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PHOTOGRAPHS 8 OCTOBER 2010 N E W YO R K

PHOTOGRAPHS 8

NY040210

P H I L L I P S D E P U RY.C O M

OCTOBER

2 010

NEW YORK


PHOTOGRAPHS 8

OC TOB ER

2 0 10

10 a m & 2 p m

NE W YO RK

Lots 1- 411 Viewing Saturday 2 October 10am – 6pm Sunday 3 October 12pm – 6pm Monday 4 October – Thursday 7 October 10am – 6pm

morning SESSION

Front Cover André Kertész, Distortion #6, Paris, 1933, Lot 187 (detail) Inside Front Cover Robert Frank, Trolley—New Orleans, 1956, Lot 47 (detail) Title Page Marilyn Minter, Swarv, 2005, Lot 383 (detail) Inside Back Cover Josef Koudelka, Spain, 1971, Lot 245 (detail) Back Cover Thomas Struth, Paradise 23, São Francisco de Xavier, Brasil, 2001, Lot 375 (detail)

10am

Lots 1-200


1

1 HENRI CARTIER-BRESSON 1908-2004 Queen Charlotte’s Ball, London, 1959 Gelatin silver print, printed later. 17 5/8 x 12 in. (44.8 x 30.5 cm). Signed in ink and blindstamp credit in the margin.

Estimate $12 , 0 0 0 -18 , 0 0 0

2 HENRI CARTIER-BRESSON 1908-2004 Brie, France, 1968 Gelatin silver print, printed 1970s. 9 3/8 x 14 in. (23.8 x 35.6 cm). Signed in ink in the margin.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Swann Auction Galleries, New York, 15 May 2008, lot 468 Literature Bulfinch Press, Henri Cartier-Bresson: City and Landscapes, cover and p. 62;

Galassi, Henri Cartier-Bresson: The Modern Century, p. 146; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 146; Montier, Henri Cartier-Bresson and the Artless Art, pl. 282

2


3

4

3 HENRI CARTIER-BRESSON 1908-2004

5

Tivoli, 1933 Gelatin silver print, printed later. 17 5/8 x 11 5/8 in. (44.8 x 29.5 cm). Signed in ink and blindstamp credit in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Christie’s, New York, 14 October 2008, lot 292 Literature Montier, Henri Cartier-Bresson and the Artless Art, pl. 269

4 HENRI CARTIER-BRESSON 1908-2004 Couple Embracing (Police Line), n.d. Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm). Signed in ink and blindstamp credit in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist

5 HENRI CARTIER-BRESSON 1908-2004 Arizona, circa 1947 Gelatin silver print, printed circa 1970. 9 3/8 x 14 in. (23.8 x 35.6 cm). Signed in ink in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Swann Auction Galleries, New York, 15 May 2008, lot 356 Literature Bulfinch Press, Henri Cartier-Bresson: City and Landscapes, p. 106; Montier,

Henri Cartier-Bresson and the Artless Art, pl. 35

6 HENRI CARTIER-BRESSON 1908-2004 Games in a refugee camp at Kurukshetra, Punjab, India, 1947 Gelatin silver print, printed later. 9 3/8 x 14 in. (23.8 x 35.6 cm). Signed in ink and blindstamp credit in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Andrew Smith Gallery, Santa Fe Literature Galassi, Henri Cartier-Bresson: The Modern Century, p. 257, there titled

Refugees Performing Excercises, Kurukshetra, India; Montier, Henri Cartier-Bresson and the Artless Art, pl. 199

6


7 DAVID MARTIN HEATH b. 1931 Selected Images, 1966-1967 Three gelatin silver prints. Each approximately 4 3/4 x 7 in. (12.1 x 17.8 cm). Each titled and dated in ink with ‘proof’ stamps on the verso; one with credit stamp on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Stephen Bulger Gallery, Toronto

Titles include: Cincinnati, Ohio, April, 1967; Dayton, Ohio, June, 1966; Denver, Colorado, April, 1967;


8

8 GARRY WINOGRAND 1928-1984 World’s Fair, New York City, 1964 Gelatin silver print. 8 3/4 x 13 in. (22.2 x 33 cm). Signed in pencil on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Fraenkel Gallery, San Francisco; Phillips de Pury & Company, New York, The

Seagram Collection of Photographs, 26 April 2003, lot 162 Literature Szarkowski, Winogrand: Figments from the Real World, p. 90; T.F. Editores, Garry

Winogrand: The Game of Photography, cover and p. 89

9

10

9 GARRY WINOGRAND 1928-1984

10 GARRY WINOGRAND 1928-1984

New York City, 1968

Central Park Zoo, New York, 1967

Gelatin silver print, printed later. 8 3/4 x 13 in. (22.2 x 33 cm). Signed by Eileen Adele Hale,

Gelatin silver print, printed later. 8 5/8 x 12 7/8 in. (21.9 x 32.7 cm). Signed by Eileen

Executor, in pencil, Estate and ‘printed by or under the supervision of Garry Winogrand’

Adele Hale, Executor, in pencil, Estate and ‘printed by or under the supervision of Garry

stamps on the verso.

Winogrand’ stamps on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Fraenkel Gallery, San Francisco

Provenance Fraenkel Gallery, San Francisco

Literature Szarkowski, Winogrand: Figments from the Real World, p. 27; T.F. Editores, Garry

Literature Szarkowski, Garry Winogrand: Figments from the Real World, p. 91; T.F. Editores,

Winogrand: The Game of Photography, p. 75

Garry Winogrand: The Game of Photography, p. 95


11

11 DIANE ARBUS 1923-1971 A House on a Hill, Hollywood, California, 1963 Gelatin silver print, printed later by Neil Selkirk. 15 x 14 5/8 in. (38.1 x 37.1 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 21/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Aperture, Diane Arbus, n.p.; Arbus, Sussman, Phillips, Selkirk and

Rosenheim, Diane Arbus: Revelations, pp. 344-345

12

12 LEE FRIEDLANDER b. 1934 New York City, 1968 Gelatin silver print, printed circa 2002. 8 x 12 in. (20.3 x 30.5 cm). Signed in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Provenance Acquired directly from the artist Literature Slemmons, Lee Friedlander: Like a One-Eyed Cat: Photographs 1956-1987, pl. 25

13

13 LEE FRIEDLANDER b. 1934 Nude, 1980 Gelatin silver print, printed 1991. 8 5/8 x 12 7/8 in. (21.9 x 32.7 cm). Signed in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance A Gallery for Fine Photography, New Orleans; Swann Auction Galleries, New

York, 21 October 2008, lot 330A Literature Friedlander, Nudes, cover; Galassi, Friedlander, pl. 441

14

14 DIANE ARBUS 1923-1971 A Waitress at a Nudist Camp, N.J., 1963 Gelatin silver print, printed later by Neil Selkirk. 14 x 14 1/4 in. (35.6 x 36.2 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 20/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations,

p. 72


15 DIANE ARBUS 1923-1971 Triplets in their Bedroom, N.J., 1963 Gelatin silver print, printed later by Neil Selkirk. 14 7/8 x 15 in. (37.8 x 38.1 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 46/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Alan Koppel Gallery, Chicago Literature Aperture, Diane Arbus, n.p.; Arbus, Sussman, Phillips, Selkirk and

Rosenheim, Diane Arbus: Revelations, p. 85


16 IRVING PENN 1917-2009 Hell’s Angel (Doug), San Francisco, 1967 Platinum-palladium print, printed 1976. 19 3/4 x 20 1/4 in. (50.2 x 51.4 cm). Signed, titled, dated, numbered 20/40 in pencil, copyright credit reproduction limitation and edition stamps on the verso.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Literature Knopf, Irving Penn: Passage, p. 168


17 ROBERT FRANK b. 1924 Daytona Beach, 1961 Gelatin silver print, printed 1970s. 9 1/4 x 13 5/8 in. (23.5 x 34.6 cm). Signed, titled and dated in ink in the margin; titled, dated in an unidentified hand in pencil, copyright and Robert Frank Archive stamps on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 literature Frank, Lines of My Hand, n.p.


18

19

18 IRVING PENN 1917-2009

19 CHUCK CLOSE b. 1940

Max Weber, 1950

Self-Portrait, 1979

Gelatin silver print. 9 3/8 x 7 1/4 in. (23.8 x 18.4 cm). Signed in ink on the mount; credit and

Unique Polaroid print. 26 x 20 5/8 in. (66 x 52.4 cm). Signed, titled, dated and inscribed “With

Condé Nast copyright stamps on the verso.

many thanks- To Polaroid- Chuck” in ink in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Provenance Keith DeLellis Gallery, New York

Provenance Gagosian Gallery, New York

21

20

actual size

20 LUCAS SAMARAS b. 1936

21 BILL BRANDT 1904-1983

Photo-Transformation, 1976

Francis Bacon on Primrose Hill, 1963

Unique Polaroid print. 3 x 3 in. (7.6 x 7.6 cm). Dated in ink on the verso.

Gelatin silver print, printed later. 13 3/8 x 11 1/2 in. (34 x 29.2 cm). Signed in ink in the margin.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance The Pace Gallery, New York

Literature Da Capo, Bill Brandt: Shadow of Light, pl. 86; Harry N. Abrams, Inc., Brandt: The

Photography of Bill Brandt, pl. 202; Photo Poche, Bill Brandt, pl. 50; Thames and Hudson, Bill Brandt: Photographs 1928-1983, p. 159


22 IRVING PENN 1917-2009 Pablo Picasso at La Californie, Cannes, 1957 Platinum-palladium print, printed 1978. 19 5/8 x 19 1/2 in. (49.8 x 49.5 cm). Signed, titled ‘Picasso’, dated, numbered 26/45 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

From the late 1940’s and throughout the 1950’s, Penn continuously simplified his portraits, gradually removing the corners he had used in his elegant portraits of such notables as seen in Duchess of Windsor, New York, May 27, 1947 (Lot 198), or the carpeted platform used in such playful portraits as seen in Max Weber, 1950, (Lot 18). By 1957, the year the present lot, Pablo Picasso

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0

at La Californie, Cannes, was taken, Penn had stripped away not only any

Provenance Hamiltons Gallery, London

gratuitous props but also any bodily references or gestures that could have

Literature Kearney, Irving Penn: Portraits, n.p.; Knopf, Irving Penn: Passage, p. 125;

compromised the unique individuality of the famed Spanish artist, by then

Szarkowski, Irving Penn, pl. 17; Taschen, 20th Century Photography, p. 483; Westerbeck, Irving

already established as one of the art world’s most luminary figures.

Penn: A Career in Photography, pl. 64

Irving Penn’s vision adhered to the principles and strengths in photography, especially with regards to clarity, illumination, and linearity. As early as 1947, Penn began repudiating the pictorialist modes in photography—be it fashion or portraiture—by eschewing lavish interiors and contrived narratives. Thereby, Penn permitted the clothes (in the former genre) and the individuals (in the latter) to assume the central role, prompting viewers to focus on the essence within the garment or the sitter, of which John Szarkowski has noted, “[Penn’s photographs] are not stories, but simply pictures.” Penn rejected the notion that portraits ought to be set within a context that readily identified the sitters—writers at their desk; singers at a hall; thespians in front of a draped velvet curtain; or artists at their studio, and layer by layer, peeled off the common traps that detracted from the point of focus. In fact, it was Penn’s studio—not a lavish mansion, or a Louis XV boudoir, or a Victorian library— that became the sole space within which sitters were photographed.

The close-up portrait is skillfully and almost perfectly centered by Picasso’s cyclopean eye, paying homage to the Cubist style that he was instrumental in popularizing. References to the style, in fact, abound in the photograph: the strong tonal contrasts, the cape slicing the face at an unconventional angle, the abstraction of the ear, the different lines dissecting the plain; the portrait is far more akin to Picasso’s gris-toned Buste de Femme, 1956, than any of Penn’s other portraits. It becomes more of a probable self-visualization by Picasso rather than a regimented projection by the photographer of how a portrait should be. Ultimately, Pablo Picasso at La Californie, Cannes, is a carefully nuanced souvenir commemorating the legacy of not one, but two great masters, both delicately revealing themselves through different sides of the same lens.


23

23 DAN BUDNIK b. 1933 Jasper Johns, 1958 Fujicolor print, printed later. 16 5/8 x 13 in. (42.2 x 33 cm). Signed, titled, dated and annotated ‘AP’ in ink in the margin. One from an edition of 50 plus artist’s proof.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Provenance Acquired directly from the artist

24

24 DAN BUDNIK b. 1933 Robert Rauschenberg, 1958 Fujicolor print, printed later. 13 3/8 x 17 1/8 in. (34 x 43.5 cm). Signed, titled, dated and annotated ‘AP’ in ink in the margin. One from an edition of 50 plus artist’s proof.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Provenance Acquired directly from the artist

26

25

25 ROBERT RAUSCHENBERG 1925-2008

26 ROBERT RAUSCHENBERG 1925-2008

Jasper-Studio N.Y.C. #9, 1955

Jasper + Lois, Edisto, S.C. #6, 1962

Gelatin silver print, printed later. 14 7/8 x 15 in. (37.8 x 38.1 cm). Signed, titled and dated in ink

Gelatin silver print, printed later. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm). Signed, titled and dated in

in the margin. One from an edition of 50.

ink in the margin. One from an edition of 50.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0

Provenance Pace/MacGill Gallery, New York

Literature Pantheon Books, Robert Rauschenberg: Photographs, p. 27


27

27 ARNOLD NEWMAN 1918-2006 Violins, Philadelphia, Pennsylvania, 1941 Gelatin silver print, printed later. 18 3/8 x 14 1/4 in. (46.7 x 36.2 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist

28

28 ARNOLD NEWMAN 1918-2006 Truman Capote, New York City, 1977 Gelatin silver print, printed later. 11 1/8 x 19 in. (28.3 x 48.3 cm). Signed, titled and dated in

29

pencil on the verso; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist

30

29 ARNOLD NEWMAN 1918-2006 Aaron Copland, Peekskill, New York, 1959 Gelatin silver print, printed later. 12 1/2 x 19 1/8 in. (31.8 x 48.6 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist

30 ARNOLD NEWMAN 1918-2006 Otto Frank, Anne Frank House, Amsterdam, 1960 Gelatin silver print, printed later. 18 x 14 1/4 in. (45.7 x 36.2 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist


31

32

31 WEEGEE (ARTHUR FELLIG) 1899-1968

32 WEEGEE (ARTHUR FELLIG) 1899-1968

Village—Let’s Have a Party, circa 1946-1947

Herald Square, 1958

Gelatin silver print, printed circa 1956-1960. 8 3/4 x 7 3/8 in. (22.2 x 18.7 cm). Titled in ink on

Gelatin silver print. 7 1/2 x 7 5/8 in. (19.1 x 19.4 cm). ‘Weegee N.Y.C.’ credit stamp on the

the mount.

verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Provenance Acquired directly from the photographer’s companion, Wilma Wilcox

Provenance Acquired directly from the artist Literature Ziff-Davis, Weegee: An Autobiography, centerfold for a variant

This print and page were originally prepared for an unpublished book Fun City, which was intended as a sequel to Naked City.

33

34

33 WEEGEE (ARTHUR FELLIG) 1899-1968

34 BERENICE ABBOTT 1898-1991

Distortion (woman under hair dryer) from the Citi Services Building Series, circa 1957

Repair Shop, Christopher Street, New York, 1950

Gelatin silver print. 5 1/4 x 5 3/8 in. (13.3 x 13.7 cm); 9 7/8 x 5 3/8 in. (25.1 x 13.7 cm) overall.

Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed in pencil on the verso.

‘Photo-Representatives’ credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $1, 5 0 0 - 2 , 5 0 0 Provenance Sotheby’s, London, 7 May 1998, lot 277 Provenance Acquired directly from the photographer’s companion, Wilma Wilcox

Literature Commerce Graphics Ltd., Inc., Berenice Abbott, n.p.; O’Neal, Berenice Abbott:

American Photographs, p. 193


35

36

35 O. WINSTON LINK 1914-2001

36 O. WINSTON LINK 1914-2001

NW1103, Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956

NW32K, Highball for the Double Header, 1959

Gelatin silver print, printed 1995. 15 1/2 x 19 3/8 in. (39.4 x 49.2 cm). Signed, titled ‘NW1103’,

Color coupler print, printed 2000. 13 3/8 x 18 1/4 in. (34 x 46.4 cm). Signed in ink in the

dated ‘5-95’ in pencil and copyright credit reproduction limitation stamp on the verso.

margin; titled ‘NW32K’ and dated ‘10-2000’ in ink on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Literature Harry N. Abrams, Inc., Steam, Steel & Stars: America’s Last Steam Railroad, back

Provenance Private Collection, Los Angeles

cover and pp. 124-125; High Museum of Art, Chorus of Light: Photographs from the Sir Elton

Literature Harry N. Abrams, Inc., The Last Steam Railroad in America: Photographs by

John Collection, p. 104

O. Winston Link, p. 89


37

37 ERNST HAAS 1921-1986

38 ERNST HAAS 1921-1986

Traffic, New York, 1963

Rodeo, Madison Square Garden, NYC, 1957

Dye transfer print, printed 1992. 17 5/8 x 26 3/4 in. (44.8 x 67.9 cm). Signed, titled, dated,

Dye transfer print, printed 1992. 11 7/8 x 17 1/2 in. (30.2 x 44.5 cm). Signed, titled, dated,

numbered 3/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas

numbered 3/50 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas

copyright credit stamp on the verso.

copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Acquired directly from the Estate of Ernst Haas

Provenance Acquired directly from the Estate of Ernst Haas

LITERATURE Haas, Ernst Haas: Color Photography, p. 55

LITERATURE Haas, Ernst Haas: Color Photography, p. 55; Viking Press, America, p. 74

38


39

39 RALPH EUGENE MEATYARD 1925-1972 Untitled (doll and umbrella), circa 1960 Gelatin silver print. 7 1/4 x 5 3/4 in. (18.4 x 14.6 cm). Signed by Madelyn O. Meatyard in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance From the Estate of the Artist

40

40 RALPH EUGENE MEATYARD 1925-1972

Untitled (still life with dolls and fish), 1959 Gelatin silver print. 6 3/4 x 6 5/8 in. (17.1 x 16.8 cm). Signed by Madelyn O. Meatyard in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance From the Estate of the Artist

41

41 RALPH EUGENE MEATYARD 1925-1972 Untitled (three boys and stoop), 1962 Gelatin silver print. 7 5/8 x 7 3/4 in. (19.4 x 19.7 cm). Signed by Madelyn O. Meatyard in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance From the Estate of the Artist


42

42 ELLIOTT ERWITT b. 1928 Selected Images, 1949-1970s Nine gelatin silver prints, printed later. Each approximately 14 1/2 x 21 in. (36.8 x 53.3 cm) or the reverse. Each signed in ink in the margin

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Phaidon, Elliott Erwitt: Snaps, pp. 294-295, 370-372; 499, 501 and 511

Titles include: On the set of ‘The Misfits’, Reno, Nevada, 1960; Crowd scene, 1970s; Untitled, 1970s; Las Vegas, 1954; Metropolitan Museum of Art, New York, 1949; Venice, 1965; Untitled, n.d.; Amagansett, New York, 1969; Wilmington, North Carolina, 1950; Hungary, 1964

43

43 AARON SISKIND 1903-1991 Performer Club of America, 1953 Gelatin silver print. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm). Signed, dated, annotated ‘vintage’ in pencil and credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0


44

44 AARON SISKIND 1903-1991 Selected Images, 1939-1988 Seven gelatin silver prints, six printed later. Varying sizes from 10 3/4 x 18 in. (27.3 x 45.7 cm) to 13 1/2 x 16 in. (34.3 x 40.6 cm) or the reverse. Each signed in pencil on the verso; four titled and dated in pencil on the verso.

45

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Phaidon, Aaron Siskind, p. 55 for a variant

Titles include: SW2, 1943; M.V.4, 1950; Westport 87, 1988; M.V., 1939; Cusco, 1975; Untitled, 1947; VII4, 1980

45 FREDERICK SOMMER 1905-1999 Untitled (Paint on Cellophane), 1957 Gelatin silver print. 13 1/4 x 10 3/8 in. (33.7 x 26.4 cm). Signed and dated in pencil on the reverse of the flush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance The Weston Gallery, Carmel

46

46 MINOR WHITE 1908-1976 Roof & Frost, Rochester, NY, 1958 Gelatin silver print, printed later. 10 1/2 x 11 1/2 in. (26.7 x 29.2 cm). Signed, titled, dated in pencil and ‘The Minor White Archive-Princeton University’ stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0


47 ROBERT FRANK b. 1924 Trolley—New Orleans, 1956 Gelatin silver print, mounted, printed 1970s. 12 1/8 x 18 3/4 in. (30.8 x 47.6 cm). Signed, titled ‘New Orleans’ and dated in ink in the margin.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 Provenance Andrew Smith Gallery, Santa Fe

Upon receiving the Guggenheim Fellowship in 1955, Robert Frank travelled extensively across the U.S. with the intention of observing and recording the infrastructure upholding American society. It is not surprising that the subject matter would have been of interest to Frank, himself a Swiss immigrant who had globe-trotted for a number of years prior to settling in America. One could argue, therefore, that the cross-country trip upon

Literature Bulfinch Press, On the Art of Fixing A Shadow: 150 Years of Photography, p.

which Frank was intent on embarking was as much to quench his own desire

357; Dexter and Weski, Cruel and Tender: The Real in the 20th Century Photograph, p. 109;

to understand his newly found home as much as to inform his viewers of

Grove Press, The Americans, pl. 18; High Museum of Art, Photographs from the Sir Elton John

the social diversity they may not have been as eager (or able) to explore

Collection, p. 89; National Gallery of Art, Washington/Steidl, Looking In: Robert Frank’s The Americans, pp. 6-7, 232, 466, contact sheet 18/19; National Gallery Of Art, Washington, Robert

otherwise. The resulting images, Frank wrote in his Guggenheim application,

Frank/Moving Out, p. 196; Papageorge, Walker Evans and Robert Frank, An Essay on Influence,

“should be such as will nullify explanation.” Perhaps it was for being a

p. 41; Scalo, The Americans, cover and p. 45; The Museum of Modern Art, Walker Evans &

foreigner that he aimed to produce didactic images that avoided ambiguous,

Company, pl. 137

whimsical interpretations, and favored clear and forthright depictions. At the time that Frank began his endeavor, America was steeped in McCarthyism. It was an ideology that Frank, himself a New York-based Jewish immigrant of simple means, became victim of, but one which


ironically intensified his understanding of the underlying social bias. On

neatly if eerily delineated the segregation enforcement of the era, with

November 7, 1955, Frank was arrested, questioned, threatened, humiliated,

five windows showcasing the breakdown in race, gender and age group:

jailed and branded “criminal” in McGehee, Arkansas after being stopped

white male, white female, white children, African-American male, African-

by the Police. While his crime went unexplained, the search for Communist-

American female. With the exception of the latter, all appear to make

sympathizers was repeatedly explained. Of the incident, Frank has noted that

direct eye-contact with photographer, and consequently, with the viewers,

it served to heighten his “compassion for the people on the street,” one that

mustering an accordingly wide array of reactions, from stern confrontation to

he unassumingly but lucidly translated into his compilation The Americans.

melancholic pleading.

Trolley—New Orleans, unequivocally among the strongest images not only within the compilation but Frank’s vast career, was taken within days of the

Trolley—New Orleans is far more than a portrait of New Orleans or even

aforementioned incident.

the Deep South for that matter, but one of an era typified by paranoia and calamitous inequality. The poignancy of the image is intensified by its

After arriving shortly in New Orleans, Frank, fascinated by the vivacious

chronological juncture with the Montgomery Bus Boycott less than a month

hustle-and-bustle of the city, observed an ongoing parade. Compelled by

later and the subsequent sparking of the Civil Rights Movement. For Frank

nothing but whim, Frank suddenly turned his back on the staged spectacle

to have captured the racial breakdown so delicately and simply, moments

only to behold and capture the image of a trolley slicing through the French

before the structure that held it together collapsed, attests to the balance

Quarter and inadvertently exposing the hierarchical cross-section of

of foresight and insight, in seeing and envisioning, that Frank so dutifully

American racial demographic. The grid proffered by the trolley’s structure

employed.


48 ROBERT FRANK b. 1924 London, circa 1951 Gelatin silver print, printed 1960s. 8 3/8 x 12 1/8 in. (21.3 x 30.8 cm). Signed in ink, copyright and Robert Frank Archive stamps on the verso.

Estimate $ 9, 0 0 0 -12 , 0 0 0 Provenance Lunn, Ltd, New York; to the present Private Collection, New York


49

49 ROBERT FRANK b. 1924

50

11th of November, Paris, 1950 Gelatin silver print, printed 1970s. 8 3/4 x 13 3/8 in. (22.2 x 34 cm). Signed, titled and dated in ink on the recto; copyright stamp on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Robert Friedus Gallery, New York; to the present Private Collection, New York

50 ROBERT FRANK b. 1924 Courthouse Square, Elizabethville, North Carolina, 1955 Gelatin silver print, printed 1977. 11 3/4 x 7 3/4 in. (29.8 x 19.7 cm). Signed and dated ‘77’ in ink on the recto; Robert Frank Archive stamp on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Grove Press, The Americans, pl. 75; National Gallery of Art, Washington/

Steidl, Looking In: Robert Frank’s The Americans, p. 300; Scalo, The Americans, p. 159

51

51 ARNOLD NEWMAN 1918-2006 Senator John F. Kennedy, The Capitol, Washington D.C., 1953 Gelatin silver print, printed later. 18 3/8 x 14 3/4 in. (46.7 x 37.5 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist


52

52 ARNOLD NEWMAN 1918-2006 Igor Stravinsky, New York City, 1946 Gelatin silver print, printed later. 9 3/4 x 18 1/2 in. (24.8 x 47 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from the artist Literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 180; LIGHT Gallery, LIGHT, p. 67

53

53 IRVING PENN 1917-2009 Musical Instruments, Italy, 1948 Platinum-palladium print, printed 1998. 14 3/8 x 16 7/8 in. (36.5 x 42.9 cm). Signed, titled, dated, numbered 3/19 in ink, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist Literature Bulfinch Press, Still Life: Irving Penn Photographs 1938-2000, n.p.

54 IRVING PENN 1917-2009 Crescent Bicorne Hat (Evelyn Tripp), New York, December, 1949 Selenium-toned gelatin silver print, printed 1984. 15 3/4 x 14 5/8 in. (40 x 37.1 cm). Signed, titled, dated in ink, copyright credit reproduction limitation and edition stamps on the reverse of the mount. One from an edition of 10.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Acquired directly from the artist Literature Knopf, Irving Penn: Passage, p. 76

54


55 IRVING PENN 1917-2009 Chef, New York, 1951 Platinum-palladium print, printed 1967. 16 5/8 x 13 1/4 in. (42.2 x 33.7 cm). Signed, titled, dated, numbered 6/6 in pencil, copyright credit reproduction limitation and edition stamps on the verso.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Acquired directly from the artist


56

57

56 LILLIAN BASSMAN b. 1917

57 LILLIAN BASSMAN b. 1917

Night Bloom, Anneliese Seubert, ball gown by John Galliano for Haute Couture

Barbara Mullen, Flat Hat, Bare Back, Harper’s Bazaar, circa 1958

Givenchy, Paris, 1996

Gelatin silver print, printed later. 22 3/8 x 17 3/4 in. (56.8 x 45.1 cm). Signed in pencil on the

Gelatin silver print, printed later. 22 3/8 x 17 3/4 in. (56.8 x 45.1 cm). Signed in pencil on the

verso. Number 8 from an edition of 25.

verso. Number 17 from an edition of 25.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Solomon, Lillian Bassman: Women, p. 8

Provenance Acquired directly from the artist Literature Solomon, Lillian Bassman: Women, p. 87

58 LILLIAN BASSMAN b. 1917

Paris: Gala Night, Barbara Mullen, Dress by Patou, 1949

Gelatin silver print, printed later. 18 1/4 x 22 3/8 in. (46.4 x 56.8 cm). Signed in pencil on the

Gelatin silver print, printed later. 18 3/8 x 21 3/4 in. (46.7 x 55.2 cm). Signed in pencil on the

verso. Number 16 from an edition of 25.

verso. Number 13 from an edition of 25.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Solomon, Lillian Bassman: Women, pp. 160-161

Literature Solomon, Lillian Bassman: Women, pp. 38-39

59 58

59 LILLIAN BASSMAN b. 1917

It’s A Cinch, Carmen, Lingerie by Warner’s, 1951


60

60 HORST P. HORST 1906-1999

61 HORST P. HORST 1906-1999

Bombay Bathing Fashion, Oyster Bay, N.Y., 1950

Gertrude Stein in Paris Apartment, 1946

Gelatin silver print, printed later. 9 3/8 x 11 7/8 in. (23.8 x 30.2 cm). Blindstamp credit in the

Platinum-palladium print, printed later. 8 1/2 x 8 1/4 in. (21.6 x 21 cm). Blindstamp credit in

margin; signed in pencil on the verso.

the margin; signed in pencil on the verso. Number 2 from an edition of 3.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Kazmaier, Horst: Sixty Years of Photography, pl. 109

Literature Kazmaier, Horst: Sixty Years of Photography, pl. 81

61

62 No lot


63

63 ANDREAS FEININGER 1906-1999

Literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

The Photojournalist (Dennis Stock), 1955

Collection, p. 70; Morgan & Morgan, Andreas Feininger, p. 77; New Britain Museum of

Gelatin silver print, printed later. 13 1/2 x 10 5/8 in. (34.3 x 27 cm). Signed in pencil and

American Art, By Way of These Eyes: The Sublime, Exotic and Familiar, The Christopher Hyland

edition stamp on the verso. Number 5 from an edition of 50.

Collection of Photography, cover; Thames & Hudson, LIFE Faces, pp. 9 and 127

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

64 RICHARD AVEDON 1923-2004 Brigitte Bardot, Hair by Alexandre, Paris Studio, 1959 Gelatin silver print, printed 1959. 23 1/4 x 20 in. (59.1 x 50.8 cm). Signed and numbered in ink in the margin; title, date and credit reproduction limitation stamp on the verso. One from an edition of 35.

simplicity, or rather, its illusion thereof. Avedon avoided the easy baits in portraying Bardot—bodacious curves, exposed back, exotic settings—in favor of merely focusing on her face. The cropping of all superfluous elements extended to the strong lighting, which dramatically reduced Bardot’s facial features to their most basic—a seductive gaze and a cushy

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0

pout—revealing not only Bardot’s sexual confidence but also Avedon’s

Literature Avedon and Capote, Observations, p. 106; Harry N. Abrams, Inc., Woman in the

confidence in capturing Bardot’s sensuality. To further heighten the drama

Mirror: Richard Avedon, n.p.; International Center of Photography and The Richard Avedon

and provide an additional shock of sex appeal, Avedon double-exposed

Foundation, Avedon Fashion: 1944-2000, p. 87; Lahr, Performance: Richard Avedon, p. 65;

Bardot’s famous mane to create the appearance of sudden movement,

Louisiana Museum of Modern Art, Richard Avedon Photographs 1946-2004, n.p.

The magic in Richard Avedon’s body of work, especially his portraits, lies in his ability to detect and extract with a surgeon’s precision the core of his sitters’ being. The portraits, therefore, are far more than a static outline of physical likeness. Rather, they are akin to an expressive brushstroke or a stardust trail that bears the unequivocal genetic code of the sitter without necessarily bearing a heavy-handed depiction of a familiar—or worse, clichéd—portrayal. Essence, therefore, takes precedence over matter, and spirit trumps resemblance. This could underline Avedon’s assertion that “All photographs are accurate. None of them is the truth.” The latter, it would seem, is encumbered by the omnipresent weight of subjectivity, which Avedon cleverly used to his advantage. A portrait’s honesty, Avedon appears to have taught his viewers, is in the eye of the beholder. Brigitte Bardot, Hair by Alexandre, Paris Studio, (Lot 64) was shot in 1959, only a few years after the French siren burst into the forefront of American sociosexual consciousness following her star turn in the film And God Created Women. The brilliance of the image could be attributed to its effortless

framing the delicate facial features in a cascade of swaying, rippling waves. This allowed Avedon to cleverly jolt viewers out of their comfort viewing zone and shamelessly command a closer look, and consequently, awe. It is also in Marella Agnelli, New York Studio, December, 1953, (Lot 68) that through cropping and manipulation, Avedon imbued his sitter with a sense of preternatural monumentality. The world-class beauty and Neapolitan princess (née Donna Marella Caracciolo di Castegneto and later grand matriarch of the renowned Turin-based Agnelli clan), was famous for what fashion illustrator Joe Eula had termed “the most gorgeous neck in the world.” As he had done with Bardot a few years later, Avedon resisted the predictable signifiers of wealth and aristocracy—dazzling jewelry, embroidered silk sashes and illustrious interiors—and focused on the impossibly elegant silhouette of his sitter. By elongating the neck just past the point of normalcy, turning the body into a single, graphic stroke, and relying on chiaroscuro lighting, Avedon created an image that majestically captures the graceful aura of his sitter.


64


65

66

65 HORST P. HORST 1906-1999

66 HORST P. HORST 1906-1999

Male Nude I (Frontal), New York, 1952

Nails in Technicolor, New York, 1941

Gelatin silver print, printed later. 14 1/2 x 11 1/8 in. (36.8 x 28.3 cm). Signed in pencil on the

Color coupler print, printed later. 19 1/2 x 15 3/8 in. (49.5 x 39.1 cm). Signed in blue wax pencil

verso.

on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Literature Kazmaier, Horst: Sixty Years of Photography, pl. 126

Provenance Staley + Wise Gallery, New York Literature Kazmaier, Horst: Sixty Years of Photography, pl. 49 for a variant

67

67 CHRIS VON WANGENHEIM b. 1942 Selected Images, 1970s Four gelatin silver prints. Varying sizes from 9 7/8 x 7 5/8 in. (25.1 x 19.4 cm) to 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance From the Estate of Chris von Wangenheim; to Hamiltons Gallery, London; to

Josef Lebovic Gallery, Sydney; to the present Private Collection, New York


68 RICHARD AVEDON 1923-2004 Marella Agnelli, New York Studio, December, 1953 Gelatin silver print, printed 1981. 23 1/4 x 18 1/2 in. (59.1 x 47 cm). Signed, numbered in ink, copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 50.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Phillips de Pury & Company, London, 22 November 2008, lot 34 Exhibited IVAM Centre Julio González, Valencia; Fundación Centro Ordóñez-Falcón de

Fotografía-COFF, San Sebastián Literature Avedon and Capote, Observations, p. 27; Farrar-Strauss and Giroux, Avedon

Photographs 1947-1977, cover and p. 161; Harry N. Abrams, Inc., Woman in the Mirror: Richard Avedon, p. 78; International Center of Photography and The Richard Avedon Foundation, Avedon Fashion: 1944-2000, p. 131


HARRY CALLAHAN, A Love Letter to Eleanor The role of the muse has undergone multiple permutations across the Ages,

the aforementioned image taken over a decade earlier, Callahan’s seamless

as seen in Greek goddesses circumventing amphoras while dancing and

synthesis of Eleanor and nature is lovingly presented. Eleanor’s unmistakable

strumming; Renaissance courtesans posing seductively amidst sumptuous

silhouette is carved out of grass, and contrasted by the cascading blinds

settings; and modern-day beauties revered in popular music. Nonetheless,

emitting thin strips of glowing light behind. A similar relationship between

the recurring theme underlying the many manifestations has been the wealth

Eleanor and nature is further evident in Eleanor, Chicago, 1949 (Lot 80), and

of inspiration provided by the muse, sparking imagination and effortlessly

Eleanor, Chicago, 1952 (Lot 73), all revering the umbilical connection between

encouraging furtive creativity on the part of the inspired, normally an

the woman Callahan loved, and the landscapes he enjoyed photographing.

unshakable devotee who relishes at the mere sight of his or her muse. Such was the dynamic between Harry Callahan and his wife, Eleanor.

Examining the body of work in which Eleanor is dutifully portrayed, it seems that for Callahan, photographing Eleanor was a means of exploring their

In discussion of his own body of work, Callahan has noted that “it’s the

relationship, reflecting on their deep trust, respect and dignity for one

subject matter that counts. I’m interested in revealing the subject in a new

another. Eleanor is not a mere vessel to explore the camera as a device,

way to intensify it. A photo is able to capture a moment that people can’t

but on the contrary: the camera became a vessel for Callahan to depict

always see.” One could argue, therefore, that it was the search for the

the deepening of his love for his wife. In Eleanor, Chicago, 1952 (Lot 72), and

invisible moment, one which only revealed itself in the final, photographic

Eleanor, Chicago, 1956 (Lot 79), despite having her back towards the camera,

product that lead Callahan to tirelessly amass an extensive body of work of

Eleanor is still readily identifiable through the adoring eye intent on capturing

Eleanor, as exemplified by the following group of works.

the soft light, the gentle curves, and the body Callahan loved so much.

Callahan has stated that he had photographed his muse “in an endless

The strength of the images is derived from the collective narrative, for

number of ways,” while experimenting with a number of methods. Eleanor,

Callahan wanted it to stand as “…a continuous piece of life. It will show

Detroit, 1942 (Lot 69), the earliest image in the group, was taken a mere year

me as a young person and as an old man.” It is through Callahan’s images

after Callahan met Ansel Adams for the first time at the Detroit Photo Guild,

of Eleanor, in fact, that we learn as much about him as photographer and

an experience that Callahan later declared as one that had “completely

husband as we do about her as muse and wife. Accordingly, Callahan

set me free.” Adams encouraged the budding photographers to utilize the

has noted, his photography was about comprehending and exposing his

strengths of the camera: objectivity, precision and clarity in details to their

relationship “to the life within and about me.” The relationship between artist

advantage, all of which can be seen in the aforementioned image. Tonality

and muse, we see, is comprised of a balancing dyad in which the see-saw

and clarity in the double exposure of Eleanor and the weeds take precedence

dynamic propels both individuals to continuously create and inspire, evolve

over subject matter and narrative. Similarly, in Eleanor, Chicago, 1947 (Lot 77),

and perpetuate, respectively.

taken a few years after, Callahan captured an intimate juncture of Eleanor’s limbs, that, while abstractive, still preserved a natural and organic form, resembling a majestic tree in the midst of winter. The indelible connection between Eleanor and nature is also beautifully captured in Eleanor, Chicago, 1954 (Lot 71). Much like the double exposure in


69

ACTUAL SIZE

70

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

69 HARRY CALLAHAN 1912-1999

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

70 HARRY CALLAHAN 1912-1999

Eleanor, Detroit, 1942

Eleanor and Barbara, Chicago, 1953

Gelatin silver print, printed 1970s. 4 1/2 x 3 1/4 in. (11.4 x 8.3 cm). Signed in pencil in the

Gelatin silver print, printed 1970s. 7 7/8 x 9 7/8 in. (20 x 25.1 cm). Signed in pencil in the

margin.

margin.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Provenance Pace/MacGill Gallery, New York

Provenance Pace/MacGill Gallery, New York

Literature Cox, Harry Callahan: Eleanor, pl. 5; High Museum of Art, Chorus of Light:

Literature Cox, Harry Callahan: Eleanor, pl. 57 for a variant; Greenough, Harry Callahan,

Photographs from the Sir Elton John Collection, p. 67

p. 99 for a variant


71

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

71 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1954 Gelatin silver print, printed 1970s. 3 3/4 x 2 3/4 in. (9.5 x 7 cm). Signed in pencil in the margin.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 74

72

ACTUAL SIZE

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

72 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1952 Gelatin silver print, printed 1970s. 4 1/2 x 3 3/8 in. (11.4 x 8.6 cm). Signed in pencil in the margin.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Greenough, Harry Callahan, p. 75

ACTUAL SIZE

73

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

73 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1952 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 42


74

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

74 HARRY CALLAHAN 1912-1999 Eleanor, California, 1947 Gelatin silver print, printed 1970s. 4 5/8 x 3 1/4 in. (11.7 x 8.3 cm). Signed in pencil in the margin.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 10; Greenough, Harry Callahan, p. 81; LIGHT

Gallery, LIGHT, p. 21; Szarkowski, Callahan, cover and p. 57

75

ACTUAL SIZE

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

75 HARRY CALLAHAN 1912-1999 Eleanor and Barbara, Chicago, 1953 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 104

77 76

ACTUAL SIZE

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

76 HARRY CALLAHAN 1912-1999

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

77 HARRY CALLAHAN 1912-1999

Eleanor and Barbara, 1954

Eleanor, Chicago, 1947

Gelatin silver print, printed 1970s. 5 3/4 x 5 5/8 in. (14.6 x 14.3 cm). Signed in pencil in the

Gelatin silver print, printed 1970s. 4 1/2 x 2 5/8 in. (11.4 x 6.7 cm). Signed in pencil in the

margin.

margin.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $10 , 0 0 0 -15 , 0 0 0

Provenance Pace/MacGill Gallery, New York

Provenance Pace/MacGill Gallery, New York

Literature Cox, Harry Callahan: Eleanor, pl. 77; Greenough, Harry Callahan, p. 89

Literature Cox, Harry Callahan: Eleanor, pl. 16; Greenough, Harry Callahan, p. 80;

Szarkowski, Callahan, p. 61


78

ACTUAL SIZE

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

78 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1949 Gelatin silver print, printed 1970s. 3 3/8 x 4 1/2 in. (8.6 x 11.4 cm). Signed in pencil in the

79

margin.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 17

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

79 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1956 Gelatin silver print, printed 1970s. 6 7/8 x 6 3/4 in. (17.5 x 17.1 cm). Signed in pencil in the margin.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

80 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1949 Gelatin silver print, printed 1970s. 7 7/8 x 9 5/8 in. (20 x 24.4 cm). Signed in pencil in the margin; signed in pencil on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 40

80


81

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

81 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, circa 1949 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 29; Greenough, Harry Callahan, p. 83 for a

variant; Szarkowski, Callahan, p. 99 for a variant

82

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

82 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1952 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 41; Szarkowski, Callahan, p. 101

83

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

83 HARRY CALLAHAN 1912-1999 Eleanor and Barbara, Chicago, 1953 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Aperture Masters of Photography, Harry Callahan, p. 2; Cox, Harry Callahan:

Eleanor, pl. 61; Salvesen, Harry Callahan: The Photographer at Work, pl. 93; The Museum of Modern Art, Harry Callahan, p. 27

84

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

84 HARRY CALLAHAN 1912-1999 Eleanor, Chicago, 1948 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in pencil in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 19; Szarkowski, Callahan, p. 97


85

85 HARRY CALLAHAN 1912-1999 Chicago (Trees in Snow), 1950 Gelatin silver print, printed later. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed in pencil in the margin.

87

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance Acquired directly from the artist Literature Cox, Harry Callahan: Eleanor, pl. 73; Greenough, Harry Callahan, p. 62; LIGHT

Gallery, LIGHT, p. 21

86

86 HARRY CALLAHAN 1912-1999

87 JOE MUNROE

Chicago, 1950

Portrait of Eleanor and Harry Callahan, 1950s

Gelatin silver print, printed later. 7 1/4 x 11 1/8 in. (18.4 x 28.3 cm). Signed in pencil in the

Gelatin silver print. 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm). Annotated ‘Harry Callahan’ in an

margin.

unidentified hand in pencil and Joe Munroe copyright credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Literature Greenough, Harry Callahan, p. 120; Szarkowski, Callahan, p. 178

Provenance Acquired directly from the artist


88

88 RAY K. METZKER b. 1931 59 AF-1, Chicago, 1959 Gelatin silver print, printed later. 10 x 9 7/8 in. (25.4 x 25.1 cm). Signed and numbered 19/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0

89

89 RAY K. METZKER b. 1931 G4 T-38, Philadelphia, 1964 Gelatin silver print, printed 1985. 9 x 6 1/8 in. (22.9 x 15.6 cm). Signed, titled and numbered 13/20 in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 provenance Private Collection, Los Angeles Literature Metzker and Miller, Ray K. Metzker: City Stills, p. 65

90 LOUIS FAURER 1916 - 2001 Selected Images, 1946-1950 Eight gelatin silver prints, printed later. Each approximately 12 x 8 in. (30.5 x 20.3 cm). Seven signed and dated in pencil in the margin; one signed in ink in the margin; each signed and inscribed in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist

90


91

91 ANDREAS FEININGER 1906-1999 42nd Street as Viewed from Weehawken, 1940 Gelatin silver print, printed later. 10 3/8 x 13 in. (26.4 x 33 cm). Signed in ink in the margin; edition stamp on the verso. Number 34 from an edition of 50.

92

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Bonni Benrubi Gallery, New York Literature Dover Publications, Inc., Andreas Feininger: New York in the Forties, pp. 64-65

92 TED CRONER b. 1922 Taxi, New York Night, 1947 Gelatin silver print, printed 2003. 15 3/8 x 15 1/4 in. (39.1 x 38.7 cm). Signed in pencil and copyright credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist

93

93 HELEN LEVITT 1913-2009 New York City, 1940 Gelatin silver print, printed later. 10 5/8 x 7 1/2 in. (27 x 19.1 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist


94

95

96

94 HELEN LEVITT 1913-2009 New York City, 1940 Gelatin silver print, printed later. 12 1/4 x 8 1/4 in. (31.1 x 21 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist Literature Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 46; powerHouse

Books, Helen Levitt: Crosstown, p. 91; San Francisco Museum of Modern Art, Helen Levitt, pl. 6

95 HELEN LEVITT 1913-2009

96 HELEN LEVITT 1913-2009

New York, circa 1945

New York City, 1940

Gelatin silver print, printed later. 7 1/4 x 10 3/4 in. (18.4 x 27.3 cm). Signed, titled and dated in

Gelatin silver print, printed later. 7 3/8 x 10 3/4 in. (18.7 x 27.3 cm). Signed, titled and dated in

pencil on the verso.

pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature powerHouse Books, Helen Levitt: Crosstown, p. 47

Literature Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 25; powerHouse

Books, Helen Levitt: Crosstown, p. 89

97

97 LOU STOUMEN 1917-1991 Forty Years: Lou Stoumen, 1940-1979 New York: The Witkin Gallery and Los Angeles: G. Ray Hawkins Gallery, 1980-1981. Twenty gelatin silver prints. Each approximately 13 1/2 x 18 in. (34.3 x 45.7 cm) or the reverse. Each signed in ink in the margin and accompanied by a sleeve with printed title, date and description. Signed and numbered 8/50 in pencil on the Colophon. Contained in a metal portfolio case.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance David C. and Sarajean Ruttenberg Arts Foundation; Swann Auction

Galleries, 15 May 2008, lot 489

Titles include: Times Square in the Rain, New York City, 1940; Young Woman, Brooklyn, New York, 1962; The Lovers, Berkeley, California, 1969; Adobe Church, Ranchos de Taos, New Mexico, 1977; Sailors & Girl, New York City, 1940; War & Peace, St. Croix, Virgin Islands, 1943; Storm, Xalapa, Mexico, 1979; The Butcher, Naolinco, Mexico, 1979; The Barber, Naolinco, Mexico, 1979; Street Woman, Times Square, 1979; 43rd Street Off Broadway, New York City, 1978; Fantasy Car, Sausalito, California, 1978; Black Horse, Black Dog, Salida, Colorado, 1978; Dying Girl, San Juan, Puerto Rico, 1942; Black Cat Bar & Brothel, San Juan, Puerto Rico, 1942; Bomb Pin, Kunming, China, 1944; Old Man, Boy Soldier, Chengtu, China, 1944; The Taj Mahal from the Air, Agra, India, 1944; The Day FDR Died, Chester, Pennsylvania, 1945; Baby/Bed/Jesus, Los Angeles, California, 1950


98 ALFRED EISENSTAEDT 1898-1995 Farewell to Servicemen, Pennsylvania Station, New York City, 1943 Gelatin silver print, printed 1991. 17 5/8 x 13 1/2 in. (44.8 x 34.3 cm). Signed and numbered 167/250 in ink in the margin.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature O’Neil, Eisenstaedt: Remembrances, p. 62


99

100

99 MAX YAVNO 1911-1985

100 SLIM AARONS 1916-2006

Stocking Olympic Boulevard, Hollywood, 1951

Kings of Hollywood: Clark Gable, Van Heflin, Gary Cooper, James Stewart, enjoy a joke at a New

Gelatin silver print, printed later. 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm). Signed in pencil

York Party at Romanoff’s, Los Angeles, 1957

on the verso.

Gelatin silver print, printed later. 15 1/8 x 19 5/8 in. (38.4 x 49.8 cm). Signed in ink on the verso. Number 117 from an edition of 250.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Swann Auction Galleries, New York, 15 May 2008, lot 415 Provenance Private Collection, Los Angeles Literature Hearst Magazines, A Wonderful Time: Photographs by Slim Aarons, pp. 80-81

101

102

101 YOUSUF KARSH 1908-2002

102 YOUSUF KARSH 1908-2002

Gregory Peck, 1946

Boris Korloff, 1946

Gelatin silver print, printed later. 19 3/4 x 15 3/4 in. (50.2 x 40 cm). Signed in ink on the mount;

Gelatin silver print, printed later. 19 1/2 x 15 7/8 in. (49.5 x 40.3 cm). Signed in ink on the

copyright credit stamp on the reverse of the mount.

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Provenance Private Collection, California

Provenance Private Collection, California

Literature Bulfinch Press, Karsh: A Fifty-Year Retrospective, p. 171

Literature Bulfinch Press, Karsh: A Fifty-Year Retrospective, p. 176

Boris Korloff is best known for his role as Frankenstein in the film trilogy which included Frankenstein (1931), Bride of Frankenstein (1935) and Son of Frankenstein (1939).


103

103 W. EUGENE SMITH 1918-1978 Jean Pearson, 1949 Gelatin silver print. 13 1/2 x 10 3/4 in. (34.3 x 27.3 cm). Credited, titled in an unidentified hand in ink and credit stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

104 PAUL STRAND 1890-1976 Mr. Bennett, West River Valley, Vermont, 1944 Gelatin silver print, printed 1961 or earlier. 7 1/8 x 9 1/8 in. (18.1 x 23.2 cm). Printing notations in pencil on the verso; signed, titled, dated, annotated and inscribed ‘To Paolo and Franca Gasparini, With love, X-mas, 1961 from Hazel & Paul’ in ink on the reverse of the paper flush-mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Provenance Collection of Larry Snider; The Halsted Gallery, Michigan; to the present

Private Collection, California Literature Aperture, Paul Strand: Sixty Years of Photographs, p. 88; Aperture, Paul

Strand—A Retrospective Monograph: The Years 1915-1946, p. 152; Galerie Zur Stockeregg, Paul Strand, p. 132; Strand, Time in New England, p. 164

104

105

105 ANSEL ADAMS 1902-1984 Orchard, Early Spring, Near Stanford University, California, circa 1940 Gelatin silver print from Portfolio Four: What Majestic Word, printed 1963. 10 x 12 5/8 in. (25.4 x 32.1 cm). Signed in pencil on the mount; numbered ‘162’ in an unidentified hand in ink and portfolio credit reproduction limitation stamp on a label affixed to the reverse of the mount. Number 162 from an edition of 260.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Andrew Smith Gallery, Santa Fe Literature Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 48; Little, Brown &

Company, The Portfolios of Ansel Adams, pl. 11


106

106 ANSEL ADAMS 1902-1984 Redwoods, Bull Creek Flat, Northern California, 1960 Gelatin silver print, printed 1970s. 15 1/2 x 18 3/4 in. (39.4 x 47.6 cm). Signed in pencil on the mount; titled, dated in an unidentified hand in pencil and Carmel credit stamp on the reverse of the mount.

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 72; Little, Brown &

Company, The Portfolios of Ansel Adams, pl. 10, there titled Nothern California Coast Redwoods

107 ANSEL ADAMS 1902-1984 Winter Sunrise, Sierra Nevada from Long Pine, California, 1944 Gelatin silver print, printed 1980. 15 x 19 5/8 in. (38.1 x 49.8 cm). Signed in pencil on the mount; titled, dated in an unidentified hand in ink and Carmel credit stamp on the reverse of the mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Christie’s, New York, 28 October 1987, lot 16 Literature Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 38

107

108

109

108 KOYO OKADA 1895-1972

109 KOYO OKADA 1895-1972

Mount Fuji, circa 1950

Winter Landscape, circa 1950

Gelatin silver print. 17 7/8 x 22 in. (45.4 x 55.9 cm). Signed in Japanese in ink on the recto.

Gelatin silver print. 8 3/8 x 11 3/8 in. (21.3 x 28.9 cm). Signed in Japanese in ink on the recto.

Accompanied by the publication Koyo Okada: Mt. Fuji.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0


110 ANSEL ADAMS 1902-1984 Portfolio One: Twelve Photographic Prints San Francisco: Self-published, 1948. Twelve gelatin silver prints. Varying sizes from 4 3/4 x 6 1/2 in. (12.1 x 16.5 cm) to 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) or the reverse. Each signed by the

of recording. Hence, they exemplify the manner in which light can affect a given feature—from something as minute as a fern leaf to something as grandiose as a rugged mountain range—and accordingly change

artist and sequentially numbered 1-12 in an unidentified hand in pencil on the mount; each

its appearance, texture, and consequentially, the viewers’ reaction. Put

numbered ‘37’, sequentially numbered 1-12 in an unidentified hand in ink and portfolio

differently, in Adams’s lens, the geographical feature is a vessel to showcase

credit reproduction limitation stamp on the reverse of the mount. Number 37 from an

the power and beauty of light, in all of its tonal range and endless gradations.

edition of 75. Colophon. Title Page. Signed introduction. Contained in a folio case with

As a result, the images are continuously infused with a magical, ethereal

printed credit, title and date.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance The Annex Galleries, Santa Rosa Literature Alinder & Szarkowski, Ansel Adams: Classic Images, pls. 20, 45, 53 and 54;

feel, interlinked through the evocation of an emotional reaction to, as well as a literal reading of the subject matter. In Portfolio One: Twelve Photographic Prints, 1948, (Lot 110), a Saguaro Cactus

Little, Brown & Company, The Portfolios of Ansel Adams, cover and pls. 1-12; Szarkowski, Ansel

in Arizona is depicted with the same regal monumentality as Mount McKinley

Adams at 100, pls. 53, 69, 109 and 110

in Alaska; a Mormon temple in Utah towers as elegantly as a snow-covered Oak tree in Yosemite; and a bundle of snaking roots in Honolulu appear

Titles include: Mount McKinley, Alaska, 1948; Saguaro Cactus, Sunrise, Arizona,

as fluid as the rippling waves at Refugio Beach in California. Through

1946; The White Church, Hornitos, California, 1946; Mormon Temple, Manti,

his mastery of light’s complexities, the twelve images are leveled and

Utah, 1948; Refugio Beach, California, 1946; Rapids Below Vernal Fall, Yosemite

interconnected, transcending their own materiality, reflecting Adams’s

Valley, 1948; Vine and Rock, Island of Hawaii, T.H., 1948; Oak Tree, Snow Storm,

mantra that “A true photograph need not be explained, nor can be explained

Yosemite, 1948; Roots, Foster Gardens, Honolulu, T.H., 1948; Trailside, Near

in words.”

Juneau, Alaska, 1948; Alfred Stieglitz, An American Place, New York, 1938; Clouds Above Golden Canyon, Death Valley, California, 1946

Similarly, in Portfolio Three: Yosemite Valley, 1960, (Lot 142), the Monolith of Half Dome is invigorated with the same rush and thunderous energy as the Lower Yosemite Fall; the intimate view of the branches in snow is as

Common interpretations of Ansel Adams’s photographs normally result

wondrous as the imposing cloud hovering over Half Dome; and the Dogwood

in his being labeled as a “Landscape Photographer.” While true at first

Blossoms appear to flutter above the ground as whimsically as the bubbling

impression, the skill and style that Adams had dutifully developed and

foam in Water and Foam. The sixteen images speak of a cohesive narrative

personalized merits a second glance, one that carefully considers not only

that is greater than the views of Yosemite Valley, one that speaks of a poetic,

the geographical context, but the artistic context in which the images were

lyrical existence as much as a physical one. Of this portfolio, Adams has

taken, or in other words, the images’ existence at the nexus of topography

stated “This collection is, in a way, a personal autobiography in photographic

and photography. That the images are reverential of nature, basking in

images, the selection of which is based on emotional impulse and personal

its glory and miraculous awe, is undeniable. However, as importantly, the

experience rather than an intellectual or historical judgment.” And clearly,

images are not intended for geological, cartographical or meteorological

one that has been liberated from geographical or chronological associations.

purposes, and if for no other reason then for exceeding the standard function


111

111 ERWIN BLUMENFELD 1897-1969 Nude, circa 1950 Solarized gelatin silver print. 17 1/2 x 12 3/8 in. (44.5 x 31.4 cm). Estate credit stamp on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Ewing, Blumenfeld: Photographs: A Passion for Beauty, pl. 175

112

112 LUCIEN CLERGUE b. 1934 Nude Study (breast and thigh), 1964 Gelatin silver print. 23 1/4 x 17 3/4 in. (59.1 x 45.1 cm). Signed in ink on the recto; titled and dated in ink on the reverse of the flush-mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Swann Auction Galleries, New York, 15 May 2008, lot 469

113

113 BILL BRANDT 1904-1983 Nude, London, 1956 Gelatin silver print, printed circa 1970. 13 1/2 x 11 3/8 in. (34.3 x 28.9 cm). Signed in ink on the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0


114

115

114 FREDERICK SOMMER 1905-1999

115 IMOGEN CUNNINGHAM 1883-1976

Certitude, 1942

Nude, 1932

Gelatin silver print. 7 5/8 x 9 3/4 in. (19.4 x 24.8 cm). Signed, titled, dated by the artist in pencil

Gelatin silver print, printed later. 6 7/8 x 8 7/8 in. (17.5 x 22.5 cm). Credit label affixed to the

and annotated ‘vintage print’ in an unidentified hand in pencil on the verso.

reverse of the mount.

Estimate $10 , 0 0 0 -15 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0

Provenance Andrew Smith Gallery, Santa Fe

Provenance From the artist; to Herbert Matter; to the present Private Collection,

Burlington


RUTH BERNHARD: Photographs Peter C. Bunnell

Of her relationship with the human form, Bernhard said: “I work very hard

Professor of the History of Photography Emeritus

at organizing. When I work with a model, I am a sculptor. I work to simplify. I

Princeton University

want to create power and simplicity. [For instance, as in the 1967, Perspective II, Lot 130.] That’s what’s important to me. And I want to perfect the image.”

Light is my inspiration. My photographic images search for dimensions that words cannot touch—the result of intense responses to personal experiences. I do not

Critical opinion has established Bernhard as one of the foremost interpreters

wish to “record,” but rather to touch upon the illusive meanings which I perceive

of human figure. Her photographs of the female body range from sculptural

and try to comprehend in this limitless universe.

rendition of the human form to abstractions that recast the body into Ruth Bernhard

elegant landscapes, like Sand Dune of 1967 (Lot 118), to multiple images of women and the natural world with which Bernhard felt we are all intimately

Born in Berlin in 1905, Ruth Bernhard left her studies at the Berlin Academy

connected: “It is my aim to transform the complexities of the figure into

of Art in 1927 to join her father, Lucian, a graphic artist and designer, in New

harmonies of simplified form revealing the innate reality, the life force, the

York. Two years later, she began her career as an advertising and illustration

spirit, the inherent symbolism.”

photographer, working for architects, designers, and artists, some of whom were friends or associates of her father. A stunning example from 1930,

These pictures are not political statements, but reverential and awe-inspiring

Lifesavers (Lot 123), reveals the dynamic Deco play of light and shade, and her

in intent and effect. What she called “the eternal body” is the body sacred, a

mastery of formal design.

communication with the spiritual. For Bernhard, Eros and art were the same. In the nudes, as in all of her works, she believed that she had a relationship

During a trip to California in 1935, a chance meeting with the photographer

with objects—a holy relationship—that enabled them to speak through the

Edward Weston, who was unknown to her, first inspired Bernhard to pursue

language of the eye as it is stimulated by her photographs. In this sense,

photography as an expressive medium and stay in California for the next

through the things in her pictures, she communicated the unseen, with

three years. In 1939 Bernhard moved back to New York in pursuit of work, but

the goal being to bridge the seeming emptiness between the material and

found herself returning to California in 1948, and settling in San Francisco

the invisible. She saw the nude as not exceptional in her work or vision,

in 1953. It was a heady period for photography in that city; the Westons

but as part of the greater whole of what for her was a spiritual realm. “The

(Edward, her mentor, and his son, Brett), Ansel Adams, Minor White,

nude [such as Double Vision of 1973, Lot 136] represents to me the same

Dorothea Lange, Don Worth, Larry Colwell, Imogen Cunningham, Wynn

universal innocence, timelessness and purity as do all seed pods, suggesting

Bullock, and several others were all working in the Bay Area and Northern

the mother as well as the child, the parental as well as the descendents,

California. With her carefully considered still-life “portraits” of shells, leaves,

conceived according to nature’s longing.”

and everyday found objects and especially her lyrical images of nudes, Bernhard established herself as a key figure in West Coast photography.

One could sense the most intimate glimpse of this wonderfully cheerful

She was one of the few photographers of the post-World War II era whose

and exuberant woman in her comments on teaching and challenge to her

work and activity shaped the vision of the artist-photographer—an attitude

students: “Fall in love. Every day. With everything. With life. If you can fall in

about the poetics of depiction that matured in the nurturing avant-garde

love, you can be a photographer. I think that is absolutely essential.”

atmosphere of San Francisco after the war. Utilizing subtleties of light and shadow, she transformed the simplest objects into resonant, sensual almost

Bernhard remarked that her goal in photography, as revealed perhaps in

fairytale-like representations, as in Two Leaves of 1952 (Lot 127). By the late

the image In the Box (Horizontal) of 1962 (Lot 125) was always to express her

1950’s Bernhard had begun teaching private classes in her studio and giving

reverence for the universal order. “As I see it, life and death are two words for

workshops such as Classic Figure Photography, Problems of Posing and

the same thing; all components of the living order. To be a creative person is

Lighting the Figure, The Art of Feeling, and she became one of the most

a significant privilege as well as a great responsibility.”

highly acclaimed teachers of photography. Ruth Bernhard died in 2006 at the age of 101. Bernhard’s meeting with Weston most strongly changed her view about photography and its potential. “It isn’t that I was interested in photographing

Edited and excerpted by the author, Peter C. Bunnell from Ruth Bernhard:

the way Weston photographed,” she had noted. “That didn’t interest me

Photographs, exhibition brochure, Princeton University Art Museum, 1996.

at all. I enjoyed his philosophy—his attitude—the purity of his seeing. And

Copyright © Trustees of Princeton University.

I understood that this was really what I was trying to do, without being aware of it. That’s why I continued being a photographer. … We shared

On Ruth Berhard’s passing her archive was deeded to Princeton University,

something—photography was considered universal … it was not a cold,

who plan future publications and exhibitions. The present group of

mechanical process.” In 1952, in the iconic Classic Torso (Lot 134), Weston’s

photographs was individually acquired over a 20-year period by a close

pictorial influence was nonetheless fully absorbed and made manifest in her

colleague and friend of the artist. Ms Bernhard personally selected the prints

own way.

as prime examples of these images.


116

116 RUTH BERNHARD 1905-2006 Folding, 1962 Selenium-toned gelatin silver print, printed later. 10 5/8 x 13 5/8 in. (27 x 34.6 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 21

117

117 RUTH BERNHARD 1905-2006 Classic Torso with Hands, 1952 Selenium-toned gelatin silver print, printed later. 13 1/2 x 10 in. (34.3 x 25.4 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Mitchell, Ruth Bernhard: Between Art & Life, p. 100


118

118 RUTH BERNHARD 1905-2006

119

Sand Dune, 1967 Selenium-toned gelatin silver print, printed later. 6 1/2 x 13 5/8 in. (16.5 x 34.6 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 27

120

119 RUTH BERNHARD 1905-2006 Angles, 1969 Selenium-toned gelatin silver print, printed later. 10 1/2 x 13 1/2 in. (26.7 x 34.3 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 34

120 RUTH BERNHARD 1905-2006 Crossover, 1969 Selenium-toned gelatin silver print, printed later. 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 33


121

122

121 RUTH BERNHARD 1905-2006 Within, 1969 Selenium-toned gelatin silver print, printed later. 13 1/8 x 9 3/4 in. (33.3 x 24.8 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

123

Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 37; Mitchell, Ruth

Bernhard: Between Art & Life, p. 10

122 RUTH BERNHARD 1905-2006 In the Box (Vertical), 1963 Selenium-toned gelatin silver print, printed later. 13 5/8 x 8 1/8 in. (34.6 x 20.6 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 20; Mitchell, Ruth

Bernhard: Between Art & Life, p. 103

124

123 RUTH BERNHARD 1905-2006 Lifesavers, 1930 Selenium-toned gelatin silver print, printed later. 7 1/4 x 9 1/8 in. (18.4 x 23.2 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist Literature Mitchell, Ruth Bernhard: Between Art & Life, inside front cover and p. 56; Woodrose

Publishing/Center for Photographic Art, Ruth Bernhard: Gift of the Commonplace, pl. 17

124 RUTH BERNHARD 1905-2006 Draped Torso, 1962 Selenium-toned gelatin silver print, printed later. 12 3/4 x 8 1/4 in. (32.4 x 21 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 17; Mitchell, Ruth

Bernhard: Between Art & Life, p. 85


125 RUTH BERNHARD 1905-2006 In the Box (Horizontal), 1962 Selenium-toned gelatin silver print, printed later. 10 5/8 x 19 1/4 in. (27 x 48.9 cm). Signed in pencil in the margin; signed, titled and dated in pencil on the verso.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, back cover and pl. 19;

Mitchell, Ruth Bernhard: Between Art & Life, p. 104


127

126

126 RUTH BERNHARD 1905-2006

127 RUTH BERNHARD 1905-2006

Knees and Arms, 1976

Two Leaves, 1952

Selenium-toned gelatin silver print, printed later. 7 3/4 x 9 in. (19.7 x 22.9 cm). Signed in

Selenium-toned gelatin silver print, printed later. 13 5/8 x 10 5/8 in. (34.6 x 27 cm). Signed

pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 50

Literature Mitchell, Ruth Bernhard: Between Art & Life, p. 103; Woodrose Publishing/

Center for Photographic Art, Ruth Bernhard: Gift of the Commonplace, pl. 21

129

128

128 RUTH BERNHARD 1905-2006

129 RUTH BERNHARD 1905-2006

Puppet Hand and Foot, Hollywood, California, 1938

Hourglass, 1971

Selenium-toned gelatin silver print, printed later. 6 3/8 x 9 1/4 in. (16.2 x 23.5 cm). Signed

Selenium-toned gelatin silver print, printed later. 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm). Signed

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 39


130

130 RUTH BERNHARD 1905-2006 Perspective II, 1967 Selenium-toned gelatin silver print, printed later. 7 7/8 x 13 3/8 in. (20 x 34 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist

132

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, cover and pl. 26; Mitchell,

Ruth Bernhard: Between Art & Life, p. 89

131

131 RUTH BERNHARD 1905-2006

132 RUTH BERNHARD 1905-2006

Symbiosis, 1971

Luminous Body, 1962

Selenium-toned gelatin silver print, printed later. 13 5/8 x 8 3/8 in. (34.6 x 21.3 cm). Signed

Selenium-toned gelatin silver print, printed later. 13 5/8 x 6 3/8 in. (34.6 x 16.2 cm). Signed

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 42

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 22


133

133 RUTH BERNHARD 1905-2006 Spanish Dancer, 1971 Selenium-toned gelatin silver print, printed later. 8 x 13 1/2 in. (20.3 x 34.3 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 41

134

134 RUTH BERNHARD 1905-2006 Classic Torso, 1952 Selenium-toned gelatin silver print, printed later. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 12; Mitchell, Ruth

Bernhard: Between Art & Life, p. 64


135

135 RUTH BERNHARD 1905-2006 Hips Horizontal, 1975 Selenium-toned gelatin silver print, printed later. 10 5/8 x 13 3/8 in. (27 x 34 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 49; Mitchell, Ruth

Bernhard: Between Art & Life, p. 143

136

137

136 RUTH BERNHARD 1905-2006 Double Vision, 1973 Selenium-toned gelatin silver print, printed later. 7 3/4 x 13 1/2 in. (19.7 x 34.3 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 47

137 RUTH BERNHARD 1905-2006 Rice Paper, 1969 Selenium-toned gelatin silver print, printed later. 13 5/8 x 10 1/4 in. (34.6 x 26 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 36


138

139

138 RUTH BERNHARD 1905-2006

139 RUTH BERNHARD 1905-2006

Triangles, 1946

Angelwing, 1943

Selenium-toned gelatin silver print, printed later. 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm). Signed

Selenium-toned gelatin silver print, printed later. 13 5/8 x 10 1/2 in. (34.6 x 26.7 cm). Signed

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 6; Mitchell, Ruth

Literature Woodrose Publishing/ Center for Photographic Art, Ruth Bernhard: Gift of the

Bernhard: Between Art & Life, p. 13

Commonplace, pl. 24

140

141

140 RUTH BERNHARD 1905-2006

141 RUTH BERNHARD 1905-2006

Victorian House, San Francisco, 1963

Eighth Street Movie Theater, Frederick Kiesler, Architect, 1946

Selenium-toned gelatin silver print, printed later. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm). Signed

Selenium-toned gelatin silver print, printed later. 9 7/8 x 13 3/8 in. (25.1 x 34 cm). Signed

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Mitchell, Ruth Bernhard: Between Art & Life, p. 140

Literature Mitchell, Ruth Bernhard: Between Art & Life, p. 56


142 ANSEL ADAMS 1902-1984 Portfolio Three: Yosemite Valley San Francisco: Sierra Club, 1960. Sixteen gelatin silver prints. Varying sizes from 6 5/8 x 7 1/8 in. (16.8 x 18.1 cm) to 8 3/4 x 11 1/8 in. (22.2 x 28.3 cm) or the reverse. Each signed by the artist and sequentially numbered 1-16 in an unidentified hand in ink on the mount; each numbered ‘185’, sequentially numbered 1-16 in an unidentified hand in ink and portfolio credit reproduction limitation stamp on the reverse of the mount. Number 185 from an edition of 208. Colophon. Title page. Introduction. Contained in a folio case with embossed credit, title and date.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Weston Gallery, Carmel Literature Alinder & Szarkowski, Ansel Adams: Classic Images, pls. 2, 12, 13, 24 and 46;

Little, Brown & Company, The Portfolios of Ansel Adams, pls. 1-16; Szarkowski, Ansel Adams at 100, pls. 12, 89 and 103

Titles include: Rushing Water, Merced River, circa 1955; Merced River, Cliffs of Cathedral Rocks, Autumn, 1939; Bridal Veil Fall, 1927; Nevada Fall, Rainbow, circa 1947; Lower Yosemite Fall, 1959; Monolith, The Face of the Half Dome, 1927; Half Dome, Thunder Cloud, circa 1956; El Capitan, Sunrise, 1952; Trees and Cliffs, 1954; Trees and Snow, 1933; Branches in Snow, 1932; Tenaya Creek, Spring Rain, 1948; Dogwood Blossoms, 1938; Winter Storm, 1938; Grass and Pool, circa 1935; Water and Foam, 1955


143 DOROTHEA LANGE 1895-1965 The General Strike, Policeman, San Francisco, 1934 Gelatin silver print. 9 3/4 x 7 1/4 in. (24.8 x 18.4 cm). Annotated ‘Photograph by Dorothea Lange from the collection of her son, Daniel Dixon’ in an unidentified hand in pencil on the verso.

with the underprivileged. In fact, still working as a studio portraitist —a rare if profitable commodity at that time—Lange candidly expressed an absence of intention in regards to the photographs taken outside the studio walls. Gradually, however, Lange’s passion transitioned from catering to the few unscathed by the economic turmoil to the masses afflicted by the

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

disastrous aftershock of the Great Depression, documenting homeless

Provenance Edwynn Houk Gallery, Chicago

drifters, infinitesimal bread lines, forlorn children, destitute migrants, and as

Literature Aperture, Dorothea Lange: Photographs of a Lifetime, p. 47; Borhan, Dorothea

we see in Lot 143, labor strikes. The General Strike, Policeman, San Francisco,

Lange: The Heart and Mind of a Photographer, p. 79 there titled Street Demonstration, Chinatown,

was taken when Lange accompanied the economist (and second husband-

San Francisco, California; Davis, The Photographs of Dorothea Lange, p. 23 there titled and dated Street Demonstration, San Francisco, 1933; Heyman, Phillips and Szarkowski, Dorothea

to-be) Paul Taylor during his coverage of the strike for the social welfare

Lange: American Photographs, pl. 10; Keller, Dorothea Lange: Photographs from The J. Paul

journal Survey Graphic. Tragically, the strike ended with the death of one

Getty Museum, pl. 6; Van Dyke, The Photographs of Dorothea Lange: A Critical Analysis, p.

striker on July 5, 1934, in what came to be termed as “Bloody Thursday.” That

463; Meltzer, Dorothea Lange: A Photographer’s Life, p. 116; Ohru, Dorothea Lange and the Documentary Tradition, n.p.; Partridge, Restless Spirit: The Life and Work of Dorothea Lange, p. 45

year marked Lange’s complete departure from exclusive studio portraits in an effort to devote herself to channeling the quandary of the masses in her photographs.

From an early age, Dorothea Lange developed an acute awareness of being an outsider, be it for her polio-inflicted limp, or for being one of a handful of

The General Strike, Policeman, San Francisco, could be read as an over-

non-Jews in an all-Jewish school. Perhaps it was for that reason that Lange

layering of two diametrically opposed plains: the background, comprised of

became interested in observing those whose lifestyle did not conform to

a dense mob of strikers angrily waving signs that block view of the building

the status quo. Accordingly, her photographic style evolved from the staged

behind and stretch past the frame of the photograph, indicating their lack

confines of studio portraiture to the spontaneous energy of street photography,

of controllability. And conversely, the foreground, occupied by a lone,

and eventually, to the social documentarian work that crystallized her status

composed officer who appears to float in near-complete detachment from

as one of the greatest photographers of pre-War America, most notably during

the scene behind him, anchored into the photograph’s edge only by his left

the Great Depression under the Farm Security Administration.

foot. Each plain would have accorded the turmoil of the era with due respect, but together they provide one of the strongest testaments of a time defined

The decision to photograph the homeless, the hungry and the needy during

by the ever-swelling gap between the restless agitation of the people and the

the 1930’s was embedded in compassion and a humane desire to connect

helpless stance of the authorities.


144

145

144 DOROTHEA LANGE 1895-1965

145 LEWIS WICKES HINE 1874-1940

Social Security Beginnings, 1937

Pittsburgh steel plants at night, circa 1910

Gelatin silver print. 7 1/4 x 9 1/4 in. (18.4 x 23.5 cm). Credit stamp on the verso.

Oversized sepia toned print, printed 1930s. 12 3/4 x 18 1/4 in. (32.4 x 46.4 cm). Titled and

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

annotated in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Edwynn Houk Gallery, New York; to the present Private Collection, New York Provenance Howard Greenberg Gallery, New York Literature Bluhm, White and Clinton, The Photograph and the American Dream, p. 85


146

147

146 WALKER EVANS 1903-1975

147 WALKER EVANS 1903-1975

Country Store, Vicinity Moundville, Alabama, 1936

Home of Floyd Burroughs, A Cotton Sharecropper, Hale County, Alabama, Summer, 1936

Gelatin silver print, printed circa 1950. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Resettlement

Gelatin silver print, printed later. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm).

Administration’s number ‘RA-8159-A’ in the negative; Lunn Archive credit stamp on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance Acquired from a Private Midwest Collection Literature Bluhm, White and Clinton, The Photograph and the American Dream, p. 118; Da

Capo Press, Walker Evans: Photographs for the Farm Security Administration 1935-1938, pl. 242

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Da Capo Press, Walker Evans: Photographs for the Farm Security Administration

1935-1938, pl. 248


148

149

148 WALKER EVANS 1903-1975

149 WALKER EVANS 1903-1975

Parked Car, Small Town, Main Street, 1932

Roadside Gas Sign, Truro, Massachusetts, 1929

Gelatin silver print from Walker Evans: Selected Photographs, printed 1974. 6 1/2 x 9 3/4 in.

Gelatin silver print, printed later. 4 3/4 x 6 3/4 in. (12.1 x 17.1 cm). Lunn Archive credit stamp

(16.5 x 24.8 cm). Signed and numbered 7/75 in pencil on the mount.

on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Literature Dexter and Weski, Cruel and Tender: The Real in the Twentieth Century

Literature Dexter and Weski, Cruel and Tender: The Real in the Twentieth Century

Photograph, p. 129; Mora & Hill, Walker Evans: The Hungry Eye, p. 45; Scalo, Unclassified: A

Photograph, p. 128; Metropolitan Museum of Art, Walker Evans, pl. 22; Mora & Hill, Walker

Walker Evans Anthology, n.p.; The Metropolitan Museum of Art, Walker Evans, pl. 16

Evans: The Hungry Eye, p. 26

150

151

150 BERENICE ABBOTT 1898-1991

151 BERENICE ABBOTT 1898-1991

Under the El at the Battery, New York, 1936

Fifth Avenue Houses, nos. 4,6, 8, New York, 1936

Gelatin silver print, printed 1970s. 10 3/8 x 13 3/8 in. (26.4 x 34 cm). Signed in pencil on the

Gelatin silver print, printed 1980s. 10 3/8 x 13 1/4 in. (26.4 x 33.7 cm). Signed in pencil on the

mount; credit stamp on the reverse of the mount.

mount; credit stamp on the reverse of the mount.

Estimate $1, 8 0 0 - 2 , 2 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Literature Commerce Graphics Ltd, Inc., Berenice Abbott, n.p.

Provenance Swann Auction Galleries, New York, 22 May 2007, lot 326 Literature Commerce Graphics Ltd, Inc., Berenice Abbott, n.p.; O’Neal, Berenice Abbott:

American Photographs, p. 108; Yochelson, Berenice Abbott: Changing New York, pl. 42


152

152 GEORGE HOYNINGEN-HUENE 1900-1968 Horst Torso, Paris, 1931 Gelatin silver print, printed later by Horst P. Horst. 7 1/4 x 9 3/8 in. (18.4 x 23.8 cm). Hoyningen-Huene/Horst blindstamp credit in the margin; signed and annotated ‘from the collection of Horst’ by Horst P. Horst in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist

153

153 GEORGE HOYNINGEN-HUENE 1900-1968 Miss Nicole, Evening Dress by Schiaparelli, 1934 Platinum-palladium print, printed later by Horst P. Horst. 9 3/8 x 6 7/8 in. (23.8 x 17.5 cm). Hoyningen-Huene/Horst blindstamp credit in the margin; signed and annotated ‘from the collection of Horst’ by Horst P. Horst in pencil on the verso; titled, dated and annotated ‘only four signed platinum prints from this negative’ in an unidentified hand in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist

154

154 HORST P. HORST 1906-1999 The Bust of Queen Nefertiti, Paris, 1939 Platinum-palladium print, printed later. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed in pencil in the margin; signed in pencil on the verso. Number 8 from an edition of 25.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Staley + Wise Gallery, New York

155

155 HORST P. HORST 1906-1999 Classical Greek Statue, Paris, 1932 Platinum-palladium print, printed later. 8 x 5 7/8 in. (20.3 x 14.9 cm). Signed in pencil in the margin; signed in pencil on the verso. Number 8 from an edition of 25.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Staley + Wise Gallery, New York


156

156 GEORGE HOYNINGEN-HUENE 1900-1968 Bathing Fashion, Paris, 1930 Platinum-palladium print, printed later by Horst P. Horst. 9 7/8 x 7 5/8 in. (25.1 x 19.4 cm). Hoyningen-Huene/Horst blindstamp credit in the margin; signed and annotated ‘from the collection of Horst’ by Horst P. Horst in pencil on the verso; titled, dated and annotated ‘only four approved and signed platinum prints from this negative’ in an unidentified hand in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist

157

157 GEORGE HOYNINGEN-HUENE 1900-1968 Toto Koopman, Evening Dress by Augustabernard, Paris, 1933 Platinum-palladium print, printed later by Horst P. Horst. 9 5/8 x 7 in. (24.4 x 17.8 cm). Hoyningen-Huene/Horst blindstamp credit in the margin; signed and annotated ‘from the collection of Horst’ by Horst P. Horst in pencil on the verso; titled and dated in an unidentified hand in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist

158

158 EDWARD STEICHEN 1879-1973 The Photographer’s Favorite Model, Marion Moorehouse in a Cheruit Gown, New York, 1927 Gelatin silver print, printed circa 1960. 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm). Annotated in an unidentified hand in pencil on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance From the Collection of Joanna Steichen; to the present

Private Collection Literature Doubleday, Steichen: A Life in Photography, pl. 104, there titled

Cheruit Gown (Marion Moorehouse – Mrs. e.e. Cummings), New York, Photographed for Vogue; Hall-Duncan, The History of Fashion Photography, p. 54; Harrison, Appearances: Fashion Photography Since 1945, p. 47; Photo Poche, Edward Steichen, pl. 39; Steichen, Steichen’s Legacy: Photographs 1895-1973, pl. 97; Vogue, 1 May 1927


Actual size

159 EDWARD STEICHEN 1879-1973 Foxgloves, France, 1926 Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19 cm). Annotated in an unidentified hand in ink, pencil and copyright credit stamps on the verso.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Christie’s, New York, 5 October 1999, lot 166 Literature Doubleday, Edward Steichen: A Life in Photography, pl. 80; Steichen, Steichen’s

Legacy: Photographs 1895-1973, pl. 290


160

161

160 TINA MODOTTI 1896-1942

161 DR. DAIN L. TASKER 1872-1964

Calla Lily, 1924-1926

Dance of the Daffodils, 1933

Platinum print, printed 1990-1991 by Ava Vargas. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm). One from an

Silver-bromide contact print. 11 1/2 x 9 1/4 in. (29.2 x 23.5 cm). Signed, titled and dated in

edition of 20 plus printer’s proof.

pencil on the mount.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Literature Hooks, Tina Modotti: Radical Photographer, p. 101; Lowe, Tina Modotti

Provenance From the collection of a Tasker descendant

Photographs, pl. 23

162 EDWARD WESTON 1886-1958

163 TINA MODOTTI 1896-1942

Nude, 1920

Experiment in Related Form or Glasses, circa 1924

Gelatin silver print, printed later by Cole Weston. 7 1/4 x 9 in. (18.4 x 22.9 cm). Signed by Cole

Platinum print, printed 1992 by Ava Vargas. 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm). Signed and

Weston in pencil and Edward Weston credit stamp on the reverse of the mount.

annotated ‘AP’ by Ava Vargas, printer, in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Hooks, Tina Modotti, pl. 6; Hooks, Tina Modotti: Radical Photographer, p. 107;

Provenance Swann Auction Galleries, New York, 15 October 2007, lot 65

Lowe, Tina Modotti Photographs, pl. 25

162

163


164

164 FLORENCE HENRI 1893-1982 La Lune Macaroni, 1929 Gelatin silver print. 14 7/8 x 11 in. (37.8 x 27.9 cm). Annotated ‘Photo Florence Henri, Reklamephoto (Maccaroni)’ in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Phillips International Auctioneers and Appraisers, New York, The Verneuil

Collection: Photographs from Paris 1928-1935, 6 April 1998, lot 22 Literature DuPont, Florence Henri – Artist Photographer of the Avant Garde, p. 32

In 1929, famed French photographer Florence Henri was commissioned to produce a series of advertising photographs for the company La Lune Pasta, a body of work that still stands as the most extensive series of product photographs by Henri to survive. These commercial photographs showcase the success of modern advertising in transitioning from a more simplified and direct illustration to a more Formalist abstraction that presents the product in unconventional ways.

165

165 ALFRED STIEGLITZ 1864-19446 Miss S. R., 1904 Photogravure. 18 1/2 x 11 3/8 in. (47 x 28.9 cm).

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 Literature Camera Work 12, 1905; Camera Work 41, 1913; Greenough, Alfred Stieglitz:

Volume I, 1886-1922, pp. 182-183

In contrast to some of the editorial and commercial work completed by his contemporaries, Alfred Steiglitz’s portraits were rarely commissioned and mostly of friends and family, like that of the mysterious Miss S.R., believed to be Sophie Raab. The sitter’s image, shown comfortable and at ease in front of the camera, graced the pages of Camera Work in both October 1905 and January 1913. Additionally, the worked offered in the present lot is believed to be unique in this size as a photogravure.

166 LEE MILLER 1907-1977 Picnic: Nusch and Paul Eluard, Roland Penrose, Man Ray and Ady Fidelin, Île Sainte-Marguerite, Cannes, Frances, 1937 Gelatin silver print, printed later. 9 5/8 x 9 3/4 in. (24.4 x 24.8 cm). Stamped ‘Lee MillerArchival print from the Lee Miller Archives’, signed, dated and numbered 5/100 by Antony Penrose, the photographer’s son, in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Haworth-Booth, The Art of Lee Miller, pl. 126

167 ANDRÉ KERTÉSZ 1894-1985 Chagall Family, Paris, 1933 Gelatin silver print, printed 1970s. 7 3/4 x 9 3/4 in. (19.7 x 24.8 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance David C. and Savajean Ruttenberg Arts Foundation; Swann Auction

Galleries, New York, 15 May 2008, lot 319 Literature Ducrot, André Kertész: Sixty Years of Photography, p. 91; Huyghe, André Kertész:

166

Photographier p. 65

167


168

169

169 MARTIN MUNKACSI 1896-1963

168 MARTIN MUNKACSI 1896-1963 Woman on Boat, 1930s

Synchronized Swimmers, Europe, 1922-1933

Gelatin silver print, printed later. 10 x 9 7/8 in. (25.4 x 25.1 cm). Signed in pencil and ‘Toni

Gelatin silver print, printed 1994. 11 x 8 3/4 in. (27.9 x 22.2 cm). Signed, titled, dated,

Frissell’ archive stamp on the verso.

numbered 3/40 in pencil and copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

170

171

170 CLARENCE WHITE 1871-1925

171 BRASSAÏ 1899–1984

Seated Nude en plein air, 1919

La Toilette, Rue Quincampoix, 1932

Platinum print. 9 3/8 x 7 1/8 in. (23.8 x 18.1 cm). Signed in pencil on the mount.

Gelatin silver print, printed 1970s. 8 3/8 x 11 3/8 in. (21.3 x 28.9 cm). Signed in ink, titled in

Estimate $ 5 , 0 0 0 -7, 0 0 0

pencil and copyright credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Museum of Modern Art, New York; Swann Auction Galleries, New York, 15

May 2008, lot 299

Provenance Yancey Richardson Gallery, New York Literature Thames and Hudson, Brassaï: The Secret Paris of the 30s, n.p.


172

173

172 PAUL OUTERBRIDGE JR. 1896-1958

173 ANDRÉ KERTÉSZ 1894-1985

Self-Portrait, circa 1937

Carrefour Blois, 1930

Unique gelatin silver print. 13 5/8 x 10 7/8 in. (34.6 x 27.6 cm). Estate of Paul Outerbridge

Gelatin silver print, printed later. 14 1/2 x 19 5/8 in. (36.8 x 49.8 cm). Signed and dated in

stamp on the reverse of the mount.

pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance The Estate of Paul Outerbridge, Jr; G. Ray Hawkins Gallery, Santa Monica; to

Literature Borhan, André Kertész: His Life and Work, p. 181; Harry N. Abrams, Inc., André

a Private Collection; Phillips de Pury & Company, New York, 26 April 2006, lot 287

Kertész: A Lifetime of Perception, p. 65; LIGHT Gallery, LIGHT, p. 49

Literature Taschen, Paul Outerbridge: 1896-1958, title page

174

175

174 BRASSAÏ 1899–1984

175 ANDRÉ KERTÉSZ 1894-1985

Picasso, Rue des Grands-Augustins, Paris, September, 1939

Elizabeth and I, Paris, 1931

Gelatin silver print, printed circa 1970. 14 1/2 x 10 3/4 in. (36.8 x 27.3 cm). Signed, titled, dated

Gelatin silver print, printed later. 9 3/4 x 7 3/8 in. (24.8 x 18.7 cm). Signed, titled ‘Paris’ and

in pencil and copyright credit stamp on the verso.

dated in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Literature Sayag and Lionel-Marie, Brassaï: The Monograph, p. 139

Provenance Peter Fetterman Gallery, Santa Monica Literature Borhan, André Kertész: His Life and Work, p. 169; Greenough, Gurbo and

Kennel, André Kertész, p. 200; Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 138; Thames and Hudson, André Kertész: Of Paris and New York, p. 179


176

177

176 ANDRÉ KERTÉSZ 1894-1985

177 ANDRÉ KERTÉSZ 1894-1985

Piet Mondrian in his studio, Paris, 1926

Telephone Wires, Paris, 1927

Gelatin silver print, printed later. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm). Signed, titled and dated in

Gelatin silver print, printed later. 7 3/4 x 9 1/8 in. (19.7 x 23.2 cm). Signed, titled, dated in

pencil on the verso.

pencil and copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Literature Ducrot, André Kertész: Sixty Years of Photography, p. 118; Harry N. Abrams,

Literature Ducrot, André Kertész: Sixty Years of Photography, p. 150; Harry N. Abrams,

Inc., André Kertész: A Lifetime of Perception, p. 149; Thames and Hudson, André Kertész: Of

Inc., André Kertész: A Lifetime of Perception, p. 123

Paris and New York, pl. 24 for a variant

178

179

178 ANDRÉ KERTÉSZ 1894-1985

179 ANDRÉ KERTÉSZ 1894-1985

Eisenstein, Paris, 1929

Seuphor, Prampolini, Dermee, 1927

Gelatin silver print, printed circa 1960. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Titled, dated in pencil

Gelatin silver print, printed 1950s. 7 5/8 x 9 1/8 in. (19.4 x 23.2 cm). Titled, dated in pencil and

and credit stamp on the verso.

credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Literature Ducrot, André Kertész: Sixty Years of Photography, p. 83; Harry N. Abrams, Inc.,

Literature Ducrot, André Kertész: Sixty Years of Photography, p. 95; Harry N. Abrams, Inc.,

André Kertész: A Lifetime of Perception, p. 153

André Kertész: A Lifetime of Perception, p. 141


180 ANDRE KERTÉSZ 1894-1985 Still Life Portfolio, 1926-1978 New York: QED Editions, 1981. Ten gelatin silver prints. Each approximately 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) or the reverse. Each signed and dated in pencil on the verso. Number 6 from an edition of 30. Colophon. Title page. Introduction by John Szarkowski. Contained in a linen clamshell case with embossed credit and title.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Borhan, André Kertész: His Life and Work, pp. 174 and 322; Ducrot, André

Kertész: Sixty Years of Photography, pp. 78, 116 and 184; Greenough, Gurbo and Kennel, André Kertész, pls. 51, 80 and 108; Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, pp. 173,175, 201 and 203; Thames and Hudson, André Kertész: Of Paris and New York, pls. 21, 66 and 159

Titles include: Snake and Mouse, New York, 1960; Market, Pays Basque, 1931; Heron, New York, 1969; Book and Shadow, New York, 1974; Melancholic Tulip, New York, 1939; Last Supper, New York, 1978; Pipe and Glasses, Paris, 1926; Venus, New York, 1978; Flowers for Elizabeth, New York, 1978; In Zadkine’s Studio, Paris, 1926


181

181 AUGUST SANDER 1876 -1964 Portrait of Ilse Gartmann, 1922-1923 Gelatin silver print. 8 1/8 x 5 3/4 in. (20.6 x 14.6 cm). Signed in stylus on the recto; credit stamp on the verso; signed in pencil on the mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

At the time of this portrait, the sitter, Ilse Gartmann, was Sander’s studio assistant.

182

182 EUGÈNE ATGET 1857-1927 Marche Ste. Catherine, 1908 Gold-toned gelatin printing out print. 6 7/8 x 8 5/8 in. (17.5 x 21.9 cm). Titled, dated and annotated ‘4/2’ in pencil on the recto.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

183

183 WERNER MANTZ 1901-1983 Schulküche einer volksschule in Köln-Zollstock, Architekt Wirminghaus (Kitchen of an Elementary School Köln-Zollstock, Architect Wirminghaus), 1929 Gelatin silver print. 6 3/4 x 9 in. (17.1 x 22.9 cm). Signed, dated in pencil and copyright credit reproduction limitation stamps on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Peter Berg, New York; to the present Private Collection, New York LITERATURE Mantz, Werner Mantz: Fotografien 1926-1938, pl. 47


PROPERTY OF THE LARRY N. DEUTSCH COLLECTION,

184

CHICAGO/TUCSON From his earliest exposure to photography at the Art Chicago fair in 1981, Larry N. Deutsch has carefully selected, for well over two decades, vintage works by many of photography’s masters including the rare and unforgettable Distortion #6, Paris by André Kertész, Irving Penn’s elegant and cunning Duchess of Windsor, New York, May 27, 1948 and Ilse Bing’s life affirming The Dancer, Willem Gerard Van Loon, Paris, 1932. Each compelling image represents an intense love affair, the kind that educates one’s emotions for a lifetime. As a collector and art advisor Larry N. Deutsch met with, and learned from, such diverse photographers as Robert Mapplethorpe, Ilse Bing, Judith Golden, William Wegman, Sally Mann and Richard Avedon. His passion for photography was further ignited by the art dealers who advised him, and by his correspondence with collectors from Chicago, New York and Europe.

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

184 ILSE BING 1899-1998 The Dancer, Willem Gerard Van Loon, Paris, 1932 Gelatin silver print. 19 1/2 x 15 5/8 in. (49.5 x 39.7 cm). Signed and dated in ink on the recto; signed, titled and dated in pencil on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance Houk Friedman Gallery, New York Literature Dryansky and Houk, Ilse Bing: Photography Through the Looking Glass, p. 185 for

a variant; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 132

This print is unique in this format. It is one of the first large scale exhibition prints from a 35 mm negative.

185

186

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

185 EDWARD QUIGLEY 1898-1977

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

186 WILLIAM F. WINTER, JR. 1899-1939

Light Study, 1931

Rose, circa 1935

Gelatin silver print, mounted. 13 5/8 x 10 15/8 in. (34.6 x 30.2 cm).

Gelatin silver print. 13 5/8 x 10 5/8 in. (34.6 x 27 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Estimate $ 8 0 0 -1, 2 0 0

Provenance Charles Isaacs, Malvern, PA

Provenance BC Dentan Works of Art, Seattle Literature Schorsh, The Photographs of William F. Winter, Jr. 1899-1939, pl. 64


PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

187 ANDRÉ KERTÉSZ 1894-1985 Distortion #6, Paris, 1933 Gelatin silver print, printed 1933 by the artist in Paris from the original glass plate negative. 9 1/4 x 6 7/8 in. (23.5 x 17.5 cm). Numbered ‘6’ twice in an unidentified hand in pencil, ink and copyright credit stamp on the verso.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

Chagall, both of whom had been gaining momentum for their subversive artistic style, all but divorced from the populist, traditional representational style favored at the time. The artistic dialogue among the different Parisbased visionaries accordingly engendered movements that, for branching off the status quo, resulted in innovative cognitive means to visualize the human figure.

Provenance Edwynn Houk Gallery, Chicago

By the early 1930’s, during the time Distortion # 6 was made, Kertész had

Literature Borhan, André Kertész: His Life and Work, p. 212; Ducrot, André Kertész: Sixty

already established his reputation as a photographer. In 1933, under Lucien

Years of Photography, p. 73 for a detail; Hambourg and Phillips, The New Vision: Photography

Vogel’s commission and encouragement, Kertész created what would

Between the World Wars/ Ford Motor Company Collection at the Metropolitan Museum of Art, p. 64 there dated 1932; Knopf, Distortions: André Kertész, n.p.

become one of his most celebrated bodies of work, Distortions. By posing his models next to carnival-style mirrors, Kertész abstracted the human figure in

The only other known print of this image is in the collection of the

ways that had not been done in photography heretofore. While photographers

Metropolitan Museum of Art, New York

on the other side of the Atlantic, such as Edward Weston, were abstracting the human figure through cropping, lighting and posing, Kertész did so

As the hub of avant-garde cultural, intellectual and artistic expressions

through optical warping, as seen in Distortion # 6. The attenuated torso, the

in the 1920s and 30s, Paris attracted some of the most prominent thinkers

dramatic elongation of the hand, the narrowing of the waist and the swelling

from across the continent. Their centralized convergence encouraged and

of thighs reveal a quintessentially Modernist sensitivity that called for a need

propagated the continuous challenging, deconstruction and re-presentation

to shuffle understanding and presentation of the human figure. For the image

of norms—from literary to musical—and as we see in André Kertész’s iconic

to have been conceived and cleverly executed within the realms—and then,

Distortion #6, visual. As a Hungarian émigré, Kertész quickly immersed

limitations—of photography, attests to Kertész’s groundbreaking vision.

himself in the zeitgeist, befriending artists such as Piet Mondrian and Marc


Actual size

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

188 ALFRED STIEGLITZ 1864-19446 Equivalent, 1926 Gelatin silver print. 3 5/8 x 4 5/8 in. (9.2 x 11.7 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance From Georgia O’Keeffe; to Doris Bry; to Laurence Miller Gallery, New York

The only other known example of this image is in the National Gallery of Art, Washington, D.C.

Following his travels around Europe at the end of the 19th-century, and his

Throughout the 1920s, Stieglitz came to reconcile the subjectivity of

subsequent befriending of a number of leading figures in the European

Pictorialism with the objectivity of photography and created the series

photographic scene, Alfred Stieglitz returned to New York and quickly

of clouds known as Equivalents, as exemplified by the present lot. Of

cemented his reputation as one of the pioneering forces in the promotion

the series, Stieglitz has noted, “I have a vision of life, and I try to find

of photography in the United States. As a means of encouraging interest

equivalents for it.” His images, as such, were both representational and

in photographic discourse, Stieglitz initiated the publications Camera

abstract, simultaneously relishing in a dual reading that was premised on

Notes, which ran for four years starting in 1897, and later, Camera Work,

co-existence. Reflecting the spectrum of emotions—from dramatic and

which ran for 14 years, starting in 1903. Additionally, Stieglitz formed the

overwrought to simple and subdued—the images of the clouds varied

organization Camera Club of New York, followed by the Photo-Secession,

greatly. Moreover, many are devoid of any references to location, period,

both of which provided a strong platform that encouraged the expansion of

a meteorological event or even a horizon line that would indicate a correct

the photographic dialogue throughout the first decades of the 20th century.

reading of the image’s orientation, all of which condone viewers to read the

Over the course of that period, Stieglitz advocated the constant engagement

photographs as abstractions disconnected from their traditional associations

with the fine arts, especially European Modernism as championed by

(especially in relation to landscape) but without losing their distinct nature

Henri Matisse and Paul Cézanne, a gesture that ultimately resulted in his

as clouds. As such they are less natural celestial formations, as much as

relinquishing of his former Pictorialist style and his embracing of a more

human-controlled abstractions, equivalent to “something already taking form

Formalist aesthetic.

within me,” as Stieglitz stated.


189

Actual size

190

Actual size

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

189 JACQUES-HENRI LARTIGUE 1894-1986

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

190 TINA MODOTTI 1896-1942

My Brother Zissou Jumping, Biarritz, 1910

Untitled (Bird Sculpture), circa 1925

Gelatin silver contact print. 2 1/4 x 1 3/8 in. (5.7 x 3.5 cm). Titled ‘Biarritz’ in ink on the verso.

Platinum print. 2 7/8 x 3 3/4 in. (7.3 x 9.5 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $10 , 0 0 0 -15 , 0 0 0

Provenance From Madame Florette Lartigue, Paris; to the Edwynn Houk Gallery, New York

Provenance Vision Gallery, San Francisco

Literature Edwynn Houk Gallery, Jacques-Henri Lartigue: Imprints of Joy, cover


191

Actual size

192

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

191 WALKER EVANS 1903-1975

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

192 EMMANUEL SOUGEZ 1889-1972

Fresh and Smoked Butcher’s Sign, circa 1936

Untitled, circa 1930

Gelatin silver print on post card stock. 3 1/2 x 5 1/2 in. (8.9 x 14 cm). Annotated ‘withdrawn

Gelatin silver print. 9 x 13 3/4 in. (22.9 x 34.9 cm). Blindstamp credit on the recto; credit

Arnold Crane’ by Arnold Crane in pencil and credit stamp on the verso.

stamp on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Provenance From Arnold Crane, Chicago; to a Private Collection, Chicago; to the Carol

Provenance Carol Ehlers Photographs, Chicago

Ehlers Gallery, Chicago Literature Keller, Walker Evans: Photographs from The J. Paul Getty Museum Collection,

pl. 585


193

194

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

193 DANNY LYON b. 1942

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

194 DANNY LYON b. 1942

From My First Day of Working on ‘The Bikeriders,’ Wisconsin, 1963

Joey, Chicago, 1965

Gelatin silver print, printed 1963. 8 7/8 x 5 7/8 in. (22.5 x 14.9 cm). Signed, titled, dated in

Gelatin silver print. 9 1/2 x 6 3/8 in. (24.1 x 16.2 cm). Signed, titled, dated, annotated ‘unique’

pencil and printer’s stamp on the verso.

in pencil and printer’s stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Edwynn Houk Gallery, Chicago

Provenance Edwynn Houk Gallery, Chicago


195

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

195 GERLOVINA-BERGHASH-GERLOVIN b. 1951, b. 1935, b. 1945 Magic Square, 1987 Color coupler print. 18 1/2 x 18 3/8 in. (47 x 46.7 cm). Signed by each artist, dated and numbered 3/10 in pencil in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Catherine Edelman Gallery, Chicago Exhibited The Photography of Invention: American Pictures of the 1980s, Museum of

Contemporary Art, Chicago, 1989

196

197

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

196 SHELBY LEE ADAMS b. 1950

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

197 JUDITH GOLDEN b. 1934

Selected Images, 1986-1994

Star Struck from the Chameleon Series: Self-Portrait Fantasy Series #1, 1975; Karen from the

Three gelatin silver prints. One print 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm); two prints 18 1/2 x 15 in.

Woman Series 1980-1982; Mary Hartman from the People Magazine Series: Self-Portrait Fantasy

(47 x 38.1 cm). Each signed, titled, dated and numbered in pencil in the margin.

Series #4, 1976-1978

Each from an edition of 25

(i) Gelatin silver print and mixed media stitched in vinyl (ii) Dye destruction print and mixed

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Provenance Etherton/Stern Gallery, Tucson (images 1 and 3); Catherine Edelman Gallery,

Chicago (image 2)

media (iii) Gelatin silver print and mixed media. (i) 14 x 11 in. (35.6 x 27.9 cm) (ii) 30 x 20 in. (76.2 x 50.8 cm) (iii) 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Etherton/Stern Gallery, Tucson


198

199

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

198 IRVING PENN 1917-2009 Duchess of Windsor, New York, May 27, 1948 Gelatin silver print. 9 1/2 x 8 in. (24.1 x 20.3 cm). Signed, titled, dated, annotated ‘early print’ and ‘print made near to date of photograph. Probably July 14, 1948’ in pencil, copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 40.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Provenance Ehlers Caudill Gallery, Chicago Literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 172; Knopf, Irving Penn: Passage, p. 54

PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

199 SALLY MANN b. 1951 Popsicle Drips, 1985 Gelatin silver print, printed before 1998. 22 7/8 x 18 1/2 in. (58.1 x 47 cm). Signed, titled, dated and numbered 10/25 in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Edwynn Houk Gallery, New York Literature Aperture, Sally Mann: Immediate Family, n.p.


PROPERTY OF THE LARRY N. DEUTSCH COLLECTION, CHICAGO/TUCSON

200 MICHAL ROVNER b. 1957 Untitled, Outside, 1991 Color coupler print. 19 1/4 x 18 3/4 in. (48.9 x 47.6 cm). Number 4 from an edition of 14.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Rhona Hoffman Gallery, Chicago


Afternoon SESSION 2pm Lots 201-411


201

PROPERTY from the paul tomlinson collection, dallas Paul Tomlinson’s interest in fashion photography was triggered by his tenure as marketing director for an emerging fashion specialty chain in the late 1970s. Quickly thereafter, upon recognizing the relatively undiscovered talent of the leading photographers with whom he was privileged to collaborate, as well as the ample opportunities presented by the then-budding market for fashion photography, Mr. Tomlinson began amassing a collection that was as informed by guidance from fellow collectors, dealers and curators, as much as an unwavering trust of his own impeccable eye. With Herb Ritt’s Madonna, Hollywood, 1986, as one of the first seeds, Mr. Tomlinson’s collection gradually blossomed into a comprehensive repertoire, featuring works by photographers who, over the years, had come to form the pantheon of fashion photography, including Irving Penn, Horst P. Horst, Melvin Sokolsky, and Albert Watson. The collection’s impact was further reinforced by the artistic dialogue between works by the aforementioned photographers and those of non-fashion subject matter, such as Lynn Davis’s hauntingly beautiful icescapes. Citing “strength of imagery” and “distinctiveness” as deciding factors in his final selections, Mr. Tomlinson’s collection is one that has gracefully eschewed fads and trends in favor of a timeless style.

PROPERTY from the paul tomlinson collection, dallas

202

201 ANNIE LEIBOVITZ b. 1949 Lauren Hutton, Nude, Oxford, Mississippi, 1981 Dye destruction print. 13 3/4 x 13 5/8 in. (34.9 x 34.6 cm). Signed, titled, dated and numbered 19/40 in ink in the margin.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Silver Image Gallery, Seattle Literature Rolling Stone Press, Annie Leibovitz Photographs, pl. 20

PROPERTY from the paul tomlinson collection, dallas

202 ALBERT WATSON b. 1942 Christy Turlington, New York City, 1990 Gelatin silver print. 19 5/8 x 15 7/8 in. (49.8 x 40.3 cm). Signed, titled, dated and numbered 5/25 in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Bulfinch Press, Albert Watson: Cyclops, n.p.; Crump, Albert Watson, p. 73;

Schirmer/Mosel, Albert Watson: The Vienna Album, n.p.

203

PROPERTY from the paul tomlinson collection, dallas

203 HERB RITTS 1952-2002 Madonna (True Blue), Hollywood, 1986 Gelatin silver print. 22 5/8 x 18 3/8 in. (57.5 x 46.7 cm). Blindstamp credit in the margin; signed, titled, dated and numbered 11/25 in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Exhibited Photographs from Private Twin Cities Collections, The Minneapolis Institute of

Arts, Minneapolis, 13 May - 9 July 1989 Literature Bulfinch Press, Herb Ritts: Work, n.p.; Fondation Cartier pour l’art

contemporain, Herb Ritts, n.p.; Fotografie, Herb Ritts, n.p.; Twin Palms Publishers, Herb Ritts: Pictures, n.p.

Another print of this image is in the permanent collection of the Museum of Fine Arts, Boston True Blue: The album cover, shot by photographer Herb Ritts, is one of Madonna’s most recognizable pictures. The LP and CD album cover is, in fact, a cropped version of the original, which includes a full torso, more of which can be seen on the cover of the cassette tape edition, and included as a foldout poster in the initial pressings of the LP.


PROPERTY from the paul tomlinson collection, dallas

204 IRVING PENN 1917-2009 Gaultier Eye Earrings, New York, 1998 Dye destruction print. 22 1/8 x 20 in. (56.2 x 50.8 cm). Signed, titled, dated in pencil, copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 6.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Exhibited Chorus of Light: Photographs from the Sir Elton John Collection, High Museum of

Art, Atlanta, 4 November 2000 - 28 January 2001, another example exhibited


205

PROPERTY from the paul tomlinson collection, dallas

205 MELVIN SOKOLSKY b. 1933 Simone, Bubble, Seine, Paris, 1963 Gelatin silver print, printed later. 17 1/2 x 15 1/2 in. (44.5 x 39.4 cm). Signed, titled, dated and numbered 10/25 in pencil on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Arena Editions, Melvin Sokolsky: Seeing Fashion, cover

PROPERTY from the paul tomlinson collection, dallas

206 HORST P. HORST 1906-1999 Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 12 x 8 7/8 in. (30.5 x 22.5 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 192; Kazmaier, Horst: Sixty Years of Photography, pl. 8; Vogue, 15 September 1939

206

PROPERTY from the paul tomlinson collection, dallas

207 WILLIAM KLEIN b. 1928 Smoke + Veil, Paris (Vogue), 1958 Gelatin silver print, printed later. 17 3/4 x 12 7/8 in. (45.1 x 32.7 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 54; Vogue, Paris, 1958

207


208

209

PROPERTY from the paul tomlinson collection, dallas

PROPERTY from the paul tomlinson collection, dallas

208 WILLIAM CLAXTON 1927-2008

209 WILLIAM CLAXTON 1927-2008

Peggy Moffit in Rudi Gernreich’s Topless Swimsuit, 1964

Helima and Chet Baker, Redondo Beach, 1955

Gelatin silver print, printed 1995. 19 5/8 x 15 7/8 in. (49.8 x 40.3 cm). Signed, titled, dated,

Gelatin silver print, printed 1995. 19 3/8 x 13 5/8 in. (49.2 x 34.6 cm). Signed, titled, dated,

numbered 8 in pencil and copyright credit reproduction limitation stamp on the verso. One

numbered 19/25 in pencil and copyright credit reproduction limitation stamp on the verso.

from an edition of 25.

Estimate $1, 2 0 0 -1, 8 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Provenance Fahey Klein Gallery, Los Angeles

Literature Chronicle Books, William Claxton: Jazz, p. 5

Literature Taschen, The Rudi Gernreich Book (Big Series Art), n.p.; The Metropolitan

Museum of Art, The Model as Muse: Embodying Fashion, p. 86

210

PROPERTY from the paul tomlinson collection, dallas

210 SANTE D’ORAZIO b. 1956 Versace Group Picture, Milan Collections, 1997 Gelatin silver print. 19 x 23 3/8 in. (48.3 x 59.4 cm). Signed, titled, dated, numbered 7/25 in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Studio, Sante D’Orazio: A Private View and Diary, pp. 266-267


211

212

PROPERTY from the paul tomlinson collection, dallas

PROPERTY from the paul tomlinson collection, dallas

211 BOB SEIDEMANN b. 1941

212 BOB SEIDEMANN b. 1941

Janis Joplin, Beaded Cape, (Nude with jacket and beads), 1967

Janis Joplin, Standing Nude, 1967

Gelatin silver print, printed later. 17 x 11 3/4 in. (43.2 x 29.8 cm). Signed, titled and dated in

Gelatin silver print, printed later. 17 x 11 5/8 in. (43.2 x 29.5 cm). Signed, titled and dated in

ink in the margin.

ink in the margin.

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 8 0 0 -1, 2 0 0

Provenance Silver Image Gallery, Seattle

Provenance Silver Image Gallery, Seattle

213

214

PROPERTY from the paul tomlinson collection, dallas

213 HERB GREENE

PROPERTY from the paul tomlinson collection, dallas

214 BOB SEIDEMANN b. 1941

Janis Joplin, Big Brother & The Holding Company, 1966

Janis Joplin, Standing Nude Contact Sheet, 1967

Gelatin silver print, printed later. 9 x 7 7/8 in. (22.9 x 20 cm). Signed, titled and dated in pencil

Gelatin silver print, printed later. 16 3/8 x 15 in. (41.6 x 38.1 cm). Signed, titled, dated and

in the margin.

numbered 1/20 in ink in the margin.

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance Silver Image Gallery, Seattle

Provenance Silver Image Gallery, Seattle Literature University of California, Art of San Francisco 1945-1980, p. 168


215

216

PROPERTY from the paul tomlinson collection, dallas

PROPERTY from the paul tomlinson collection, dallas

215 LINDA MCCARTNEY 1941-1998

216 FRANCESCO SCAVULLO 1921-2004

Janis Joplin, circa 1968

Janis Joplin, 1969

Gelatin silver print, printed later. 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm). Credit stamp on the verso.

Gelatin silver print, printed later. 18 7/8 x 12 5/8 in. (47.9 x 32.1 cm). Signed, dated, numbered 15/15 in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $1, 2 0 0 -1, 8 0 0

Estimate $ 8 0 0 -1, 2 0 0 Provenance Silver Image Gallery, Seattle Literature Bulfinch Press, Linda McCartney’s Sixties: Portrait of an Era, p. 91

Provenance Silver Image Gallery, Seattle Literature Harper and Row, Scavullo: Francesco Scavullo Photographs, 1948-1984, p. 92;

Harry Abrams, Scavullo Photographs 50 Years, p. 180

217

PROPERTY from the paul tomlinson collection, dallas

217 JIM MARSHALL 1936-2010 Janis Joplin, Backstage at the Winterland, 1968 Gelatin silver print, printed 1986. 8 3/4 x 13 in. (22.2 x 33 cm). Signed, titled ‘Janis’ and dated in pencil on the mount; credit stamp on the reverse of the mount.

Estimate $ 8 0 0 -1, 2 0 0 Provenance Silver Image Gallery, Seattle Literature Bulfinch Press, Not Fade Away: The Rock & Roll Photography of Jim Marshall,

p. 36; University of California Press, Art of San Francisco Bay Area, 1945-1980, p. 169


218

PROPERTY from the paul tomlinson collection, dallas

218 ALLEN GINSBERG 1926-1997 Heroic Portrait of Jack Kerouac, New York, 1953 Gelatin silver print, printed later. 16 x 10 5/8 in. (40.6 x 27 cm). Signed, dated and extensively annotated in ink in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Prestel USA, Beat Memories: The Photographs of Allen Ginsberg, p. 47; Twin

Palms Publishers, Allen Ginsberg Photographs, pl. 1

219

PROPERTY from the paul tomlinson collection, dallas

219 RAY K. METZKER b. 1931 85 PK-12 from Feste di Foglia, 1985 Gelatin silver print. 13 1/2 x 13 3/8 in. (34.3 x 34 cm). Signed, titled, dated and numbered 2/25 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Laurence Miller Gallery, New York

220

PROPERTY from the paul tomlinson collection, dallas

220 RAY K. METZKER b. 1931 86 GB-6, Colorado from Earthly Delights, 1986 Gelatin silver print. 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm). Signed, titled, dated and numbered 8/25 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Laurence Miller Gallery, New York Literature Aperture, Ray K. Metzker: Landscapes, p. 15; Laurence Miller Gallery, Ray K.

Metzker: Earthly Delights, cover

221

PROPERTY from the paul tomlinson collection, dallas

221 JOEL-PETER WITKIN b. 1939 Portrait of a Dwarf, Los Angeles, 1987 Gelatin silver print. 14 3/4 x 15 in. (37.5 x 38.1 cm). Signed, titled, dated and numbered 7/15 in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Celant, Witkin, pl. 68; Twelvetrees Press, Gods of Earth and Heaven: Joel-Peter

Witkin, n.p.


PROPERTY from the paul tomlinson collection, dallas

222 LYNN DAVIS b. 1944 Iceberg #6, Disko Bay, Greenland, 1988 Selenium-toned gelatin silver enlargement print, printed 1989. 28 x 28 in. (71.1 x 71.1 cm). Signed, dated, numbered 4/10 in ink and credit reproduction limitation stamp on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist Literature Arena Editions, Lynn Davis: Monument, n.p.


223

224

PROPERTY from the paul tomlinson collection, dallas

223 LYNN DAVIS b. 1944

PROPERTY from the paul tomlinson collection, dallas

224 LYNN DAVIS b. 1944

Iceberg #8, Disko Bay, Greenland, 1988

White Valley, Cappadocia, Turkey, 1995

Selenium-toned gelatin silver enlargement print, printed 1989. 28 x 28 in. (71.1 x 71.1 cm).

Selenium-toned gelatin silver enlargement print, printed 1996. 27 5/8 x 27 5/8 in. (70.2 x 70.2

Signed, dated, numbered 4/10 in ink and credit reproduction limitation stamp on the verso.

cm). Signed, dated, numbered 4/10 in ink and credit reproduction limitation stamp on the

Estimate $10 , 0 0 0 -15 , 0 0 0

verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist Provenance Acquired directly from the artist


225

PROPERTY from the paul tomlinson collection, dallas

225 MATTHEW ROLSTON b. 1961 Aly, Claw Hand, New York, 1987 Gelatin silver print. 24 x 24 in. (61 x 61 cm). Signed, titled, dated and numbered 6/12 in pencil on the reverse of the flush-mount.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Fahey Klein Gallery, Los Angeles Literature Little Brown and Company, Big Pictures: A Book of

Photographs, pp. 42-43

226

227

PROPERTY from the paul tomlinson collection, dallas

226 MATTHEW ROLSTON b. 1961

PROPERTY from the paul tomlinson collection, dallas

227 OLIVIA PARKER b. 1941

Cyndi Lauper, Headdress, New York, 1986

Air Bells, 1984

Gelatin silver print. 19 7/8 x 14 7/8 in. (50.5 x 37.8 cm). Blindstamp credit in the margin;

Toned gelatin silver print, printed 1986. 13 5/8 x 11 in. (34.6 x 27.9 cm). Signed, titled, dated

signed, titled, dated and numbered 9/25 in pencil on the verso.

and numbered 10/32 in ink in the margin.

Estimate $1, 5 0 0 - 2 , 0 0 0

Estimate $ 8 0 0 -1, 2 0 0

Provenance Fahey Klein Gallery, Los Angeles

Provenance Silver Image Gallery, Seattle

Literature Little Brown and Company, Big Pictures: A Book of Photographs, cover


228

229

PROPERTY from the paul tomlinson collection, dallas

228 HERB RITTS 1952-2002

PROPERTY from the paul tomlinson collection, dallas

229 HERB RITTS 1952-2002

Neith with Tumbleweed, Paradise Cove, 1986

Carrie in Sand (Detail), Paradise Cove, 1988

Toned gelatin silver print. 18 5/8 x 15 1/4 in. (47.3 x 38.7 cm). Blindstamp credit in the margin;

Platinum print. 22 1/4 x 19 1/8 in. (56.5 x 48.6 cm). Blindstamp credit in the margin; signed,

signed, titled, dated and numbered 17/25 in pencil on the verso.

titled, dated and numbered 9/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0

Provenance Fahey Klein Gallery, Los Angeles

Provenance Fahey Klein Gallery, Los Angeles

Literature Bulfinch Press, Herb Ritts: Work, n.p.; Fondation Cartier pour l’art

Literature Twin Palms, Herb Ritts: Men/Women, pl. 5

contemporain, Herb Ritts, n.p.; Twin Palms Publishers, Herb Ritts: Pictures, n.p.

Another print of this image is in the permanent collection of the Museum of Only 24 prints from the proposed edition of 25 plus 3 artist’s proofs were realized.

Fine Arts, Boston


230

231

PROPERTY from the paul tomlinson collection, dallas

230 HERB RITTS 1952-2002

PROPERTY from the paul tomlinson collection, dallas

231 HERB RITTS 1952-2002

Versace Dress, (Back View), El Mirage, 1990

Malaika, Profile, Manyara Salt Lake, Africa, 1993

Gelatin silver print. 22 1/8 x 18 3/8 in. (56.2 x 46.7 cm). Signed, titled, dated, numbered 16/25

Gelatin silver print. 14 5/8 x 22 3/8 in. (37.1 x 56.8 cm). Blindstamp credit in the margin;

in pencil and copyright credit stamp on the reverse of the mount.

signed, titled, dated and numbered 9/25 in pencil on the verso.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Provenance Fahey Klein Gallery, Los Angeles

Provenance Fahey Klein Gallery, Los Angeles

Literature Bulfinch Press, Herb Ritts: Work, n.p.; Fondation Cartier pour l’art

Literature Bulfinch Press, Herb Ritts: Work, n.p.; Bulfinch Press, Africa: Herb Ritts, cover

contemporain, Herb Ritts, n.p.; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 193

Other prints of this image are in the permanent collections of the Museum of Fine Arts, Boston and the Los Angeles County Museum of Art

Only 20 prints from the proposed edition of 25 plus 3 artist’s proofs were realized. Another print of this image is in the permanent collection of the Museum of Fine Arts, Boston


232

233

232 HELMUT NEWTON 1920-2004 16th Arrondissement, Paris, 1975 Gelatin silver print. 12 1/4 x 8 1/8 in. (31.1 x 20.6 cm). Signed, titled and dated in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Acquired directly from the artist

234

233 HELMUT NEWTON 1920-2004 Office Love, Paris, 1977 Gelatin silver print. 17 1/8 x 11 5/8 in. (43.5 x 29.5 cm). Signed, titled ‘Paris’, dated in ink and copyright credit reproduction limitation stamp on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Taschen, Helmut Newton: Work, p. 279

234 HELMUT NEWTON 1920-2004 Mercedes at Home, Paris, 1975 Gelatin silver print. 12 1/4 x 8 1/8 in. (31.1 x 20.6 cm). Signed, titled and dated in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from the artist


235 HELMUT NEWTON 1920-2004 Selected Images, 1973-1977 Six gelatin silver prints from 15 Photographs, printed 1982. Each approximately 8 1/8 x 12 3/8 in. (20.6 x 31.4 cm) or the reverse. Each signed, titled and dated in pencil on the verso. Each from an edition of 40.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Schirmer/Mosel, Helmut Newton’s Illustrated, cover and p. 7; Schirmer Art

Books, Helmut Newton: Portraits, pls. 26, 32 and 49

Titles include: David Hockney, Piscine Royale, Paris, 1975; Andy Warhol in Paris, 1977; Paloma Picasso, Saint-Tropez, 1973; Mannequins Quai d’Orsay, Paris, 1977; Berlin Nude, 1977; At Karl Lagerfeld’s, Paris, 1974


236

236 PETER BEARD b. 1938 Roping Rhino, Tsavo, Kenya, 1964 Platinum-palladium print, printed later. 9 x 6 in. (22.9 x 15.2 cm). Signed, titled, dated and annotated in pencil in the margin; numbered 3/30 in an unidentified hand in ink and The Time is Always Now copyright credit reproduction limitation stamp on the reverse of the frame.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance The Time is Always Now Gallery, New York

237

237 PETER BEARD b. 1938 Nguya and 201-lb. Nile Perch, Alia Bay, Lake Rudolf, 1968 Gelatin silver print with ink and paint, printed later. 23 7/8 x 19 7/8 in. (60.6 x 50.5 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto; The Time is Always Now copyright credit stamp on the reverse of the frame.

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance The Time is Always Now Gallery, New York Literature Taschen, Peter Beard, pl. 210

238

238 PETER BEARD b. 1938 Thoughts from Helmut Newton’s Bedroom, 1984 Gelatin silver print with paint. 13 3/8 x 9 in. (34 x 22.9 cm). Signed, initialed, titled, dated and extensively annotated in paint on the recto; initialed and inscribed in paint on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist


239

239 PETER BEARD b. 1938 Dead Elephant Diary with Francis Bacon on his Roof at 80 Narrow Street, London NW1, 1972 Color coupler collage with paint and snakeskin, printed 1997. 27 x 32 1/4 in. (68.6 x 81.9 cm). Signed, titled and dated in ink in the margin; The Time is Always Now copyright credit label on the reverse of the frame.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 Provenance The Time is Always Now Gallery, New York

240

240 PETER BEARD b. 1938 Peter Beard, Alia Bay, Lake Rudolf, 1965 Gelatin silver print with ink and blood, printed later. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm). Signed, titled, dated and annotated in ink and blood on the recto; The Time is Always Now copyright credit stamp on the reverse of the frame.

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance The Time is Always Now Gallery, New York Literature Taschen, Peter Beard, pl. 193 for a variant

241

241 PETER BEARD b. 1938 Rhino Roping (for release in Tsavo), Kenya, 1977 Gelatin silver collage with ink and blood, in artist’s original frame. 11 x 9 3/8 in. (27.9 x 23.8 cm). Signed, titled, dated and extensively annotated in ink and blood on the recto; ‘Peter Beard Vintage Photograph’ and The Time is Always Now copyright credit reproduction limitation stamps on the reverse of the frame.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance The Time is Always Now Gallery, New York


242

243

242 HELENA ALMEIDA b. 1934 Work-32 (Entrado 1), 1977 Two gelatin silver prints. Each 15 1/2 x 10 5/8 in. (39.4 x 27 cm). Each signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mounts.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

243 HELENA ALMEIDA b. 1934 Work-32 (Entrado 1), 1977 Two gelatin silver prints. Each 15 1/2 x 10 5/8 in. (39.4 x 27 cm). Each signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mounts.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

244 MIROSLAV TICHĂ? b. 1925 Untitled, n.d. Gelatin silver print, hand cut by the artist. 7 x 5 1/4 in. (17.8 x 13.3 cm). Accompanied by a Certificate of Authenticity from the Foundation TichĂ˝ Ocean.

Estimate $ 5 , 0 0 0 -7, 0 0 0

244


245 JOSEF KOUDELKA b. 1938 Spain, 1971 Gelatin silver print, printed later. 14 1/2 x 21 3/8 in. (36.8 x 54.3 cm). Signed in ink in the margin.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Provenance Robert Koch Gallery, San Francisco Literature Aperture, Josef Koudelka: Exiles, pl. 41; Harry N. Abrams, The Museum of

Modern Art: The History and the Collection, p. 511 and pl. 858; Thames and Hudson, Josef Koudelka, p. 56 there dated 1973


246

246 SEYDOU KEĂ?TA 1923-2001 The Girls from Mali, 1956 Gelatin silver print, printed 2001. 18 7/8 x 13 3/8 in. (47.9 x 34 cm). Signed and dated in ink in the margin.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Eyestorm, London

247

247 LEE FRIEDLANDER b. 1934 Jazz & Blues Portfolio Hamburg: Q.E.D. Editions, 1983. Seven dye transfer prints. Varying sizes from 11 x 10 7/8 in. (27.9 x 27.6 cm) to 14 x 9 3/8 in. (35.6 x 23.8 cm). Each signed by the artist, titled, numbered 24/50 in an unidentified hand in pencil and each with copyright credit date stamps on the verso. Numbered 24 in ink on the colophon. One from a limited edition of 50 plus 7 artist’s proofs. 25 sets are represented as the portfolio Jazz and Blues. Contained in a linen folio case.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Literature Galassi, Friedlander, pp. 21-24

Sitters include: Joe Turner, Aretha Franklin, Mitt Jackson, John Coltrane, Ray Charles, Robert Pete Williams and Miles Davis.


249

248

248 LEE FRIEDLANDER b. 1934 Putney, Vermont, 1972 Gelatin silver print. 7 3/8 x 11 in. (18.7 x 27.9 cm). Signed in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 249 LEE FRIEDLANDER b. 1934 Provenance Janet Borden Gallery, New York

Lake Louise, 2000

Literature Galassi, Friedlander, pl. 250

Gelatin silver print, printed 2002. 14 7/8 x 14 3/4 in. (37.8 x 37.5 cm). Signed in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Janet Borden Gallery, New York

250 EMMET GOWIN b. 1941

250

Barry, Dwayne and Turkeys, Danville, Virginia, 1970 Gelatin silver print, printed 1980. 5 3/8 x 6 7/8 in. (13.7 x 17.5 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Provenance Pace/MacGill Gallery, New York

251

251 BRETT WESTON 1911-1993 Holland Canal, 1971 Gelatin silver print, printed later. 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm). Signed and dated in pencil on the mount.

Estimate $7, 0 0 0 - 9, 0 0 0 Literature Aperture Foundation, Brett Weston: Photographs From Five Decades, pl. 44


252

253

252 NAN GOLDIN b. 1953

253 NAN GOLDIN b. 1953

Naomi, Marlene and Colette on the Street, Boston, 1973

Colette and Winnie high, the Other Side, Boston, 1973

Gelatin silver print, printed later. 19 x 12 3/4 in. (48.3 x 32.4 cm). Signed, titled, dated and

Gelatin silver print, printed later. 19 1/2 x 12 3/4 in. (49.5 x 32.4 cm). Signed, titled, dated and

numbered AP3 in pencil on the verso. One from an edition of 18 plus 5 artist’s proofs.

numbered AP1 in pencil on the verso. One from an edition of 18 plus 5 artist’s proofs.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Literature Sussman, Nan Goldin: I’ll Be Your Mirror, p. 47

254

255

254 NAN GOLDIN b. 1953

255 NAN GOLDIN b. 1953

Siobhan in the Street, Boston, 1990

Ivy after beauty contest, Boston, 1972

Dye destruction print. 23 7/8 x 15 1/2 in. (60.6 x 39.4 cm). Signed, titled, dated and numbered

Gelatin silver print, printed later. 19 1/2 x 12 3/4 in. (49.5 x 32.4 cm). Signed, titled, dated and

5/25 in ink on the verso.

numbered AP1 in pencil on the verso. One from an edition of 18 plus 5 artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Literature Sussman, Nan Goldin: I’ll Be Your Mirror, p. 285


256

256 WILLIAM KLEIN b. 1928 Club Allegro Fortissimo, Paris, 1990 Gelatin silver print, printed later. 12 1/8 x 17 1/8 in. (30.8 x 43.5 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

257 LEON LEVINSTEIN 1913-1988

257

Los Angeles, 1975 Gelatin silver print. 13 3/4 x 10 1/2 in. (34.9 x 26.7 cm). Signed in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance From the Estate of the Artist

258

258 LEON LEVINSTEIN 1913-1988 Untitled (store front), circa 1970 Gelatin silver print. 10 3/4 x 13 in. (27.3 x 33 cm). Estate credit stamp on a label affixed to the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance From the Estate of the Artist


259

260

259 WILLIAM EGGLESTON b. 1939

260 WILLIAM EGGLESTON b. 1939

White Ceiling Fan, Washington, D.C. (In the Home of William Christenberry), 1990

Untitled, circa 1978

Dye destruction print. 9 1/8 x 13 5/8 in. (23.2 x 34.6 cm). Signed and annotated ‘AP’ in pencil

Dye transfer print, printed 1980. 16 x 20 in. (40.6 x 50.8 cm). Signed in pencil on the verso.

on the verso. One from an edition of 9 plus artist’s proof.

Number 14 from an edition of 25.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Provenance From the artist; to Donna Leatherman, LLC, New York

Literature Eggleston, Morals of Vision, n.p.; Foundation Cartier pour l’art contemporain,

William Eggleston, pl. 137


261

261 WILLIAM EGGLESTON b. 1939 Untitled, circa 1970 Dye transfer print from Los Alamos, printed 2001. 17 5/8 x 11 7/8 in. (44.8 x 30.2 cm). Signed in ink in the margin; numbered 1/7 in an unidentified hand in ink, copyright credit reproduction limitation and edition stamp on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 Literature Scalo, William Eggleston: Los Alamos, p. 25

262

263

262 JOEL STERNFELD b. 1944

263 JOEL STERNFELD b. 1944

Exhausted Renegade Elephant, Woodland, Washington, June, 1979

Elkmont Campground, Smokey Mountain National Park, Tennessee, November, 1980

Dye transfer print, printed 1981. 13 3/4 x 16 7/8 in. (34.9 x 42.9 cm). Signed, titled, dated and

Dye transfer print, printed 1981. 13 3/8 x 17 1/8 in. (34 x 43.5 cm). Signed, titled, dated and

numbered 2/50 in ink on the verso.

numbered 1/50 in ink on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0

Estimate $12 , 0 0 0 -18 , 0 0 0

Literature D.A.P., American Prospects: Joel Sternfeld, pl. 49


264

264 STEPHEN SHORE b. 1947

265

265 STEPHEN SHORE b. 1947

Yucatรกn, Mexico, 1990

Selected Images from Giverny, France, 1977-1982

Color coupler print. 14 x 17 1/2 in. (35.6 x 44.5 cm). Signed, titled and dated in ink

Four color coupler prints. Each approximately 14 x 17 1/2 in. (35.6 x 44.5 cm) or the reverse.

on the verso.

Each signed and titled in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0


266

266 PETE TURNER b. 1934

267 WILLIAM CHRISTENBERRY b. 1936

Selected Color Images, 1961-1995

Selected Images, 1964-1977

Seven digital color coupler prints, printed 2003. Each approximately 11 1/4 x 17 in. (28.6 x

Four color coupler brownie prints, one printed 2007. Each approximately 3 1/8 x 5 in.

43.2 cm) or the reverse. Each signed and dated ‘2003’ in ink in the margin. Illustrated list of

(7.9 x 12.7 cm). Each signed, two titled, dated and one numbered 4/25 in ink on the verso.

plates.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Aperture, William Christenberry: Southern Photographs, pp. 35, 36 and 41;

Aperture, William Christenberry, pl. 1

Titles include: Ibiza Woman, 1961; Dust Storm, 1970; Road Song, 1967; Boat Wake, 1966; Sand Dune & Tree, 1995; Blue Walls & Light, 2002; Doorway to Nowhere, 1963

267

Titles include: Church, Sprott, Alabama, 1977; 31¢ Gasoline Sign, near Greensboro, Alabama, 1964; House, Near Marion, Alabama, 1964; Cotton Gin, Havana, Alabama, 1976


268

268 MICHAEL KENNA b. 1953 Railway Lines, Saltaire, Yorkshire, England, 1983 Sepia and selenium-toned gelatin silver print, printed 1984. 9 1/8 x 6 in. (23.2 x 15.2 cm). Signed, dated and numbered 11/45 in pencil on the mount; signed, titled, dated, numbered 11/45 in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

269

269 ROBERT ADAMS b. 1937 Colorado Springs, Colorado, 1968 Gelatin silver print. 5 1/8 x 5 1/8 in. (13 x 13 cm). Signed in pencil on the reverse of the mount.

Estimate $7, 0 0 0 - 9, 0 0 0

270 HARrY CALLAHAN 1912-1999

270

Ireland, 1979 Dye transfer print. 7 1/8 x 10 1/2 in. (18.1 x 26.7 cm). Signed in pencil in the margin.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance LIGHT, New York; to a Private Collection, Washington, D.C. Literature Matrix Publications, Harry Callahan: Color, n.p.

271

271 HARrY CALLAHAN 1912-1999 Providence, 1979 Dye transfer print. 11 1/4 x 11 in. (28.6 x 27.9 cm). Signed in pencil in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance LIGHT, New York; to a Private Collection, Washington, D.C. Literature Matrix Publications, Harry Callahan: Color, n.p.


272

272 RICHARD MISRACH b. 1949

273 ELIOT PORTER 1901-1990

Train Tracks, Colorado Desert, 1984

Eliot Porter: In Wildness

Color coupler print, printed 1987. 26 1/2 x 33 1/2 in. (67.3 x 85.1 cm). Signed, titled, dated and

New York: Daniel Wolf Gallery, 1981. Ten dye transfer prints. Each 12 x 16 in. (30.5 x 40.6 cm)

numbered 9/10 in ink in the margin.

or the reverse. Each signed in pencil on the mount; each with portfolio copyright credit and

Estimate $10 , 0 0 0 -15 , 0 0 0

edition stamp on the reverse of the mount and accompanied by a sleeve with printed title and date. Contained in a linen clamshell case with embossed credit and title.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Titles include: Sunset behind Las Tres Virgenes Volcano. Near Mezquital, Baja, 273

California, August 12, 1966; Pool in a brook. Pond Brook, near Whiteface, New Hampshire, October, 1953; Path in woods. Great Spruce Head Island, Maine, 1981; Sunflower and Sandune, Colorado, 1959; Tidal marsh. Mount Desert Island, Maine, August 4, 1965; Sculptured rock. Marble Canyon, Arizona, 1967; Maple leaves and pine needles. Tamworth, New Hampshire, October 3, 1956; Hawkweed in meadow. Great Spruce Head Island, Maine, 1968; Maple sapling and rock. Passaconaway, New Hampshire, 1953; Red osier. Near Great Barrington, Massachusetts, April 18, 1957


274 ROBERT MAPPLETHORPE 1946-1989 Calla Lily, 1986 Gelatin silver print. 19 1/8 x 19 1/4 in. (48.6 x 48.9 cm). Signed, dated and numbered 8/10 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount.

of mortality, and the fleeting existence of perfection, not unlike that of the Classical male nudes he so lovingly portrayed. For Mapplethorpe to have photographed the calla lily, one must remember, the flower had to be cut from its roots, therefore having its lifeline abruptly

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Alan Koppel Gallery, Chicago

and irreversibly discontinued. To capture perfection, Mapplethorpe implied, we must first contain it, isolate it, and accept its imminent demise. Nonetheless, the image is not moribund in nature, and at best ambiguous

Reading of Robert Mapplethorpe’s Flowers series requires that the series be

in its conjuration of sympathy and awe. After all, the flower is depicted in its

understood in relation to, not against, his erotic nudes. Despite the seeming

prime; the idealized point of existence. Never before and never again, one

disparity in subject matter—and consequently, the potential arousal, be

could infer, will this flower look so beautiful. The notion of duality is extended

it positive or otherwise—the two bodies of work strongly resonate in their

to the sexualization of the flower, at once a firm and elongated stalk but also

associations with life, mortality and perfection. Calla Lily, 1986, is a prime

one that culminates in soft, undulating tissue. Moreover, the pistil, while

example of Mapplethorpe’s complicated relationship to flowers, a subject

not made prominent, is still visible. The flower’s gender is problematized,

matter that he had conceded to enjoying viewing in photographs far more

or rather, defamiliarized, requesting additional reading and asserting

than assuming the responsibility of nursing in real life. Of this discrepancy

its symbolism, especially in conjunction with the gender ambiguity that

Mapplethorpe has noted: “I’ll sort of force myself to photograph them

Mapplethorpe extensively covered in his figural studies. Calla Lily, therefore,

before they die because I know I can get a good picture of them.” Hereby,

is a surrogate for Mapplethorpe’s nudes, equally seductive in its form, equally

Mapplethorpe (subconsciously or not) reveals his heightened awareness

engaging in its ambiguity, and equally transient in its perfection.


275

275 ROBERT MAPPLETHORPE 1946-1989

276 HERB RITTS 1952-2002

Sonia Resika, 1988

Consuelo, Paradise Grove, 1984

Three gelatin silver prints. Each 23 1/8 x 19 1/4 in. (58.7 x 48.9 cm). Signed by Michael Ward

Gelatin silver print. 18 3/8 x 14 3/4 in. (46.7 x 37.5 cm). Blindstamp credit in the margin;

Stout, Executor, in ink and Robert Mapplethorpe copyright credit reproduction limitation

signed, titled, dated and numbered 15/25 in pencil on the verso.

and signature stamps on the reverse of each flush-mount. Each from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $10 , 0 0 0 -15 , 0 0 0

Provenance Christie’s, New York, 15 February 2007, lot 171

276

Literature Twin Palms Publishers, Herb Ritts: Pictures, n.p.


277

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON The following 9 lots continue our offering of Robert Mapplethorpe photographs from the Collection of Lisa Lyon. Between 1980 and 1982, Mapplethorpe and Lyon, a one-time women’s bodybuilding champion, collaborated on a project that examined representations of women throughout the history of photography. The result is a powerful series of images that address themes of androgyny, classicism, erotica and the exploration of American subculture

278

Photographs from the collection of lisa lyon ∆

277 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 46

279

Photographs from the collection of lisa lyon ∆

278 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 15 plus 3 artist’s proofs.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 21

Photographs from the collection of lisa lyon ∆

279 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print, flush-mounted. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed and numbered AP 1/2 in ink in the margin. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature Random House, Mapplethorpe, p. 151; St. Martin’s Press, Lady Lisa Lyon, p. 113;

teNeues, Mapplethorpe: Perfection in Form, p. 155


280

Photographs from the collection of lisa lyon ∆

280 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 114; teNeues, Mapplethorpe: Perfection in

Form, p. 169

281

Photographs from the collection of lisa lyon ∆

281 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print. 15 1/4 x 15 1/8 in. (38.7 x 38.4 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 46; teNeues, Mapplethorpe: Perfection in

Form, p. 143

282

Photographs from the collection of lisa lyon ∆

282 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print. 14 x 14 in. (35.6 x 35.6 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 15 plus 2 artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 70


283

Photographs from the collection of lisa lyon ∆

283 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 53

284

Photographs from the collection of lisa lyon ∆

284 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print, flush-mounted. 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm). Signed and numbered AP 1/2 in ink in the margin. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 90

285

Photographs from the collection of lisa lyon ∆

285 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady Lisa Lyon, p. 59; teNeues, Mapplethorpe: Perfection in

Form, p. 174


286

286 ANDY WARHOL 1928-1987 Body Builder, 1982 Two unique gelatin silver prints. Each 10 x 7 7/8 in. (25.4 x 20 cm). One print with blindstamp credit on the recto; each with Estate of Andy Warhol credit stamp on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0

287

288

287 JOHN COPLANS 1920-2003

288 JOHN COPLANS 1920-2003

Self Portrait: Back with Arms Above, 1984

Self-Portrait: Feet Frontal, 1984

Gelatin silver print. 21 1/4 x 17 in. (54 x 43.2 cm). Signed, titled, dated, numbered 5/12 in

Gelatin silver print. 22 1/2 x 17 1/4 in. (57.2 x 43.8 cm). Signed, dated, annotated ‘proof’ and

pencil and copyright credit reproduction limitation stamp on the verso.

copyright credit reproduction limitation stamp on the verso. One from an edition of 12 plus

Estimate $ 5 , 0 0 0 -7, 0 0 0

artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist Provenance Acquired directly from the artist


289

289 ROGER BALLEN b. 1950 Puppy Between Feet, 1999 Gelatin silver print. 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm). Signed, titled, dated and numbered 28/35 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Phaidon, Outland: Roger Ballen, n.p.; Phaidon, Roger Ballen: Shadow Chamber, p. 4

290

290 ROGER BALLEN b. 1950 Boys with Baby Carriage, 1997 Selenium-toned gelatin silver print, printed 2000. 14 1/4 x 14 1/4 in. (36.2 x 36.2 cm). Signed, titled, dated and numbered 6/35 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

291

291 ROGER BALLEN b. 1950 Woman in Garden Chair in Front of Bamboo, 1998 Selenium-toned gelatin silver print, printed 2000. 14 1/8 x 14 1/8 in. (35.9 x 35.9 cm). Signed, titled, dated and numbered 7/35 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0


292

292 JOEL-PETER WITKIN b. 1939 Studio de Winter, Paris, 1994 Gelatin silver print. 28 x 31 3/8 in. (71.1 x 79.7 cm). Signed, titled, dated and numbered 2/12 in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Celant, Witkin, pl. 108

293

293 JOEL-PETER WITKIN b. 1939 Costumed Inmate, Budapest, 1993 Gelatin silver print. 31 1/2 x 25 7/8 in. (80 x 65.7 cm). Signed, titled, dated, numbered 1/12 and inscribed in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Celant, Witkin, pl. 103

294

294 JOEL-PETER WITKIN b. 1939 History of the (White) World: Venus and the Magdalen, Paris, 1994 Gelatin silver print. 24 3/8 x 33 in. (61.9 x 83.8 cm). Signed, titled, dated and numbered 1/12 in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Celant, Witkin, pl. 109


295

295 ROBERT MAPPLETHORPE 1946-1989 Mum, 1989 Gelatin silver print. 19 x 19 in. (48.3 x 48.3 cm). Signed by Michael Ward Stout, Executor, in ink and Robert Mapplethorpe copyright credit reproduction limitation and signature stamp on the reverse of the flush-mount. Number AP 2/2 from an edition of 10 plus 2 artist’s proofs.

Estimate $12 , 0 0 0 -18 , 0 0 0

296

297

296 ERNST HAAS 1921-1986

297 ERNST HAAS 1921-1986

Red Tulips, Japan, 1980

Calla Lilly, Munich, 1982

Dye transfer print, printed 1992. 17 1/2 x 26 3/4 in. (44.5 x 67.9 cm). Signed, titled, dated,

Dye transfer print, printed 1992. 17 5/8 x 26 3/4 in. (44.8 x 67.9 cm). Signed, titled, dated,

numbered 6/50 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas

numbered 4/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas

copyright credit stamp on the reverse of the mount.

copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance Acquired directly from the Estate of Ernst Haas

Provenance Acquired directly from the Estate of Ernst Haas

Literature Haas, Ernst Haas: Color Photography, p. 39


298

298 TOM BARIL b. 1952

299 ADAM FUSS b. 1961

Portfolio of 8

Untitled, 1995

Double Elephant Press, 2004. Eight gelatin silver prints. Each approximately 19 x 15 in. (48.3

Unique dye destruction photogram, printed 1996. 14 x 11 in. (35.6 x 27.9 cm). Signed and

x 38.1 cm). Each signed in pencil on the verso. Illustrated list of plates.

dated ‘1996’ in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0 Provenance Cheim and Read, New York

Titles include: 3 Poppies, 1997; Chrysler Building, 1995; Verrazanno Narrows, 1993; Lumahai Beach #3, 1997; Calla Lilly, 1998; Eustoma, 1998; Tulip, 1995; Taughannock Falls #2, 2001

299


300 ROBERT PARKEHARRISON b. 1968 Arbor Day, 2000 Gelatin silver print with acrylic paint, gels and varnishes, flush-mounted to artist’s wooden frame. 40 5/8 x 53 1/8 in. (103.2 x 134.9 cm). Signed, titled, dated and numbered 2/4 in pencil on a label affixed to the reverse of the frame.

Estimate $ 8 , 0 0 0 -12 , 0 0 0


301 JOHN BALDESSARI b. 1931 Life’s Balance (With Brushes), 1996 Two color coupler prints, flush-mounted to board. (i) 14 x 15 in. (35.2 x 38.1 cm) (ii) 22 x 15 in. (55.9 x 38.1 cm); 36 x 15 in. (91.4 x 38.1 cm) overall.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Provenance Sonnabend Gallery, New York; Christie’s, New York, 30 October 1996, lot 421;

to the present Private Collection, Chicago


302 PHILIP-LORCA DICORCIA b. 1951 Mario, 1978 Color coupler print, flush-mounted. 24 x 35 7/8 in. (61 x 91.1 cm). Signed, dated and numbered 7/20 in ink on the verso; signed, dated and numbered 7/20 in ink on a label affixed to the reverse of the mount.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Pace/MacGill Gallery, New York Literature The Museum of Modern Art, Philip-Lorca diCorcia, p. 17


303

303 PHILIP-LORCA DICORCIA b. 1951 Ike Cole; 38 years old; Los Angeles, California; $25 (May Fair Market), 1991-1992 Color coupler print. 15 3/8 x 23 in. (39.1 x 58.4 cm). Signed, dated and numbered 1/20 in ink on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York

304

304 PHILIP-LORCA DICORCIA b. 1951 Brian Scott; 24 years old; San Marco, California, 25, 1990-1992 Color coupler print. 15 1/2 x 23 in. (39.4 x 58.4 cm). Signed, dated and numbered 1/20 in ink on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York

305

305 PHILIP-LORCA DICORCIA b. 1951 Andrew Smith; 28 years old; Baton Rouge, Louisiana; $30, 1991-1992 Color coupler print. 15 5/8 x 22 7/8 in. (39.7 x 58.1 cm). Signed, dated and numbered 1/20 in ink on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Pace/MacGill Gallery, New York


306

306 SALLY MANN b. 1951

307 SALLY MANN b. 1951

Jessie at 12, 1994

Sunday Funnies, 1991

Gelatin silver diptych. Each 18 1/2 x 22 7/8 in. (47 x 58.1 cm). Each signed, titled, dated,

Gelatin silver print. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed, titled, dated and numbered 16/25

numbered 17/25 and annotated ‘before’ or ‘after’ in pencil on the verso.

in pencil on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Aperture, Sally Mann: Immediate Family, n.p.

307


308

308 SALLY MANN b. 1951 Jessie at 8, 1990 Gelatin silver print. 19 x 23 1/8 in. (48.3 x 58.7 cm). Signed, titled, dated and numbered 6/25 in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0

309

309 SALLY MANN b. 1951 Virginia at 5, 1990 Gelatin silver print. 19 x 23 in. (48.3 x 58.4 cm). Signed, titled, dated and numbered 5/25 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist

310

310 SALLY MANN b. 1951 Virginia at 4, 1989 Gelatin silver print. 23 1/4 x 19 3/8 in. (59.1 x 49.2 cm). Signed, titled, dated and numbered 14/25 in pencil on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist Literature Aperture, Sally Mann: Immediate Family, n.p.


311 CHRISTIAN BOLTANSKI b. 1944 Fête du Pourim, 1991 Mixed media installation comprised of five gelatin silver prints, three lamps and tin box with clothes. 61 x 34 1/4 in. (154.9 x 87 cm) overall. Accompanied by an installation illustration signed and dated in pencil.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Galerie Ghislaine Hussenot, Paris

In order to understand and appreciate life, Christian Boltanski reminds

In Fête du Pourim, Boltanski arranges the images in a tight pyramidal shape

viewers of his installations, one must be able to first directly confront death.

that echoes a commemorative altar, an attribute heightened by the softly

The latter, however, is meant as a metaphor, most specifically in relation to

glowing lamps. Moreover, for a mantle Boltanski provides a sealed tin

childhood. It is during the transition from childhood to adulthood that humans

suitcase, filled with used clothing articles that further enhances the sense

internalize the notion of death, and from which point on, a dead person

of inaccessibility to a bygone era. Exposed electrical chords, arguably

resides within: “I began to work as an artist when I began to be an adult,”

surrogates for umbilical chords, dangle emphatically in front of the images. In

Boltanski has said, “when I understood that my childhood was finished, and

conjunction with the title, the work inevitably evokes schematic connotations

was dead. I think we all have somebody who is dead inside of us.” Perhaps

with the Holocaust, a subject Boltanski has revisited continuously throughout

it is for that reason that the features on the children portrayed in Boltanski’s

his career. As an event of monumental proportions, one whose devastation is

installations are blurred, allowing them to transcend their own individuality

perhaps most palpably felt in relation to the absentia of youth on both literal

and become a part of a collective childhood, and as such, a collective death

and figurative levels, the Holocaust is Boltanski’s vessel to meditate on loss.

with which the viewers are summoned to engage and relate.

Consequently, viewers are left to wonder as much on their own life’s fragility, ephemerality and as much beauty.


312 HIROSHI SUGIMOTO b. 1948 Ionian Sea, Santa Cesarea, 1990 Gelatin silver print. 16 5/8 x 21 1/2 in. (42.2 x 54.6 cm). Blindstamp title, date and number 19/25 343 in the margin; signed in pencil on the mount.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0


313

313 HIROSHI SUGIMOTO b. 1948

314 HIROSHI SUGIMOTO b. 1948

Hall of Thirty-Three Bays, 1995

Time Exposed

Gelatin silver print. 16 5/8 x 21 1/4 in. (42.2 x 54 cm). Blindstamp number 6/25 012 in the

Kyoto: Kyoto Shoin Co., Ltd, 1991. Fifty-one off-set lithographs. Fifty prints approximately

margin; signed in pencil on the mount.

9 1/2 x 12 1/8 in. (24.1 x 30.8 cm); one print 2 x 15 in. (5.1 x 38.1 cm). Each with blindstamp title,

Estimate $10 , 0 0 0 -15 , 0 0 0

date and number on the mount. Title page. Colophon. Contained in an aluminum folio case. One from an edition of 500.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

This portfolio was published on the occasion of two concurrent exhibitions in 2002 at the Carnegie Museum of Art, Pittsburgh and the IBM Courtyard, Tokyo. As such, in addition to the fifty seascapes, this portfolio includes an additional print showing an installation view of the IBM Courtyard.

314


315

315 HIROSHI SUGIMOTO b. 1948

316

Plaza, New York, 1978 Gelatin silver print. 16 5/8 x 21 3/8 in. (42.2 x 54.3 cm). Signed, titled, dated and numbered in pencil on the verso. One from an edition of 25.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

316 DAIDO MORIYAMA b. 1938 Nikko Toshogu, 1977 Gelatin silver print. 8 x 11 5/8 in. (20.3 x 29.5 cm). Signed and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Taka Ishii Gallery, Tokyo

317

317 DAIDO MORIYAMA b. 1938 Light and Shadow, 1981 Gelatin silver print. 17 5/8 x 21 5/8 in. (44.8 x 54.9 cm). Signed in ink on the recto; signed in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Taka Ishii Gallery, Tokyo


318 RICHARD AVEDON 1923-2004 Nastassja Kinski and the Serpent, 14 June, 1981 Gelatin silver print. 32 1/8 x 48 3/4 in. (81.6 x 123.8 cm). Signed and numbered 80/200 in pencil on the verso.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Literature Shanahan, Richard Avedon: Evidence 1944-1994, p. 162; Fraser, On the Edge:

Images from 100 Years of Vogue, pp. 232-233


319

320

319 LOUIS FAURER 1916 - 2001

320 HERB RITTS 1952-2002

Bowing for the Vogue Collection, Paris, 1972

Female Torso with Veil, Paradise Cove, 1984

Gelatin silver print, printed 1991. 12 3/8 x 9 1/2 in. (31.4 x 24.1 cm). Signed, titled, dated,

Gelatin silver print. 18 x 15 1/2 in. (45.7 x 39.4 cm). Blindstamp credit in the margin; signed,

numbered AP 2/10 and copyright in pencil on the verso. One from an edition of 20 plus 10

titled, dated and numbered 16/25 in pencil on the verso.

artist’s proofs.

Estimate $12 , 0 0 0 -18 , 0 0 0

Estimate $7, 0 0 0 - 9, 0 0 0 Provenance Halsted Gallery, Bloomfield Hills; Christie’s, New York, 14 October 2008, lot 378 Literature Harrison, Appearances: Fashion Photography Since 1945, cover; Tucker, Louis

Literature Bulfinch Press, Herb Ritts: Work, n.p.; Twin Palms Publishers, Herb Ritts:

Faurer, p. 161

Pictures, n.p.

Another print of this image is in the permanent collection of the Museum of Fine Arts, Boston

322

321

321 HORST P. HORST 1906-1999

322 HORST P. HORST 1906-1999

Lingerie (Bow & Arrow), New York, 1982

American Nude I, New York, 1982

Gelatin silver print, printed later. 13 7/8 x 11 1/4 in. (35.2 x 28.6 cm). Signed in pencil

Gelatin silver print, printed later. 11 3/8 x 11 3/8 in. (28.9 x 28.9 cm). Signed in pencil

on the verso.

on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Kazmaier, Horst: Sixty Years of Photography, pl. 167


323 NOBUYOSHI ARAKI b. 1940 Selected Images, circa 2005 Eight Polaroid prints. Each 3 1/8 x 3 in. (7.9 x 7.6 cm). Each signed in ink on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0


324

325

325 NOBUYOSHI ARAKI b. 1940

324 NOBUYOSHI ARAKI b. 1940 Kaori, 2004

Painting Flower, 2004

Dye destruction print. 15 x 12 in. (38.1 x 30.5 cm). Signed in ink on the verso.

Dye destruction print. 14 1/8 x 18 1/8 in. (35.9 x 46 cm). Signed in ink on the verso.

Estimate $ 3 , 0 0 0 - 3 , 5 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

326

327

326 YASUMASA MORIMURA b. 1951

327 YASUMASA MORIMURA b. 1951

Singer 1 from Madonna—On Self-Portrait, 1994

Later Years from Rembrandt—On Self Portrait, 1994

Instant color film. 4 5/8 x 3 1/2 in. (11.7 x 8.9 cm). Signed in ink in the margin.

Instant color film. 4 5/8 x 3 1/2 in. (11.7 x 8.9 cm). Signed in ink in the margin.

Estimate $1, 5 0 0 - 2 , 0 0 0

Estimate $1, 5 0 0 - 2 , 0 0 0


328

328 BETTINA RHEIMS b. 1952 Madonna blue laying on a blue bed, New York, September, 1994 Color coupler print, flush-mounted. 47 1/4 x 47 1/4 in. (120 x 120 cm). Signed, titled, numbered 1/5 and annotated ‘Pourquoi M’as-tu Abandonne’ in ink on a label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate $12 , 0 0 0 -18 , 0 0 0 Provenance Private Collection, Paris

329 HERB RITTS 1952-2002 Prince, 1991 Gelatin silver print. 16 x 19 3/4 in. (40.6 x 50.2 cm). Blindstamp credit in the margin; signed, titled, dated and numbered 5/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Bulfinch Press, Notorious: Herb Ritts, n.p.

Only 16 prints from the proposed edition of 25 plus 3 artist’s proofs were realized.

329

330

331

330 BETTINA RHEIMS b. 1952 Sharon Stone IV, Los Angeles, July, 1991 Gelatin silver print, printed 1996. 21 1/2 x 14 1/4 in. (54.6 x 36.2 cm). Signed, titled, dated, numbered 2/15 and inscribed in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist

331 HELMUT NEWTON 1920-2004 Un-Dressed fashion with mirror, French Vogue, Paris, 1996 Unique Polaroid print. 3 3/4 x 2 7/8 in. (9.5 x 7.3 cm). Signed in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance From the artist; to Gert Elfering Literature Taschen, Helmut Newton: Work, n.p.

ACTUAL SIZE


332

333

332 HE YUNCHANG (A CHANG) b. 1967

333 ZHANG PENG b. 1981

Earthly Possessions, circa 2000

Red No. 8, 2008

Color coupler print. 58 3/4 x 46 1/2 in. (149.2 x 118.1 cm). Signed, titled and dated in Chinese

Color coupler print. 32 5/8 x 78 3/4 in. (82.9 x 200 cm). Signed, numbered 4/8 in ink, printed

in ink on the recto. One from an edition of 8.

title and date on a Certificate of Authenticity accompanying the work.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


334 ROBERT POLIDORI b. 1951 Cadre Vide, Château de Versailles, 1985 Fujicolor Crystal Archive print. 52 x 41 in. (132.1 x 104.1 cm). Signed in ink, printed title, date and number on a gallery label affixed to the reverse of the flush-mount. One from an edition of 10.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 Literature Musée d’Art Contemporain de Montréal, Robert Polidori, pl. 63; Steidl, Robert

Polidori: Parcours Muséologique Revisité, Volume I, p. 134


335 ANDREW LEVITAS b. 1977 Cappella Dei Morti, 2010 Metalwork photograph. 47 1/4 x 71 1/4 in. (120 x 181 cm). Signed and numbered 8/10 in ink on the reverse of the flush-mount.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist

Using a unique process called Metalwork Photography™, Andrew Levitas transfers his photographs into transparencies that are then melted onto hand-detailed metal sheets. The result is an illuminating and reflective surface, as seen in this haunting image of Cappella Dei Morti. Located in Italy, the Cappella Dei Morti is the spiritual resting place of Roman monks, where their remains stand vigil as gatekeepers to the afterlife. For having been prepared in such a meticulous manner, Levitas’s final image pays homage to the sacred ground and captures its unique nature.


336 SEBASTIÄO SALGADO b. 1944 Iceberg Between the Paulet Island and the Shetland Islands, Antarctica, 2005 Gelatin silver print. 21 1/4 x 30 1/8 in. (54 x 76.5 cm). Signed, titled ‘Antartica’ [sic] and dated in pencil on the verso.

Estimate $12 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist


337

337 SEBASTIÄO SALGADO b. 1944 Serra Pelada, Gold Mine, Brazil, 1986 Gelatin silver print, printed later. 32 x 21 3/8 in. (81.3 x 54.3 cm). Signed, titled ‘Brasil’ and dated in pencil on the verso.

Estimate $12 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist

338 SEBASTIÄO SALGADO b. 1944 The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu refugees, Tanzania, 1994 Gelatin silver print, printed later. 21 x 32 1/8 in. (53.3 x 81.6 cm). Signed, titled ‘Tanzania’ and dated in pencil on the verso.

Estimate $12 , 0 0 0 -15 , 0 0 0 Provenance Acquired directly from the artist

339 SEBASTIÄO SALGADO b. 1944 Church Gate Station, Bombay, India, 1995 Gelatin silver print, printed later. 21 1/4 x 32 1/8 in. (54 x 81.6 cm). Signed, titled ‘India’ and dated in pencil on the verso.

Estimate $ 9, 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist

338

339


340 ROBERT POLIDORI b. 1951 Classroom in Kindergarten #7, Golden Key, Pripyat, 2001 Color coupler print. 32 1/2 x 42 in. (82.6 x 106.7 cm). Signed in ink, printed title, date and number on gallery labels affixed to the reverse of the frame. One from an edition of 10.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Literature Polidori, Zones of Exclusion: Pripyat and Chernobyl, cover


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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Silk Road Gallery; to the present Private Collection

As an Iranian woman born in 1980, only a year following the Iranian Revolution, Gohar Dashti’s work confronts issues of modernization and customs in a time of political turmoil. Today’s Life and War presents a symbolic heartbreaking juxtaposition in which the vitality of a young married couple appears to be smothered by a haunting military history.

In lieu of a lavish wedding car, a burnt remnant serves as reminder of not only past turmoil but also the couple’s current immobility. Dashti claims the individuals in the image to be a “post-war couple” who are “entangled in the memories and realities of war as a background to their daily life.” History is ambiguously evoked with both a sense of nostalgic longing for traditional rites of passage as well as frustration with the aftershock of political upheaval. Since 2006, Dashti has been teaching photography at Art University in Tehran. She is a member of the Iranshahr Photography Society and her work has been exhibited in Iran, Germany, Romania, India and Afghanistan.


342 ANDRES SERRANO b. 1950 Madonna of the Rock from Immersion Series, 1987 Dye destruction print. 59 1/2 x 39 1/2 in. (151.1 x 100.3 cm). Signed, titled and numbered 4/4 in pencil on the reverse of the mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0


343

343 ANDREAS SERRANO b. 1950 Piss Discus, 1988 Dye destruction print. 28 5/8 x 19 in. (72.7 x 48.3 cm). Signed, titled, dated and numbered 50/50 in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

344 LUIS GONZĂ LEZ PALMA b. 1957 El Arbol, 1993 Hand-painted gelatin silver diptych. 21 5/8 x 30 1/2 in. (54.9 x 77.5 cm) overall. Signed, titled, dated and numbered 1/15 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

344


345 ERWIN OLAF b. 1959 The Boardroom from Rain, 2004 Lambda print, Diasec mounted. 47 1/4 x 66 in. (120 x 167.6 cm). Signed, titled, dated and numbered 4/7 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Literature Aperture Foundation, Erwin Olaf, pp. 68-69


346

346 ERWIN OLAF b. 1959 Irene from Grief, 2007 Lambda print. 31 1/2 x 23 1/2 in. (80 x 59.7 cm). Signed, titled, dated and numbered 3/12 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Aperture Foundation, Erwin Olaf, p. 83

347

347 ERWIN OLAF b. 1959 Paradise Portraits Amsterdam: Self-published, 2001. Nine Lambda prints. Each 11 1/4 x 8 3/8 in. (28.6 x 21.3 cm). Eight signed and numbered 7/15 in ink on the verso; each signed and numbered 7/15 in pencil on the overmat. Contained in a decorative folio case with embossed credit, title and copyright symbol.

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Olaf, Erwin Olaf: Silver, n.p.

Titles include: Tabara; Franz; Mieke; Renee; Harrie; Thomas; Edwin; Jan; Roy


348 ERWIN OLAF b. 1959 Rain Portfolio Amsterdam: Self-published, 2004. Six Lambda prints. Two prints 8 1/2 x 8 5/8 in. (21.6 x 21.9 cm); four prints 8 1/2 x 12 1/8 in. (21.6 x 30.8 cm). Each signed and numbered 8/15 in ink on the verso; each signed and numbered 8/15 in pencil on the overmat. Contained in a decorative folio case with embossed credit, title and copyright symbol.

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Aperture, Erwin Olaf, pp. 2-3, 42-43, 58-59, 62-63, 64-65 and 68-69

Titles include: The Ice Cream Parlor; The Bedroom; The Gym; The Dancing School; The Boardroom; The Hairdresser’s


349 ERWIN OLAF b. 1959 Hope Portfolio Amsterdam: Self-published, 2005. Six Lambda prints. Each 8 3/8 x 12 1/8 in. (21.3 x 30.8 cm). Each signed, numbered 6/15, five dated ‘2005’ and one dated ‘2008’ in ink on the verso; each signed, dated and numbered 6/15 in pencil on the overmat. Contained in a decorative folio case with embossed credit, title and copyright symbol.

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Aperture Foundation, Erwin Olaf, pp. 10-11, 20-21, 28-29, 30-31, 34-35 and 46-47

Titles Include: The Lodger; The Kitchen; The Hallway; The Classroom; The Boxing School; The Practice


350

351

350 YAO LU b. 1967

351 DODO JIN MING b. 1955

New Landscape Part 2-YL01 Early Spring on Lake Dong Ting, 2008

Free Element, Plate I, 2000

Color coupler print, flush-mounted. 40 x 40 in. (101.6 x 101.6 cm). Signed, dated, numbered

Gelatin silver print. 28 1/2 x 39 in. (72.4 x 99.1 cm). Signed in pencil, printed title, date and

5/8 in ink and four chop marks on the recto.

number 1/10 on a gallery label affixed to the reverse of the frame.

Estimate $10 , 0 0 0 -15 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Laurence Miller Gallery, New York Exhibited Dodo Jin Ming: Land and Sea, Columbus Museum of Art, Columbus, 2 April - 3

July 2005


352 LORNA SIMPSON b. 1960 Cloud, 2005 Nine serigraph prints on felt, flush-mounted to board. Each 28 x 28 in. (71.1 x 71.1 cm). Number 2 from an edition of 3 plus 2 artist’s proofs. Accompanied by a signed Certificate of

to resist schematic associations with Genesis, as the heavenly glow of the cloud creates the illusion that its appearance, if not magical, is by the hand of a higher, invisible source.

Authenticity.

Reading of the image is further complicated when the work is understood in Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

relation to Simpson’s 3-minute performance, Cloudscape, 2004, in which an

Provenance Acquired directly from the artist

African American performer dressed in black stands with his eyes closed,

Exhibited Lorna Simpson, Whitney Museum of American Art, New York, 1 March - 6 May

whistling a melody, as a cloud slowly emerges above his shoulder. The cloud

2007, another example exhibited

soon thickens in consistency, all but swallowing the whistling man in his

Lorna Simpson’s work is consistently imbued with ambiguity, harmoniously evoking two seemingly contradicting viewpoints that engender feelings of discomfort as much as safety. Neither premise, viewers normally conclude, is veritable, as Simpson’s intention is to challenge and deconstruct, producing images that are far more axiomatic in nature than they are conclusive, needless to say didactic. Unsurprisingly, her modus operandi is the perfect vehicle for the polemical subject matter that she tackles, race and gender. Cloud, 2005, presents viewers with an enigmatic scenario in which an ethereal, white cloud surrealistically floats amidst what appears to be a confined space, casting no shadow on the spotlight beneath it. It is difficult

entirety. At the zenith of the performance half-way through, the cloud begins retreating in the reverse pattern, ultimately shrinking to the plume of mist from which it originated. The whistling, nonetheless, continues and remains unaffected by the visual metamorphosis. The temporary consumption of the black figure by the white cloud but his perseverance through whistling could be read as a critical analogy on race relations. Sound, it should be noted, just like mist, is intangible, and in this context unexpectedly provides an equal resistance to the mist’s all-engulfing visual effect. Therefore, Cloud could stand as a metaphor for a creationist magic as much as ominous force, at once mesmerizing in its beauty and foreboding in its might.


353

354

353 AHMET ERTUG b. 1949

354 AHMET ERTUG b. 1949

Palais Garnier, Grand Foyer, Paris, France, 2009

Teatro Olimpico, Vicenza, Italy, 2009

Lightjet print. 70 3/4 x 87 3/8 in. (179.7 x 221.9 cm). Signed in ink, printed title, date and

Lightjet print. 70 3/4 x 87 3/8 in. (179.7 x 221.9 cm). Signed in ink, printed title, date and

number 1/3 on an artist’s label affixed to the reverse of the frame.

number 1/3 on an artist’s label affixed to the reverse of the frame.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

The Ahmet Ertug photographs offered in lots 353 and 354 will be published in October 2010 in the artist’s limited edition large format book titled Palaces of Music: Opera Houses of Europe, which will showcase 22 extraordinary opera houses.


356

355

355 ABELARDO MORELL b. 1948

356 ABELARDO MORELL b. 1948

Camera Obscura Image of Windows in Gallery with Two Paintings, Whitney Museum of American

Camera Obscura Image of the Eiffel Tower in the Hotel Frantour, Paris, 1999

Art, New York, 2003

Gelatin silver print. 22 3/8 x 18 1/8 in. (56.8 x 46 cm). Signed, titled, dated and numbered 7/30

Gelatin silver print. 18 1/8 x 22 1/2 in. (46 x 57.2 cm). Signed, titled, dated and numbered 1/30

in pencil on the verso.

in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Bonni Benrubi Gallery, New York Literature Bulfinch Press, Abelardo Morell: Camera Obscura, p. 67

Provenance Bonni Benrubi Gallery, New York Literature Bulfinch Press, Abelardo Morell: Camera Obscura, p. 43

357 358

357 LOUISE LAWLER b. 1947

358 CANDIDA HĂ–FER b. 1944

Grau, 2004

Viegelandmuseum, Oslo II, 1992

Gelatin silver print. 14 1/4 x 17 1/8 in. (36.2 x 43.5 cm). Signed and numbered 2/5 in pencil

Color coupler print. 14 1/4 x 21 1/8 in. (36.2 x 53.7 cm). Signed, titled, dated and numbered 2/6

on the verso.

in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Metro Pictures, New York

Provenance Rena Bransten Gallery, San Francisco


359

359 FRANK THIEL b. 1966 Stadt 2/61, 2002 Color coupler print, Diasec mounted. 57 x 88 in. (144.8 x 223.5 cm). Signed, titled, dated and numbered 1/4 in ink on the reverse of the backing board.

Estimate $12 , 0 0 0 -18 , 0 0 0

360

361

360 EDWARD BURTYNSKY b. 1955 Three Gorges Dam Project, Wushan #11, Yangtze River, China, 2002 Color coupler print. 40 x 50 in. (101.6 x 127 cm). Signed in ink, printed title, date and number 3/5 on a label affixed to the reverse of the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0

361 EDWARD BURTYNSKY b. 1955 Shipyard #11, Qili Port, Zhejiang Province, China, 2005 Color coupler print. 22 x 18 in. (55.9 x 45.7 cm). Signed in ink, printed title, date and number 22/25 on a label affixed to the reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0


362

362 EDWARD BURTYNSKY b. 1955

363 EDWARD BURTYNSKY b. 1955

Iberia Quarries #2, Bencatel, Portugal, 2006

Mines #17, Lornex Open Pit Copper Mine, High Valley, British Columbia, 1985

Color coupler print, printed 2007. 39 x 49 in. (99.1 x 124.5 cm). Signed in ink, printed title, date

Color coupler print, printed 2004. 40 x 50 in. (101.6 x 127 cm). Signed in ink, printed title, date

and number 8/9 on a label affixed to the reverse of the mount.

and number 2/5 on a label affixed to the reverse of the frame.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $12 , 0 0 0 -18 , 0 0 0

Provenance Robert Koch Gallery, San Francisco

Provenance Robert Koch Gallery, San Francisco

363


364

365

364 DAVID LACHAPELLE b. 1964

365 STEVEN KLEIN b. 1965

Courtney Lying on Floor in Pink Bedroom, New York, 2003

The Case Study #13 no. 18, 2005

Fujicolor Crystal Archive print. 17 x 22 3/4 in. (43.2 x 57.8 cm). Signed, titled, dated and

Gelatin silver print with artist’s original frame. 32 1/2 x 40 1/2 in. (82.6 x 102.9 cm). Signed

numbered 6/10 in ink on the verso.

in ink, printed title, date and number 2/5 on a Certificate of Authenticity accompanying

Estimate $7, 0 0 0 - 9, 0 0 0

the work.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Gagosian Gallery, Beverly Hills; to the present Private Collection, New York


366 DAVID LACHAPELLE b. 1964 Alicia Keys, Burning Piano, NY, 2003 Color coupler print, Diasec mounted. 39 x 60 in. (99.1 x 152.4 cm). Signed, titled, dated and numbered 2/3 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Taschen, David LaChapelle: Heaven to Hell, pp. 84-85, there titled Alicia Keys, A

Trial by Fire for a Young Artist


367

367 GAVIN BOND b. 1970 Rebellion Featuring Jenna Jameson (Sacrifice), 2008 Color coupler print. 58 7/8 x 49 in. (149.5 x 124.5 cm). Signed in ink, printed title and number 2/2 on an artist’s label accompanying the work.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

368

368 MARILYN MINTER b. 1948 Prism, 2009 Color coupler print. 19 1/2 x 13 in. (49.5 x 33 cm). Signed, titled, dated and numbered 26/27 in ink on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

369 ULTRAVELVET COLLECTION Panorama, circa 2009 Color coupler print. 23 1/2 x 94 1/2 in. (59.7 x 240 cm). Signed and numbered 2/2 in ink on the recto.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

369


370 GAVIN BOND b. 1970 Untitled (3), Juste parce que je suis belle, 2010 Color coupler print. 59 1/2 x 39 1/2 in. (151.1 x 100.3 cm). Signed in ink, printed title, date and number 2/3 on an label accompanying the work.

Estimate $10 , 0 0 0 -15 , 0 0 0


371

371 CHRIS JORDAN b. 1963

372

Sawdust, Tacoma, 2004 Pigmented inkjet print, Diasec mounted, printed 2005. 43 3/8 x 74 5/8 in. (110.2 x 189.5 cm). Signed, titled, dated and numbered 2/9 in ink on an artist’s label affixed to the reverse of the frame.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

373

372 VIK MUNIZ b. 1961 Montagne Saint-Victoire, Seen from Montbriand after Cezanne from Pictures of Pigment, 2006 Color coupler print. 19 3/4 x 24 in. (50.2 x 61 cm). Signed, dated in ink, printed title and number 45/50 on a label affixed to the reverse of the frame.

Estimate $ 5 , 0 0 0 -7, 0 0 0

374

373 JUSTINE KURLAND b. 1969 Spirit West—Girls in Camo, 2001 Color coupler print. 9 1/8 x 11 in. (23.2 x 27.9 cm). Signed and numbered 13/30 in ink on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

374 JUSTINE KURLAND b. 1969 West of the Water, 2003 Color coupler print, mounted. 17 7/8 x 23 in. (45.4 x 58.4 cm). Signed in ink, printed title, date and number 6/8 on a gallery label affixed to the reverse of the backing board.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0


375 THOMAS STRUTH b. 1954 Paradise 23, SĂŁo Francisco de Xavier, Brasil, 2001 Color coupler print, Diasec mounted. 87 x 68 in. (221 x 172.7 cm). Signed in ink, printed title, date and number 9/10 on a label affixed to the reverse of the frame.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Literature Schirmer/Mosel, Thomas Struth: New Pictures from Paradise, no. 7891 (fig. 1)

The title of the series by Thomas Struth, Paradise, instinctively summons connotations of The Sublime, the subject of discussion by various 18thcentury English and German philosophers, and later, art. Interest in the subject rose in tandem with the increase in popularity of the Grand Tour, in which members of European nobility, as a rite of passage, travelled across the continent, documenting their adventures in literary and visual forms. The Sublime, as opposed to The Beautiful, was distinguished by its dual invocation of horror and delight, at once appearing as menacing, ominous and terrifying as inspiring, humbling and invigorating. Emphasis was on the

tremendous, overpowering effect of nature, and the diminishing proportion of Mankind in comparison, all of which Thomas Struth deftly captures in the current lot. The vast Brazilian jungle appears primordial, stripping the image of its temporality and detaching it from any of the associations with 21st-century Brazil, particularly in regards to industrialization, rapid urban growth, globalization, and economic strength. The horizon is exceptionally low, and a small, meandering pathway highlights the enormity of the surrounding nature, all but obliterating the sky in its sheer density. The scale of the work is accordingly impressive, immediately engulfing viewers with an almost spiritual potency, the kind normally experienced in religious architecture, unsurprisingly another popular subject in the work of Thomas Struth. In fact, just like the towering dome of the Pantheon, the grandiose façade of the Mailänder Dom, the expansive plaza facing Notre Dame, and the colossal vaulted ceilings at the Basilica de Montreale, the Brazilian jungle is as monumental and awe-inspiring, at once wondrous and overwhelming.


376

377

376 ALEC SOTH b. 1969

377 MATTHEW PILLSBURY b. 1973

Untitled, 49, Bogotรก, 2003

Full Moon Rising over Beaver Bay (Monday, May 23rd; 9:52-10:46pm), 2005

Pigmented ink print, printed 2007. 20 x 20 in. (50.8 x 50.8 cm). Signed in ink, printed title,

Archival pigment ink print. 31 x 39 5/8 in. (78.7 x 100.6 cm). Signed, titled, dated and

date and number 5/8 on a label affixed to the reverse of the frame.

numbered 2/10 in pencil in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Actes Sud/ Foundation HSBC pour la Photographi, Matthew Pillsbury: Time

Provenance Weinstein Gallery, Minneapolis

Frame, pp. 16-17

378

379

378 MELANIE SCHIFF b. 1977

379 MELANIE SCHIFF b. 1977

Untitled (Bottles), 2005

Water Birth, 2006

Color coupler print. 45 x 35 3/4 in. (114.3 x 90.8 cm). Signed in ink, printed title, date and

Color coupler print. 50 x 40 in. (127 x 101.6 cm). Signed in ink, printed title, date and number

number 2/3 on a gallery label affixed to the reverse of the frame.

3/3 on a gallery label affixed to the reverse of the frame.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Kavi Gupta Gallery, Chicago

Provenance Kavi Gupta Gallery, Chicago


380

380 THOMAS RUFF b. 1958 Untitled from Machine Series, 2003 Color coupler print, Diasec mounted. 45 x 33 1/2 in. (114.3 x 85.1 cm). Signed, dated and numbered 3/5 in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

381

381 FRANK THIEL b. 1966 Stadt 2/89 (Berlin), 2003 Color coupler print, Diasec mounted. 57 x 81 in. (144.8 x 205.7 cm). Signed, titled, dated and numbered 3/4 in ink on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Sean Kelly Gallery/Projects, New York

382

382 ELISA SIGHICELLI b. 1968 Window with Blue Skirting Board, 2002 Partially backlit color coupler print on lightbox. 48 x 48 in. (121.9 x 121.9 cm). Signed, titled, dated and numbered 1/3 in ink on the reverse of the lightbox.

Estimate $ 5 , 0 0 0 -7, 0 0 0


383 MARILYN MINTER b. 1948 Swarv, 2005 Color coupler print. 40 x 26 in. (101.6 x 66 cm). Signed in ink, printed title, date and number AP1 on gallery labels affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Salon 94, New York


384

385

384 ANDREW MOORE b. 1957

385 ANDREW MOORE b. 1957

Shoes, Lenfilm Studio, St. Petersburg, 2002

Anton’s Books, Havana, Cuba, 2000

Fujicolor Crystal Archive print, printed 2004. 36 x 24 3/4 in. (91.4 x 62.9 cm). Signed, titled,

Fujicolor Crystal Archive print, printed 2004. 34 1/2 x 26 7/8 in. (87.6 x 68.3 cm). Signed, titled,

dated and numbered 5/10 in ink on the verso.

dated and numbered 8/10 in ink on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance Private Collection, Los Angeles

Provenance Private Collection, Los Angeles

386 ALEX GUOFENG CAO b. 1969

386

Brigette Bardot vs. Eve, Creation of Eve, 2009 Color coupler print, Diasec mounted. 108 1/2 x 71 7/8 in. (275.6 x 182.6 cm). Signed, numbered 8/8 in ink, printed title and date on a Certificate of Authenticity accompanying the work.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Acquired directly from the artist

387

387 ALEX GUOFENG CAO b. 1969 Warhol vs. Mao, After Mapplethorpe, 2009 Color coupler print, Diasec mounted. 60 x 40 in. (152.4 x 101.6 cm). Signed, numbered 16/18 in ink, printed title and date on a Certificate of Authenticity accompanying the work.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Acquired directly from the artist


388

388 THOMAS RUFF b. 1958 Nude ye26, 2006 Color coupler print, Diasec and flush-mounted. 55 x 35 1/2 in. (139.7 x 90.2 cm). Signed, titled, dated and numbered 4/5 in pencil on the reverse of the backing board.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Provenance Johnen Galerie, Berlin

389 IZIMA KAORU b. 1954 Hasegawa Kyoko wears Yves Saint Laurent Rive Gauche, 2003 Color coupler print, printed 2005. 39 3/8 x 55 1/8 in. (100 x 140 cm). Signed in ink, printed title, date and number 1/5 on an artist’s label accompanying the work.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

389


390

391

390 MONA KUHN b. 1969

391 RICHARD PRINCE b. 1949

Reflecting, 2006

Untitled (Joke, Girlfriend, Cowboy), 2001

Color coupler print. 29 3/4 x 29 3/4 in. (75.6 x 75.6 cm). Signed, titled, dated and numbered

Fujicolor print. 6 5/8 x 36 in. (16.8 x 91.4 cm). Signed and dated in ink on the verso. One from

4/8 in pencil on the reverse of the mount.

an edition of 26.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $10 , 0 0 0 -15 , 0 0 0

Provenance Charles Cowles Gallery, New York

Provenance Glenn Dranoff, New York

Literature Steidl, Mona Kuhn: Evidence, p. 63


392

392 IRVING PENN 1917-2009 Lipstick Chunks, New York, 1982 Dye transfer print, printed 1984. 18 x 21 1/4 in. (45.7 x 54 cm). Signed, titled, dated in ink, copyright credit reproduction limitation and edition stamps on the reverse of the flushmount. One from an edition of 22.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Literature Szarkowski, Irving Penn, pl. 103

393

393 GAVIN BOND b. 1970 Backstage: Volume II, 2008 Twelve digital color coupler prints. Each 26 x 22 in. (66 x 55.9 cm) or the reverse. Each signed in ink on twelve labels accompanying the works. Each number 10 from an edition of 10. Accompanied by a signed Certificate of Authenticity.

Estimate $10 , 0 0 0 -15 , 0 0 0

Titles include: Adriana Winking; 3 of a Kind; Fly Away; Allessandra Dancing; Line Up; Queen of Hearts; Reflections; Final Touches; Contemplation; Scarlett; Adriana with Boa; Derierre


394 MARILYN MINTER b. 1948 Shit-Kicker, 2006 Color coupler print. 26 x 40 in. (66 x 101.6 cm). Signed in ink, printed title, date and number 1/5 on gallery labels affixed to the reverse of the frame.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Salon 94, New York


395 MASSIMO VITALI b. 1944 Robert Moses Park 2, 2006 Color coupler print, Diasec mounted. 59 x 74 1/2 in. (149.9 x 189.2 cm). Signed, titled, dated and numbered 4/6 in ink on a label affixed to the reverse of the frame.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


396 BARRY FRYDLENDER b. 1954 Smoking, Sinai, 2004 Color coupler print. 45 x 82 5/8 in. (114.3 x 209.9 cm). Signed in ink on a label accompanying the work. One from an edition of 5.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Andrea Meislin Gallery, New York

The constructed natured of reality is exposed and consequentially challenged in Barry Frydlender’s Smoking, Sinai, 2004. While seemingly natural at first glance, a closer look reveals a trail of barely visible hints that Frydlender confides in his viewers to discover and cull. Thereby, Frydlender allows the scene to gradually unfold and reveal his meticulous

synthesizing of hundreds of different images into an allegedly unified vision. While Smoking, Sinai, projects a perfectly believable scene of leisure and serenity, in reality, it is a fabricated mirage whose sole link to reality is in the mind of viewers. The notion of “taking a photograph” is accordingly collapsed and replaced with “making a photograph”, or even, “building a photograph”, a method that purposefully flaunts the artist’s handling, control and manipulation of the image. In a Post Modernist age of digital media, Frydlender embraces and eloquently articulates the diffusion and pluralization of a single vision of reality—and truth. Frydlender’s work has been exhibited at The Museum of Modern Art, New York; The FLAG Art Foundation, New York; The Jewish Museum, Paris; and Tel Aviv Museum of Art, Tel Aviv, among others.


397

397 LORETTA LUX b. 1969

398

The Hush, 1999 Dye destruction print. 15 x 22 3/4 in. (38.1 x 57.8 cm). Signed, titled, dated and numbered 7/7 in ink and blindstamp credit on a label affixed to the reverse of the backing board.

Estimate $12 , 0 0 0 -18 , 0 0 0

398 ANGELIKA SHER b. 1969 Growing Down 014, 2008 Archival inkjet print. 27 5/8 x 26 3/4 in. (70.2 x 67.9 cm). Signed, numbered 3/5 and annotated in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

399

399 WILLIAM WEGMAN b. 1943 Flock, 1998 Four iris prints. Each 40 x 30 1/2 in. (101.6 x 77.5 cm). One print signed, dated and a second print titled, numbered 4/7 all in ink in the margin.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Provenance Pace/MacGill Gallery, New York

400

400 WENG FEN b. 1961 Staring at the sea, no. 6, 2003 Color coupler print. 31 1/2 x 40 in. (80 x 101.6 cm). Signed, dated and numbered 8/10 in ink in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Acquired directly from the artist


401

401 ALEX PRAGER b. 1979 Cindy, 2007 Color coupler print. 24 x 49 in. (61 x 124.5 cm). Signed, titled, dated and numbered in ink on the reverse of the acrylic flush-mount. One from an edition of 9.

Estimate $ 5 , 0 0 0 -7, 0 0 0

402 SAM TAYLOR-WOOD b. 1967 Third Party—Ray and Pauline, 1999-2000 Color coupler print. 54 1/2 x 48 in. (138.4 x 121.9 cm). Printed title, date and number 5/35 on a gallery label affixed to the reverse of the frame.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Matthew Marks Gallery, New York

403 RYAN MCGINLEY b. 1977 Jake’s Eyes, 2004 Color coupler print, flush-mounted. 26 1/2 x 40 in. (67.3 x 101.6 cm). Signed in ink, printed title, date and number 5/6 on a label accompanying the work.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Lamontagne Gallery, Boston

403

402


404 IDRIS KHAN b. 1978 Wagner…Parsifal, 2007 Digital color coupler print, flush-mounted. 103 1/2 x 76 1/2 in. (262.9 x 194.3 cm). Signed, dated in ink, printed title, date and number 3/6 on a gallery label affixed to the reverse of the frame.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Yvon Lambert Gallery, New York


405 SHINICHI MARUYAMA b. 1968 Kusho #1, 2007 Archival pigment print. 53 1/4 x 43 1/4 in. (135.3 x 109.9 cm). Signed, titled, dated and numbered 10/10 in ink on the reverse of the backing board.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0

two liquids’ collision begets images that are more sculptural and solid in nature than expected given the substance. On the more symbolic level, the reference to the ancient form of calligraphy through the utilization of cutting-edge advances in photographic technology attests to a dialogue that bridges over a centuries-old gap. The Kusho series is an homage to the Japanese concept of wabi-sabi, which revels in the imperfect, incomplete and

The Kusho series by Shinichi Maruyama derives its name from “Ku”, which, among other interpretations, can also stand for “sky”, and “sho”, meaning “writing” or “calligraphy.” Together, the series is a Maruyama’s meditation on “writing in the sky”, a whimsical play on literal and figurative levels. On the former level, ink and water are mixed by hand, as the camera, at a shutter speed of 1/7500 of a second, captures the breathtaking image, otherwise invisible to the human eye. Moreover, the instantaneous capturing of the

impermanent, embracing the beauty of the spontaneous. Maruyama uses the photographic paper as convergence point of physical, conceptual and spiritual experimentations, capturing, revering and eternalizing moments and experiences that would have otherwise never been recorded. Maruyama has exhibited in both Tokyo and the New York.


406

406 JAMES CASEBERE b. 1953

407

Sing, Sing #2, 1992 Dye destruction print. 28 1/2 x 38 1/2 in. (72.4 x 97.8 cm). One from an edition of 5.

Estimate $10 , 0 0 0 -15 , 0 0 0 Provenance Sean Kelly Gallery, New York Literature Charta, James Casebere: The Spatial Uncanny, pp. 98-99

408

407 VIK MUNIZ b. 1961 Self-Portrait after Rembrandt from Pictures of Chocolate, 2002 Dye destruction print, flush-mounted to aluminum. 32 3/4 x 29 1/2 in. (83.2 x 74.9 cm). Accompanied by a Certificate of Authenticity from Galeria Fortes Vilaça

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

408 VIK MUNIZ b. 1961 ButragueĂąo from Pictures of Chocolate, 2004 Digital color coupler print, flush-mounted. 59 x 47 1/4 in. (149.9 x 120 cm). One from an edition of 5. Accompanied by a signed label.

Estimate $12 , 0 0 0 -18 , 0 0 0


409

409 VIK MUNIZ b. 1961 Pillow IV (After DĂźrer), 1999 Gelatin silver print. 18 3/4 x 22 3/4 in. (47.6 x 57.8 cm). Signed, dated and numbered 6/10 in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0

410

410 VIK MUNIZ b. 1961 702 Holes from Pictures of Holes, 1997 Digital color coupler print, printed 2007. 13 1/2 x 10 in. (34.3 x 25.4 cm). Signed, dated in ink, printed title and number 23/25 on an artist’s label affixed to the reverse of the backing board.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Arena Editions, Vik Muniz: Seeing is Believing, p. 99

411

411 VIK MUNIZ Self Portrait from Pictures of Blood, 1999 Digital color coupler print. 35 3/4 x 29 1/2 in. (90.8 x 74.9 cm). Signed, titled, dated and numbered 5/10 in ink on a label affixed to the reverse of the frame.

Estimate $12 , 0 0 0 -18 , 0 0 0


Index Aarons, S. 100 Abbott, B. 34, 150, 151 Adams, A. 105-107, 110, 142 Adams, R. 269 Adams, S.L. 196 Almeida, H. 242, 243 Araki, N. 323-325 Arbus, D. 11, 14, 15 Atget, E. 182 Avedon, R. 64, 68, 318 Baldessari, J. 301 Ballen, R. 289-291 Baril, T. 298 Bassman, L. 56-59 Beard, P. 236-241 Bernhard, R. 116-141 Bing, I. 184 Blumenfled, E. 111 Boltanksi, C. 311 Bond, G. 367, 370, 393 Brandt, B. 21, 113 Brassaï 171, 174 Budnik, D. 23, 24 Burtynsky, E. 360-363 Callahan, H. 69-86, 270, 271 Cartier-Bresson, H. 1-6 Casebere, J. 406 Christenberry, W. 267 Claxton, W. 208, 209 Clergue, L. 112 Close, C. 19 Coplans, J. 287, 288 Croner, T. 92 Cunningham, I. 115

Dashti, G. 341 Davis, L. 222-224 diCorcia, P-L. 302-305 D’Orazio, S. 210 Eggleston, W. 259-261 Eisenstaedt, A. 98 Ertug, A. 353, 354 Erwitt, E. 42 Evans, W. 146-149, 191 Faurer, L. 90, 319 Feininger, A. 63, 91 Frank, R. 17, 47-50 Friedlander, L. 12, 13, 247-249 Frydlender, B. 396 Fuss, A. 299 Gerlovina-Berghash-Gerlovin 195 Ginsberg, A. 218 Golden, J. 197 Goldin, N. 252-255 González Palma, L. 344 Gowin, E. 250 Greene, H. 213 Guofeng Cao, A. 386-387 Haas, E. 37, 38, 296, 297 He, Y. 332 Heath, D.M. 7 Henri, F. 164 Hine, L.W. 145 Höfer, C. 358 Horst, H.P. 60, 61, 65, 66, 154, 155, 206, 321, 322 Hoyningen-Huene, G. 152, 153, 156, 157 Jin Ming, D. 351 Jordan, C. 371 Kaoru, I. 389 Karsh, Y. 101, 102 Keïta, S. 246 Kenna, M. 268 Kertész, A. 167, 173, 175-180, 187 Khan, I. 404 Klein, S. 365 Klein, W. 207, 256 Koudelka, J. 245 Kuhn, M. 390 Kurland, J. 373, 374


LaChapelle, D. 364, 366 Lange, D. 143, 144 Lartigue, J.H. 189 Lawler, L. 357 Leibovitz, A. 201

Tasker, D.L. 161

Levinstein, L. 257, 258

Taylor-Wood, S. 402

Levitas, A. 335

Theil, F. 359, 381

Levitt, H. 93-96

TichĂ˝, M. 244

Link, O. W. 35, 36

Turner, P. 266

Lux, L. 397 Lyon, D. 193, 194 Mann, S. 199, 306-310 Mantz, W. 183 Mapplethorpe, R. 274, 275, 277-285, 295 Marshall, J. 217 Maruyama, S. 405 McCartney, L. 215 McGinley, R. 403 Meatyard, R.E. 39, 40, 41 Metzker, R.K. 88, 89, 219, 220 Miller, L. 166 Minter, M. 368, 383, 394 Misrach, R. 272 Modotti, T. 160, 163, 190 Moore, A. 384, 385 Morell, A. 355, 356 Morimura, Y. 326, 327 Moriyama, D. 316, 317 Muniz, V. 372, 407-411 Munkacsi, M. 168, 169 Munroe, J. 87 Newman, A. 27-30, 51, 52 Newton, H. 232-235, 331

Ultravelvet Collection 369 Okada, K. 108, 109 Olaf, E. 345-349

Vitali, M. 395

Outerbridge, P. 172

Von Wangenheim, C. 67

ParkeHarrison, R. 300

Warhol, A. 286

Parker, O. 227

Watson, A. 202

Penn, I. 16, 18, 22, 53-55, 198, 204, 392

Weegee 31-33

Pillsbury, M. 377

Wegman, W. 399

Polidori, R. 334, 340

Weng, F. 400

Porter, E. 273

Weston, B. 251

Prager, A. 401

Weston, E. 162

Prince, R. 391

White, C. 170 White, M. 46

Quigley, E. 185

Winogrand, G. 8-10 Winter, W. F., Jr. 186

Rauschenberg, R. 25, 26

Witkin, J-P. 221, 292-294

Rheims, B. 328, 330 Ritts, H. 203, 228-231, 276, 320, 329

Yao, L. 350

Rolston, M. 225, 226

Yavno, M. 99

Rovner, M. 200 Ruff, T. 380, 388 Salgado, S. 336-339 Samaras, L. 20 Sander, A. 181 Scavullo, F. 216 Schiff, M. 378, 379 Seidemann, B. 211, 212, 214 Serrano, A. 342, 343 Sher, A. 398 Shore, S. 264, 265 Sighicelli, E. 382 Simpson, L. 352 Siskind, A. 43, 44 Smith, W. E. 103 Sokolsky, M. 205 Sommer, F. 45, 114 Soth, A. 376 Sougez, E. 192 Steichen, E. 158, 159 Sternfeld, J. 262, 263 Stieglitz, A. 165, 188 Stoumen, L. 97 Strand, P. 104 Struth, T. 375 Sugimoto, H. 312-315

Zhang, P. 333


GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. 1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips 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 the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips 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 property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips 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. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest 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.

No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

2 BIDDING IN THE SALE Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s 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.


CONDITIONS OF SALE 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US 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 US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a processing fee of $50, an additional administrative fee of $10 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. Loss or Damage 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. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale 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 catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by 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. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is 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 investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us 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. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots 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 inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (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 may prepare and provide condition reports to assist prospective buyers when they are 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 not expressly referred to in the catalogue or condition report. All dimensions are 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. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. 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 an absentee bid at the lowest possible price taking into account the reserve and other bidders. 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. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. 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 telephone, a bidder consents to the recording of the conversation.


(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing 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 & Company and that we will only look to the principal for such payment. (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 undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the 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. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) 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 release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such 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, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will 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. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $50, administrative charges of $10 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to 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. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, 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 Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company 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 such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount 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. 10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale 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 made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale..

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York 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.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import 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 licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

(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 New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (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 it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright 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 remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (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 respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 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 laws of the State of New York, excluding its conflicts of law rules.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) 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 there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or 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. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at 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 commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified 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 why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the 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 Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage 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 payment of interest on the original Purchase Price.


phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty 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

International Specialists

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 434 344

Katherine van Thillo, Consultant +32 475 687 011 Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 80 00

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +86 35 0118 2804

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +41 22 906 80 00 fax +41 22 906 80 01


PHOTOGRAPHS

AUCTION

3 NOVEMBER 2010 5pm

LONDON

Viewing 29 October – 3 November Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 207 318 4018 Catalogues +44 207 318 4039 / + 1 212 940 1240

phillipsdepury.com CANDIDA HÖFER Palais des Beaux−Arts/Paleis van Schone Kunsten III, 2006 Estimate £20,000 - 30,000 (detail)


SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art New York

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

Zach Miner +1 212 940 1256

Sarah Mudge, Head of Part II +1 212 940 1259

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

Amanda Stoffel +1 212 940 1261

LONdON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

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

Shlomi Rabi +1 212 940 1246 Caroline Shea +1 212 940 1247

Carol Ehlers, Consultant +1 212 940 1245

Sarah Krueger +1 212 940 1245

Deniz Atac +1 212 940 1245

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Helen Hayman +44 20 7318 4092

Emma Lewis +44 20 7318 4092

Judith Hess +44 20 7318 4075

Ivgenia Naiman +44 20 7318 4071

George O’Dell +44 20 7318 4093

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

Raphael Lepine +44 20 7318 4078

Edward Tang +44 20 7318 4024

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

berlin

Edouard de Moussac + 33 1 42 78 67 77

New York Vanessa Kramer, New York Director +1 212 940 1243

Leonie Moschner +44 20 7318 4074

PHOTOGRAPHS

PARIS

New York

MODERN AND CONTEMPORARY EDITIONS

Christina Scheublein +49 30 886 250 57

JEWELRY Nazgol Jahan, Worldwide Director +1 212 940 1283 New York

Carmela Manoli +1 212 940 1302

Emily Bangert +1 212 940 1365

DESIGN

Alexander Payne, Worldwide Director +44 20 7318 4052 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

LONDON Domenico Raimondo +44 20 7318 4016

Steve Agin, Consultant +1 908 475 1796

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

LONDON Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

New York Corey Barr, New York Manager +1 212 940 1234

THEME SALES

LONDON Lane McLean +44 20 7318 4032

Private sales LONDON Anna Ho +44 20 7318 4044

PARIS Johanna Frydman +33 1 42 78 67 77

OFFICE OF THE CHAIRMAN Helen Rohwedder, International +44 20 7318 4042

berlin

Anna Furney, New York +1 212 940 1238

Harmony Johnston, London +44 20 7318 4099

Christina Scheublein +49 30 886 250 57

art and production Fiona Hayes, Art Director

Marketing NEW YORK Trish Walsh, Marketing Manager

NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager


SALE INFORMATION

Auction

Absentee and Telephone Bids

Friday 8 October 2010 at 10am & 2pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228

Viewing

bids@phillipsdepury.com

Saturday 2 October 10am – 6pm Sunday 3 October 12pm – 6pm

client accounting

Monday 4 October – Thursday 7 October 10am – 6pm

Sylvia Leitao +1 212 940 1231 Buyers Accounts

viewing & Auction Location

Nicole Rodriguez +1 212 940 1235

450 West 15 Street New York NY 10011

Seller Accounts Barbara Doupal +1 212 940 1232

Sale Designation

Nadia Somwaru +1 212 940 1280

In sending written bids or making enquiries please refer to this sale as NY 040210 or Photographs.

Client Services +1 212 940 1200

new york Director Vanessa Kramer +1 212 940 1243

Shipping Beth Petriello +1 212 940 1373

specialists

Jennifer Brennan +1 212 940 1372

Shlomi Rabi +1 212 940 1246 Caroline Shea +1 212 940 1247 Sale Administrator/Cataloguer Sarah Krueger +1 212 940 1245 Administrator Deniz Atac +1 212 940 1245 consultant Carol Ehlers +1 212 940 1245 Property Manager Don D’Aries +1 212 940 1363 Photography Kent Pell, Clint Blowers Catalogues Leslie Pitts +1 212 940 1240 $60/£30 at the Gallery catalogues@phillipsdepury.com

Front Cover André Kertész, Distortion #6, Paris, 1933, Lot 187 (detail) Inside Front Cover Robert Frank, Trolley—New Orleans, 1956, Lot 47 (detail) Title Page Marilyn Minter, Swarv, 2005, Lot 383 (detail) Inside Back Cover Josef Koudelka, Spain, 1971, Lot 245 (detail) Back Cover Thomas Struth, Paradise 23, São Francisco de Xavier, Brasil, 2001, Lot 375 (detail)


PHOTOGRAPHS 8 OCTOBER 2010 N E W YO R K

PHOTOGRAPHS 8

NY040210

P H I L L I P S D E P U RY.C O M

OCTOBER

2 010

NEW YORK


Photo Sale NY