PHOTOGRAPHS [Catalogue]

Photographs London, 16 May 2019

107. Annie Leibovitz

43. Ishiuchi Miyako

Photographs London, 16 May 2019

Auction & Viewing Location 30 Berkeley Square, London W1J 6EX

Auction

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

16 May 2019, 2pm

Viewing 10–16 May 2019 Monday to Saturday, 10am–6pm Sunday, 12pm–6pm

Photographs Department Contact

Co-Head of Department, Europe Genevieve Janvrin gjanvrin@phillips.com Co-Head of Department, Europe Yuka Yamaji yyamaji@phillips.com

+44 20 7318 4087

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK040119 or Photographs.

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Associate Specialist, Head of Sale Sophie Busby sbusby@phillips.com Associate Specialist Kate Finefrock kfnefrock@phillips.com Administrator Clare Lamport clamport@phillips.com

39. Man Ray

Our Team.

Photographs Europe.

Genevieve Janvrin

Yuka Yamaji

Sophie Busby

Kate Finefrock

Co-Head of Department, Europe

Co-Head of Department, Europe

Associate Specialist, Head of Sale

Associate Specialist

gjanvrin@phillips.com +33 153 71 77 87

yyamaji@phillips.com +44 20 7318 4098

sbusby@phillips.com +44 20 7318 4092

Vanessa Hallett

Sarah Krueger

Christopher Mahoney

Caroline Deck

Deputy Chairman, Americas, Worldwide Head of Photographs

Head of Department, New York

Senior International Specialist

Senior Specialist

skrueger@phillips.com +1 212 940 1225

cmahoney@phillips.com +1 212 940 1208

Rachel Peart

Carol Ehlers

Clare Milliken

Specialist

Specialist, Regional Director, Chicago

Cataloguer

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vhallett@phillips.com +1 212 940 1243

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Ed Dolman

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Chairman

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+44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

Senior Advisors.

Hugues Jofre

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+44 207 901 7923 hjofre@phillips.com

+1 212 940 1385 alehman@phillips.com

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

Deputy Chairmen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairman

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

Miety Heiden

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairman, Head of Private Sales

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+44 20 7901 7943 mheiden@phillips.com

+44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art

+44 20 7318 4010 smarich@phillips.com

+852 2318 2023 jcrockett@phillips.com

+44 20 7318 4063 psumner@phillips.com

+32 3257 3026 mhoet@phillips.com

6. Sun Jun

Business Development.

Europe.

Americas.

Guy Vesey

Vivian Pfeifer

Head of Business Development & Marketing, Europe

Deputy Chairman, Americas, Head of Business Development, Americas

+44 20 7901 7934 gvesey@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Client Advisory.

Europe.

Yassaman Ali

Vera Antoshenkova

Client Advisory Director

Client Advisory Manager

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

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

Americas.

Philae Knight

Jennifer Jones

Liz Grimm

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+1 212 940 1272 jjones@phillips.com

+1 212 940 1342 egrimm@phillips.com

+1 212 940 1313 pknight@phillips.com

Asia.

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Iori Endo

Client Advisory Director

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+852 2318 2015 jasmineyan@phillips.com

+44 20 7318 4039 iendo@phillips.com

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

International Specialists & Regional Directors.

Europe.

Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 142 78 67 77 mcifuentes@phillips.com

+33 633 12 32 04 lbarret-cavy@phillips.com

+33 686 408 515 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

+351 917 564 427 mmarvao@phillips.com

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

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

+7 905 741 15 15 kfenina@phillips.com

Americas.

Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

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+55 21 999 817 442 csodre@phillips.com

+1 310 922 2841 lauren.peterson @phillips.com

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+1 508 642 2579 maurasmith@phillips.com

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Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, Shanghai

Associate Regional Representative, Shanghai

+82 10 7305 0797 sshin@phillips.com

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+1 323 383 3266 bkoh@phillips.com

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+1 773 230 9192 cehlers@phillips.com

Asia.

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

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ULTIMATE EDITORIAL ULTIMATE EDITORIAL celebrates collaborative creativity in 10 captivating photographs by today’s leading and emerging forces in fashion.

From legendary photographer Steven Meisel to rising star Txema Yeste, our 10 featured artists together represent four decades of image-making.

The images we have carefully chosen were created for editorial and appeared originally in magazines such as Vogue, LOVE and Numéro. In our curation, these photographs stand alone as works of art that can be described as timeless, powerful, distinctive and intoxicating.

The model is a key collaborator and serves as inspiration for the creative vision. The subjects in our photographs, including considerable star power from Naomi and Guinevere to Cara and Liu Wen, have forged strong relationships with the artists that continue to this day. As seen here, these collaborations have produced defning images that refect and inform our society and visual culture.

The 10 featured works have been printed and released for the frst time for ULTIMATE EDITORIAL and are either completely unique or from an edition of one in a unique size.

The extraordinary calibre of these photographs is a testament to the power of collective creativity.

The VOGUE and VOGUE logo trade marks are owned and licensed by The Condé Nast Publications Ltd.

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1. Txema Yeste

Spanish b. 1972

Bird of Paradise, 2016 Dye transfer print, fush-mounted.

Image: 64 x 48.4 cm (25 1/4 x 19 in.)

Frame: 70 x 54 cm (27 1/2 x 21 1/4 in.)

Signed in ink, printed title, date and ‘unique’ on a Certifcate of Authenticity accompanying the work.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

Literature ‘Mirage’, Numéro, December/January 2016-2017, p. 130

2. Julia Hetta

Swedish b. 1972

Untitled, 2015 Archival pigment print, fush-mounted.

Image: 113.5 x 91.7 cm (44 5/8 x 36 1/8 in.)

Frame: 117 x 93.7 cm (46 1/8 x 36 7/8 in.)

Signed, titled, dated and annotated ‘unique’ in ink on an artist label afxed to the reverse of the frame.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

Literature ‘Of Fish and Flowers’, AnOther Magazine, Spring/Summer 2016, p. 359

3. Emma Summerton

Australian b. 1967

Kloss & Quinn, 2018 Archival pigment print, fush-mounted.

Image: 235 x 176.5 cm (92 1/2 x 69 1/2 in.)

Frame: 241 x 182.5 cm (94 7/8 x 71 7/8 in.)

Signed, titled, dated and annotated ‘unique’ in ink on an artist label afxed to the reverse of the frame.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Literature ‘Flor’, Vogue Spain, June 2018

Txema Yeste created this exquisite portrait of Dutch beauty Roos Abels for the December/January 2016-17 issue of Numéro. Here, we see an angelic face partially concealed by a delicate peacock feather; the resulting efect is that of a uniquely ethereal image that immediately transports us to a timeless dimension. Yeste has chosen to print this photograph using the laborious dye transfer process, which possesses a greater colour gamut and tonal scale than any other photographic process. The unique dye transfer print featured here is remarkable in its depth and beauty. Yeste’s work is widely published in such infuential magazines as Vogue, Vanity Fair, Harper’s Bazaar and Numéro and he has shot campaigns for many top brands, including Armani, Roberto Cavalli, Lancôme and Viktor & Rolf. His work has been exhibited internationally, including ArtisTree’s Beyond Fashion in Hong Kong (2019) and is held in the collection of the Museu del Disseny de Barcelona.

Julia Hetta’s distinctive use of light, colour and texture is evident in this enchanting photograph featuring Anna Cleveland, the daughter of 1970s supermodel and Dalí muse Pat Cleveland, shot for the Spring/Summer 2016 issue of AnOther Magazine.

Here, the otherworldly model is portrayed as a fantastical creature; wearing a yellow-plumed ostrich feather dress, she stands in a famingo’s one-legged stance with her arm and neck extended in opposite directions, her chin resting on her beak-like hand. Her contours delineated against the dark background highlight Hetta’s dreamlike vision in which reality and fantasy fuse together harmoniously. Based in Stockholm, Hetta has photographed for such leading publications as Vogue, Vanity Fair and AnOther Magazine and her work has been exhibited internationally, including Foam’s 2014 exhibition Don’t Stop Now: Fashion Photography Next, which showcased next-generation photographers working in fashion today.

Emma Summerton unveils her whimsical vision with a carefully crafed foral celebration for Vogue Spain’s June 2018 cover story, featuring Karlie Kloss. In the present work, Karlie is presented as a faceless mannequin, covered head to toe in a patchwork of brightly coloured, elaborately patterned textiles. Fabric printed with a sky motif is used as the backdrop, as well as on the foor, transforming the studio into a surreal setting. The fascinating interplay between art and artifce, as seen here, is a distinctive element in Summerton’s photographs. Collaborating regularly with such leading publications as Vogue, i-D, Self Service and Dazed & Confused, Australian-born Summerton divides her time between London and New York. Her work has been exhibited internationally, including ArtisTree’s Beyond Fashion in Hong Kong (2019) and the upcoming Body Beautiful: Diversity on the Catwalk at the National Museum of Scotland opening in May 2019.

ULTIMATE EDITORIAL *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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ULTIMATE EDITORIAL in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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4. Liz Collins

British b. 1970

Cara Sweetie, 2014 Archival pigment print, fush-mounted.

Image: 119.4 x 91.4 cm (47 x 36 in.)

Frame: 134.5 x 106.1 cm (52 7/8 x 41 3/4 in.)

Signed, titled, dated and annotated ‘unique’ in ink on an artist label afxed to the reverse of the frame.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

Literature ‘Sweetie’, LOVE, Autumn/Winter 2014, p.108

5. Sølve Sundsbø

Norwegian b. 1970

Cara, 2011 Chromogenic print, fush-mounted.

Image: 127 x 91.4 cm (50 x 35 7/8 in.)

Frame: 131 x 95.4 cm (51 5/8 x 37 1/2 in.)

Signed, dated ‘2019’ and annotated ‘unique’ in ink on the reverse of the fush-mount. Accompanied by a signed Certifcate of Authenticity.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 † plus Buyer’s Premium and VAT*

Literature ‘Fallen Angels’, Vogue China, December 2011, p. 387

6. Sun Jun

Chinese b. 1978

Looking Through The Glass, 2015 Chromogenic diptych, fush-mounted.

Each image: 76.2 x 50.9 cm (30 x 20 in.)

Each frame: 86.4 x 61 cm (34 x 24 in.)

Signed in ink, printed title, date and ‘unique’ on a Certifcate of Authenticity accompanying the work.

These images have been printed and released as a unique work exclusively for ULTIMATE. Please note that the artist’s name appears in Chinese order with the surname before the forename.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

The idiosyncratic vision of Liz Collins comes to life in this tantalising and playful photograph of Cara Delevingne taken for the Fall/ Winter 2014 issue of LOVE. As the opening image of the editorial ‘Sweetie’, a wilful, half-naked Cara wears a bubble-gum pink wig and pale blue leather boots, while straddling a giant Drumstick lolly amid a sea of candy-coloured balls, bags and lollipops. Collins began her career in 1990s London, working for British magazines Dazed & Confused and The Face at a time when only a few women photographers were active in fashion.

She works across the spectrum of the international fashion press, including Vogue, LOVE, Elle and Harper’s Bazaar, and her commercial clients include Guerlain, Givenchy, YSL and Chloé.

Collins’s work has been exhibited internationally, including New York’s MoMA and New Museum.

Sølve Sundsbø took this ethereal photograph of Cara Delevingne for Vogue China’s December 2011 issue, closing Cara’s breakthrough year as a model. In this stunning image, Cara personifes an angel fallen on earth, wearing an almost entirely transparent dress complete with a pair of wings, a halo of light delicately outlining her heavenly aura. ‘Although relatively unknown,’ remembers Sundsbø, ‘you could feel the energy and potential in her.’ Just one year following this collaboration, Cara won ‘Model of the Year’ at the 2012 British Fashion Awards. Sundsbø successfully works across a range of platforms from photography and fashion to music and flm, winning an Emmy® award in 2011 for ‘Fourteen Actors Acting’, a video project for The New York Times. He has exhibited internationally, including his 2018 solo show Beyond the Still Image at Palazzo Reale in Milan, and his work is held in the collection of the National Portrait Gallery, London.

Fashion, photography and traditional Chinese painting seamlessly merge in these striking images created by Sun Jun for the December 2015 issue of Harper’s Bazaar China, featuring Chinese supermodel Liu Wen. In this unique diptych, imbued with a visual sensibility that is distinctively Chinese, the elegant fgure of Liu Wen is delineated against a textured background. The tasselled fans with their fne embroidery of natural motifs reinforce a sense of a timeless aesthetic. This diptych represents Sun’s unique image-making process whereby the photograph is superimposed with handdrawn elements. One of China’s leading artists in fashion, Sun began learning the art of traditional Chinese painting at the young age of seven. A graduate of China Academy of Art, the Shanghaibased artist collaborates regularly with such leading publications as Vogue, Harper’s Bazaar, Cosmopolitan and L’Ofciel.

Literature Harper’s Bazaar China, December 2015, pp. 286-287

ULTIMATE EDITORIAL *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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ULTIMATE EDITORIAL in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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ULTIMATE EDITORIAL *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

7. Erik Madigan Heck

American b. 1983

Dior Couture, 2014 Chromogenic print, fush-mounted.

Image: 149.9 x 243.8 cm (59 x 95 7/8 in.)

Frame: 154.1 x 248 cm (60 5/8 x 97 5/8 in.)

Signed, titled, dated and annotated ‘unique’ in ink on an artist label afxed to the reverse of the frame.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £18,000-22,000 $23,600-28,800 €20,800-25,500 ‡ plus Buyer’s Premium and VAT*

Literature ‘Dreamcatchers’, Town & Country, December 2014, pp. 202-203

8. Steven Klein

American b. 1965

Guinevere at the Pink Mansion, Beverly Hills, 2017 Chromogenic print, fush-mounted.

Image: 120.7 x 152.4 cm (47 1/2 x 60 in.)

Frame: 135.8 x 167.6 cm (53 1/2 x 65 7/8 in.)

Signed in ink, printed title, date and ‘unique’ on a Certifcate of Authenticity afxed to the reverse of the frame.

This image has been printed and released as a unique work exclusively for ULTIMATE. Estimate £25,000-35,000 $32,700-45,800 €28,900-40,500 ‡ plus Buyer’s Premium and VAT*

Literature ‘Dog Butlers, Peticures, and Meat Roaf Room Service: Inside the Ultra-Luxe World of Pet Pampering’, Vogue US, January 2018, pp. 72-73 (variant)

9. Mikael Jansson

Swedish b. 1958

Kaia Gerber, Paris, 2018 Chromogenic print, fush-mounted.

Image: 142.2 x 91.4 cm (56 x 36 in.)

Frame: 157.4 x 106.6 cm (61 7/8 x 41 7/8 in.)

Signed, numbered 1/1 in ink, printed title and date on an artist label afxed to the reverse of the frame.

This work is number 1 from the edition of 1 and is unique in this size. This image has been printed and released for the frst time for ULTIMATE. Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Literature Vogue Paris, October 2018, cover

Transporting the viewer to a bygone era, this image by Erik Madigan Heck was created for Town & Country’s December 2014 editorial ‘Dreamcatchers’, featuring hypnotic Polish beauty Kasia Jujeczka.

In Heck’s distinctive approach to image-making, photography and painting intersect: ‘Paintings make me think more abstractly about my photographs,’ explains Heck, ‘They aren’t as limited as photographs are – they are physically built rather than taken, so to speak.’ His painterly aesthetic is seen in his treatment of colour and pattern; the pale blue and the forals in the present work function to fatten the picture plane.

Heck is a regular contributor to The New York Times Magazine, Vanity Fair, TIME and The New Yorker and in 2013 became one of the youngest artists to receive ICP’s Infnity Award. His frst monograph Old Future was published by Thames & Hudson in 2017 and his work has been shown internationally, including Foam’s 2014 exhibition Don’t Stop Now: Fashion Photography Next.

Taken on the tennis court of a Versailles-inspired mansion in Los Angeles, this captivating photograph by Steven Klein shows Guinevere van Seenus getting busy on a training day with her four-legged friends. Wearing a Dolce & Gabbana bustier top, briefs and high heels, Guinevere displays athleticism, lifing two dogs as hand weights, with a white poodle leashed to her leg. A variant was published in the January 2018 issue of Vogue US to illustrate an article on how the wellness craze has extended from humans to their pets. Klein is one of the most innovative and provocative artists working in fashion today. His image-making is grounded in reality but the template is constructed with elements of allure and ironic humour as seen here. His work resides in several public collections, including London’s National Portrait Gallery and V&A and New York’s International Center of Photography.

Of the 13 photographs taken by Mikael Jansson for Vogue Paris’s October 2018 cover story, the present work, featuring rising model Kaia Gerber (daughter of Cindy Crawford), was selected as the ofcial cover. Here, Jansson captures Kaia’s transformation from day to night: on the lef, she wears natural makeup and no earring; on the right, she wears metallic blue eyeshadow, glossy red lipstick and a single diamond drop earring. This duality has been skillfully rendered by Jansson in this bold, playful photograph. Throughout his long career, which began with assisting the legendary Richard Avedon in New York in the late 1980s, Jansson has shot for such leading publications as Vogue, W, Harper’s Bazaar and Interview.

His work has been featured internationally, including MoMA’s 2004 exhibition Fashioning Fiction in Photography since 1990 and his 2007 solo show and monograph Speed of Light at Stockholm’s Kulturhuset Stadsteatern and published by Steidl.

ULTIMATE EDITORIAL in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

10. Steven Meisel

American b. 1954

Naomi Campbell, New York City, 2019 Archival pigment print, fush-mounted.

Image: 193 x 147.3 cm (76 x 58 in.)

Frame: 198 x 152.3 cm (77 7/8 x 59 7/8 in.)

Signed in ink, printed title, date and number 1/1 on an artist label and a Certifcate of Authenticity, both accompanying the work.

This work is number 1 from the edition of 1 and is unique in this size. This image has been printed and released for the frst time for ULTIMATE. Estimate £35,000-45,000 $45,800-58,900 €40,500-52,000 ‡

The March 2019 cover of British Vogue celebrates the power of creative collaboration between two legends of fashion – image-maker Steven Meisel and supermodel Naomi Campbell – who have defned key moments in our social history and visual culture for over 30 years. ‘When Naomi works with Meisel,’ describes Editor-in-Chief of British Vogue Edward Enninful, ‘she practically becomes a teenager again, shy and focused … They know each other so well that they don’t really need words.’ Here, through multiple exposure and deliberate blurring, Meisel has created a surreal composition. A master storyteller, he perfectly captures Naomi in all her majestic elegance as ‘a genuine icon’ in this enchanting three-sided portrait.

plus Buyer’s Premium and VAT*

Literature British Vogue, March 2019, cover

‘This image is a portrait of one of the strongest, most inspiring, driven and uniquely talented humans I have been blessed to know.’

Steven Meisel, New York City, April 2019

For his homage to Naomi, Meisel takes us back to the very beginning of their relationship and gives us a rare glimpse into their friendship: This image is a portrait of one of the strongest, most inspiring, driven and uniquely talented humans I have been blessed to know. Naomi told me recently that we’ve been working together for over 25 years, which in itself seems incredible.

I remember so well the first time I saw her face. It was in an issue of French Elle. She jumped out of the page with that smile, something so real. So I tore out the page and kept it. Soon after that I booked her for American Vogue.

She turned up at the studio, it was the first time we met, hair back, shy, quiet and head-to-toe in black Azzedine.

From that very frst job together, she’s always given 100%, always on time, always professional however insane things got around us, and it’s been that way ever since. I love Naomi and above all, she’s a loyal and loving friend.

Throughout his multi-decade career, Meisel has continued to cast his spell over our cultural consciousness, shooting inspiring covers for Vogue internationally since the 1980s, as well as creating visionary campaigns for such leading designers as Prada, Loewe, Valentino and Calvin Klein.

ULTIMATE EDITORIAL *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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ULTIMATE EDITORIAL in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

11. Richard Mosse

b. 1980

Nowhere to Run (Infra series), 2010 Chromogenic print, fush-mounted.

Image: 180.6 x 226.5 cm (71 1/8 x 89 1/8 in.)

Frame: 188.4 x 234 cm (74 1/8 x 92 1/8 in.)

Signed, dated in ink, printed title, date and number AP 1 on a gallery label afxed to the reverse of the frame.

From an edition of 2 + 1 AP.

Provenance Jack Shainman Gallery, New York Literature Infra: Photographs by Richard Mosse, New York: Aperture, 2012, cover (variant) and pp. 14-15

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

12. Richard Mosse

b. 1980

Another Green World (Infra series), 2010 Chromogenic print, fush-mounted.

Image: 127 x 101.6 cm (50 x 40 in.)

Frame: 134.6 x 109.2 cm (52 7/8 x 42 7/8 in.)

Signed, dated in ink, printed title, date and number 1/2 on a gallery label afxed to the reverse of the fush-mount.

From an edition of 2 + 1 AP.

Provenance Jack Shainman Gallery, New York Literature Infra: Photographs by Richard Mosse, New York: Aperture, 2012, p. 5

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

13. Hiroshi Sugimoto

b. 1948

Ionian Sea, Santa Cesarea, 1993 Gelatin silver print, mounted.

42 x 53.8 cm (16 1/2 x 21 1/8 in.)

Signed in pencil on the mount; blindstamped title, date and number ‘2/25, 423’ in the margin.

Provenance Galerie Rodolphe Janssen, Brussels Christie’s, London, Post War and Contemporary Art, 12 October 2012, lot 348 Christie’s, London, First Open, 15 September 2017, lot 22

Estimate £15,000-20,000 $19,600-26,200 €17,300-23,100

Literature Sugimoto, Houston: Contemporary Arts Museum, 1996, p. 67 A. R. George, ed., Hope Photographs, London: Thames & Hudson, 1998, pp. 144-145

plus Buyer’s Premium and VAT*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

14. Hiroshi Sugimoto

b. 1948

English Channel, Weston Clif, 1994 Gelatin silver print, mounted.

42 x 53.8 cm (16 1/2 x 21 1/8 in.)

Signed in pencil on the mount; blindstamped title, date and number ‘14/25, 417’ in the margin.

Estimate £18,000-22,000 $23,500-28,800 €20,800-25,400 plus Buyer’s Premium and VAT*

Provenance Koyanagi Gallery, Tokyo in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

15. Ruud van Empel

b. 1958

Theatre #6, 2011 Mural-sized chromogenic print, face-mounted and fush-mounted.

100 x 300 cm (39 3/8 x 118 1/8 in.)

Signed, titled, dated and numbered 2/7 in ink on an artist label afxed to the reverse of the fush-mount.

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 ♠

16. Doug & Mike Starn

b. 1961 and b. 1961

Structure of Thought No. 1, 2001-2006 MIS and Lysonic inkjet prints on Thai mulberry, gampi and tissue papers with wax, encaustic and varnish.

Image: 181 x 153 cm (71 1/4 x 60 1/4 in.)

Frame: 208.5 x 178 cm (82 1/8 x 70 1/8 in.)

Signed, dated and numbered 1/3 in ink on the reverse of the frame; printed title, date and number 1/3 on an artist label afxed to the reverse of the frame.

plus Buyer’s Premium and VAT, ARR applies*

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700

Provenance Flatland Gallery, Amsterdam

plus Buyer’s Premium and VAT*

Provenance Galería Alvaro Alcázar, Madrid

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

17. Gregory Crewdson

b. 1962

Untitled (Overturned Bus), 2001-2002 Chromogenic print, fush-mounted.

Image: 119.5 x 150 cm (47 x 59 in.)

Frame: 139.5 x 170 cm (54 7/8 x 66 7/8 in.)

Signed in ink, printed title, date and number 10/10 on a gallery label afxed to the reverse of the fush-mount.

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 ‡ plus Buyer’s Premium and VAT*

Provenance Phillips, New York, Under The Infuence, 7 March 2014, lot 227 Literature R. Moody, Twilight: Photographs by Gregory Crewdson, New York: Abrams, 2002, pl. 25 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

18. Gregory Crewdson

b. 1962

Untitled (Natural Bridge), 2007 Archival pigment print, fush-mounted.

Image: 144.7 x 223.5 cm (56 7/8 x 87 7/8 in.)

Frame: 148.5 x 227.3 cm (58 1/2 x 89 1/2 in.)

Signed in ink, printed title, date and number AP1 on an artist label afxed to the reverse of the fush-mount.

From an edition of 6 + 2 APs. Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800 ‡ plus Buyer’s Premium and VAT*

Provenance Luhring Augustine, New York

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

19. Thomas Struth

b. 1954

Chicago Board of Trade I, Chicago, 1990 Dye destruction print.

Image: 99.5 x 78.5 cm (39 1/8 x 30 7/8 in.)

Frame: 111.5 x 91 cm (43 7/8 x 35 7/8 in.)

Signed, titled, dated and numbered 10/10 in pencil on the verso; signed in pencil, printed title, date and number 10/10 on an artist label afxed to the reverse of the frame.

Provenance Galerie Max Hetzler, Berlin Literature Still: Thomas Struth, Nimes: Musee d’art contemporain de Nimes, 1998, p. 67

Estimate £25,000-35,000 $32,700-45,800 €28,900-40,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

20. Vik Muniz

b. 1961

Rita Hayworth from Pictures of Diamonds, 2005 Chromogenic print, fush-mounted.

Image: 127.5 x 120 cm (50 1/4 x 47 1/4 in.)

Frame: 137.5 x 130 cm (54 1/8 x 51 1/8 in.)

Signed in ink, printed title, date and number 8/10 on a gallery label afxed to the reverse of the fush-mount.

Accompanied by a signed Certifcate of Authenticity.

Provenance Sikkema Jenkins & Co., New York Literature Everything So Far, Vik Muniz: Catalogue Raisonné, 1987-2015, Rio de Janeiro: Capivara, 2015, p. 521

Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800 plus Buyer’s Premium and VAT*

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

21. Thomas Ruf

b. 1958

16h 28m/-60°, 1992 Chromogenic print, face-mounted to Diasec.

Image: 201 x 134 cm (79 1/8 x 52 3/4 in.)

Frame: 285.5 x 186 cm (112 3/8 x 73 1/4 in.)

Signed, titled, dated and numbered 1/2 in pencil on the verso.

Estimate £50,000-70,000 $65,400-91,600 €57,800-80,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Galleria Lia Rumma, Naples Literature Thomas Ruf: 1979 to the present, Baden-Baden: Kunsthalle, 2001, p. 195

‘My images are not images of reality, but show a kind of second reality, the image of the image.’

Thomas Ruf

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

22. Thomas Ruf

b. 1958

CK 02, 2012 Chromogenic print, fush-mounted.

Image: 132.7 x 89.7 cm (52 1/4 x 35 3/8 in.)

Frame: 154.5 x 110.3 cm (60 7/8 x 43 3/8 in.)

Signed, titled, dated and numbered 3/5 in pencil on the reverse of the frame.

Estimate £20,000-25,000 $26,200-32,700 €23,200-28,900 ♠ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

23. David LaChapelle

b. 1963

Rape of Africa, 2008 Chromogenic print, face-mounted and fush-mounted.

Image: 59.8 x 137.5 cm (23 1/2 x 54 1/8 in.)

Frame: 67 x 144.2 cm (26 3/8 x 56 3/4 in.)

Signed in ink, printed title, date and number AP1/5 on an artist label afxed to the reverse of the fush-mount.

From an edition of 10 + 5 APs. Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Provenance Robilant + Voena, London Literature Bling Bling Baby!, Düsseldorf: NRW-Forum, 2016, n.p.

22

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

23

24. David LaChapelle

b. 1963

Pieta with Courtney Love, 2006 Chromogenic print, fush-mounted.

Image: 95.5 x 76.2 cm (37 5/8 x 30 in.)

Frame: 108.5 x 87.6 cm (42 3/4 x 34 1/2 in.)

Signed in ink, printed title, date and number AP4 on an artist label afxed to the reverse of the frame.

From an edition of 4 + 4 APs. Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Provenance Halcyon Gallery, London Literature David LaChapelle, Florence: Guinti, 2007, pl. 21, p. 147

24

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

25. Philip-Lorca diCorcia

b. 1951

Igor, 1987 Chromogenic print.

40 x 58 cm (15 3/4 x 22 7/8 in.)

Signed in ink on the verso; signed in ink on an artist label, printed title and date on a gallery label, both afxed to the reverse of the frame. From an edition of 20.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Provenance Galerie Rodolphe Janssen, Brussels Literature P. Galassi, Philip-Lorca diCorcia, New York: MoMA p. 30 A. Brooks et al., Subjective Realities, Works from the Refco Collection of Contemporary Photography, New York: Refco Group, pp. 88-89

26. Philip-Lorca diCorcia

b. 1951

London, 1997 Chromogenic print, fush-mounted.

79 x 104 cm (31 1/8 x 40 7/8 in.)

Signed in pencil on the reverse of the mount; signed in pencil, printed title and date on a gallery label afxed to the reverse of the frame. From an edition of 15.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance Galleria Monica De Cardenas, Milan Literature B. Simpson, Philip-Lorca diCorcia, Göttingen: Steidl, 2007, p. 54

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

27. Robert Polidori

b. 1951

View of Central Park from the East, New York, NY, 2004 Chromogenic print, fush-mounted.

Image: 109 x 85.7 cm (42 7/8 x 33 3/4 in.)

Frame: 130 x 104.5 cm (51 1/8 x 41 1/8 in.)

Signed in ink, printed title, date and number 8/10 on a gallery label afxed to the reverse of the frame.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ♠

Provenance Camera Work, Berlin Literature Robert Polidori’s Metropolis, Gottingen: Steidl, 2004, p. 142 Fotografe, Robert Polidori, Portfolio No. 41, Hamburg: teNeues, 2006, p. 50

plus Buyer’s Premium and VAT, ARR applies*

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

28. Ori Gersht

b. 1967

Untitled 28 from Time Afer Time: Exploding Flower & Other Matters, 2007 Chromogenic print, fush-mounted.

38.8 x 29.4 cm (15 1/4 x 11 5/8 in.)

Signed in ink, credit blindstamp, printed title, date and number 6/6 on a Certifcate of Authenticity accompanying the work.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Brand New Gallery, Milan

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

29. Massimo Listri

b. 1955

Biblioteca Nazionale di Napoli, 2002 Chromogenic print, fush-mounted.

Image: 180 x 225 cm (70 7/8 x 88 5/8 in.)

Frame: 183 x 228 cm (72 x 89 3/4 in.)

Signed, titled, dated and numbered 1/3 in ink on an artist label afxed to the reverse of the frame.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist

30. Abelardo Morell

b. 1948

Camera Obscura Image of the Brooklyn Bridge in Bedroom, 1999 Gelatin silver print, fush-mounted.

Image: 80.3 x 101.6 cm (31 5/8 x 40 in.)

Frame: 96.7 x 116.6 cm (38 1/8 x 45 7/8 in.)

Signed, titled and dated in ink in the margin; printed title, date and number 12/15 on a gallery label afxed to the reverse of the frame.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 plus Buyer’s Premium and VAT*

Provenance Michel Soskine Inc., Madrid Literature A. Morell, Camera Obscura, Boston: Bulfnch, 2004, p. 47

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

31. Eamonn Doyle

1969

End. Twins, 2015 Archival pigment print, fush-mounted.

Image: 66 x 99 cm (25 7/8 x 38 7/8 in.)

Frame: 69 x 102 cm (27 1/8 x 40 1/8 in.)

Signed, dated, numbered 1/5 in ink and printed title on an artist label afxed to the reverse of the fush-mount.

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Michael Hoppen Gallery, London

32. Martin Parr

b. 1952

Selected Images from The Last Resort, 1983 Four chromogenic prints, printed 2005.

Each: 50.5 x 63.2 cm (19 7/8 x 24 7/8 in.)

Each signed, titled and dated in ink on the verso.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature M. Parr, The Last Resort: Photographs of New Brighton, Stockport: Dewi Lewis, 1986, pp. 23-25, 35

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

33. Wolfgang Tillmans

b. 1968

Still Home, 1996 Chromogenic print.

39.2 x 26.5 cm (15 3/8 x 10 3/8 in.)

Signed, titled, dated and numbered 7/10 in pencil on the verso. Accompanied by a signed Certifcate of Authenticity.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance SIX Gallery, Milan

34. Ryan McGinley

b. 1977

Drif Domes, 2009 Chromogenic print, fush-mounted.

Image: 113 x 75 cm (44 1/2 x 29 1/2 in.)

Frame: 117.5 x 79.5 cm (46 1/4 x 31 1/4 in.)

Signed in ink, printed title, date and number 2/3 on a gallery label afxed to the reverse of the fush-mount.

From an edition of 3 + 2 APs. Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 plus Buyer’s Premium and VAT*

Provenance Alison Jacques Gallery, London

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

Actual size

35. Hans Bellmer

1902-1975

La Poupée (with carpet beater), 1937 Gelatin silver print with hand colouring, mounted.

14.8 x 14.2 cm (5 7/8 x 5 5/8 in.)

Estimate £6,000-8,000 $7,900-10,500 €6,900-9,300 ♠ plus Buyer’s Premium and VAT*

Provenance Lunn Graphics International Ltd., Washington DC

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

36. Constantin Brancusi

1876-1957

Self-Portrait in his studio, 1925 Gelatin silver print.

16.8 x 23.8 cm (6 5/8 x 9 3/8 in.)

Titled and annotated by Barbu Brezianu in pencil on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,300-13,900 ♠ plus Buyer’s Premium and VAT*

Provenance Barbu Brezianu, Romanian art critic, art historian and Brancusi scholar, Bucharest, 2001 Botarro Collection, France

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

37. Stanislaw Ignacy Witkiewicz (Witkacy) 1885-1939 Self-Portrait, 1912-1914 Gelatin silver print.

17.4 x 12.3 cm (6 7/8 x 4 7/8 in.)

Estimate £30,000-50,000 $39,300-65,500 €34,700-57,900 plus Buyer’s Premium and VAT*

Provenance Galerie Berinson, Berlin Exhibited Face au neant: les portraits de Stanislaw Ignacy Witkiewicz, Musee des Beaux Arts, Nantes, 7 May - 4 July 2004, this lot Literature Metaphysical Portraits: Photographs by Stanislaw Ignacy Witkiewicz, Leipzig: Connewitzer Verlagsbuchhandlung, 1997, p. 57 Face au neant : les portraits de Stanislaw Ignacy Witkiewicz, Nantes: Musee des Beaux Arts, 2004, p.159

This compelling self-portrait by Polish artist, playwright, novelist and philosopher Stanislaw Ignacy Witkiewicz, known as Witkacy, is among a series of about a dozen tightlyframed, close-up portraits he created in the years preceding the outbreak of World War I. At a time when Pictorialism dominated the photography scene, Witkacy pursued his own artistic vision, modifying the camera equipment he received from his artist father to produce formally innovative portraits. In a letter to Helena Czerwijowska in August 1912, he writes: ‘For two weeks now, I have had that camera to which Helman added a lens with the help of a water tube.

I have taken some wonderful photos and when I have printed them, I’ll send them.’ The resulting photographs depict close-up faces that fll the entire frame, isolating the sitters from their environment and exposing their psyche.

In this self-portrait, Witkacy has cropped the edges of the frame along his hands, which rest on either side of his face. His dark hair disappears into the background, removing any spatial awareness from the composition and focusing the viewer on the eyes of the artist. Although Witkacy never regarded himself as a photographer nor exhibited his photographic output, photography played an important role in the life and creative practice of this eccentric genius.

Other portraits by Witkacy reside in various public institutions, including New York’s Metropolitan Museum of Art and Museum of Modern Art.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

Actual size

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

38. Man Ray

1890-1976

Électricité Paris: La Compagnie Parisienne de Distribution d’Électricité, 1931.

Portfolio of 10 photogravures afer Rayographs.

Each: 26 x 20.5 cm (10 1/4 x 8 1/8 in.) or the reverse Folio: 38.5 x 28.5 cm (15 1/8 x 11 1/4 in.)

Each signed in the negative and tipped to a mount, each in individual translucent lettered wrappers; together with the 6-page printed introductory text by Pierre Bost. Folio, loose as issued inside printed patterned wrappers with faps, the colophon printed inside the rear wrapper, in the original glassine dust jacket.

Number 451 from the edition of 500.

Estimate £20,000-30,000 $26,200-39,300 €23,200-34,700

39. Man Ray

1890-1976

Rayograph, 1946 Unique gelatin silver print.

25.2 x 19.9 cm (9 7/8 x 7 7/8 in.)

Signed and dated in pencil on the recto; signed and dated in pencil, stamped ‘ORIGINAL’ (Manford M27) on the verso.

Studio Marconi label afxed to the reverse of the frame.

Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800 plus Buyer’s Premium and VAT*

Provenance Studio Marconi, Milan, 1996 Private collection, Milan

plus Buyer’s Premium and VAT*

Provenance Kornfeld und Klipstein, Bern, 11 June 1976, lot 146

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

40. Man Ray

1890-1976

La Prière [Prayer], 1930 Gelatin silver emulsion on linen, printed 1971.

Image/canvas: 33 x 24 cm (13 x 9 ½ in.)

Frame: 47 x 38 cm. (19 x 15 in.)

Signed and numbered VI/VII in pencil on the recto; numbered VI/VII in ink on the reverse of the stretcher bar; printed title ‘Close Up’ and date on a Galleria Schwarz label afxed to the reverse of the frame.

Estimate £50,000-70,000 $65,400-91,600 €57,800-80,900 plus Buyer’s Premium and VAT*

Provenance Arturo Schwarz, Milan, 1982 Private Collection, Italy Exhibited L’amore è la morte, Galleria Borghese, Rome, May - June 1993, this lot Da-dada. Dada e dadaismi del contemporaneo.

1916-2006, Castello Visconteo, Pavia, 7 September - 17 December 2006, this lot Literature L. Meneghelli, L’ amore è la morte, Rome: Galleria Borghese, 1993, n.p., this lot A. Bonito Oliva, Dadada. Dada e dadaismi del contemporaneo 1916-2006, Milano: Skira, 2006, p. 59, this lot P. Prodger et al., Man Ray/Lee Miller: Partners in Surrealism, Salem: Peabody Essex Museum, 2011, p. 76 A. Schwarz, Man Ray: The Rigour of Imagination, New York: Rizzoli, 1977, pl. 82, p.90 A. Schwarz, New York Dada: Duchamp, Man Ray, Picabia, Munich: Prestel, 1973, pl. 105

In La Prière, 1930, Man Ray presents his nude model in a provocative pose, carefully framing her fragmented body parts within the composition. The model here is Lee Miller who not only posed for Man Ray during their short-lived, tumultuous relationship, but also collaborated with him to choreograph iconic images such as La Prière. Combining the descriptive capabilities of photography with his distinctive vision, Man Ray creates an image that is at once realistic and dreamlike. As in the best of his photographs, conventional artistic subject matter is imbued with the spirit of Surrealism.

By the 1930s, nudes comprised an important portion of Man Ray’s oeuvre, and an entire passage of Man Ray: Photographies 1920-1934 Paris, his frst monograph, is devoted to the female form. La Prière has lost none of its visual impact since its creation in 1930 and is one of a select number of early works that Man Ray revisited, producing small editions as both gelatin silver prints and gelatin silver emulsion on linen. The work offered here is number six from the edition of seven that Man Ray printed on linen and is one of the few images he is known to have created in this way.

Acquired in 1982 from Italian art historian and curator Arturo Schwarz, the present work has been in the same collection for over 35 years.

Widely respected as a leading authority on Surrealism and Dadaism, Schwarz championed Man Ray and exhibited his work at his infuential Milan gallery Galleria Schwarz, which he operated from 1954 to 1975.

‘I do not photograph nature, I photograph my fantasy.’

Man Ray

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

52. Eiji Ohashi

ULTIMATE ULTIMATE is a unique selection of photographs, available for sale only at Phillips.

In this edition, we have curated a multifaceted collection of exclusive works, ranging from rare masterpieces to unique works and sold-out editions.

As this exciting programme evolves, so do our criteria for entry. If it’s the frst, the last, special, unique, a one-of or the only chance to own it, then it might just be the ultimate…

While each work is distinctive, the one thing they all have in common is that they are not available anywhere else.

We are thrilled to present fresh-to-market works by seven women artists, including our cover lot by Anne Collier (lot 45), Helena Almeida’s unique work Seduzir (lot 41) and two rare vintage prints from Ishiuchi Miyako’s Yokosuka Story, while auction newcomers Reine Paradis (lot 46), Juno Calypso (lot 47) and Kourtney Roy (lot 48) stage themselves as the protagonists in their cinematic photographs. Exciting works by eight artists debuting at auction include Andrew Zuckerman’s hyperreal portrait of a grizzly bear standing nearly three metres tall (lot 51), our back-cover lot by Yuji Hamada that examines the Rubik’s Cube through the Polaroid emulsion-lift technique (lot 50), and Jinhee Kim’s hand-embroidered Labor of Love diptych (lot 44).

ULTIMATE ofers something special for every collector.

41. Helena Almeida

Portuguese 1934-2018

Seduzir [Seduce], 2002 Unique chromogenic print with red paint, fush-mounted.

Image: 183 x 123.5 cm (72 x 48 5/8 in.)

Frame: 189.5 x 129.5 cm (74 5/8 x 50 7/8 in.)

Signed, titled and dated in ink on the recto; titled and dated in ink on the reverse of the frame.

This work is unique.

Estimate £50,000-70,000 $65,400-91,600 €57,800-80,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Galeria Helga Alvear, 2002 Private Collection, Spain Exhibited El fantasma de una oportunidad - Un diálogo entre la Colección Sánchez-Ubiría y la Colección António Cachola, La Nave, Madrid, 26 February - 3 March 2019, this lot Literature Helena Almeida: Feet on the Ground, Head in the Sky, Lisbon: Centro Cultural de Belem, 2004, p. 178, this lot

A woman’s body in a knee-length black dress, her hands clenched at her waist as she stands with one black high heel on and the other of. The discarded shoe lies on its side, with red paint on the insole and on the ground in front. Since 1969, Helena Almeida has produced photographs mainly in black and white. For her painstakingly detailed creative process, she begins with preparatory drawings of choreography that she faithfully follows in the studio. She then flms herself, observing how her body moves and explores the space. Once perfected, her private performance is photographed by her husband Arthur Rosa. Refusing to be categorised, Almeida is not just photographer, painter, sculptor or performance artist, but all of these, treating herself as the canvas and using her body to paint and draw. Her body stands for all and any body, and is no longer her own.

Seduzir [Seduce], offered here, is from a body of work Almeida created between 2000 and 2002. Some critics posit that this series investigates the art of allurement and seduction, while others argue that it explores the death of Almeida’s sister. Through these images, which number approximately 45, we see Almeida’s body in a variety of poses, full fgure or in fragments, some with red paint and others without. In the present lot, as with most of her works, the face is out of the frame, enabling the viewer to focus on the fgure in the space, on her legs, her feet and her high heels. The red acrylic paint, evoking blood, draws our eye to the discarded shoe; the brightness of the pigment is heightened against the monochromatic imagery. Since the 1960s, Almeida has worked almost exclusively in her studio. In these later works, she frames her actions within these confnes, capturing fragmented edges of the space as seen in the present composition.

In addition to her numerous exhibitions worldwide, Almeida was included in the 1982 and 2005 Venice Biennales. She has been exhibited internationally, including her major retrospectives Helena Almeida: Feet on the Ground, Head in the Sky at Serralves Foundation in Porto (2003) and Jeu de Paume’s Corpus (2016) in which other works from this series were exhibited. Other Seduzir works reside in the collection of the Calouste Gulbenkian Museum in Lisbon.

‘What interests me is always the same thing: space ... But what I want to work on is emotions. They constitute diferent ways of telling a story.’

Helena Almeida

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‘Yokosuka was like a deeply haunting feeling of brutality, and onto hundreds of pure white photographic paper, I spewed it out in deep blacks.’ Ishiuchi Miyako, Yokosuka Story, 1979

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石内都 Ishiuchi Miyako

In Yokosuka Story, Ishiuchi Miyako presents a fctional Yokosuka rendered in black and white. Dark, grainy and off-kilter, her photographs are quietly unsettling, as seen in the following two works. Juxtapositions of close-up and faraway views, straight and oblique angles, derelict buildings and solitary fgures refect the tensions she felt growing up in the turbulent base town. On completing her project in March of 1977, Ishiuchi showed 100 photographs of Yokosuka to Nobuyoshi Araki, whose introduction to Jun Miki, photographer and director of Nikon Salon, resulted Yokosuka Story in her maiden solo show from 26 April to 1 May at Nikon Salon in Ginza, Tokyo. In the following year, Ishiuchi founded the publishing company Shashin Tsūshinsha, fnanced with the three million yen her father had saved for her wedding, to self-publish her frst two photobooks, which included Yokosuka Story (1979).

In 1979, Ishiuchi became the frst woman to receive the Kimura Ihei Award, the most coveted photography award in Japan, and the only woman artist to be included in the group exhibition Japan: A Self-Portrait at the International Center of Photography in New York. She represented Japan at the 2005 Venice Biennale and is a multiple award winner, including Japan’s Medal with Purple Ribbon (2013) and the Hasselblad Award (2014). Her work has been exhibited internationally and recent museum retrospectives include Ishiuchi Miyako: Postwar Shadows at the J. Paul Getty Museum, Los Angeles (2015-16) and Ishiuchi Miyako: Grain and Image at the Yokohama Museum of Art (2017-18), which has the largest holding of Yokosuka Story photographs with 55 exhibition prints from her maiden show in 1977. London’s Tate Modern holds 40 unique cabinet-card-sized prints from Yokosuka Story, printed in 1979.

Ishiuchi, Yokosuka Story Tokyo: Shashin Tsūshinsha, 1979

Promotional card for her first solo show Yokosuka Story at Nikon Salon in 1977. Ishiuchi chose Yokosuka Story #5 for this purpose and the exhibition title in Japanese, shown diagonally across the card, is in her hand.

Yokosuka Story #5 (lot 42) and Yokosuka Story #73 (lot 43), ofered here, were acquired from Gallery Past Rays in Yokohama, which, in 1997, held the first exhibition of Yokosuka Story in 20 years, showing both early and modern prints, to mark the 20th anniversary of Ishiuchi’s 1977 maiden show at Nikon Salon.

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42. Ishiuchi Miyako

Japanese b. 1947

43. Ishiuchi Miyako

Japanese b. 1947

Yokosuka Story #5 Nobikaigan, 1976 Gelatin silver print, printed 1977.

Image: 43.2 x 53.5 cm (17 x 21 1/8 in.)

Sheet: 45.5 x 55.5 cm (17 7/8 x 21 7/8 in.)

Signed in rōmaji, titled in Japanese and dated in ink on the verso; signed, titled and dated in ink on a Certifcate of Authenticity accompanying the work

Yokosuka Story #73 Ōdaki-chō, 1977 Gelatin silver print, printed 1977.

Image: 23.3 x 28.3 cm (9 1/8 x 11 1/8 in.)

Sheet: 25.2 x 30.5 cm (9 7/8 x 12 in.)

Signed in rōmaji, titled in Japanese and dated in ink on the verso; signed, titled and dated in ink on a Certifcate of Authenticity accompanying the work.

This work is one of the prints made by Ishiuchi for the purpose of her frst solo show Yokosuka Story at Nikon Gallery, Tokyo; the exhibited print is held at Yokohama Museum of Art. As of this writing, the Getty Museum and Yokohama Museum of Art each holds an early print, and MoMA holds a later print. Early prints of Yokosuka Story are exceedingly rare.

This work is believed to be the frst print she made of this image, which she kept for herself. As of this writing, the Getty Museum and Yokohama Museum of Art each holds an early print. Early prints of Yokosuka Story are exceedingly rare.

Estimate £15,000-25,000 $19,600-32,700 €17,400-28,900 ‡

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Provenance Gallery Past Rays, Yokohama, 2009 Private Collection, Tokyo Exhibited Yokosuka Story, Nikon Salon, Ginza, Tokyo, 26 April - 1 May 1977, another Hiroshima/Yokosuka: Miyako Ishiuchi, Meguro Museum of Art, Tokyo, 5 October – 11 December 1999, another Ishiuchi Miyako Mother’s 2000-2005: Traces of the Future, 51st International Art Exhibition, Venice Biennale, 12 June – 6 November 2005, another Ishiuchi Miyako: Postwar Shadows, Getty, Los Angeles, 6 October 2015 – 21 February 2016, another Literature Ishiuchi, Yokosuka Story, Tokyo: Shashin Tsūshinsha, 1979 Ishiuchi, Mother’s 2000-2005: Traces of the Future, Tokyo: The Japan Foundation, 2005, p. 71 Ishiuchi, Sweet Home Yokosuka 1976-1980, New York: PPP Editions, 2010, n.p.

Ishiuchi Miyako: Postwar Shadows, Los Angeles: Getty, 2015, pl. 14, pp. 46-47 Ishiuchi Miyako: Grain & Image, Yokohama: Yokohama Museum of Art, 2017, pp. 228-229

In this bold composition, the windswept grasses fll more than half of the frame. Ishiuchi’s preferred language of grain and the repeated curves of the grasses create an emotionally charged photograph, enabling the viewer to feel the power of the wind and to hear the rustling of the grasses. One of the most important photographs from the project, Yokosuka Story #5 was selected as the image to promote Ishiuchi’s 1977 inaugural Yokosuka Story exhibition.

Estimate £6,000-8,000 $7,900-10,500 €6,900-9,300 ‡ Provenance Gallery Past Rays, Yokohama, 2009 Private Collection, Tokyo Exhibited Yokosuka Story, Nikon Salon, Ginza, Tokyo, 26 April - 1 May 1977, another Ishiuchi Miyako Mother’s 2000-2005: Traces of the Future, 51st International Art Exhibition, Venice Biennale, 12 June – 6 November 2005, another Ishiuchi Miyako: Postwar Shadows, Getty, Los Angeles, 6 October 2015 – 21 February 2016, another Literature Ishiuchi, Yokosuka Story, Tokyo: Shashin Tsūshinsha, 1979 Ishiuchi, Mother’s 2000-2005: Traces of the Future, Tokyo: The Japan Foundation, 2005, p. 75 Ishiuchi, Sweet Home Yokosuka 1976-1980, New York: PPP Editions, 2010, n.p.

Ishiuchi Miyako: Hasselblad Award 2014, Berlin: Kehrer, 2014, p. 12 Ishiuchi Miyako: Postwar Shadows, Los Angeles: Getty, 2015, pl. 12, p. 44 Ishiuchi Miyako: Grain & Image, Yokohama: Yokohama Museum of Art, 2017, pp. 228-229

Here, we see a close up of the back of an American wearing a denim jacket embroidered with a skull and crossbones and the words ‘USS Rathburne’ and ‘You’ll Never Go Again!!’ as he is about to cross the road. The ambiguity of the scene is highlighted in Ishiuchi’s choice of angles and cropping.

Her manipulation of the photographic image in the camera and in the darkroom enables her to tell a personal story that also alludes to broader themes of alienation and disaffection of urban life in post-war Japan.

Please note that the artist’s name appears in Japanese order with the surname before the forename.

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44. Jinhee Kim

Korean b. 1985

45. Anne Collier

American b. 1970

Labor of Love 001 & 002, 2016 Archival pigment diptych with hand embroidery, fush-mounted.

Each image: 69.5 x 100.5 cm (27 3/8 x 39 5/8 in.)

Each frame: 74 x 104.5 cm (29 1/8 x 41 1/8 in.)

Each signed, titled and numbered AP1 in ink on the reverse of the fush-mount.

Folded Madonna Poster (Steven Meisel), 2007 Chromogenic print, fush-mounted.

Image: 116.5 x 151.5 cm (45 7/8 x 59 5/8 in.)

Frame: 128 x 166.5 cm (50 3/8 x 65 1/2 in.)

Signed in ink, printed title, date and number 3/5 on an artist label afxed to the reverse of the fush-mount.

This work is AP1 from the sold-out edition of 3 + 2 APs and exists only in this size and edition.

This work is number 3 from the sold-out edition of 5 + 2 APs. This image exists only in this size and edition. The Whitney Museum of American Art, New York holds another print from this edition.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 ‡ plus Buyer’s Premium and VAT*

A handwritten poem Jinhee Kim discovered on one of the many old postcards she had collected from fea markets was the inspiration behind her hand-embroidered Labor of Love diptych. Her painstaking creative process involved photographing 40 postcards, depicting such ordinary scenes as mountains, lakes and buildings, and digitally assembling them into two grids of 20 postcards each, which she then printed as two separate photographs.

Using pale coloured threads, Kim embroidered by hand the found poem – O weep O curse for love tho’ sometimes it be good / take all the stars from up above and throw them out to sea / O sing O dance for love tho’ it may sometimes end / fetch all of the stars from out of the sea and give them to a friend – over the postcard images. In photographing the postcards, the artist fattens them into one plane, which in turn heightens the three-dimensionality of the embroidery. For Kim, the use of the hand in embroidering the photographs ‘connotes personal memories and is also a non-linguistic way of communicating.’ Seoul-based Kim has won several awards, including the 2011 Sajin Bipyong Award, and has been selected for a number of photo festivals, including the 2015 Seoul New York Photo Festival. Her work is held in the collection of the Kiyosato Museum of Photographic Arts in Japan.

Provenance Corvi-Mora, London Private Collection, Switzerland Exhibited Dispersion, ICA, London, 3 December 2008 - 1 February 2009, another Anne Collier, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, 27 June - 21 September, 2014; MCA Chicago, 22 November 2014 - 8 March 2015; Aspen Art Museum, 2 April - 5 July 2015; AGO, Toronto, 26 September 2015 - 10 January 2016, another Literature Dispersion, London: ICA, 2008, pp. 20-21 Anne Collier, Chicago: MCA, 2014, n.p.

A once-folded poster of Madonna from a photograph taken

by Steven Meisel for her 1993 single ‘Bad Girl’ is pinned in the top two corners to a white wall. Photographing found objects and appropriated imagery, Anne Collier questions the ways in which these images are presented and perceived, aiming to elicit ‘a sense of emotional or psychological uncertainty’ through her image-making process. In Folded Madonna Poster (Steven Meisel), she transforms the object into the subject and asks us to join her in analysing the process of perception and presentation. The title of the work highlights that this is a picture within a picture; we know both what we are looking at (a folded poster of Madonna) and by whom the image was originally taken (Steven Meisel). In acknowledging these two aspects, Collier draws our attention to how this image was initially presented and consumed. Infuenced by the work of Cindy Sherman, Laurie Simmons and other ‘Pictures Generation’ artists, Collier re-contextualises popular imagery and visual clichés. She challenges how photography structures our ways of seeing by drawing our attention to these mechanics as seen in the present work.

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46. Reine Paradis

French b. 1989

Empty Pool from Jungle, 2015 Archival pigment print, fush-mounted.

Image: 100 x 150 cm (39 3/8 x 59 in.)

Frame: 105 x 155 cm (41 3/8 x 61 in.)

Signed, titled, dated and numbered AP1 in ink on a Certifcate of Authenticity afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 3 + 2 APs. This image is sold out in all sizes and editions.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Literature R. Paradis, Jungle: Self-Published, 2017, pp. 28-29

47. Juno Calypso

British b. 1989

Subterranean Kitchen from What To Do With A Million Years, 2018 Archival pigment print, fush-mounted.

Image: 101.6 x 152 cm (40 x 59 7/8 in.)

Frame: 106.6 x 158 cm (41 7/8 x 62 1/4 in.)

Signed, titled, dated and numbered AP1 in ink on the reverse of the fush-mount; signed in ink, printed title, date and number AP1 on a gallery label afxed to the reverse of the frame.

Accompanied by a signed Certifcate of Authenticity.

This work is AP1 from the sold-out edition of 5 + 2 APs. This image is sold out in all sizes and editions.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ♠ † plus Buyer’s Premium and VAT, ARR applies*

For her frst series Jungle, Reine Paradis stages herself as the protagonist, bringing to life the dreamlike scenes she has previously sketched. This performative aspect is key to her image-making process: ‘It is a necessity for me to “live” the scene in order to transmit the original vision completely.’ In Empty Pool, ofered here, a setting that we normally associate with water and movement is transformed into one of emptiness and stillness. Applying hyperreal colours and fctional touches to real locations, in this case, an empty public pool in Los Angeles, Paradis playfully explores the boundaries between reality and fction. She selfpublished her frst monograph Jungle in 2017 and her 2019 feature documentary Queen of Paradis – on the making of her latest series Midnight – has won ‘Best Feature’ at the LA Indie Film Festival.

For her series What To Do With A Million Years, Juno Calypso travelled 26 feet underground in a suburb of Las Vegas to an unoccupied, 15,000-square-foot 1970s Cold War bunker, complete with a pool and a garden. Subterranean Kitchen, presented here, was created during her three days in isolation – eating, sleeping, flming and photographing herself – inside this perfectly preserved time capsule. This cinematic photograph of Calypso in a pink dressing gown, shot from behind as she leans against the island in the pink-and-white kitchen and looks out at the pitch, black windows has become the most desired image from the series. Calypso has won several awards, including the 2016 International Photography Award by the British Journal of Photography, and has been selected for the 2016 Foam Talent. Subterranean Kitchen will be exhibited at the 2019 Rencontres d’Arles.

Literature J. Calypso, What To Do With A Million Years, London: Aldgate, 2018, pp. 30-31

48. Kourtney Roy

Canadian b. 1981

Sorry, No Vacancy 7, 2017 Chromogenic print, fush-mounted.

Image: 99 x 149.3 cm (38 7/8 x 58 3/4 in.)

Frame: 109 x 159 cm (42 7/8 x 62 5/8 in.)

Signed, dated, numbered AP 1/2 in ink, credit blindstamp, printed title, date and number AP 1/2 on an artist label afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 5 + 2 APs. This image is sold out in all sizes and editions.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Literature K.Roy, Sorry, No Vacancy, Paris: Éditions La Pionnière, 2017, p 18

In her series Sorry, No Vacancy, Kourtney Roy imagines a parallel universe inhabited by the characters she herself portrays. Here, an unusual drama unfolds: set against the vast Texas wilderness, a woman stands on the side of an open highway, holding an old-fashioned vacuum to the ground with its cable trailing behind her. With her sleek yet ofbeat style, Roy constructs mysterious scenarios that provide no fxed or clear meaning as seen in the present work. Inspired by cinema and flm stills, Roy seamlessly blends the real with artifce to create her images, transporting us to another place and time. Paris-based Roy has exhibited internationally, including her 2018 solo show The Dreamers at Le Château d’Eau, Pôle Photographique de Toulouse. Her work resides in such prominent institutions as the Maison Européen de la Photographie, Paris and the Musée de l’Elysée, Lausanne.

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48

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49. Takashi Arai

Japanese b. 1978

Fukushima, 2016-2017 from Daily D-type Project, 2016-2017 Polyptych, comprising nine unique daguerreotypes.

Each plate: 6.3 x 6.3 cm (2 1/2 x 2 1/2 in.)

Frame: 36.5 x 36.5 cm (14 3/8 x 14 3/8 in.)

Signed, titled and dated in ink on the reverse of the mount.

Accompanied by a signed Certifcate of Authenticity.

This work is unique.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,400 ‡ plus Buyer’s Premium and VAT*

50. Yuji Hamada

Japanese b. 1979

cube from C/M/Y, 2014 Unique work in nine parts, comprising Polaroid emulsions on watercolour papers.

Each image: 10.2 x 7.2 cm (4 x 2 7/8 in.)

Each frame: 27 x 27 cm (10 5/8 x 10 5/8 in.)

Overall: 89 x 89 cm (35 x 35 in.)

Each with process annotations in pencil in the margin; signed, dated in ink, printed title and date on a Certifcate of Authenticity accompanying the work.

This work is unique.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ‡ plus Buyer’s Premium and VAT*

51. Andrew Zuckerman

American b. 1977

Grizzly Bear 26, 2009 Archival pigment emulsion on Dibond.

Image: 279.4 x 152.2 cm (109 7/8 x 59 7/8 in.)

Frame: 285.8 x 158.5 cm (112 1/2 x 62 3/8 in.)

Signed in ink, printed title, date and number 4/5 on an artist label afxed to the reverse of the frame.

This work is number 4 from the sold-out edition of 5 (no APs). This image exists only in this size and edition.

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 ‡ plus Buyer’s Premium and VAT*

Exhibited Late Harvest, Nevada Museum of Art, Reno, 27 September 2014 - 19 January 2015, another

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Since the 2011 Great East Japan Earthquake that triggered a meltdown at the Fukushima Daiichi Nuclear Power Plant, Takashi Arai has continued to photograph Fukushima using the daguerreotype process as part of his Daily D-type Project, which he had begun earlier that same year. Aiming to record the efect of this disaster on daily life in Fukushima, Arai renders his own perspective onto small metallic plates, measuring 6.3 x 6.3 cm. The nine unique daguerreotypes, presented here, were selected by the artist and together reveal a personal narrative of daily life in present day Fukushima. The eerie blue, resulting from intentionally overexposing the plate, casts a ghostly atmosphere over the seemingly deserted scenes. Arai’s work has been exhibited internationally in numerous museums, including Yokohama Museum of Art and SFMOMA, and resides at Tokyo Photographic Art Museum; MEP, Paris; Musée Guimet, Paris; and MFA, Boston.

For cube, ofered here, Yuji Hamada chose the Rubik’s Cube as his motif and created nine unique prints using the Polaroid emulsion-lif technique. His meticulous image-making process involves immersing Polaroids in water to lif of separately the cyan, magenta and yellow emulsion layers, which he then overlays in diferent combinations onto watercolour papers. ‘It is tough working with sensitive, skinthin layers,’ explains Hamada, ‘but overlaying the diferent coloured layers makes me feel as though I’m silkscreen printing.’ Hamada’s playful interpretation of the iconic 3-D puzzle epitomises his continued exploration of colour and shape; his process of deconstructing and reconstructing the original image has resulted in entirely new images.

The present work is part of his ongoing C/M/Y series in which he questions the act of seeing through his photographic experimentation.

Hamada has published four photobooks – photograph (2014), C/M/Y (2015), BRANCH (2015) and Broken Chord (2017) – and has won several awards, including Magenta Foundation’s Flash Forward Competition in 2011 and 2013.

Exploring the intersection between nature and technology, Andrew Zuckerman presents here a hyperreal portrait of a grizzly bear, standing nearly three metres tall against a stark, white backdrop.

What appears at frst to be a straightforward photograph of an animal uncovers, on closer investigation, his meticulous imagemaking process, which combines aesthetic sensibilities with technical innovations. To create this image, Zuckerman frst photographed the bear on location in Montana, using his signature white backdrop to remove the animal from its environmental context. Back in his New York City studio, he used advanced imaging technology to add details to the photographic image, resulting in a resolution that surpasses all existing in-camera technology. Lastly, the fnal image was UV printed directly onto Dibond in 1:1 scale. In addition to multiple books, his immersive investigation of the natural world has been presented in three volumes published by Chronicle: Creature (2007), Bird (2009), and Flower (2012). Works from Creature have been exhibited at Kunsthal Charlottenborg, Copenhagen and the Nevada Museum of Art, Reno.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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52. Eiji Ohashi

Japanse b. 1955

Roadside Lights #001, 2017 Chromogenic print, fush-mounted.

Image: 100.5 x 152 cm (39 5/8 x 59 7/8 in.)

Frame: 110 x 162 cm (43 1/4 x 63 3/4 in.)

Signed and dated in ink, printed title, date and number 2/2 on an artist label afxed to the reverse of the frame.

Accompanied by a signed Certifcate of Authenticity.

This work is number 2 from the sold-out edition of 2 + 1AP. This image is sold out in all sizes and editions.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ‡ plus Buyer’s Premium and VAT*

The ever-present vending machine is a staple of Japanese landscape and can be found alongside nearly every road, illuminating the streets at night. One winter night, Eiji Ohashi was caught in a snowstorm and it was only with the help of these glowing appliances that he managed to navigate his way home. Since then he has travelled around his home country to photograph vending machines, resulting in his ongoing Roadside Lights series. ‘[The vending machines] work tirelessly, whether it is day or night, but once their sales drop, they are taken away,’ notes Ohashi, ‘If they do not glow and shine, they will stop existing. There might be something human about them.’ He has been the recipient of numerous awards, including the Moscow International Foto Awards (2016), photo-eye Best Books (2017) and the Special Photographer Award at the 34th Higashikawa Awards (2018).

Literature E. Ohashi, Roadside Lights, Tokyo: Zen Foto, n.p.

53. Han Sungpil

Korean b. 1972

The Dominion of Light, 2006 Chromogenic print, fush-mounted.

Image: 127 x 97 cm (50 x 38 1/4 in.)

Frame: 147 x 117 cm (57 7/8 x 46 1/8 in.)

Signed in ink, printed title, date and number AP 1/1 on an artist label afxed to the reverse of the mount; signed in ink, engraved title, date and number AP 1/1 on a brass panel afxed to the reverse of the frame. Accompanied by a signed Certifcate of Authenticity.

This work is AP1 from the sold-out edition of 5 + 1 AP. This image is sold out in all sizes and editions.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ‡ plus Buyer’s Premium and VAT*

Around twilight, when the sun is below the horizon, the sky can turn a midnight blue, as seen in the present work by Seoul-based artist Han Sungpil. Since 2004, Han has chosen this time of day known as the blue hour to photograph the life-size printed screens that are erected to conceal buildings undergoing restoration, drawing our attention to these visual illusions and how an image of the building can stand in for the building itself. The Dominion of Light, ofered here, showcasing a 1:1 facsimile of the 45-metrehigh steeple of the Myeongdong Cathedral – a symbol of the Korean Catholic Church and an instantly recognisable feature of the Seoul cityscape – has become the most desired image from his Facade series. His work has been exhibited internationally in numerous museums, including the Museum of Fine Arts, Houston; Tokyo Photographic Art Museum; and National Museum of Modern and Contemporary Art, Korea.

Literature H. Sungpil, Facade, Tokyo: Foil, 2011, n.p.

54. Kim Heewon

Korean b. 1982

Someone’s Window (Napoléon Bonaparte), 2011 Archival pigment print, face-mounted to Diasec.

Image: 225 x 150 cm (88 5/8 x 59 in.)

Frame: 230 x 155 cm (90 1/2 x 61 in.)

Signed in ink, printed title, date and number AP1 on an artist label afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 10 + 1 AP. This image exists only in this size and edition.

Estimate £12,000-18,000 $15,700-23,500 €13,900-20,800 ‡ plus Buyer’s Premium and VAT*

Exhibited 13th International Architecture Exhibition, Venice Architecture Biennale, 29 August - 25 November 2012, another

Kim Heewon photographed this image in Milan’s Galleria Civica d’Arte Moderna e Contemporanea, which is housed in Napoléon’s former in-town residence Villa Belgiojoso Bonaparte. When the present work, depicting a partially opened balcony door in 1:1 scale, is displayed on a wall, it functions to further extend both space and time. The illusionary efect of Kim’s composition is that it not only transforms and expands the space in which it is hung but also transports the viewer to another place and time. In his ongoing Someone’s Window series, he asks, ‘what would it be like to step into the shoes of the extraordinary and see what they see?’ Kim is a multimedia artist whose creative output spans multiple felds, including photography, video and design. His work resides in various collections, including the Rossana Orlandi Collection, Italy and the National Museum of Modern and Contemporary Art, Korea.

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54

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55. Choi Youngdon

Korean b. 1955

a day, 2008 Archival pigment print, fush-mounted.

Image: 70 x 157 cm (27 1/2 x 61 3/4 in.)

Frame: 89.5 x 177 cm (35 1/4 x 69 5/8 in.)

Signed in pencil, titled, dated and numbered AP in ink on an artist label afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 5 + 1 AP. This image is sold out in all sizes and editions.

Please note that the artist’s name appears in Korean order with the surname before the forename.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ‡ plus Buyer’s Premium and VAT*

36 diferent globes at 36 diferent longitudes mark the passing of a single day in the present work by Choi Youngdon. Working over an eight-month period in 2008 while living in Canada, he collected 36 globes made in the 20th century from antique shops around Toronto then photographed each globe at a 10-degree difference in longitude, finally assembling the images as a single photograph to represent a full rotation of the Earth. For Choi, ‘the passage of time in this full rotation discloses the idea that physical time fows equally wherever we live, whenever we live.’ In this work, the artist presents a new way to visualise and consider existence, seeking to interrogate how we use time. His work has been exhibited internationally, including Korea’s Hangaram Art Museum and Gwangju Museum of Art, as well as the National Museum of Indonesia in Jakarta.

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56. Lee Jeonglok

Korean b. 1971

Tree of Life 5-4-8, 2013 Chromogenic print, fush-mounted.

Image: 152 x 120 cm (59 7/ 8 x 47 1/4 in.)

Frame: 157 x 125 cm (61 3/4 x 49 1/4 in.)

Signed, titled, dated and numbered AP1 in ink on an artist label afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 7 + 2 APs. This image is sold out in all sizes and editions.

Please note that the artist’s name appears in Korean order with the surname before the forename.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ‡ plus Buyers Premium and VAT*

Lee Jeonglok’s unique process for creating this evocative photograph of a bioluminescent tree is analogue based and involves long exposure and the use of pink-coloured artifcial lights, chosen to complement the pinks in the sky and ocean.

The artist frst installed a 4 x 5 inch large-format camera on Haevichi Beach on Jeju Island and submerged the tree in the Pacifc Ocean. Once the scene was dark, he removed the fabric covering the camera with the aperture open, and from the

tree, repeatedly popped a strobe up to 300 times towards the camera, concluding the process by shining a strong searchlight at the tree. In his Tree of Life series, Lee contemplates the visible and the invisible, aiming ‘to metaphorically describe the vitality of a tree with light.’ Tree of Life works reside in the following museums in Korea: National Museum of Modern and Contemporary Art, Gwangju Museum of Art, Daelim Museum and Ilmin Museum of Art.

ULTIMATE in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

57. Hiroki Inoue

Japanese b. 1979

Fox Chase: Wherever you go, I will follow!, 2016 Chromogenic print, fush-mounted.

Image: 109.5 x 169.5 cm (43 1/8 x 66 3/4 in.)

Frame: 124 x 184.5 cm (48 7/8 x 72 5/8 in.)

Signed, titled, dated and numbered AP 1/3 in ink in the margin. Accompanied by a signed Certifcate of Authenticity.

This work is AP1 from the sold-out edition of 3 + 3 APs. This image is sold out in all sizes and editions.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ‡ plus Buyer’s Premium and VAT*

Literature H. Inoue, ‘Fox Chase’, National Geogrpahic Japan, Issue 23, Vol. 5, May 2017, pp. 15-16

This photograph of two red foxes racing across the snowy landscape in Hokkaido-, Japan won Hiroki Inoue the 2016 National Geographic Travel Photographer of the Year Award.

While driving along the snow-covered wheat feld in Biei, Hokkaido-, Inoue unexpectedly heard the barking of foxes through his open window. He quickly parked his car, set up his camera and photographed the wild foxes whose voices seem to echo, ‘Wherever you go, I will follow!’ The beautiful pinkish hue of the sky is a natural phenomenon caused by the light lingering in the eastern sky immediately following sunset. Using the stunning landscape of his homeland as his starting point, Inoue seeks to appreciate and capture those brief, unpredictable encounters with the elusive foxes – richly symbolic animals within Japanese folklore. His works have been widely exhibited in Japan, and in 2017, National Geographic published his frst photobook Follow Me, featuring his photographs of Hokkaido-’s wild foxes in winter.

ULTIMATE *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

58. Ryota Kikuchi

Japanese b. 1981

swing_uwajima, 2013 Archival pigment print, fush-mounted.

Image: 110 x 155 cm (43 1/4 x 61 in.)

Frame: 115 x 160 cm (45 1/4 x 62 7/8 in.)

Signed in ink, printed title, date and number AP1 on a gallery label afxed to the reverse of the frame.

This work is AP1 from the sold-out edition of 5 + 2 APs and is unique in this size. This image exists only in this edition.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ‡ plus Buyer’s Premium and VAT*

Swinging high above the skyline, free climber and artist Ryota Kikuchi is pictured here in a spellbinding self-portrait over Uwajima on Japan’s Shikoku island. Known for his gravitydefying performances, Kikuchi takes this exploit to the next level. While participating in the 2013 Art Uwajima, he attached a rope and piece of wood, creating a temporary swing, underneath a large bridge. While swinging over the sea, he unleashed his harness to fully enjoy the sensation of fying through the air. With striking lines of the horizon below, Kikuchi appears to efortlessly swing in mid-air, transforming how we view and experience the landscape. Afer receiving his MA in Intermedia Art from Tokyo University of the Arts, he began to use his unique skill set as a free climber to explore previously hidden viewpoints within the landscape. Kikuchi comments, ‘I choose to quietly take part in a performance, which I document as a photograph. It is a personal adventure.’ He continues, ‘I hope my work gives people a fresh viewpoint of ordinary cityscapes and landscapes.’

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59

59. Josef Koudelka

b. 1938

60. Josef Koudelka

b. 1938

Jarabina, 1963 Gelatin silver print, printed 1980s.

35 x 54 cm (13 3/4 x 21 1/4 in.)

Signed in ink in the margin.

Gypsy Musicians at Festival, 1966 Gelatin silver print, printed later.

34.8 x 54 cm (13 3/4 x 21 1/4 in.)

Signed in pencil on the verso.

Estimate £15,000-20,000 $19,600-26,200 €17,300-23,100 ♠

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ‡ ♠

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

Provenance Pace/MacGill Gallery, New York

Provenance Acquired directly from the artist

Literature J. Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, New York: MoMA, 1973, p. 203 V. Birgus, et al., Czech Photography of the 20th Century: A Guide, Prague: KANT, 2005, p. 87 Koudelka, New York: Aperture, 2006, pl. 57

Literature A. R. George, ed., Hope Photographs, London: Thames & Hudson, 1998, p. 149

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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61. Josef Koudelka

b. 1938

Okres Bardejov, Czechoslovakia, 1965 Gelatin silver print, printed 1980s.

54.5 x 36 cm (21 1/2 x 14 1/8 in.)

Signed in ink in the margin.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Phillips, New York, Photographs & Property from the Collection of Alain-Dominique Perrin, 25 April, 2007, lot 147 Literature J. Koudelka, Gypsies, New York: Aperture, 1975, n.p.

Koudelka, New York: Aperture, 2006, pl. 65

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in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

62. Josef Koudelka

b. 1938

Spain, 1971 Gelatin silver print, printed later.

24.5 x 36 cm (9 5/8 x 14 1/8 in.)

Signed in ink in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature S. Hunter, The Museum of Modern Art: The History and the Collection, New York: Abrams, 1985, pl. 858 J. Koudelka, Exiles, New York: Aperture, 2014, pl. 41

63. Josef Koudelka

b. 1938

Lourdes, France, 1973 Gelatin silver print, printed 1980s.

23.5 x 35.5 cm (9 1/4 x 13 7/8 in.)

Signed in ink in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Artcurial, Paris, 29 June 2015, lot 84 Literature J. Koudelka, Exiles, London: Thames & Hudson, 1997, pl. 31

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

64. Josef Koudelka

b. 1938

Portugal, 1976 Gelatin silver print, printed later.

35.5 x 54 cm (13 7/8 x 21 1/4 in.)

Signed in ink in the margin.

Estimate £15,000-20,000 $19,600-26,200 €17,300-23,100 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Eric Franck Fine Art, London Literature J. Koudelka, Exiles, London: Thames & Hudson, 1997, pl. 39 Josef Koudelka, Prague: Tortst, 2002, pl. 67 Koudelka, Paris: Delpire 2006, pl. 106

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

In the early 1990s, Josef Koudelka returned to the Czech Republic for the frst time since he fed in the late 1960s.

Over the course of the next few years, he used a panoramic camera to document the barren landscapes in the north of the country, known as the Black Triangle for the high levels of pollution and industrial destruction. Koudelka’s stark images record the environmental impact of open-cast mining and other smokestack industries. When he began primarily using the panoramic camera in the mid-1980s, his focus transitioned from documenting people to empty landscapes.

Despite being void of all human presence, these haunting images still tell the narrative of humankind and our imprint on the earth as seen in the following works.

65. Josef Koudelka

b. 1938

The Black Triangle, Czechoslovakia, 1991-1993 Gelatin silver print, printed later.

17.5 x 54 cm (6 7/8 x 21 1/4 in.)

Signed in pencil on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist.

Literature J. Koudelka, The Black Triangle: The Foothills of the Ore Mountains, Prague: Vesmir, 1994, n.p.

R. Delpire, Chaos: Josef Koudelka, London: Phaidon, 1999, p. 72 Josef Koudelka: Nationality Doubtful, Chicago: AIC, 2014, pl.

135c, pp. 216-217, captioned ‘Lom Jan Šverma, the coal basin covers an area of 70 by 20 kilometres’

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

66. Josef Koudelka

b. 1938

The Black Triangle, Czechoslovakia, 1991-1993 Gelatin silver print, printed later.

17.5 x 54 cm (6 7/8 x 21 1/4 in.)

Signed in pencil on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature J. Koudelka, The Black Triangle: The Foothills of the Ore Mountains, Prague: Vesmir, 1994, n.p.

R. Delpire, Chaos: Josef Koudelka, London: Phaidon, 1999, pp. 94-95 Josef Koudelka, Prague: Tortst, 2002, pl. 75 Koudelka, New York: Aperture, 2006, pl. 126

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

67. Henri Cartier-Bresson

1908-2004

Rue Moufetard, Paris, 1952 Gelatin silver print, printed 1980s.

35.3 x 23.6 cm (13 7/8 x 9 1/4 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £15,000-25,000 $19,600-32,700 €17,300-28,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Weston Gallery, Tokyo, 1980s Literature H. Cartier-Bresson, The Europeans, New York: Simon & Schuster, 1955, pl. 114 P. Galassi, Henri Cartier-Bresson: The Modern Century, New York: MoMA, 2010, p. 55

68. Henri Cartier-Bresson

1908-2004

Aquila degli Abruzzi, Italy, 1951 Gelatin silver print, printed before 1978.

36.8 x 25.6 cm (14 1/2 x 10 1/8 in.)

Signed in ink in the margin.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Halsted Gallery, Bloomfeld Hills Phillips, New York, 4 April 2012, lot 46 Literature C. Chéroux, Henri Cartier-Bresson, Here and Now, London: Thames & Hudson, 2014, pl. 317

69. Henri Cartier-Bresson

68

1908-2004

Brie, 1968 Gelatin silver print, printed later.

30 x 44.5 cm (11 3/4 x 17 1/2 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Private Collection, Paris Literature E. Orsenna, Henri Cartier-Bresson: City and Landscapes, Boston: Bulfnch, 2001, cover and p. 62

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70. Henri Cartier-Bresson

1908-2004

Hyères, France, 1932 Gelatin silver print, printed later.

24.1 x 35.6 cm (9 1/2 x 14 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Fay Gold Gallery, Atlanta Phillips, London, 18 May 2017, lot 50 Literature P. Galassi et al., Henri Cartier-Bresson: The Man, the Image and the World, London: Thames & Hudson, 2003, pl. 76

71. Henri Cartier-Bresson

1908-2004

Brussels, Belgium, 1932 Gelatin silver print, printed later.

24 x 35.4 cm (9 1/2 x 13 7/8 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature C. Chéroux, Henri Cartier-Bresson: Here and Now, London: Thames & Hudson, 2014, frontispiece

72. Henri Cartier-Bresson

1908-2004

Gestapo informer recognised by a woman she had denounced, Transit Camp, Dessau, Germany, 1945 Gelatin silver print, printed 1999.

30 x 44.5 cm (11 3/4 x 17 1/2 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Private Collection, New York Literature B. Newhall, The Photographs of Henri Cartier-Bresson, New York: MoMA, 1947, p. 40

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

73. Henri Cartier-Bresson

1908-2004

Trafalgar Square on the day of the Coronation of King George VI, London, 1937 Gelatin silver print, printed later.

35.5 x 24 cm (13 7/8 x 9 1/2 in.)

Signed in ink and copyright credit blind stamp in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

74. René Burri

1933-2014

Beer Glasses, Czechoslovakia, 1955 Gelatin silver print.

19.7 x 13.5 cm (7 3/4 x 5 3/8 in.)

Signed by the artist, annotated in another hand in pencil and Magnum copyright credit stamp on the verso.

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 plus Buyer’s Premium and VAT*

Provenance Kunsthaus Lempertz, Cologne, 2 December 2016, lot 59

Provenance Acquired directly from the artist

Literature P. Galassi, et al., Henri Cartier-Bresson: The Man, the Image and the World, London: Thames & Hudson, 2003, p. 82

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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76

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75. Marc Riboud

1923-2016

The Painter of the Eifel Tower, Paris, 1953 Gelatin silver print, printed later.

44.4 x 31 cm (17 1/2 x 12 1/4 in.)

Signed in ink in the margin.

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist

76. Manuel Álvarez Bravo

1902-2002

Un Cuarto Para Las Doce (A Quarter Past Twelve), 1957 Gelatin silver print, printed later.

23.8 x 19.3 cm (9 3/8 x 7 5/8 in.)

Signed and annotated in pencil on the verso.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Provenance Galerie Agathe Gaillard, Paris *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

77. Elliott Erwitt

b. 1928

Paris, 1989 Gelatin silver print, printed later.

43 x 56.5 cm (16 7/8 x 22 1/4 in.)

Signed in ink in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ‡ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

78. Andreas Feininger

1907-1999

The Photojournalist (Dennis Stock), 1955 Gelatin silver print, probably printed 1960s.

23.7 x 19 cm (9 3/8 x 7 1/2 in.)

Signed in ink, variously annotated in pencil and copyright credit stamp on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist Sam Haskins Estate, Manchester 78

79. Leonard Freed

b. 1929

Suspect in the back of a police car, New York City, 1978 Gelatin silver print, printed later.

56.6 x 38 cm (22 1/4 x 14 7/8 in.)

Signed in pencil on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ‡ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist Literature L. Freed, Police Work, New York: Touchstone, 1981

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80. Henri Cartier-Bresson

1908-2004

Albert Camus, Paris, France, 1944 Gelatin silver print, printed later.

24.6 x 35.6 cm (9 5/8 x 14 in.)

Signed in ink and copyright credit blindstamp in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance John Hillelson Agency, London Literature Henri Cartier-Bresson: Decisive Moments, Santa Monica: Peter Fetterman Gallery, 2015, pl. 16

81. René Burri

1933-2014

Che Guevara, Havana, Cuba, 1963 Gelatin silver print, printed 2004.

34.6 x 52 cm (13 5/8 x 20 1/2 in.)

Signed, titled and dated in pencil on the verso.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 ‡ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

82. Martine Franck

1938-2012

Henri Cartier-Bresson drawing a self-portrait in his studio, 1992 Gelatin silver print.

14.6 x 22 cm (5 3/4 x 8 5/8 in.)

Signed and annotated in ink in the margin; annotated in another hand in pencil on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance WestLicht Photo Auction, Vienna, 12 June 2015, lot 105

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

83. Peter Beard

b. 1938

Picasso at Fréjus, 1964 Gelatin silver print with ink and paint, executed later.

45.7 x 30.7 cm (17 7/8 x 12 1/8 in.)

Signed, titled, dated and annotated in ink on the recto.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance The Time Is Always Now Gallery, New York, 1990s Literature Peter Beard, Cologne: Taschen, 2013, pl. 328 (variant)

84. Thomas Hoepker

b. 1936

Muhammed Ali with fst, Chicago, 1966 Gelatin silver print, printed later.

38 x 56.5 cm (14 7/8 x 22 1/4 in.)

Signed in ink and Magnum copyright credit stamp on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ‡ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

85

85. Stephen Shore

b. 1947

86. Stephen Shore

b. 1947

Grand Prairie, Texas, 1976 Chromogenic print, printed later.

44.5 x 56.5 cm (17 1/2 x 22 1/4 in.)

Signed, titled, dated and numbered 1/8 in ink on the verso.

Main Street, Redfeld, South Dakota, July 13, 1973 Chromogenic print, printed later.

45 x 56.5 cm (17 3/4 x 22 1/4 in.)

Signed, titled, dated and numbered 2/8 in ink on the verso.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Provenance Galerie Rodolphe Janssen, Brussels

Provenance Conrads Gallery, Düsseldorf Literature Stephen Shore: Uncommon Places. 50 Unpublished Photographs: 1973-1978, Paris: Galerie Kamel Mennour, 2002, cover and p. 39

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

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87. Stephen Shore

b. 1947

La Brea Ave. and Beverly Blv. Los Angeles, CA, 1975 Chromogenic contact print.

20.5 x 25.5 cm (8 1/8 x 10 in.)

Signed, titled and dated in ink on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance Seagram Collection, Ontario Literature Stephen Shore: Uncommon Places, New York: Aperture, 1982, p. 39

87

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‘I get something out of fowers that other people don’t get.

I completely immerse myself in that fower. I love my pictures of fowers more than I love real fowers.’

Robert Mapplethorpe

88. Robert Mapplethorpe

1946-1989

Hyacinth, 1986 Gelatin silver print, fush-mounted.

48.9 x 48.9 cm (19 1/4 x 19 1/4 in.)

Signed, dated and numbered 5/10 in ink in the margin; signed in ink within copyright credit reproduction limitation stamp, titled, dated, numbered in another hand in ink, on the reverse of the fush-mount.

Estimate £20,000-30,000 $26,200-39,300 €23,200-34,700 plus Buyer’s Premium and VAT*

Provenance Françoise Lambert Gallery, Milan, 1987 Literature Mapplethorpe: Pistils, New York: Random House, 1996, p. 77 R. Mapplethorpe, Flora: The Complete Flowers, London: Phaidon, 2016, p. 256

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

89. Robert Mapplethorpe

1946-1989

Lisa Marie / Breasts, 1987 Gelatin silver print, fush-mounted.

48.8 x 48.8 cm (19 1/4 x 19 1/4 in.)

Signed, dated and numbered 3/10 in ink in the margin; signed in ink within copyright credit reproduction limitation stamp, titled, dated, numbered in another hand in ink, on the reverse of the fush-mount.

Provenance Hamiltons Gallery, London Literature A. C. Danto, Mapplethorpe, New York: TeNeues, 2007, p. 267, titled Breasts

Estimate £15,000-25,000 $19,600-32,700 €17,400-28,900 plus Buyer’s Premium and VAT*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

90. Diane Arbus

1923-1971

Blaze Starr backstage, Baltimore, MD, 1964 Gelatin silver print, printed later by Neil Selkirk.

36.5 x 36.5 cm (14 3/8 x 14 3/8 in.)

Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 11/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 plus Buyer’s Premium and VAT*

Provenance Galerie Thomas Zander, Cologne Literature Diane Arbus Magazine Work, New York: Aperture, 1984, pp. 46-47

91. Irving Penn

1917-2009

Nude 65, New York, 1949-1950 Gelatin silver print.

35.5 x 38 cm (13 7/8 x 14 7/8 in.)

Signed, titled and dated in pencil, credit, Condé Nast copyright credit reproduction limitation and edition stamps on the verso. From an edition of 23.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Provenance Bellmans Auctioneers, Wisborough Green, 12 December 2018, lot 2569 Literature J. Szarkowski, Irving Penn, New York: MoMA, 1986, pl. 77, 1949-50 I. Penn, Passage: A Work Record, London: Jonathan Cape, 1991, p. 69

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

92. Jean-Michel Basquiat

1960-1988

Self-Portrait with Paige Powell, likely 1982-1984 Unique gelatin silver photo-booth strip with black spray paint.

20 x 3.8 cm (7 7/8 x 1 1/2 in.)

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance From the collection of Henry Jernigan ‘Jay’ Tobler, New York Private Collection, Europe

Here, we see a spray-painted photo-booth strip showing Jean-Michel Basquiat with his then girlfriend Paige Powell, which provides a rare glimpse into his dynamic multimedia practice. Likely taken in the early 1980s, this strip found its way into his studio as the second and fourth frames appear to have been intentionally blacked out with spray paint; the paint dripping down along the right edge suggests that the strip was hanging upright when it was sprayed. A double-sided narrative, featuring this seemingly happy couple, unfolds. In the frst frame, they pose in an intimate embrace. The second frame is entirely obscured, the paint partially impinging on the third frame, which depicts a grinning Basquiat with his eyes closed as Powell kisses his cheek from behind.

More than half of the fourth and fnal frame has been sprayed, leaving visible only her hat and sleeve.

The photo booth, which was used by Warhol for his earliest experiments with photography, is the only known photographic tool that Basquiat incorporated into his creative practice. Early in his career in 1979, when he was just 18 years old, Basquiat, in collaboration with artist Jennifer Stein, produced a series of small collages with paint, ink, found materials and photo-booth portraits, which they photocopied then mounted on card to resemble postcards. Examples of these early mixedmedia collages, as well as previously unseen flm strips and photo-booth portraits were included in the 2017 exhibition Basquiat: Boom for Real at the Barbican Art Gallery in London.

This photo-booth strip was originally in the collection of Henry ‘Jay’ Tobler (1966-2000), an art writer and gallery director who worked at Barbara Gladstone Gallery in the 1990s.

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

93. Irving Penn

1917-2009

Cigarette No. 17, New York, 1972 Platinum-palladium print, fush-mounted.

60 x 47.5 cm (23 5/8 x 18 3/4 in.)

Signed, initialled, titled, dated, annotated, numbered 38/64 in pencil, credit and copyright credit reproduction limitation stamps on the reverse of the fush-mount.

Estimate £15,000-20,000 $19,600-26,200 €17,300-23,100 ‡ plus Buyer’s Premium and VAT*

Provenance iART, Tokyo, 28 July 2018, lot 155 Literature J. Szarkowski, Irving Penn, New York: MoMA, 1984, pl. 113 I. Penn, Passage: A Work Record, London: Jonathan Cape, 1991, p. 208 J. Szarkowski, Irving Penn: Still Life, New York: Bulfnch, 2001, n.p.

Irving Penn: Cigarettes, London: Hamiltons Gallery, 2012, p.58

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

94. Irving Penn

1917-2009

Still Life with Skull, Pitcher and Medicine Bottle, New York, 1981 Platinum-palladium print, fush-mounted.

23.2 x 48.9 cm (9 1/8 x 19 1/4 in.)

Signed, titled, dated, annotated, numbered 21/53 in pencil, copyright credit and edition stamps on the reverse of the flush-mount.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 plus Buyer’s Premium and VAT*

Provenance Pace/MacGill Gallery, New York

95. Irving Penn

1917-2009

The Angel, New York, 1946 Platinum-palladium print, printed 1989, fush-mounted.

58 x 46.3 cm (22 7/8 x 18 1/4 in.)

Signed, titled, dated, annotated, numbered 43/52 in pencil, Condé Nast copyright credit reproduction limitation, credit and edition stamps on the reverse of the fush-mount.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance Fahey/Klein Gallery, Los Angeles, 1990s Literature I. Penn, Passage: A Work Record, London: Jonathan Cape, 1991, p. 22 in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

97. Richard Avedon

1923-2004

Dorian Leigh, Evening Dress by Piguet, Helena Rubinstein Apartment, Paris, August, 1949 Gelatin silver print from Avedon/Paris, printed 1978.

35.8 x 45.7 cm (14 1/8 x 17 7/8 in.)

Signed, numbered 57/75 in pencil, copyright credit reproduction limitation, title, date, portfolio and edition stamps on the verso.

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 plus Buyer’s Premium and VAT*

Provenance Michael Hoppen Gallery, London Literature Avedon Fashion: 1944-2000, New York: Abrams, pp. 36-37

98. Richard Avedon

96

96. Irving Penn

1917-2009

Four Shoes, New York, 1959 Dye destruction print, printed 1985.

22.2 x 19 cm (8 3/4 x 7 1/2 in.)

Signed, titled and dated in pencil, Condé Nast copyright credit reproduction limitation and edition stamps on the verso. From an edition of 15.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London, 1990 Literature J. Szarkowski, Irving Penn, New York: MoMA, 1986, pl. 102 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

1923-2004

Sunny Harnett and Alla, Evening dresses by Balmain, Casino, Le Touquet, August, 1954 Gelatin silver print, printed later.

40 x 59.2 cm (15 3/4 x 23 1/4 in.)

Signed, numbered 2/25 in pencil, copyright credit reproduction limitation, title and date stamps on the verso.

Estimate £20,000-30,000 $26,200-39,200 €23,100-34,700 plus Buyer’s Premium and VAT*

Provenance Jerome Zodo Gallery, London Literature Harper’s Bazaar, September 1954, p. 206 Avedon: Photographs, 1947-1977, New York: FSG, 1978, pl. 29

97

98

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

99

‘[Horst] has had the humility to search for the abstract and the essential beauty within reallity, and successfully makes Goethe’s defnition of art come true: Art is nature seen through a temperament.’

Alexander Liberman

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

99. Horst P. Horst

1906-1999

American Nude I, 1982 Platinum-palladium emulsion on canvas, printed later.

Image/canvas: 50.5 x 50.5 cm (19 7/8 x 19 7/8 in.)

Signed twice in pencil on the verso.

Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800 plus Buyer’s Premium and VAT*

Provenance Private Collection, Milan Literature Horst Photographs 1931-1968, Milan: Idea Books, 1985, cover M. Kazmaier, Horst: Sixty Years of Photography, London: Thames & Hudson, 1995, pl. 167

100. Horst P. Horst

1906-1999

Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later.

30.2 x 23 cm (11 7/8 x 9 in.)

Signed in pencil on the verso.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100

100

plus Buyer’s Premium and VAT*

Provenance Fay Gold Gallery, Atlanta Literature M. Kazmaier, Horst: Sixty Years of Photography, London: Thames & Hudson, 1991, pl. 8

101. George Hoyningen-Huene

1900-1968

Divers, Horst with Model, Paris, 1930 Gelatin silver print, printed later.

29.3 x 22.2 cm (11 1/2 x 8 3/4 in.)

Titled, dated and inscribed ‘From the collection of Horst’ in pencil on the verso.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 plus Buyer’s Premium and VAT*

Provenance Fay Gold Gallery, Atlanta Literature Vogue US, July 1930 N. Hall-Duncan, The History of Fashion Photography, New York: Alpine, 1979, p. 61 P. Martineau, Icons of Style: A Century of Fashion Photography, Los Angeles: Getty, 2018, pl. 37

101

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

102. Herb Ritts

1952-2002

Floating Torso, St. Barthelemy, 1987 Gelatin silver print.

35.4 x 27.8 cm (13 7/8 x 10 7/8 in.)

Signed, titled, dated, annotated and numbered AP in pencil on the verso.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist Literature Herb Ritts: Work, Boston: Bulfnch, 1997, n.p.

Herb Ritts: Pictures, Altadena, CA: Twin Palms, 1988, n.p.

103. Herb Ritts

1952-2002

Cordula, Hollywood, 1989 Gelatin silver print on gold paper.

50 x 39.5 cm (19 5/8 x 15 1/2 in.)

Copyright credit stamp in the margin; signed, titled, dated and numbered 7/25 in ink on the verso.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London, 1990

104. Helmut Newton

1920-2004

SUMO Monte Carlo: Taschen, 1999. First Edition. 400 duotone reproductions of photographs selected and edited by June Newton. Together with original chrome stand designed by Philippe Starck.

Book: 71 x 51.2 x 7.6 cm (27 7/8 x 20 1/8 x 2 7/8 in.)

Stand: 77.4 x 56 x 54.5 cm (30 1/2 x 22 x 21 1/2 in.)

Signed in blue crayon by the artist and stamped 01634/10,000 on the title page; the stand embossed ‘STARCK’ and ‘HELMUT NEWTON’.

Contained in its original package.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Provenance Taschen, London, 1999

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

105. Helmut Newton

1920-2004

Gunilla Bergström, Paris, 1976 Gelatin silver print.

43.8 x 29.7 cm (17 1/4 x 11 3/4 in.)

Signed, titled, dated in pencil and copyright credit stamp on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Provenance Private Collection, Japan Literature Helmut Newton: Private Property, Munich: Schirmer/Mosel, 1989, pl. 40 Helmut Newton, London: Taschen, 1999, n.p.

M. Heiting ed., Helmut Newton: Work, London: Taschen, 2000, p. 123

106. Peter Lindbergh

b. 1944

Helena Christensen, Italian Vogue, El Mirage, California, 1990 Platinum-palladium print, printed 2001.

20.6 x 30.3 cm (8 1/8 x 11 7/8 in.)

Signed by the artist and numbered 8/10 in another hand in pencil on the verso.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Private Collection, Switzerland Literature Peter Lindbergh: Images of Women, Munich: Schirmer/Mosel, 1997, pp. 250-251 Unifed Message In Fashion: Photography meets Drawing, Göttingen: Steidl, 2002, n.p.

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

107. Annie Leibovitz

b. 1949

108. Desirée Dolron

b. 1963

Queen Elizabeth II, The White Drawing Room, Buckingham Palace, London, 2007 Chromogenic print, fush-mounted.

Image: 101.6 x 149.8 cm (40 x 59 in.)

Frame: 126.4 x 174 cm (49 3/4 x 68 1/2 in.)

Signed in ink, printed title, date and number 2/7 on a gallery label afxed to the reverse of the fush-mount.

Xteriors VII, 2001-2005 Chromogenic print, Diasec and fush-mounted.

168 x 113 cm (66 1/8 x 44 1/2 in.)

Signed, titled, dated and numbered AP 1/2 in ink on the reverse of the fush-mount. From an edition of 8 + 2 APs.

Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT*

Provenance Michael Hoppen Gallery, London

Provenance Edwynn Houk Gallery, New York

Estimate £30,000-50,000 $39,200-65,400 €34,700-57,800 ♠

Literature Desirée Dolron Exteriors, Amsterdam: Raven, 2017, n.p.

Literature Annie Leibovitz at Work, London: Jonathan Cape, 2008, p. 181 Annie Leibovitz, The Master Set, Part I, London: Phillips de Pury & Company, 2008, n.p.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

109. Louise Lawler

b. 1947

Photograph, Painting, 2000/2001 Dye destruction print, fush-mounted.

73.5 x 91.3 cm (28 7/8 x 35 7/8 in.)

Signed, dated and numbered 1/5 in ink on the reverse of the fush-mount.

Estimate £15,000-25,000 $19,600-32,700 €17,300-28,900 plus Buyer’s Premium and VAT*

Provenance Metro Pictures, New York

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

110. Louise Lawler

b. 1947

Something About Time and Space But I’m Not Sure What It Is (One), 1998 Dye destruction print, fush-mounted.

60.7 x 75 cm (23 7/8 x 29 1/2 in.)

Signed, dated and numbered 2/5 in ink on the reverse of the fush-mount.

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,300 ‡ plus Buyer’s Premium and VAT*

Provenance Metro Pictures, New York in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

111. Nan Goldin

b. 1953

112. Alex Prager

b. 1979

James King: Supermodel New York: Matthew Marks Gallery, 1995.

Portfolio of 12 dye destruction prints.

Each: 35.2 x 49.5 cm (13 7/8 x 19 1/2 in.) or the reverse Each signed, titled and dated in ink on the verso; numbered 1/10 in ink on the colophon.

Contained within a black clamshell case with embossed title. From an edition of 10 + 4 APs.

La Petite Mort, 2012 Six chromogenic prints and digital video.

Each: 28 x 53 cm (11 x 20 7/8 in.)

Each signed, titled, dated, numbered 9/15 in ink and copyright ‘La Petite Mort’ stamp on an artist label accompanying the work. Video colophon, illustrated plate list. Enclosed in a red linen clamshell case with embossed number 9/15 in case interior.

Estimate £18,000-22,000 $23,600-28,800 €20,800-25,500

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,400 ‡

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Provenance Guido Costa Projects, Turin

Provenance M+B Gallery, Los Angeles

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

113. Alex Prager

b. 1979

Beth from Week End, 2009 Chromogenic print, fush-mounted.

121 x 153 cm (47 5/8 x 60 1/4 in.)

Signed, titled, dated and numbered AP 1/2 in ink on an artist label afxed to the reverse of the fush-mount.

From an edition of 7 + 2 APs.

Provenance M+B Gallery, Los Angeles Literature Alex Prager: Silver Lake Drive, London: TPG, 2018, n.p.

Estimate £15,000-20,000 $19,600-26,200 €17,300-23,100 ‡ plus Buyer’s Premium and VAT*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

114. Alex Prager

b. 1979

Anne from Week End, 2009 Chromogenic print, fush-mounted.

Image: 91 x 91 cm (35 7/8 x 35 7/8 in.)

Frame: 95.2 x 95.2 cm (37 1/2 x 37 1/2 in.)

Signed, titled, dated and numbered 2/5 in ink on an artist label afxed to the reverse of the frame.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Provenance Michael Hoppen Gallery, London in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

115. Desirée Dolron

b. 1963

Habana Libre from Te Dí Todos Mis Sueños, 2002 Dye destruction print, Diasec mounted.

80 x 103 cm (31 1/2 x 40 1/2 in.)

Signed, titled, dated and numbered 3/8 in ink on an artist label afxed to the reverse of the fush-mount.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Michael Hoppen Gallery, London

116. Desirée Dolron

b. 1963

Cerca Crespo from Te Dí Todos Mis Sueños, 2002 Dye destruction print, Diasec mounted.

80 x 103 cm (31 1/2 x 40 1/2 in.)

Signed, titled, dated and numbered 1/8 in ink on an artist label afxed to the reverse of the fush-mount.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Michael Hoppen Gallery, London Literature D. Dolron, Gaze 1996-1998, The Hague Museum of Photography, 2005, pp. 118-19

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

117. Rinko Kawauchi

b. 1972

Untitled from Utanane, 2001 Chromogenic print, fush-mounted.

Image: 100 x 100 cm (39 3/8 x 39 3/8 in.)

Frame: 103 x 103 cm (40 1/2 x 40 1/2 in.)

Signed in ink, printed title, date and number 6/6 on a gallery label afxed to the reverse of the frame.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Galerie Priska Pasquer, Cologne

118. Rinko Kawauchi

b. 1972

Untitled from Utanane, 2001 Chromogenic print, fush-mounted.

Image: 100 x 100 cm (39 3/8 x 39 3/8 in.)

Frame: 103 x 103 cm (40 1/2 x 40 1/2 in.)

Signed in ink, printed title, date and number 4/6 on a gallery label afxed to the reverse of the fush-mount.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Galerie Priska Pasquer, Cologne

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

119. Helmut Newton

1920-2004

Self-Portrait with Big Nude VII, Nancy La Scala, 1990 Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London Literature J. Newton, ed., Helmut Newton: Polaroids, Cologne: Taschen, 2017, p. 4

120. Helmut Newton

1920-2004

Pair in bathing suits, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

121. Helmut Newton

1920-2004

Mr Chow and model on surgical bed, likely 1995 Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil and annotated in ink in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

122. Helmut Newton

1920-2004

Woman holding doll, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

123. Helmut Newton

1920-2004

Nude with camera, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

124. Helmut Newton

1920-2004

Nude with camera, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

125. Helmut Newton

1920-2004

126. Helmut Newton

1920-2004

Nude in mirror, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Full length nude, standing, n.d.

Unique Polaroid print.

Image: 8.9 x 7.6 cm (3 1/2 x 2 7/8 in.)

Sheet: 11 x 9 cm (4 3/8 x 3 1/2 in.)

Signed in pencil in the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Provenance Hamiltons Gallery, London

Provenance Hamiltons Gallery, London

127. Carlo Mollino

1905-1973

No title, 1962-1973 Unique Polaroid print.

Image: 9.5 x 7.2 cm (3 3/4 x 2 7/8 in.)

Sheet: 10.7 x 8.5 cm (4 1/4 x 3 3/8 in.)

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Private Collection, Italy Exhibited Carlo Mollino, Arabesques, Castello di Rivoli, Museo d’Arte Contemporanea, 20 September 2006 - 7 January 2007, this lot Literature C. Mollino, Arabesques, Milan: Mondadori Electa, 2006, p. 271, no. 124 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

128. Nobuyoshi Araki

b. 1940

36 Polaroids, n.d.

36 unique Polaroid Type 600 prints.

Each image: 7.8 x 7.6 cm (3 1/8 x 2 7/8 in.)

Each sheet: 10.7 x 8.7 cm (4 1/4 x 3 3/8 in.)

Each signed in ink in the margin.

Estimate £8,000-12,000 $10,500-15,700 €9,200-13,900 ‡ plus Buyer’s Premium and VAT*

Provenance La Camera Gallery, Tokyo in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

129. Peter Beard

b. 1938

Iman at Hoggers, Kenya, 1985 Unique Polaroid print with ink and paint, executed later.

14.5 x 10.5 cm (5 3/4 x 4 1/8 in.)

Signed, titled and dated in ink on the recto; The Time is Always Now label afxed to the reverse of the frame.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 plus Buyer’s Premium and VAT*

Provenance The Time Is Always Now Gallery, New York, 1990s Literature Peter Beard, Cologne: Taschen, 2013, pl. 44 (variant)

130. Peter Beard

b. 1938

Bufalo Springs, Kenya, June, 1960 Unique Polaroid diptych with ink and paint, executed later.

10.6 x 25.5 cm (4 1/8 x 10 in.)

Signed, titled and dated in ink on the recto; Peter Beard/Time Is Always Now copyright credit reproduction limitation stamp and The Time is Always Now label afxed to the reverse of the frame.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

Provenance The Time Is Always Now Gallery, New York, 1990s

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

131.

Peter Beard

b. 1938

Untitled, 1972-1984 Unique work, comprising gelatin silver and chromogenic prints and ink, executed later.

31.5 x 80.5 cm (12 3/8 x 31 3/4 in.)

Signed, titled, dated and extensively annotated in ink on the recto; signed, dated and annotated in ink on the verso.

132. Peter Beard

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,400 plus Buyer’s Premium and VAT*

Provenance Charles Riva Collection, Brussels

b. 1938

Maureen and a late-night feeder, 2:00am, Hog Ranch, 1987 Gelatin silver print, printed later.

23.4 x 35.6 cm (9 1/4 x 14 in.)

Signed, titled and dated in ink in the margin.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 plus Buyer’s Premium and VAT*

Provenance The Time Is Always Now Gallery, New York, 1990s in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

133. Herb Ritts

1952-2002

Maasai Woman and Child, Africa, 1993 Gelatin silver print, fush-mounted.

Image: 133.2 x 105.2 cm (52 1/2 x 41 3/8 in.)

Frame: 164 x 135 cm (64 5/8 x 53 1/8 in.)

Signed, titled, dated and numbered 3/12 in pencil on the verso.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

134. Steve McCurry 133

b. 1950

Dust Storm, Rajasthan, India, 1983 Chromogenic print, printed 2005.

Image: 62.2 x 93.7 cm (24 1/2 x 36 7/8 in.)

Frame: 83.3 x 113 cm (32 3/4 x 44 1/2 in.)

Signed in ink in the margin; dated in ink within artist studio stamp on the verso.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ‡ plus Buyer’s Premium and VAT*

Provenance Acquired directly from the artist

135. Sebastião Salgado

b. 1944

Churchgate Train Station, Bombay, India, 1995 Gelatin silver print, printed later.

Image: 53.7 x 81.3 cm (21 1/8 x 32 in.)

Frame: 80 x 100.2 cm (31 1/2 x 39 1/2 in.)

Signed, titled and dated in pencil on the verso.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Peter Fetterman Gallery, Santa Monica

134

Literature S. Salgado, Migrations: Humanity in Transition, New York: Aperture, 2000, p. 419

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

135

136. Sebastião Salgado

b. 1944

Serra Pelada Goldmine, Brazil, 1986 Gelatin silver print, printed later.

30.5 x 44.5 cm (12 x 17 1/2 in.)

Signed in ink the margin.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Christie’s, London, 17 May 2011, lot 30 Literature Sebastião Salgado: Workers, Archaeology of the Industrial Age, New York: Aperture, 1993, pp. 310–11

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

137. Chris Killip

b. 1946

Helen and Her Hula-hoop, Seacoal Camp, Lynemouth, Northumberland, 1984 Gelatin silver print, printed 2014.

40 x 50.5 cm (15 3/4 x 19 7/8 in.)

Signed, titled and dated in pencil on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature C. Killip, In Flagrante, London: Secker & Warburg, 1988, pp. 16-17

138. Chris Killip

b. 1946

Crabs, Skinningrove, North Yorkshire, 1981 Gelatin silver print, printed 2008.

40 x 49 cm (15 3/4 x 19 1/4 in.)

Signed, titled and dated in pencil on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature C. Killip, In Flagrante, London: Secker & Warburg, 1988, pp. 48-49

139. Chris Killip

b. 1946

Rocker and Rosie Going Home, Seacoal Beach, Lynemouth, Northumberland, 1984 Gelatin silver print, printed 2015.

39.9 x 50.4 cm (15 3/4 x 19 7/8 in.)

Signed, titled and dated in pencil on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Literature C. Killip, In Flagrante, London: Secker & Warburg, 1988, cover and pp. 14–15

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

140. Don McCullin

b. 1935

Shell-shocked US Marine, The Battle of Hue, 1968 Gelatin silver print, printed later.

52 x 34 cm (20 1/2 x 13 3/8 in.)

Signed, titled, dated and annotated in pencil on the verso.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist Marc Carter, London

141. Don McCullin

b. 1935

Gangs of Boys Escaping C.S. Gas Fired by British Soldiers, Londonderry, Northern Ireland, 1971 Gelatin silver print, printed 2014.

33.5 x 50.5 cm (13 1/4 x 19 7/8 in.)

Signed, titled and dated in pencil on the verso.

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

142. Don McCullin

b. 1935

The Battlefelds of the Somme, France, 2000 Gelatin silver print, printed 2014.

37 x 54.5 cm (14 5/8 x 21 1/2 in.)

Signed, titled and annotated ‘printed by me D.M.’ on the verso.

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ♠ plus Buyer’s Premium and VAT, ARR applies* 140

141

142 in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

143. Bill Brandt

1904-1983

Nude, London, 1952 Gelatin silver print, printed 1979-1980, mounted.

34.1 x 29.1 cm (13 3/8 x 11 1/2 in.)

Signed in ink on the mount.

Estimate £7,000-9,000 $9,200-11,800 €8,100-10,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Marlborough Fine Art, London Literature Bill Brandt: Nudes 1945-1980, London: Gordon Fraser, 1982, pl. 53

144. Bill Brandt

1904-1983

Nude, East Sussex Coast, 1959 Gelatin silver print, printed 1979-1980, mounted.

34.5 x 29.5 cm (13 5/8 x 11 5/8 in.)

Signed in ink on the mount.

Estimate £6,000-8,000 $7,800-10,500 €6,900-9,200 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Marlborough Fine Art, London Literature Bill Brandt: Photographs 1928-1983, London: Barbican Art Gallery, 1993, p. 174

145. Bill Brandt

1904-1983

Francis Bacon walking on Primrose Hill, 1963 Gelatin silver print, printed 1979-1980, mounted.

34.2 x 29.2 cm (13 1/2 x 11 1/2 in.)

Signed in ink on the mount.

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Marlborough Fine Art, London Literature Bill Brandt: Behind the Camera. Photographs 1928-1983, Philadelphia Museum of Art, 1985, p. 51

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

Lots 146–163: To be sold with no reserve

146. Bill Brandt

1904-1983

147. Bill Brandt

1904-1983

148. Bill Brandt

1904-1983

Parlourmaid and under-parlourmaid ready to serve dinner, 1936 Gelatin silver print, printed 1979-1980, mounted.

34.5 x 29 cm (13 5/8 x 11 3/8 in.)

Signed in ink on the mount.

Parlourmaid preparing a bath before dinner, London, 1939 Gelatin silver print, printed 1979-1980, mounted.

34.2 x 29 cm (13 1/2 x 11 3/8 in.)

Signed in ink on the mount.

Northumbrian miner at his evening meal, 1937 Gelatin silver print, printed 1979-1980, mounted.

34.5 x 29 cm (13 5/8 x 11 3/8 in.)

Signed in ink on the mount.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

149. Bill Brandt

1904-1983

150. Bill Brandt

1904-1983

151. Bill Brandt

1904-1983

Nude, Campden Hill, London, 1949 Gelatin silver print, printed 1979-1980, mounted.

34.5 x 28.7 cm (13 5/8 x 11 1/4 in.)

Signed in ink on the mount.

Hampstead, London, 1952 Gelatin silver print, printed 1979-1980, mounted.

34.5 x 29 cm (13 5/8 x 11 3/8 in.)

Signed in ink on the mount.

Seaford, East Sussex Coast, 1957 Gelatin silver print, printed 1979-1980, mounted.

34.2 x 28.7 cm (13 1/2 x 11 1/4 in.)

Signed in ink on the mount.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

Lots 146–163: To be sold with no reserve

152. Bill Brandt

155.

1904-1983

153. Bill Brandt

1904-1983

Evening in Kew Gardens, 1932-1935 Gelatin silver print, printed 1979-1980, mounted.

33.4 x 29 cm (13 1/8 x 11 3/8 in.)

Signed in ink on the mount.

Halifax, 1937 Gelatin silver print, printed 1979-1980, mounted.

34 x 29 cm (13 3/8 x 11 3/8 in.)

Signed in ink on the mount.

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 • ♠

plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

Elliott Erwitt

b. 1928

156. Bruce Davidson

b. 1933

154. Elliott Erwitt

b. 1928

Museo del Prado, Madrid, 1995 Gelatin silver print, printed later.

51 x 71.4 cm (20 1/8 x 28 1/8 in.)

Signed in ink in the margin.

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡ plus Buyer’s Premium and VAT*

157. Bruce Davidson

b. 1933

Provence, 1955 Gelatin silver print, printed later.

19.2 x 13.4 cm (7 1/2 x 5 1/4 in.)

Signed in ink in the margin; signed, titled and dated in pencil on the verso.

East 100th St, New York (Girl on fre escape), 1966 Gelatin silver print, printed later.

45.6 x 35.6 cm (17 7/8 x 14 in.)

Signed in pencil on the verso.

East 100th St, New York (Girl with birdcage), 1966 Gelatin silver print, printed later.

45.6 x 35.2 cm (17 7/8 x 13 7/8 in.)

Signed in pencil on the verso.

Estimate £1,000-2,000 $1,300-2,600 €1,200-2,300 •

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price

Lots 146–163: To be sold with no reserve

158. Eve Arnold

159. Elliott Erwitt

1912-2012

b. 1928

Marilyn Monroe during the flming of The Misfts, 1960 Gelatin silver print, printed later.

59.5 x 39.2 cm (23 3/8 x 15 3/8 in.)

Signed in pencil on the verso.

New York City, 1956 Gelatin silver print, printed later.

14.5 x 21 cm (5 3/4 x 8 1/4 in.)

Signed in ink in the margin; signed, titled and dated in pencil on the verso.

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡

Estimate £1,000-2,000 $1,300-2,600 €1,200-2,300 •

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

161. René Burri

162. René Burri

1933-2014

Henri Cartier-Bresson, New York, 1959 Gelatin silver print, printed 2005.

51.5 x 34.6 cm (20 1/4 x 13 5/8 in.)

Copyright credit blind stamp in the margin; signed, titled and dated in pencil on the verso.

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡ plus Buyer’s Premium and VAT*

1933-2014

United Arab Emirates, Gulf States, 1975 Gelatin silver print, printed 1990.

18.5 x 27.5 cm (7 1/4 x 10 7/8 in.)

Signed in ink in the margin; numbered 78/150 in pencil on accompanying folio.

Estimate £1,500-2,500 $2,000-3,300 €1,700-2,900 • plus Buyer’s Premium and VAT*

160. Eve Arnold

1912-2012

Malcolm X, Chicago, 1961 Gelatin silver print, printed later.

60.8 x 41.2 cm (23 7/8 x 16 1/4 in.)

Signed in pencil on the verso.

Estimate £2,000-4,000 $2,600-5,200 €2,300-4,600 • ‡ plus Buyer’s Premium and VAT*

163. Raghubir Singh

1942-1999

Selected Images, 1998 Five chromogenic prints.

Varying sizes from 32.3 x 47.5 cm (12 3/4 x 18 3/4 in.) to 59.5 x 40.5 cm (23 3/8 x 15 7/8 in.)

Three signed and dated in ink in the margins; each signed, titled and dated in ink on the verso.

Estimate £5,000-7,000 $6,500-9,200 €5,800-8,100 • ‡ plus Buyer’s Premium and VAT*

in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

Sale Information.

Photographs Sale Auction & Viewing Location 30 Berkeley Square, London W1J 6EX Auction 16 May 2019, 2pm Viewing 10–16 May 2019 Monday to Saturday, 10am–6pm Sunday, 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK040119 or Photographs.

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Anne Flick +44 20 7901 4089 Rebecca Gathercole +44 20 7901 7927 bidslondon@phillips.com

Photographs Department +44 20 7318 4087 Deputy Chairman, Americas and Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com Co-Head of Department, Europe Genevieve Janvrin gjanvrin@phillips.com Co-Head of Department, Europe Yuka Yamaji yyamaji@phillips.com Associate Specialist, Head of Sale Sophie Busby sbusby@phillips.com Associate Specialist Kate Finefrock kfnefrock@phillips.com Administrator Clare Lamport clamport@phillips.com Senior Property Manager Andy Clydesdale aclydesdale@phillips.com Photography Charlie Sheldon Alex Braun Jean Bourbon

Auctioneers Sarah Krueger Susanna Brockman Adam Clay Henry Highley Hugues Jofre Rebecca Tooby-Desmond Catalogues New York +1 212 940 1240 London +44 20 7901 7927 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Kyle Buchanan +44 20 7318 4081 Lucia Nuñez +44 20 7901 7920 Rita Matos +44 20 7901 7906 Creative Services Ben Marcus, Creative Services Manager Grace Neighbour, Graphic Designer Moira Gil, Graphic Designer

Front cover Lot 45, Anne Collier Folded Madonna Poster (Steven Meisel), 2007 Back cover Lot 50, Yuji Hamada cube from C/M/Y, 2014 (detail)

Edition Schellmann

FIFTY ARE BETTER THAN ONE

London Auction, 6 June 2019 In celebration of the 50th anniversary of Edition Schellmann, Phillips is delighted to present a single-owner sale, ofering property from the archives of Edition Schellmann to beneft Ars Publicata.

Public Viewing 30 May – 6 June 2019 30 Berkeley Square, London, W1J 6EX Monday to Saturday, 10am–6pm Sunday, 12pm–6pm

Fachwerkhäuser, Siegener Industriegebiet (Framework Houses, Industrial District of Siegen), 1959–1973, 1993 The complete set of 12 ofset prints © Estate Bernd & Hilla Becher, represented by Max Becher

Visit us at phillips.com

Enquiries Anne Schneider-Wilson +44 20 7318 4042 editionslondon@phillips.com

Index.

Almeida, H. 41 Arai, T. 49 Araki, N. 128 Arbus, D. 90 Arnold, E. 158, 160 Avedon, R, 97, 98 Basquiat, J.M 92 Beard, P. 83, 129, 130, 131, 132 Bellmer, H. 35 Brancusi, C. 36 Brandt, B. 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153 Bravo, M. A. 76 Burri, R. 74, 81, 161, 162 Calypso, J. 47 Cartier-Bresson, H. 67, 68, 69, 70, 71, 72, 73, 80 Choi, Y. 55 Collier, A. 45 Collins, L. 4 Crewdson, G. 17, 18 Davidson, B. 156, 157 diCorcia, P.L 25, 26 Dolron, D. 108, 115, 116 Doyle, E. 31

Erwitt, E. 77, 154, 155, 159 Feininger, A. 78 Franck, M. 82 Freed, L. 79 Gersht, O. 28 Goldin, N. 111

LaChapelle, D. 23, 24 Lawler, L. 109, 110 Lee, J. 56 Leibovitz, Annie 107 Lindbergh, P. 106 Listri, M. 29

Ray, M. 38, 39, 40 Riboud, M. 75 Ritts, H. 102, 103, 133 Roy, K. 48 Ruf, T. 21, 22 Salgado, S. 135, 136 Shore, S. 85, 86, 87 Singh, R. 163 Starn, D. & M. 16 Struth, T. 19 Sugimoto, H. 13, 14 Summerton, E. 3 Sun, J. 6 Sundsbø, S. 5

Hamada, Y. 50 Han, S. 53 Heck, E. M. 7 Hetta, J. 2 Hoepker, T. 84 Horst, H.P. 99, 100 Hoyningen-Huene, G. 101

Mapplethorpe, R. 88, 89 McCullin, D. 140, 141, 142 McCurry, S. 134 McGinley, R. 34 Meisel, S. 10 Mollino, C. 127 Morell, A. 30 Mosse, R. 11, 12 Muniz, V. 20

Inoue, H. 57 Ishiuchi, M. 42, 43

Newton, H. 104, 105, 119, 120, 121, 122, 123, 124, 125, 126

van Empel, R. 15

Jansson, M. 9

Ohashi, E. 52

Witkiewicz, S. I. 37

Kawauchi, R. 117, 118 Kikuchi, R. 58 Killip, C. 137, 138, 139 Kim, H. 54 Kim, J. 44 Klein, S. 8 Koudelka, J. 59, 60, 61, 62, 63, 64, 65, 66

Paradis, R. 46 Parr, M. 32 Penn, I. 91, 93, 94, 95, 96 Polidori, R. 27 Prager, A. 112, 113, 114

Yeste, T. 1

Tillmans, W. 33

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Artist | Icon | Inspiration Women in Photography Presented with Peter Fetterman New York, 7 June 2019

Public Viewing 2–6 June 2019 450 Park Avenue, New York Enquiries +1 212 940 1245 photographs@phillips.com

Shirin Neshat, Untitled from Soliloquy, 1999

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UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you.

The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction.

A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips.com and in hard copy.

Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com.

Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate.

Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips. com. Our specialists are available to give advice and condition reports at viewings or by appointment.

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, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction.

Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction.

Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. 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 the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue.

O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third-party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the third-party guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

• No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Hammer Price

Buyer’s Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

Artist’s Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer.

Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000.

Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively.

VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol.

Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are re-sold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank.

Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000 B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference.

Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement.

In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https:// phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers.

Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’

The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.

This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion.

Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000 UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000 UK£50,000 to UK£100,000 UK£100,000 to UK£200,000 above UK£200,000

by UK£50s

by UK£100s

by UK£200s

by UK£200s, 500, 800 (e.g.

UK£4,200, 4,500, 4,800)

by UK£500s

by UK£1,000s

by UK£2,000s

by UK£2,000s, 5,000, 8,000

by UK£5,000s

by UK£10,000s at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum.

Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer directly to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number.

Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only).

• It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year.

Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes.

Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection.

To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect.

Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection.

Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction.

Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction.

Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU).

Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Important Notices Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists.

• Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number.

These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/refund any applicable VAT.

VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both.

UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium.

(The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyer’s premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyer’s premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyer’s premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium.

Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).

• For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out.

Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT).

Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit.

VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC .

Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission.

If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority.

As a result, your form may include VAT incurred in a number of member states.

Time limits for claiming VAT refunds

• The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol).

The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme.

In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made.

Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale.

Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process.

• If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts.

• If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk.

You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020).

Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded.

Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase.

Buyers should consult their own tax advisors.

30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@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 to bid 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):

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

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

Sale Title

Sale Number First Name

Sale Date

Surname

VAT number (if applicable)

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

Address

City

• 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 £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000.

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

Account Number

Company (if applicable)

State/Country

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

Post Code Phone

Mobile

Email

Fax

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

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

2.

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

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold.

• Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

Title

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

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day.

To reach the Bid Department by phone please call +44 20 7318 4045.

• If you have not bid and bought with us before, please provide a bank reference • Payment for lots must be made by the invoiced party in pound sterling by wire transfer, credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (Union Pay for in person transactions only), or cash (up to £5,000 for all purchases in any calendar year).

• Lots cannot be collected until payment has cleared and all charges have been paid.

• You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com.

• Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

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

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

11. Richard Mosse

phillips.com