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photogr aphs 3      novemb er       2 0 10       5 pm     LonDon

Lots 1 –19 2

Viewing Friday 29 October, 10am – 6pm Saturday 30 October, 10am – 6pm Sunday 31 October, 12pm – 6pm Monday 1 November – Tuesday 2 November, 10am – 6pm Wednesday 3 November, 10am – 2pm

Front cover Stephen Shore, U.S. 10, Post Falls, Idaho, August 25, 1974 from Twelve Photographs, 1976, Lot 78 (detail) Inside front cover Florian Maier-Aichen, Untitled (Cloud), 2001, Lot 79 title page Irving Penn, Italian Still Life, New York, September, 1981, Lot 110

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1 BARRY LATEGAN  b. 1935 Twiggy, 1966 Platinum-palladium print, printed 2009. 60.6 × 50.8 cm (23 7/8 × 20 in).  Signed, titled, dated and numbered in pencil in the margin. One from an  edition of 35.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ♠ ‡ Provenance   Private Collection, USA Literature   Twiggy: A Life in Photographs, exh. cat., National Portrait Gallery, 

London, 2009, cover (detail) and p. 29

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2 HORST p. HORST  1906 – 1999 Nina de Voe, New York, 1951 Gelatin silver print, printed later. 44.5 × 35.4 cm (17 1/2 × 13 15/16 in).  Blindstamp credit in the margin; signed in pencil on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ‡ Provenance   Acquired directly from the artist Literature   Kazmaier, Horst: Sixty Years of Photography, London: Thames & 

Hudson, 1991, pl. 106

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3 LILLIAN BASSMAN  b. 1917 ‘Black and White’, Mary Jane Russell, Le Pavillon, New York, Harper’s Bazaar, 1950 Gelatin silver print, printed later. 68.3 × 87 cm (26 7/8 × 34 1/4 in). Signed in pencil  on the verso. One from an edition of 25.

Estimate £3,500–4,500 $5,500–7,000 €4,200–5,400 ‡ Provenance   Acquired directly from the artist

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Barbara Mullen, New York, Harper’s Bazaar, c. 1958

Times Square: The Night Fantastic, Anneliese Seubert, 1997

Gelatin silver print, printed later. 85.7 × 66.4 cm (33 3/4 × 26 1/8 in). Signed 

Gelatin silver print. 66.4 × 51.4 cm (26 1/8 × 20 1/4 in). Signed in pencil on 

and numbered in pencil on the verso. One from an edition of 25.

the verso.

Estimate £4,000–5,000 $6,200–7,800 €4,800–6,000 ‡

Estimate £3,000–4,000 $4,700–6,200 €3,600–4,800

Provenance   Acquired directly from the artist

Provenance   Private Collection, USA Literature   D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, p. 84

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6 HELMUT NEWTON  1920 – 2004 X-Ray with chain, Paris, 1994 Gelatin silver print. 36.8 × 27.9 cm (14 1/2 × 11 in). Signed, titled, dated in pencil  and copyright credit reproduction limitation stamp on the verso.

Estimate £10,000–12,000 $15,600–18,700 €11,900–14,300 Provenance   Private Collection, London Literature   Helmut Newton: Pages from the Glossies, Facsimiles 1956–1998, Zurich: 

Scalo, 1998, p. 491; M. Heiting, Helmut Newton: Work, Cologne: Taschen, 2000, p. 116

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7 HORST p. HORST  1906 – 1999 Round the Clock I, New York, 1987 Gelatin silver print, printed later. 44.8 × 36.2 cm (17 5/8 × 14 1/4 in).  Blindstamp credit on the recto; signed in pencil on the verso.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 ‡ Provenance   Acquired directly from the artist Literature   Kazmaier, Horst: Sixty Years of Photography, London: Thames & 

Hudson, 1991, pl. 195 (there titled Advertisement for stockings, New York); Horst,  Altadena: Twin Palms, 1992, p. 46; Chorus of Light: Photographs from the Sir Elton John Collection, exh. cat., High Museum of Art, Atlanta, 2000, p. 129; Platinum, Jefferies  Cowan, 2006, pl. 28 

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∆ 8 ROBERT MAppLETHORpE  1946 – 1989


∆ 9 ROBERT MAppLETHORpE  1946 – 1989

Lisa Lyon, 1982

Lisa Lyon, 1982

Gelatin silver print. 48.6 × 38.7 cm (19 1/8 × 15 1/4 in). Signed and numbered 

Gelatin silver print. 48.9 × 38.7 cm (19 1/4 × 15 1/4 in). Signed, dated, 

AP 1/2 in ink and copyright credit reproduction limitation stamp on the 

numbered AP 1/2 and copyright credit reproduction limitation stamp on the 

reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ‡

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ‡

Provenance   Acquired directly from the artist

Provenance   Acquired directly from the artist

Literature   Lady Lisa Lyon by Robert Mapplethorpe, New York: St. Martin’s Press, 

Literature   Lady Lisa Lyon by Robert Mapplethorpe, New York: St. Martin’s Press, 

1991, p. 100

1991, p. 56

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10 LEWIS MORLEY  b. 1925 Christine Keeler, 1963 Selenium-toned gelatin silver print, printed 1980s. 36.8 × 29.2 cm (14 1/2 × 11 1/2 in). Signed in  ink in the margin.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠  † Provenance   Acquired directly from the estate of the artist

“The whole session, publicity shots for a film to be shot at the height of the  scandal with British MP John Profumo, took less than 45 minutes. Three rolls  were shot, and for the first two Christine wore a sleeveless leather jerkin. The  nude poses were the suggestion of the film company, whose representatives  were present, and Christine was very reluctant to do them. After a short  discussion which resulted in a cleared studio, I rapidly shot off one roll of film 

Literature   Lewis Morley: Photographer of the Sixties, exh. cat., National Portrait Gallery, London, 

with Christine posing nude on the chair. Eleven frames were exposed – the 

1989, cover (detail) and pl. 10; Lewis Morley: Black and White Lies, Angus & Robertson, 1992, 

first one misfired – and it was all over in five minutes. The rest is history.”

pp. 108–09; Lewis Morley Myself and Eye, exh. cat., National Portrait Gallery, Canberra, 2003, pl. 2; 

(The photographer, in Lewis Morley: Contemporary Photographers – Australia: 4, 

Lewis Morley, exh. cat., Art Gallery of New South Wales, Sydney, 2006, p. 49

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Blackheath, NSW, Australia, 1998, p. 21)

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11 FRANK HORVAT  b. 1928 Untitled for British Vogue, 1959 Gelatin silver print, printed later. 35.9 × 23.8 cm (14 1/8 × 9 3/8 in). Signed in  ink in the margin.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠ Provenance   Private Collection, USA Literature   Frank Horvat: Paris-Londres 1952–1962, exh. cat., Musée Carnavalet, 

Paris, 1996, p. 74 (there titled London, Vogue)

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12 ELLIOTT ERWITT  b. 1928 New York City, 1956 Gelatin silver print, printed later. 28.4 × 42.9 cm (11 3/16 × 16 7/8 in). Signed in  ink in the margin; signed, titled and dated in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡ Provenance   Acquired directly from the artist Literature   Elliott Erwitt: Personal Best, Kempen: teNeues, 2009, pp. 300–01

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1913 – 1990

Wenda in Times Square for American Vogue, 1949 Dye destruction print, printed later. 50.2 × 40 cm (19 3/4 × 15 3/4 in).  Signed, titled and dated in ink on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Provenance   Private Collection, London Literature   L. Baring, Norman Parkinson: A Very British Glamour, Rizzoli, 

2009, pl. 35

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1913 – 1990

Wenda and Inquisitive Cow, 1954 Gelatin silver print, printed later. 18.7 × 17.8 cm (7 3/8 × 7 in).  Signed and titled in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Ω Provenance   Private Collection, USA Literature   R. Muir, Norman Parkinson: Portraits in Fashion, London: 

National Portrait Gallery, 2004, n.p.

15 NORMAN pARKINSON  1913 – 1990 Trafalgar Square, 1951 Gelatin silver print, printed later. 29.2 × 22.9 cm (11 1/2 × 9 in).  Signed, titled, annotated ‘for Vogue’ in pencil and ‘Norman  Parkinson Trust’ copyright stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Ω Provenance   Private Collection, USA Literature   R. Muir, Norman Parkinson: Portraits in Fashion, 

London: National Portrait Gallery, 2004, n.p.

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“Utter the names Naomi, Cindy, Christy, Claudia and Linda in one sentence  and there’s no confusion over who you are talking about. Twenty years ago,  the combined power, beauty and influence of these women created such an  impression on the world that a new word was coined especially for them:  supermodel. Their effect on the fashion industry was colossal. By the end of  the eighties the most influential celebrity currency was the royals and it was  Princess Diana who charmed the world and stole the front pages. But a new  decade signalled a shift in attitudes and in January 1990 British Vogue  commissioned Peter Lindbergh and cherry-picked five models to put on their  cover. They created such a stir that a few months later George Michael chose 

16 pETER LINDBERGH  b. 1944

the same five women to star in his music video for Freedom. And when, a year 

Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and

later, Gianni Versace went on to create one of the famous moments in catwalk 

Cindy Crawford, British Vogue, New York, 1987

history by sending Cindy, Linda, Noami and Christy on to the runaway, singing 

Baryte print, printed later and flush-mounted. 150 × 119.5 cm (59 3/4 ×  47 in). Signed and numbered in pencil on a label affixed to the reverse of 

along to George Michael’s video, the supers had officially hit their peak.”

the frame. One from an edition of 3.

(Naomi Reilly, in Stylist Collector’s Edition, September 2010, issue 45, p. 36)

Estimate £35,000–45,000 $54,600–70,200 €41,700–53,600 †

“Lindbergh loves women. Most famously, his eye is responsible for defining 

Provenance   Private Collection, Europe

the era of the supermodel.”

Literature   British Vogue, January 1990, cover

(Laura Brown, ‘Classic Lindbergh’, Harper’s Bazaar, March 2009)

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17 ALBERT WATSON  b. 1942 Kate Moss, Marrakech, Morocco, 1993 Digital colour coupler print, printed later. 120.7 × 90.8 cm (47 1/2 × 35 3/4 in).  Signed, titled, dated and numbered in ink on the reverse of the flush-mount.  One from an edition of 10.

Estimate £12,000–18,000 $18,700–28,100 €14,300–21,400 ♠ Provenance   Private Collection, London Literature   Albert Watson: Cyclops, Little Brown & Co., 1994, n.p.; J. Crump, 

Albert Watson, London: Phaidon, 2007, p. 87; Albert Watson: Contact, exh. cat.,  Galería Hartmann, Barcelona, 2008, n.p.

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18 MARIO TESTINO  b. 1954 Kate at mine, London, 2006 Lightjet print, flush-mounted. 177.8 × 270.2 cm (70 × 106 3/8 in).  Accompanied by a signed label. One from an edition of 2.

Estimate £25,000–35,000 $39,000–54,600 €29,800–41,700 ♠ exhibited  London, Phillips de Pury, Obsessed by You, 3 – 26 July 2008

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19 MARK SELIGER  b. 1959 Julia Roberts, NYC from In My Stairwell, 2000 Platinum-palladium print, printed 2008. 88.3 × 70.5 cm (34 3/4 × 27 3/4 in). Signed,  titled, dated, numbered 3/10 in pencil and copyright credit reproduction limitation  stamp on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 † Provenance   Richard Goodall Gallery, Manchester

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∆ 20 ROBERT MAPPLETHORPE  1946 – 1989 Lisa Lyon, 1982 Gelatin silver print, flush-mounted. 38.4 × 38.7 cm (15 1/8 × 15 1/4  in). Signed and numbered AP 1/2 in ink in the margin. One from  an edition of 10 plus 2 artist’s proofs.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ‡ Provenance   Acquired directly from the artist Literature   Lady Lisa Lyon by Robert Mapplethorpe, New York: St. 

Martin’s Press, 1991, p. 123



21 MIROSLAV TICHÝ  b. 1926


22 MIROSLAV TICHÝ  b. 1926

Untitled, 1950–80

Untitled, 1950–80

Gelatin silver print, hand-cut by the artist. 23.8 × 12.1 cm (9 3/8 × 4 3/4 in). 

Gelatin silver print, hand-cut by the artist. 19.4 × 13.3 cm (7 5/8 × 5 1/4 in). 

Accompanied by a Foundation Tichý Oceán certificate of authenticity.

Accompanied by a Foundation Tichý Oceán label.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ♠ ‡

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ♠ ‡

Provenance   Private Collection, Europe

Provenance   Private Collection, Europe

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23 HERB RITTS  1952 – 2002 Sand Breasts, Hawaii, 1988 Gelatin silver print. 25.4 × 24.1 cm (10 × 9 1/2 in). Signed, titled, dated, numbered  and annotated ‘Cindy Crawford’ in pencil on the verso. One from an edition of 25.

Estimate £3,000–4,000 $4,700–6,200 €3,600–4,800 Provenance   Private Collection, London

This is the only known print from the proposed edition to have been  signed and numbered by Herb Ritts. Another print of this image is  held in the Herb Ritts Foundation archive.

24 MICHAEL DWECK  b. 1957 Lilla, Napeague, Montauk, New York, 2002 Gelatin silver print, printed 2006. 48.3 × 37.8 cm (19 × 14 7/8 in). Signed, titled,  dated, numbered 7/30 and annotated ‘One day in High School my friend  Matthew and I were at Jones Beach talking about where how to find the girl  of our dreams. We said we would go to Europe where we heard that all the  girls were tall, dark and beautiful … Lilla is that girl …’ in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Provenance   Acquired directly from the artist

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25 MICHAEL DWECK  b. 1957 Flag at Snug Harbor, Montauk, New York, 2002 Colour coupler print, printed 2006. 47.9 × 38.1 cm (18 7/8 × 15 in). Signed,  titled, dated, numbered 9/30 and annotated ‘A very special place for my  Mum and Dad’ in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Provenance   Acquired directly from the artist

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Elena Mar en estado de buena esperancia, 1988

More Than Perfect I, 2002

Gelatin silver print. 47 × 47 cm (18 1/2 × 18 1/2 in). Copyright credit blindstamp 

Dye destruction print, Diasec mounted. 163.8 × 104.8 cm (64 1/2 × 41 1/4 in). 

in the margin; signed, titled, dated and numbered in pencil on the verso. 

Signed, numbered ‘2’ in ink, printed title and date on an artist’s label affixed 

One from an edition of 7.

to the reverse of the flush-mount. Number 2 from an edition of 6.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ♠

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ♠ ‡

Provenance   Private Collection, Europe

Provenance   Stefan Stux Gallery, New York

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28 PHILIP-LORCA DICORCIA  b. 1951 Joe Whitman, 24 years old; Los Angeles California; $25, 1992 Colour coupler print. 40 × 58.4 cm (15 3/4 × 23 in). Signed in ink on the verso.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 Provenance   Galerie Klemens Gasser, Cologne; Private Collection, Paris Literature   P. Galassi, Philip-Lorca diCorcia, New York: Museum of Modern Art, 

1995, p. 65

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29 BILL HENSON  b. 1955 Untitled #22, 1998/99 Colour coupler print. 104.5 × 154.9 cm (41 1/8 × 61 in). Signed, dated,  numbered 4/5 and annotated ‘CB/KMC SH86 N20’ in ink in the margin.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 ‡ Provenance   Robert Miller Gallery, New York

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30 ERWIN OLAF  b. 1959 Hotel Kyoto, Room 211, 2008 Lambda print. 101.6 × 179.1 cm (40 × 70 1/2 in). Signed, titled, dated and  numbered in ink on an artist’s label affixed to the reverse of the flush-mount.  One from an edition of 10.

Estimate £10,000–15,000 $15,600–23,400 €11,900–17,900 ♠ Provenance   Private Collection, Europe

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31 WOLFGANG TILLMANS  b. 1968 Cle, 1992; Smokin’ Jo, window, 1995 Two colour coupler prints. Each 40.6 × 30.5 cm (16 × 12 in) overall. Each signed,  titled, dated, numbered, annotated ‘Wolfgang Tillmans, Cle, ph 12 91, pr WT  April 4 93, 3/10 + 1’ and ‘Wolfgang Tillmans, Smokin’ Jo, Window, ph 1 95, pr  WT 7 95, 10/10 + 1’ respectively, in ink on the verso. Each from an edition of 10  plus 1 artist’s proof.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ♠ ‡ Provenance   Gallery Daniel Buchholz, Cologne exhibited  Bordeaux, CAPC Musée d’art contemporain de Bordeaux, Nan Goldin,

Noritoshi Hirakawa, Jack Pierson, Wolfgang Tillmans, Andrea Zittel, 26 January –  24 March 1996 (another example of (i) exhibited) Literature   Nan Goldin, Noritoshi Hirakawa, Jack Pierson, Wolfgang Tillmans, Andrea

Zittel, exh. cat., CAPC Musée d’art contemporain de Bordeaux, 1996, p. 48 (i); Wolfgang Tillmans: if one thing matters, everything matters, Ostfildern-Ruit: Hatje Cantz, 2003,  p. 95, catalogue raisonné no. 1995-019 (ii) 

Please note these are two individual works being sold as a group

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32 NAN GOLDIN  b. 1953 Joey at home dressed for Wigstock, NYC, 1991 Dye destruction print. 68.6 × 103.5 cm (27 × 40 3/4 in). Signed, titled, dated and  numbered in ink on a label affixed to the reverse of the flush-mount. One from  an edition of 25.

Estimate £8,000–12,000 $12,500–18,700 €9,500–14,300 Provenance   Sprovieri Gallery, London Literature   Nan Goldin: The Other Side, Manchester: Cornerhouse Publications, 

1993, p. 125

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33 RINEKE DIJKSTRA  b. 1959 Evgenya, Induction-Centre Tel Hashomer, Israel, March 6, 2002; Evgenya, North Court Base Pikud Tzafon, Israel, December 9, 2002 Colour coupler diptych, printed 2003. 90.2 × 71.4 cm (35 1/2 × 28 1/8 in). Each signed and  dated ‘May 17, 2004’ in ink on a label affixed to the reverse of the frame. Each one from an  edition of 10.

Estimate £20,000–30,000 $31,200–46,800 €23,800–35,700 ♠ Provenance   Max Hetzler, Berlin Literature   Rineke Dijkstra: Portraits, Schirmer/Mosel and Art Data, 2004, p. 115 (i) and p. 117 (ii)

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34 LORETTA LUX  b. 1969 The Walk, 2004 Dye destruction print. 38.1 × 47.9 cm (15 × 18 7/8 in). Signed, titled, dated and  numbered in ink on an artist’s label affixed to the reverse of the flush-mount.  One from an edition of 7.

Estimate £9,000–12,000 $14,000–18,700 €10,700–14,300 ♠ Provenance   Galerie für Fotografie Kunst, Munich Literature   Loretta Lux, Aperture, 2005, p. 77

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35 HANNAH STARKEY  b. 1971 Untitled – May, 1997 Colour coupler print. 37.8 × 47.9 cm (14 7/8 × 18 7/8 in). Signed, dated and numbered 8/15 in  ink on the verso. One from an edition of 15 plus 1 artist’s proof.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠ Provenance   Maureen Paley, London Literature   Hannah Starkey, exh. cat., Irish Museum of Modern Art, Dublin, 2000, pl. 1; 

I. Kullmann, L. Jobey, eds., Hannah Starkey: Photographs 1997–2007, Göttingen: Steidl, 2007, pl. 1 

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36 MARTIN PARR  b. 1952 New Brighton, Merseyside from The Last Resort, 1985 Colour coupler print, printed later. 42.5 × 52.7 cm (163/4 × 20 3/4 in). Signed, dated,  annotated ‘The Last Resort’ in ink on the verso; signed in ink, printed title and date on a  label accompanying the work.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠ † Provenance   Acquired directly from the artist; Private Collection, Europe Literature   I. Walker, Martin Parr: The Last Resort, Stockport: Dewi Lewis Publishing, 1988, pl. 28

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37 MARTIN PARR  b. 1952 New Brighton, Merseyside from The Last Resort, 1983–85 Colour coupler print, printed later. 42.5 × 52.4 cm (16 3/4  × 20 5/8 in). Signed, dated, annotated ‘The Last Resort’  in ink on the verso; signed in ink, printed title and date  on a label accompanying the work.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠ † Provenance   Acquired directly from the artist; Private 

Collection, Europe Literature   I. Walker, Martin Parr: The Last Resort, 

Stockport: Dewi Lewis Publishing, 1988, pl. 24; Magnum Stories, London: Phaidon, 2004, p. 349; S. Phillips, Martin Parr, New York: Phaidon, 2008, pl. 12

Another example of this image is held in the collection  of the Victoria and Albert Museum, London

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38 CHRIS KILLIP  b. 1946 Crabs and People, Skinningrove, North Yorkshire, 1981 Gelatin silver print, printed 2007. 38.1 × 47 cm (15 × 18 1/2 in). Signed, titled  and dated in pencil on the verso.

Estimate £2,000–2,500 $3,100–3,900 €2,400–3,000 ♠ Provenance   Acquired directly from the artist Literature   Chris Killip 55, London: Phaidon, 2001, p. 65

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39 LEWIS MORLEY  b. 1925


Beyond the Fringe: Jonathan Miller, Peter Cook, Dudley Moore, Alan Bennett, 1961

Grimaces of the Weary Village, 40, 1998

Gelatin silver print, printed c. 1989. 29.2 × 28.9 cm (11 1/2 × 11 3/8 in). Signed in 

Gelatin silver print. 30.5 × 40 cm (12 × 15 3/4 in). Signed, titled in English, 

ink and copyright credit stamp on the verso.

Lithuanian and dated in pencil on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠ †

Estimate £1,200–1,800 $1,900–2,800 €1,400–2,100 ♠

Provenance   Private Collection, USA

Provenance   Acquired directly from the artist Literature   Rimaldas Viksraitis: Vienkiemio Godos, Vilnius: Union of Lithuanian 

Art Photographers, 2006, p. 67; Rimaldas Viksraitis: Grimaces of the Weary Village, Photographs 1976–2006, London: Anya Stonelake/White Space Gallery, 2010, p. 44

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41 WERNER BISCHOF  1916 – 1954 Courtyard of the Meiji Temple, Tokyo, 1951 Gelatin silver print, printed later. 45.7 × 54 cm (18 × 21 1/4 in). Signed by Marco  Bischof, the photographer’s son, in pencil and copyright credit reproduction  limitation Estate stamp on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 Provenance   Magnum Photos, London Literature   Jean Lacouture et al., In Our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, p. 354; Claude Cookman, Werner Bischof 55, London: Phaidon, 2001, p. 81

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42 JACOB AUE SOBOL  b. 1976 Selected Images from I, Tokyo, 2007 Two archival pigment prints. Each 47 × 33.3 cm (18 1/2 × 13 1/8 in). Each  signed and numbered 2/15 in pencil on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠ Provenance   Magnum Photos, London

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43 IAN BERRY  b. 1934 Whitechapel, 1972 Gelatin silver print. 31.1 × 20.3 cm (12 1/4 × 8 in). Signed in ink in the margin; signed,  annotated ‘vintage’ in pencil and ‘Ian Berry/ Magnum’ copyright credit stamp on the verso.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ♠ Provenance   Magnum Photos, London Literature   Ian Berry: The English, London: Penguin Books, c. 1978, pl. 73; Jean Lacouture et al., 

In our Time: The World as Seen by Magnum Photographers, New York & London: Norton, 1989, p. 226

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44 TONY RAY-JONES  1941 – 1972

45 DAVE HEATH  b. 1931

Blackpool, 1967

NYC (Man smoking in front of Cartier) from A Dialogue with Solitude, 1958

Gelatin silver print. 29.5 × 19.4 cm (11 5/8 × 7 5/8 in). Signed by Anna 

Gelatin silver print. 32.1 × 21.3 cm (12 5/8 × 8 3/8 in). Credit stamp in the margin; 

Ray-Jones, the photographer’s wife, in pencil on the verso.

signed in pencil and credit stamp on the reverse of the flush-mount.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000

Estimate £3,500–4,500 $5,500–7,000 €4,200–5,400 ‡

Provenance   Private Collection, London

Provenance   Acquired directly from the artist

literature   Tony Ray-Jones: A day off, London: Thames & Hudson, 1974, pl. 10; 

literature   Dave Heath: A Dialogue with Solitude, Virginia: The Community Press, 1965

Tony Ray-Jones, Manchester: Cornerhouse Publications, 1990, pl. 55

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46 DON M CCULLIN  b. 1935 Early morning, West Hartlepool, County Durham, 1963

“I think that Don McCullin was peace-weary before he ever went to war” (John Le Carré, in his introduction to Don McCullin: Hearts of Darkness, 1980) 

Gelatin silver print, printed 1989. 27 × 41.3 cm (10 5/8 × 16 1/4 in). Signed,  dated ‘15 Oct/ 89’ and annotated ‘printed by me’ in pencil on the verso.

When giving a eulogy of his friend and colleague, the Welsh photographer  Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ♠ † Provenance   Hamiltons Gallery, London Literature   Sleeping with Ghosts: A Life’s Work in Photography, London: Jonathan 

Cape, 1994, p. 26; Don McCullin, London: Jonathan Cape, 2003, pp. 56–57

Philip Jones Griffiths who died in 2008, Don McCullin’s gentle words were  spoken in his characteristic whisper, revealing himself as the humble and  self-doubting man he is known for being. Recently I heard someone say that  McCullin wonders if his pictures have really achieved anything in photographic  history. On hearing this, a great sadness and an overwhelming sense of  disbelief swept over me, since I cannot think of many living greats whose  work has moved and touched as his has done, both through image and the  natural integrity they embody. If anyone qualifies as the ‘Photographer’s 

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Photographer’, then, for all those who make or simply appreciate photographs, 

project intense feeling via an image – pushing pieces of himself out, as 

it must be this self-effacing man.

it were, through the chemicals by which photographs become visible.  “Stamped”, as he has said, with the legacy of the humble circumstances 

Yet he is also not just a witness to the trials undergone by the human race, but 

of his childhood, he nevertheless imbues a richness of vision into 

also a firm believer in people, so much so that it is difficult not to imagine that 

images such as the one shown here. 

he literally sleeps with ghosts some nights as the title from which this lot is  taken from suggests. 

The harshness of life for some, such as for this man walking to work  early in the morning, was for McCullin transmuted into those men 

Perhaps with his own wounds wide open long before witnessing conflict, 

he later saw walking to their deaths in Cyprus, Vietnam, Biafra, and 

these days it is the “dark, dark, dark” of the landscape that he trawls with 

Ireland. McCullin himself continues to walk, with the same concern and 

his lens, with his brooding gaze, seeing and communicating with the same 

sensibility that is now reflected in the English landscape around him. 

journalistic eye for which he is acclaimed. He does not need war to be able to 

Long may he walk.

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47 ROBERT DOISNEAU  1912 – 1994 Barricade de la rue de la Huchette, 1944 Gelatin silver print. 21 × 17.8 cm (8 1/4 × 7 in). Annotated ‘Paris Battle. On the  lookout behind a barricade, Rue de la Huchette’ in French in an unidentified  hand in pencil and credit stamp on the verso.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 Provenance   Private Collection, Europe Literature   P. Ory, Doisneau 40/44, Paris: Éditions Hoëbeke, 1994, p. 94

48 BRYN CAMPBELL  b. 1933 Tony Benn, wife and son, London, 1960 Gelatin silver print. 29.2 × 23.5 cm (11 1/2 × 9 1/4 in). Signed, titled, dated  and annotated ‘S. African Goods Boycott’ in pencil and credit stamp on  the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 Provenance   Acquired directly from the artist

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49 MARC RIBOUD  b. 1923 Peace March, Washington D.C., 1967 Baryte print, printed later. 30 × 45 cm (11 3/4 × 17 3/4 in). Signed, titled, dated in  ink in the margin; credit stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠ † Provenance   Acquired directly from the artist; Private Collection, Europe Literature   Jean Lacouture et al., In our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, p. 173; Magnum Stories, London:  Phaidon, 2004, p. 387

This image shows a young American girl, Jan Rose Kasmir,  confronting the American National Guard outside the Pentagon  during the 1967 anti-Vietnam march. This march helped to turn  public opinion against the US war in Vietnam.

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50 LEWIS MORLEY  b. 1925 Tariq Ali, Vanessa Redgrave and Noel Tovey, Anti-Vietnam Rally, 1968 Gelatin silver print, printed 1997. 23.2 × 35.9 cm (9 1/8 × 14 1/8 in). Blindstamp credit  in the margin; signed, titled and dated ‘1997’ in ink on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠ † Provenance   Acquired directly from the Lewis Morley Archive Literature   Lewis Morley: Photographer of the Sixties, exh. cat., National Portrait Gallery, 

London, 1989, pl. 87; Lewis Morley, exh. cat., Art Gallery of New South Wales, 2006, p. 78

This photograph also shows Stephen Hawking, to the left of Tariq Ali.  Another print of this image is held in the collection of the National  Gallery of Australia.

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Symbolism as well as the first pictorialistically composed nudes which are 

Nude, 1927

very near to trends at the time represented by photographs made by Robert 

Gelatin silver print. 29.8 × 23.8 cm (11 3/4 × 9 3/8 in). Prague Museum stamp on the verso.

Demachy or graphics and paintings by Edward Munch, Franz Von Stuck, 

Estimate £25,000 – 35,000 $39,000 – 54,600 €29,800 – 41,700

Félicien Rops or Fernand Khnopff. His central motif becomes to be a stylized  yet veristic depiction of a woman’s body. The melancholic sadness and latent 

Provenance   Bonni Benrubi Gallery, New York Literature   V. Birgus, The Photographer František Drtikol, Prague: Kant, 2000, pl. 92 and 

pl. 103 (variant)

eroticism of the first attempts are gradually replaced by more dramatically  concepted motifs of temptation and destruction … A determining artistic  method becomes the sharp light and casted shadow. Models in expressive 

“František Drtikol was born in Pribram on 3rd March, 1883. After years of 

dynamic posturings are placed in these decorations and often photographed 

learning and studies in Munich he opens a studio of his own in Prague. 

as mere fragments (legs, body, without head …).”

The beginning of his creative work closely relates to the atmosphere at the  turn of the century. In addition to photographs there is a number of graphic 

(In ‘František Drtikol 1883 –1961, um dos clássicos da fotografia’, March 2004)

art pieces and drawings with the theme of the woman in Jugendstill and 

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52 MARC RIBOUD  b. 1923 Painter of the Eiffel Tower, Paris, 1953 Baryte print, printed later. 45 × 30 cm (17 3/4 × 11 3/4 in). Signed, titled, dated  in ink in the margin; credit stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠ † Provenance   Acquired directly from the artist; Private Collection, Europe Literature   Magnum Stories, London: Phaidon, 2004, p. 386


53 ANTANAS SUTKUS  b. 1939 Oranges from Morocco, Lithuania, Vilnius, 1975 Gelatin silver print. 33.3 × 29.5 cm (13 1/8 × 11 5/8 in). Signed  and dated in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠ Provenance   Acquired directly from the artist Literature   Antanas Sutkus, White Space Gallery/Gallery., 2008, pl. 78


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54 EVE ARNOLD  b. 1913

55 ELLIOTT ERWITT  b. 1928

Bar girl in a brothel in the Red Light District, Havana, Cuba, 1954

North Carolina, 1950

Gelatin silver print, printed later. 33.3 × 48.3 cm (13 1/8 × 19 in). Signed in 

Gelatin silver print, printed later. 30.5 × 45.7 cm (12 × 18 in). Signed in ink in the margin; 

pencil on the verso.

signed, titled and dated in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600

Provenance   Acquired directly from the artist

Provenance   Private Collection, Europe

Literature   B. Lardinois, Eve Arnold’s People, London: Thames & Hudson, 2009, 

Literature   Elliott Erwitt, Personal Exposures, New York: W. W. Norton, 1988, p. 73; R. K. Metzker, 

cover (detail) and pp. 24–25

City Stills, Munich/New York: Prestel, c. 1999, pl. 33; Elliott Erwitt: Personal Best, Kempen: teNeues,  2009, pp. 16–17; B. Lardinois, Magnum Magnum, London: Thames & Hudson, 2009, p. 155

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56 ROBERT DOISNEAU  1912 – 1994 Mademoiselle Anita à la Boule Rouge, rue de Lappe, Paris, 1951 Gelatin silver print. 21.7 × 18.1 cm (8 9/16 × 7 1/8 in). Credit and ‘Collection Robert  Giraud’ stamps on the verso.

Estimate £8,000–12,000 $12,500–18,700 €9,500–14,300 Provenance   Acquired directly from the artist; The Collection of Mr & Mrs Giraud; 

Private Collection, Paris Literature   Robert Doisneau: Three Seconds of Eternity, Munich: teNeues, 1997, pl. 94

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57 WERNER BISCHOF 1916 – 1954 On the road to Cuzco, Peru, 1954 Gelatin silver print, printed later. 55.6 × 46 cm (21 7/8 × 18 1/8 in). 

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 Provenance   Private Collection, London Literature   Jean Lacouture et al., In our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, p. 309; Werner Bischof 55, London:  Phaidon, 2001, cover and p. 125

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58 HENRI CARTIER-BRESSON  1908 – 2004 Rue Mouffetard, Paris, 1954 Gelatin silver print, printed later. 35.6 × 23.8 cm (14 × 9 3/8 in). Signed in ink  and blindstamp credit in the margin.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 Provenance   Private Collection, London Literature   Henri Cartier-Bresson: Photographer, London: Thames & Hudson, 

1999, pl. 140; P.Galassi et al., Henri Cartier-Bresson: The man, the image and the world, London: Thames & Hudson, 2003, pl. 65, p. 70 

59 HENRI CARTIER-BRESSON  1908 – 2004 Alberto Giacometti, Rue d’Alésia, Paris, 1961 Gelatin silver print, printed later. 35.6 × 24.1 cm (14 × 9 1/2 in). Signed in ink  and blindstamp credit in the margin.

Estimate £8,000–10,000 $12,500–15,600 €9,500–11,900 Provenance   Acquired directly from the artist Literature   Henri Cartier-Bresson: Photographer, London: Thames & Hudson, 

1999, pl. 11

60 HENRI CARTIER-BRESSON  1908 – 2004 Trastevere, Rome, 1959 Gelatin silver print, printed later. 44.8 × 29.8 cm (17 5/8 × 11 3/4 in).  Signed in ink and blindstamp credit in the margin.

Estimate £8,000–10,000 $12,500–15,600 €9,500–11,900 Provenance   Acquired directly from the artist Literature   Henri Cartier-Bresson: Europeans, London: Thames & Hudson, 

1998, p. 84


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61 HENRI CARTIER-BRESSON  1908 – 2004 Ile de la Cité, Paris, 1951 Gelatin silver print, printed later. 30.2 × 44.8 cm (11 7/8 × 17 5/8 in). Signed in ink and  blindstamp credit in the margin.

Estimate £8,500–9,500 $13,300–14,800 €10,100–11,300 Provenance   Acquired directly from the artist Literature   J. P. Montier, Henri Cartier-Bresson and the Artless Art, London: Thames & Hudson, 

1996, p. 77; Henri Cartier-Bresson: Photographer, London: Thames & Hudson, 1999, pl. 8; Henri Cartier-Bresson: City and Landscapes, Bulfinch, 2001, pl. 162

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62 WILLY RONIS  1910 – 2009 Les amoureux de la Bastille, Paris, 1957 Gelatin silver print, printed 2004. 23.8 × 35.6 cm (9 3/8 × 14 in). Signed in ink  in the margin; initialled, annotated ‘tirage 2004’ in ink, titled, dated in pencil  and copyright credit stamp on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 Provenance   Private Collection, London Literature   Willy Ronis: Photographs 1926–1995, exh. cat., Oxford: Museum of 

Modern Art, 1995, pl. 93; Photo Poche: Willy Ronis, Paris: Actes Sud, 2005, pl. 37

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63 ANDRÉ KERTÉSZ 1894 – 1985 Vert Galante, 1963 Gelatin silver print. 23.8 × 18.7 cm (9 3/8 × 7 3/8 in). Signed, dated, extensively  annotated in pencil and credit stamp on the verso.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 Provenance   Acquired directly from the artist; Collection of Corbeau et 

Renard, Part 1, Phillips de Pury & Company, New York, 9 April 2008, lot 214;   Private Collection, Europe

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64 BRYN CAMPBELL  b. 1933 Selected Images of New York, 1972 Two gelatin silver prints. Each 27.6 × 36.8 cm (10 7/8 × 14 1/2 in). Each signed, titled, dated in  pencil and credit stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Provenance   Acquired directly from the artist Literature   Bryn Campbell: Reports and Rumours, Taiwan: Photographers Publications, 2001, 

n.p. (i)

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65 ELLIOTT ERWITT  b. 1928

66 ELLIOTT ERWITT  b. 1928

New York City, 1974

New York City, 1946

Gelatin silver print, printed later. 29.8 × 44.5 cm (11 3/4 × 17 1/2 in). Signed in ink 

Gelatin silver print, printed later. 30.6 × 44.5 cm (12 1/16 × 17 1/2 in). Signed in 

in the margin; signed, titled and dated in pencil on the verso.

ink in the margin; signed, titled and dated in pencil on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ‡

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ‡

Provenance   Acquired directly from the artist

Provenance   Acquired directly from the artist

Literature   Jean Lacouture et al., In our Time: The World as Seen by Magnum

Literature   Elliott Erwitt: Snaps, London: Phaidon, 2003, pp. 232–33; Elliott Erwitt:

Photographers, New York & London: Norton, 1989, p. 216; Elliott Erwitt: Snaps, London: 

Personal Best, Kempen: teNeues, 2009, pp. 220–21

Phaidon, 2003, p. 205; Elliott Erwitt: Personal Best, Kempen: teNeues, 2009, pp. 406–07

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67 WALKER EVANS  1903 – 1975

68 WALKER EVANS  1903 – 1975

Barber Shop, New Orleans, 1935

New Orleans, March, 1935

Gelatin silver print from Walker Evans: Selected Photographs, printed 1971. 

Gelatin silver print, printed later. 22.2 × 18.4 cm (8 3/4 × 7 1/4 in). Signed, 

24 × 19.2 cm (9 7/16 × 7 9/16 in). Signed by the photographer, dated ‘1936–1971’, 

dated in pencil on the mount; titled, dated, annotated ‘P 4’ in pencil and two 

numbered ‘XI’ and ‘48/100’ in an unidentified hand in pencil on the mount.

credit stamps on the reverse of the mount.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 †

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 †

Provenance   A Gallery For Fine Art Photography, New Orleans

Provenance   A Gallery For Fine Art Photography, New Orleans

Literature   Walker Evans: the Hungry Eye, London: Thames & Hudson, 1993, p. 103 

(detail) and p. 169 (there titled Sidewalk and Shopfront, New Orleans); Walker Evans 55,  London: Phaidon, 2001, p. 59 (detail); Walker Evans, exh. cat., Fundación Mapfre,  Madrid, 2009, p. 30 (there titled Sidewalk and Shopfront, New Orleans)

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69 BERENICE ABBOTT 1898 – 1991


Fifth Avenue Houses, Nos 4, 6 and 8, New York, 1936

Untitled, 1990

Gelatin silver print, printed 1970s. 26.7 × 34.6 cm (10 1/2 × 13 5/8 in). Signed in 

Two gelatin silver prints. 33.7 × 27.3 cm (13 1/4 × 10 3/4 in) or the reverse. Each 

pencil on the mount; credit stamp on the reverse of the mount.

blindstamp credit in the margin; each signed and dated in pencil on the verso.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ♠

Provenance   Private Collection, London

Provenance   Acquired directly from the artist; Private Collection, Paris

Literature   E. McCausland, New York in the Thirties as Photographed by Berenice

Abbott, New York: Dover Publications, 1939/1967, pl. 48; B. Yochelson, Berenice Abbott: Changing New York, New York: The New Press, 1997, pl. 42; H. O’Neal, Berenice Abbot, Steidl, 2008, vol. 2, pl. 100

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71 GERARD BYRNE  b. 1969 Untitled from 1984 and Beyond, 2005–06 Gelatin silver print, mounted. 17.1 × 25.4 cm (6 3/4 × 10 in). Printed credit,  titled, date and number on a gallery label affixed to the reverse of the frame.  One from an edition of 4.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ♠ Provenance   Private Collection, UK

72 MARGARET BOURKE-WHITE  1904 – 1971 Golden Gate Bridge, San Francisco, 1951 Gelatin silver print, printed 1994. 43.5 × 27 cm (17 1/8 × 10 5/8 in). Credit, title, date and  Time Warner Inc. copyright in an unidentified hand in pencil on the verso.

Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 Provenance   Staley Wise Gallery, New York


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73 HENRY WESSEL b. 1942 Icons Portfolio, 1968–89 cologne: Galerie thomas Zander, 2007. Fifteen gelatin silver prints, printed 2007. each 17.8 × 26.7 cm (7 × 10 1/2 in) or the reverse. each signed, titled, dated and numbered 1/5 in pencil

even though he comes from the east coast of the united States, we usually associate Henry Wessel with the distinctive climate and architecture of california. a transforming moment in his

on the verso. colophon. title page. Plate list. contained in a linen clamshell case with

career came when he moved from rochester, new York during

embossed credit and title. one from an edition of 5 plus 2 artist’s proofs.

the midwinter of 1970 to San Francisco, where they were still

Estimate £45,000–55,000 $70,200–85,800 €53,600–65,500

experiencing uninterrupted sunshine! Whether he is working in california, or Hawaii or hanging out in the Southwest (Wessel’s

Provenance Private collection, europe

photograph of the letters ‘ice’ in the midst of a desert epitomizes

Literature Henry Wessel, exh. cat., rena Bransten Gallery, San Francisco, 2000

the present lot – the title of the portfolio is, appropriately, iconS

titles include: Pasadena, Los Angeles, 1974; San Francisco, 1974; Santa Monica, California, 1989;

and contains images as resonant as any painted by ed ruscha,

Las Vegas, 1973; Nevada, 1975; Santa Barbara, California, 1977; Waikiki, 1978; Oklahoma, 1975;

another artist whose subject matter is founded on the love of

Albuquerque, New Mexico, 1968; Buena Vista, Colorado, 1973; California, 1973; Tuscon, Arizona,

letterforms), what we come to understand of his photographs

1974; Southern California, 1985; Walapai, Arizona, 1971; Tucson, Arizona, 1976

is their preoccupation with light – “chances are, if you believe the light,” Wessel has said, “you are going to believe that things photographed existed in a world”. He moves back and forth between the east and west coasts, and has extracted some of his richest subject matter from Los angeles where there is, according to him, a greater “physicality of light”. the other crucial part of his work is the imagery of the urban or suburban environment –people sitting, standing, reclining in public spaces, some sculpture-like without the ceremony, others isolated and aimless, and empty phone booths or abandoned objects with their own ambiguity and dignity. there can also be an uncomfortable edge to these images of what was or could have been, but still there is always a charm which is like an amuse bouche, initially pleasant then developing into something surprisingly superb and full of depth. these quiet, mannered images build their effect upon the viewer through their smooth composites and graphic unity with an easy mildness which satisfies and lingers. in 1971, Wessel received a John Simon Guggenheim Memorial Foundation fellowship and in 1973 his photographs were exhibited at the Museum of Modern art in new York. Wessel’s work was also included in New Topographics: Photographs of a Man-Altered Landscape at the international Museum of Photography in rochester, new York in 1975. Wessel’s photographs are held in the collections of the art institute of chicago; center for creative Photography, university of arizona, tucson; Fogg art Museum, Harvard university, cambridge, Ma.

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1921 – 1986

Nevada Sky, 1960 Dye transfer print, printed 1995. 47.3 × 71.1 cm (18 5/8 × 28 in). Signed, titled, dated,  numbered 11/50 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas  copyright credit stamp on the verso.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 Provenance   Acquired directly from the Estate of Ernst Haas Literature   In America: Ernst Haas, New York: Viking Press, 1975, pl. 11; Ernst Haas Color

Photography, Harry H Abrams, 1989, pl. 23

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75 ERNST HAAS  1921 – 1986 Route 66, Albuquerque, New Mexico, USA, 1969 Colour coupler print, printed 2006. 57.8 × 86.4 cm (22 3/4 × 34 in). Signed,  titled, dated, numbered 24/50 by Alexander Haas, the photographer’s son,  in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ‡ Provenance   Acquired directly from the Estate of Ernst Haas Literature   R. Peltason, ed., Ernst Haas: A Colour Retrospective, 1952 – 1986, 

London: Thames & Hudson, 1989, p. 127

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76 MARTINE FRANCK  b. 1938 Swimming Pool designed by Alain Capeilleres, Le Brusc, South of France, 1976 Gelatin silver print, printed later. 29.8 × 44.8 cm (11 3/4 × 17 5/8 in). Signed in  ink and blindstamp copyright credit in the margin.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ♠ Provenance   Acquired directly from the artist Literature   Jean Lacouture et al., In our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, pp. 166–67; One Day to the Next,  London: Thames & Hudson, 1998, cover

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77 JULIUS SHULMAN  1910 – 2009 Raymond Loewy House, Palm Springs, California, 1947 Gelatin silver print, printed later. 38.1 × 47.9 cm (15 × 18 7/8 in). Credit  reproduction limitation stamp on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 Provenance   Private Collection

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78 STEPHEN SHORE  b. 1947

Titles include: Dewdney Ave., Regina, Saskatchewan, August 17, 1974; Washington Ave., North

Twelve Photographs 

Adams, Massachusetts, July 14, 1974; Backyard off U.S. 98, Apalachacola, Florida, February 4,

New York: Metropolitan Museum of Art, 1976. Twelve colour coupler prints. Each 20.3 × 

1976; Lincoln St. & Riverside St., Spokane, Washington, August 25, 1974; U.S. 10, Post Falls,

25.4 cm (8 × 10 in) or the reverse. Each signed and numbered 36/50 on the verso; titled, 

Idaho, August 25, 1974; Back Road, Presidio, Texas, February 21, 1975; Alley off Sunset Strip,

dated and sequentially numbered ‘I–XII’ in an unidentified hand in ink on the reverse of 

Hollywood, California, June 22, 1975; U.S. 93, Kingman, Arizona, July 2, 1975; Cumberland St.,

each mount. Colophon and contents, numbered ‘36’ in an unidentified hand in pencil. 

Charleston, South Carolina, August 3, 1975; Holden St., North Adams, Massachusetts, July 13,

One from an edition of 50 plus 6 artist’s proofs, lettered A to F. Contained in a linen 

1974; M 1/2 Ave., Galveston, Texas, July 20, 1975; El Paso St., El Paso, Texas, July 5, 1975

clamshell case with embossed credit and title.

Estimate £25,000–35,000 $39,000–54,600 €29,800–41,700 Provenance   Private Collection, Europe Literature   Stephen Shore: Photographs, 1973–1993, Munich: Schirmer/Mosel, 1994; Stephen

Shore: Uncommon Place – The Complete Works, New York: Aperture, 2005; Stephen Shore, London:  Phaidon, 2007

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79 FLORIAN MAIER-AICHEN  b. 1973 Untitled (Cloud), 2001 Colour coupler print, flush-mounted. 120.7 × 168.9 cm (47 1/2 × 66 1/2 in).  Signed, dated and numbered in ink on the reverse of the frame. One from an  edition of 6 plus 2 artist’s proofs.

“German by birth and educated at the University of Essen and the University  of California, Los Angeles (UCLA), Maier-Aichen’s artistic trajectory began in  reaction to the stringent rules estabished by the highly influential Becher  school of photography … using only diffused light and a centered isolated  subject … Maier-Aichen presents a body of photographic work that offers an 

Estimate £20,000–30,000 $31,200–46,800 €23,800–35,700 ♠ Provenance   Blum & Poe, Los Angeles

expanded approach beyond a realistic representation of his subject. The  viewer is strategically maneuvered toward an ecstatic truth that is the result  of calculated juxtapositions of multiple, and sometimes disparate, details.  Instead of dictating the way in which the viewer should consider the image,  Maier-Aichen physically places the viewer there by way of extreme angles and  aerial viewpoints to allow the sensation to come out of the viewer’s on  experience of the image. While using the strategies of documentary  photography, Maier-Aichen utilizes a unique palette, unconventional vantage  points, and combinations of photographs with hand-rendered details to yield  a body of work that is rich with historical and contemporary references.” (R. Morse, ‘Ecstatic Truth: The Photography of Florian Maier-Aichen’, in  Florian Maier-Aichen, exh. cat., Museum of Contemporary Art, Los Angeles,  2007, pp. 13 and  27)

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80 DAN HOLDSWORTH   b. 1974 Untitled from The World In Itself, 2000 Colour coupler print. 122 × 152 cm (48 × 59 7/8 in). Signed, dated and numbered AP2 in  ink on the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs.

Estimate £6,000 – 8,000 $9,400 – 12,500 €7,100 – 9,500 † Provenance   Acquired directly from the artist eXHiBiteD  London, Barbican Art Gallery, The World in Itself, 2001 (another example exhibited) Literature   Dan Holdsworth: Photoworks Monograph, London: Steidl, 2005, p. 59; 

Art Photography Now, Thames & Hudson, 2006, p. 69

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81 FRANK THIEL  b. 1966 Stadt 2/41 (Berlin), 1999 Colour coupler print, printed 2002 and Diasec mounted. 116.2 × 344.8 cm  (45 3/4 × 135 3/4 in). Signed, titled, dated and numbered 2/4 in ink on the  reverse of the backing board and stretcher.

Estimate £6,000–8,000 $9,400–12,500 €7,100–9,500 ♠ Provenance   Sean Kelly Gallery, New York Literature   Frank Thiel: A Berlin Decade 1995–2005, Ostfildern-Ruit: Hatje Cantz, 

2006, cover and pp. 162–63

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83 JH ENGSTRÖM  b. 1969

Untitled, 2007

CDG/JHE #2, 2006

Gelatin silver print. 38.1 × 48.3 cm (15 × 19 in). Signed, dated and numbered 

Colour coupler print, flush-mounted. 60 × 77.8 cm (23 5/8 × 30 5/8 in). Signed 

in ink on a label affixed to the reverse of the frame. One from an edition of 6.

and titled in ink on a label affixed to the reverse of the frame. Number 5 from an  edition of 5 plus 2 artist’s proofs.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 ♠ Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠ Provenance   Blum & Poe, Los Angeles Literature   Florian Maier-Aichen, exh. cat., Museum of Contemporary Art, Los 

Provenance   GunGallery, Stockholm

Angeles, 2007, pl. 2

Literature   JH Engström: CDG/JHE, Göttingen/Stockholm: Steidl/GUN, 2008, p. 2

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84 THOMAS RUFF  b. 1958 20h 54m/-55, 1991 Colour coupler print. 79.4 × 52.7 cm (31 1/4 × 20 3/4 in). Signed, dated and  numbered in pencil on the verso. One from an edition of 20.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ♠ Provenance   Kunstverein, Arnsberg Literature   M. Winzen, Thomas Ruff: 1979 to the Present, Cologne, 2001, p. 196

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85 ANDREAS GEFELLER  b. 1970 Untitled (Parking Site 1), 2007, from Supervisions Colour coupler print, Diasec mounted. 170 × 223 cm (66 7/8 × 87 3/4 in).  Signed in ink on the reverse of the flush-mount. Number 3 from an edition  of 8 plus 3 artist’s proofs.

Estimate £10,000–15,000 $15,600–23,400 €11,900–17,900 ♠ † Provenance   Private Collection, Europe eXHiBiteD  Cologne, Thomas Rehbein Galerie, Andreas Gefeller: Supervions –

Neue Arbeiten, 25 January–1 March 2008; Saarbrücken, Stadtgalerie, Andreas Gefeller: Photographs, 6 June–19 July 2009; Bonn, Kunstmuseum, Ferne Nähe: Natur in der Kunst der Gegenwart, 10 September–15 November 2009; Marta  Herford, Pittoresk: Nue Perspecktiven auf das Landschaftsbild, 3 October 2009–10  January 2010; Munich, Münchner Stadtmuseum, Andreas Gefeller: Photographs,  11 February–18 April 2010  Literature   Ferne Nähe: Natur in der Kunst der Gegenwart, exh. cat., 

Kunstmuseum, Bonn, 2009, p. 82; Andreas Gefeller: Photographs, exh. cat.,  Stadtgalerie, Saarbrücken, 2009, pp. 69–70

Art changes the view on reality. The sensitising and extension  of our perception of the assumed known reality is the  fundamental approach of Andreas Gefeller’s photographic  work. The present lot, Parkplatz 1, belongs to his series  Supervisions, in which the artist questions, in his large-sized  colour photographs, the deserted space constellations he  found. This series consists of shots from urban spaces,  which enable not only views of public places and areas, but  also provides bird’s eye views of enclosed spaces. Yet the  impression of classical aerial photos from a great height  emerges eventually as a delusion of our normal viewing  patterns. With the help of complex photographic techniques,  Gefeller manages to create ‘possible’ and ‘impossible’  perspectives. He fixes his camera onto a tripod attached to  his body at the height of two metres. With the camera being  perpendicular to the floor, it scans step by step the previously  marked field. Finally, hundreds of photos will be assembled  together and result in the overall picture. The detailed and  highly dissolved view of the scanned surface as well as the  several optical breaks, which are created though perspective  mismatches, nonetheless reveal an unusual creation – the  awareness of which can only be developed by the observer’s  close attention. Through the use of extreme image sections  as well as the loss of control and significant points, the  designed supervisions are transformed into abstract pictorial  compositions.  Gefeller questions not only the objectivity of photography as a  medium, but also nouns such as reality and alienation. Mostly it  is time that influences his composition. This becomes obvious  in the present lot , in which one can see the fading daylight and  the growing darkness both at once. Gefeller studied photography at the University of Essen   and passed with distinction with Bernhard Prinz. Gefeller,   who has been appointed to the Deutsche Fotografische  Akademie e.V. (German Photographic Academy), lives and  works in Dusseldorf.

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86 OLA KOLEHMAINEN  b. 1964 Are You Talking To Me?, 2007 Colour coupler diptych, each Diasec mounted. 178 × 128 cm (70 1/8 × 50 3/8 in);  178 × 125 cm (70 1/8 × 49 1/4 in); 178 × 253 cm (70 1/8 × 99 5/8 in) overall.  Accompanied by a signed certificate of authenticity. One from an edition of 3.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 ♠ Literature   Ola Kolehmainen: A Building Is Not a Building, Ostfildern-Ruit: Hatje 

Cantz, 2009, pp. 18–19

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87 JOSEF SCHULZ  b. 1966

88 SLATER BRADLEY  b. 1975

Hall blue #3, 2001

Disorder, 2006

Colour coupler print, Diasec mounted. 100 × 130 cm (39 3/8 × 51 1/8 in). 

Colour coupler print, Diasec mounted. 149.2 × 200.7 cm (58 3/4 × 79 in). 

Signed, dated and numbered in ink on the reverse of the flush-mount. One 

Accompanied by a signed label. One from an edition of 3.

from an edition of 6 plus 2 artist’s proofs.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ♠ ‡ Provenance   Private Collection, Paris Provenance   Galerie Haus Schneider, Ettlingen/Karlsruhe

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89 FLORIAN MAIER-AICHEN  b. 1973 Suedbruecke, 2004 Colour coupler diptych, each flush-mounted. Each 122.6 × 154.3 cm (48 1/4 ×  60 3/4 in). Each signed, dated and numbered in ink on a label affixed to the  reverse of the frame. One from an edition of 6.

Estimate £15,000–20,000 $23,400–31,200 €17,900–23,800 ♠ Provenance   Blum & Poe, Los Angeles

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90 MICHAEL REISCH  b. 1964 Kühlturm, 0/028 (Cooling Tower), 2001 Digital colour coupler print, Diasec mounted. 150 × 118 cm (59 1/8 × 46 1/2 in).  Signed, titled, dated and numbered 3/6 in ink on the reverse of the  flush-mount. One from an edition of 6 plus 2 artist’s proofs.

“Conceptually speaking, [Michael Reisch’s] photographs are … profoundly  sculptural, although they are by no means restricted to pure representation  of depicted subjects. It is rather the specific form in which images are  constructed that characterizes the works of both Michael Reisch and Bernd  and Hilla Becher. Reisch studied under Bernd Becher at the Kunstakademie 

Estimate £8,000–12,000 $12,500–18,700 €9,500–14,300 ♠ †

in Dusseldorf in the early nineteen-nineties. Although his corresponding 

Provenance   Private Collection, Europe

fundamental position is likely to have been clarified through direct contact 

exhibited  Wuppertal, Rolf Hengesbach, Michael Reisch: Räume für neue Kunst, 

with Becher, photography and sculpture had long since become the two 

17 February – 30 March 2002; Neuss, Kulturforum Alte Post, Michael Reisch, 

most important focal points of Reisch’s work. In the nineteen-eighties, he had 

26 October – 29 November 2002; Linz, Landesmuseum, Modellierte Wirklichkeiten,  3 February – 18 April 2003; Kunstverein Konstanz, Michael Reisch: Landschaften, 

studied both photography and sculpture at the Gerrit Rietveld Akademic in 

25 June – 28 August 2005; Paderborn, Städtische Galerie Am Abdinghof, Michael

Amsterdam … For Michael, photography has become the setting for sculptural 

Reisch: Landschaften, 20 April – 29 June 2008 (each another example exhibited)

manipulations which both create and deconstruct reality in his photographs.”

Literature   Michael Reisch, Räume für neue Kunst, Wuppertal: Rolf 

Hengesbach, 2002, p. 13; Modellierte Wirklichkeiten, exh. cat., Landesmuseum, Linz,  2003, p. 59; Michael Reisch, Ostfildern-Ruit: Hatje Cantz, 2006, p. 48

(Martin Hochleitner, ‘Sculpture Tastes Photography: Iconography and  Visual Effect in the Photographs of Michael Reisch’, in R. Hengesbach,  M. Hochleitner, U. Pohlmann, Michael Reisch, Ostfildern-Ruit: Hatje Cantz,  2006, p. 13)

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91 BEATE GÜTSCHOW  b. 1970 LS#15, 2002 Lambda print, printed 2004. 113.7 × 105.1 cm (44 3/4 × 41 3/8 in). Signed in ink,  printed title, date and number 5/10 on a label affixed to the reverse of the  flush-mount.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠ Provenance   Danzinger Projects, New York Literature   L. A. Martin, Beate Gütschow: LS/S, New York: Aperture, 2007, p. 31

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92 CANDIDA HÖFER  b. 1944 Palais des Beaux-Arts, Bruxelles III, 2006 Colour coupler print, mounted. 179.7 × 241.9 cm (70 3/4 × 95 1/4 in). Signed in  ink, printed title, date and number on a label affixed to the reverse of the  frame. One from an edition of 6.

Estimate £20,000–30,000 $31,200–46,800 €23,800–35,700 ♠ Provenance   Patrick De Brock Gallery, Knokke Literature   Candida Höfer: Brussels Series, exh. cat., Patrick De Brock Gallery, 

Knokke, 2006, p. 7

The present lot, conceived by Candida Höfer as part of the  Brussels series in 2006, shows many of the characteristics of her  work in her use of formal elements such as line and blocks, and  light and colour. The concert hall itself is a superb example of an  Art Deco building designed in the early 1920s by Victor Horta,  the acclaimed Belgian architect. In this particular building,  however, Horta, who is usually known as a master of Art  Nouveau, shows his versatility as an architect by designing with  the geometric forms of Art Deco as he continued to work in the  era of modernism.  It is not surprising that Höfer’s eye for structure has been excited  by this building – the way she realizes light and visualizes pattern  is perfectly offset here. She loves the composition of the  building, the sleek and curving forms, horizontal lines and  rhythmic repetition of shapes which she records objectively, yet  not without warmth, with her camera. As usual, there are no  people present to disrupt the quiet order of the structure, but it is  precisely this purity of the carefully composed scene, with its  suggestion of desire, idealism, even innocence, that itself  becomes the human element in the image.

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93 AHMET ERTUG  b. 1949 The Library of St. Florian Abbey, Austria, 2009 Lightjet print, flush-mounted. 180 × 221.5 cm (70 7/8 × 87 1/4 in).  Signed in ink, printed title, date and number 1/3 on an artist’s label 

Ahmet Ertug, who trained as an architect, has left his sketches and drafts behind  to absorb images through his camera. It is no longer about the construction of a  building but recording the space and environment the building occupies which is 

affixed to the reverse of the frame. One from an edition of 3 plus 1 

now his concern. He is seduced by the monumental and the sumptuous, drawn to 

artist’s proof.

the decadence of Byzantium, Istanbul, and the buildings of the great Turkish 

Estimate £20,000–30,000 $31,200–46,800 €23,800–35,700

architect Sinan, among others – he lights them as they were originally visualised  when they were first built, understanding their function and providing us with a 

Provenance   Acquired directly from the artist

better grasp of their ethereal worth and beauty. We are sent on a journey by Ertug 

exhibited  Paris, Bibliothèque nationale de France, Temples du savoir, 

which allows us to discover all the small spaces and details, exquisitely illuminated, 

12 May–12 July 2009 (another example exhibited) Literature   A. Ertug, Temples of Knowledge: Libraries of the Western

World, 2009, pp. 86–87

like a gift for our eyes. Opulence is key and every detail is accessible to the viewer.  Apart from simply being stunning images, these objects of curiosity have become  part of world cultural heritage.

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94 GOHAR DASHTI  b. 1980 Untitled from Today’s Life and War, 2008 Inkjet print. 69.9 × 105.1 cm (27 1/2 × 41 3/8 in). Signed and numbered 7/7 in ink on the recto.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 Provenance   Acquired directly from the artist

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Near the Water of the Water of Leith, Leith Village, Lothian, Scotland, 1997

An Indication Piece, 1998–2001

Selenium and gold chloride-toned gelatin silver print. 39.4 × 57.2 cm (15 1/2 × 22 1/2 in).  

Selenium-toned gelatin silver print. 41 × 57.8 cm (16 1/8 × 22 3/4 in). Signed in 

Signed in pencil on the mount; signed, titled, dated, numbered and copyright in ink on 

pencil on the mount; signed, titled, dated, numbered, annotated ‘The Dover 

the reverse of the mount. One from an edition of 3.

Strait – Looking S, SW – Towards the New World, North Foreland, Isle of Thanet, 

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 Provenance   Sean Kelly Gallery, New York

The Easternmost Point of Kent, England 1998–2001. (The Lighthouse on this  point ceased operations as the last-manned British Lighthouse after 400 years of  continuous operation at midnight on the night of making the picture)’ and copyright  in ink on the reverse of the mount. One from an edition of 10 plus 3 artist’s proofs.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 Provenance   Sean Kelly Gallery, New York

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97 MICHAEL LIGHT  b. 1963

98 MICHAEL LIGHT  b. 1963

Composite of Harrison Schmitt and the Lunar Rover at “Split Rock”,

Composite of Harrison Schmitt at Shorty Crater; Note Orange Soil, Photographer

Photographed by Eugene Cernan, Apollo 17, December 7–19, 1972 from Full

by Eugene Cernan, Apollo 17, December 7–19, 1972 from Full Moon, 1999

Moon, 1999

Digital colour coupler print, printed 2008 and flush-mounted. 120.3 × 

Digital colour coupler print, printed 2008 and flush-mounted. 120.3 × 

241.9 cm (47 3/8 × 95 1/4 in) overall. Signed, dated, numbered 13/25 in ink and 

213.7 cm (47 3/8 × 83 3/4 in) overall. Signed, dated, numbered 6/25 in ink and 

printed title on a label affixed to the reverse of the frame.

printed title on a label affixed to the reverse of the frame.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 † Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 † Provenance   Atlas Gallery, London Provenance   Atlas Gallery, London

Literature   Michael Light: Full Moon, London: Jonathan Cape, 1999, pl. 82

Literature   Michael Light: Full Moon, London: Jonathan Cape, 1999, pl. 86

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99 PETER BEARD  b. 1938

100 PETER BEARD  b. 1938

Large tusker (c. 150 lbs per side), Tsavo North, near hunting block 33/ Ithumber

Lion Pride, Mozambique, 1955

Hill on the Athi-Tiva dry river, February, 1965

Unique Polaroid print with blood. 10.5 × 14.6 cm (4 1/8 × 5 3/4 in). Signed, 

Gelatin silver print, printed later. 43.2 × 60.6 cm (17 × 23 7/8 in). Signed and 

titled, dated in ink on the recto.

extensively annotated in paint in the margin; signed and inscribed in ink on  the verso.

Estimate £10,000–15,000 $15,600–23,400 €11,900–17,900

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 Provenance   Private Collection, Europe

Provenance   Fahey/Klein Gallery, Los Angeles Literature   J. Bowermaster, The Adventures and Misadventures of Peter Beard in

Africa, 1994, p. 136; Peter Beard: Fifty Years of Portraits, New York: Arena Edtions,  1999, pp. 158–59; Peter Beard: The End of the Game, Taschen, 2008, pp. 4–5; Photofile: Peter Beard, London: Thames & Hudson, 2008, pl. 8

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101 PETER BEARD  b. 1938 I’ll Write Whenever I Can, c. 1960 Toned gelatin silver print with ink and blood, printed later. 43.2 × 61 cm   (17 × 24 in). Signed, titled and annotated ‘Lake Rudolf’ in ink on the recto;  The Time Is Always Now copyright credit reproduction limitation stamp on  the verso.

Estimate £15,000–20,000 $23,400–31,200 €17,900–23,800 Provenance   Michael Hoppen Gallery, London Literature   Peter Beard: Fifty Years of Portraits, New York: Arena Editions, 1999, 

pp. 186–87 (variant); Photofile: Peter Beard, London: Thames & Hudson, 2008, pl. 20  (variant)

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102 PETER BEARD  b.  1938 Maureen Gallagher and a night feeder at Hog Ranch, February, 1987 Gelatin silver print, printed later. 66 × 101.3 cm (26 × 39 7/8 in). Signed, titled and dated  in paint on the recto; two The Time Is Always Now copyright credit reproduction  limitation stamps on the reverse of the frame.

Estimate £25,000 – 35,000 $39,000 – 54,600 €29,800 – 41,700 Provenance   Time is Always Now Gallery, New York Literature   Peter Beard, Taschen, 2008, pl. 228 (variant); Peter Beard Photofile, London: 

Thames & Hudson, 2008, pl. 31 (variant)

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103 NICK BRANDT  b. 1966

104 NICK BRANDT  b. 1966

Giraffes Under Swirling Clouds, Amboseli, 2007

Elephants Resting, Amboseli, 2007

Archival pigment print, printed 2009 and flush-mounted. Signed and 

Archival pigment print, printed 2009 and flush-mounted. Signed and 

numbered in pencil in the margin. One from an edition of 15.

numbered in pencil in the margin. One from an edition of 15.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 ♠

Estimate £6,000–8,000 $9,400–12,500 €7,100–9,500 ♠

Provenance   Private Collection, Paris

Provenance   Private Collection, Paris

Literature   On This Earth, A Shadow Falls, Big Life Editions, 2010

Literature   On This Earth, A Shadow Falls, Big Life Editions, 2010

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105 SEBASTIÃO SALGADO  b. 1944 Okavange Delta, Botswana, Africa, 2007 Gelatin silver print. 36.8 × 50.8 cm (14 1/2 × 20 in). Blindstamp credit in the  margin; signed, titled ‘Botswana’ and dated in pencil on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠ ‡ Provenance   Acquired directly from the artist

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106 SEBASTIÃO SALGADO  b. 1944 Bushmen, Botswana, 2008 Gelatin silver print. 54.3 × 75.6 cm (21 3/8 × 29 3/4 in). Signed, titled  ‘Botswana’ and dated in pencil on the verso.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 ♠ ‡ Provenance   Acquired directly from the artist

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107 WILLIAM WEGMAN  b. 1943 Overs and Crossovers, 1987 Four colour Polaroid transfer prints, each mounted. Each approximately 73 ×  56 cm (28 3/4 × 22 in). (i) Titled in ink in the margin; (iv) signed and dated in  ink in the margin.

Estimate £10,000–12,000 $15,600–18,700 €11,900–14,300 Provenance   Patrick De Brock Gallery, Knokke

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108 MICHAEL KENNA  b. 1953

109 MICHAEL KENNA  b. 1953

Two cows in a Dovetail, Somerset, England, 1990; Lime Kiln Works, Study 2, Shap, Cumbria,

Clearing Storm, Mont St. Michel, Normandy, France, 1991; Running Dog, Taos Pueblo, New

England, 1991

Mexico, USA, 1993

Two sepia-toned gelatin silver prints, print (i) printed 1998. (i) 19.1 × 19.1 cm (7 1/2 × 7 1/2 in); 

Two sepia-toned gelatin silver prints, each printed 1994. (i) 20.3 × 19.1 cm (8 × 7 1/2 in); 

(ii) 18.7 × 18.9 cm (7 3/8 × 7 7/16 in). (i) Signed, dated, numbered 12/45 in pencil on the 

(ii) 20 × 18.7 cm (7 7/8 × 7 3/8 in). Each signed, dated, numbered 27/45 in pencil on the 

mount; (ii) signed, dated, numbered 3/45 in pencil on the mount; signed, titled, dated, 

mount; each signed, titled, dated, numbered ‘27’ in pencil and copyright credit 

numbered 3/45 in pencil and copyright credit reproduction limitation stamp on the reverse 

reproduction limitation stamp on the reverse of the mount. Each from an edition of 45 

of the mount. Each from an edition of 45 plus 4 artist’s proofs.

plus 4 artist’s proofs.

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 ♠

Provenance   The Halsted Gallery, Michigan

Provenance   The Halsted Gallery, Michigan Literature   P. Bunnell, A Twenty Year Retrospective, Nazraeli Press, 1994, pl. 24 (ii) and pl. 71 

(i); Michael Kenna: Mont St. Michel, Nazraeli Press, 2007, p. 24 (i)

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110 IRVING PENN  1917 – 2009 Italian Still Life, New York, September, 1981 Dye transfer print, printed 1984. 49.1 × 38.6 cm (19 5/16 × 15 3/16 in). Signed,  titled, dated in ink and Condé Nast copyright credit reproduction limitation  and edition stamps on the reverse of the mount. One from an edition of 22.

Estimate £25,000–35,000 $39,000–54,600 €29,800–41,700 Provenance   Hamiltons Gallery, London Literature   Szarkowski, Irving Penn, The Museum of Modern Art, New York, 

1984, pl. 71

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111 HORACIO COPPOLA  b. 1906 Egg and twine, Berlin, 1932 Gelatin silver print, printed later. 23.5 × 28.3 cm (9 1/4 × 11 1/8 in).  Signed, dated and annotated ‘Berlin’ in pencil on the verso.  Accompanied by the publication Horacio Coppola, Guiding Light, 2001.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 Provenance   Acquired directly from the artist in 1976 and then by 

descent Literature   A. Hopkinson, Horacio Coppola, Guiding Light, 2001, p. 24; 

Corbeau & Renard – La trajectoire du regarde: une collection de photographies du 20e siècle, exh. cat., Monaco, 2006, p. 57

112 HORST P. HORST  1906 – 1999 Still life, New York, Surreal Beauty Cream, 1941 Platinum-palladium print, printed later. 18.7 × 18.7 cm (7 3/8 × 7 3/8 in).  Signed in pencil in the margin; signed in pencil on the verso. Number 4  from an edition of 10.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 Provenance   Private Collection, Europe Literature   M. Kazmaier, Horst: Sixty Years of Photography, London: Thames 

& Hudson, 1991, pl. 50 (there titled Surrealist still life advertisement, NY)


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113 IRVING PENN  1917 – 2009 Marlboro Black Pack (SM) Neg. VII, 1975 Platinum-palladium print. 57.2 × 51.1 cm (22 1/2 × 20 1/8 in). Signed, titled,  dated, numbered 46/50, annotated ‘print made October 1975’ in pencil and  copyright credit reproduction limitation stamp on the verso.

Estimate £12,000–16,000 $18,700–25,000 €14,300–19,000 Provenance   Private Collection, Germany Literature   Irving Penn: Still Life, London: Thames & Hudson, 2001, n.p.

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114 HORST P. HORST  1906 – 1999 Noel Coward, Paris, 1936 Gelatin silver print, printed later. 29.2 × 24.8 cm (11 1/2 × 9 3/4 in). Blindstamp credit in the  margin; signed in pencil on the verso.

Estimate £6,000–8,000 $9,400–12,500 €7,100–9,500 Provenance   Hamiltons Gallery, London Literature   J. J. Augustin, Horst: Photographs of a Decade, 1944, p. 52; Horst: Sixty Years of

Photography, Schimer/Mosel, 1991, pl. 37; Horst Portraits: 60 Years of Style, exh. cat., National Portrait  Gallery, London, 2001, pl. 15; Horst: Platinum, Jefferies Cowan, 2006, pl. 1

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115 EdWARd STEICHEN  1879 – 1973 Charlie Chaplin, 1925 Gelatin silver print. 25.1 × 20.2 cm (9 7/8 × 7 15/16 in). Titled ‘Chaplin’, dated, annotated ‘258’  by the photographer in pencil, annotated ‘for V.F.’, ‘Please return Edward Steichen …’ in an  unidentified hand in pencil and ink on the verso.

Estimate £50,000 – 70,000 $78,000 – 110,000 €59,500 – 83,400 Provenance Collection of Joanna Steichen; Howard Greenberg Gallery, New York exhibited Detroit Institute of Arts, Photographs from the Permanent and Private Collections, 

July–August 1971; Detroit Institute of Arts, The Camera and the Eye: Modern Photography 1925 to the Present, 1975 (each another example exhibited) Literature Edward Steichen: A Life in Photography, London: W. H. Allen in collaboration with the 

Museum of Modern Art, 1963, pl. 180; On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, exh. cat., National Gallery of Art, Washington, The Art Institute of Chicago, 1989,  pl. 224; Edward Steichen Photofile, London: Thames & Hudson, 2008, pl. 50

The portrait by Edward Steichen offered in the present lot was taken during 

one year before this meeting, Chaplin had released The Gold Rush which we 

the rise and rise of the theatre movie age with “the average weekly movie 

now recognise as one of his all-time classic creations. Steichen had become 

theatre attendance in 1930 nearly equalling the entire population of the United 

one of the most successful commercial photographers of his time – during 

States”. This was a time when the individual image of the film star was often 

his 13-year relationship with Condé Nast, there are only a handful of issues in 

linked to an iconic still rather than a scene from a film – the photographer 

which his work did not feature in. Through this long passage of portraiture, he 

provided the lasting essence, the embodied fantasy of Hollywood through 

found interest in all his subjects, but especially Charlie Chaplin:


“Of course I had favorites. Chaplin was one. The first time he came to the 

Steichen enjoyed his own personal taste of stardom through the pages of 

studio, his secretary, who brought him there said, ‘Mr Chaplin has another 

Vanity Fair. Vogue was the bible for fashion whereas Vanity Fair was the paper 

appointment, so he can only give you twenty minutes’.”

vehicle to inform us about who was who in the world of literature, film and 

(Edward Steichen: A Life in Photography, London: W. H. Allen in collaboration 

art, planting these people in our long-term visual memory with a tenacious 

with the Museum of Modern Art, 1963, Chapter 8, n.p.)

determination. Unlike Alfred Stieglitz, Steichen did not mind taking portraits 

and being paid for them. He had supported himself long before his role at 

You would not realise for a moment looking at the final image of this relaxed 

Vanity Fair, having set up a small studio on 5th Avenue in New York in 1902. 

and successful man, illuminated, standing free of his usual movie apparel, 

Steichen always had energy, enthusiasm and versatility – as a young man, he 

proud with dapper suit, hat and cane firmly in the purposely positioned spot 

had adapted readily to his move from fine art and the pictorial to the portrait 

light that the beginnings of the sitting had been disjointed:

and, in some ways perhaps, less control of his subject (he did not have the 

luxury of choosing who he would photograph during his magazine days). His 

“When we got Chaplin in the studio and started to arrange the lights, he 

craft changed substantially too, working initially with the sensual softness of 

froze. I dismissed my assistants and tried to work alone with him, but nothing 

the gravure (so many exquisite examples being featured in Camera Work) and 

happened. Finally Chaplin said, ‘You know, I can’t just sit still. I have to be 

then moving to the use of the silver gelatin process, until 1915 when he threw 

doing something. Then I’m all right.’ So I stopped working and got out a 

off his pictorial cloak to make sharply focused photographs. One ingredient 

portfolio of my photographs … Then I started to talk to him about The Gold

which always remained constant was his use of light, the former natural 

Rush, the film he had just released, he loosened up and became enthusiastic 

softness giving way to the style seen in the portrait featured here, with its 

in turn … in a few minutes I had half a dozen portraits of Chaplin relaxed and 

dramatic and highly controlled lighting. His re-invention of lighting meant he 

himself, the image of a dancing faun.”

literally staged his subject giving immediate impact on the printed page.

(Edward Steichen: A Life in Photography, ibid.)

  “I wanted to reach in to the world, to participate and communicate … to make 

This portrait is an example of the magic created by Steichen through 

photographs that could go on the printed page, for now I was determined to 

portraiture which he conjures through light, visual symbolisation of 

reach a large audience instead of a few people I had reached as a painter.”

the subject and placing the subject in a wide open background – his 

(Edward Steichen: The Portraits, San Francisco: Art Museum Association of 

characteristically simple abstract settings composed of vertical or diagonal 

America, 1984)

planes. These small arenas imbued and illuminated through Steichen’s  representation of the sitter make references to major artistic styles such as 

When Steichen met Charlie Chaplin both men were firmly in the lime-light; 

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Cubism and Art Deco.

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116 ANdY WARHOL  1928 – 1987 Dennis Hopper, 1977 Colour Polaroid print. 9.5 × 7.3 cm (3 3/4 × 2 7/8 in). Blindstamp credit in the margin; ‘Estate  of Andy Warhol’ and ‘Andy Warhol Foundation’ credit stamps on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 † Provenance   The Andy Warhol Foundation for the Visual Arts, Inc., New York; 

Atlas Gallery, London Literature   Andy Warhol Polaroids 1971–1986, exh. cat., Pace/Macgill Gallery, New York, 1992, 

p. 69; Andy Warhol: Photography, exh. cat., Hamburg Kunsthalle, Andy Warhol Museum,  International Center for Photography, 1999, p. 185 (each with variant)

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117 JACQUES HENRI LARTIGUE 1894 – 1986 Pablo Picasso à Cannes, 1955 Gelatin silver print. 18.3 × 13 cm (7 3/16 × 5 1/8 in). Titled, dated and annotated ‘couleur,  original’, ‘Sun’ motif and credit stamp on the verso.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 Provenance   Acquired directly from the artist; Private Collection, Europe Literature   Richard Avedon, Shelley Rice, John Szarkowski, Jacques-Henri Lartigue. Le choix du

bonheur, Éditions La Manufacture, 1992. p. 211

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118 ANTON CORBIJN  b. 1955

119 ANTON CORBIJN  b. 1955

Keith Smoking, 1999

Bono (Bath), 1992

Lith print, printed later. 45.4 × 45.1 cm (17 7/8 × 17 3/4 in). Signed, titled and 

Lith print, printed later. 45.7 × 45.1 cm (18 × 17 3/4 in). Signed, titled and 

numbered 11/20 in pencil on the overmat.

numbered 15/20 in pencil on the overmat.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠ †

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 ♠ †

Provenance   Torch Gallery, Amsterdam

Provenance   Torch Gallery, Amsterdam

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120 THOMAS HOEPKER  b. 1936 Ali Fist, 1966 Archival pigment print, printed later. 76.2 × 53.3 cm (30 × 21 in). Signed,  numbered 17/20 in ink and credit stamp on the verso.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ‡ Provenance   Acquired directly from the artist

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121 IRVING PENN  1917 – 2009 The Hand of Miles Davies (B), New York, 1986 Selenium-toned gelatin silver print, printed 1992. 50.8 × 48.9 cm (20 × 19 1/4 in). Signed,  titled, dated in ink, copyright credit reproduction limitation and edition stamps on the  reverse of the mount. One from an edition of 16.

Estimate £20,000–30,000 $31,200–46,800 €23,800–35,700 † Provenance   Hamiltons Gallery, London Literature   Chorus of Light: Photographs from the Sir Elton John Collection, exh. cat., High 

Museum of Modern Art, Atlanta, 2000, p. 175

“As we spoke, his mood brightened at the sight of Miles Davis’s hand, etched  with spidery wrinkles. Penn was hired to do the jazz great’s photograph for  the cover of his 1986 album, Tutu. Davis showed up with a hairdresser and his  notorious attitude. ‘I tried to talk to him when he walked in, but he completely  ignored me,’ he recalls. Once Davis had finished primping, he stepped in  front of the camera.  “Penn continued: ‘“I bet you want me to take this shirt off?” he said. “Yep,” I  replied. “I bet you want me to take all these gold chains off, too?” “Yep,” I said  again. Then, for about an hour, we went to work. At the end, I said, “Thank you  very much”. He got up, came over to me, and kissed me on the mouth. I didn’t  know what to say. We shook hands, and he left. Later, I got the chance to know  his music, and it struck me as being visual art of a most profound kind. How  terrible I couldn’t share that with him then.’ Penn rested a finger across his  mouth, as he often does when thinking. ‘This is one of the heartbreaks of the  profession,’ he added. ‘I have only the kiss to remember’.” (J. Fielden, ‘The Stranger Behind the Camera’, Vogue, November 2004)

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122 DAVID HURN  b. 1934

123 IAIN MACMILLAN  1938 – 2006

Paul McCartney during the filming of ‘A Hard Day’s Night’, 1964

The Beatles, Abbey Road, 1969

Gelatin silver print. 16.5 × 24.1 cm (6 1/2 × 9 1/2 in). Copyright credit and 

Colour coupler print, printed later and mounted. 43.2 × 42.9 cm (17 × 16 7/8 in). 

Magnum stamps on the verso.

Signed and numbered 2/25 in ink in the margin.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ♠

Estimate £3,000–4,000 $4,700–6,200 €3,600–4,800 ‡

Provenance   Magnum Photos, London

Provenance   Gallery One, Dubai

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124 WILLIAM CLAXTON  1927 – 2008

125 ARNOLD NEWMAN  1918 – 2006

Chet Baker (at the piano), Hollywood, 1954

Igor Stravinsky, New York City, 1946

Gelatin silver print, printed 1989. 26.7 × 26.7 cm (10 1/2 × 10 1/2 in). Signed, 

Gelatin silver print, printed later. 17.5 × 33 cm (6 7/8 × 13 in). Signed, titled, dated 

titled, dated in pencil and copyright credit reproduction limitation stamp on 

and copyright in pencil in the margin; copyright credit reproduction limitation 

the verso.

stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡

Estimate £3,500–4,500 $5,500–7,000 €4,200–5,400

Provenance   Acquired directly from the artist

Provenance   Private Collection, London Literature   J. Danziger & B. Conrad III, Interviews with Master Photographers, 

London: Paddington Press, 1977, pp. 96–97; Arnold Newman: Five Decades, New York:  Harcourt Brace Jovanovich, 1986, pl. 61; Chorus of Light: Photographs from the Sir Elton John Collection, exh. cat., High Museum of Modern Art, Atlanta, 2000, p. 180

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126 IRVING PENN  1917 – 2009 Girl behind glass (Jean Patchett), New York, 1949 Gelatin silver print. 40 × 38.1 cm (15 3/4 × 15 in). Signed, titled, dated, annotated ‘print made  near to date of photographic sitting’ in ink, Condé Nast copyright credit reproduction  limitation and edition stamps on the reverse of the mount. One from an edition of 12 prints.

Estimate £30,000–50,000 $46,800–78,000 €35,700–59,500 Provenance   Hamiltons Gallery, London Literature   Irving Penn, Passage: A Work Record, Knopf/Callaway, 1991, p. 77

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127 DAVID BAILEY  b. 1938 The Kray Brothers, 1965 Unique gelatin silver print, printed 1988. 89.5 × 90.2 cm (35 1/4 × 35 1/2 in).  Signed in pencil on the reverse of the mount; signed in ink on a gallery label  affixed to the reverse of the frame.

Estimate £12,000–18,000 $18,700–28,100 €14,300–21,400 ♠ Provenance   Hamiltons Gallery, London exhibited  The Art of Photography: 150 Years, 1839–1989: including Houston, 

Museum of Fine Arts, 11 February – 30 April 1989; Australian National Gallery,   17 June – 27 August 1989; London, Royal Academy of Art, 23 September –   23 December 1989 Literature   M. Harrison, David Bailey: Archive one, 1957 – 1969, London: Thames 

& Hudson, 1999, pp. 162–63

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128 DAVID BAILEY  b. 1938 Box of Pin-Ups  London: Weidenfeld and Nicolson, 1965. Thirty-six half-tone prints. Each  approximately 36.5 × 31.5 cm (14 1/2 × 12 1/2 in) or the reverse. Contained  in the original card box with two pieces of corrugated card each stamped  ‘Packing Piece / To Be Thrown Away’.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 ♠ Provenance   Private Collection, UK

Sitters include: Mick Jagger; Susan Murray; Gordon Waller;  David Hockney; Michael Caine; John Lennon; Paul McCartney;  Jean Shrimpton, Terence Stamp

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129 ROGER BALLEN  b. 1950

130 ROGER BALLEN  b. 1950

Sgt. F. de Bruin, Department of Prisons Employee, OFS, 1992

Funeral Rites, 2004

Selenium-toned gelatin silver print, printed 2001. 36.2 × 35.2 cm (14 1/4 ×  

Gelatin silver print. 35.9 × 36.2 cm (14 1/8 × 14 1/4 in). Signed, titled, dated 

13 7/8 in). Signed, titled, dated and numbered 31/35 in pencil on the verso.

and numbered 9/20 in pencil on the verso.

Estimate £3,500–4,500 $5,500–7,000 €4,200–5,400

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000

Provenance   Galerie Kamel Mennour, Paris; Private Collection, Paris

Provenance   Galerie Kamel Mennour, Paris; Private Collection, Paris

Literature   Roger Ballen: Outland, London: Phaidon, 2001, n.p.

Literature   Roger Ballen: Shadow Chamber, London: Phaidon, 2005, p. 121

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131 PIETER HUGO  b. 1976 Abdullahi Mohammed with Mainasara, Lagos, Nigeria, 2007 from ‘Gadawan Kura’ – The Hyena Men, Series II, 2005–07 Digital colour coupler print, flush-mounted. 152.4 × 152.4 cm (60 × 60 in). Signed  in ink, printed title, date and number on a label and certificate of authenticity  accompanying the work. One from an edition of 5 plus 2 artist’s proofs.

Estimate £10,000–12,000 $15,600–18,700 €11,900–14,300 ‡ Provenance   Private Collection, New York

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Rock of Ages #17, Abandoned Granite Section, Adam-Pirie Quarry, Barre,

Shipyard #16, Qili Port, Zhejiang Province, China, 2005

Vermont, 1992

Digital colour coupler print, printed 2006. 124.5 × 99.1 cm (49 × 39 in). Signed  

Colour coupler print, printed 1998. 45.1 × 55.9 cm (17 3/4 × 22 in). Signed in 

in ink, printed title, date and number 9/9 on a label affixed to the reverse of  

ink, printed title, date, and number 5/15 on a label affixed to the reverse of 

the mount.

the mount. One from an edition of 15 plus 2 artist’s proofs.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 † Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300 Provenance   Acquired directly from the artist; Private Collection, Europe Provenance   Robert Koch Gallery, San Francisco

Literature   China: The Photographs of Edward Burtynsky, Göttingen: Steidl, 2005, p. 74

Literature   Manufactured Landscapes: The Photographs of Edward Burtynsky, New 

Haven & London: Yale University Press, 2003, pl. 85

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134 SPENCER TUNICK  b. 1967 Miami Beach 1 (Sagamore), 2007 Digital colour coupler print, Diasec mounted. 227 × 180.3 cm (89 3/8 × 71 in). Signed, dated  ‘2007–2008’ and numbered 1/3 in ink on the reverse of the flush-mount.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 Provenance   i-20 Gallery, New York

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135 JOAKIM ENEROTH  b. 1969 Alone with Others #7, 2006 Digital colour coupler print, flush-mounted. 112.4 × 95.3 cm (44 1/4 × 37 1/2 in). Signed and  numbered 8/8 in ink, printed title and date on a label affixed to the reverse of the frame. One  from an edition of 8 plus 2 artist’s proofs.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 † Provenance   Acquired directly from the artist

This photograph will be included in the forthcoming publication, Alone With Others (New York: Power House Books, 2011)

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136 MASSIMO VITALI  b. 1944 Bari 4 (#1878), 2003 Colour coupler print, Diasec mounted. 64.5 × 84.5 cm (25 3/8 × 33 1/4 in). Signed, titled,  dated and numbered 13/35 in ink on an artist’s label accompanying the work.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ♠ † Provenance   Arndt & Partner, Berlin; Private Collection, Germany

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137 JONATHAN MEESE  b. 1970 My Love, 1999/2005 Oil on photograph on canvas. 184.2 × 141.6 cm (72 1/2 × 55 3/4 in). Signed,  titled and dated in pencil on the verso.

Estimate £10,000–12,000 $15,600–18,700 €11,900–14,300 ♠ ‡ Provenance   Contemporary Fine Art, Berlin

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138 SPENCER TUNICK  b. 1967

139 DIRK BRAECKMAN  b. 1958

140 RYUJI MIYAMOTO  b. 1947

Untitled (New Jersey), 1998

Z.T. (Sisyphus), 2006

Ebisu Brewery, Tokyo, 1990

Gelatin silver print. 73.7 × 58.4 cm (29 × 23 in). Signed, 

Digital print. 37.5 × 27.9 cm (14 3/4 × 11 in). Accompanied 

Gelatin silver print, printed 1994. 39.4 × 50.5 cm (15 1/2 × 

dated and numbered 3/5 in ink on the reverse of the 

by a certificate of authenticity.

19 7/8 in). Signed, titled, dated in pencil and numbered  3/25 in ink on the verso.


Estimate £2,000–3,000 $3,100–4,700 Estimate £4,000–6,000 $6,200–9,400

€2,400–3,600 ♠

Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡

€4,800–7,100 Provenance   Art Garden Party Benefit Auction, Museum  Provenance   Private Collection, London

Dhondt-Dhaenens, Duerle, Christie’s, 8 September 2007,  

Provenance   Taro Nasu Gallery, Tokyo

lot 14

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141 DOUG & MIKE STARN  b. 1961

142 ZHAN WANG  b. 1962

Black Pulse #17, 2000–05

Urban Landscape – Chicago, 2005

Lambda diptych with metal tacks. 48.3 × 94.6 cm (19 × 37 1/4 in) overall. 

Colour coupler print, flush-mounted. 139.7 × 213.4 cm (55 × 84 in). Signed, 

Signed, dated and numbered 5/5 in ink on the reverse of the frame.

titled in Chinese, dated and numbered 2/5 in ink in the margin.

Estimate £5,000–7,000 $7,800–10,900 €6,000–8,300

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700

Provenance   Private Collection, London

Provenance   Acquired directly from the artist

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143 WANG GONGXIN and LIN TIANMIAO  b. 1960 and b. 1961 Here? Or There?, 2002 Fifteen digital colour coupler prints. Each 30.2 × 38.1 cm (11 7/8 × 15 in). Each  signed and sequentially numbered ‘1–15’ in pencil on the verso.  Accompanied by a portfolio case, signed, numbered 24/50, ‘1–15’ in pencil.

Estimate £10,000–15,000 $15,600–23,400 €11,900–17,900 ‡ Provenance   Private Collection exhibited  Shanghai Art Museum, Shanghai Biennale, 22 November 2002 – 

20 January 2003 (another example exhibited) Literature   He Hao, ed., Wang Gongxin & Lin Tianmiao: Here? Or There?, Beijing: 

Timezone 8, 2005, pp. 117–31

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144 CHEN JIAGANG  b. 1962

145 CHEN JIAGANG  b. 1962

Temptation #22, Beauty, 2008

The Great Third Front #15, Suspension, 2008

Lambda print, flush-mounted. 99.7 × 165.1 cm (39 1/4 × 65 in). Signed in 

Lambda print, flush-mounted. 99.7 × 165.1 cm (39 1/4 × 65 in). Signed in 

English and Chinese, titled in Chinese, dated and numbered 10/12 in ink in 

English and Chinese, titled in Chinese, dated and numbered 11/12 in ink in 

the margin.

the margin.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 †

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 †

Provenance   Acquired directly from the artist; Private Collection, Europe

Provenance   Acquired directly from the artist; Private Collection, Europe

Literature   Chen Jiagang – The Great Third Front, Timezone 8, 2008, p. 155

Literature   Chen Jiagang – The Great Third Front, Timezone 8, 2008, cover

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JApANEsE pHOTOGRApHs Diversity of expression Photography began to play a vital role in Japanese culture soon after it was introduced to the country around 1850. the spread of photography throughout Japan mirrored the westernization of the country although the actual documentation of the photographic inauguration came much later. identity as a society has been a clear defining influence and factor in the formation of this specific and seductive area of photography especially during the post war years. two schools of photography grew and flourished – one bore witness to the former atrocities of hiroshima and nagasaki advocating a harrowing realism and the non-staged image, while the other, looking closely at the landscape and the traditions of Japan, allowed people to once again become familiar with their homeland. along with developments in photography after the war, there was a general artistic explosion in film, dance, theatre and literature – separate art forms fused and bled into one another, and it was the ‘photographer’ eikoh hosoe who stood at the centre of these. hosoe’s work today is freshly immediate and radical, a visceral mix between theatre and documentary, intensely unforgettable – his name is immediately mentioned along with perhaps the best-known Japanese photographers of the day offered in this section, daido Moriyama and nobuyoshi araki. a member of ‘Provoke’ – the periodical/manifesto which was first published in tokyo in 1968, and explored photography and text, a response to 1960s Japan, which remained unknown in the West for many years – Moriyama is an advocate of the ‘bure’ and ‘boke’ style. his out-of-focus stream-of-consciousness images seem to vibrate off the page, we see an image through what is dark rather than what is light. everything to Moriyama is strange – a cherry blossom, people in the street, a still dog, a woman waiting for the act of sex to begin, paralysis coated by his lens. of Moriyama’s work, nobuyoshi araki wrote: “i was so jealous of Moriyama’s nudes in the second issue … i wanted to join them but i wasn’t allowed … So i worked alone.” Like daido, araki photographed female nudes in his early years, the most poignant ones being of Yoko who later became his wife. although there is the intrinsic culture and subject matter linking both photographers, the way they use the camera is poles apart. daido controls how much we see whereas araki wants us to see everything, things perhaps that we have been conditioned not to view face on, and then to look closer still. araki confronts life, presenting a flower, an anus, a plate of food with the same questions, synergy and lack of hierarchy.

146 DAIDO MORIYAMA b. 1938 How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. 53.3 × 35.6 cm (21 × 14 in). Signed in english and Japanese in pencil on the verso; signed in english in pencil on a gallery label affixed to the reverse of the frame.

Estimate £6,000–8,000 $9,400–12,500 €7,100–9,500 Provenance Galerie Kamel Mennour, Paris; Private collection, Paris Literature Daido Moriyama: Nakaji no tabi [A Journey to Nakaji], tokyo: Sokyu-sha, 1987; Daido

Moriyama 55, London: Phaidon, 2001, front cover and p. 111; Daido Moriyama, exh. cat., Fondation cartier pour l’art contemporain, Paris, 2003, p. 57; Hunter of Light: Daido Moriyama 1965–2003, exh. cat., Shimane art Museum, 2003, p. 228, pl. 348; Daido Moriyama: The Complete Works Vol.2 1974–1992, daiwa radiator Factory, 2004, p. 407; Daido Moriyama: Remix, exh. cat., Galerie Kamel Mennour, Paris, 2004, n.p.

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147 OGAWA GEssHU 1891 – 1967

148 MAsAO GOZU b. 1946

Modern Girl, c. 1925

9th Avenue (Manhattan), 4 pm, May 26, 1976 from Windows

bromide print. 26.7 × 10.2 cm (10 1/2 × 4 in). inscribed ‘Modern girl – Work by

Gelatin silver print, printed 1991. 46 × 29.5 cm (18 1/8 × 11 5/8 in). Signed,

ogawa Gesshu, printed in the 1920s approximately in the year taisho year 14

dated ‘1991’ and numbered 10/20 in pencil on the verso.

(1925). Guarantor, Gesshu’s nephew, eitaro tanaka’ in ink and eitaro tanaka’s signature seal in red ink on a label affixed to the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100

Provenance Private collection, Japan

Provenance Private collection, London

the work of ogawa Gesshu is held in the permanent collections of the tokyo Metropolitan Museum of Photography and the Yokohama Museum of art, and was included in the major touring exhibition The History of Japanese Photography, Museum of Fine arts, houston, 2003

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149 YUTAKA TAKANAsHI b. 1935 Miyamisuzaka, Shibuya-ku, 1965 Gelatin silver print. 15.9 × 23.8 cm (6 1/4 × 9 3/8 in). Signed and annotated ‘tokyo-ites’ in pencil on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 † Provenance acquired directly from the artist; Private collection, London Literature Yutaka Takanashi: Thoshi-e (Towards the City), 1974, ‘tokyo-jin’ vol., pl. 2

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150 YUTAKA TAKANAsHI b. 1935

151 KATsUJI FUKUDA 1899 – 1991

Sensoji-Temple, Taito-ku, August 20, 1965

Children of Rome from Travels in Italy, 1955

Gelatin silver print. 15.6 × 23.8 cm (6 1/8 × 9 3/8 in). Signed and annotated

Gelatin silver print. 26.5 × 40 cm (10 1/2 × 15 3/4 in). Signed in Japanese in

‘tokyo-ites’ in pencil on the verso.

pencil on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 †

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ‡

Provenance acquired directly from the artist; Private collection, London

Provenance Private collection, Japan

Literature Yutaka Takanashi: Thoshi-e (Towards the City), 1974, ‘tokyo-jin’ vol.,

pl. 20; Yutaka Takanashi: Field Notes of Light, exh. cat., national Museum of Modern art, tokyo, 2009, p.25

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152 YAsUHIRO IsHIMOTO b. 1921 Chicago, c. 1948–52 Gelatin silver print, printed 1984. 19 × 24.5 cm (7 1/2 × 9 5/8 in). Signed, dated ‘1984’ in ink and blindstamp credit in the margin.

Estimate £2,500–3,500 $3,900–5,500 €3,000–4,200 ‡ Provenance Private collection, Japan Literature Yasuhiro Ishimoto: Chicago, Chicago, tokyo: bijutsu Shuppan-

sha, 1969

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153 MICHIKO KON b. 1955

154 IssEI sUDA b. 1940

Cabbages and Pantyhose, 1985

Plum Tree Festival, Yokohama Sankei-en from Fushi Kaden, 1977

Gelatin silver print. 22.5 × 21.9 cm (8 7/8 × 8 5/8 in). Signed in pencil

Gelatin silver print. 21.4 × 21.7 cm (8 7/16 × 8 9/16 in). Signed in Japanese in

on the verso.

pencil on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡

Provenance Private collection, Japan

Provenance Private collection, Japan

Literature Michiko Kon: Still Lifes, new York: aperture, 1997, n.p.

Literature Fushi Kaden, tokyo: asahi Sonorama, 1978

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155 sEIRYU INOUE 1931 – 1988 Kamagasaki, 1960 Gelatin silver print. 14.6 × 21.7 cm (5 3/4 × 8 9/16 in).

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡ Provenance Private collection, Japan

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156 YUTAKA TAKANASHI b. 1935 Untitled from Toshi-e (Towards the city), 1968 Gelatin silver print. 15.9 × 23.5 cm (6 1/4 × 9 1/4 in). Signed and annotated ‘Toward the city’ in pencil on the verso.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 † Provenance acquired directly from the artist; Private collection, London LiTeraTure Provoke, Tokyo, issue 1, 1968 ; Yutaka Takanashi: Thoshi-e (Towards

the City), 1974, ‘Toshi-e’ vol., pl. 46; Yutaka Takanashi: Field Notes of Light, exh. cat., national Museum of Modern art, Tokyo, 2009, p. 32

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b. 1938

Cherry Blossom, 1972 Gelatin silver print, printed 1980. 20.3 × 29.5 cm (8 × 11 5/8 in). Signed in english, Japanese and dated ‘1980’ in pencil on the verso.

Estimate £8,000 – 12,000 $12,500 – 18,700 €9,500 – 14,300 ‡ Provenance Private collection, Japan LiTeraTure Camera Mainichi, June 1972; Asahi Camera, april 1973; Daido

Moriyama 1970–1979, Yokohama: Sohkyu-Sha, 1989; Hunter of Light: Daido Moriyama 1965–2003, exh. cat., Shimne art Museum, 2003

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158 NOBUYOSHI ARAKI b. 1940 Skyscapes, 1989–90 Dye destruction print, printed later. 58.1 × 90.8 cm (22 7/8 × 35 3/4 in). Signed in ink on the verso.

Estimate £7,000–9,000 $10,900–14,000 €8,300–10,700 Provenance Private collection, europe Literature Araki by Araki: The Photographer’s Personal Selection, 1963–2002,

Kyoto: Kodansha international, 2003, p. 271; Araki Photofile, thames & Hudson, 2007, n.p.

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159 NOBUYOSHI ARAKI b. 1940 Tokyo Comedy, 1997 Gelatin silver print with watercolour, printed later. 30.5 × 20.3 cm (12 × 8 in). Signed and dated in ink on the recto.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Provenance Private collection, europe LiTeraTure Araki by Araki: The Photographer’s Personal Selection, 1963–2002,

Kyoto: Kodansha international, 2003, p. 332 (variant)

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Skyscapes, 1989–90

Tokyo Cubes #16 and #17, 1994

Gelatin silver print with watercolour. 16.2 × 24.4 cm (6 3/8 × 9 5/8 in).

Two gelatin silver prints. each 24.8 × 24.8 cm (9 3/4 × 9 3/4 in). each signed in

Signed and dated in pencil on the verso; signed in pencil on the

pencil on the verso.

window mount; signed in ink on a label affixed to the reverse of the frame.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100

Estimate £1,800–2,200 $2,800–3,400 €2,100–2,600 Provenance White cube, London LiTeraTure J. Sans, Araki, London: Taschen, 2007, p. 114 (ii)

Provenance verita Gallery, Tokyo; Private collection, europe

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b. 1938

Poster (Nakano), 1990

163 NOBUYOSHI ARAKI b. 1940 Erotos, 1993

Gelatin silver print. 34.3 × 22.9 cm (13 1/2 × 9 in). Signed in English and Japanese

Gelatin silver print, printed later. 57.8 × 43.8 cm (22 3/4 × 17 1/4 in). Signed

in pencil on the verso.

in pencil on the verso.

Estimate £3,000 – 5,000 $4,700 – 7,800 €3,600 – 6,000 ‡

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000

ProvEnancE Private collection, Japan

ProvEnancE   Galerie Kamel Mennour, Paris; Private collection, Paris

litEraturE Tokyo: A City Perspective, exh. cat., Metropolitan Museum of

litEraturE   Araki by Araki: The Photographer’s Personal Selection, 1963–2002,

Photography, tokyo, 1990; Daido Moriyama Fragments, art Data, 1998

Kyoto: Kodansha international, 2003, p. 295

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164 DAIDO MORIYAMA b. 1938

165 DAIDO MORIYAMA b. 1938

Nippon Gekijo Shashincho (Japan Theater Photo Album), 1968

Stray Dog, Misawa, 1971

Gelatin silver print, printed later. 40.6 × 53.3 cm (16 × 21 in). Signed in

Gelatin silver print, printed later. 40.6 × 53.3 cm (16 × 21 in). Signed in English and

English and Japanese in pencil on the verso.

Japanese in pencil on the verso.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100

ProvEnancE   Galerie Kamel Mennour, Paris; Private collection, Paris

ProvEnancE Galerie Kamel Mennour, Paris; Private collection, Paris

LitEraturE  Daido Moriyama: Stray Dog, exh. cat., Museum of Modern art,

LitEraturE Daido Moriyama: Stray Dog, exh. cat., Museum of Modern art, San Francisco,

San Francisco, 1999, pl. 17; Daido Moriyama: Remix, exh. cat., Galerie Kamel

1999, cover (detail) and pl. 22; The History of Japanese Photography, exh. cat., Museum of Fine

Menoour, Paris, 2004, n.p.

arts, Houston, 2003, p. 249 (laterally reversed and detail); Daido Moriyama, exh. cat., Fondation cartier pur l’art contemporain, Paris, 2003, pp. 8–9; Daido Moriyama: Remix, exh. cat., Galerie Kamel Mennour, Paris, 2004, n.p.

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166 DAIDO MORIYAMA b. 1938 Halo, 1976 Gelatin silver print, printed later. 31.1 × 48.3 cm (12 1/4 × 19 in). Signed in English and Japanese in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 Ω ProvEnancE Private collection, USa LitEratUrE Daido Moriyama, exh. cat., Michael Hoppen Gallery, London,

2004, pp. 80–81; Daido Moriyama: Stray Dog, exh. cat., San Francisco Museum of Modern art, 1999, pl. 56

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30-09-10 12.30

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167 NOBUYOSHI ARAKI b. 1940 Kinbaku, 1979 – 83 Gelatin silver print. 32.1 × 22.5 cm (12 5/8 × 8 7/8 in). Signed in pencil on the verso.

Estimate £3,000–5,000 $4,700–7,800 €3,600–6,000 ‡ Provenance Private collection, Japan

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b. 1938

Zoku Nippon Gekijo Shashincho, 1977 Gelatin silver print. 40.1 × 32.4 cm (15 3/4 × 12 3/4 in). Signed in Japanese and dated in pencil on the verso.

Estimate £7,000 – 9,000 $10,900 – 14,000 €8,300 – 10,700 ‡ Provenance Taka Ishii Gallery, Tokyo lITeraTure Daido Moriyama: Zoku nippon gekijo shashincho (Japan: a Photo Theater II), asahi

Sonorama co., 1978

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b. 1940

S & M Sniper Vol. 4, 1986 from Araki Case Files, 1985–87


b. 1940


b. 1940

Tokyo Self Diary, 1986

Untitled, 1985

Gelatin silver print. 23.5 × 32.7 cm (9 1/4 × 12 7/8 in).

Gelatin silver print. 23.8 × 33.3 cm (9 3/8 × 13 1/8 in).

Gelatin silver print. 25.9 × 32.7 cm (10 3/16 × 12 7/8 in).

Signed in pencil on the verso.

Signed in pencil on the verso.

Signed in pencil on the verso.

Estimate £3,000–5,000 $4,700–7,800

Estimate £3,000–5,000 $4,700–7,800

Estimate £3,000–5,000 $4,700–7,800

€3,600–6,000 ‡

€3,600–6,000 ‡

€3,600–6,000 ‡

Provenance Private collection , Japan

Provenance Private collection, Japan

Provenance Private collection, Japan

lITeraTure Araki by Araki: The Photographer’s Personal

Selection, 1963-2002, Kyoto: Kodansha International, 2003, p. 202

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172 DAIDO MORIYAMA b. 1938 Kariudo, 1972 Gelatin silver print, printed later. 34.6 × 48.3 cm (13 5/8 × 19 in). Signed in English and Japanese in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 Ω ProvEnancE Private collection, USa

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173 NAOYA HATAKEYAMA b. 1958 Underground #6411, 1999 colour coupler print, mounted. 48.9 × 49.2 cm (19 1/4 × 19 3/8 in). Signed, dated and numbered 3/7 in ink in the margin.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ‡ Provenance Masataka Hayakawa Gallery, Tokyo lITeraTure Naoya Hatakeyama: Underground, Cimmerian Darkness and Stygian

Gloom, Tokyo: Media Factory, 2000, cover and p. 25; Naoya Hatakeyama, exh. cat., Iwate Museum of art/The national Museum of art, Iwate/osaka, 2002, p. 63

PHOTOS_Lon_Nov10_Lots_6-163_V2.indd 154

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Blast #6511, 1999

Blast #8021, 1999

colour coupler print, flush-mounted. 99.7 × 150.5 cm (39 1/4 × 59 1/4 in).

colour coupler print, flush-mounted. 99.7 × 150.5 cm (39 1/4 × 59 1/4 in).

Printed credit, title, date and number 1/7 on a label affixed to the reverse

Signed, titled, dated and numbered 1/7 in ink on the reverse of the frame.

of the frame.

Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ‡ Estimate £4,000–6,000 $6,200–9,400 €4,800–7,100 ‡ Provenance Masataka Hayakawa Gallery, Tokyo Provenance Masataka Hayakawa Gallery, Tokyo

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PROPERTY fROM THE JAcOBSON/HASHIMOTO cOllEcTION Tom Jacobson was an impassioned lover of Japanese photography who pioneered the pursuit and collection of Japanese works in the postwar era. His love for this specific genre of photography began through acquiring a set of rare journals which set him and his assistant and eventual partner on a fantastic journey, travelling through Japan to search out works which often meant meeting directly with the families and estates. The result was an eclectic, wonderful and in many ways unique collection of photographic works which reflect various styles and influences and a distinct preoccupation with detail, structure, form and texture. The following lots are all from this collection, and most of the works are believed to be unique and acquired directly from the artists or their families

ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

176 IWAO YAMAWAKI 1898 – 1987 Woman with Parasol, c. 1930 Gelatin silver print. 11.1 × 8.3 cm (4 3/8 × 3 1/4 in). credit stamp on the verso.

Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡ Provenance   acquired directly from the artist

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

177 SHIKANOSUKE YAGAKI 1897 – 1966

ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

178 SHIKANOSUKE YAGAKI 1897 – 1966

Please open the door (Cat in Window), 1930s

Early summer lady, 1930s

Gelatin silver print. 29.2 × 20.3 cm (11 1/2 × 8 in). Titled in Japanese in

Gelatin silver print. 21.3 × 14.3 cm (8 3/8 × 5 5/8 in). Titled in Japanese in

pencil on the verso.

pencil on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Provenance acquired directly from the estate of the artist

Provenance acquired directly from the estate of the artist

PHOTOS_Lon_Nov10_Lots_6-163_V2.indd 157

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1897 – 1966

ProPerTy FroM THe

JacobSon/ HaSHIMoTo collecTIon 180 MINAYOSHI TAKADA

1889 – 1982

ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1898 – 1987

Teacups and kettles, 1930s

Double Exposure – Nude sitting with a rowing boat, c. 1948

Two heads, 1930–32

Gelatin silver print. 13.7 × 20.6 cm (5 3/8 × 8 1/8 in).

Gelatin silver print, printed c. 1955. 45.4 × 55.9 cm (17

Gelatin silver print. 17.1 × 22.9 cm (6 3/4 × 9 in).

credit stamp on verso.

7/8 × 22 in). estate stamp on the verso.

Estimate £1,500–2,500 $2,300–3,900

Estimate £1,500–2,500 $2,300–3,900

€1,800–3,000 ‡

€1,800–3,000 ‡

Provenance acquired directly from the estate of the

Provenance acquired directly from the estate of the



Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡ Provenance acquired directly from the artist

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1898 – 1987

ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1897 – 1966

Hand with ring, 1930–32

Fishing net, 1930s

Gelatin silver print. 8.3 × 10.8 cm (3 1/4 × 4 1/4 in). credit stamp on the

Gelatin silver print. 21 × 29.2 cm (8 1/4 × 11 1/2 in). credit stamp on


the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡

Provenance acquired directly from the artist

Provenance acquired directly from the estate of the artist

PHOTOS_Lon_Nov10_Lots_6-163_V2.indd 159

29-09-10 14.52



ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1904 – 1995

ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

185 RYUKIcHI SHIBUYA 1904 – 1995

Man Shaving; Men’s socks; Porcelain Objects, c. 1936

Woman with mink stole on bench, c. 1936

Three gelatin silver prints. each approximately 23.5 × 29.8 cm

Gelatin silver print. 28.6 × 19.1 cm (11 1/4 × 7 1/2 in). Signed, annotated in

(9 1/4 × 11 3/4 in) or the reverse. each signed and annotated in pencil

pencil and credit stamp on the verso.

on the verso.

Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡ Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡ Provenance acquired directly from the artist Provenance acquired directly from the artist

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1898 – 1987

Untitled, 1932 Gelatin silver print. 17.1 × 22.9 cm (6 3/4 × 9 in). Signed and dated in pencil on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡ Provenance acquired directly from the artist lITeraTure déjà-vu, no. 19, Spring 1995, ‘bauhaus Photography’, p. 67

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

187 SHIKANOSUKE YAGAKI 1897 – 1966 Street scene with telephone poles and lights, 1930s Gelatin silver print. 20 × 28.6 cm (7 7/8 × 11 1/4 in). credit stamp on verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡ Provenance acquired directly from the estate of the artist

PHOTOS_Lon_Nov10_Lots_6-163_V2.indd 162

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ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

188 IWAO YAMAWAKI 1898 – 1987 A ship’s deck, c. 1930 Gelatin silver print. 16.8 × 22.5 cm (6 5/8 × 8 7/8 in). Signed in pencil on the verso.

Estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡ Provenance acquired directly from the artist


ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon


1898 – 1987

Bauhaus, Desseau, 1930–32 Gelatin silver print, printed c. 1955. 22.5 × 16.5 cm (8 7/8 × 6 1/2 in). credit stamp on the verso.

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡ Provenance acquired directly from the artist


ProPerTy FroM THe JacobSon/ HaSHIMoTo collecTIon

190 IWAO YAMAWAKI 1898 – 1987 Bauhaus, Desseau, 1930–32 Gelatin silver print. 42.2 × 48.3 cm (16 5/8 × 19 in).

Estimate £2,000–3,000 $3,100–4,700 €2,400–3,600 ‡ Provenance acquired directly from the artist

PHOTOS_Lon_Nov10_Lots_6-163_V2.indd 163

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property from the jacobson/ hashimoto collection


1897 – 1966

Car wheel, 1930s Gelatin silver print. 19.4 × 26.7 cm (7 5/8 × 10 1/2 in). credit stamp on the verso.

Estimate £1,500–2,500 $2,300–3,900 €1,800–3,000 ‡ provenance acquired directly from the estate of the artist

PHOTOS_Lon_Nov10_Lots_6-165_V2.indd 164

29-09-10 15.07

property from the jacobson/ hashimoto collection

192 shigene kanamaru 1900 – 1977 Ever Onward, 1943 Gelatin silver print on carte postale. 13.7 × 7.9 cm (5 3/8 × 3 1/8 in). iwao yamawaki credit stamp on the verso.

estimate £1,000–2,000 $1,600–3,100 €1,200–2,400 ‡ provenance acquired directly from iwao yamawaki literature déjà-vu, no. 19, spring 1995, ‘bauhaus photography’, p. 78 (variant)

This propagandist image was directed by Iwao Yamawaki and produced by Yamahata Photo Laboratory for Japan’s wartime Ministry of the Army who distributed 50,000 posters of this image on 23 February 1943.

PHOTOS_Lon_Nov10_Lots_6-165_V2.indd 165

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Abbott, B. Araki, N.

69 158, 159, 160, 161, 163,

167, 169, 170, 171 Arnold, E.

127, 128

Ballen, R.

129, 130

Basilico, G.

Berry, I.

Olaf, E.


Bassman, L.


Newton, H.

Bailey, D.

Beard, P.

Newman, A.




Parkinson, N.


99, 100, 101, 102

13, 14, 15

Parr, M.

36, 37

Penn, I.

110, 113, 121, 126


Bischof, W.

41, 57

Bourke-White, M. Bradley, S.

Ray-Jones, T. 72


Braeckman, D. Brandt, N.

Garcia-Alix, A.


Geerlinks, M.

103, 104

Burtynsky, E. Byrne, G.

132, 133


Cartier-Bresson, H. Claxton, W.

58, 59, 60, 61


Cooper, T. J.

95, 96

Coppola, H.


Corbijn, A. 118, 119 Dashti, G.

diCorcia, P-L. 28 Dijkstra, R.


Doisneau, R.

47, 56

Drtikol, F.


Dweck, M.

24, 25

Eneroth, J.

Gozu, M.


Engström, JH.




Salgado, S. Schulz, J.


Gütschow, B.

105, 106 87

Seliger, M.



Shibuya, R. Haas, E.

Shore, S.

74, 75

Hatakeyama, N. 173, 174, 175 Heath, D. 45

Höfer, C.

184, 185


Shulman, J.


Sobol, J. A.


Starkey, H.


Hoepker, T.


Starn, D & M.


Holdsworth, D.

Suda, I.


Horst, H. P. 2, 7, 112, 114



Sutkus, A.


Takada, M.


Horvat, F. 11 Hugo, P.


Takanashi, Y.


Testino, M. 83

Ertug, A.


Erwitt, E.

12, 55, 65, 66

Evans, W.

67, 68

Franck, M.


Fukada, K.



Steichen, E.


Hurn, D.




Henson, B.


49, 52

Ruff, T.

Gongxin, W & Tianmiao, L.

48, 64

Riboud, M. Ronis, W.


Gesshu, O.


Ritts, H.


Gefeller, A. Goldin, N.

Campbell, B.



Reisch, M.

Inoue, S.

Thiel, F.


Ishimoto, Y.


Tichý, M.


149, 150, 156


21, 22

Tillmans, W. Jiagang, C.

144, 145

Vikštraitis, R.

Kanaman, S. 192 Kenna, M.

108, 109

Kertész, A. Killip, C.

Vitali, M.

Wang, Z. 142

Kolehmainen, O.



Warhol, A.


Watson, A.


Wegman, W. Lartigue, J. H. Lategan, B. Light, M.

Wessel, H.


Yagaki, S.

97, 98

177, 178, 179, 183, 187, 191

Yamawaki, I.

176, 181, 182, 186, 188,

189, 190


MacMillan, I.


Maier-Aichen, F. Mapplethorpe, R. McCullin, D. Meese, J.

107 73


Lindbergh, P. 16 Lux, L.





Kon, M.


Tunick, S. 134, 138

79, 82, 89 8,9,20



Miyamoto, R.


Moriyama, D. 146, 157, 162, 164, 165, 166, 168, 172 Morley, L.

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 166

10, 39, 50

29-09-10 11.54


Symbol Key

The following pages are designed to offer you information on how to buy at auction at

The following key explains the symbols you may see inside this catalogue.

Phillips de Pury & Company. Our staff will be happy to assist you. O Guaranteed Property CONDITIONS OF SalE

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

third party. Phillips de Pury & Company and third parties providing or participating in a

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guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

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Pury & Company generally acts as agent for the seller.

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BUYER’S PREmIUm Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

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Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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1 PRIOR TO aUCTION Catalogue Subscriptions

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From 0 to 50,000


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From 50,000.01 to 200,000


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From 200,000.01 to 350,000


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From 350,000.01 to 500,000


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a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

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that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

†, §, ‡, or Ω Property Subject to VaT Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

Catalogue Entries

in this catalogue for additional information.

Phillips de Pury & Company may print in the catalogue entry 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 and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of

Items sold under temporary admission

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We wish to draw your attention to changes recently made to items sold under temporary admission (originally called temporary importation). The cancelling or refunding of

Condition of lots

applicable VAT is now subject to items being exported from the European Union within

Our catalogues include references to condition only in the descriptions of multiple works

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de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the

Identification of business or trade buyers

property and the nature of the auction in which it is included. While condition reports are

As of January 2010 in the UK, Her Majesty’s Revenue & Customs have made it an official

prepared honestly and carefully, our staff are not professional restorers or trained

requirement for auction houses to hold evidence of a buyer’s business status, due to the

conservators. We therefore encourage all prospective buyers to inspect the property at

revised VAT rules regarding buyer’s premium for lots with symbols for businesses

the pre-sale exhibitions and recommend, particularly in the case of any lot of significant

outside the UK.

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 de Pury & Company 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.

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PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 167

We apologise for any inconvenience that this may cause and thank you for your co-operation.

29-09-10 11.54



Bidding at auction


Bids may be executed during the auction in person by paddle or by telephone or prior to

Buyers are required to pay for purchases immediately following the auction unless other

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the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

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bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000.

Bidding 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

Credit Cards

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Bidding by Telephone

full and cleared payment and we are not owed any other amount by the buyer. After the auction,

If you cannot attend the auction, you may bid live on the telephone with one of our

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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

loss or Damage

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Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.

absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de

Transport and Shipping

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placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

will coordinate with shipping agents instructed by you in order to facilitate the packing,

lowest possible price taking into account the reserve and other bidders. Always indicate

handling and shipping of property purchased at Phillips de Pury & Company. Please refer

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

to Paragraph 7 of the Conditions of Sale for more information.

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.

Export and Import licences Before bidding for any property, prospective bidders are advised to make independent

Employee Bidding

enquiries as to whether a licence is required to export the property from the United

Employees of Phillips de Pury & Company and our affiliated companies, including the

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

with all import and export laws and to obtain any necessary licences or permits. The

the reserve when submitting their absentee bids and otherwise comply with our employee

denial of any required licence or permit or any delay in obtaining such documentation will

bidding procedures.

not justify the cancellation of the sale or any delay in making full payment for the lot.

Bidding Increments

Endangered Species

Bidding generally opens below the low estimate and advances in increments of up to 10%,

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

subject to the auctioneer’s discretion. Absentee bids that do not conform to the

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

increments set below may be lowered to the next bidding increment.

require a licence or certificate prior to exportation and additional licences or certificates upon importation to any country outside the European Union (EU). Please note that the

UK£50 to UK£1,000

by UK£50s

ability to obtain an export licence or certificate does not ensure the ability to obtain an

UK£1,000 to UK£2,000

by UK£100s

import licence or certificate in another country, and vice versa. We suggest that

UK£2,000 to UK£3,000

by UK£200s

prospective bidders check with their own government regarding wildlife import

UK£3,000 to UK£5,000

by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)

requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any

UK£5,000 to UK£10,000

by UK£500s

necessary export or import licences or certificates as well as any other required

UK£10,000 to UK£20,000

by UK£1,000s

documentation. The denial of any required licence or certificate or any delay in obtaining

UK£20,000 to UK£30,000

by UK£2,000s

such documentation will not justify the cancellation of the sale or any delay in making full

UK£30,000 to UK£50,000

by UK£2,000s, 5,000, 8,000

payment for the lot.

UK£50,000 to UK£100,000

by UK£5,000s

UK£100,000 to UK£200,000

by UK£10,000s

above UK£200,000

at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 ThE aUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. 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 de Pury & Company 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.

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 168

29-09-10 11.54





Viewing 13 – 21 November Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 | Catalogues +1 212 940 1240 / +44 207 318 4039


Rooftops, 1961, four gelatin silver prints, printed 2004

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 169

EStimatE $15,000-25,000

29-09-10 11.54

VaT aND OThER TaX INFORmaTION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain

Where the buyer carries purchases from the EU personally or uses the services of a third

other potential tax implications of purchasing property at Phillips de Pury & Company.

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

This information is not intended to be complete. In all cases, the relevant tax legislation

refund it if the lot has been exported within the timelines specified below and either

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

of the following conditions are met:

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,

Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those

Phillips de Pury & Company is provided with appropriate documentary proof of

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

export from the EU within three months of the date of sale. Buyers carrying their

amending saleroom addendum).

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

1 PROPERTY wITh NO VaT SYmBOl Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

• For lots sold under temporary admission, Phillips de Pury & Company is provided

Margin Scheme, and VAT will not normally be charged on the hammer price.

with a copy of the correct paperwork duly completed and stamped by HM Revenue & Customs which shows the property has been exported from the EU via the UK

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

within 30 days of payment date. It is essential for shippers acting on behalf of

charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form

buyers to collect copies of original import papers from our Shipping Department.

part of the buyer’s premium on our invoice and will not be separately identified.

HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the


export documents do not exactly comply with governmental regulations. Property

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%

subject to temporary admission must be transferred to another customs procedure

on both the hammer price and buyer’s premium.

immediately if any restoration or repair work is to be carried out.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

Buyers carrying their own property must obtain hand-carry papers from the Shipping

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

Department, for which a charge of £20 will be made. The VAT refund will be processed

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips

registration number in the relevant Member State (non-UK) or the buyer’s business status

de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

or EU private residents unless the lot is subject to temporary admission and the property

not be provided then VAT will be charged on the buyer’s premium.

is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.

3 PROPERTY wITh a § SYmBOl Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

Buyers intending to export, repair, restore or alter lots under temporary admission should

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

notify the Shipping Department before collection. Failure to do so may result in the import

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

VAT becoming payable immediately and Phillips de Pury & Company being unable to

re-invoice the property under the normal VAT rules.

refund the VAT charged on deposit.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from


the EU. The property will be invoiced under the normal VAT rules. Although the hammer

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The

possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this

buyer’s premium will always bear VAT unless the buyer is a relevant business person in

manner are limited to businesses located outside the UK and may be considered for example

the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips

for Import VAT charged on the hammer price for lots sold under temporary admission.

de Pury & Company 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

All claims made by customers located in another member state to the UK will need to be

as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is

be charged on the buyer’s premium.

no longer in operation.


If you are located in an EU member state other than the UK you will now need to apply for a

These lots have been imported from outside the EU to be sold at auction under temporary

refund of UK VAT directly to your local tax authority. This is done via submission of an

admission. Property subject to temporary admission will be offered under the

electronically based claim form which should be accessed through the website of your

Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,

local tax authority. As a result, your form may include VAT incurred in a number of

marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%

member states. Furthermore, from 1 January 2010 you should only submit one form per

on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin

year, rather than submitting forms throughout the year.

Scheme should notify the Client Accounting Department before the sale. Please note that the time limits by which you must make a claim have been extended. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

When making a claim for VAT incurred in another EU member state any claim will still be

business person in the EU (non-UK) or is a relevant business person in a non-EU country

made on a calendar year basis but must now be made no later than 30 September

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

following that calendar year. This effectively extends the time by which claims should be

Company receiving evidence of the buyer’s VAT registration number in the relevant

made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you

Member State (non-UK) or the buyer’s business status in a non-EU country such as the

should make a claim to your local tax authority no later than 30 September 2011). Once you

buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be

have submitted the electronic form to your local tax authority it is their responsibility to

charged on the buyer’s premium.

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.

The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met:

If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (the rules for those located outside of the EU have not changed). Claim forms are

• The amount in lieu of VAT charged on the buyer’s premium for property sold

only available from the HMRC website. Go to, and

under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).

follow Quick Links, then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle

• The VAT on the hammer price for property sold under the normal VAT rules

House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100

(i.e., with a † or a § symbol).

(fax) +44 2871 305101.

The following type of VaT may be cancelled or refunded by Phillips de Pury &

You should submit claims for VAT to HMRC no later than six months from the end of the

Company on exports made within 30 days of payment date if strict conditions are met:

12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• 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

Please note that refunds of VAT will only be made where VAT has been incurred for a business

Ω symbol) under the Auctioneer’s Margin Scheme.

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

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 de Pury &

Buyers from outside the UK should note that local sales taxes or use taxes may

Company to export the property from the EU. If such instruction is received after payment,

become payable upon import of lots following purchase. Buyers should consult their

a refund of the VAT amount will be made.

own tax advisors.

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 170

29-09-10 11.54

CONDITIONS OF SalE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

between bidders and buyers, on the one hand, and Phillips de Pury & Company and

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

sellers, on the other hand. All prospective buyers should read these Conditions of Sale

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

and Authorship Warranty carefully before bidding.

Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is


accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

telephone, a bidder consents to the recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

accepts personal liability to pay the purchase price, as described more fully in Paragraph

in each case as amended by any addendum or announcement by the auctioneer prior to

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

the auction.

with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

By bidding at the auction, whether in person, through an agent, by written bid, by

Company and that we will only look to the principal for such payment.

telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our wilful misconduct.


(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

the reserve when submitting their absentee bids and otherwise comply with our employee

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

bidding procedures.

beneficial or financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF ThE aUCTION


(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

such description is changed or supplemented, as provided in Paragraph 1 above) and in

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

, each lot is offered subject to a reserve,

the condition that they are in at the time of the sale on the following basis. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

lot for sale (including after the fall of the hammer) if he or she believes there may be error

dependent on information provided to us by the seller, and Phillips de Pury & Company is

or dispute and take such other action as he or she deems reasonably appropriate.

not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and

(c) The auctioneer will commence and advance the bidding at levels and in increments

investigations to satisfy themselves as to the lots in which they may be interested.

he or she considers appropriate. In order to protect the reserve on any lot, the

Notwithstanding the foregoing, we shall exercise such reasonable care when making

auctioneer may place one or more bids on behalf of the seller up to the reserve without

express statements in catalogue descriptions or condition reports as is consistent with

indicating he or she is doing so, either by placing consecutive bids or bids in response

our role as auctioneer of lots in this sale and in light of (i) the information provided to us

to other bidders.

by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots

Accordingly, estimates in US dollars or euros should be treated only as a guide.

on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

inspected the lot prior to bidding and have satisfied themselves as to both the condition of

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

the lot and the accuracy of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

may prepare and provide condition reports to assist prospective buyers when they are

‘returned to owner’ or ‘bought-in’.

inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

not expressly referred to in the catalogue or condition report. All dimensions are

Sale and Authorship Warranty as if sold in the auction.

approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

6 PURChaSE PRICE aND PaYmENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

premium, plus any applicable value added tax (VAT) and any applicable resale royalty

estimate, whether written or oral, and information in any catalogue, condition or other

(the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and

report, commentary or valuation, is not a representation of fact but rather a statement of

including £25,000, 20% of the portion of the hammer price above £25,000 up to and

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as

including £500,000 and 12% of the portion of the hammer price above £500,000.

a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

Company nor any of our affiliated companies shall be liable for any difference between the

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

pre-sale estimates for any lot and the actual price achieved at auction or upon resale. c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to 4 BIDDING aT aUCTION

us an amount equal to the resale royalty provided for in those regulations and we

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

undertake to the buyer to pay such amount to the artist’s collection agent. In

or participation in the sale. All bidders must register for a paddle prior to bidding,

circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have

supplying such information and references as required by Phillips de Pury & Company.

not been able to ascertain the nationality of the artist, we will identify the lot with the

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

subsequently determine that the nationality of the artist does not entitle him/her to the

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty

behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy

paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot,

of which is printed in this catalogue or otherwise available from Phillips de Pury &

we become aware that information provided to us prior to the auction concerning an

Company. Bids must be placed in the currency of the sale. The bidder must clearly

artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot,

indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and

the buyer shall pay the resale royalty to us upon receipt of an invoice.

symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we

value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

an absentee bid at the lowest possible price taking into account the reserve and other

following the auction regardless of any intention to obtain an export or import licence or

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

other permit for such lot. Payments must be made by the invoiced party in pounds

event of identical bids, the earliest bid received will take precedence.

sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 171

29-09-10 11.54

(i) Phillips de Pury & Company will accept payment in cash provided that the total

premium for that lot, the buyer will remain liable for the shortfall together with all costs

amount paid in cash or cash equivalents does not exceed the local currency equivalent

incurred in such resale; (vii) commence legal proceedings to recover the hammer price

of US$10,000.

and buyer’s premium for that lot, together with interest and the costs of such proceedings;

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the

or (viii) release the name and address of the buyer to the seller to enable the seller to

buyer provides to us acceptable government-issued identification. Cheques and banker’s

commence legal proceedings to recover the amounts due and legal costs.

drafts should be made payable to “PDEPL LTD”. If payment is sent by post, please send the cheque or banker’s draft to the attention of the Client Accounting Department at

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

Howick Place, London SW1P 1BB and ensure that the sale number is written on the

buyer’s property which is in our possession upon notification by any of our affiliated

cheque. Cheques or banker’s drafts drawn by third parties will not be accepted.

companies that the buyer is in default of payment. Phillips de Pury & Company will notify

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &

transfer details will be provided on the Invoice for purchased lots.

Company, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

delivery to our affiliated company as security for the payment of any outstanding amount

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

release a lot to the buyer until title in the lot has passed and appropriate identification has

Company to instruct any of our affiliated companies in possession of the buyer’s property

been provided, and any earlier release does not affect the passing of title or the buyer’s

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

unconditional obligation to pay the Purchase Price.

Phillips de Pury & Company to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date


of written notice to the buyer, to sell the property in such manner and for such

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

consideration as can reasonably be obtained on a forced sale basis and to apply the

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

companies after the deduction from sale proceeds of our standard vendor’s commission,

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

all sale-related expenses and any applicable taxes thereon.

other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied


all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

+44 (0) 207 318 4082 to arrange for collection of purchased property.

without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is

(b) The buyer must arrange for collection of a purchased lot within five days of the date of

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

the auction. After the auction, we will transfer all lots to our fine art storage facility located

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk,

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

including the responsibility for insurance, from (i) the date of collection or (ii) five days

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

after the auction, whichever is the earlier. Until risk passes, Phillips de Pury & Company will

& Company and the seller with respect to such rescinded sale.

compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS Before bidding for any property, prospective buyers are advised to make their own

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

enquiries as to whether a licence is required to export a lot from the United Kingdom or

purchased lots for hand carry only. We do not provide packing, handling, insurance or

to import it into another country. Prospective buyers are advised that some countries

shipping services. We will coordinate with shipping agents instructed by the buyer,

prohibit the import of property made of or incorporating plant or animal material, such as

whether or not recommended by Phillips de Pury & Company, in order to facilitate the

coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

packing, handling, insurance and shipping of property bought at Phillips de Pury &

percentage or value. Accordingly, prior to bidding, prospective buyers considering

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and

export of purchased lots should familiarize themselves with relevant export and import

we will not be liable for acts or omissions of third party packers or shippers.

regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species

(d) Phillips de Pury & Company will require presentation of government-issued

licences or permits. Failure to obtain a licence or permit or delay in so doing will not

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

justify the cancellation of the sale or any delay in making full payment for the lot.



(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days

(a) In connection with the management and operation of our business and the marketing

of the auction, the buyer will incur a late collection fee of £50, storage charges of £10 per

and supply of auction related services, or as required by law, we may ask clients to provide

day and pro rated insurance charges of 0.1% of the Purchase Price per month on each

personal information about themselves or obtain information about clients from third parties

uncollected lot. Additional charges may apply to oversized lots.

(e.g., credit information). If clients provide us with information that is defined by law as ‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use

(b) If a purchased lot is paid for but not collected within six months of the auction, the

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

use or process sensitive information for any other purpose without the client’s express

by auction or private sale, with estimates and a reserve set at Phillips de Pury &

consent. If you would like further information on our policies on personal data or wish to

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

make corrections to your information, please contact us at +44 20 7318 4010. If you would

storage charges and any other outstanding costs and expenses owed by the buyer to

prefer not to receive details of future events please call the above number.

Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

(b) In order to fulfil the services clients have requested, Phillips de Pury & Company may disclose information to third parties such as shippers. Some countries do not offer


equivalent legal protection of personal information to that offered within the European

(a) Without prejudice to any rights the seller may have, if the buyer without prior

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

agreement fails to make payment of the Purchase Price for a lot in cleared funds within

respect the privacy and confidentiality of our clients’ information and provide the same

five days of the auction, Phillips de Pury & Company may in our sole discretion exercise

level of protection for client information as provided within the EU, whether or not they

one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s

are located in a country that offers equivalent legal protection of personal information.

premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,

By agreeing to these Conditions of Sale, clients agree to such disclosure.

retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge


interest at 12% per annum from the date payment became due until the date the Purchase

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,

Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien

our affiliated companies and the seller to the buyer in connection with the sale of a lot

over any of the buyer’s property which is in the possession of Phillips de Pury & Company

shall be limited to the Purchase Price actually paid by the buyer for the lot.

and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &

such notice arrange the sale of such property and apply the proceeds to the amount owed

Company, any of our affiliated companies or the seller (i) is liable for any errors or

to Phillips de Pury & Company or any of our affiliated companies after the deduction from

omissions, whether orally or in writing, in information provided to prospective buyers

sale proceeds of our standard vendor’s commission, all sale-related expenses and any

by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a

responsibility to any bidder in respect of acts or omissions, whether negligent or

reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood

otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection

that in the event such resale is for less than the original hammer price and buyer’s

with the conduct of the auction or for any other matter relating to the sale of any lot.

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ROBERT CaPa Death of a Loyalist Soldier, Cordoba Front, Spain, 1936 © The Estate of Robert Capa/Magnum Photos


DaVID hOCKNEY Autumn Pool (Paper Pool 29), 1978

photography will always be a lesser medium than paint

November 1, 2010 7 pm to 8.30pm Doors open 6.15pm Phillips de Pury & Company howick Place london Sw1P 1BB For tickets at £20 please go to

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aUThORShIP waRRaNTY (c) All warranties other than the Authorship Warranty, express or implied, including any

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

warranty of satisfactory quality and fitness for purpose, are specifically excluded by

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent

exclusions and limitations set forth below.

permitted by law. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer (d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty

affiliated companies or the seller shall be liable to the buyer for any loss or damage

does not extend to (i) subsequent owners of the property, including purchasers or

beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether

recipients by way of gift from the original buyer, heirs, successors, beneficiaries and

such loss or damage is characterised as direct, indirect, special, incidental or

assigns; (ii) property created prior to 1870, unless the property is determined to be

consequential, or for the payment of interest on the Purchase Price to the fullest extent

counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive)

permitted by law.

and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

there is a conflict of opinion on the authorship of the property; (iv) property where our

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

attribution of authorship was on the date of sale consistent with the generally accepted

any fraud or fraudulent misrepresentation made by any of us or in respect of death or

opinions of specialists, scholars or other experts; or (v) property whose description or

personal injury caused by our negligent acts or omissions.

dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time


deemed unreasonably expensive or impractical to use.

The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company

remain at all times the property of Phillips de Pury & Company and, subject to the

reserves the right, as a condition to rescinding any sale under this warranty, to require the

provisions of the Copyright, Designs and Patents Act 1988, such images and materials

buyer to provide to us at the buyer’s expense the written opinions of two recognized

may not be used by the buyer or any other party without our prior written consent. Phillips

experts approved in advance by Phillips de Pury & Company. We shall not be bound by any

de Pury & Company and the seller make no representations or warranties that the buyer of

expert report produced by the buyer and reserve the right to consult our own experts at

a lot will acquire any copyright or other reproduction rights in it.

our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts

15 GENERal

commissioned by the buyer and approved in advance by us.

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a

respect to the transactions contemplated herein and supersede all prior and

claim for breach of the Authorship Warranty provided that (i) he or she has notified

contemporaneous written, oral or implied understandings, representations and

Phillips de Pury & Company in writing within three months of receiving any information


which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

why the authorship of the lot is being questioned and (ii) the buyer returns the lot to

department in charge of the sale, quoting the reference number specified at the beginning

Phillips de Pury & Company in the same condition as at the time of its auction and is able

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

to transfer good and marketable title in the lot free from any third party claim arising after

them in writing to Phillips de Pury & Company.

the date of the auction.

(c) These Conditions of Sale are not assignable by any buyer without our prior written

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

consent but are binding on the buyer’s successors, assigns and representatives.

Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

for any reason, the remaining provisions shall remain in full force and effect. No failure by

any other remedy available as a matter of law. This means that none of Phillips de Pury &

any party to exercise, nor any delay in exercising, any right or remedy under these

Company, any of our affiliated companies or the seller shall be liable for loss or damage

Conditions of Sale shall act as a waiver or release thereof in whole or in part.

beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights

payment of interest on the original Purchase Price.

of Third Parties) Act 1999 by anyone other than the buyer. 16 law aND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips de Pury & Company.

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advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patricia G. Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Olivier Vrankenne

Lady Elena Foster

Chief Executive Officer Bernd Runge

H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz


Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Katherine van Thillo, Consultant +32 475 687 011

Buenos aires

Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060


Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000


Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

los angeles milan moscow Shanghai/Beijing Zurich/Israel

Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Fiona Biberstein, International Specialist, Contemporary Art + 41 79 271 88 51



Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)




450 Park Avenue, New York, NY 10022, USA

450 West 15 Street, New York, NY 10011, USA

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +1 212 940 1200 fax +1 212 924 5403

tel +49 30 8800 1842 fax +49 30 8800 1843




Howick Place, London SW1P 1BB, United Kingdom

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

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SPECIalISTS aND DEPaRTmENTS CONTEmPORaRY aRT Michael McGinnis, Senior Director

+1 212 940 1254

and Worldwide Head, Contemporary Art LONDON

mODERN aND CONTEmPORaRY EDITIONS NEW YORK Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

Peter Sumner, Head of Sales, London

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4075

Leonie Moschner

+44 20 7318 4074

Ivgenia Naiman

+44 20 7318 4071

Lou Proud

+44 20 7318 4018

George O’Dell

+44 20 7318 4093

Sebastien Montabonel

+44 20 7318 4025

Sarah Buchwald

+44 20 7318 4085

Alexandra Bibby

+44 20 7318 4087

Catherine Higgs

+44 20 7318 4089

Rita Almeida Freitas

+44 20 7318 4087

Raphael Lepine

+44 20 7318 4078

Helen Hayman

+44 20 7318 4092

Edward Tang

+44 20 7318 4024

Emma Lewis

+44 20 7318 4092

Tanya Tikhnenko

+44 20 7318 4065

Phillippa Willison

+44 20 7318 4070

NEW YORK Aileen Agopian, New York Director

+1 212 940 1255

Sarah Mudge, Head of Day Sale

+1 212 940 1259

Roxana Bruno

+1 212 940 1229

Jeremy Goldsmith

+1 212 940 1253

Timothy Malyk

+1 212 940 1258

Zach Miner

+1 212 940 1256

Jean-Michel Placent

+1 212 940 1263

Peter Flores

+1 212 940 1223

Alexandra Leive

+1 212 940 1252

Sarah Stein-Sapir

+1 212 940 1303


NEW YORK Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Deniz Atac

+1 212 940 1245

Carol Ehlers, Consultant

+1 212 940 1245

Sarah Krueger

+1 212 940 1245

BERLIN Christina Scheublein

+49 30 886 250 57

JEwElRY Nazgol Jahan, Worldwide Director

+1 212 940 1283

PARIS Edouard de Moussac

+ 33 1 42 78 67 77

DESIGN Alexander Payne, Worldwide Director

+44 20 7318 4052

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marine Hartogs

+44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

NEW YORK Alex Heminway, New York Director

+1 212 940 1269

Marcus Tremonto

+1 212 940 1268

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Alexandra Gilbert

+1 212 940 1268

PARIS Johanna Frydman

+33 1 42 78 67 77

BERLIN Christina Scheublein

NEW YORK Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

LONDON Lane McLean

+44 20 7318 4032

ThEmE SalES LONDON Arianna Jacobs

+44 20 7318 4054

Henry Highley

+44 20 7318 4061

Siobhan O’Connor

+44 20 7318 4040

NEW YORK Corey Barr

+1 212 940 1234

Steve Agin, Consultant

+1 908 475 1796

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301


+44 20 7318 4044

+49 30 886 250 57 OFFICE OF ThE ChaIRmaN Helen Rohwedder, International Anna Furney, New York Harmony Johnston, London

aRT aND PRODUCTION Fiona Hayes, Art Director LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

+44 20 7318 4042 +1 212 940 1238 +44 20 7318 4099

maRKETING & COmmUNICaTIONS LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications and Marketing Assistant NEW YORK Trish Walsh, Marketing Manager

NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager

PHOTOS_Lon_Nov10_Backmatter_166-177_V2.indd 176

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SalE INFORmaTION aUCTION Wednesday 3 November 2010, 5pm VIEwING Friday 29 October, 10am – 6pm Saturday 30 October, 10am – 6pm Sunday 31 October, 12pm – 6pm Monday 1 November – Tuesday 2 November, 10am – 6pm Wednesday 3 November, 10am – 2pm VIEwING & aUCTION lOCaTION Howick Place, London SW1P 1BB waREhOUSE & COllECTION lOCaTION 110–112 Morden Road, Mitcham, Surrey CR4 4XB SalE DESIGNaTION When sending in written bids or making enquiries, please refer to this sale as UK040210 or Photographs SPECIalISTS Lou Proud, Head of Sale, London +44 20 7318 4018 Sebastien Montabonel, London +44 20 7318 4025 CaTalOGUERS Alexandra Bibby, London +44 20 7318 4087 Rita Almeida Freitas, London +44 20 7318 4062 SalE aDmINISTRaTOR Emma Lewis, London +44 20 7318 4092 PROPERTY maNaGER Ian Bell +44 20 7318 4098 CaTalOGUES Leslie Pitts +44 20 7318 4039 +1 212 940 1240 Catalogues $35/€25/£22 at the Gallery aBSENTEE aND TElEPhONE BIDS tel +44 20 7318 4045 fax +44 20 7318 4035

Charlotte Salisbury +44 20 7318 4010 Natalie McFarlane +44 20 7318 4010 waREhOUSE & ShIPPING

















Cláudia Gonçalves + 44 20 7318 4026













Peter Hepplewhite









Ivan Ingletto



PhOTOGRaPhY Hayley Giles












Elliott Depree +44 20 7318 4072 ClIENT SERVICES









Carolyn Whitehead +44 20 7318 4020














Byron Slater








Back cover David Bailey, The Kray Brothers, 1965, Lot 127 (detail) Inside back cover Peter Beard, I’ll Write Whenever I Can, c. 1960, Lot 101

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p h i l l i p s d e p u ry.c o m

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Photographs Sale UK  

Auction 3 November 2010 London