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Photographs New York, 4 October 2018

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263. artist Sharon Core 00.

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Executives.

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Š Brigitte Lacombe

Americas.

Vanessa Hallett

Sarah Krueger

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Rachel Peart

Carol Ehlers

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

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Photographs New York, 4 October 2018

Auction & Viewing Location 450 Park Avenue New York 10022

Photographs Department +1 212 940 1245

Auctions 4 October, 11am, A Constant Pursuit (lots 1–83) followed by Photographs (lots 84–162) 4 October, 3pm, Photographs (lots 163–299)

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

Viewing 28 September – 3 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040218 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

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Continuation of morning session

84. Walker Evans

1903-1975

Brooklyn Bridge, 1929 Gelatin silver print, printing date unknown. 5 5/8 x 9 in. (14.3 x 22.9 cm) Titled and dated ‘1928’, likely by the artist, in pencil, credit stamp (Keller stamp A) and annotated ‘From Fortune’ in an unidentifed hand in pencil on the verso. Estimate $7,000-10,000 Exhibited Walker Evans, The Metropolitan Museum of Art, New York, 1 February 2000– 14 May 2000, and traveling to the San Francisco Museum of Modern Art and the Museum of Fine Arts, Houston, through 2001 Literature Hambourg, Rosenheim, Eklund, Fineman, Walker Evans, pl. 11, this print Harper & Row, Walker Evans at Work, p. 42 Harry N. Abrams, Inc., Walker Evans: The Hungry Eye, p. 32

85. Drahomir Josef Ruzicka

1870-1960

Penn Station, New York, 1941 Gelatin silver print. 16 x 13 in. (40.6 x 33 cm) Signed, titled and dated in pencil on the mount. Estimate $7,000-9,000 Provenance Sotheby’s, New York, 24 October 2002, lot 79

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86. Lisette Model

1901-1983

Untitled (shadows, woman with handbag), 1940-1941 Gelatin silver print, printed later. 13 5/8 x 9 1/4 in. (34.6 x 23.5 cm) Estate copyright stamp on the verso. Estimate $5,000-7,000 Provenance Ricco/Maresca Gallery, New York

87. Helen Levitt

1913-2009

N.Y.C. (women in front of candy store), 1945 Gelatin silver print, printed later. 6 1/8 x 8 3/4 in. (15.6 x 22.2 cm) Signed, titled and dated in pencil on the verso. Estimate $4,000-6,000 Provenance Acquired directly from the artist

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88. Ruth Orkin

1921-1985

View From My Window, Central Park South, 1956 Philharmonic Concert, Sheep Meadow, Central Park, 1975 Two gelatin silver prints. Each approximately 9 1/2 x 13 3/4 in. (24.1 x 34.9 cm) Each signed, titled and dated in ink on the mount; titled ‘Symphony, Concert Sheeps [sic] Meadow’, dated, annotated in ink and ‘65 Central Park West’ credit stamp on the reverse of the mount of Philharmonic Concert. Estimate $4,000-6,000 Provenance Directly from the Estate of Ruth Orkin Literature Orkin, A World Through My Window, p. 53, variant

89. Ruth Orkin

1921-1985

Looking Across Sheep Meadow Toward Central Park South, New York City, 1958 Chromogenic print, printed later. 12 3/4 x 18 7/8 in. (32.4 x 47.9 cm) Signed, titled and dated ‘1950’s’ in ink in the margin; signed, titled, dated ‘late 50’s’, annotated and copyright notation in ink on the verso. Estimate $2,500-3,500 Provenance Directly from the Estate of Ruth Orkin

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90. Berenice Abbott

1898-1991

New York at Night, 1932 Gelatin silver print, printed later. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed in pencil on the mount; credit stamp on the reverse of the mount. Estimate $6,000-8,000 Provenance Witkin Gallery, New York 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

91. Alfred Eisenstaedt

1898-1995

Farewell to Servicemen, Pennsylvania Station, New York City, 1943 Gelatin silver print, printed 1991. 17 1/2 x 13 1/2 in. (44.5 x 34.3 cm) Signed and numbered 167/250 in ink in the margin; credited, titled, dated, annotated and copyright Time Warner Inc. in an unidentifed hand in pencil on the verso. Estimate $8,000-12,000 Provenance Phillips de Pury & Company, New York, 8 October 2010, lot 98 Literature Eisenstaedt, Eisenstaedt: Remembrances, p. 62

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92. Brassaï (Gyula Halász)

1899-1984

Pont Neuf, Paris, 1949 Gelatin silver print, printed later. 9 1/2 x 13 1/4 in. (24.1 x 33.7 cm) Signed and numbered 14/30 in ink in the margin; signed in ink, ‘81, Faubourg St-Jacques’ copyright credit, credit and reproduction limitation stamps on the verso. Estimate $5,000-7,000 Literature Tucker, Brassaï: The Eye of Paris, back cover, pl. 24 The Museum of Modern Art, Brassaï, 1899-1984, p. 55

93. Brassaï (Gyula Halász)

1899-1984

An English girl in her dressing room at the Folies-Bergère, circa 1932 Gelatin silver print, probably printed in the 1960s. 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm) Signed in pencil, ‘81, Faubourg St-Jacques’ copyright credit stamp and annotated ‘Pl. 722’ in an unidentifed hand in ink on the verso. Estimate $4,000-6,000 Literature Thames & Hudson, Brassaï: The Secret Paris of the 30’s, n.p.

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94. E.J. Bellocq

1873-1949

Marguerite Grifn, Storyville, New Orleans, circa 1912 Gelatin silver print, probably printed in the 1960s. 11 3/8 x 9 1/2 in. (28.9 x 24.1 cm) Credited and captioned by Al Rose in ink, various annotations in unidentifed hands in ink, including ‘UAP 72-A’ on a paper label, all on the verso. Estimate $10,000-15,000 Provenance Collection of Al Rose, author and New Orleans historian By descent to his son, Rex Rose Julie Saul Gallery, New York, 2002 Exhibited E.J. Bellocq: Storyville Portraits, Julie Saul Gallery, New York, 13 December 2001- 2 February 2002 Literature Rose, Storyville, New Orleans (University of Alabama Press, 1974), p. 78, likely this print

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E.J. Bellocq was the photographic chronicler of New Orleans’s historic red-light district in the early 1900s. While little is known about Bellocq, his sensitive portraits are perhaps the most evocative documents of this place and time. Only a handful of period prints of Bellocq’s photographs exist. His work was lost for much of the twentieth century until its rediscovery by the photographer Lee Friedlander who, with The Museum of Modern Art curator John Szarkowski, mounted an exhibition and published a book of the work in 1970. The photograph ofered here pre-dates Friedlander’s discovery and comes originally from the collection of author and New Orleans historian, Al Rose. Rose had purchased the contents of Bellocq’s studio in 1949, including the photographer’s negatives. He used prints of selected images to illustrate his now-classic book, Storyville, New Orleans. Of the elusive photographer, Rose wrote: “Bellocq exhibited a sensibility, a feeling for his subjects, that forbade treating them as mere objects and that elevated his photographs to the level of art” (p. 60).

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“To the developed mind that creates an image whose strangeness and reality stirs our subconscious to its inmost depths, the awakening of desire is the frst step to participation and experience.” Man Ray

95. Man Ray

1890-1976

La Prière, 1930 Gelatin silver print, printed circa 1970. 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm) Signed and annotated ‘EA’ in ink on the recto; signed in pencil and ‘Man Ray, Paris’ stamp (Manford M32) on the verso. Estimate $70,000-90,000 Provenance Collection of Pierre and Franca Belfond, Paris Artcurial, Paris, 26 March 2013, lot 38 Literature De L’Ecotais, Man Ray: Photography and Its Double, p. 164 Schwarz, Man Ray: The Rigour of Imagination, p. 90 J. Paul Getty Museum, In Focus, Man Ray: Photographs from the J. Paul Getty Museum, pl. 27 Skira, Man Ray, p. 142 The Bunkamara Museum of Art, Photographies de Man Ray, pl. 124 Krauss and Livingston, L’Amour Fou: Photography and Surrealism, p. 150 Manford, Behind the Photo, The Stamps of Man Ray, n.p., for stamp

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La Prière is arguably the signature image from the masterful series of nude studies Man Ray executed in the 1920s and early 1930s. In La Prière, Man Ray combines, with characteristic alchemic skill, the uniquely descriptive capabilities of photography with his distinctive vision within an image that is at once realistic and dreamlike. By the 1930s, nudes comprised an important portion of Man Ray’s oeuvre, and an entire passage of his frst monograph, Photographs by Man Ray 1920 Paris 1934, is devoted to the female form. In La Prière, Man Ray poses his nude model provocatively and frames her carefully within the composition to create an image poised between the sublime and the sinister. As in the best of Man Ray’s photographs, conventional artistic subject matter is raised to the level of Surrealism. La Prière is a Surreal tour de force and has lost none of its impact since its creation in 1930. For this reason, La Prière is one of a few early works that Man Ray revisited, producing a small edition for the contemporary audience. This print comes from the collection of Pierre and Franca Belfond, who founded the publishing house Éditions Belfond in 1963. The Belfonds published two books on Man Ray: Alphabet pour Adultes (1970) and Bonsoir, Man Ray (1972). It is possible that the Belfonds received this photograph directly from the artist.

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96. André Kertész

1894-1985

Self-portrait, Paris, 1926 Gelatin silver print, printed later. 11 1/8 x 10 1/2 in. (28.3 x 26.7 cm) Signed and dated in pencil on the verso. Estimate $7,000-9,000 Provenance Private Collection, Chicago Literature Ducrot, André Kertész: Sixty Years of Photography, p. 97

97. André Kertész

1894-1985

Tuscany, circa 1930 Gelatin silver print, printed later. 13 1/4 x 9 3/4 in. (33.7 x 24.8 cm) Credit stamp, titled ‘Tuscani’ [sic], dated in ink, credited and annotated ‘early print c ‘62’ in unidentifed hands in pencil on the verso. Estimate $5,000-7,000 Provenance Private Collection, Chicago

98. André Kertész

1894-1985

Satiric Dancer, Paris, 1926 Gelatin silver print, printed later. 13 5/8 x 10 3/4 in. (34.6 x 27.3 cm) Signed, dated and annotated ‘Paris’ in pencil on the verso. Estimate $5,000-7,000 Literature Borhan, André Kertész: His Life and Work, p. 145 Ducrot, André Kertész: Sixty Years of Photography 1912-1972, p. 70 Greenough, André Kertész, pl. 47 Thames & Hudson, André Kertész: Of Paris and New York, p. 129 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 183 LIGHT Gallery, LIGHT, p. 49

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99. Paul Citroen

1896-1983

Metropolis, 1923 Gelatin silver print. 8 x 6 in. (20.3 x 15.2 cm) Signed, annotated in pencil, ‘Hüttich-Demler, Weimar’ stamp (canceled) and annotated in an unidentifed hand in pencil on the verso. Estimate $10,000-15,000 Provenance Sotheby’s, London, 2 May 1997, lot 19 Literature Berliner Illustrirte Zeitung 24, 14 June 1925: 743 Moholy-Nagy, Painting, Photography, Film (Munich, 1925), p. 95 Franz Roh, Nach-expressionismus: magischer Realismus; Probleme der neuesten Europäischen Malerei (Leipzig, 1925), p. 141 Pásmo: revue internationale modern 2, nos. 6-7, 1926, cover

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The Museum of Modern Art, Object:Photo. Modern Photographs: The Thomas Walther Collection 1909-1949, pl. 14 Van Rheeden, Paul Citroen: kunstenaar, docent, verzamelaar, p. 110

In 1919, Paul Citroen began his series of groundbreaking urban collages, of which the current example, Metropolis, 1923, is the best known. Initially afliated with the Berlin Dadaists, Citroen studied at the Bauhaus in Weimar from 1922 to 1925. Metropolis was recognized early on as an important image and was reproduced extensively in the 1920s, most notably in László Moholy-Nagy’s seminal book, Painting, Photography, Film. This print bears the stamp of a Weimar photo studio indicating that it was made prior to Citroen’s return to Berlin in 1925. Another print of this image is in the Thomas Walther Collection at The Museum of Modern Art, New York.

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100. André Kertész

1894-1985

Melancholic Tulip, 1939 Gelatin silver print, printed later. 13 5/8 x 10 in. (34.6 x 25.4 cm) Signed and dated in pencil on the verso. Estimate $6,000-8,000 Literature Facio, Colección Fotográfca del Museo Nacional de Bellas Artes, cover Borhan, André Kertész: His Life and Work, p. 27 Ducrot, André Kertész: Sixty Years of Photography, p. 78 Greenough, André Kertész, pl. 80 Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 173 Thames & Hudson, André Kertész: Of Paris and New York, p. 208

101. Bill Brandt

1904-1983

Parlourmaid and under-parlourmaid ready to serve dinner, 1936 Gelatin silver print, printed later. 13 1/2 x 11 1/2 in. (34.3 x 29.2 cm) Signed in ink on the mount. Estimate $4,000-6,000 Provenance Marlborough Gallery, New York Literature Aperture, Bill Brandt: Behind the Camera, p. 18 Da Capo Press, Bill Brandt: Shadow of Light, pl. 18 Harry N. Abrams, Inc., Brandt: The Photography of Bill Brandt, pl. 58 Photo Poche, Bill Brandt, pl. 31 Thames & Hudson, Bill Brandt: Photographs 1928-1983, p. 76 Newhall, The History of Photography, p. 225

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102.

102. André Kertész

1894-1985

103. Bill Brandt

1904-1983

Distortion #34, 1933 Gelatin silver print, possibly printed 1952 or later. 4 5/8 x 6 3/4 in. (11.7 x 17.1 cm) Dated, annotated ‘#34’ in ink, credit stamp, annotated ‘Printed by Kertész, 1952’ and reduction notations in unidentifed hands in pencil on the verso.

Selected Nudes, 1945-1953 Three gelatin silver prints, printed later. Each approximately 13 1/4 x 11 1/2 in. (33.7 x 29.2 cm) Each signed in ink on the mount.

Estimate $5,000-7,000

Provenance Witkin Gallery, New York

Estimate $10,000-15,000

Literature Aperture, Bill Brandt: Behind the Camera, p. 66 Harry N. Abrams, Inc., Brandt: The Photography of Bill Brandt, pp. 247, 313

Titles include: Belgravia, London - Nude on Parquet Floor, 1945; Belgravia, London, 1951; Campden Hill, London, 1953

Literature Knopf, Distortions, n.p.

103.

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104. Robert Frank

b. 1924

Paris, 1949 Gelatin silver print, fush-mounted, probably printed in the 1950s. 11 3/4 x 7 1/2 in. (29.8 x 19.1 cm) Signed, titled and dated ‘1950’ in ink on the recto. Estimate $20,000-30,000

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Provenance Sotheby’s, New York, 9 November 1983, lot 143 Literature Greenough, Looking In: Robert Frank’s The Americans, pp. xvii, 55 National Gallery of Art, Robert Frank: Black White and Things, pl. 30

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105. Robert Frank

b. 1924

London, 1951 Gelatin silver print, probably printed in the 1950s. 8 1/4 x 12 1/2 in. (21 x 31.8 cm) Signed, titled, dated ‘1950’ in ink, credited in ink and annotated in pencil in unidentifed hands on the verso. Estimate $30,000-50,000 Literature Greenough, Robert Frank: Moving Out, p. 81, variant Pantheon, Robert Frank: The Lines of My Hand, n.p., variant Scalo, Robert Frank: London/Wales, p. 15, variant

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106. Henri Cartier-Bresson

1908-2004

Rue Moufetard, Paris, 1952 Gelatin silver print, printed later. 14 x 9 1/2 in. (35.6 x 24.1 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $15,000-25,000 Provenance Peter Fetterman Gallery, Santa Monica

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Literature Cartier-Bresson, The Europeans, pl. 114 Galassi, Henri Cartier-Bresson: The Modern Century, p. 55 Montier, Henri Cartier-Bresson and the Artless Art, pl. 150 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 65 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 140

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107. Alfred Eisenstaedt

1898-1995

Children at a Puppet Theatre, Paris, 1963 Gelatin silver print, printed 1989. 13 7/8 x 20 7/8 in. (35.2 x 53 cm) Signed and numbered 13/250 in ink in the margin; credited, titled, dated, annotated and copyright Time Inc. in an unidentifed hand in pencil on the verso. Estimate $20,000-30,000 Provenance Private Collection, New York Literature Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-Portrait, p. 105 Eisenstaedt, Eisenstaedt: Remembrances, pp. 114-115 Hollander, Refections in a Glass Eye: Works from the International Center of Photography, p. 15 Lacayo & Russell, Eyewitness: 150 Years of Photojournalism, p. 153 Loengard, LIFE Faces, pp. 12-13

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108. Henri Cartier-Bresson

1908-2004

Behind the Gare Saint-Lazare, Paris, 1932 Gelatin silver print, printed later. 14 x 9 1/2 in. (35.6 x 24.1 cm) Signed, inscribed ‘for Susan... with all my gratitude for having brough [sic], my pictures to people world wide’ in ink and copyright credit blindstamp in the margin. Estimate $10,000-15,000 Provenance Acquired directly from the artist Literature Cartier-Bresson, The Decisive Moment, pl. 26 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 17 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 63 Clair, Henri Cartier-Bresson: Europeans, p. 23 Galassi, Henri Cartier-Bresson: The Modern Century, p. 81

During Susan Bloom’s tenure as Vice President for Worldwide Cultural Afairs at American Express Company, she oversaw the 1979 touring exhibition Henri Cartier-Bresson: Photographer which traveled to 20 cities in the United States and to 23 countries internationally, over 10 years. The photograph ofered here, and that in lot 164, both come from Bloom’s collection, and each bears a special inscription from the photographer in recognition of her eforts in sharing his images with the world.

109. Henri Cartier-Bresson

1908-2004

Madrid, Spain, 1933 Gelatin silver print, printed later. 9 1/2 x 14 in. (24.1 x 35.6 cm) Signed in ink in the margin. Estimate $8,000-12,000 Literature Cartier-Bresson, The Decisive Moment, pl. 14 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 20 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 53 Clair, Henri Cartier-Bresson: Europeans, p. 75 Galassi, Henri Cartier-Bresson: The Early Work, p. 111 Montier, Henri Cartier-Bresson and the Artless Art, pl. 50 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 107

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110. Josef Koudelka

b. 1938

France, 1987 Gelatin silver print. 13 1/4 x 21 1/8 in. (33.7 x 53.7 cm) Signed in ink in the margin. Estimate $15,000-20,000 Provenance Christie’s, New York, 8 April 1998, lot 355 Literature Aperture, Exiles: Koudelka, cover Aperture, Koudelka, p. 80

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111. Henri Cartier-Bresson

1908-2004

Calle Cuauhtemoctzin, Mexico City, 1934 Gelatin silver print, probably printed in the 1960s. 7 3/4 x 11 3/4 in. (19.7 x 29.8 cm) Signed ‘Henri’, extensively annotated and inscribed ‘a Edmundo et Nancy’ in ink, Magnum Photos credit and ‘Complimentary Print’ stamps on the verso. Estimate $15,000-25,000 Literature Galassi, Henri Cartier-Bresson: The Early Work, cover, p. 130 Cartier-Bresson, The Decisive Moment, pl. 22 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 4 Fuentes, Henri Cartier-Bresson: Mexican Notebooks 1934-1964, p. 73 Galassi, Henri Cartier-Bresson: The Modern Century, p. 99 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 112

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112. Henri Cartier-Bresson

1908-2004

Seville, Spain, 1933 Gelatin silver print, probably printed between 1955 and 1962. 9 3/4 x 14 3/4 in. (24.8 x 37.5 cm) Credit, ‘Henri Cartier-Bresson (Magnum), 15 West 47th Street, New York 19, N.Y.’ stamps, titled and dated in an unidentifed hand in pencil on the verso; typed title on a label afxed to the verso. Estimate $30,000-50,000 Provenance Christie’s, New York, 150 Years of Photography, 25 April 1989, lot 253 Literature Cartier-Bresson, The Decisive Moment, pl. 13 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 9 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 57, fg. 14 Clair, Henri Cartier-Bresson: Europeans, p. 74 Galassi, Henri Cartier-Bresson: The Early Work, p. 108 Montier, Henri Cartier-Bresson and the Artless Art, pl. 14 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 115

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Taken in 1933, Seville, Spain encapsulates the spontaneity and precision of Henri Cartier-Bresson’s best work. Although his focus was on capturing the “decisive moment,” Cartier-Bresson studied his subjects and locales extensively before making an exposure. In Spain, he spent three weeks absorbing his surroundings prior to photographing. The photograph ofered here is a rare 1950s or early 1960s print. It bears the stamp of Magnum’s New York ofce on West 47th Street, an address the agency occupied only between late 1955 and 1962. The print’s open tonality and slightly warm tones distinguish it from later prints of the image. Afer the success of the Decisive Moment exhibition, which toured America from 1957 to 1960, CartierBresson decided to make available for sale prints of his best images, including the image ofered here. Prints from this period were made by Magnum in New York City in a projected edition of 50. It is unknown if these editions were fully realized. This photograph dates to that period and may be from that edition. The typed title label afxed to the verso may be an exhibition label.

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113. Henri Cartier-Bresson 1908-2004 Mexico City, Mexico, 1934 Gelatin silver print, probably printed in the 1960s or early 1970s. 6 1/2 x 9 5/8 in. (16.5 x 24.4 cm) Signed, titled ‘Mexico’, dated ‘1933’, annotated ‘Natcho Aguirre a tenu la lampe peu de temps et est passé à l’action’ in pencil and credit reproduction limitation stamp on the verso. Estimate $12,000-18,000 Provenance Acquired directly from the Fondation Henri Cartier-Bresson, Paris Literature Chéroux, Henri Cartier-Bresson: Here and Now, pl. 66 Fuentes, Henri Cartier-Bresson: Mexican Notebooks 1934-1964, p. 77 Galassi, Henri Cartier-Bresson: The Modern Century, p. 100 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 123

114. Henri Cartier-Bresson 1908-2004 Charles Henri Ford, Paris, 1935 Gelatin silver print, probably printed 1960s. 7 x 9 3/4 in. (17.8 x 24.8 cm) Credited in an unidentifed hand in ink and ‘Charles Henri Ford’ stamp on the reverse of the fush-mount. Estimate $12,000-18,000 Provenance Charles Cowles Gallery, New York

The American writer, editor, and photographer Charles Henri Ford (1908-2002) moved to Paris in 1929. He had already achieved notoriety with his journal Blues: A Magazine of New Rhythms which provided a forum for such poets as Ezra Pound and William Carlos Williams. In Paris, the rakish Ford became part of Gertrude Stein’s circle of literary and artistic luminaries.

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There he co-authored The Young and Evil; for its frank depiction of homosexuality, Stein later called it “the novel that beat the Beat Generation by a generation.” This street portrait of Ford by Cartier-Bresson is a mischievous collaboration between photographer and subject. Another print of this image is in the collection of the San Francisco Museum of Modern Art.

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115. Manuel Álvarez Bravo 1902-2002 La Buena Fama Durmiendo (The Good Reputation Sleeping), 1938 Gelatin silver print, printed later. 7 1/2 x 9 5/8 in. (19.1 x 24.4 cm) Signed and annotated ‘Mexico’ in pencil on the mount. Estimate $6,000-8,000 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

116. Manuel Álvarez Bravo 1902-2002 Los Agachados (The Crouched Ones), 1934 Gelatin silver print from Fifeen Photographs, printed 1974. 7 1/8 x 9 1/2 in. (18.1 x 24.1 cm) Signed and numbered 66/75 in pencil on the mount. Estimate $6,000-8,000 Literature Aperture, Aperture Masters of Photography: Manuel Álvarez Bravo, p. 15 J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 18 Kismaric, Manuel Álvarez Bravo, p. 78 Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 11 Parker, Manuel Álvarez Bravo, p. 30 Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 33

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117. Paul Strand

1890-1976

The Mother, Luzzara, Italy, 1953 Gelatin silver print. 5 3/4 x 4 1/2 in. (14.6 x 11.4 cm) Credited, initialed ‘HS’ and annotated ‘master’ by Hazel Strand in pencil on the reverse of the fush-mount. Estimate $7,000-9,000 Provenance The Paul Strand Archive, New York Pace/MacGill Gallery, New York Private Collection, New York

Actual size

In the 1950s Paul Strand’s photography took on an enhanced humanism. He had lef the United States disillusioned by McCarthyism to photograph in France, Italy, the Outer Hebrides, Egypt, and Ghana, creating photographic cultural studies that were published in a series of books. The signature image from Strand’s Italian series, published on the cover of his book on the country, Un Paese, is The Family, Luzzara. The photographs ofered in this and the following lot focus on two individuals from that famous image: the mother, Anna Spaggiari Lusetti, and one of her sons. While the group portrait portrays the family as a single unit, linked by blood, history, and family resemblance, the portraits ofered here are penetrating individual character studies.

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Anna Lusetti had married at 18, and given birth to 15 children. She lost her husband in 1933 and was forced to raise her large family on her own in an increasingly unstable political and economic climate. All but one of her sons served in the army during World War II, several sufering injury and imprisonment. Aferwards, the family was hit hard by the post-war deprivation of their country. When Strand photographed them in 1953, Anna and her sons were renting a dilapidated farmhouse and struggling as tenant farmers. These portraits, of mother and son, embody their subjects’ perseverance in the face of adversity, a quality that is the hallmark of Strand’s best images from this period.

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118. Paul Strand

1890-1976

Portrait of a Young Man, Luzzara, Italy, 1953 Gelatin silver print. 5 7/8 x 4 5/8 in. (14.9 x 11.7 cm) Signed, titled ‘Young Farmer, Po Valley’ and dated in pencil on the reverse of the fush-mount. Estimate $8,000-12,000 Provenance The Collection of Walter and Naomi Rosenblum, New York Private Collection, New York Literature Aperture, Paul Strand: Sixty Years of Photographs, p. 80

119. August Sander

1876-1974

Bauer Aus Schabernack, Westerwald, 1912 Gelatin silver print. 8 7/8 x 5 3/4 in. (22.5 x 14.6 cm) Credit blindstamp on the recto; titled in pencil and ‘Köln-Lindenthal’ credit stamp on the verso; ‘Menschen des Zwanzigsten Jahrhunderts’ label and notations by Gerd Sander, the photographer’s grandson, in pencil on the reverse of the mount. Estimate $10,000-15,000 Provenance The Collection of Gerd Sander, France Private Collection, New York Literature Sander, Citizens of the Twentieth Century: 1892-1952, p. 70, variant

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120. Imogen Cunningham

1883-1976

Agave #2, circa 1928 Gelatin silver print, probably printed in the 1930s. 8 3/4 x 6 1/2 in. (22.2 x 16.5 cm) Title blindstamp in margin; titled and dated ‘1920s’ by the artist in ink and pencil, ‘Imogen Cunningham, 1331 Green St., San Francisco 9’ credit stamp and reduction notations in an unidentifed hand in pencil on the verso. Estimate $8,000-12,000 Provenance The artist to Allan Porter, Editor-in-Chief of CAMERA magazine, Lucerne, 1975 Acquired by the present owner from the above Literature John Stevenson Gallery, Imogen Cunningham: Vintage Photographs, 1910-1973, pl. 30, variant

121. Albert Renger-Patzsch

1897-1966

Agave Ellemeetiana, 1925-1929 Gelatin silver print. 9 x 6 5/8 in. (22.9 x 16.8 cm) Titled, annotated in pencil, ‘Phot. A. RengerPatzsch, Bad-Harzburg’ credit and reproduction limitation stamps on the verso. Estimate $5,000-7,000

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122. Laura Gilpin

1891-1979

The Grand Canyon, 1935 Gelatin silver print. 7 7/8 x 9 7/8 in. (20 x 25.1 cm) Signed and dated in pencil on the overmat; typed title and date on an artist’s label afxed to the reverse of the frame. Estimate $7,000-9,000

123. Charles Jones

1866-1959

Leek Prizetaker, circa 1900 Gold toned gelatin silver print. 6 x 4 1/8 in. (15.2 x 10.5 cm) Initialed and titled in pencil on the verso. Estimate $4,000-6,000 Provenance Collection of Sean Sexton Howard Greenberg Gallery, New York Literature Sexton, Plant Kingdoms: The Photographs of Charles Jones, p. 38

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124. Clarence H. White

1871-1925

Nude, 1909 Platinum print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed in pencil on the mount. Estimate $15,000-20,000 Literature Fulton, Pictorialism into Modernism: The Clarence H. White School of Photography, p. 21 Moriarty, Darkness and Light: Death and Beauty in Photography, p. 20

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125. Alfred Stieglitz

1864-1946

The Steerage, 1907 Large format photogravure on vellum, printed 1915. 12 1/2 x 10 in. (31.8 x 25.4 cm) Estimate $10,000-15,000 Literature Stieglitz, 291, September-October 1915 Camera Work, Number 36, October 1911, p. 39 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

126. Alfred Stieglitz

1864-1946

Georgia O’Keefe, 1936 Gelatin silver print, fush-mounted and mounted again. 3 3/8 x 4 1/2 in. (8.6 x 11.4 cm) Estimate $10,000-15,000 Provenance From the artist to Georgia O’Keefe Doris Bry, New York Private Collection, New York Private Collection, California Literature Greenough, Alfred Stieglitz: The Key Set, Volume Two, cat. no. 1609, p. 912, variant

Actual size

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127. Captain Linnaeus Tripe

1822-1902

Madura, The Great Pagoda, Veeravasuntharoya’s Munduppum, 1858 Albumen print. 10 3/8 x 14 7/8 in. (26.4 x 37.8 cm) ‘Photographer to Government’ credit blindstamp and plate number ‘2’ in an unidentifed hand in ink on the mount. Estimate $6,000-8,000 Literature Dewan, The Photographs of Linnaeus Tripe: A Catalogue Raisonné, CR6-123

128. William Henry Fox Talbot

1800-1877

All Souls College Chapel, Oxford, 1840s Salt print. 8 x 6 1/2 in. (20.3 x 16.5 cm) Estimate $5,000-7,000 Literature Schaaf, The William Henry Fox Talbot Catalogue Raisonné, no. 1669, www.talbot.bodleian.ox.ac.uk

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129. Edward Sherif Curtis

1868-1952

An Oasis in the Badlands, 1905 Platinum print. 12 1/2 x 16 1/4 in. (31.8 x 41.3 cm) Signed in ink and credit blindstamp on the recto. Estimate $15,000-25,000 Provenance Acquired by William C. Fordyce from the artist, early 1900s By descent to the present owner Literature Taschen, The North American Indian: The Complete Portfolios, p. 142

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Actual size

130. Lewis Wickes Hine

1874-1940

131. Ernst Haas

1921-1986

Ten Year Old Spinner in N. Carolina Cotton Mill, 1908 Gelatin silver print, printed afer 1917. 4 3/4 x 6 3/8 in. (12.1 x 16.2 cm) Titled, dated in pencil and ‘Lewis W. Hine, Interpretive Photography, Hastings-On-Hudson, New York’ stamp on the verso.

Displaced Persons, 1951 Gelatin silver print. 13 1/8 x 10 1/2 in. (33.3 x 26.7 cm) Signed, titled by Alexander Haas, the artist’s son, in pencil, Magnum credit, estate and estate copyright credit stamps on the verso.

Estimate $10,000-15,000

Estimate $12,000-18,000 Provenance The Private Collection of Victoria Haas, New York, the artist’s daughter

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131.

“I want to be remembered much more for a total vision than for a few perfect single pictures.” Ernst Haas

Displaced Persons was taken in 1951 by Ernst Haas while on assignment for This Week, a magazine produced on Sundays and distributed with the New York Herald Tribune. Haas, an Austrian native, had been living and working in America since 1950, afer Robert Capa appointed him Magnum Photo agency’s U.S. Vice President. It was Haas’ work back in Vienna which had caught Capa’s attention. In 1947, Haas debuted his work in an exhibition at the Vienna American Red

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Cross. Within the same year, Haas produced his frst acclaimed photo essay Homecoming, published in Heute and Life magazines. The photo essay poignantly documented the bittersweet experience of prisoners of war returning home. Homecoming ultimately earned Haas an invitation to join Capa and Magnum eventually leading him to the United States. The early print on ofer is quintessential of Haas’ earlier works and subjects close to his own experiences: a still moment of immigrants as they entered Ellis Island. Many of the people on the boats coming over at this time were largely displaced people from World War II. His acute photojournalistic sensibilities are ever present in this intimate composition of the bustling entrance to the United States.

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132. Walker Evans

1903-1975

Washroom and Dining Area of Floyd Burroughs’ Home, 1936 Gelatin silver print. 9 1/4 x 6 1/4 in. (23.5 x 15.9 cm) Resettlement Administration annotation ‘8133-A’ in an unidentifed hand in pencil on the verso. Estimate $20,000-30,000

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Provenance The artist to a friend and photo-editor, possibly Frances Collins Lindley, circa 1940 Acquired by Bradley Lemery of Photo West Gallery, San Diego Photo West Gallery, San Diego, 1989 Exhibited Photo West Gallery, San Diego, December 1989 Literature Evans and Agee, Let us Now Praise Famous Men, pl. 10 Da Capo Press, Walker Evans: Photographs for the Farm Security Administration, 1935-1936, pl. 260 Hambourg, Rosenheim, Eklund, Fineman, Walker Evans, pl. 90 Szarkowski, Walker Evans, p. 82 Hill, Walker Evans: Lyric Documentary, p. 182

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133. Paul Strand

1890-1976

Road into the Farm, East Jamaica, VT, 1944 Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed, titled in green ink and Light Gallery stamp on the reverse of the fush-mount. Estimate $30,000-50,000 Provenance Estate of Paul Strand LIGHT Gallery, New York

This photograph comes from the series of images Paul Strand made for Time in New England, the 1950 book that combined his images with historical texts chosen by Nancy Newhall to create a pictorial and literary portrait of the region. Prints by Strand from the period are rare. Strand authority Anthony Montoya notes that of the seven prints of this image made by Strand in the 1940s, the one ofered here is the only one signed and titled in full by the photographer. This image was also included Strand’s 1945 retrospective at The Museum of Modern Art, New York.

Literature Newhall, Time in New England, pl. 14

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Another print of this image, in the collection of the Oakland Museum of Art, was titled Composition f.64 by Alma Lavenson. This alternate title refers to Group f.64, the organization of California photographers— among them Ansel Adams, Edward Weston, and Imogen Cunningham— who were united in promoting a “straight” approach to photography in direct response to the excesses of Pictorialism. A print of this image was included in the historic Group f.64 exhibition at the M. H. de Young Memorial Museum, San Francisco, in 1932. With its clean lines and highly detailed account of its subject, Lavenson’s photograph perfectly embodies Group f.64’s ideals. As of this writing, it is believed that the photograph ofered here is one of only three extant early prints of the image.

134. Alma Lavenson

1897-1989

Composition, 1933 Gelatin silver print. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm) Signed in pencil on the mount; titled and dated in ink on an artist’s label afxed to the reverse of the mount. Estimate $10,000-15,000 Provenance Collection of the artist’s family

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Exhibited Alma Lavenson, The Brooklyn Institute of Arts and Sciences, 1933 Alma Lavenson, California Museum of Photography, University of California, Riverside, 15 January23 February 1979; and traveling to University Art Museum, University of New Mexico, Albuquerque, 2 March- 13 April 1979; and The Oakland Museum, 6 November- 25 November 1979 Alma Lavenson, The Baltimore Museum of Art, 8 March- 24 April 1988 Literature Ehrens, Alma Lavenson: Photographs, p. 47 Heyman, Seeing Straight: The f.64 Revolution in Photography, p. 134

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135. Alma Lavenson

1897-1989

Virginia City, 1943 Gelatin silver print. 9 3/4 x 7 5/8 in. (24.8 x 19.4 cm) Signed in pencil on the mount; titled, dated, annotated in unidentifed hands in ink and pencil on an artist’s label and two exhibition labels afxed to the reverse of the mount. Estimate $7,000-9,000 Provenance Collection of the artist’s family Exhibited Eighteenth Annual Exhibition, San Francisco Society of Women Artists, San Francisco Museum of Art, 17 November- 12 December 1943 Mills College Art Gallery, Oakland, OctoberNovember 1944 Alma Lavenson, The Baltimore Museum of Art, 8 March- 24 April 1988 Literature Ehrens, Alma Lavenson: Photographs, p. 77 California Museum of Photography, Alma Lavenson, p. 24

136. Laura Gilpin

1891-1979

Selected Images of Gothic, Colorado, 1941 Three gelatin silver prints. Each 7 3/4 x 9 1/2 in. (19.7 x 24.1 cm) or the reverse Each signed and dated in pencil on the mount; typed title on an artist’s label afxed to the reverse of each mount. One print with a note, signed in ink and afxed to the reverse of the mount. Estimate $6,000-8,000

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117588

137. Ansel Adams

1902-1984

Winter Sunrise, Sierra Nevada from Lone Pine California, 1944 Gelatin silver print, printed 1963-1973. 15 x 19 in. (38.1 x 48.3 cm) Signed in pencil on the mount; Carmel credit and title stamps (BMFA 7 and 8) with title in an unidentifed hand in ink on the reverse of the mount. Estimate $25,000-35,000 Provenance Witkin Gallery, New York Literature Szarkowski, Ansel Adams at 100, pl. 85 Haas, Senf, Ansel Adams, p. 146, for stamp

138. Ansel Adams

1902-1984

Sand Dunes, Sunrise, Death Valley National Monument, California, 1948 Gelatin silver print, printed 1981. 19 3/8 x 15 in. (49.2 x 38.1 cm) Signed in pencil on the mount; Carmel credit stamp with title and date in an unidentifed hand in ink on the reverse of the mount. Estimate $15,000-25,000 Literature Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 37 Stillman, Ansel Adams: 400 Photographs, p. 184

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139. Ansel Adams

1902-1984

Moonrise, Hernandez, New Mexico, 1941 Gelatin silver print, printed 1973-1977. 16 x 20 in. (40.6 x 50.8 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 $25,000-35,000 Provenance Witkin Gallery, New York Literature Adams, Ansel Adams: The Making of 40 Photographs, p. 40 Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 32 Haas, Senf, Ansel Adams, pl. 37 and p. 146, for stamp Little, Brown and Company, Ansel Adams: The Grand Canyon and the Southwest, frontispiece Stillman, Ansel Adams: 400 Photographs, p. 175 Szarkowski, Ansel Adams at 100, pl. 96

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140. Edward Weston

1886-1958

Tide Pool, Point Lobos, 1945 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Initialed and dated in pencil on the mount; signed, titled and dated in pencil on the reverse of the mount. Estimate $8,000-12,000 Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 1783 Newhall, Supreme Instants: The Photography of Edward Weston, pl. 186

141. Imogen Cunningham

1883-1976

Two Callas, 1929 Gelatin silver print, printed later. 11 1/2 x 9 in. (29.2 x 22.9 cm) Signed in pencil on the mount; typed title and date on the facsimile signature studio label with the ‘1331 Green Street’ address afxed to the reverse of the mount. Estimate $8,000-12,000 Provenance Camera Works Gallery, Cincinnati Literature Dater, Imogen Cunningham: A Portrait, pl. 27 Lorenz, Imogen Cunningham: Flora, pl. 10 University of Cambridge, A History of Photography, p. 175

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142. Ansel Adams

1902-1984

Portfolio Four: What Majestic Word. In Memory of Russell Varian San Francisco: Sierra Club, 1963. Fifeen gelatin silver prints. Varying dimensions from 6 3/4 x 8 7/8 in. (17.1 x 22.5 cm) to 10 x 12 3/4 in. (25.4 x 32.4 cm) or the reverse Each signed in ink on the mount; numbered ‘108’ in ink on the Portfolio label afxed to the reverse of each mount. Numbered ‘108’ in ink on two colophons. Letterpress paper folios. Enclosed within a gray linen clamshell portfolio case with gilt letters and title. Number ‘108’ from an edition of 260, of which 250 were for sale.

Literature Szarkowski, The Portfolios of Ansel Adams, pls. 1-15 (Part IV) Alinder and Szarkowski, Ansel Adams: Classic Images, pls. 23, 48, 55, 68 Stillman, Ansel Adams: 400 Photographs, pp. 228, 230, 328, 330, 344, 351, 390, 391, 399, 403

Estimate $40,000-60,000

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143. Edward Weston

1886-1958

The Edward Weston Portfolio New York: Witkin-Berley Limited, 1971. Nine gelatin silver prints, printed later by Cole Weston and one dye transfer print, printed later. Varying dimensions from 31/2 x 41/2 in. (8.9 x 11.5 cm) to 7 1/2 x 9 1/2 in. (19 x 24.2 cm) or the reverse Each signed, titled, dated by Cole Weston in pencil, each gelatin silver print with Edward Weston signature stamp, and dye transfer print with ‘dye print from Edward Weston color transparency authorized by Cole Weston’ stamp, all on the reverse of the mount; each print sequentially numbered ‘1-10’ in an unidentifed hand in ink on a portfolio label afxed to the reverse of the mount. Numbered ‘7’ in an unidentifed hand in ink on the colophon. One from an edition of 50 plus 5 artist’s proofs. Enclosed in a black slipcase with metallic cover, printed title and half-tone reproduction of Pepper No. 30.

Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fgs. 177, 376, 420, 559, 606, 853, 1035, 1866, F.3 Aperture, Edward Weston, pp. 15, 29, 37, 45, 61 Merrell, Edward Weston: A Legacy, p. 184 Scalo, Edward Weston, Helmut Newton: die Künstlichkeit Des Wirklichen, Fotograferte Körper, p. 105

Estimate $15,000-25,000

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“I have been doing good work. . . One weekend Willard [Van Dyke] came down. . . we took his car. . . and drove to Oceano. There, I made several dune negatives that mark a new epoch in my work. I must go back there—the material made for me!” Edward Weston

144. Edward Weston

1886-1958

Dunes at Oceano, California, 1936 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed and dated in pencil on the mount; titled in pencil on the reverse of the mount. Estimate $50,000-70,000 Provenance Carl Solway Gallery, Cincinnati, 1976 Literature Newhall, Supreme Instants: the Photography of Edward Weston, cover, pl. 68 Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 939 Stebbins, Edward Weston: Photography and Modernism, Museum of Fine Arts, Boston, pl. 81 Markus, Dune: Edward & Brett Weston, p. 91

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145. Ansel Adams

1902-1984

California Coast South of Big Sur, circa 1950 Gelatin silver print, printed no later than 1962. 10 3/8 x 13 1/4 in. (26.4 x 33.7 cm) Signed in ink on the mount; ‘Hasselblad Photograph by Ansel Adams, 131 24th Avenue, San Francisco’ credit stamp with title and equipment notations in an unidentifed hand in ink on the reverse of the mount. Estimate $10,000-15,000

146. Clarence John Laughlin

1905-1985

A Vision of Dead Desire, 1954 Gelatin silver print, printed 1979. 13 1/2 x 9 1/2 in. (34.3 x 24.1 cm) Signed, titled and dated in white pencil on the mount; dated, initialed, annotated in ink and copyright credit reproduction limitation stamp on a label afxed to the reverse of the mount. Estimate $3,000-5,000 Literature Aperture, Clarence John Laughlin, cover, p. 115 Davis, Clarence John Laughlin: Visionary Photographer, pl. 88

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147. Edward Weston

1886-1958

Selected Images, 1922-1940 Six gelatin silver prints, printed later by Cole Weston. Each approximately 7 1/4 x 9 1/2 in. (19.1 x 24.1 cm) or the reverse Five prints signed, titled, dated by Cole Weston in pencil and Edward Weston signature stamp on the reverse of the mount; one print signed, titled, dated and annotated ‘Negative by Edward Weston’ by Cole Weston in pencil on the reverse of the mount. Estimate $7,000-9,000 Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fgs. 86, 172, 594, 606, 928, 1505

Titles include: Church Door, Hornitos, 1940; Eggs and Slicer, 1930; Nude, 1936; Armco Steel, Ohio, 1922; Pepper No. 30, 1930; Nude, 1925

148. Ansel Adams

1902-1984

White Branches, Mono Lake, California, 1950 Gelatin silver print, printed 1973-1977. 19 3/8 x 15 1/4 in. (49.2 x 38.7 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 $8,000-12,000 Literature Stillman, Ansel Adams: 400 Photographs, p. 254 Szarkowski, The Portfolios of Ansel Adams, pl. 1 (Part VII) Haas, Senf, Ansel Adams, p. 146, for stamp

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149. Aaron Siskind

1903-1991

Gloucester, 1944 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled and dated in pencil on the mount. Estimate $20,000-30,000 Provenance Bruce Silverstein Gallery, New York Christie’s, New York, Modernist Photographs from a European Collection, 23 April 2007, lot 129 Exhibited Furthermore, Fraenkel Gallery, San Francisco, 22 April- 26 June 2010

In 1944, Aaron Siskind photographed in Gloucester, Massachusetts, producing a series of images that marked a distinct shif in his vision. A native New Yorker, Siskind was afliated with the Photo League and had produced an accomplished body of photographs in the 1930s later published as Harlem Document. By the early 1940s, however, he confessed that the “documentary approach lef me wanting something.” Siskind had photographed in Gloucester before, but 1944 found him approaching subject matter in a new way. Working rigorously with one camera and one lens, Siskind took images that used photography’s ability to capture detail but verged upon the abstract. The photograph ofered here is an exceptional example from this year. It was this work that brought him to the attention of the Abstract Expressionist dealer Charles Egan, who saw the connection between Siskind’s groundbreaking photographs and paintings by Barnett Newman, Willem de Kooning, and Franz Kline, and who would give Siskind his frst oneman exhibition in 1947.

“Last year I spent the summer at the famous New England fshing village of Gloucester, and made a series of photographic still-lifes. . . For the frst time in my life, subject matter, as such, had ceased to be of primary importance. Instead, I found myself involved in the relationships of these objects, so much so that these pictures turned out to be deeply moving and personal experiences. This work was a new departure for me.” Aaron Siskind, 1945

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Actual size

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150. Frederick Sommer

1905-1999

The Milky Way, 1949 Gelatin silver print, probably printed in the 1970s. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled and dated twice in pencil on the reverse of the mount. Estimate $6,000-8,000 Provenance LIGHT Gallery, New York Literature Yale University Press, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 64

151. Frederick Sommer

1905-1999

The Wall, 1951 Gelatin silver print, probably printed in the 1970s. 9 1/2 x 7 5/8 in. (24.1 x 19.4 cm) Signed, titled and dated in pencil on the reverse of the mount. Estimate $6,000-8,000 Provenance LIGHT Gallery, New York Literature Yale University Press, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 36

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152. Aaron Siskind

1903-1991

Chicago 200, 1953 Gelatin silver print. 18 3/4 x 14 1/2 in. (47.6 x 36.8 cm) Signed, titled, dated and inscribed, ‘To Jonathan, homage + love, Aaron’ in pencil on the verso. Estimate $8,000-12,000

This photograph was given originally by Siskind to the poet, publisher, and photographer Jonathan Williams (1929-2008). The two met at the experimental Black Mountain College in North Carolina in the early 1950s, where Aaron Siskind became a photographic mentor to Williams. Williams was the founder of the small-press journal The Jargon Society whose issues paired the photography of Siskind, Harry Callahan, Clarence John Laughlin, Frederick Sommer, and others, with text by poets and writers such as Charles Olson, Denise Levertov, Henry Miller, and Buckminster Fuller.

153. Aaron Siskind

1903-1991

Chicago 206, 1953 Gelatin silver print, printed later. 16 3/4 x 22 3/8 in. (42.5 x 56.8 cm) Signed, titled and dated in ink in the margin. Estimate $3,000-5,000 Provenance Photocollect, Inc., New York Literature Mora, Aaron Siskind: Another Photographic Reality, p. 104 powerHouse Books, Aaron Siskind 100, n.p.

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154. Kenneth Josephson

b. 1932

Drottningholm, Sweden, 1967 Gelatin silver print, printed later. 8 x 12 in. (20.3 x 30.5 cm) Signed, titled, dated and numbered 15/50 in pencil on the verso. Estimate $2,000-3,000 Literature Museum of Contemporary Art, Chicago, Kenneth Josephson, pl. 15 Stephen Daiter Gallery, Kenneth Josephson: the First Fify Years, p. 87 University of Texas Press, The Light of Coincidence: Photographs of Kenneth Josephson, p. 163

155. Harry Callahan

1912-1999

Selected Images of Cape Cod, 1972 Three gelatin silver prints. Each approximately 8 7/8 x 8 7/8 in. (22.5 x 22.5 cm) Each signed in pencil in the margin. Estimate $6,000-8,000 Literature Greenough, Harry Callahan, inside front spread, p. 133 Aperture, Harry Callahan, pp. 31, 87 Szarkowski, Callahan, p. 192 Szarkowski, American Landscapes: Photographs from the Collection of The Museum of Modern Art, p. 58

156. Harry Callahan

1912-1999

Eleanor, Chicago, 1949 Gelatin silver print, printed later. 7 1/4 x 6 5/8 in. (18.4 x 16.8 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. 23 Greenough, Harry Callahan, p. 85 Szarkowski, Callahan, p. 59 El Mochuelo Gallery, Photographs: Harry Callahan, p. 2 Cambridge University Press, A History of Photography: Social and Cultural Perspectives, p. 177

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157. Harry Callahan

1912-1999

Chicago, circa 1950 Gelatin silver print, printed 1970s. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed in pencil in the margin. Estimate $10,000-15,000 Provenance Etherton Gallery, Tucson Literature The Museum of Modern Art, Harry Callahan, p. 65, back cover Szarkowski, Callahan, p. 63

158. Ralph Eugene Meatyard

1925-1972

Occasion for diriment, 1962 Gelatin silver print. 7 3/8 x 7 3/8 in. (18.7 x 18.7 cm) Signed by Madelyn O. Meatyard in ink, estate copyright credit stamp and annotations in unidentifed hands in pencil on the verso. Estimate $6,000-8,000 Provenance Fraenkel Gallery, San Francisco Literature Steidl, Ralph Eugene Meatyard, p. 123

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159. Ray K. Metzker

1931-2014

Chicago, 1958 Gelatin silver print. 7 3/8 x 7 3/8 in. (18.7 x 18.7 cm) Signed, numbered 2/20 and dated in pencil on the reverse of the mount. Estimate $2,500-3,500 Provenance Laurence Miller Gallery, New York Exhibited Wright Museum of Art, Beloit College, Wisconsin, 1959

This photograph was shown in Ray Metzker’s frst one-man exhibition held at the Wright Museum at Beloit College. Metzker had earned his undergraduate degree at Beloit, and at the time of his 1959 exhibition he was in the process of completing his Master’s degree at the Institute of Design in Chicago.

160. Ruth Bernhard

1905-2006

Two Forms, 1963 Gelatin silver print, printed later. 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm) Signed in pencil on the mount; signed and titled in pencil on the reverse of the mount. Estimate $3,000-5,000 Literature Chronicle, Ruth Bernhard: The Eternal Body, pl. 25 Mitchell, Ruth Bernhard: Between Art & Life, p. 102

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Actual size

161. Frederick Sommer

1905-1999

Ondine, 1950 Gelatin silver print, probably printed in the 1960s. 3 1/4 x 5 1/2 in. (8.3 x 14 cm) Signed, titled and dated in pencil on the reverse of the mount. Estimate $12,000-18,000 Provenance Private Collection, United States Literature Davis, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 67, variant

162. Frederick Sommer

1905-1999

Lee Nevin, 1962 Gelatin silver print, printed later. 13 1/4 x 8 3/4 in. (33.7 x 22.2 cm) Signed, titled and dated twice in pencil on the reverse of the mount. Estimate $12,000-18,000 Literature Davis, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 131

End of morning session

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Beginning of afternoon session

163. Garry Winogrand

1928-1984

New York City, 1973 Gelatin silver print, printed 1970s. 8 5/8 x 13 in. (21.9 x 33 cm) Signed, titled and dated in pencil on the verso.

164. Henri Cartier-Bresson

1908-2004

Estimate $10,000-15,000

Manhattan, New York, USA (bank ofcer and his secretary), 1960 Gelatin silver print, printed later. 9 1/2 x 14 in. (24.1 x 35.6 cm) Signed, inscribed ‘for Susan Bloom, with all my gratitude, et mon amitié... Henri’ in ink and copyright credit blindstamp in the margin.

Provenance Pace/MacGill Gallery, New York

Estimate $5,000-7,000

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Provenance Acquired directly from the artist Literature Montier, Henri Cartier-Bresson and the Artless Art, pl. 231 Thames & Hudson, Henri Cartier-Bresson: The Man, The Image and The World, pl. 316

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165. Lee Friedlander

b. 1934

166. Lee Friedlander

b. 1934

NYC, 1963 Gelatin silver print. 6 1/8 x 9 1/4 in. (15.6 x 23.5 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.

NYC, 1963 Gelatin silver print. 6 x 8 7/8 in. (15.2 x 22.5 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $10,000-15,000

Estimate $8,000-12,000

Literature Friedlander, Like a One-Eyed Cat: Photographs 1956-1987, pl. 8 Galassi, Friedlander, pl. 140 Meister, Arbus Friedlander Winogrand: New Documents, 1967, p. 72

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167. Robert Frank

b. 1924

Washington D.C., 1957 Gelatin silver print, probably printed in the 1950s. 8 1/4 x 12 3/4 in. (21 x 32.4 cm) Signed, titled and dated ‘1956’ in ink in the margin. Estimate $15,000-25,000 Provenance Edwynn Houk Gallery, New York, 1986 Literature The Americans, no. 59 Greenough, Looking In: Robert Frank’s The Americans, p. 282, Contact no. 59 Scalo, Robert Frank: Moving Out, p. 155 Galassi, Walker Evans & Company, pl. 230 Kismaric, American Politicians: Photographs from 1843 to 1993, p. 154 Papageorge, Walker Evans and Robert Frank: An Essay on Infuence, p. 33

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168. Dorothea Lange

1895-1965

Union Square, New York, 1952 Gelatin silver print, fush-mounted, printed circa 1965. 18 5/8 x 15 3/8 in. (47.3 x 39.1 cm) Estimate $15,000-20,000 Provenance The Museum of Modern Art, New York Edwynn Houk Gallery, New York ROSEGALLERY, Santa Monica

This photograph was made under Dorothea Lange’s supervision in preparation for the major retrospective of her work at The Museum of Modern Art, New York, in 1966. Curator John Szarkowski had approached Lange in early 1964 about the project, and she then began the process of printing and editing images from her life’s work. Union Square, New York, was featured in the exhibition, which opened just months afer Lange’s death and, with 214 images, remains one of the defnitive presentations of her photographs.

Literature Aperture, Dorothea Lange: Photographs of a Lifetime, p. 130 Davis, The Photographs of Dorothea Lange, p. 90

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169. Saul Leiter

1923-2013

N.Y., 1952 Chromogenic print, printed later. 13 x 8 1/2 in. (33 x 102.9 cm) Signed, titled and dated in ink in the margin. Estimate $7,000-9,000 Literature Photo Poche, Saul Leiter, pl. 28

170. Garry Winogrand

1928-1984

New York, 1968 Gelatin silver print, printed 1970s. 8 3/4 x 13 1/8 in. (22.2 x 33.3 cm) Signed in pencil on the verso. Estimate $10,000-15,000 Provenance Pace/MacGill Gallery, New York Literature San Francisco Museum of Modern Art, Garry Winogrand, pl. 141

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171. Irving Penn

1917-2009

Porter, New York, 1951 Platinum palladium print, printed 1986. 15 3/4 x 12 1/8 in. (40 x 30.8 cm) Signed, titled, dated, numbered 5/12 and annotated in pencil, CondĂŠ Nast copyright credit reproduction limitation and edition stamps on the reverse of the aluminum fush-mount. Estimate $30,000-50,000 Provenance Jackson Fine Art, Atlanta Literature J. Paul Getty Museum, Penn, Small Trades, pl. 157 Penn, Moments Preserved, n.p.

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172. Garry Winogrand

1928-1984

Circle Line Statue of Liberty Ferry, New York, 1971 Gelatin silver print, printed later. 8 1/2 x 12 7/8 in. (21.6 x 32.7 cm) Signed in pencil on the verso. Estimate $6,000-8,000 Literature San Francisco Museum of Modern Art, Garry Winogrand, pl. 91 Szarkowski, Winogrand: Figments from the Real World, p. 139 Szarkowski, Photography Until Now, p. 263

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173. Lee Friedlander

b. 1934

NYC, 1971 Gelatin silver print. 7 3/8 x 11 in. (18.7 x 27.9 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $4,000-6,000 Provenance Janet Borden, Inc., New York

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174. Garry Winogrand

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1928-1984

175. Daido Moriyama

b. 1938

New York, circa 1962 Gelatin silver print, printed later. 8 3/4 x 13 1/8 in. (22.2 x 33.3 cm) Signed in pencil on the verso.

Circus, 1973 Gelatin silver print, printed later. 9 5/8 x 13 3/8 in. (24.4 x 34 cm) Signed in Japanese in pencil on the verso.

Estimate $5,000-7,000

Estimate $2,500-3,500

Literature San Francisco Museum of Modern Art, Garry Winogrand, pl. 98 Szarkowski, Winogrand: Figments from the Real World, p. 130 Szarkowski, Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art, p. 188

Provenance Private Collection, London Phillips de Pury & Company, London, 19 May 2011, lot 73

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176. Harry Callahan

1912-1999

Chicago, 1960 Gelatin silver print, printed later. 8 x 12 in. (20.3 x 30.5 cm) Signed in pencil in the margin. Estimate $4,000-6,000 Provenance LIGHT Gallery, New York Literature Greenough, Harry Callahan, p. 127 Szarkowski, Callahan, p. 131

177. Lewis Baltz

1945-2014

The Berkeley Crisis, 1968 Gelatin silver print, printed 1992. 3 5/8 x 4 3/4 in. (9.2 x 12.1 cm) Signed, titled ‘Berkeley’, dated and numbered 2/7 in pencil on the verso. Estimate $6,000-8,000 Provenance Janet Borden, Inc., New York Literature Steidl, Lewis Baltz, p. 29 Actual size

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178. Art Sinsabaugh

1924–1983

Chicago Land #43, 1964 Gelatin silver print. 5 7/8 x 19 1/2 in. (14.9 x 49.5 cm) Signed, titled ‘Chi. La. #43’ and dated in pencil on the mount. Estimate $5,000-7,000

179. Elliott Erwitt

b. 1928

Nikita Khrushchev & Richard Nixon, Moscow, USSR, 1959 Gelatin silver print. 6 5/8 x 9 1/2 in. (16.8 x 24.1 cm) Signed in pencil in the margin; signed, titled ‘Moscow USSR’ and dated in pencil, Magnum copyright credit and ‘Photo Library Print’ stamps on the verso; printed Magnum label afxed to the verso.

Literature Erwitt, Elliott Erwitt: Personal Exposures, p. 65 Erwitt, Elliott Erwitt: Snaps, p. 307 teNeues, Elliott Erwitt: Personal Best, p. 260

Estimate $4,000-6,000

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180. Irving Penn

1917-2009

Marcel Duchamp, New York, April 30, 1948 Platinum palladium print, printed 1979. 18 7/8 x 12 1/8 in. (47.9 x 30.8 cm) Signed, titled, numbered 19/20, annotated in pencil, copyright credit CondĂŠ Nast reproduction limitation and edition stamps on the reverse of the aluminum fush-mount. Estimate $20,000-30,000

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Provenance Private Collection, Los Angeles Literature Szarkowski, Irving Penn, pl. 13 Hambourg and Rosenheim, Irving Penn: Centennial, pl. 29, variant Penn, Passage: A Work Record, p. 57, variant Westerbeck, Irving Penn: A Career in Photography, pl. 19, variant

04/09/18 18:33


181. Irving Penn

1917-2009

Four Guedras, Morocco, 1971 Platinum palladium print, printed 1985. 22 3/4 x 19 5/8 in. (57.8 x 49.8 cm) Signed, initialed, titled, dated, numbered 18/18, annotated in pencil, credit, copyright credit (courtesy Vogue) CondĂŠ Nast reproduction limitation and edition stamps on the reverse of the aluminum fush-mount.

Provenance Pace/MacGill Gallery, New York Christie’s, New York, 6 April 2016, lot 66 Literature Hambourg and Rosenheim, Irving Penn: Centennial, pl. 153

Estimate $40,000-60,000

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182. W. Eugene Smith

1918-1978

Selected Images, 1947-1959 Nine gelatin silver prints, printed later. Varying dimensions from 7 x 5 7/8 in. (17.8 x 14.9 cm) to 13 1/4 x 10 in. (33.7 x 25.4 cm) or the reverse Each print signed in stylus on the recto; each variously signed, titled, annotated in ink and/or pencil and stamped on the mount or the reverse of the mount. Estimate $12,000-18,000 Literature Harry N. Abrams, Inc., W. Eugene Smith: Photographs 1934-1975, cover, pp. 95, 127, 133, 163, 241, 328, 331, 335 Aperture, Let Truth Be the Prejudice – W. Eugene Smith: His Life and Photographs, pp. 46, 128, 143, 156-157, 163, 214 Aperture, W. Eugene Smith: Master of the Photographic Essay, pp. 48, 72, 80, 100, 107, 130, 189

183. Yousuf Karsh

1908-2002

Georgia O’Keefe, 1956 Gelatin silver print, printed later. 12 3/8 x 10 in. (31.4 x 25.4 cm) Signed and copyright notation in ink in the margin. Estimate $4,000-6,000 Literature Karsh, Yousuf Karsh: Heroes of Light and Shadow, p. 41 Godine, Karsh: Beyond the Camera, p. 103 University of Toronto Press, Karsh Portraits, p. 151

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184. W. Eugene Smith

1918-1978

Walk to Paradise Garden, 1946 Gelatin silver print, printed later. 14 5/8 x 12 1/2 in. (37.1 x 31.8 cm) Signed in stylus on the recto; copyright credit in an unidentifed hand in ink on the reverse of the mount. Estimate $15,000-25,000

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Literature Hughes, W. Eugene Smith: Shadow & Substance, back cover, n.p. Aperture, Let Truth Be the Prejudice – W. Eugene Smith: His Life and Photographs, p. 30 Aperture, W. Eugene Smith: His Photographs and Notes, n.p. Aperture, W. Eugene Smith: Master of the Photographic Essay, p. 125 Harry N. Abrams, Inc., W. Eugene Smith: Photographs 1934-1975, p. 287 Phaidon, W. Eugene Smith 55, p. 31

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185. Garry Winogrand

1928-1984

Albuquerque, New Mexico, 1957 Gelatin silver print, printed later. 8 3/4 x 13 1/4 in. (22.2 x 33.7 cm) Signed in pencil on the verso. Estimate $7,000-10,000 Literature Szarkowski, Winogrand: Figments from the Real World, cover, p. 135 San Francisco Museum of Modern Art, Garry Winogrand, pl. 151 TF. Editores, Garry Winogrand: El Juego de la Fotografía. The Game of Photography, p. 43 Szarkowski, Mirrors and Windows: American Photography Since 1960, p. 92

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186. Lee Friedlander

b. 1934

Texas, 1965 Gelatin silver print, printed 1970s. 7 3/8 x 11 in. (18.7 x 27.9 cm) Signed in pencil, copyright credit reproduction limitation and ‘1978’ date stamps on the verso. Estimate $6,000-8,000 Provenance LIGHT Gallery, New York Literature Friedlander, Like a One-Eyed Cat: Photographs 1956-1987, pl. 35 Galassi, Friedlander, pl. 123

04/09/18 18:36


187. Danny Lyon

b. 1942

Selected Images of Bikeriders and Chicago, 1963-1966 Nine gelatin silver prints, printed circa 1965-1984. Varying dimensions from 9 3/4 x 9 3/4 in. (24.8 x 24.8 cm) to 12 7/8 x 8 5/8 in. (32.7 x 21.9 cm) or the reverse Each signed and variously initialed, titled and/or dated in ink and/or pencil; ‘Bleak Beauty’ stamp on the verso of two prints. Estimate $20,000-30,000 Provenance Acquired directly from the artist Literature Lyon, The Bikeriders, cover and pp. 4, 6, 15, 22, 26, 37, 49

Titles include: RT. 12, Wisconsin, 1963; Andy, Meeting at The Spotlight, 1965; Cowboy + Sparky, Schererville, Ill., 1965; Jack, Chicago, 1965; The McHenry Track, Illinois, 1965; Racer, Shererville, Indiana, 1965; Uptown, 1965; Uptown, Chicago, 1965; Crossing the Ohio River, from Louisville, KY, 1966

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188. Danny Lyon

b. 1942

Selected Images, 1962-1978 Four gelatin silver prints, printed 1970-1984. Varying dimensions from 8 1/2 x 12 1/2 in. (21.6 x 31.8 cm) to 8 7/8 x 13 1/2 in. (22.5 x 34.3 cm) Each signed, titled and dated in ink and/or pencil; one initialed in pencil on the verso; ‘Bleak Beauty’ stamp on the verso of two prints.

Provenance Acquired directly from the artist

Titles include: Morelia, Mexico, 1978; Nuevas Casas, Grandes, Mexico, 1975; Llanito, NM, 1970; Yuma, Calif., 1962

Estimate $5,000-7,000

189. Lee Friedlander

b. 1934

New Orleans, 1979 Gelatin silver print. 12 1/4 x 18 1/4 in. (31.1 x 46.4 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $3,000-5,000

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190. Robert Frank

b. 1924

New Mexico, 1956 Gelatin silver print. 8 3/8 x 13 in. (21.3 x 33 cm) Signed, titled and dated in ink in the margin; titled, dated in pencil, ‘Robert Frank Archive’, ‘Annuals 584’ and copyright credit stamps on the verso. Estimate $40,000-60,000 Provenance Lunn LTD., New York Robert Freidus Gallery, New York

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Literature U.S. Camera, 1958, special insert, likely this print Greenough, Looking In: Robert Frank’s The Americans, p. 477

According to Sarah Greenough’s research in Looking In, Robert Frank at one point considered this image in an alternative sequencing for The Americans. As of this writing, it is believed that a print of this image has never appeared at auction before.

04/09/18 20:59


191. Richard Misrach

b. 1949

Ocotillo #1, Arizona, 1976 Toned gelatin silver print. 14 x 14 in. (35.6 x 35.6 cm) Signed, dated and annotated ‘Plate #23’ in pencil on the verso. Estimate $5,000-7,000 Provenance Grapestake Gallery, San Francisco Literature Fraenkel Gallery, Richard Misrach: Chronologies, n.p. Grapestake Gallery, Richard Misrach, n.p.

192. Richard Misrach

b. 1949

Untitled, Saguaro, 1975 Toned gelatin silver print. 14 x 13 3/4 in. (35.6 x 34.9 cm) Signed, dated and annotated ‘Plate #52’ in pencil on the verso. Estimate $4,000-6,000 Provenance Grapestake Gallery, San Francisco Literature Grapestake Gallery, Richard Misrach, n.p.

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193. Henry Wessel, Jr.

b. 1942

Buena Vista, Colorado, 1973 Gelatin silver print, printed later. 15 1/8 x 22 1/2 in. (38.4 x 57.2 cm) Signed, titled, dated and numbered 5/12 in pencil on the verso. Estimate $3,000-5,000 Provenance Carole Christensen Lief Gallery, Venice, California Literature Steidl, Henry Wessel, pl. 23

194. Henry Wessel, Jr.

b. 1942

Tucson, Arizona, 1976 Gelatin silver print, printed later. 15 1/4 x 22 1/2 in. (38.7 x 57.2 cm) Signed, titled, dated and numbered 4/12 in pencil on the verso. Estimate $3,000-5,000 Provenance Carole Christensen Lief Gallery, Venice, California Literature Steidl, Henry Wessel, pl. 37

195. Lee Friedlander

b. 1934

Denver, 1998 Gelatin silver print. 14 7/8 x 14 5/8 in. (37.8 x 37.1 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $4,000-6,000 Provenance Janet Borden, Inc., New York Literature Galassi, Friedlander, p. 5

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196. Henry Wessel, Jr.

b. 1942

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 8/12 in pencil on the verso.

197. William Egleston

b. 1939

Estimate $5,000-7,000

Untitled, circa 1970 Dye transfer print from Dust Bells Volume I, printed 2004. 12 x 17 3/4 in. (30.5 x 45.1 cm) Signed in ink in the margin; Eggleston Artistic Trust copyright credit reproduction limitation stamp on the verso. Number 1 from an edition of 15.

Provenance Rena Bransten Gallery, San Francisco

Estimate $7,000-9,000 Provenance ROSEGALLERY, Santa Monica

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198. William Egleston

b. 1939

Untitled, circa 1965-1968 Dye transfer print from Dust Bells Volume II, printed 2004. 11 3/4 x 17 3/4 in. (29.8 x 45.1 cm) Signed in ink in the margin; Eggleston Artistic Trust copyright credit reproduction limitation stamp on the verso. Number 2 from an edition of 15. Estimate $30,000-40,000 Provenance ROSEGALLERY, Santa Monica

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199. Alfred Eisenstaedt

1898-1995

St. Moritz, Rene Brequet Serves Cocktails at the Grand Hotel Ice Rink, 1932 Gelatin silver print, printed 1979. 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm) Signed and numbered 24/50 in ink in the margin; titled, dated in an unidentifed hand in pencil, copyright credit reproduction limitation and Time Inc. ‘Photo by Alfred Eisenstaedt’ credit stamps on the verso. Estimate $4,000-6,000

200. Jacques Henri Lartigue

1894-1986

The Famous Rowe Twins of the Casino de Paris, 1929 Gelatin silver print, printed later. 14 x 9 in. (35.6 x 22.9 cm) Signed in ink in the margin. Estimate $3,000-5,000 Literature Benteli Verlag Bern, Jacques Henri Lartigue: Album, p. 84

Provenance Private Collection, New York Literature Eisenstaedt, Eisenstaedt on Eisenstaedt: a Self-Portrait, p. 33 Eisenstaedt, Eisenstaedt: Remembrances, p. 4, variant

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201. Frank Horvat

b. 1928

Paris, for Jardin des Modes, Givenchy Hat (b), 1958 Gelatin silver print, printed 2014. 20 1/4 x 29 in. (51.4 x 73.7 cm) Signed and numbered 3/12 in ink in the margin; signed in pencil on the verso. Estimate $12,000-18,000 Provenance Holden Luntz Gallery, Palm Beach Literature J. Paul Getty Museum, Icons of Style: A Century of Fashion Photography, front matter, pl. 116

202. William Klein

b. 1928

Simone + Nina, Piazza di Spagna, Rome (Vogue), 1960 Gelatin silver print, printed later. 17 7/8 x 13 in. (45.4 x 33 cm) Signed, titled and dated in pencil on the verso. Estimate $6,000-8,000 Provenance Jackson Fine Art, Atlanta Literature Bibliothek der Fotografe, William Klein, p. 52 Random House, William Klein: In & Out of Fashion, p. 65

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“The way I see is comparable to the way musicians hear, something extrasensory. Not judgmental. I don’t diferentiate between an idea of what is beautiful and what is not. What I see is a reafrmation of the many things I need to feel.” Richard Avedon

203. Richard Avedon

1923-2004

Dovima with elephants, Evening dress by Dior, Cirque d’Hiver, Paris, August, 1955 Gelatin silver print, printed later. 23 x 18 1/4 in. (58.4 x 46.4 cm) Signed, numbered 36/50 in ink, title, date, edition and copyright credit reproduction limitation stamps on the reverse of the linen fush-mount. Estimate $60,000-80,000 Provenance Private Collection, Los Angeles Literature Harper’s Bazaar, September 1955, p. 215 Avedon & Brodkey, Avedon Photographs, 1947-1977, back cover and pl. 159 Avedon, Woman in the Mirror, p. 36 Fraenkel Gallery, Richard Avedon: Made in France, n.p. Harry N. Abrams, Inc., Avedon Fashion: 1944-2000, p. 137 Random House, Evidence, 1944-1994: Richard Avedon, p. 53 Bailey & Harrison, Shots of Style: Great Fashion Portraits, cat. no. 7 Davis, An American Century of Photography, From Dry-Plate to Digital: The Hallmark Photographic Collection, pl. 368 Gee, Photography of the Fifies: An American Perspective, p. 84 Hall-Duncan, The History of Fashion Photography, p. 137 Harrison, Appearances: Fashion Photography since 1945, p. 73 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 189 J. Paul Getty Museum, Icons of Style: A Century of Fashion Photography, pl. 111 Mazzola, 125 Great Moments of Harper’s Bazaar, pl. 3 Taschen, 20th Century Photography: Museum Ludwig Cologne, p. 29 The Metropolitan Museum of Art, The Model as Muse: Embodying Fashion, p. 50

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204. Frank Horvat

b. 1928

Paris, for Jardin des Modes, at ‘Le Chien Qui Fume’, 1957 Gelatin silver print, printed 2014. 29 3/4 x 19 3/4 in. (75.6 x 50.2 cm) Signed and numbered 4/12 in ink in the margin; signed in pencil on the verso. Estimate $7,000-9,000 Provenance Holden Luntz Gallery, Palm Beach

205. Elliott Erwitt

b. 1928

California Kiss, Santa Monica, 1955 Gelatin silver print, printed later. 24 1/2 x 37 3/4 in. (62.2 x 95.9 cm) Signed on a label accompanying the work. Estimate $6,000-8,000 Provenance Private Collection, New York Literature Phaidon, Elliott Erwitt: Snaps, p. 502 teNeues, Elliott Erwitt: Personal Best, pp. 434-435 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 105

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206. Elliott Erwitt

b. 1928

Paris, 1989 Gelatin silver print, printed later. 12 3/8 x 16 7/8 in. (31.4 x 42.9 cm) Signed in ink in the margin; signed, titled and dated in pencil on the verso. Estimate $4,000-6,000 Provenance Private Collection, New York Literature Phaidon, Elliott Erwitt: Snaps, pp. 434-435 teNeues, Elliott Erwitt: Personal Best, pl. 269

207. Richard Avedon

1923-2004

Richard Avedon: Made in France San Francisco: Fraenkel Gallery, 2001 A book accompanied by a gelatin silver print, Suzy Parker and Gardner McKay, Dress by Balmain, Café des Beaux-Arts, Paris, 1956. Print 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Book 14 3/4 x 11 1/4 x 1/2 in. (37.5 x 28.6 x 1.3 cm) Book signed and numbered 53/100 in ink on the last page. Enclosed in custom wooden slipcase with printed title. Print signed, numbered 53/100 in pencil, title, date, edition information and copyright reproduction limitation stamps on the verso. Estimate $8,000-12,000

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208. Ormond Gigli

b. 1925

Girls in Windows, New York City, 1960 Archival pigment print, printed later. 30 7/8 x 31 in. (78.4 x 78.7 cm) Signed, titled, dated and numbered 13/75 in ink in the margin. Estimate $20,000-30,000 Provenance Peter Fetterman Gallery, Santa Monica Literature powerHouse Books, Ormond Gigli: Girls in the Windows and Other Stories, cover, p. 23 Little, Brown & Company, Refections in a Glass Eye: Works from the ICP, pl. 63

209. Elliott Erwitt

b. 1928

Paris, 1989 Gelatin silver print, printed later. 14 x 21 in. (35.6 x 53.3 cm) Signed, titled and dated in pencil on the verso. Estimate $4,000-6,000 Provenance Private Collection, New York Literature teNeues, Elliott Erwitt: Personal Best, pp. 184-185

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210. Irving Penn

1917-2009

Callot Swallow-Tail Dress, 1974 Platinum-palladium print. 20 1/2 x 18 in. (52.1 x 45.7 cm) Signed, titled, dated, numbered 6/19, annotated in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum fush-mount.

Provenance Marlborough Gallery, New York Private Collection, New York Literature Penn, Passage: A Work Record, p. 213 Szarkowski, Irving Penn, pl. 122

Estimate $40,000-60,000

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211. Horst P. Horst

1906-1999

Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 17 3/4 x 14 in. (45.1 x 35.6 cm) Signed in pencil on the verso; signature blindstamp in the margin. Estimate $8,000-12,000 Provenance Holden Luntz Gallery, Palm Beach 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 J. Paul Getty Museum, 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

212. Horst P. Horst

1906-1999

Odalisque I, N.Y., 1943 Gelatin silver print, printed later. 21 3/4 x 17 7/8 in. (55.2 x 45.4 cm) Signed in pencil on the verso; signature blindstamp in the margin. Estimate $7,000-9,000 Provenance Holden Luntz Gallery, Palm Beach Literature Kazmaier, Horst: Sixty Years of Photography, pl. 53

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213. George Hoyningen-Huene

1900-1968

Divers, Horst with Model, Paris, 1930 Gelatin silver print, printed later. 20 1/2 x 16 1/2 in. (52.1 x 41.9 cm) Signed and annotated ‘From the Collection of [Horst]’ by Horst P. Horst in pencil on the verso; HoyningenHuene/Horst copyright credit blindstamp in the margin. Number 5 from an edition of 10. Estimate $10,000-15,000 Provenance Holden Luntz Gallery, Palm Beach

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Literature Vogue, 5 July 1930 Angeletti and Oliva, In Vogue, p. 70 Hall-Duncan, The History of Fashion Photography, p. 61 Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, p. 117 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 106 J. Paul Getty Museum, Icons of Style: A Century of Fashion Photography, pl. 37 Taschen, 20th Century Photography: Museum Ludwig Cologne, p. 227

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“It’s that I don’t like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room.” Helmut Newton

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214. Helmut Newton

1920-2004

Saddle II, Paris, 1976 Gelatin silver print. 29 1/2 x 44 in. (74.9 x 111.8 cm) Signed, dated ‘1977’, annotated ‘Paris’ in ink and copyright credit reproduction limitation stamp on the verso. Estimate $70,000-90,000 Provenance Delahunty Gallery, Dallas, 1979 Private Collection, Dallas Literature Vogue Hommes, 1976 Newton, Sleepless Nights, pp. 66-67

This large format print of Newton’s iconic Saddle II, Paris was included in an early exhibition at the Delahunty Gallery in Dallas, Texas in 1979. Hotel Room, Place de la République, Paris, 1976 (lot 220) was also included in this exhibition and both works have been privately held in separate collections since they were acquired.

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215. Irving Penn

1917-2009

Nude, 1949-1950 Gelatin silver print. 19 1/2 x 11 3/4 in. (49.5 x 29.8 cm) Signed, annotated in pencil, two credit stamps, two Condé Nast copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 11. Estimate $12,000-18,000 Provenance Marlborough Gallery, New York Private Collection, New York Literature Hambourg, Earthly Bodies: Irving Penn’s Nudes 1949-1950, p. 24

216. Horst P. Horst

1906-1999

Lisa on Silk I, N.Y., 1940 Gelatin silver print, printed later. 21 5/8 x 17 1/4 in. (54.9 x 43.8 cm) Signed in pencil on the verso; signature blindstamp in the margin. Estimate $8,000-12,000 Provenance Holden Luntz Gallery, Palm Beach Literature Kazmaier, Horst: Sixty Years of Photography, pl. 32 Rizzoli, Horst: Photographer of Style, pl. 33

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Property of an Important East Coast Collector

217. 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 $50,000-70,000 Provenance Christie’s, New York, 23 April 1996, lot 531 Literature Random House, Mapplethorpe: Pistils, p. 119

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218. Jeanloup Sief

1933-2000

Nu Pompier, Paris, 1956 Gelatin silver print, printed later. 11 1/4 x 11 1/4 in. (28.6 x 28.6 cm) Signed and dated in ink in the margin; titled, dated in ink and copyright stamp on the verso. Estimate $12,000-18,000

219. Helmut Newton

1920-2004

Xavier Moreau and friend, Paris, 1974 Gelatin silver print. 22 3/8 x 14 7/8 in. (56.8 x 37.8 cm) Signed, titled, dated and numbered 1/10 in pencil on the verso. Estimate $5,000-7,000

The photograph ofered here and lot 227 were purchased in conjunction with the exhibition Eroticism in the 20th Century at Aoyama Bell Commons, Tokyo, in 1992.

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220. Helmut Newton

1920-2004

Hotel Room, Place de la République, Paris, 1976 Gelatin silver print. 17 1/4 x 11 5/8 in. (43.8 x 29.5 cm) Signed, dated, annotated ‘Paris’ in ink and copyright credit reproduction limitation stamp on the verso. Estimate $25,000-35,000

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Provenance Delahunty Gallery, Dallas, 1979 Private Collection, Santa Fe Literature Newton, Autobiography, p. 225 Schirmer/Mosel, Helmut Newton: Private Property, pl. 15

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221. Robert Mapplethorpe

1946-1989

Skull, 1988 Gelatin silver print. 19 1/8 x 19 1/4 in. (48.6 x 48.9 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 5 from an edition of 10. Estimate $50,000-70,000 Provenance Private Collection, Midwest Literature Kardon, Robert Mapplethorpe: The Perfect Moment, back cover Celant, Mapplethorpe: the Nymph Photography, pl. 107 Celant, Robert Mapplethorpe and The Classical Tradition, pl. 117 Random House, Mapplethorpe, p. 305

Taken in the last year of the photographer’s life, the meticulously composed Skull reinterprets the memento mori through Robert Mapplethorpe’s highly stylized vision. With its carefully-modulated diagonal bands of light and shadow in the background, and its precise rendering of detail in its principle subject, Skull acknowledges the inevitability of death, but also shows the possibility of beauty within death—a beauty that stands in defance of mortality. While beauty and death were themes that Mapplethorpe explored throughout his career, they acquire a new eloquence in this late image in light of his death from complications due to HIV/AIDS in March of 1989. Skull was chosen as the back cover illustration for The Perfect Moment, the catalogue accompanying the photographer’s fnal lifetime exhibition. The controversy surrounding the exhibition—including the Corcoran Gallery of Art’s abrupt cancellation, and the obscenity trial in Cincinnati—shaped the cultural debate surrounding not only public support of the arts, but art’s place in public life.

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Seen against this backdrop, and that of the growing AIDS crises, Skull’s austere account of its subject matter provides a dignifed and powerful response to the contentious voices on all sides. Skull is the perfect counterpoint to the delicate calla lily study chosen to grace the front cover of The Perfect Moment. The two images are apt bookends for Mapplethorpe’s career: Calla Lily signifying Mapplethorpe’s skill in capturing the sensuality of natural forms, and Skull representing his darker themes. Both images show the photographer’s unwavering obsession with the object in front of his camera, his desire to capture the physical essence of his subjects, and his belief in photography as the perfect medium to convey this to the viewer. Prints of Skull have appeared on the market infrequently. It is believed that a print of this image has not been ofered at auction since October of 1999. Two of Mapplethorpe’s studies of calla lilies are ofered in this auction as lots 217 and 224.

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“Everything, down to the tiniest detail, is controlled. Nothing is left to chance. Mastery is total. Figures and fowers turn into statues in a space without air. They are, in a sense, dead. Mapplethorpe’s art is at the same time a bitter strugle against death and a wholehearted embrace of it.” Michael Brenson, New York Times, 22 July 1989

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222. Lynn Davis

b. 1944

Victoria Falls, Zimbabwe, 1998 Gold toned gelatin silver print. 27 1/2 x 27 1/2 in. (69.9 x 69.9 cm) Signed, dated, numbered 3/10 in ink and credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $4,000-6,000 Provenance Edwynn Houk Gallery, New York Literature Gates, Jr., Wonders of the African World, p. 268

223. Michael Kenna

b. 1953

Selected Images, 1985-1993 Four toned gelatin silver prints. Varying dimensions from 6 x 8 7/8 in. (15.2 x 22.5 cm) to 8 x 7 1/2 in. (20.3 x 19.1 cm) or the reverse Each signed, dated and numbered in pencil on the mount; each signed, titled, dated and numbered in pencil within the artist’s copyright credit edition stamp on the reverse of the mount. Each from an edition of 45. Estimate $4,000-6,000 Provenance Robert Klein Gallery, Boston Robert Mann Gallery, New York, for Moon and Sundial Literature Nazraeli Press, Michael Kenna: A Twenty Year Retrospective, pl. 39 Skira, Michael Kenna: Images of the Seventh Day, p. 82

Titles include: Moon and Sundial, Vezelay, France, 1993; Fence Posts, Tidal Lagoon, Elkhorn Slough, California, 1989; Le Desert de Retz, Study 4, France, 1988; Chapel Cross Power Station, Study I, Scotland, 1985

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224. Robert Mapplethorpe

1946-1989

Calla Lily, 1988 Gelatin silver print, printed 1989. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fush-mount. AP 2/2 from an edition of 10 plus 2 artist’s proofs. Estimate $30,000-50,000 Provenance Galeria Ramis Barquet, New York Marvin Ross Friedman & Co., Miami Private Collection, Miami

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225. Michael Dweck

b. 1957

Sonya, Poles, Montauk, N.Y., 2002 Gelatin silver print. 17 3/4 x 13 7/8 in. (45.1 x 35.2 cm) Signed, titled, dated and numbered 24/30 in pencil on the verso. Estimate $5,000-7,000 Provenance Modernism, San Francisco

226. Albert Watson

b. 1942

Frederique, New York City, 1996 Archival pigment print, printed later. 44 x 34 3/4 in. (111.8 x 88.3 cm) Overall 59 x 49 in. (149.9 x 124.5 cm) Signed, titled, dated and numbered 1/3 in ink on a label afxed to the reverse of the frame. Estimate $7,000-9,000 Provenance Holden Luntz Gallery, Palm Beach

Literature Harry N. Abrams, Inc., Michael Dweck, The End: Montauk, N.Y., cover

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227. Helmut Newton

1920-2004

Tied-up Torso, Ramatuelle, 1980 Gelatin silver print. 18 3/8 x 18 1/4 in. (46.7 x 46.4 cm) Signed, titled, dated and numbered 6/10 in pencil on the verso. Estimate $40,000-60,000

The photograph ofered here and lot 219 were purchased in conjunction with the exhibition Eroticism in the 20th Century at Aoyama Bell Commons, Tokyo, in 1992.

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228. Robert Mapplethorpe

1946-1989

Y Portfolio Washington D.C.: Harry Lunn; New York: Robert Miller; London: Robert Self, 1978. Thirteen selenium toned gelatin silver prints. Each approximately 7 1/2 x 7 1/2 in. (19.1 x 19.1 cm) Each signed, numbered 8/25 in pencil and sequentially blindstamped ‘1-13’ on the mount. Colophon numbered ‘8’ in an unidentifed hand in ink, poem by Patti Smith, plate list and pink paper interleaving. Accompanied by a gray silk clamshell case with gilt title ‘Y’. Number 8 from an edition of 25 plus 6 lettered artist’s proofs. Estimate $30,000-50,000 Provenance Private Collection, Los Angeles Literature Random House, Mapplethorpe Pistils, pp. 35, 37-39, 55, 57, 62-63, 69, 94-95 teNeues, Mapplethorpe: The Complete Flowers, n.p.

Ofen overshadowed by the discourse surrounding his more confrontational imagery, Robert Mapplethorpe’s fower studies remain a crucial aspect of his oeuvre and artistic legacy. In 1978, Mapplethorpe chose thirteen of his best fower images for the Y Portfolio. This portfolio took the central place within his suite of three lettered portfolios: X Portfolio, which featured his controversial images of sadomasochistic sex; and Z Portfolio, of African-American male nude studies, including the notorious Man in Polyester Suit. The photographs in Y Portfolio, with their exquisitely captured foral subject matter, provide an interlude between the more provocative images of X and Z. Yet, Mapplethorpe viewed and treated his varying subjects the same. Throughout his career, he was fascinated with the convergence of formal beauty, transgression, pleasure, and the duality of masculinity and femininity. In Y Portfolio, the thirteen beautifully-rendered images of fowers encapsulate these fascinations. Regardless of his subject matter, Mapplethorpe composed his images with a classicist’s eye and a perfectionist’s attention to the craf of photography.

Titles include: Tulips, N.Y.C., 1977; Iris’s, N.Y.C., 1977; Amaryllis, Paris, 1977; Tuberose, N.Y.C., 1977; Buds (Lily), N.Y.C., 1977; Lily, N.Y.C., 1977; Rose, N.Y.C., 1977; Orchid, N.Y.C., 1977; Chrysanthemum, N.Y.C., 1977; Baby’s Breath, N.Y.C., 1978; Kale, N.Y.C., 1978; Gardenia, N.Y.C., 1978; Carnation, N.Y.C., 1978

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229. Robert Mapplethorpe

1946-1989

Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 7 from an edition of 10. Estimate $25,000-35,000 Provenance Private Collection, Midwest Literature St. Martin’s Press, Lady Lisa Lyon, p. 109 Vau, Robert Mapplethorpe, p. 35

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Property of an Important East Coast Collector

230. Nan Goldin

b. 1953

Christmas at the Other Side, Boston, 1973 Gelatin silver print, printed later. 12 1/2 x 18 3/8 in. (31.8 x 46.7 cm) Signed, titled, dated and numbered 12/18 in pencil on the verso. Estimate $7,000-9,000 Provenance Matthew Marks Gallery, New York Literature Bibliothek der Fotografe, Portfolio: Nan Goldin, pp. 4-5 Goldin, Nan Goldin: Couples and Loneliness, pp. 24-25

231. Robert Mapplethorpe

1946-1989

Ken Moody, 1985 Gelatin silver print. 19 x 15 in. (48.3 x 38.1 cm) Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 1 from an edition of 10. Estimate $7,000-9,000 Provenance Robert Miller Gallery, New York

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Property of an Important East Coast Collector

232. Robert Mapplethorpe

1946-1989

Ken and Lydia, 1985 Gelatin silver print. 19 1/4 x 15 1/8 in. (48.9 x 38.4 cm) Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 1 from an edition of 10. Estimate $30,000-50,000 Provenance Robert Miller Gallery, New York

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233. Nan Goldin

b. 1953

234. Nan Goldin

b. 1953

Valerie Floating in the Sea, Mayreaux, 2001 Dye destruction print. 25 1/2 x 38 in. (64.8 x 96.5 cm) Signed, titled, dated and numbered 6/15 in ink on a label afxed to the reverse of the fush-mount.

Suzanne with Mona Lisa, Mexico City, 1981 Dye destruction print, printed later. 26 x 38 1/2 in. (66 x 97.8 cm) Signed, titled, dated and numbered 20/25 in ink on the reverse of the fush-mount.

Estimate $5,000-7,000

Estimate $7,000-9,000

Provenance Matthew Marks Gallery, New York Private Collection, New York

Provenance Matthew Marks Gallery, New York Private Collection, New York

Literature Phaidon, The Devil’s Playground, pp. 304-305

Literature Aperture, Nan Goldin: The Ballad of Sexual Dependency, p. 23 Goldin, Nan Goldin: Couples and Loneliness, p. 14 Whitney Museum of American Art, Nan Goldin: I’ll Be Your Mirror, p. 152

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Property of an Important East Coast Collector

235. Nan Goldin

b. 1953

Jimmy Paulette on David’s Bike, N.Y.C., 1991 Dye destruction print. 15 3/4 x 23 3/8 in. (40 x 59.4 cm) Signed, titled, dated and numbered 8/25 in ink on the verso. Estimate $7,000-9,000 Provenance Matthew Marks Gallery, New York Literature Bibliothek der Fotografe, Portfolio: Nan Goldin, cover

236. Wolfgang Tillmans

b. 1968

Central Nervous System, 2013 Inkjet print. 16 x 12 in. (40.6 x 30.5 cm) Framed 17 3/8 x 13 3/8 x 1 in. (44.1 x 34 x 2.5 cm) Signed, titled, numbered, inscribed and dated ‘Wolfgang Tillmans, Central Nervous System, 2/10+1, ph 02/2013, pr WT 12/2013’ on the reverse. Photographed in 2013 and printed in 2013, this work is number two from an edition of ten plus one artist proof. Estimate $7,000-9,000 Provenance David Zwirner, New York Literature Fondation Beyeler, Wolfgang Tillmans, p. 218

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237. Wolfgang Tillmans

b. 1968

Freischwimmer 20, 2003 Inkjet print. 72 x 53 3/4 in. (182.9 x 136.5 cm) This work is from an edition of one plus one artist’s proof. This work is accompanied by a Certifcate of Authenticity signed by the artist. Estimate $120,000-180,000 Provenance Galleria S.A.L.E.S., Rome Phillips de Pury & Company, New York, 4 March 2011, lot 2 Literature Taschen, 100 Contemporary Artists L-Z, cover

Over the last three decades, Wolfgang Tillmans has emerged as a groundbreaking artist whose dynamic and diverse body of work ranges from experimental abstractions to intimate portraits and meticulous installations. With an attentive eye to detail, he manipulates with dexterity a complete mastery of the photographic process in a manner that weaves an intricate narrative between photography and contemporary art, challenging viewers’ perceptions and expectations. In the introduction to Wolfgang Tillmans: Freischwimmer, the catalogue for the 2004 exhibition organized by the Toyko Opera Cultural Foundation, assistant curator Iida Shihoko writes that Tillmans’ photographs “capture the essence of the kind of expression unique to photography.” Indeed, at the core of his work is a keen awareness of the medium’s fuidity, and its ability to capture the real, and to create the abstract. It is how one connects his early portraits—images of his friends imbued with the casual aesthetic of a snapshot—with his subsequent abstractions. The former is a celebration of the medium’s ability to document the world with immediacy; the latter a celebration of its most basic principle—the transformation of light into line. Freischwimmer 20 is an exquisite example from Tillmans’ most renowned series of abstractions in which he trades his camera for a light pen, which he

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then uses to “draw” on photographic paper in the darkroom. Like his predecessors Man Ray and László Moholy-Nagy who famously experimented with cameraless photography as one aspect of their wildly diverse oeuvres, Tillmans reduces his practice to the most elementary components of the medium: light, paper and chemistry. A powerful injection of color thrusts his work into the here and now. When translated from German, Freischwimmer refers to a specifc level of profciency in swimming, thus guiding our perception of the series from an engagement with a wholly abstracted tableau to associations with water, and its movement across any surface. As Tillmans describes in an interview discussing the Freischwimmer pictures in the British Art Show 7 at the Southbank Centre in 2011, it is only because of our perceived expectations of what a photograph should be, and the inherent components of the medium, that those associations are possible: “The brain seeing this picture, realizing it is photographic adds reality to it and that’s why it’s important for me that it’s not painted… This has some connection to the reality of the world even though it’s not depicting anything.” These masterful abstractions both delight the eye and challenge the mind, reframing our contemporary notions of photography while building upon and incorporating the earliest of photographic techniques.

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238. Idris Khan

b. 1978

every... page of Susan Sontag’s Book ‘On Photography’, 2004 Chromogenic print, fush-mounted. 28 1/2 x 35 in. (72.4 x 88.9 cm) Signed, dated and numbered 3/5 in ink on the reverse of the frame. Estimate $10,000-15,000 Provenance Victoria Miro Gallery, London Private Collection, New York Literature Hatje Cantz, Idris Khan: A World Within, p. 22

Property of an Important East Coast Collector

239. Abelardo Morell

b. 1948

A Mad Tea Party, 1998 Gelatin silver print. 22 1/4 x 18 in. (56.5 x 45.7 cm) Signed, titled and dated in pencil on the verso. Number 9 from an edition of 30. Estimate $4,000-6,000 Provenance Bonni Benrubi Gallery, New York

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240. Shinichi Maruyama

b. 1968

Kusho #2, 2006 Archival pigment print. 39 1/2 x 59 1/2 in. (100.3 x 151.1 cm) Signed, titled and dated on the verso. Number 3 from an edition of 10 plus 2 artist’s proofs. Estimate $15,000-25,000 Provenance Bruce Silverstein Gallery, New York Literature Maruyama, Kusho, pl. 2

241. Idris Khan

b. 1978

every... Nicholas Nixon’s Brown Sisters, 2004 Chromogenic print. 18 1/2 x 23 1/2 in. (47 x 59.7 cm) Signed, titled, dated and numbered 1/10 in ink on a label afxed to the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Victoria Miro Gallery, London Private Collection, New York

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242. Sally Mann

b. 1951

Untitled from Deep South, 1998 Toned gelatin silver print. 37 1/4 x 47 in. (94.6 x 119.4 cm) Signed, dated, numbered 3/10 and copyright notation in pencil on the reverse of the fush-mount. Estimate $15,000-25,000 Literature Bulfnch Press, Sally Mann: Deep South, p. 53

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Property of an Important East Coast Collector

243. Sally Mann

b. 1951

The Perfect Tomato, 1990 Gelatin silver print. 18 1/8 x 23 in. (46 x 58.4 cm) Signed, titled, dated, numbered 18/25, copyright notation and edition information in pencil on the verso. Estimate $10,000-15,000 Provenance Houk Friedman Gallery, New York Literature Aperture, Still Time: Sally Mann, p. 68 Greenough and Kennel, Sally Mann: A Thousand Crossings, p. 99

244. Sally Mann

b. 1951

Modest Child #2, 1990 Gelatin silver print. 18 3/4 x 23 in. (47.6 x 58.4 cm) Signed, titled, dated, numbered 3/25, copyright notation and edition information in pencil on the verso. Estimate $10,000-15,000 Provenance Houk Friedman Gallery, New York

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245. Sally Mann

b. 1951

Jessie at 5, 1987 Gelatin silver print. 19 1/8 x 23 1/2 in. (48.6 x 59.7 cm) Signed, titled, dated, numbered 19/25, copyright notation and edition information in pencil on the verso. Estimate $25,000-35,000 Provenance Acquired directly from the artist, 1989 Literature Aperture, Sally Mann: Immediate Family, n.p. Rosenblum, A History of Women Photographers, pl. 254

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246. Sally Mann

b. 1951

The Last Time Emmett modeled Nude, 1987 Gelatin silver print. 19 1/2 x 23 1/2 in. (49.5 x 59.7 cm) Signed, titled, dated, numbered 10/25, copyright notation and edition information in pencil on the verso. Estimate $25,000-35,000 Provenance Acquired directly from the artist, 1989 Literature Aperture, Sally Mann: Immediate Family, n.p. Aperture, Still Time: Sally Mann, p. 65 Greenough and Kennel, Sally Mann: A Thousand Crossings, pl. 20

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247. Adam Fuss

b. 1961

Untitled, n.d. Unique gelatin silver print. 29 1/8 x 33 1/2 in. (74 x 85.1 cm) Signed in pencil and annotated ‘AF3192’ in wax pencil on the verso. Estimate $20,000-30,000 Provenance Douglas Udell Gallery, Vancouver, 2002

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Property from the Private Collection of Rita Krauss, Palm Beach

248. Christian Boltanski

b. 1944

Portrait of Two Boys with Binoculars, 1991 Mixed media installation comprised of one gelatin silver print, one electric light and biscuit tin. Overall 54 3/4 x 23 7/8 x 8 1/2 in. (139.1 x 60.6 x 21.6 cm) Estimate $40,000-60,000 Provenance Lisson Gallery, London Marian Goodman Gallery, New York Neuberger Berman and Lehman Brothers Corporate Art Collections, acquired, March 1992 Sotheby’s, New York, Selected Works from the Neuberger Berman and Lehman Brothers Corporate Art Collections, 25 September 2010, lot 40

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249. Hiroshi Sugimoto

b. 1948

Lake Superior, Cascade River, 1995 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 ‘12/25, 558’ in the margin. Estimate $25,000-35,000 Provenance Wright, Chicago, Shiro Kuramata & Hiroshi Sugimoto: Works from the Absent Past, 29 January 2015, lot 112 Literature Contemporary Arts Museum Houston, Sugimoto, p. 27

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250. Hiroshi Sugimoto

b. 1948

Bay of Sagami, Atami, 1997 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 ‘17/25, 486’ in the margin. Estimate $15,000-25,000 Provenance Sotheby’s, New York, Contemporary Art Day Auction, 12 November 2014, lot 598 Exhibited Regarding Beauty: A View of the Late Twentieth Century, Smithsonian Institution, Hirshhorn Museum and Sculpture Garden, Washington D.C., 7 October 1999- 17 January 2000, traveling to Haus der Kunst, Munich 11 February- 30 April 2000 Literature Aperture, Sugimoto: Black Box, p. 73 Matsumoto Editions, Sugimoto: Seascapes, p. 214

251. Adam Fuss

b. 1961

From the series ‘My Ghost’, 1999 Unique gelatin silver print. 24 1/2 x 16 5/8 in. (62.2 x 42.2 cm) Signed and dated in wax pencil on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the artist

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252. Hiroshi Sugimoto

b. 1948

Yellow Sea, Cheju, 1992 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 ‘2/25, 384’ in the margin. Estimate $20,000-30,000 Provenance Wright, Chicago, Shiro Kuramata & Hiroshi Sugimoto: Works from the Absent Past, 29 January 2015, lot 114 Literature Matsumoto Editions, Sugimoto: Seascapes, p. 100 Museum of Contemporary Art Los Angeles, Sugimoto, n.p.

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253. Hiroshi Sugimoto

b. 1948

Arctic Ocean, Nord Kapp, 1991 Gelatin silver print. 16 5/8 x 21 1/4 in. (42.2 x 54 cm) Signed, titled, dated and numbered ‘9/25, 373’ in pencil on the mount; blindstamp title and number ‘9/25, 373’ in the margin. Estimate $20,000-30,000 Provenance Wright, Chicago Shiro Kuramata & Hiroshi Sugimoto: Works from the Absent Past, 29 January 2015, lot 115 Literature Matsumoto Editions, Sugimoto: Seascapes, p. 61 Museum of Contemporary Art Los Angeles, Sugimoto, n.p.

254. Adam Fuss

b. 1961

From the series ‘My Ghost’, 1999 Unique gelatin silver print. 37 3/4 x 32 1/2 in. (95.9 x 82.6 cm) Signed, dated in wax pencil, printed title, date and number ‘AF3887’ on a label afxed to the reverse of the secondary fush-mount. Estimate $8,000-12,000 Provenance Acquired directly from the artist

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255. Hiroshi Sugimoto

b. 1948

256. Hiroshi Sugimoto

b. 1948

Lightning Fields 128, 2009 Gelatin silver print. 23 x 18 1/2 in. (58.4 x 47 cm) Signed in pencil on the mount; blindstamp number ‘4/25, 19.128’ in the margin.

Lightning Fields 145, 2009 Gelatin silver print. 23 x 18 1/2 in. (58.4 x 47 cm) Signed in pencil on the mount; blindstamp number ‘3/25, 19.145’ in the margin.

Estimate $10,000-15,000

Estimate $8,000-12,000

Provenance Fraenkel Gallery, San Francisco

Provenance Fraenkel Gallery, San Francisco

257. Hiroshi Sugimoto

b. 1948

E.U.R. San Pietro e Paolo - Piacentini, 1998 Gelatin silver print. 18 1/2 x 23 in. (47 x 58.4 cm) Signed in pencil on the mount; blindstamp number ‘5/25, 915’ in the margin. Estimate $10,000-15,000 Provenance Sonnabend Gallery, New York Literature Museum of Contemporary Art, Chicago, Sugimoto: Architecture, p. 89

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Property of an Important East Coast Collector

258. Cindy Sherman

b. 1954

Untitled #296, 1994 Chromogenic print. 69 x 44 1/2 in. (175.3 x 113 cm) Signed, dated and numbered 1/6 in ink on the reverse of the frame; signed, dated and numbered 1/6 in ink on a gallery label afxed to the reverse of the frame. Estimate $180,000-220,000 Provenance Metro Pictures, New York Exhibited The Feminine Image, Nassau County Museum of Art, Roslyn Harbor, 2 March- 26 May 1997 Long Island Collections, Nassau County Museum of Art, Roslyn Harbor, 18 January- 15 March 2009

“We’re all products of what we want to project to the world. Even people who don’t spend any time, or think they don’t, on preparing themselves for the world out there—I think that ultimately they have for their whole lives groomed themselves to be a certain way, to present a face to the world.” Cindy Sherman

Literature Respini, Cindy Sherman, pl. 143

In 1994 Cindy Sherman and Rei Kawakubo collaborated in what could only be described as the most fruitful and synergistic of partnerships between two successful women, each distinct artists in their own right. Working in their separate mediums of photography and fashion, their work challenges the norms of appearance and identity through the transformative power of clothes, each blurring the line between costume and fashion, and between fantasy and reality. Kawakubo, the founder of Comme des Garçons became familiar with Sherman through a May 1993 issue of Harper’s Bazaar that included a spread of Sherman’s work. Titled “The New Cindy Sherman Collection,” Sherman’s photographs featured her personal selections from the Spring 1993 collections and were described by Harper’s Jim Lewis as “…not fashion photographs but artworks that treat fashion like a dream, with a dream’s strange logic and air of allegory.” Like Harper’s, Kawakubo gave Sherman full creative freedom, sending her the upcoming Fall 1994/ Winter 1995 collections to be photographed for various marketing materials. The resulting photographs, of which Untitled #296 is the defnitive example, are a fanciful continuation of her 1993 fashion work, and are as

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conceptually avant garde as Kawakubo’s designs, which create and conceal a woman’s identity in the same manner that Sherman’s artwork creates new personas while concealing her own. Just as all of Sherman’s series appropriate aspects of mainstream culture—from flm and television, to magazines and art history—this collaboration draws from fairy tales and science fction with the elaborate designs taking center stage. The power of fashion, and the characters that are created by the clothes Sherman wears in her photographs, continues to be a predominant component of Sherman’s work, including a recent series in 2012 where she exclusively wore Haute Couture. Additionally, in March 2016, 23 years afer her frst spread in Harper’s Bazaar, Sherman’s work once again graced the pages of the magazine with a new project titled “Cindy Sherman Street Style Star,” where she structured her photographs around the Spring collections. Her work continues to inspire collaborative eforts with other major fashion luminaries including Marc Jacobs, Balenciaga and Louis Vuitton. Likewise, Kawakubo received one of art and fashion’s highest honors in 2017 when Comme des Garçons was the subject of The Metropolitan Museum of Art’s spring 2017 Costume Institute exhibition, Art of the In-Between.

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259. Matthew Porter

b. 1975

Highland Park, 2010 Archival pigment print. 24 5/8 x 31 3/4 in. (62.5 x 80.6 cm) Signed, titled, dated and numbered 1/5 in pencil on a label afxed to the reverse of the fush-mount. Estimate $7,000-9,000 Provenance M+B Gallery, Los Angeles

260. Alex Prager

b. 1979

Jackie from Week-End, 2007 Chromogenic print, fush-mounted. 23 3/4 x 31 5/8 in. (60.3 x 80.3 cm) Overall 33 x 41 in. (83.8 x 104.1 cm) Signed on a Certifcate of Authenticity accompanying the work. AP 2/2 from an edition of 9 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance M+B Gallery, Los Angeles

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261. Louise Lawler

b. 1947

Additional Support, 2007 Dye destruction print, face-mounted to Plexiglas and on museum box. 28 1/2 x 23 1/8 in. (72.4 x 58.7 cm) Signed in ink, printed title, date and number 2/5 on a gallery label afxed to the reverse of the fush-mount. Estimate $25,000-35,000 Provenance Metro Pictures, New York Private Collection, New York

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“We have become so sophisticated in our visual habits that we often overlook the magic behind representation.” Vik Muniz

262. Vik Muniz

b. 1961

Starry Night, afer Van Gogh from Pictures of Magazines 2, 2012 Chromogenic print. 70 x 88 1/4 in. (177.8 x 224.2 cm) Overall 74 1/2 x 92 3/4 in. (189.2 x 235.6 cm) Signed, dated in ink, printed title, date and number 3/6 on a gallery label afxed to the reverse of the fush-mount. Estimate $50,000-70,000 Provenance Galerie Xippas, Paris Literature Capivara, Everything So Far, Vik Muniz: Catalogue Raissoné, 1987-2015, p. 773

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“It’s about what I want to explore, and what I want to see. What would a Thiebaud painting look like recreated for the camera with all of the extraneous material, the crumbs and so forth? Maybe the audience will see the paintings diferently. . . we live in a world of many illusions brought to us through photography. I am just pointing the camera in another direction.” Sharon Core

263. Sharon Core

b. 1965

Bakery Counter, 1962, 2004 Chromogenic print, face-mounted to Plexiglas, printed later. 55 x 72 in. (139.7 x 182.9 cm) Signed, dated and numbered 5/7 in ink on the reverse of the fush-mount; signed in ink, printed title, date and number 5/7 on a gallery label afxed to the reverse of the fush-mount. Estimate $50,000-70,000 Provenance Yancey Richardson Gallery, New York

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264. Lawrence Schiller

b. 1936

Marilyn, 1962 Gelatin silver print, face-mounted to Plexiglas and fush-mounted, printed later. 37 3/8 x 55 3/4 in. (94.9 x 141.6 cm) Signed, titled, dated and numbered 7/35 in ink on an artist’s label accompanying the work. Estimate $5,000-7,000 Provenance Rudolf Budja Gallery, Miami

265. Cindy Sherman

b. 1954

Untitled (Lucille Ball), 1975 Fujicolor Crystal Archive print, printed 2001. 10 1/8 x 8 in. (25.7 x 20.3 cm) Signed and dated in ink on the verso. Estimate $8,000-12,000 Literature The Museum of Modern Art, Cindy Sherman: The Complete Untitled Film Stills, fg. 1, there titled The Lucy Photo-Booth Shoot Schor, Cindy Sherman: The Early Works 19751977, pp. 37, 123

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Property of an Important East Coast Collector

266. Vik Muniz

b. 1961

Marilyn from Pictures of Chocolate, 1999 Chromogenic print. 34 3/8 x 30 in. (87.3 x 76.2 cm) Signed, titled, dated and numbered AP 3/3 in ink on a gallery label afxed to the reverse of the fush-mount. One from an edition of 5 plus 3 artist’s proofs.

Provenance Brent Sikkema, New York Literature Capivara, Everything So Far, Vik Muniz: Catalogue RaissonĂŠ, 1987-2015, p. 308

Estimate $40,000-60,000

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267. Vik Muniz

b. 1961

A Sunday on La Grande Jatte, afer Georges Seurat from Gordian Puzzles, 2009 Chromogenic print. 64 x 96 in. (162.6 x 243.8 cm) Signed, dated in ink, printed title, date and number 5/6 on a gallery label afxed to the reverse of the fush-mount. Estimate $50,000-70,000 Provenance Galerie Xippas, Paris Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 679 Actes Sud, Vik Muniz: Le Musée Imaginaire, p. 153

“The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.” Vik Muniz

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268. Massimo Vitali

b. 1944

Vecchiano, 1996 Chromogenic print, Diasec mounted, printed later. 70 7/8 x 90 in. (180 x 228.6 cm) Signed, titled, dated and numbered 6/9 in ink on a label accompanying the work. Estimate $18,000-22,000 Provenance Marianne Boesky Gallery, New York Literature Steidl, Beach & Disco: Massimo Vitali, p. 87 Steidl, Landscape with Figures, p. 49

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269. Louise Lawler

b. 1947

Couch, 2005 Dye destruction print on museum box. 32 1/2 x 29 1/2 in. (82.6 x 74.9 cm) Signed, dated and numbered 3/5 in ink on the reverse of the fush-mount. Estimate $30,000-50,000 Provenance Metro Pictures, New York Private Collection, New York

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270. Robert ParkeHarrison and Shana ParkeHarrison b. 1968 and b. 1964 Earthcoat, 2002 Gelatin silver print with acrylic paint and varnishes, fush-mounted to artists’ wood frame. 64 x 52 in. (162.6 x 132.1 cm) Signed by both artists, titled, dated and numbered 4/5 in pencil on labels afxed to the reverse of the frame. Estimate $7,000-9,000 Provenance Bonni Benrubi Gallery, New York

271. Robert ParkeHarrison

b. 1968

Cloud Catcher, 2000 Gelatin silver print with acrylic paint, gels and varnishes, fush-mounted to artist’s wooden frame. 40 1/2 x 53 1/2 in. (102.9 x 135.9 cm) Signed, titled, dated and numbered AP 1/2 in pencil on a label afxed to the reverse of the frame. One from an edition of 4 plus 2 artist’s proofs. Estimate $8,000-12,000 Provenance Bonni Benrubi Gallery, New York

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272. Vik Muniz

b. 1961

The Kiss, afer Rodin from Pictures of Chocolate, 1999 Chromogenic print, fush-mounted. 87 x 49 in. (221 x 124.5 cm) Signed on a label. One from an edition of 3 plus 3 artist’s proofs. Estimate $30,000-50,000 Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p.263

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273. Chuck Close

b. 1940

Self-Portrait, 2000 Daguerreotype. 5 1/8 x 3 7/8 in. (13 x 9.8 cm) Signed, titled ‘S.P.’, dated and copyright notation in ink on the reverse of the frame. Estimate $10,000-15,000 Provenance Pace/MacGill Gallery, New York

274. Andres Serrano

b. 1950

Payne from Nomads, 1990 Dye destruction print. 59 1/2 x 49 1/2 in. (151.1 x 125.7 cm) Signed, titled and numbered 1/4 in pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Stux Gallery, New York Private Collection, New York

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275. Adam Fuss

b. 1961

From the series ‘My Ghost’, 2001 Pigment print. 47 x 37 1/2 in. (119.4 x 95.3 cm) Signed in wax pencil on the verso; printed title, date and number 8/11, ‘AF2072.8’ on a gallery label afxed to the reverse of the frame. Estimate $12,000-18,000 Provenance Cheim & Read, New York Private Collection, New York

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276. Mickalene Thomas

b. 1971

Photomontage 5, 2008 Photographic installation comprised of seven panels. Overall 36 x 48 x 3.5 in. (91.4 x 121.9 x 8.9 cm) Each panel signed, titled and dated in ink on the reverse. Estimate $25,000-35,000 Provenance Lehmann Maupin Gallery, New York

Combining elements of photography, painting, collage and installation, Mickalene Thomas’ work presents multifaceted and dense visual landscapes. Infuenced by artists such as Carrie Mae Weems, Thomas’s work explore themes of identity in race and gender, particularly African-American females: “By portraying real women with their own unique history, beauty and background, I’m working to diversify the representations of black women in art.” This unique photomontage installation, the frst (from her series) to appear at auction, is comprised of seven panels each with stacked frames and fabric built around the seven striking female portraits.

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277. Dawoud Bey

b. 1953

Amishi, 1993 Four Polaroid prints. Each 24 x 20 1/2 in. (61 x 52.1 cm) Overall 63 1/4 x 47 in. (160.7 x 119.4 cm) Signed on a label accompanying the work. Typed title, date and number 3/3 on gallery labels afxed to the reverse of each frame. Estimate $10,000-15,000 Provenance Rhona Hofman Gallery, Chicago Big Flowers Press, New York Christie’s, New York, 26 September 2002, lot 851 Literature University of Texas Press, Dawoud Bey: Seeing Deeply, p. 180, variant Walker Art Center, Minneapolis, Dawoud Bey: Portraits 1975-1995, n.p., variant

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277.

Intertwining the conventions of 19th century portraiture with the scale and immediacy of the contemporary Polaroid, Dawoud Bey’s portraits carry an unwavering presence. The work on ofer, Amishi, comprised of four 24 x 20 inch Polaroid prints, imbues a life-like scale to the commanding portrait. Bey “recognize[s] that there is a power in the gaze,… My photographs allow the subject to direct their unfinching gaze at the viewer, if only in facsimile.” By capturing his subject in the studio in front of a large format camera, Bey strips the environmental data away, leaving his sitter to dominate the frame without

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any distractions. As A.D. Coleman noted in his essay in the book Dawoud Bey: Portraits 1975-1995 “…as in most early photographic portraiture—there is nothing casual about these pictures and nothing surreptitious; those who have chosen to accept Bey’s scrutiny, and ours, compose themselves willingly for these portraits, presenting themselves self-consciously to the light and the lens, returning the gaze.” As the Polaroid is an inherently unique process, Bey’s edition is comprised of three variants of the subject. A variant of this work is in the Collection of the Los Angeles County Museum of Art.

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278. Carol Beckwith & Angela Fisher

b. 1945 & b. 1947

African Ceremonies Washington D.C.: Govinda Gallery, 2000. Twenty-fve chromogenic prints. Each approximately 19 x 13 in. (48.3 x 33 cm) Each signed and numbered AP 2/5 in pencil in the margin; each titled in pencil on the verso. Estimate $30,000-50,000 Provenance Govinda Gallery, Washington, D.C. Literature Beckwith and Fisher, African Ceremonies, inside cover and various pages

Part explorers, part anthropologists, Carol Beckwith and Angela Fisher have spent their careers photographing tribal populations and nomadic peoples throughout Africa. With unprecedented access, they have documented 93 tribal ceremonies— including birth, coming of age, courting, divorce, and death—in 26 countries across the African continent, ofering an incredible window into these remote worlds. Beckwith and Fisher’s shared passion for not only photographing their subjects, but also understanding the deep histories of each, has led them to produce a powerful body of work that serves as a visual preservation of these rich cultures. Captured with an immense sensitivity and surprising intimacy, the photographs speak to universal themes ranging from joy and celebration to sadness and mourning, that transcend geography. The portfolio of 25 prints ofered here includes images that span the photographers’ extensive careers and was released in tandem with their watershed book African Ceremonies (Harry N. Abrams, Inc., 1999). Ruth E. Carter, the celebrated costume designer for the groundbreaking flm Black Panther (2017) has referenced Beckwith and Fisher’s photographs as one source of inspiration for her innovative designs.

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279. Pieter Hugo

b. 1976

Abdulai Yahaya, Agbogbloshie Market, Accra, Ghana, 2010 Chromogenic print. 32 x 32 in. (81.3 x 81.3 cm) Overall 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm) Signed, titled, dated and numbered 3/10 in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Yossi Milo Gallery, New York Literature Hugo, Permanent Error, n.p.

280. Simon Norfolk

b. 1963

King Amanullah’s Victory Arch built to celebrate the 1919 Independence from the British. Paghman, Kabul Province, 2003 Fuji Crystal Archive print, fush-mounted. 49 x 51 1/2 in. (124.5 x 130.8 cm) Signed, dated, numbered 4/10 in ink and credit blindstamp on a Certifcate of Authenticity afxed to the reverse of the frame. Estimate $5,000-7,000 Provenance Bonni Benrubi Gallery, New York Literature Norfolk, Afghanistan Chronotopia, n.p.

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Property of an Important East Coast Collector

281. Shirin Neshat

b. 1957

Untitled from Soliloquy, 1999 Dye destruction print. 23 x 18 1/2 in. (58.4 x 47 cm) Signed, titled, dated and numbered 4/10 in pencil on the verso. Estimate $8,000-12,000 Provenance Barbara Gladstone Gallery, New York Literature Charta, Shirin Neshat, p. 17 Charta, Shirin Neshat, Museo d’Arte Contemporanea, front cover

Property of an Important East Coast Collector

282. Shirin Neshat

b. 1957

Untitled from Rapture, 1999 Gelatin silver print. 14 7/8 x 22 1/2 in. (37.8 x 57.2 cm) Signed, titled, dated and numbered 9/10 in pencil on the verso. Estimate $8,000-12,000 Provenance Barbara Gladstone Gallery, New York Literature Charta, Shirin Neshat, p. 11 Charta, Shirin Neshat, Museo d’Arte Contemporanea, p. 109

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283. Candida Hรถfer

b. 1944

Bibliotheca Thysiana Leiden I, 2003 Chromogenic print, fush-mounted. 23 1/2 x 41 1/4 in. (59.7 x 104.8 cm) Overall 34 1/2 x 52 in. (87.6 x 132.1 cm) Signed in ink, printed title, date and number 5/6 on a label afxed to the reverse of the frame. Estimate $15,000-25,000 Provenance Sonnabend Gallery, New York

284. Edward Burtynsky

b. 1955

Old Factories #1, Fushun Aluminum Smelter, Fushun City, Liaoning Province, China, 2005 Chromogenic print. 27 x 34 in. (68.6 x 86.4 cm) Overall 34 x 41 in. (86.4 x 104.1 cm) Signed in ink, printed title, date and number 4/10 on a label afxed to the reverse of the mount. Estimate $10,000-15,000 Literature Steidl, China: The Photographs of Edward Burtynsky, pp. 49, 127

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285. Ahmet Ertug

b. 1949

Farnese Theater, Parma, 2016 Chromogenic print, fush-mounted. 70 7/8 x 95 1/4 in. (180 x 242 cm) Overall 81 1/2 x 106 in. (207 x 269.2 cm) Signed in ink, printed title, date and number 3/3 on an artist’s label accompanying the work. Estimate $40,000-60,000 Provenance Directly from the artist Literature Museum of Modern Art, Dubrovnik, Ahmet Ertug: Vanishing Point, pp. 4-5

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286. Peter Beard

b. 1938

Two Cheetahs hunting for the End of the Game/ Last Word from Paradise, 1960 Gelatin silver print with ink and paint, executed later. 11 5/8 x 17 5/8 in. (29.5 x 44.8 cm) Signed and annotated in ink on the recto; ‘The Time is Always Now’ label afxed to the reverse of the frame. Estimate $12,000-18,000 Provenance The Time is Always Now, New York Literature Taschen, Peter Beard, pl. 268, variant Taschen, Peter Beard: The End of the Game, pp. 130-131, variant

287. Peter Beard

b. 1938

Untitled, for the End of the Game, Last Word from Paradise, Tsavo, 1976 Gelatin silver print with ink, executed later. 17 3/4 x 12 in. (45.1 x 30.5 cm) Signed and annotated in ink on the recto; ‘The Time is Always Now’ label afxed to the reverse of the frame. Estimate $8,000-12,000 Provenance The Time is Always Now, New York

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288. Peter Beard

b. 1938

I’ll Write Whenever I Can, Koobi Fora, Lake Rudolf, Kenya, 1965 Gelatin silver print with ink and paint, executed later. 15 3/4 x 19 3/4 in. (40 x 50.2 cm) Signed and annotated in ink on the recto; ‘The Time is Always Now’ label afxed to the reverse of the frame. Estimate $30,000-50,000 Provenance The Time is Always Now, New York Literature Bowermaster, The Adventures and MisAdventures of Peter Beard in Africa, cover, variant Taschen, Peter Beard, pl. 380, variant

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289. Peter Beard

b. 1938

Elephant reaching for the last branch on a tree, Kenya, 1960 Gelatin silver print with ink and blood, executed later. 13 x 8 3/4 in. (33 x 22.2 cm) Signed, titled, dated and annotated in ink on the recto; ‘The Time is Always Now’ label afxed to the reverse of the frame. Estimate $20,000-30,000 Provenance The Time is Always Now, New York Literature Taschen, Peter Beard, pl. 179, variant

Property from a Private Collection, Miami

290. Doug & Mike Starn

b. 1961 and b. 1961

Black Pulse #17, 2000-2002 Two Lambda prints with metallic push pins. Each 48 1/2 x 49 1/8 in. (123.2 x 124.8 cm) Overall 63 1/4 x 114 1/4 in. (160.7 x 290.2 cm) Signed by both artists, dated and numbered 1/5 in ink on the reverse of the frame; printed credit, title, date and number 1/5 on an artists’ label afxed to the reverse of the frame. Estimate $15,000-20,000 Provenance Acquired directly from the artists Literature Rizzoli, Gravity of Light, pp. 46, 62, installation view

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291. Peter Beard

b. 1938

Girafes in Mirage on the Tara Desert Kenya for the End of the Game/Last Word from Paradise, 1960 Gelatin silver print with ink, blood and afxed gelatin silver print, executed later. 16 x 24 in. (40.6 x 61 cm) Signed, titled, dated and annotated in ink on the recto; signed, inscribed in ink, ‘The Time is Always Now’ copyright credit reproduction limitation stamp and label on the frame backing.

Provenance The Time is Always Now, New York Literature Bowermaster, The Adventures and MisAdventures Of Peter Beard In Africa, p. 35, variant Taschen, Peter Beard, pl. 237, variant

Estimate $25,000-35,000

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292. Nick Brandt

b. 1964

Girafe Under Big Sky, Maasai Mara, 2007 Archival pigment print, fush-mounted, printed 2014. 20 1/2 x 20 1/2 in. (52.1 x 52.1 cm) Signed, dated and numbered 10/25 in pencil in the margin. Estimate $5,000-7,000 Provenance Hasted Kraeutler Gallery, New York

293. Nick Brandt

b. 1964

Lion Jumping from Tree, Maasai Mara, 2008 Archival pigment print, fush-mounted, printed 2014. 20 1/2 x 20 1/2 in. (52.1 x 52.1 cm) Signed, dated and numbered 6/25 in pencil in the margin. Estimate $5,000-7,000 Provenance Hasted Kraeutler Gallery, New York

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294. Yves Marchand and Romain Mefre b. 1981 and b. 1987 The National Theater from The Ruins of Detroit, 2007 Chromogenic print, fush-mounted. 46 1/2 x 57 3/4 in. (118.1 x 146.7 cm) Signed in ink by both artists, printed title and number 2/6 on a Certifcate of Authenticity accompanying the work. Estimate $6,000-8,000 Provenance Galerie Fontana, Amsterdam Literature Marchand and Mefre, The Ruins of Detroit, p. 61

295. David Maisel

b. 1961

The Lake Project #9831-2, 2002 Chromogenic print. 47 3/4 x 47 1/4 in. (121.3 x 120 cm) Overall 51 x 51 in. (129.5 x 129.5 cm) Signed in ink, printed title, date and number 2/5 on a label afxed to the reverse of the fush-mount. Estimate $6,000-8,000 Provenance James Nicholson Gallery, San Francisco

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296. Ruud van Empel

b. 1958

Moon #1, 2005 Dye destruction print, face-mounted to Plexiglas. 33 1/8 x 23 1/4 in. (84.1 x 59.1 cm) Signed, titled, dated and numbered 11/12 in pencil on the reverse of the fush-mount. Estimate $7,000-9,000 Provenance Jackson Fine Art, Atlanta

297. Loretta Lux

b. 1969

The Book, 2003 Dye destruction print. 8 3/4 x 13 1/4 in. (22.2 x 33.7 cm) Signed, titled, dated and numbered 9/20 in pencil on the verso. Estimate $7,000-9,000 Provenance Jackson Fine Art, Atlanta Literature Aperture, Loretta Lux, p. 67

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298. Sandy Skoglund

b. 1946

Radioactive Cats, 1980 Archival pigment print, printed later. 19 3/4 x 25 1/8 in. (50.2 x 63.8 cm) Signed, titled, dated, inscribed, copyright notation in ink and signature blindstamp on the recto; signed, titled, dated, inscribed and copyright notation in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Gif from the artist Private Collection, New York Literature Abrams, Sandy Skoglund: Reality Under Siege: A Retrospective, p. 10 Edition Stemmle, Constructed Realities, The Art of Staged Photography, pl. 70 PaceArte contemporary, Sandy Skoglund: Magic Time, p. 17

This print is unique in this size and was originally gifed to Victor, one of the models in Radioactive Cats.

299. Sandy Skoglund

b. 1946

Raining Popcorn, 2001 Archival pigment print, printed later. 38 x 48 1/4 in. (96.5 x 122.6 cm) Signed, titled, dated, numbered AP 3/5 copyright notation in ink and signature blindstamp on the recto; signed, titled, dated, numbered AP 3/5 and copyright notation in ink on a label afxed to the reverse of the fush-mount. One from an edition of 30 plus 5 artist’s proofs. Estimate $6,000-8,000 Provenance Private Collection, New York Literature PaciArte Contemporary, Sandy Skoglund: Magic Time, p. 53

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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 9-12-2017) are found online at phillips.com, along with detailed information on each lot. 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. Presale estimates do not include the buyer’s premium or any applicable taxes. 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% 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 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.

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

Photographs Department +1 212 940 1245

Auctions 4 October, 11am, A Constant Pursuit (lots 1–83) followed by Photographs (lots 84–162) 4 October, 3pm, Photographs (lots 163–299)

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

Viewing 28 September – 3 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Head of Department, New York Sarah Krueger skrueger@phillips.com

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040218 or Photographs. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com Auction License 2013224 Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Kaeli Deane - 2058810 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Catalogues Danielle Polovets +1 212 940 1240 catalogues@phillips.com $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 1371 Seller Accounts Carolina Swan +1 212 940 1253

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 Ben Anderson

Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Oscar Samingoen +1 212 940 1373 Anaar Desai +1 212 940 1320 Deren Khan +1 212 940 1335

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Front cover Wolfgang Tillmans, Freischwimmer 20, 2003, lot 237 (detail) © Wolfgang Tillmans Back cover Danny Lyon, Jack, Chicago, 1965, lot 187 (one print from nine Selected Images) Inside front cover Sharon Core, Bakery Counter, 1962, 2004, lot 263 (detail) Inside back cover Robert Frank, New Mexico, 1956, lot 190 (detail) Opposite index Man Ray, La Prière, 1930, lot 95

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Photographs London, 1 November 2018

In the November 2018 edition of ULTIMATE, Phillips will ofer Early French Masterworks from the Hyman Collection, featuring this exceptional work by Charles Nègre. This collection will be on view in our New York galleries 28 September – 3 October 2018. Visit our public viewing from 26 October – 1 November 2018 at 30 Berkeley Square, London W1J 6EX or visit phillips.com

Charles Nègre (1820–1880) Model reclining in the artist’s studio, likely 1849-early 1850 Untrimmed salt print from a waxed paper negative Estimate: £100,000–150,000

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Enquiries +44 20 7318 4087 photographslondon@phillips.com

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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

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Editions & Works on Paper

Auction 17 October 2018, New York Our 10th Anniversary Editions auction in New York on 26 April sold an astonishing 392 lots (out of 417) for an incredible 94% sell-through rate, achieving the highest sale total ever for the department and breaking company records. We look forward to another exciting season! Visit us at our public viewing 10-17 October at 450 Park Avenue, or at phillips.com Enquiries editions@phillips.com +1 212 940 1220 Ed Ruscha Cheese Mold Standard with Olive, 1969 screenprint, edition of 150 19½ x 37 in. (495 x 940 mm.) Estimate $60,000-80,000 ŠEd Ruscha, courtesy of Gagosian

Visit us at phillips.com

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Index Orkin, R. 88, 89

Abbott, B. 90

Haas, E. 131

Adams, A. 137–139, 142, 145, 148

Hine, L. W. 130

Avedon, R. 203, 207

Höfer, C. 283

ParkeHarrison, R. 271

Horst, H. P. 211, 212, 216

ParkeHarrison, R. & S. 270

Baltz, L. 177

Horvat, F. 201, 204

Penn, I. 171, 180, 181, 210, 215

Beard, P. 286–289, 291

Hoyningen–Huene, G. 213

Porter, M. 259

Beckwith, C. & Fisher, A. 278

Hugo, P. 279

Prager, A. 260

Bernhard, R. 160

Jones, C. 123

Renger–Patzsch, A. 121

Bey, D. 277

Josephson, K. 154

Ruzicka, D. J. 85

Brandt, B. 101, 103

Karsh, Y. 183

Sander, A. 119

Brandt, N. 292, 293

Kenna, M. 223

Schiller, L. 264

Brassaï 92, 93

Kertész, A. 96–98, 100, 102

Serrano, A. 274

Bravo, M. Á. 115, 116

Khan, I. 238, 241

Sherman, C. 258, 265

Burtynsky, E. 284

Klein, W. 202

Sief, J. 218

Koudelka, J. 110

Sinsabaugh, A. 178

Bellocq, E.J. 94

Boltanski, C. 248

Siskind, A. 149, 152, 153

Callahan, H. 155–157, 176 Cartier–Bresson, H. 106, 108, 109,

Lange, D. 168

Skoglund, S. 298, 299

111–114, 164

Lartigue, J.–H. 200

Smith, W. E. 182, 184

Citroen, P. 99

Laughlin, C. J. 146

Sommer, F. 150, 151, 161, 162

Close, C. 273

Lavenson, A. 134, 135

Starn, D. & M. 290

Core, S. 263

Lawler, L. 261, 269

Stieglitz, A. 125, 126

Cunningham, I. 120, 141

Leiter, S. 169

Strand, P. 117, 118, 133

Curtis, E. S. 129

Levitt, H. 87

Sugimoto, H. 249, 250, 252, 253, 255–257

Lux, L. 297 Davis, L. 222

Lyon, D. 187, 188

Talbot, W. H. F. 128 Thomas, M. 276

Dweck, M. 225 Maisel, D. 295

Tillmans, W. 236, 237

Eggleston, W. 197, 198

Man Ray 95

Tripe, L. 127

Eisenstaedt, A. 91, 107, 199

Mann, S. 242–246

Ertug, A. 285

Mapplethorpe, R. 217, 221, 224, 228,

van Empel, R. 296

Erwitt, E. 179, 205, 206, 209

229, 231, 232

Vitali, M. 268

Evans, W. 84, 132

Marchand, Y. & Mefre, R. 294 Maruyama, S. 240

Watson, A. 226

Frank, R. 104, 105, 167, 190

Meatyard, R. E. 158

Wessel, H. 193, 194, 196

Friedlander, L. 165, 166, 173, 186, 189, 195

Metzker, R. K. 159

Weston, E. 140, 143, 144, 147

Fuss, A. 247, 251, 254, 275

Misrach, R. 191, 192

White, C. H. 124

Model, L. 86

Winogrand, G. 163, 170, 172, 174, 185

Gigli, O. 208

Morell, A. 239

Gilpin, L. 122, 136

Moriyama, D. 175

Goldin, N. 230, 233–235

Muniz, V. 262, 266, 267, 272 Neshat, S. 281, 282 Newton, H. 214, 219, 220, 227 Norfolk, S. 280

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95. Man Ray

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190. Robert Frank

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00. artist

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Profile for PHILLIPS

PHOTOGRAPHS [Catalogue]  

Phillips presents Photographs on 4 October in New York.

PHOTOGRAPHS [Catalogue]  

Phillips presents Photographs on 4 October in New York.