1997, and traveling to 9 other venues through 2005 Literature George and Marks, eds., Hope Photographs, pp. 144-145 (this print)

104. Doug & Mike Starn b. 1961 and b. 1961 Blot Out The Sun #6, 1998-1999 Lysonic inkjet prints on thai mulberry and tissue papers with encaustic. Each 12 1/2 x 10 in. (31.8 x 25.4 cm) Overall 14 1/2 x 23 1/8 in. (36.8 x 58.7 cm) Signed, dated and numbered 1/3 in pencil on the reverse of the frame. Estimate $12,000-18,000


Property from a Private West Coast Collection

105. Doug & Mike Starn b. 1961 and b. 1961 Blot Out The Sun #2, 1999-2000 Lysonic inkjet print on thai mulberry and tissue papers with wax and encaustic. 28 1/4 x 23 3/4 in. (71.8 x 60.3 cm) Signed, dated and numbered 2/3 in pencil on the reverse of the frame. Estimate $7,000-9,000 Provenance Weinstein Gallery, Minneapolis

106. Hiroshi Sugimoto

b. 1948

Mediterranean Sea, La Ciotat, 1989 Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm) Signed in pencil on the mount; blindstamp title, date and number ‘4/25, 323’ in the margin. Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco


Property from a Private West Coast Collection

107. Harry Callahan

1912-1999

108. Harry Callahan

1912-1999

Aix-en-Provence, France, 1958 Gelatin silver print, mounted on Brudno board. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed in ink on the reverse of the mount.

Multiple Exposure Tree, Chicago, 1956 Gelatin silver print, printed later. 8 3/4 x 8 5/8 in. (22.2 x 21.9 cm) Signed in pencil in the margin.

Estimate $7,000-9,000

Estimate $3,000-5,000

Provenance Contemporary Works/Vintage Works, Pennsylvania

Provenance Grisebach GmbH, Berlin, 2 June 2005, lot 1155

Literature Aperture, Callahan, n.p. Philadelphia Museum of Art, Elemental Landscapes: Photographs by Harry Callahan, pl. 2

Literature The Museum of Modern Art, Harry Callahan, p. 66


109. Robert Adams

b. 1937

Pawnee National Grassland, Colorado, 1984 Gelatin silver print, printed 1992. 8 7/8 x 11 1/8 in. (22.5 x 28.3 cm) Signed, titled, dated in pencil and copyright credit stamp on the verso. Estimate $7,000-9,000 Literature Yale University Press, Robert Adams: The Place We Live, A Retrospective Selection of Photographs 1964-2009, Volume One, p. 224, there titled Weld County, Colorado

110. Henry Wessel, Jr.

1942-2018

Tucson, Arizona, 1976 Gelatin silver print. 8 5/8 x 13 in. (21.9 x 33 cm) Signed, titled and dated in pencil on the verso. Estimate $6,000-8,000 Provenance Matthew Marks Gallery, New York Literature Steidl, Henry Wessel, pl. 37

111. Henry Wessel, Jr.

1942-2018

Southern California, 1985 Gelatin silver print, printed later. 15 1/8 x 22 1/4 in. (38.4 x 56.5 cm) Signed, titled, dated and numbered 7/12 in pencil on the verso. Estimate $4,000-6,000 Provenance Carole Christensen Lief Gallery, Venice, California


112. Robert Adams

b. 1937

Tract home and abandoned shopping cart. Colorado Springs, Colorado, 1968-1971 Gelatin silver print. 5 1/4 x 5 7/8 in. (13.3 x 14.9 cm) Signed, dated in pencil, titled in ink and ‘213 E. Fontanero St.’ credit stamp on the reverse of the mount. Estimate $15,000-20,000 Provenance Matthew Marks Gallery, New York

113. Lewis Baltz

1945-2014

Uniontown, PA., 1976 Gelatin silver print. 6 x 7 7/8 in. (15.2 x 20 cm) Signed, titled and dated in pencil on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the artist


“I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.” Garry Winogrand

114. Garry Winogrand

1928-1984

Women are Beautiful New York: RFG Publishing, Inc., 1981. Eighty-fve gelatin silver prints. Each approximately 8 3/4 x 13 in. (22.2 x 33 cm) or the reverse. Each signed and numbered ‘3/20 AP’ in pencil on the verso. Numbered ‘III’ in ink on the colophon. Together with title pages and essay by the artist. Enclosed within a white, buckram bound album with mylar sleeves and matching slipcase, both with black printed titles. One from an edition of 80 plus 20 artist’s proofs. Estimate $70,000-90,000 Provenance Phillips de Pury & Company, New York, 7 October 2005, lot 291 Collection of Howard Stein, New York Sotheby’s, New York, 175 Masterworks to Celebrate 175 Years of Photography: Property from Joy of Giving Something Foundation, 12 December 2014, lot 156 Literature Winogrand, Women Are Beautiful Stack, Winogrand: 1964, p. 265 Szarkowski, Winogrand: Figments from the Real World, pp. 21, 25, 27, 90, 104-111 T.F. Editores, Garry Winogrand: The Game of Photography, cover, pp. 16, 75, 77-79, 81, 85-86, 89-90, 92-93, 116-117


115. Richard Misrach

b. 1949

Bomber #2, Phoenix, Arizona, 1975 Toned gelatin silver print. 14 5/8 x 14 1/8 in. (37.1 x 35.9 cm) Signed and dated in pencil in the margin; signed, titled and copyright notation in pencil on the verso. Estimate $6,000-8,000 Provenance Acquired directly from the artist

Bomber #2, Phoenix, Arizona, is one of Richard Misrach’s earliest night views, and he made very few prints of it. With its nighttime setting and skillful use of toning, this image looks forward to the night views Misrach would take in the desert and at Stonehenge (as in lot 116) in the coming years.

116. Richard Misrach

b. 1949

Stonehenge #1, 1979 Toned gelatin silver print. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm) Signed, dated and inscribed in ink in the margin; signed, titled and copyright notation in pencil on the verso. Estimate $9,000-12,000 Provenance Grapestake Gallery, San Francisco, 1979 Literature Arena Editions, Richard Misrach: The Sky Book, p. 11 Fraenkel Gallery, Richard Misrach: Chronologies, pl. 7


117. Garry Winogrand

1928-1984

Apollo 11 Moon Shot, Cape Kennedy, Florida, 1969 Gelatin silver print, printed later. 8 5/8 x 13 in. (21.9 x 33 cm) Signed in pencil on the verso. Estimate $7,000-9,000 Literature Szarkowski, Winogrand: Figments from the Real World, p. 153 The Museum of Modern Art, Garry Winogrand: Public Relations, p. 18 T.F. Editores, Garry Winogrand: The Game of Photography, p. 67

118. Garry Winogrand

1928-1984

New York City, 1968 Gelatin silver print from Fifeen Photographs, printed 1974. 8 1/2 x 12 3/4 in. (21.6 x 32.4 cm) Signed and numbered 66/75 in pencil on the mount. Estimate $6,000-8,000 Provenance Private Collection, London Literature Winogrand, Women are Beautiful, cover T.F. Editores, Garry Winogrand: The Game of Photography, p. 75 Szarkowski, Winogrand: Figments from the Real World, p. 27


119. Stephen Shore

b. 1947

2nd St., Ashland, Wisconsin, July 9, 1973 Fujicolor Crystal Archive print, printed later. 17 1/8 x 21 5/8 in. (43.5 x 54.9 cm) Signed, titled, dated and numbered 3/8 in ink on the verso. Estimate $12,000-18,000 Provenance Galerie Conrads, Dßsseldorf Literature Aperture, Stephen Shore: Uncommon Places The Complete Works, p. 20

120. William Egleston

b. 1939

Untitled (rural gas station with pump), circa 1970 Kodak Ekatacolor print. 3 x 3 in. (7.6 x 7.6 cm) Signed in ink on the verso. Estimate $5,000-7,000 Provenance Laurence Miller Gallery, New York Exhibited William Eggleston: First Color 1967-1972, Laurence Miller Gallery, New York, 20 February - 4 April 1992

Actual size


A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

121. Stephen Shore

b. 1947

Horseshoe Bend Motel, Lovell, Wyoming, 1973 Fujicolor Crystal Archive print, printed 2003. 17 3/8 x 21 3/4 in. (44.1 x 55.2 cm) Signed, titled and numbered 6/8 in ink on the verso. Estimate $15,000-20,000 Provenance 303 Gallery, New York, 2003 Literature Aperture, Stephen Shore: Uncommon Places, p. 23


122. William Egleston

b. 1939

Morals of Vision New York: Caldecot Chubb, 1978. Eight chromogenic prints mounted to Johannot paper within the bound artist’s book. Varying dimensions from 6 x 9 in. (15.2 x 22.9 cm) to 7 x 10 in. (17.8 x 25.4 cm). One print 8 x 51/4 in. (20.3 x 13.3 cm). Signed and numbered 2/15 in ink on the colophon. One from an edition 15 plus 4 lettered examples. Bound in gilt-lettered buckram and leather, with a matching slipcase. Estimate $65,000-75,000 Literature Steidl, Morals of Vision: William Eggleston

Illustrated with eight original photographs, and produced to the highest bibliographic standards, Morals of Vision presents a unique format in which to view William Eggleston’s work. The quiet tone and def sequencing of the book’s photographs create a meditative experience which is enhanced by the quality of the presentation. The book is the perfect showcase for a photographer who is undeniably contemporary, but whose creative roots are buried deep in the past.

Morals of Vision is one of a quartet of artist-books of the photographer’s work published by Caldecott Chubb in the late 1970s, along with Election Eve (1977), Flowers (1978), and Wedgewood Blue (1979). Produced in a small edition of 15, and rarely seen on the market, it has since attained near-legendary status within Eggleston’s oeuvre. Additional editions of Morals of Vision are in the collections of The J. Paul Getty Museum, Los Angeles; The Metropolitan Museum of Art, New York; and The Museum of Modern Art, New York.


123. Joel Sternfeld

b. 1944

Near Lake Powell, Arizona, August, 1979 Chromogenic print, printed 1996. 22 x 27 7/8 in. (55.9 x 70.8 cm) Signed, initialed, titled, dated, numbered 87/100 and inscribed in ink on the reverse of the mount. Estimate $6,000-8,000 Provenance Pace/MacGill Gallery, New York Literature D.A.P. Publishers, Joel Sternfeld: American Prospects, pl. 10 Moore, Starburst: Color Photography in America 1970-1980, pl. 229

Property from a Private West Coast Collection

124. Alec Soth

b. 1969

The Farm, Angola State Prison, Angola, LA, 2004 Chromogenic print. 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated and numbered 13/15 in ink on the verso. Estimate $4,000-6,000 Provenance Weinstein Gallery, Minneapolis Literature Soth, Sleeping by the Mississippi, n.p.


Property from a Private West Coast Collection

125. Robert Polidori

b. 1951

Gas Station, Palm Springs, CA, USA, 1997 Fujicolor Crystal Archive print. 30 5/8 x 40 in. (77.8 x 101.6 cm) Overall 42 1/8 x 51 1/2 in. (107 x 130.8 cm) Signed in ink, printed title, date and number ‘AP 2’ on a gallery label afxed to the reverse of the fush-mount. One from an edition of 10 plus artist’s proofs. Estimate $12,000-18,000

Property from a Private West Coast Collection

126. Richard Misrach

b. 1949

The Santa Fe, 1982 Chromogenic print. 18 1/8 x 22 7/8 in. (46 x 58.1 cm) Signed, titled, dated, numbered ‘#3,’ annotated and copyright notation in ink in the margin. One from an edition of 50 plus artist’s proofs. Estimate $8,000-12,000 Literature Fraenkel Gallery, Richard Misrach: Chronologies, pl. 13 Misrach, Desert Cantos, pl. 6 Tucker, Crimes and Splendors: The Desert Cantos of Richard Misrach, p. 73


127. Hiroshi Sugimoto

b. 1948

Metropolitan State, Los Angeles, 1993 Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm) Signed, titled, dated, numbered ‘1/25, 248’ in pencil on the mount; blindstamp title and number ‘1/25, 248’ in the margin. Estimate $15,000-20,000 Literature Sugimoto, Theaters, p. 108


A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

128. Diane Arbus

1923-1971

Clouds on Screen at a Drive-In Movie, N.J., 1960 Gelatin silver print, printed later by Neil Selkirk. 12 x 17 7/8 in. (30.5 x 45.4 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 16/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000

Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, pp. 2-3 Rosenheim, diane arbus: in the beginning, p. 183


A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

129. Diane Arbus

1923-1971

Young Couple in Washington Square Park, NYC, 1965 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 7/8 in. (37.5 x 37.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 7/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 45

A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

130. Diane Arbus

1923-1971

Couple arguing, Coney Island, N.Y., 1960 Gelatin silver print, printed later by Neil Selkirk. 10 x 6 3/4 in. (25.4 x 17.1 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 11/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Fraenkel Gallery, San Francisco Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 238 Rosenheim, diane arbus: in the beginning, p. 159


A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

131. Diane Arbus

1923-1971

Two Ladies Walking In Central Park, N.Y.C., 1962 Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 1/4 in. (36.8 x 36.2 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 7/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $8,000-12,000 Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 71

A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw

132. Diane Arbus

1923-1971

Child in a beret, N.Y.C., 1962 Gelatin silver print, printed later by Neil Selkirk. 14 x 14 1/2 in. (35.6 x 36.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 8/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Fraenkel Gallery, San Francisco Literature Harper’s Bazaar, September 1962 Aperture, Diane Arbus: Magazine Work, p. 28, there titled Bill Blass Designs for Little Ones


Property from a Private West Coast Collection

133. Lee Friedlander

b. 1934

Kansas City, Missouri, 1965 Gelatin silver print, printed no later than 1978. 6 1/2 x 9 3/4 in. (16.5 x 24.8 cm) Signed, dated and inscribed ‘May 20 1978 Chicago - For Ted with pleasure’ in ink and credit reproduction limitation stamp on the verso. Estimate $8,000-12,000 Provenance From the artist to Ted Hartwell, Minneapolis Weinstein Gallery, Minneapolis

Ted Hartwell was the founding Curator of Photographs at the Minneapolis Institute of Art from 1972 to 2007.


134. Lee Friedlander

b. 1934

Texas, 1965 Gelatin silver print, printed 1970s. 7 3/8 x 11 1/8 in. (18.7 x 28.3 cm) Signed, titled, dated in pencil and credit reproduction limitation stamp on the verso. Estimate $6,000-8,000 Provenance Private Collection, New York Literature Friedlander, Like a One-Eyed Cat: Photographs 1956-1987, pl. 35 Galassi, Friedlander, pl. 123

135. Ezra Stoller

1915-2004

Miami Parking Garage, Robert Law Weed and Associates, Miami, FL, 1948-1949 Gelatin silver print, printed later. 11 1/4 x 17 3/4 in. (28.6 x 45.1 cm) Signed in pencil on the verso. One from an edition of 20. Estimate $6,000-8,000 Provenance Acquired directly from the artist


136. Charles Moore

1931-2010

Dogs used by Birmingham, Ala. Cops to quell Negro Race Riots, 1963 Gelatin silver print. 9 x 13 in. (22.9 x 33 cm) ‘LIFE Photo by Charles Moore’ credit reproduction limitation stamp, extensively annotated with publication usage information in unidentifed hands in ink, crayon and pencil, and with ‘Famous Picture’ label and various Time, LIFE and other stamps, all on the verso. Estimate $15,000-25,000 Provenance Time LIFE Archive, New York Howard Greenberg Gallery, New York Private Collection, New York Literature LIFE, 17 May 1963, vol. 54, no. 20, pp. 30-31 LIFE, 26 December 1969, vol. 67, no. 25, pp. 46-47 Durham, Powerful Days: The Civil Rights Photography of Charles Moore, p. 105

Born in Alabama in 1931, Moore was raised with a sincere empathy for the racial struggles of the African-American population. His photographs documenting some of the most important events in the late 1950s and 1960s were published in local newspapers as well as LIFE magazine, where he worked as a contract photographer, and helped inform the country of the real-world implications of segregation and the dangerous eforts to undo the racial imbalance of the past century. The cultural signifcance of this image cannot be overstated. The notations and stamps on the reverse of the print document an extensive publication history including, most notably, its use in LIFE in both 1963 and 1968. In 1964, Andy Warhol appropriated the image for his painting Race Riot, a seminal work within his Death and Disasters series, further solidifying its place within the cultural and art historical discourse.

The power of photography is most evident when it is used as a tool to bear witness to social injustice. This photograph, taken by Charles Moore in Birmingham, Alabama in 1963, shows a group of police ofcers whose dogs are seen attacking an African-American protester during the Birmingham race riots. With its display of the disproportionate violence by law enforcement against the isolated demonstrator, this image is a sobering representation of the entire American civil rights movement.

verso


137. Frederick Sommer

1905-1999

Young Explorer, 1951 Gelatin silver print. 8 3/8 x 4 1/8 in. (21.3 x 10.5 cm) Signed in pencil on the reverse of the mount. Estimate $15,000-25,000 Provenance Christie’s, New York, 23 April 1990, lot 64 Literature Davis, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 53

138. Paul Strand

1890-1976

Couple, South Uist, 1954 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled and dated in ink on the reverse of the fush-mount. Estimate $6,000-8,000 Provenance Collection of Hazel Strand, the photographer’s widow Private Collection, New York By descent to the present owner Literature Aperture, Paul Strand, p. 143, there titled Mary and John Mackinnon


139. Robert Frank

b. 1924

Political Rally, Chicago, 1956 Gelatin silver print, printed later. 22 x 14 in. (55.9 x 35.6 cm) Signed, titled ‘Chicago’ and dated in ink in the margin. Estimate $70,000-90,000 Provenance Pace/MacGill Gallery, New York Literature The Americans, no. 58 Greenough, Looking In: Robert Frank’s The Americans, pp. 281, 476, Contact no. 58 Greenough, Robert Frank: Moving Out, p. 180 Aperture, Robert Frank, frontispiece, variant Kismaric, American Politicians: Photographs from 1843 to 1993, p. 151, variant Szarkowski, Looking at Photographs, p. 177, variant Szarkowski, The Photographer’s Eye, p. 152, variant

With its 83 photographs culled from nearly 27,000 negatives, Robert Frank’s The Americans presents a complex portrait of America in the mid-20th century. From its blunt depictions of racial division, to its metaphoric representations of the American Dream, to the idiosyncratic juxtapositions within many of the frames, this seminal book serves as a cultural archive driven by the curiosity of an artist. Political Rally, Chicago, 1956, is one of several images taken at political parades across the country in the year leading up to the 1956 presidential election. This photograph of a tuba player is contextualized by the small detail on the musician’s jacket which reveals the scene to be a rally in support of Adlai Stevenson’s second unsuccessful campaign for president. This impressive, large-format print is a slightly wider crop than is seen in some editions of The Americans, revealing more of the female fgure on the right. Another print with the same cropping is in the collection of The Metropolitan Museum of Art, New York. For additional works by Robert Frank, please reference lots 140 and 141.


140. Robert Frank

b. 1924

Hoover Dam, 1955 Gelatin silver print, printed later. 17 3/4 x 12 in. (45.1 x 30.5 cm) Signed in ink in the margin. Estimate $20,000-30,000 Literature Greenough, Robert Frank: Moving Out, p. 168 Pantheon, Robert Frank: The Lines of my Hand, n.p. Greenough, Looking In: Robert Frank’s The Americans, pl. 63, variant Scalo, Robert Frank: Hold Still, Keep Going, p. 30, variant

An additional print of this image is in the collection of the National Gallery of Art, Washington, D.C.


141. Robert Frank

b. 1924

US 285, New Mexico, 1956 Gelatin silver print, probably printed in the 1960s. 13 1/8 x 8 3/4 in. (33.3 x 22.2 cm) Signed, titled and dated in ink in the margin; ‘Robert Frank Archive’ and copyright credit stamps on the verso. Estimate $25,000-35,000 Provenance Private Collection, Japan Literature The Americans, no. 36 Greenough, Looking In: Robert Frank’s The Americans, pp. 253, 469, 470, Contact no. 36 Pantheon, Robert Frank: The Lines of my Hand, n.p. ‘The Highway: Four Photographs by Robert Frank,’ Current, November 1960, p. 33 U. S. Camera, 1958, p. 100

Additional prints of this image are in the collections of the Art Institute of Chicago; The Metropolitan Museum of Art, New York; and the Philadelphia Museum of Art.


142. Harry Callahan

1912-1999

Cape Cod, 1972 Gelatin silver print. 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm) Signed in pencil in the margin. Estimate $4,000-6,000 Provenance Zabriskie Gallery, New York, 1972 Literature Greenough, Harry Callahan, pl. 151 Szarkowski, Callahan, p. 187

142.

143. Harry Callahan

1912-1999

Eleanor in the Attic, 1948 Eleanor and Barbara, Lake Michigan, 1953 Two gelatin silver prints, printed later. Each 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Each signed in pencil in the margin. Estimate $6,000-8,000 Provenance LIGHT Gallery, New York, early 1980s Literature Cox, Harry Callahan: Eleanor, pls. 19, 53 Greenough, Harry Callahan, p. 101 Rizzoli, Visions and Images: American Photographers on Photography, p. 13 Szarkowski, Callahan, pp. 97, 195 The Museum of Modern Art, Harry Callahan, p. 13

143.


144. Ernst Haas

1921-1986

144. Beach refection, USA, 1962 Chromogenic print, printed later. 22 1/2 x 34 in. (57.2 x 86.4 cm) Signed, titled, dated and numbered 1/15 by Alexander Haas, the artist’s son, in ink on a studio label accompanying the work.

Estimate $4,000-6,000 Provenance Directly from the Estate of Ernst Haas Literature Steidl, Ernst Haas: Color Correction, p. 11

145. Joel Meyerowitz

b. 1938

Bay/Sky/Porch Self-published, 1979. Fifeen chromogenic prints. Each 7 7/8 x 9 5/8 in. (20 x 24.4 cm) or the reverse Each signed, dated and numbered 56/75 in ink on the verso. Numbered 56/75 in ink on the colophon. Enclosed within a burgundy linen clamshell portfolio case with gilt title. Number 56 from an edition of 75 plus 15 artist’s proofs. Estimate $7,000-9,000 Literature Meyerowitz, A Summer’s Day, p. 68 Moore, Starburst: Color Photography in America 1970-1980, pl. 215 Museum of Fine Arts, Boston, Cape Light: Color Photographs by Joel Meyerowitz, pl. 3 145.


146. Harry Callahan

1912-1999

Eleanor, Port Huron, 1954 Gelatin silver print, printed later. 7 x 6 3/4 in. (17.8 x 17.1 cm) Signed by the artist and additionally signed by Eleanor Callahan, both in pencil in the margin. Estimate $2,500-3,500 Provenance LIGHT Gallery, New York Literature Szarkowski, Callahan, front matter, variant Cox, Harry Callahan: Eleanor, pl. 76

147. Harry Callahan

1912-1999

Untitled, Eleanor, 1947 Gelatin silver print, printed later. 4 1/2 x 2 5/8 in. (11.4 x 6.7 cm) Signed by the artist and additionally signed by Eleanor Callahan, both in pencil in the margin. Estimate $4,000-6,000 Provenance LIGHT Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 16 Greenough, Harry Callahan, p. 80 Szarkowski, Callahan, p. 61


148. Edward Weston

1886-1958

Nude, 1936 Gelatin silver print, printed later by Cole Weston. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm) Signed, titled, dated in pencil by Cole Weston and Edward Weston signature stamp on the reverse of the mount. Estimate $10,000-15,000 Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 968 Mora, Edward Weston: Forms of Passion, cover, p. 223 Newhall, Edward Weston, Photographer, p. 60 Wilson, Edward Weston Nudes, pl. 82 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 118 Taschen, 20th Century Photography, p. 731

149. Harry Callahan

1912-1999

Cape Cod, 1972 Gelatin silver print. 7 x 7 in. (17.8 x 17.8 cm) Signed in pencil in the margin. Estimate $3,000-5,000 Provenance LIGHT Gallery, New York


150. Berenice Abbott

1898-1991

New York Portfolio IV New York: Parasol Press, Ltd., 1979. Twelve gelatin silver prints. Each approximately 15 1/4 x 19 1/4 in. (38.7 x 48.9 cm) or the reverse. One print 181/4 x 231/4 in. (46.4 x 59.1 cm). Each signed and lettered ‘A’ in pencil on the mount; credit reproduction limitation stamp on the reverse of each mount. Title page. Colophon. One from an edition of 65, numbered 1 through 60 and lettered sequentially ‘A-E’. Enclosed in a cloth clamshell case. Estimate $10,000-15,000 Provenance Martina Hamilton Gallery, New York Literature Centre National de la Photographie, Berenice Abbott, n.p. Commerce Graphics, Berenice Abbott, n.p. Dover Publications, New York In The Thirties: As Photographed By Berenice Abbott, pp. 11-12, 20, 22, 30-31, 75, 91 O’Neal, Berenice Abbott: American Photographer, pp. 97, 146, 150, 167 Yochelson, Berenice Abbott: Changing New York, n.p.

Property from a Private West Coast Collection

151. W. Eugene Smith

1918-1978

Three Generations of Miners. A Welsh Coal-Mining Town, Wales, Great Britain, 1950 Gelatin silver print from W. Eugene Smith: A Portfolio of Ten Photographs, printed 1977. 9 1/4 x 13 in. (23.5 x 33 cm) Signed in pencil on the recto; signed, titled ‘Welsh Miners’ and dated in pencil on the mount. One from an edition of 25 plus artist’s proofs. Estimate $6,000-8,000 Literature Harry N. Abrams, Inc., W. Eugene Smith: Photographs 1934-1975, cover, p. 95 Aperture, Let Truth Be the Prejudice – W. Eugene Smith: His Life and Photographs, p. 143 Aperture, W. Eugene Smith: His Photographs and Notes, n.p. Aperture, W. Eugene Smith: Master of the Photographic Essay, p. 72 Hughes, W. Eugene Smith: Shadow & Substance, n.p. Phaidon, W. Eugene Smith, p. 51


Actual size

Actual size

Property from a Private West Coast Collection

152. Dorothea Lange

1895-1965

Bad Trouble Over the Weekend from Last Ditch Series, 1964 Gelatin silver print. 5 1/2 x 3 3/8 in. (14 x 8.6 cm) Annotated ‘from the Series - Last Ditch,’ ‘Roll 240’ and ‘#15’ in ink and/or pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Literature Aperture, Dorothea Lange: Photographs of a Lifetime, p. 157 The Museum of Modern Art, Dorothea Lange, p. 71

153. Walker Evans

1903-1975

James Agee, Oldfeld, Aug., 1937 Gelatin silver print, fush-mounted. 4 3/8 x 3 5/8 in. (11.1 x 9.2 cm) Signed in pencil on the secondary mount; titled and dated in ink on the reverse of the secondary mount. Estimate $8,000-12,000 Provenance Weinstein Gallery, Minneapolis


154. Dorothea Lange

1895-1965

Migrant Mother, Nipomo, California, 1936 Gelatin silver print, printing date unknown. 13 1/2 x 10 3/8 in. (34.3 x 26.4 cm) Accompanied by a typed letter signed by Rondal Partridge. Estimate $80,000-100,000 Provenance Irwin Welcher, San Francisco, possibly acquired from Dorothea Lange in the 1950s or 1960s Eddie Diba, San Francisco Private Collection, San Francisco To the present owner, 2009 Literature San Francisco News, March 11, 1936 “Draggin’- Around People,” Survey Graphic, September 1936 Meltzer, Dorothea Lange: A Photographer’s Life, cover, p. 213 Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, back cover, pl. 43 The Museum of Modern Art, Dorothea Lange, p. 25 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 77 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 133 Davis, The Photographs of Dorothea Lange, p. 45 Keller, In Focus: Dorothea Lange, Photographs from the J. Paul Getty Museum, pl. 13 there titled Human Erosion in California/Facing Starvation/Starvation/Migrant Mother, Nipoma, California Light, Witness In Our Time, Working Lives of Documentary Photographers, Rondal Partridge, Dorothea Lange in The Field, p. 203 NBC Editions, Dorothea Lange: The Human Face, p. 99 Partridge, Restless Spirit: The Life and Work of Dorothea Lange, p. 4 Partridge, Dorothea Lange: A Visual Life, pl. 6.16 Whitney Museum of American Art, The American Century: Art and Culture 1900-2000, p. 248 Partridge, Dorothea Lange, A Visual Life, 1994, flm including extensive interviews with Rondal Partridge PBS American Masters, Dorothea Lange: Grab A Hunk of Lightning, 2014, flm

Letter from Rondal Partridge accompanying this lot

It is believed that this masterfully-made print of Lange’s most iconic image came originally from the collection of Irwin Welcher, the San Francisco-based photographic printer who worked with Dorothea Lange in the 1950s and 1960s. Lange frst encountered Welcher when he was hired to make prints for Edward Steichen’s monumental Family of Man exhibition, an exhibition for which Lange was Steichen’s west coast representative. Welcher was also involved in printing the photographs for Lange’s 1966 retrospective at The Museum of Modern Art, New York. Lange may have given this print to Welcher as a guide print. This print was shown to photographer Rondal Partridge (1917-2015), who worked with Lange during her years as photographer for the Farm Security Administration, and remained close to her throughout her life. Ron, as his friends called him, was the son of photographer Imogen Cunningham and worked with Lange in her darkroom in Berkeley, California. He was an acknowledged expert on her life and prints. In the 2009 letter that accompanies this photograph, Ron outlines his opinion that the print was made by Lange, stating that it “exhibits all of the typical tonality of Dorothea’s printing from 1922 to 1945.” Indeed, the print is distinguished by a nuanced tonality and high level of detail. It is also possible that this print was made by Welcher, likely to Lange’s specifcations during the period they worked together. Welcher was a sensitive and scrupulous interpreter of Lange’s photographs, and his prints of her images that have come to market all share the same high degree of print quality and rich tonality as the print ofered here. In a 1966 interview, Welcher described the experience of working with Lange: “My association with Dorothea was more than that of a businessman and a client. There was an empathy. Many times Dorothea had only to say a word or two and I immediately grasped what she meant . . . As for myself, I can say this was truly a labor of love. It is not very ofen that one gets the opportunity to be a part of the history of art” (“Dorothea Lange and Her Printer,” Popular Photography, Volume 59, no. 1, July 1966, p. 70).


Property from a Private West Coast Collection

155. Ansel Adams

1902-1984

Frozen Lake and Clifs, Sierra Nevada, California, 1927 Gelatin silver print, printed 1973-1977. 10 1/4 x 13 1/4 in. (26 x 33.7 cm) Signed in pencil on the mount; Carmel credit stamp (BMFA 11) with title and date in an unidentifed hand in ink on the reverse of the mount. Estimate $7,000-9,000 Literature Adams, Examples: The Making of 40 Photographs, p. 10 Adams, Yosemite and the Range of Light, pl. 27 Alinder, Ansel Adams: 1902-1984, p. 12 Newhall, Ansel Adams: The Eloquent Light, pp. 168-169 Stillman, Ansel Adams: 400 Photographs, p. 93 Stillman, Ansel Adams in the National Parks, p. 10 Szarkowski, Ansel Adams at 100, pl. 32 Haas and Senf, Ansel Adams, p. 146, for stamp

Property from a Private West Coast Collection

156. Ansel Adams

1902-1984

Still Life, San Francisco, circa 1932 Gelatin silver print from Portfolio VI, printed 1974. 19 1/4 x 14 3/4 in. (48.9 x 37.5 cm) Signed and numbered ‘VI-6, 57/110’ in pencil on the mount; ‘Portfolio VI’ credit, title, date and reproduction limitation stamp on the reverse of the mount. Estimate $5,000-7,000 Literature Stillman, Ansel Adams: 400 Photographs, p. 88 Szarkowski, The Portfolios of Ansel Adams, Portfolio VI, pl. 6


Property from a Private West Coast Collection

157. Ansel Adams

1902-1984

Monolith, the Face of Half Dome, Yosemite National Park, 1927 Gelatin silver print, printed 1973-1977. 19 1/4 x 14 1/4 in. (48.9 x 36.2 cm) Signed in pencil on the mount; Carmel credit stamp (BMFA 11) with title and date ‘c. 1926’ in an unidentifed hand in ink on the reverse of the mount. Estimate $18,000-22,000 Literature Newhall, The Eloquent Light, cover, p. 45 Stillman, Ansel Adams: 400 Photographs, cover, p. 35 Adams, Yosemite and the Range of Light, pl. 54 Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 2 Museum of Fine Arts, Boston, Ansel Adams: The Early Years, pls. 6-7 Haas and Senf, Ansel Adams, p. 146, for stamp

158. Ansel Adams

1902-1984

Moon and Clouds, Northern California, 1959 Gelatin silver print from Portfolio V, printed 1970. 15 1/2 x 19 1/4 in. (39.4 x 48.9 cm) Signed and numbered ‘V-4 - 11/110’ in pencil on the mount; titled, dated, numbered ‘4’ in an unidentifed hand in ink within the ‘Portfolio V’ credit and reproduction limitation stamp on the reverse of the mount. Estimate $12,000-18,000 Literature Stillman, Ansel Adams: 400 Photographs, p. 362 Szarkowski, The Portfolios of Ansel Adams, Portfolio V, pl. 4


159. Edward Weston

1886-1958

Mount Lassen National Park, 1937 Gelatin silver print, probably printed in the 1940s-1950s. 7 1/4 x 9 1/4 in. (18.4 x 23.5 cm) Initialed and dated in pencil on the mount. Estimate $10,000-15,000 Provenance Private Collection, Boston Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 1138 Aperture, Edward Weston, p. 210

160. Alfred Stieglitz

1864-1946

Grasses, 1933 Gelatin silver print. 6 x 9 1/8 in. (15.2 x 23.2 cm) Estimate $12,000-18,000 Provenance Joel Oppenheimer Gallery, Chicago Andrew Smith Gallery, Santa Fe Private Collection, California Literature Greenough, Alfred Stieglitz: The Key Set, Volume Two, cat. no. 1504


161. Josef Sudek

1896-1976

Untitled (forest), 1948 Pigment print. 6 3/8 x 4 3/4 in. (16.2 x 12.1 cm) Dated and annotated in pencil by the artist, with a paper manufacturing stamp and other annotations in unidentifed hands in pencil, all on the verso. Estimate $10,000-15,000 Provenance Collection of Petr Helbich, the photographer’s assistant Literature Aperture, Josef Sudek: Poet of Prague: A Deeper Vision, p. 125, variant Aperture, Josef Sudek: Poet of Prague: A Photographer’s Life, p. 125, variant

162. Josef Sudek

1896-1976

Untitled (landscape with trees), circa 1924 Gelatin silver print. 8 1/2 x 11 1/8 in. (21.6 x 28.3 cm) Signed in pencil on the mount. Estimate $5,000-7,000 Provenance From the photographer to his student By descent Michael R. Weintraub, Inc., New York Private Collection, California


163. Henri Cartier-Bresson 1908-2004 Henri Matisse, Vence, France, 1944 Gelatin silver print, printed later. 11 1/2 x 17 3/8 in. (29.2 x 44.1 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 121 Galassi, Henri Cartier-Bresson: The Modern Century, p. 226

164. André Kertész 1894-1985 Shadows of the Eifel Tower, 1929 Gelatin silver print, printed later. 10 3/4 x 13 5/8 in. (27.3 x 34.6 cm) Signed and dated in pencil on the verso. Estimate $3,000-5,000 Provenance Atlanta Gallery of Photography Phillips, New York, 4 April 2016, lot 165 Literature Art et Médecine, October 1931, frontispiece Aperture Masters of Photography: André Kertész, p. 45 Borhan, André Kertész: His Life and Work, p. 108 Ducrot, André Kertész: Sixty Years of Photography, 1912-1972, p. 137 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 170


165. Henri Cartier-Bresson 1908-2004 Near Juvisy-sur-Orge, France, 1955 Gelatin silver print, printed later. 9 1/4 x 14 in. (23.5 x 35.6 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Literature Galassi, Henri Cartier-Bresson: The Modern Century, pp. 1, 156 Montier, Henri Cartier-Bresson and the Artless Art, pl. 250

166. Henri Cartier-Bresson 1908-2004 Gardens of the Palais Royal, Paris, 1959 Gelatin silver print, printed later. 17 3/8 x 11 1/2 in. (44.1 x 29.2 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $12,000-18,000 Provenance Galerie Beyeler, Basel Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 32 Bulfnch, Henri Cartier-Bresson: City and Landscapes, pl. 66 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 46 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 41


167. Laure Albin-Guillot 1879-1962 Untitled (nude study), circa 1930 Fresson print, fush-mounted to paper. 23 1/2 x 6 1/4 in. (59.7 x 15.9 cm) Signed in pencil on the recto. Estimate $7,000-9,000 Provenance Prakapas Gallery, New York, 1981 Collection of Tom Jacobson, Tucson

168. Manuel Álvarez Bravo

1902-2002

La Buena Fama Durmiendo (The Good Reputation Sleeping), 1938 Gelatin silver print, printed later. 9 3/4 x 13 in. (24.8 x 33 cm) Signed and annotated ‘Mexico’ on the verso. Estimate $5,000-7,000 Provenance Private Collection, Los Angeles Literature Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 77 J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 28 Kismaric, Manuel Álvarez Bravo, p. 123 Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 21 Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 48


169. Horst P. Horst

1906-1999

170. Horst P. Horst

1906-1999

Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 17 5/8 x 13 3/8 in. (44.8 x 34 cm) Signed in pencil on the verso; signature blindstamp in the margin.

Lisa on Silk I, N.Y., 1940 Platinum palladium print, printed later. 19 x 15 in. (48.3 x 38.1 cm) Signed in pencil in the margin; signed, titled, dated, numbered ‘AP 1/3’ and annotated in pencil on the verso.

Estimate $8,000-12,000

Estimate $10,000-15,000

Literature American Vogue, 15 September 1939 French Vogue, December 1939 Kazmaier, Horst: Sixty Years of Photography, pl. 8 Hall-Duncan, The History of Fashion Photography, p. 65 High Museum of Art, Chorus of Light: Photographs From The Sir Elton John Collection, p. 192 Martineau, Icons of Style: A Century of Fashion Photography, pl. 69 Muir, Vogue 100: A Century of Style, p. 78 Taschen, 20th Century Photography: Museum Ludwig Cologne, p. 267

Literature Kazmaier, Horst: Sixty Years of Photography, pl. 32 Rizzoli, Horst: Photographer of Style, pl. 33


Property from a Private West Coast Collection

171. Erwin Blumenfeld

1897-1969

Amsterdam, circa 1933 Unique gelatin silver print, solarized from a paper negative. 11 7/8 x 9 1/4 in. (30.2 x 23.5 cm) Signed in stylus on the recto; signed by the sitter, Marina Schinz, in ink, typed credit, ‘495a keizersgracht’ address, copyright credit and estate stamps on the verso. Estimate $10,000-15,000 Provenance Jane Corkin Gallery, Toronto Literature Blumenfeld, The Photographic Nudes of Erwin Blumenfeld: The Naked and the Veiled, p. 96, variant

Blumenfeld’s oeuvre exhibits not only his impact on fne art and fashion photography, but his passion for pushing the boundaries of the medium. Amidst the Dadaist movement in post-World War I Europe, the embrace of Surrealism led artists to abandon traditional darkroom practices and explore techniques such as cameraless imagery, photomontage, distortions, multiple exposures, and solarization. Like his contemporaries such as Man Ray, Herbert Bayer, and Paul Citroen, Blumenfeld experimented with many of these practices. Solarization, evident in the present lot, was achieved by exposing the print to light during the development process. The efect transformed the already carefully constructed nude composition into an even more dynamic image with a reversal of the positive and negative tones, producing a sof glow throughout.

Property from a Private West Coast Collection

172. Man Ray

1890-1976

Florence Meyer Homolka, 1940s Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm) ‘Photograph Man Ray’ (Manford M25) and reproduction limitation (Manford M30) stamps on the verso. Estimate $6,000-8,000 Provenance Throckmorton Fine Art, New York Literature J. Paul Getty Museum, Man Ray in Paris, pl. 41 Manford, Behind the Photo: The Stamps of Man Ray, for stamps


Property from a Private West Coast Collection

173. Man Ray

1890-1976

Pablo Picasso, 1932 Gelatin silver print, probably printed before the 1950s. 11 5/8 x 9 in. (29.5 x 22.9 cm) ‘31 bis, Rue Campagne-Première’ (Manford M28) credit and reproduction limitation (Manford M30) stamps on the verso. Estimate $25,000-35,000 Provenance The Estate of Juliet Man Ray, the photographer’s widow Howard Greenberg Gallery, New York Literature Dover, Photographs by Man Ray: 105 Works, 1920-1934, p. 77 Penrose, Man Ray, pl. 43, variant, there dated 1934 The Bunkamura Museum of Art, Photographies de Man Ray, pl. 253, variant Manford, Behind the Photo: The Stamps of Man Ray, for stamps


Property from a Private West Coast Collection

174. Richard Avedon

1923-2004

Francis Bacon, artist, Paris, April 11, 1979 Gelatin silver print. 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm) Signed, numbered 3/10 in pencil, title, date, edition and copyright credit reproduction limitation stamps on the verso. Estimate $15,000-25,000

Provenance Stephen Wirtz Gallery, San Francisco Literature Louisiana Museum of Modern Art, Richard Avedon: Photographs: 1946 - 2004, n.p. Avedon, An Autobiography, pl. 214, variant Steidl, Richard Avedon: Portraits of Power, p. 233, variant


Actual size

Property from a Private West Coast Collection

175. Constantin Brancusi

1876-1957

Self-Portrait in His Studio, circa 1921 Gelatin silver print. 4 3/8 x 3 3/8 in. (11.1 x 8.6 cm) Estimate $20,000-30,000 Provenance The Estate of Katharine Graham, former Publisher of The Washington Post Sotheby’s, New York, 24 October 2002, lot 181 Edwynn Houk Gallery, New York Literature Agrinde Publications, Brancusi: photographer, cover


Property from a Private West Coast Collection

176. Gordon Parks

1912-2006

Alberto Giacometti, Paris, France, 1951 Gelatin silver print, printed later. 9 3/4 x 11 1/2 in. (24.8 x 29.2 cm) Signed in ink on the verso. Estimate $5,000-7,000 Provenance Weinstein Gallery, Minneapolis

177. Arnold Newman

1918-2006

Igor Stravinsky, 1946 Gelatin silver print, printed later. 6 7/8 x 13 in. (17.5 x 33 cm) Signed, titled, dated and copyright notation in pencil in the margin; copyright credit reproduction limitation stamp on the verso. Estimate $3,000-5,000 Literature LIGHT Gallery, LIGHT, p. 67 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 180


178. Henri Cartier-Bresson 1908-2004 Alberto Giacometti, rue d’Alésia, Paris, 1961 Gelatin silver print, printed later. 13 7/8 x 9 1/4 in. (35.2 x 23.5 cm) Signed, inscribed ‘pour Heiner Bastian très cordialement’ in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Provenance Collection of Heiner and Céline Bastian Phillips de Pury & Company, New York, 28 April 2005, lot 182 Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 114 Cartier-Bresson, Henri Cartier-Bresson: À Propos de Paris, pl. 104 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 289 Galassi, Henri Cartier-Bresson: The Modern Century, p. 54 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 212 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 10


179. Mario Giacomelli

1925-2000

Untitled from I Pretini, 1968 Gelatin silver print, mounted. 10 1/4 x 15 1/2 in. (26 x 39.4 cm) Signed and dated in ink on the recto. Estimate $8,000-12,000 Provenance Acquired directly from the artist, 1976

Property from a Private West Coast Collection

180. Brassaï (Gyula Halász)

1899-1984

Grafti (Les deux coeurs), Paris, circa 1957 Gelatin silver print, printed no later than 1979. 11 3/4 x 8 5/8 in. (29.8 x 21.9 cm) Signed, dated ‘4/7/79,’ annotated ‘E.A’ and inscribed ‘pour Olga et Loca bien amicalement’ in ink in the margin; signed, titled, annotated ‘E/A’ in ink and two ‘81, Faubourg St-Jacques’ copyright credit stamps on the verso. Estimate $5,000-7,000 Provenance From the photographer to Olga Klein, artist Contemporary Works/Vintage Works, Pennsylvania


Property from a Private West Coast Collection

181. Charles Sheeler

1883-1965

Chartres, South Side from Street, 1929 Gelatin silver print. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed, titled ‘Chartres’ and dated in ink on the reverse of the mount. Estimate $30,000-50,000 Provenance Acquired directly from the artist Collection of David McAlpin Edwynn Houk Gallery, New York Literature Stebbins & Keyes, Charles Sheeler: The Photographs, pl. 63 Stebbins, More and Haas, The Photography of Charles Sheeler: American Modernist, p. 182

Charles Sheeler was one of the main proponents of a specifcally American strain of Modernism which he pursued with equal mastery in painting, drawing, and photography. His commercial assignments for Ford Motor Company and Fortune magazine, amongst others, aforded him the means to pursue his artistic endeavors, including his celebrated project at Chartres Cathedral in 1929. Recognizing that the building’s beauty and grandeur could not be properly documented in a single photograph, Sheeler sought to create a series of images, each focused on a particular section of this gothic tour-de-force. In the present photograph, Sheeler captures the light as it

hits the south façade with the cathedral casting a fgurative shadow on its surroundings. This shadow, paired with the strong vertical planes within the image, is a perfect example of the compositional precision that Sheeler carried across media throughout his career. This print was originally in the collection of David McAlpin who, beginning in the 1920s, assembled one of the foremost early collections of photography, which he gifed to institutions including the Princeton University Art Museum and The Museum of Modern Art, New York.


Property from a Private West Coast Collection

182. André Kertész

1894-1985

Property from a Private West Coast Collection

183. André Kertész

1894-1985

Meudon, France, 1928 Gelatin silver print, printed 1970s. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm) Signed and dated in pencil on the verso.

Chez Mondrian, 1926 Gelatin silver print, printed 1970s. 9 5/8 x 7 1/8 in. (24.4 x 18.1 cm) Signed and dated in pencil on the verso.

Estimate $4,000-6,000

Estimate $4,000-6,000

Literature Borhan, André Kertész: His Life and Work, p. 187 Ducrot, André Kertész: Sixty Years of Photography, p. 141 Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 31 Lifson, André Kertész: A Lifetime of Photography, p. 31 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 165

Literature Borhan, André Kertész: His Life and Work, p. 155 Ducrot, André Kertész: Sixty Years of Photography, p. 119 Greenough, André Kertész, pl. 50 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 136 Bulfnch Press, On the Art of Fixing A Shadow: One Hundred and Fify Years of Photography, pl. 240 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 124


Property from a Private West Coast Collection

184. August Sander

1876-1964

Konditor (Pastry Chef), Cologne, 1928 Gelatin silver print, printed 1990 by Gerd Sander. 22 7/8 x 15 3/4 in. (58.1 x 40 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, numbered 8/18 by Gerd Sander, the artist’s grandson, in pencil, ‘Archiv’ copyright credit and ‘Menschen des 20.Jahrhunderts’ credit stamps on the verso. Estimate $15,000-20,000 Provenance Weinstein Gallery, Minneapolis Literature Abrams, August Sander: People of the 20th Century, Volume II: The Skilled Tradesmen, back cover of slipcase, pl. II/8/19 Aperture, August Sander, p. 51


Property from a Private West Coast Collection

185. Luis González Palma

b. 1957

La Dolorosa, 1991 Three gelatin silver prints with applied paint and satin ribbon, mounted to hand painted wooden board. 29 7/8 x 48 1/2 in. (75.9 x 123.2 cm) Overall 45 1/2 x 55 in. (115.6 x 139.7 cm) Number 1 from an edition of 10. Accompanied by a gallery certifcate. Estimate $10,000-15,000 Exhibited Luis González Palma, Art Institute of Chicago, 18 April - 12 July 1992 Literature Arena Editions, Luis González Palma, fg. 2, variant, there titled Mater Dolorosa

This is the only print from the edition of 10 that is mounted to a hand painted wooden board.

Property from a Private West Coast Collection

186. Manuel Álvarez Bravo

1902-2002

Dos Pares de Piernas (Two Pairs of Legs), 1928-1929 Gelatin silver print, printed later. 9 1/8 x 7 1/8 in. (23.2 x 18.1 cm) Signed and annotated ‘Mexico’ in pencil on the verso. Estimate $5,000-7,000 Provenance Throckmorton Fine Art, New York Literature Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 17 J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 2 Kismaric, Manuel Álvarez Bravo, p. 67 Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 2 Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 8


Property from a Private West Coast Collection

187. August Sander

1876-1964

188. August Sander

1876-1964

Mädchen im Kirmeswagen (Girl in Fairground Caravan), 1926-1932 Gelatin silver print, printed 1992 by Gerd Sander. 10 x 7 3/4 in. (25.4 x 19.7 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, dated, numbered 11/12, by Gerd Sander, the artist’s grandson, in ink and/or pencil and ‘Archiv’ copyright credit stamp on the verso.

Revolutionäre (Revolutionaries), 1929 Gelatin silver print, printed 1990 by Gerd Sander. 22 1/4 x 16 5/8 in. (56.5 x 42.2 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, numbered 2/7 by Gerd Sander, the artist’s grandson, in pencil, ‘Archiv’ copyright credit and ‘Menschen des 20.Jahrhunderts’ credit stamps on the verso.

Estimate $5,000-7,000

Estimate $5,000-7,000

Provenance Deborah Bell Photographs, New York

Provenance Weinstein Gallery, Minneapolis

Literature Szarkowski, Photography Until Now, cover, p. 241 Abrams, August Sander: People of the 20th Century, Volume VI: The City, pl. VI/37/1

Literature Abrams, August Sander: People of the 20th Century, Volume II: The Skilled Tradesmen, pl. II/11/12


189. Pierre Dubreuil

1872-1944

Gardiens fdèles, circa 1932 Oil print. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm) Signed, titled in pencil, annotated ‘45. Padlocks’ in ink and stamped ‘DB69’ on the reverse of the mount; titled in pencil on the mount. Estimate $50,000-70,000 Provenance Collection of Tom Jacobson, Tucson Exhibited Pierre Dubreuil Retrospective, Royal Photographic Society, London, 1935 Pierre Dubreuil, Photographs 1896–1935, Musée d’Art Moderne, Centre Georges Pompidou, Paris, 1987 Pierre Dubreuil Rediscovered, The Museum of Photographic Arts, San Diego, 1988; and traveling to Alliance Française, New York, 1989; and The Detroit Institute of Arts, 1990 Literature Jacobson, Pierre Dubreuil: Photographs 1896-1935, pl. 22 (this print)

Few European photographers operated as successfully as Pierre Dubreuil in the two dominant, frequently opposed, styles of the early 20th century, Pictorialism and Modernism. His best photographs synthesize elements of these two photographic modes and combine a Pictorialist emphasis on the craf of photographic printing with a Modernist simplifcation of form. Rendered here as an oil print—the technically-demanding printing technique of which Dubreuil was a master—and exploiting a lively repetition of forms, Gardiens fdèles is the quintessential Dubreuil photograph. This photograph illustrates Dubreuil’s frequently overlooked sense of visual humor. The title translates as ‘faithful guardians,’ and a close examination of the shapes of the individual locks reveals their resemblance to dogs’ faces. In this image, Dubreuil creates a visual pun that likens the locks to watchdogs, both faithful guardians of the home. While Dubreuil’s photographs were widely published and exhibited in his day, extant prints are scarce. Fearing for the safety of his work at the outset of World War II, Dubreuil sold his negatives and many of his photographs to the Agfa Gevaert factory in Belgium. When the factory was bombed, nearly all of Dubreuil’s oeuvre was destroyed. The print of Gardiens fdèles ofered here is believed to be one of only two extant prints, and is the only one which bears his monogram, indicating that it was intended for exhibition.


190. Paul Outerbridge, Jr.

1896-1958

Brooklyn Bridge, circa 1923 Platinum print. 4 1/2 x 3 5/8 in. (11.4 x 9.2 cm) Paul Outerbridge estate notations in an unidentifed hand in pencil on the verso. Estimate $10,000-15,000

191. Emil Otto Hoppé

1878-1972

Germany Brunner Mond Chemical Workers, October, 1928 Gelatin silver print. 7 x 10 1/4 in. (17.8 x 26 cm) Signed, titled, dated, annotated in ink and/or pencil, Hoppé copyright credit, ‘The Mansell Collection’ reproduction limitation and ‘Dorien Light Ltd’ stamps on the verso. Estimate $3,000-5,000 Provenance Gallery 292, New York Actual size


Taken in Zaporizhia, Ukraine, The World’s Largest Dam - Dnieperstroi, is a classic example of Margaret Bourke-White’s unparalleled ability to communicate the vitality of industrialization amidst the economic and political changes of the 1930s and 1940s. In this important early industrial image, Bourke-White played with perspective to communicate the immense scope of new construction. Bourke-White presents her subject as a modern Parthenon, with its half-built pillars, soon to become the main arteries of the dam, steadfastly towering side-by-side before the forces of nature. In her book Eyes on Russia, 1931, where this image appears as the frontispiece, Bourke-White wrote: “I saw the fve-year plan as a great scenic drama being unrolled before the eyes of the world,” referring to Russia’s program for economic and industrial modernization. Bourke-White is one of the photographers directly responsible for creating the modern vocabulary of photojournalism. She lived a life as bold as her pictures, breaking through political, professional, and gender boundaries. She was Fortune magazine’s frst staf photographer, and the frst Western professional photographer permitted into the Soviet Union. She was also LIFE magazine’s frst female photographer, and it was a photograph by her that famously appeared on its frst cover in 1936. She was the frst female war correspondent credentialed to work in combat zones during World War II. In 1930, Bourke-White participated in the Men and Machines exhibition in New York City. It was in reference to that exhibition that Bourke-White predicted that “Any important art coming out of the industrial age will draw inspiration from industry, because industry is alive and vital.”

Property from a Private West Coast Collection

192. Margaret Bourke-White

1904-1971

The World’s largest dam – Dnieperstroi, 1930 Gelatin silver print. 13 1/8 x 9 1/4 in. (33.3 x 23.5 cm) Signed in pencil on the mount; titled in pencil and credit stamp on the reverse of the mount. Estimate $20,000-30,000

Provenance Throckmorton Fine Art, New York Literature Bourke-White, Eyes on Russia, frontispiece Brown, Margaret Bourke-White: Photojournalist, p. 39


Actual size

193. Walker Evans

1903-1975

Untitled, 1940-1941 Gelatin silver print. 4 1/2 x 7 3/8 in. (11.4 x 18.7 cm) Signed in pencil on the mount; ‘1681 York Avenue, New York, N.Y. 10028’ credit stamp (Keller stamp I) on the reverse of the mount. Estimate $20,000-30,000 Provenance Acquired directly from the artist Collection of Arnold Crane, Chicago Private Collection, Chicago Literature Keller, Walker Evans: The Getty Museum Collection, fg. 635, variant and p. xvi, for stamp


194. Edward Steichen

1879-1973

6th Ave. and 40th St., circa 1930 Gelatin silver print. 9 1/8 x 7 3/8 in. (23.2 x 18.7 cm) Titled in an unidentifed hand in pencil on the verso. Estimate $40,000-60,000 Provenance Collection of Joanna Steichen, the photographer’s widow Howard Greenberg Gallery, New York Private Collection, Switzerland Literature Brandow & Ewing, Edward Steichen: Lives in Photography, pl. 164

This photograph is one of a series of views Edward Steichen made from the windows of his New York City studio in the Beaux Arts building on 40th Street and 6th Avenue. Photographing over several years, Steichen used this vantage point to capture the many moods the ever-changing city, in times of prosperity and poverty, always capturing the energy and dynamism of the metropolis.


195. Horace Bristol

1908-1997

PBY Blister Gunner, Rescue at Rabaul, 1944 Gelatin silver print, printed later. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm) Signed and annotated ‘#20’ in pencil on the verso. Estimate $8,000-12,000 Provenance Collection of Horace Bristol, Jr. Literature Conner and Heimerdinger, Horace Bristol: An American View, p. 93

196. Alfred Eisenstaedt

1898-1995

Midshipmen at the U.S. Naval Academy, Annapolis, 1936 Gelatin silver print, printed 1989. 11 7/8 x 9 1/2 in. (30.2 x 24.1 cm) Signed and numbered 4/250 in ink in the margin; credited, titled, dated, annotated and copyright Time Inc. in an unidentifed hand in pencil on the verso. Estimate $3,000-5,000 Literature Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-Portrait, p. 66


Property from a Private West Coast Collection

197. Berenice Abbott

1898-1991

New York at Night, 1932 Gelatin silver print, printed later. 13 1/4 x 10 3/8 in. (33.7 x 26.4 cm) Signed in pencil on the mount; credit stamp on the reverse of the fush-mount. Estimate $6,000-8,000 Literature Steidl, Berenice Abbott: Volume II, cover, frontispiece, p. 35 Commerce Graphics, Ltd., Berenice Abbott, n.p. O’Neal, Berenice Abbott: American Photographer, p. 2 Photo Poche, Berenice Abbott, pl. 20 The New York Public Library, Berenice Abbott: A Modern Vision, pl. 9 Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, p. 125

Property from a Private West Coast Collection

198. Berenice Abbott

1898-1991

Newsstand, 32nd Street and 3rd Avenue, 1935 Gelatin silver print, printed later. 15 1/4 x 19 3/8 in. (38.7 x 49.2 cm) Signed in pencil on the mount; credit stamp on the reverse of the mount. Estimate $3,000-5,000 Literature O’Neal, Berenice Abbott: American Photographer, p. 166


199. Lewis Wickes Hine

1874-1940

Selected Images (rural child labor), 1910-1933 Ten gelatin silver prints. Varying dimensions from 2 3/8 x 4 in. (6 x 10.2 cm) to 4 3/4 x 6 5/8 in. (12.1 x 16.8 cm). Each print variously credited, titled, numbered and/or annotated in various hands in ink and/or pencil on the verso; one print numbered in pencil in the margin. Estimate $12,000-18,000 Literature Aperture, America and Lewis Hine: Photographs 1904-1940, p. 102 for Miner in safety helmet, 1933


200. Lewis Wickes Hine

1874-1940

Selected Images (urban child labor), 1910-1914 Ten gelatin silver prints. Varying dimensions from 3 1/2 x 2 7/8 in. (8.9 x 7.3 cm) to 4 5/8 x 6 5/8 in. (11.7 x 16.8 cm) or the reverse. Each print variously credited, titled, numbered and/or annotated in various hands in ink and/or pencil on the verso; one print with date stamp on the verso; one print with typed title label on the verso. Estimate $12,000-18,000


201. Alfred Stieglitz

1864-1946

The Steerage, 1907 Large format photogravure on vellum, printed 1915. 12 7/8 x 10 1/4 in. (32.7 x 26 cm) Estimate $12,000-18,000 Provenance From the artist to Georgia O’Keefe, New Mexico Private Collection, New York Phillips, New York, The Curious Collector: Important Photographs from the Collection of Dr. Anthony Terrana, 3 April 2013, lot 65 Literature Camera Work, Number 36, October 1911, p. 39 Stieglitz, 291, September-October 1915 Greenough, Alfred Stieglitz: The Key Set, Volume One, cat. no. 310 Bulfnch Press, Alfred Stieglitz, pl. 18 Margolis, Alfred Stieglitz, Camera Work: A Pictorial Guide, p. 100 Norman, Alfred Stieglitz: An American Seer, pl. XVI The Museum of Fine Arts, Boston, Alfred Stieglitz: Photographer, pl. 8 Green, A Critical History of American Photography, p. 195

202. Lewis Wickes Hine

1874-1940

One of the little spinners working in a South Carolina Cotton Mill, 1908 Gelatin silver print, printed afer 1917. 4 7/8 x 6 5/8 in. (12.4 x 16.8 cm) Titled, dated in ink, ‘Lewis W. Hine, Interpretive Photography, Hastings-On-Hudson, New York’ and ‘Property of National Child Labor Committee’ stamps, and variously annotated in unidentifed hands in ink and/or pencil on the verso. Estimate $7,000-9,000


203. Abelardo Morell

b. 1948

Camera Obscura NYC Looking South, 1996 Gelatin silver print, mounted. 30 5/8 x 38 5/8 in. (77.8 x 98.1 cm) Signed, titled and numbered 5/15 on a label accompanying the work. Estimate $8,000-12,000 Provenance Bonni Benrubi Gallery, New York Literature Bulfnch Press, Camera Obscura: Photographs by Abelardo Morell, p. 35 Davis, An American Century of Photography: From Dry-Plate to Digital, The Hallmark Photographic Collection, pl. 2

Property from a Private West Coast Collection

204. Vera Lutter

b. 1960

Small Logo, Pepsi Cola: August 8, 2002 Unique gelatin silver print. 14 x 27 in. (35.6 x 68.6 cm) Signed, titled and dated in pencil on the reverse of the mount. Estimate $7,000-9,000


205. Bernd and Hilla Becher 1931-2007 and 1934-2015 Water Towers, 1968-1984 Six gelatin silver prints, mounted to board, printed and assembled no later than 1997. Each 15 3/4 x 12 1/8 in. (40 x 30.8 cm) Overall 47 1/4 x 61 3/4 in. (120 x 156.8 cm) Signed by both artists in pencil on a sequence map accompanying the work. Estimate $80,000-120,000 Provenance Sonnabend Gallery, New York, 1997 Literature The MIT Press, Bernd and Hilla Becher: Water Towers, pls. 13, 16, 19, 23 teNeues, Bernd and Hilla Becher: Basic Forms, pl. 62

Titles include: Toledo, Ohio, USA, 1984; Youngstown, Ohio, USA, 1980; Akron, Ohio, USA, 1980; Leeds, GB, 1968; Mannheim-Neu-Ostheim, D, 1978; Carmaux, France, 1984

“The emotional ingredient in the Bechers’ work is in the intelligence and truthfulness with which they understand and chronicle the emotions of seriousness. Seriousness is inherent in industrial structures because they usually deal with the primordial forces of earth, air, fre, and water. . .” Weston J. Naef, The Art of Bernd and Hilla Becher essay in Water Towers


206. Bernd and Hilla Becher 1931-2007 and 1934-2015 Cooling Tower, Steelplant, Eisenhüttenstadt, East Germany, 1994 Gelatin silver print. 23 1/4 x 12 1/2 in. (59.1 x 31.8 cm) Signed by both artists, titled, dated and numbered 1/5 in pencil on the verso. Estimate $15,000-20,000 Provenance Sonnabend Gallery, New York Olga Korper Gallery, Toronto, 1998 Literature The MIT Press, Bernd and Hilla Becher: Cooling Towers, pl. 163

207. Candida Höfer

b. 1944

Bibliothek der Kunsthalle Basel I, 1999 Chromogenic print. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm) Overall 34 1/2 x 34 1/2 in. (87.6 x 87.6 cm) Signed in ink on the reverse of the fush-mount; printed title, date and number 4/6 on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Karyn Lovegrove Gallery, Los Angeles


208. Thomas Ruf

b. 1958

Haus no. 9 II, 1991 Chromogenic print, face-mounted to Plexiglas. 52 1/2 x 79 in. (133.4 x 200.7 cm) Overall 75 3/4 x 100 in. (192.4 x 254 cm) Twice signed, dated, numbered 2/4 and annotated in pencil on the verso. Estimate $15,000-25,000 Provenance Private Collection, Cologne Christie’s, London, Post-War and Contemporary Art Day Sale, 10 February 2005, lot 221 Literature Hatje Cantz, Thomas Ruf: Editions 1988-2014: Catalogue Raisonné, pl. 53 Winzen, Thomas Ruf 1979 to the Present, p. 192

209. Wolfgang Tillmans

b. 1968

Rem Koolhaas, 2000 Chromogenic print. 16 x 12 in. (40.6 x 30.5 cm) Signed, titled, numbered, inscribed and dated ‘Wolfgang Tillmans, Rem Koolhaas, 2/10 +1, photo 04-00, print WT 05-01’ (on the reverse). Photographed in 2000 and printed in 2001, this work is number two from an edition of ten plus one artist proof. Estimate $8,000-12,000 Literature D.A.P. Publishers, Portraits: Wolfgang Tillmans, cover Phaidon, Portraits: Wolfgang Tillmans, p. 157


210. Rineke Dijkstra

b. 1959

Tiergarten Berlin, August 13, 2000 Archival pigment print, printed 2017. 54 x 42 in. (137.2 x 106.7 cm) Signed, variously dated, numbered 7/10 in ink, printed title, date and number on multiple labels afxed to the reverse of the frame. Estimate $15,000-20,000

Provenance Anthony d’Ofay Gallery, London Exhibited Rineke Dijkstra / Nan Goldin / Sheila Hicks, Museum of Fine Arts Boston, 20 October 2018 21 January 2019 Literature Guggenheim, Rineke Dijkstra: A Retrospective, p. 187


211. Richard Learoyd

b. 1966

Tatiana on Mirror, 2010 Unique dye destruction print, fush-mounted. 48 3/4 x 58 in. (123.8 x 147.3 cm) Overall 60 1/2 x 70 in. (153.7 x 177.8 cm) Signed in ink on the reverse of the frame. Estimate $30,000-50,000 Literature McKee Gallery, Portraits and Figures: Richard Learoyd, pl. 12


212. Anne Collier

b. 1970

Questions (Connection), 2011 Chromogenic print. 60 3/4 x 46 in. (154.3 x 116.8 cm) Signed in ink, printed title, date and number 1/5 on an artist’s label afxed to the reverse of the frame. Estimate $20,000-30,000 Provenance Marc Foxx Gallery, Los Angeles

213. Anne Collier

b. 1970

Despair, 2005 Chromogenic print. 34 5/8 x 43 1/4 in. (87.9 x 109.9 cm) Signed in ink, printed title, date and number 4/5 on a gallery label afxed to the reverse of the frame. Estimate $12,000-18,000 Provenance Marc Foxx Gallery, Los Angeles Literature Presentation House Gallery, Anne Collier, p. 37


214. Sharon Core

b. 1965

Various Cakes, 2004 Chromogenic print, face-mounted to Plexiglas. 24 3/4 x 22 3/4 in. (62.9 x 57.8 cm) Signed, dated and numbered 20/25 in ink on the reverse of the fush-mount. Estimate $15,000-20,000 Provenance Bellwether Gallery, New York


215. Gregory Crewdson

b. 1962

Untitled (Bud Man) from Twilight, 1999 Archival pigment print, printed 2010. 49 1/2 x 57 1/2 in. (125.7 x 146.1 cm) Signed in ink, printed title, date and number ‘AP 1/2’ on a label afxed to the reverse of the fush-mount. One from an edition of 10 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance Luhring Augustine Gallery, New York Private Collection, Denver Sotheby’s, New York, 12 September 2007, lot 198 American Masters Collection I, Kansas City Literature Harry N. Abrams, Twilight: Photographs by Gregory Crewdson, pl. 35

215.

216.


217.

216. David Levinthal

b. 1949

Untitled from Wild West, 1988 Untitled from Wild West, 1989 Two Polaroid Polacolor ER Land Film prints. Each approximately 26 x 20 3/4 in. (66 x 52.7 cm) Each signed, dated and annotated ‘AP’ in ink in the margin. Each from an edition of 10. Estimate $9,000-12,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City

217. Andres Serrano

b. 1950

Blood Cross, 1985 Dye destruction print, face-mounted to Plexiglas. 39 3/8 x 59 3/8 in. (100 x 150.8 cm) Signed, titled and numbered 1/4 in ink on the verso. Estimate $10,000-15,000 Provenance Fay Gold Gallery, Atlanta, 1990


218. Vik Muniz

b. 1961

A Bar at the Folies Bergère, afer Edouard Manet, from Pictures of Magazines 2, 2012 Chromogenic print. 70 x 97 1/4 in. (177.8 x 247 cm) Overall 75 5/8 x 101 5/8 in. (192.1 x 258.1 cm) Signed, dated in ink, printed title, date and number 2/6 on a gallery label afxed to the reverse of the fush-mount. Estimate $50,000-70,000 Provenance Xippas Galerie, Paris, 2012 Literature Capivara, Everything So Far, Vik Muniz: Catalogue Raisonné, 1987-2015, p. 779


219. Ahmet Ertug

b. 1949

Trinity College Library, The Long Room, Dublin, 2008 Chromogenic print, fush-mounted, printed later. 87 x 70 7/8 in. (221 x 180 cm) Overall 96 7/8 x 80 3/4 in. (246 x 205 cm) Signed in ink, printed title, date and number 1/3 on an artist’s label accompanying the work. Estimate $50,000-70,000

Provenance Directly from the artist Literature Ertug, Temples of Knowledge: Historical Libraries of The Western World, cover


220. Matthew Brandt

b. 1982

La Brea B1 from La Brea, 2013 Unique heliograph made with tar from the La Brea Tar Pits on aluminum. 62 x 45 in. (157.5 x 114.3 cm) Signed, titled and dated in ink on a label afxed to the reverse. Estimate $10,000-15,000 Provenance Yossi Milo Gallery, New York

In this photograph, Matthew Brandt reinjects new life into both an extinct species and one of the earliest 19th-century photographic techniques by cleverly combining the two. Inspired by Nicéphore Niépce’s heliograph process, Brandt places his negative—here an ancestor of the California Condor—against a sheet of aluminum covered in tar collected from La Brea Tar Pits. He then allows the work to sit in sunlight. The sun hardens the tar in proportion to the negative’s clear and opaque areas, resulting in an image rendered in hardened tar. Brandt’s ingenious connection of subject and medium itself is characteristic of his practice and is clearly evident in the present lot.

Property from a Private West Coast Collection

221. Robert Polidori

b. 1951

Steinway Piano Factory, Astoria Queens, New York, 2003 Fujicolor Crystal Archive print. 32 3/4 x 42 in. (83.2 x 106.7 cm) Overall 41 x 49 in. (104.1 x 124.5 cm) Signed in ink, printed title, date and number 1/10 on gallery labels afxed to the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Weinstein Gallery, Minneapolis


222. Vik Muniz

b. 1961

Burning Standard, afer Ed Ruscha from Pictures of Cars, 2008 Chromogenic print, fush-mounted. 50 x 94 3/4 in. (127 x 240.7 cm) Overall 57 1/4 x 101 7/8 in. (145.4 x 258.8 cm) Signed, dated in ink, printed title, date and number 5/6 on an artist’s label afxed to the reverse of the frame. Estimate $40,000-60,000 Exhibited Precious Metal: Vik Muniz: Pictures of Car Parts (Afer Ed Ruscha), Bruce Meyer Family Gallery|Petersen Museum, 9 January – 9 April 2017 Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 613 Bruce Meyer Family Gallery|Petersen Museum, Precious Metal: Vik Muniz: Pictures of Car Parts (Afer Ed Ruscha), p. 15 Green Means Go Publications, Ed Ruscha, Vik Muniz and the Car Culture of Los Angeles, p. 8 Imago Galleries, Vik Muniz: Afer Ed Ruscha, n.p.


223. Abelardo Morell

b. 1948

Tent-Camera Image on Ground: Roofop View of the Brooklyn Bridge, 2010 Chromogenic print. 46 x 60 in. (116.8 x 152.4 cm) Overall 55 x 70 in. (139.7 x 177.8 cm) Signed, titled and dated in ink on the reverse of the fush-mount. One from an edition of 6. Estimate $10,000-15,000 Provenance Bonni Benrubi Gallery, New York

224. Susan Derges

b. 1955

Passage, 2012 Unique dye destruction photogram, fush-mounted. 35 1/8 x 64 in. (89.2 x 162.6 cm) Signed in ink, printed title and date on a gallery label accompanying the print. Estimate $10,000-15,000 Provenance Danziger Gallery, New York Private Collection, New York


225. Adam Fuss

b. 1961

Untitled, 2008 Unique gelatin silver print. 72 1/2 x 44 in. (184.2 x 111.8 cm) Signed in wax pencil, printed title, date and number ‘AF4156’ on a label accompanying the work. Estimate $40,000-60,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City


226. Annie Leibovitz

b. 1949

Kate Moss, 1999 Pigment print from The Kate Moss Portfolio, printed 2010. 21 3/8 x 25 7/8 in. (54.3 x 65.7 cm) Signed in pencil on the verso. Number 17 from an edition of 30. Estimate $12,000-18,000 Provenance Private Collection, New York Literature American Vogue, October 1999, p. 301, variant


227. Lalla Essaydi

b. 1956

Converging Territories #10, 2003 Chromogenic print, face-mounted to Plexiglas. 44 x 55 in. (111.8 x 139.7 cm) Signed, titled and numbered 9/10 in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Laurence Miller Gallery, New York Literature powerHouse Books, Lalla Essaydi: Converging Territories, p. 7 Noorderlicht Foundation, NAZAR: Photographs from the Arab World, p. 28


228. Terry O’Neill

b. 1938

229. Mary McCartney

b. 1969

Brigitte Bardot, Spain, 1971 Gelatin silver print, printed later. 21 3/8 x 14 in. (54.3 x 35.6 cm) Signed by the artist and by Brigitte Bardot, and numbered 22/50 in ink in the margin. Signed and numbered 22/50 in ink on a Certifcate of Authenticity accompanying the work.

Kate In Boots, 2012 Chromogenic print. 17 3/4 x 14 in. (45.1 x 35.6 cm) Signed, titled, dated and numbered 5/10 in ink on the verso; signed, dated in ink, printed title, date and number 5/10 on a Certifcate of Authenticity afxed to the reverse of the frame.

Estimate $8,000-12,000

Estimate $5,000-7,000

Provenance Acquired directly from the artist

Provenance Private Collection, Los Angeles

Literature ACC Editions, Terry O’Neill: The A-Z of Fame, cover Little, Brown, Celebrity: The Photographs of Terry O’Neill, p. 29


230. Mario Testino

b. 1954

Kate Moss, 2008 Pigment print from The Kate Moss Portfolio, printed 2010. 26 1/2 x 19 7/8 in. (67.3 x 50.5 cm) Signed in ink on the verso. Number 17 from an edition of 30. Estimate $20,000-30,000 Provenance Private Collection, New York Literature British Vogue, October 2008, p. 320 Taschen, Kate Moss by Mario Testino, n.p.


231.

231. Chuck Close

b. 1940

Kate Moss, 2003 Pigment print from The Kate Moss Portfolio, printed 2010. Each 16 1/2 x 12 3/8 in. (41.9 x 31.4 cm) Overall 16 1/2 x 26 in. (41.9 x 66 cm) Signed, dated ‘2011’ and numbered 17/30 in pencil in the margin. Estimate $12,000-18,000 Provenance Private Collection, New York Literature ‘All about Kate,’ W, September 2003, n.p.

232. Gavin Bond

b. 1970

Backstage: Volume III, 2009 Twelve chromogenic prints. Each 26 x 22 in. (66 x 55.9 cm) or the reverse. Signed in ink, printed title, date and number 2/10 on artist’s labels accompanying the works. Accompanied by a signed Certifcate of Authenticity and a black leather clamshell case. Estimate $8,000-12,000 Provenance Phillips de Pury & Company, New York, 9 April 2011, lot 235 232.


233. Mario Sorrenti

b. 1971

Kate Moss, 1993 Pigment print from The Kate Moss Portfolio, printed 2010. 25 1/8 x 20 in. (63.8 x 50.8 cm) Signed in pencil on the verso. Number 17 from an edition of 30. Estimate $15,000-20,000 Provenance Private Collection, New York

Property from a Private West Coast Collection

234. Sarah Moon

b. 1941

Pour Alexander McQueen, 1999 Toned gelatin silver print. 12 7/8 x 10 1/2 in. (32.7 x 26.7 cm) Signed, titled, dated and numbered 2/20 in pencil on the verso; credit blindstamp in the margin. Estimate $4,000-6,000 Provenance Weinstein Gallery, Minneapolis


235. Massimo Vitali

b. 1944

Venezia Coriandoli #2959, 2008 Chromogenic print, face-mounted to Plexiglas. 59 x 74 5/8 in. (149.9 x 189.5 cm) Overall 69 3/4 x 85 1/4 in. (177.2 x 216.5 cm) Signed, titled, dated and numbered 1/6 in ink on a label accompanying the work. Estimate $15,000-25,000 Provenance Bonni Benrubi Gallery, New York

236. Vik Muniz

b. 1961

Townscape Madrid, afer Gerhardt Richter from Pictures of Pigment, 2007 Chromogenic print. 39 1/2 x 41 3/4 in. (100.3 x 106 cm) Signed, dated in ink, printed title, date and number 3/6 on an artist’s label afxed to the reverse of the fush-mount. Estimate $25,000-35,000 Provenance Galerie Maximillian, Aspen Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 575


237. Ahmet Ertug

b. 1949

Strahov Monastery Library, Theological Hall, Prague, 2008 Chromogenic print, fush-mounted, printed later. 86 5/8 x 70 7/8 in. (220 x 180 cm) Overall 96 1/2 x 80 3/4 in. (245 x 205 cm) Signed in ink, printed title, date and number 1/3 on an artist’s label accompanying the work. Estimate $40,000-60,000

Provenance Directly from the artist Literature Ertug, Temples of Knowledge: Historical Libraries of The Western World, pl. 68


238. Elger Esser

b. 1967

397 Wimereux, 2004 Chromogenic print, Diasec mounted. 48 1/4 x 64 in. (122.6 x 162.6 cm) Signed in ink, printed title, date and number 4/5 on a label accompanying the work. Estimate $8,000-12,000 Provenance Galerie Thaddaeus Ropac, Paris

239. Nan Goldin

b. 1953

Valerie Floating in the Sea, Mayreau Island, 2001 Dye destruction print. 25 1/2 x 38 in. (64.8 x 96.5 cm) Signed, titled, dated and numbered 5/15 in ink on a gallery label afxed to the reverse of the frame. Estimate $5,000-7,000 Literature Phaidon, The Devil’s Playground, pp. 304-305


240. Massimo Vitali

b. 1944

Rosignano 3 Women, 1995 Chromogenic print, Diasec and fush-mounted, printed 2012. 47 1/4 x 61 1/2 in. (120 x 156.2 cm) Overall 59 x 73 1/4 in. (149.9 x 186.1 cm) Signed, titled, dated and numbered ‘AP/1’ in ink on a label accompanying the work. One of an edition of 9 plus artist’s proofs. Estimate $20,000-30,000

Provenance Priska C. Juschka Fine Art, New York, 2002 Exhibited The Deep Element: Photography at the Beach, Corcoran Gallery of Art, Washington, D.C., 9 June - 14 October 2012 Literature Steidl, Massimo Vitali: Landscape with Figures, p. 31


241. William Wegman

b. 1943

Cocktails, 1995 Gelatin silver print with applied ink. 12 3/8 x 10 7/8 in. (31.4 x 27.6 cm) Signed, titled and dated in pencil on the verso. Estimate $3,000-5,000 Provenance Pace/MacGill Gallery, New York

242. William Wegman

b. 1943

About face, 2001 Chromogenic print. 7 1/8 x 7 in. (18.1 x 17.8 cm) Signed, titled, dated and numbered 4/12 in ink on the verso. Estimate $3,000-5,000 Provenance Pace/MacGill Gallery, New York


243. Ruud van Empel

b. 1958

Mood #4, 2014 Archival pigment print. 27 1/2 x 19 5/8 in. (70 x 50 cm) Signed, titled, dated and numbered 7/7 in ink on an artist’s label accompanying the work. Estimate $8,000-12,000

244. Robert ParkeHarrison

b. 1968

Selected Images, 1997-2000 Four photogravures with applied wax. Three prints approximately 16 5/8 x 15 1/2 in. (42.2 x 39.4 cm). One print 15 3/4 x 18 in. (40 x 45.7 cm). Each initialed, titled, dated and variously numbered in pencil in the margin. Three prints from an edition of 35 and one print from an edition of 40. Estimate $5,000-7,000 Provenance Bonni Benrubi Gallery, New York

Titles include: Exhausted Globe, 1997; Patching the Sky, 1997; Flying Lesson, 2000; Consumption, 1997


245. Sebastião Salgado

b. 1944

The Eastern Part of the Brooks Range, Arctic National Wildlife Refuge, Alaska, USA, 2009 Gelatin silver print, fush-mounted. 64 3/4 x 48 1/4 in. (164.5 x 122.6 cm) Signed, titled ‘Alaska’ and dated in pencil on the verso. Estimate $30,000-40,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, cover, p. 323


246. Sebastião Salgado

b. 1944

Iceberg between the Paulet Island and the South Shetland Islands, Antarctica, 2005 Gelatin silver print. 21 1/4 x 29 5/8 in. (54 x 75.2 cm) Signed, titled ‘Antartica’ and dated in pencil on the verso. Estimate $10,000-15,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, pp. 20-21


247. Nick Brandt

b. 1964

Elephant Mother and Two Babies, Serengeti, 2002 Archival pigment print. 11 5/8 x 13 3/4 in. (29.5 x 34.9 cm) Signed, dated ‘2003’ and numbered 1/35 in pencil in the margin. Estimate $6,000-8,000 Provenance Debra Heimerdinger|Fine Art Photographs, San Francisco Literature Brandt, On This Earth: Photographs from East Africa, p. 39 Brandt, On this Earth, A Shadow Falls, pl. 27

248. Sebastião Salgado

b. 1944

Mountain Zebras, Hoanib River Valley, Damaraland, Namibia, 2005 Gelatin silver print. 21 1/8 x 29 7/8 in. (53.7 x 75.9 cm) Signed, titled ‘Namibia’ and dated in pencil on the verso. Estimate $9,000-12,000 Literature Taschen, Sebastião Salgado: Africa, p. 95


249. Sebastião Salgado

b. 1944

Chinstrap Penguins (Pygoscelis Antarctica), Deception Island, Antarctica, 2005 Gelatin silver print, fush-mounted. 64 1/2 x 47 1/2 in. (163.8 x 120.7 cm) Signed, titled ‘Antartica’ and dated in pencil on the verso. Estimate $25,000-35,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, p. 86


Property from a Private West Coast Collection

250. Edward Burtynsky

b. 1955

Shipyard #18, Qili Port, Zhejiang Province, China, 2005 Chromogenic print. 22 x 18 in. (55.9 x 45.7 cm) Signed in ink, printed title, date and number 21/25 on an artist’s label afxed to the reverse of the mount. Estimate $4,000-6,000 Literature Steidl, China: The Photographs of Edward Burtynsky, p. 75

251. Nadav Kander

b. 1961

Chongqing II, Chongqing Municipality from Yangtze, The Long River, 2006 Chromogenic print, fush-mounted. 37 3/4 x 49 1/2 in. (95.9 x 125.7 cm) Signed, dated in ink, printed title, date and number 2/5 on a Certifcate of Authenticity accompanying the work. Titled, dated, numbered 2/5 in ink on an artist’s label afxed to the reverse of the frame. Estimate $8,000-12,000 Provenance Flowers Gallery, New York Literature Hatje Cantz, Nadav Kander: Yangtze, The Long River, pl. 47 Prestel, Constructing Worlds: Photography and Architecture in the Modern Age, p. 249


252. Steve McCurry

b. 1950

Sharbat Gula, Afghan Girl, Pakistan, 1984 Chromogenic print, printed later. 21 x 14 in. (53.3 x 35.6 cm) Signed and annotated in ink on the verso; signed, dated in ink on a Certifcate of Authenticity and printed title on an artist’s label, both accompanying the work. Estimate $10,000-15,000 Literature National Geographic, vol. 167, no. 6, June 1985, cover Phaidon, Portraits, cover, n.p. Phaidon, Looking East: Portraits by Steve McCurry, p. 28 Phaidon, South Southeast, p. 137

Property from a Private West Coast Collection

253. Sebastião Salgado

b. 1944

Serra Pelada, Gold Mine, Brazil (Cast of Thousands), 1986 Gelatin silver print. 13 1/2 x 20 1/8 in. (34.3 x 51.1 cm) Signed, titled ‘Brasil’ and dated in pencil on the verso; copyright credit blindstamp in the margin. Estimate $5,000-7,000 Literature Aperture, Sebastiao Salgado: An Uncertain Grace, pp. 24-25 Aperture, Sebastião Salgado: Workers, pp. 300-301


NY Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version February 23, 2019) are found online at phillips.com, along with detailed information on each lot.

services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party.

All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck! Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such

Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots:

♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate.

Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications. Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.


Ready to go digital? Sign up. Phillips is investing in new digital services so you can explore and experience our auctions when and how you want. Create an online account today and see what’s new. Visit phillips.com/godigital to get started.

Bid anywhere. Participating in our auctions is easier than ever. Browse upcoming sales, track lots, watch our live auctions and place bids from your phone. Now available for iOS and Android. Download the app today to get started.


Sale Information Auction & Viewing Location 450 Park Avenue New York 10022

Auction License 2013224

Photographs Department +1 212 940 1245

Auctions 4 April, 10am, Photographs (lots 59–253) 4 April, 5pm, Passion & Humanity: The Susie Tompkins Buell Collection (lots 1–58)

Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susannah Brockman – 2058779 Rebekah Bowling - 2078967

Deputy Chairman, Americas, Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com

Viewing 27 March – 3 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040119 or Photographs. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335

Head of Department, New York Sarah Krueger skrueger@phillips.com Senior International Specialist Christopher Mahoney cmahoney@phillips.com Senior Specialist Caroline Deck cdeck@phillips.com Specialist Rachel Peart rpeart@phillips.com Specialist, Regional Director, Chicago Carol Ehlers cehlers@phillips.com Cataloguer Clare Milliken cmilliken@phillips.com Administrator Alexander Weinstock aweinstock@phillips.com Property Manager Barry Seunarine bseunarine@phillips.com Photography Jean Bourbon Kent Pell Matt Kroenig Mark Babushkin

Front cover Sally Mann, The New Mothers, 1989, lot 61 Back cover Anne Collier, Questions (Connection), 2011, lot 212 (detail) Inside front cover Helmut Newton, Sie Kommen, Paris (Dressed and Naked), 1981, lot 85 Inside back cover Vik Muniz, Burning Standard, afer Ed Ruscha from Pictures of Cars, 2008, lot 222 (detail)


Sally Mann On the Maury 1992 Gelatin silver print 10 x 8 inches (25.4 x 20.3 cm) Private collection ©Sally Mann

Phillips is proud to be a sponsor of Sally Mann: A Thousand Crossings on view at the Museum of Fine Arts, Houston, from 3 March to 27 May 2019. Featuring some 125 works—including many works not previously exhibited or published—the exhibition is at once a sweeping overview of Mann’s artistic achievement of the past four decades and a focused exploration of how the legacy of the South emerges within her work.


450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

• Company purchases: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information or the certificate of incorporation) to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Title Title

• Private purchases: Proof of identity in the form of government-issued identification will be required.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Zip Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone (for Phone Bidding only)

• If we receive identical bids, the first bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

Please complete the following section for telephone and absentee bids only Lot Number

Brief Description

In Consecutive Order

US $ Limit* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $2,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips. com or available by emailing dataprotection@phillips.com. • Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and sales or use taxes

Signature

Date

By checking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please check this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.


Editions & Works on Paper Auction 23 April 2019 New York Public viewing 15-23 April at 450 Park Avenue or at phillips.com

Ed Ruscha Miracle, 1999 lithograph Estimate $15,000-20,000 ŠEd Ruscha courtesy of the artist and Gagosian

Visit us at phillips.com

Enquiries editions@phillips.com +1 212 940 1220


Index Abbott, B. 150, 197, 198

Frank, R. 139–141

Newman, A. 177

Adams, A. 155–158

Friedlander, L. 133, 134

Newton, H. 85

Adams, R. 109, 112

Fuss, A. 59, 65, 66, 225 Ojeikere, J. D. ‘O. 63

Albin-Guillot, L. 167 Arbus, D. 128–132

Gersht, O. 69, 71

O’Neill, T. 228

Avedon, R. 174

Giacomelli, M. 179

Outerbridge, P. 190

Goldin, N. 91, 239 Baltz, L. 113

González Palma, L. 185

ParkeHarrison, R. 244 Parks, G. 176

Beard, P. 74–76 Becher, B. & H. 205, 206

Haas, E. 144

Penn, I. 72, 73, 77, 78, 84, 96

Blumenfeld, E. 171

Heath, D. 94

Polidori, R. 125, 221

Bond, G. 232

Hine, L. W. 199, 200, 202

Bourke-White, M. 192

Höfer, C. 207

Brancusi, C. 175

Hoppé, E. O. 191

Brandt, M. 220

Horst, H. P. 169, 170

Salgado, S. 245, 246, 248, 249, 253

Brandt, N. 247

Hujar, P. 92

Sander, A. 184, 187, 188

Ruf, T. 208

Serrano, A. 217

Brassaï 180 Bravo, M. Á. 168, 186

Kander, N. 251

Sheeler, C. 181

Bristol, H. 195

Keïta, S. 60

Shore, S. 119, 121

Brodsky, J. 86

Kertész, A. 164, 182, 183

Smith, W. E. 151

Burtynsky, E. 250

Kuhn, M. 89

Sommer, F. 137 Sorrenti, M. 233

Callahan, H. 107, 108, 142, 143, 146, 147, 149

Lange, D. 152, 154

Soth, A. 124

Cartier-Bresson, H. 163, 165, 166, 178

Learoyd, R. 211

Starn, D. & M. 102, 104, 105

Close, C. 231

Leibovitz, A. 88, 226

Steichen, E. 194

Collier, A. 212, 213

Levinthal, D. 216

Sternfeld, J. 123

Core, S. 214

Lutter, V. 204

Stieglitz, A. 160, 201 Stoller, E. 135

Crewdson, G. 215 Man Ray 172, 173

Strand, P. 138

Davis, L. 79

Mann, S. 61, 67, 68

Sudek, J. 161, 162

Derges, S. 224

Mapplethorpe, R. 80–83, 90, 93

Sugimoto, H. 100, 101, 103, 106, 127

Dijkstra, R. 210

McCartney, M. 229

Dubreuil, P. 189

McCaw, C. 70

Testino, M. 230

McCurry, S. 252

Tillmans, W. 209

Eggleston, W. 120, 122

Metzker, R. K. 95

Eisenstaedt, A. 196

Meyerowitz, J. 145

van Empel, R. 243

Ertug, A. 219, 237

Misrach, R. 115, 116, 126

Vitali, M. 235, 240

Essaydi, L. 227

Moon, S. 234

Esser, E. 238

Moore, C. 136

Weems, C. M. 62, 64

Evans, W. 153, 193

Morell, A. 203, 223

Wegman, W. 241, 242

Moriyama, D. 97–99

Wessel, H. 110, 111

Morrisroe, M. 87

Weston, E. 148, 159

Muniz, V. 218, 222, 236

Winogrand, G. 114, 117, 118


Photographs. London, 16 May 2019 Public viewing 10–16 May 2019 30 Berkeley Square, London, W1J 6EX Enquiries +44 207 318 4087 photographslondon@phillips.com

Man Ray, La Prière, 1930 Gelatin silver emulsion on linen, printed 1971.

Visit us at phillips.com


222. Vik Muniz


phillips.com

Profile for PHILLIPS

PHOTOGRAPHS [Catalogue]  

Phillips presents our Photographs auction on 4 April 2019 in New York.

PHOTOGRAPHS [Catalogue]  

Phillips presents our Photographs auction on 4 April 2019 in New York.