The Photographers 2014 by Alex Moore

THE PHOTOGRAPHERS 2 014

THE PHOTOGRA PHE RS 2014

BEETLES+ HUXLEY

ÂŠ Beetles+Huxley/Osborne Samuel 2014 Beetles+Huxley 3-5 Swallow Street London W1B 4DE 020 7434 4319 gallery@beetlesandhuxley.com www.beetlesandhuxley.com Osborne Samuel 23a Bruton Street London W1J 6QG 020 7493 7939 info@osbornesamuel.com www.osbornesamuel.com Written by Flora La Thangue and Alex Moore, with contributions by Giles Huxley-Parlour, Alexandra Mackay, Felicity Paye, Jocelyn Phillips and Lauren Sohn Design by Jeremy Brook of Graphic Ideas Colour separation and printing by Geoff Neal Litho Limited All images ÂŠ the artists and may not be reproduced without permission Front cover: Ormond Gigli, Girls in Windows, New York, 1960 [38] Frontispiece: Snowdon, Anthony Blunt, London, 1963 [101] Back cover: Dorothea Lange, Migrant Mother, Nipomo, California, 1936 [20]

CONTENTS Foreword

Edouard Baldus

James Anderson

Gustave Le Gray

Herbert Ponting

Frank Hurley

Charles Jones

Edward Steichen

Berenice Abbott

Dorothea Lange

Frantisek Drtikol

Edward Weston

Brassa誰

Walker Evans

Aaron Siskind

Margaret Bourke-White

Man Ray

Bill Brandt

Angus McBean

Philippe Halsman

Ormond Gigli

Horst P Horst

Romano Cagnoni

Gianni Gardin

Tim Gidal

Irving Penn

Ray Atkeson

Robert Doisneau

Willy Ronis

Bert Hardy

Thurston Hopkins

Roger Mayne

Mario Giacomelli

Inge Morath

Ruth Orkin

O Winston Link

Vivian Maier

Jesse Alexander

Bruce Davidson

Sir Cecil Beaton

Snowdon

David Farrell

William Klein

Robert Mapplethorpe

101

NASA

104

Michael Kenna

108

Edward Burtynsky

114

Michael Najjar

115

Sarah Quill

117

Nadav Kander

119

Paul Kenny

121

Steve McCurry

123

Paulette Tavormina

126

Julie Blackmon

128

Holly Andres

133

Laura Letinsky

136

Alex MacLean

139

Michael Wolf

142

Justine Blau

145

Susan Derges

148

Mona Khun

149

Yoram Roth

151

Ruud van Empel

154

Rankin

156

A brief breakdown of print types

159

To collect photographs is to collect the world Our annual The Photographers exhibition is always a treat to organise. The gallery normally hosts solo exhibitions, which are a very rewarding and important part of our job, but I do confess to getting a bit of a thrill at the sheer scope and range of work that I can put into the Photographers. The sole purpose of the exhibition is to celebrate the medium in all its glory, with no rules – except that everything chosen must be of the highest quality. One of the reasons that I love this exhibition is that it gives me the chance to show collectors and enthusiasts individual gems that we have recently taken into stock. For example, I am delighted to be able to show off a large, extremely rare print of Dorothea Lange’s powerful, Migrant Mother, Nipomo, California, 1936 (plate 20). This is one of the most important photographs of all time, as well as being one of the most moving. Other personal favourites include Berenice Abbott’s vertigo-inducing Nightview, New York, 1932 (plate 19) and the two extraordinary, large, early Herbert Ponting prints (plates 05 and 06) from the British Antarctic Expedition of 1911. There are far too many other favourites to list here. The Photographers also gives us the chance to introduce new living artists to the gallery. There is great momentum behind contemporary photography right now, and I have included several exciting artists whose work is at the forefront of current practice. The environmental concerns of Edward Burtynsky, Alex Maclean, Michael Wolf and Paul Kenny have always interested me, and as ever their photography proves to be a powerful way of communicating the issues of our age. Completely different in style, but equally as compelling are the carefully staged and conceptualised photographs of Julie Blackmon, Holly Andres, Ruud van Empel, Laura Letinsky and Paulette Tavormina. They represent a key sub-genre of contemporary photography that embraces staging and digital techniques. Although utterly contemporary in execution, their work belongs to a long history of staged photography that goes back to Henry Peach Robinson (18301901), Lewis Carroll (1932-1898) and beyond. By juxtaposing such a wide breadth of work we also discover interesting and unplanned links between artists, across both the centuries and the genres. For example, my colleague, Flora La Thangue, pointed out the pleasure in comparing the exacting documentary of Edouard Baldus (born 1813) with the exacting urban topography of Michael Wolf (born 1954). Years may pass and aesthetics may change, but photographers are still entranced by certain subjects. Baldus was hired by the French government to document historical Paris in the face of Georges-Eugène Haussmann’s urban redevelopment, a major step forward for nineteenth-century society. 135 years later Wolf is interested in the challenges of urban

concentration in the twenty-first century, and uses a similarly objective photographic style to document high-rise living in Hong Kong. The accidental modernism of Charles Jones’ still lifes, a gardener and amateur photographer, sits splendidly next to the work of his famous contemporaries, Edward Weston and Edward Steichen. I have enjoyed seeing Vivian Maier’s exceptional street photography beside work by William Klein, Brassai, Roger Mayne, Thurston Hopkins and Bert Hardy – all highly respected photographers of the genre. It is absolutely clear to me that Maier would have been their professional contemporary and equal had she successfully promoted her work during her lifetime. Mostly though, I love this exhibition because it lays bare the opportunities available to us all as photography collectors and enthusiasts. The famous writer and theorist, Susan Sontag, wrote in her 1979 masterpiece, On Photography, that ‘to collect photographs is to collect the world’. She was not explicitly referring to building a photography collection, of course – it was more of a comment on the all-encompassing nature of photography – but it nevertheless resonates well with this show. I hope that The Photographers 2014 enthuses people about starting or developing a collection of their own. On a basic level the show contains prints across a great variety of genres, print-ages and printtypes – this makes it a perfect chance to get to grips with the various intricacies of the photography market. Most importantly thought it is great opportunity to read, learn about and get excited about the artists themselves. The team here enjoy the research that goes into this catalogue, and we hope that it helps to fuel your own passion for the work. Photographers live fascinating lives, and each has a story to tell, an agenda to learn about, techniques to marvel at and a place in the history of art. This year we have taken the unusual but enjoyable step of teaming up with Osborne Samuel gallery on Bruton Street to help us stage the show. Osborne Samuel are an extremely prestigious gallery, best known for dominating the Modern British field with their exhibitions of Lynn Chadwick, Henry Moore and other internationally famous British artists. We are delighted that they have agreed to help us host this exhibition, which is so large and expansive in its scope that it demands two galleries to do it justice. As you might be able to tell I am thrilled about this show, and I look forward to seeing you at either Swallow Street or Bruton Street so that I can share it with you. Giles Huxley-Parlour

ED OUARD BALD US (1813-1889) Baldus was one of the great calotypists of the 1850s, producing works of an unprecedented range and scale. He moved to Paris in 1838 to study painting alongside other future photographers such as Le Gray, Le Secq, and Negre. He frequently retouched his paper negatives, adding pencil and ink to clarify details, then printing his own large-scale negatives. He was also adept at stitching several negatives together to re-create architectural views. Famed especially for his depiction of architecture, Baldus not only documented the modernisation of Paris but also travelled widely through France recording modernity and new construction - including new railways, aqueducts and the building of the Louvre. In 1851 the Commission des Monuments Historiques cited Baldus as one of the five best architectural photographers and he was commissioned to record the monuments of France for what became known as the Mission Héliographique. His beginnings in photography are not well documented before his participation in the Mission héliographique.

In 1852 he began Villes de France photographiées to which the minister of Beaux-Arts subscribed until 1860. In 1854 he travelled with his student Petiot-Groffier in Auvergne and in 1855 the Baron James de Rothschild commissioned him to photograph the new Northern train line from Paris to Boulogne as a gift, in the form of a commemorative album for Queen Victoria before her visit to the Exposition Universelle. Later, in his commission to document the reconstruction of the Louvre, Baldus took more than two thousand views in a period of three years. His last big commission (1861-1863) documented the Paris-LyonMediterranean train line illustrating seventy views of the train’s track. After this, Baldus tried to provide more commercial alternatives to his large-format works, creating smaller prints and heliogravures of his earlier work. Unfortunately, the effort was unsuccessful and Baldus died bankrupt and in relative obscurity.

Cloitres de Saint-Trophine, Arles was a remarkable technical achievement for the time. Baldus photographed the scene in sections in order to capture the architectural details of the fourteenth-century Gothic cloisters and then joined together ten paper negatives. The historically important Romanesque church attracted many early photographers including Charles Nègre and Pierre-Emile-Joseph Pécarrère. Baldus used a similar technique to document the construction of the Louvre by amalgamating prints to create panoramas. He was one of the earliest photographers to manipulate the medium and sometimes retouched his negatives to erase trees, clouds or entire buildings.

01 SAINT-TROPHIME CLOISTERS, ARLES, 1851 Signed on mount Lightly albumenised salt print, mounted on card, printed circa 1851 8 x 9 1⁄4 inches

02 LE DOME DES INVALIDES, TOMBEAU DE NAPOLEON I, PARIS, CIRCA 1855 Signed and inscribed ‘Le Dome des Invalides, Tombeau de Napoleon I’ Salt print mounted on card, printed circa 1855 17 1⁄2 x 13 1⁄2 inches

JAM ES AND ERSON

(1 815-187 7)

James Anderson was a British-born painter, sculptor and photographer. He studied painting in Paris before moving to Rome in 1838. Anderson was a member of the famous CaffĂŠ Greco circle of early artists and photographers in Rome, which included Count Flacheron and Giacomo Caneva. Anderson became well-known for his views of both Rome, and the classical sculpture found in its environs. His early commercial prints often bear the blindstamp of the editor, J Spithover and his frequent use of albumen-on-glass negatives is distinctive. In later years, his son, Domenico, took over the family business.

03 TEMPLE OF VENUS AND ROME, NEAR THE COLOSSEUM, ERECTED BY HADRIAN AD135, CIRCA 1860 Inscribed with title on mount Early albumen print, mounted on original card 12 x 15 3⁄4 inches

GUSTAVE LE GRAY (1820-1884) One of the greatest early photographers, Le Gray’s studio was enormously influential in training photographers and in printing their work. His early salt prints of the Forest of Fontainebleau are a photographic counterpart to the Barbizon painters such as Corot, Daubigny, Diaz, Millet and Rousseau, whilst his topographic and architectural work was used by the Commission des Monuments Historiques in their Mission héliographique, for which five selected photographers traversed France to record its monuments. Le Gray’s depiction of Paris in the later 1850s bestowed a similar grandeur to the great public spaces of the capital.

Le Gray was a founding member of the Societé héliographique and of the SFP. In the early days of photography, he met Mestral, Le Secq, and Negre in the studio of Paul Delaroche while he was studying as a painter. He practiced calotyping, an early form of photography, from 1848 to about 1860. Before opening his own commercial studio in 1856 he taught calotype printing to most of the practitioners of the time. He had a tireless passion for developing photography, publishing four treatises on the subject of processes. He claimed to be the inventor of collodion glass negatives, and certainly experimented in the process from 1849. Le Gray invented the waxed paper negative process, which revolutionised the calotype, enabling photographers to prepare their negatives in advance and to print more photographs each day.

He began photographing his environs and was commissioned in 1851 with Mestral by Societé héliographique to document the chateaux of the Loire and the Pyrenees. This commission gave him his first real chance to practice his talent. On his return to Paris he photographed the forest of Fontainebleau and would often juxtapose paper and glass negatives to create the desired prints of his subjects. He also reproduced works of art from the salons from 1850-1853. Between 1855-1859 he mostly used collodion glass plates for portraits, marine studies, views of Fontainebleau, and the fields of Chalons. In 18531854 with his student Eugene Le Dien, he travelled to Rome and Southern Italy and returned to start his own studio. In 1860 on an expedition with Alexandre Dumas he reverted back to paper negatives to photograph Palermo and Syria. From his time in Egypt, however, there are only prints from glass plate negatives. The foundation of the Societé Héliographique and the SFP allowed Le Gray to show his photographic innovations. He was a core member of the French photography scene from 1850-1855.

Camp de Chalons, France, 1857 In 1857 Gustave le Gray was commissioned by Emperor Napoleon III to photograph the inauguration of the French army’s new training camp at Châlons in the Marne region of France. Le Gray was charged with photographing the set-piece maneuvers performed for the opening ceremony, portraits of significant officers and the impressive spread of the camp itself. Napoleon intended that the photographs be made into albums and distributed amongst the prominent Generals to celebrate the army’s might and its recent success in the Crimean War.

04 LE QUARTIER DE L’ARTILLERIE DE LA GARDE IMPERIALE, CAMP DE CHALONS, FRANCE, 1857 Signed Early albumen print, mounted on board 11 1⁄4 x 14 3⁄4 inches

HERB ERT P ONTI NG (1870-1935) Herbert Ponting was renowned for his meticulous and adventurous approach to photography. His most famous work was taken during the British Antarctic Expedition 1910-1913, when he became the first professional photographer to capture the Antarctic. Ponting was born in Salisbury, Wiltshire on 21 March 1870. He was the son of Francis W Ponting, a successful banker, a career that his father hoped his son would follow. On leaving school, he took a job at a bank in Liverpool. However, in 1892, he gave up his position and travelled to the West Coast of America. It was here that he met his future wife, Mary Biddle Eliot, whom he married in 1895. With the help of his family’s money, Ponting bought a farm in California, which subsequently failed and they returned to England six years later.

After only a short period of time, however, Ponting chose to return to the United States, at which point he grew interested in photography and chose to make a career from it. An acquaintance commenting on one of his stereoscopic photographs suggested to Ponting that he approach publishing companies and enter his work into photographic competitions. In 1901, he travelled to the Far East to photograph the people, landscapes, and wildlife of various countries including Burma and Japan. The results were published in several magazines, including Harpers Bazaar, and The Illustrated London News. Ponting’s first book: In Lotus Land, Japan was published in 1910, by which time he had an established reputation as a successful photographer.

05 THE TERRA NOVA IN MCMURDO SOUND, 1911 Stamped with photographer’s blind stamp Inscribed with title and numbered 25 on reverse Green toned carbon print, printed 1920s 21 3⁄4 x 26 3⁄4 inches

06 THE MIDNIGHT SUN, 1911 (opposite right) Stamped with photographer’s blind stamp Inscribed with title and numbered 106 on reverse Blue toned carbon print, printed 1920s 21 1⁄4 x 28 3⁄4 inches

In 1910, Ponting set sail with the rest of Captain Robert Falcon Scott’s British Antarctic Expedition as the official photographer, personally chosen by Scott. His established reputation and his connection with Cecil Meares, who was in charge of the dogs for the expedition, both helped Ponting acquire the post. The Geographical Journal wrote at the time, ‘The British Antarctic Expedition should be very well served by the camera in Mr Ponting’s hands.’ He remained in Antarctica for just over a year, during which time the other members of the expedition witnessed his great enthusiasm for representing nature. Diaries from the expedition document that Ponting went to great lengths to take the best photograph, on one occasion narrowly missing an attack from killer whales. He insisted on using the traditional glass-plate technique

for developing his photos, his cumbersome cinematograph and large amount of developing equipment added to the difficulty of his task. Ponting was well liked by his colleagues; however, at times, he preferred to maintain a distance, focusing on his photographs with painstaking detail. On his return to England in February 1912, Ponting was disappointed by the lack of response to his photographs and films. Hearing of the subsequent deaths of Scott and the four other men who reached the pole, he set out to promote the legacy of the expedition, rather than focusing on new projects. He held several lectures, and produced the film, Great White Silence, which received great acclaim.

In the last few years of his life, Ponting turned away from photography, investing in business ventures, which made him very little money. At the time of his death in London, 1935, he was almost destitute. Herbert Ponting is remembered as a technically skilled photographer, and his photographs have become crucial in establishing both the legacy of Robert Scott and the enduring myth of his polar expeditions.

07 GLACIER, ANTARCTICA, 1911-1912 Stamped with photographerâ&#x20AC;&#x2122;s copyright blind stamp Stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp and National Geographic Society archive ink stamps on reverse Early silver gelatin print, mounted on card 15 x 12 inches

08 THE FREEZING OF THE SEA, 1911 Stamped with photographerâ&#x20AC;&#x2122;s copyright blind stamp Stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp and National Geographic Society archive ink stamps on reverse Early silver gelatin print, mounted on card 15 x 12 inches

FRANK HURLEY (1885-1962) ‘Men wanted: for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success.’ Although most likely only legend, it has been said that this advertisement appeared in a London newspaper in 1913. Supposedly written by the explorer Sir Ernest Shackleton to recruit members for his Imperial Trans-Antarctic Expedition (ITAE), the ensuing adventure aimed to be the first to cross the Antarctic ice cap by foot. The team’s ill fortune and resulting feats of astonishing courage made it one of the most famous expeditions in history. Like many others, Frank Hurley was taken by the allure of the unknown promised by the expedition. His photographs taken on the ITAE offered the public some of the earliest insights into the landscapes and wildlife of the mysterious continent. Hurley was born in 1885 in the Sydney inner-city suburb of Glebe to a working-class family. His father, Edward Harrison Hurley, was an

English printer and trade union official. Hurley was uninterested in school and did not attend regularly. He longed to travel and ran away when he was 13 to work in a steel mill in Lithgow. Returning home two years later he worked in the Telegraph Department and here he discovered his talent for photography. Having bought a Kodak box camera he went into the postcard business in 1905, earning a reputation for the quality of his work and also the dangers he took to capture dramatic images. In 1911 Hurley undertook his first major expedition as the official photographer for Sir Douglas Mawson’s Australasian Antarctic Expedition. Over the two years that Hurley participated in the expedition he worked in extreme conditions to shoot both still photographs and film footage of the magnificent polar landscape. After returning to Sydney, Hurley travelled to Java before then going back to Antarctica to rescue Mawson, whose team was stranded.

09 SEA ELEPHANT AND HAREM, SOUTH GEORGIA, 1914 (left) Silver gelatin print, printed 1922 6 x 7 3⁄4 inches

10 THE HUT ON ELEPHANT ISLAND, 1916 (right) Silver gelatin print, printed 1920s 3 x 4 3⁄4 inches

In 1914, Hurley returned to Antarctica once again as part of Shackleton’s famous expedition. The mission stalled when its ship, Endurance, became impacted in the frozen Weddell Sea, trapping the team for the winter. The marooned ship drifted a thousand miles north until the thaw of the following spring crushed and sank it. Although Hurley’s attempts to photograph were hindered by the difficult weather conditions, he managed to capture the spectacular moment that the ship sank, having waited for the moment on the ice with his camera for three days. As the team abandoned ship, Shackleton told Hurley to leave all his equipment and film behind but the photographer disobeyed and took his glass plate negatives, his previously developed cinema film, a small Kodak camera and three rolls of unexposed film. 400 glass plates were left behind. With little other choice the team undertook a hazardous voyage in three small lifeboats to the uninhabited Elephant Island. Shackleton then took a small party in one of the lifeboats, James Caird, across 1,500 kilometres of the Southern

Ocean to the remote island of South Georgia before returning to rescue Hurley and the rest of the party on Elephant Island with the Chilean naval ship, Yelcho, four months later. Hurley’s images that survived the expedition are full of the drama and menace the men must have seen in the alien landscape. In 1917 Hurley became the official photographer of the Australian Imperial Force during its participation in the war in France and Belgium. Taking the rank of honorary captain, Hurley won respect amongst the Australian soldiers for the characteristic bravery with which he sought to capture the reality of the war along the Western Front. In the 1920s Hurley would continue his adventures in the Middle East where he married Antoinette Rosalind Leighton after a ten-day courtship. He took trips to the Torres Strait Islands and Papua to make films, many of which were very commercially successful. Hurley returned to Australia in his later life and shifted his focus back to still photography. He continued to travel and spent his time lecturing and writing until his death in 1962.

11 WORDIE AND CLARK FISHING, 1915 Silver gelatin print, printed 1920s 4 1⁄4 x 6 inches

12 THE ENDURANCE FROZEN IN, 1915 Silver gelatin print, printed 1920s 5 1⁄8 x 6 1⁄8 inches

13 ROYAL PENGUINS ON NUGGET’S BEACH, MACQUARIE ISLAND, 1911 Silver gelatin print, printed 1920 9 x 12 3⁄4 inches

14 DUMP CAMP THE MORNING AFTER THE DISASTER TO THE SHIP, 1915 Silver gelatin print, printed 1920s 3 1⁄4 x 4 1⁄2 inches

CHARLES JONES (1866-1959) Charles Jones, born in Wolverhampton in 1866, was a gifted professional gardener who created typographical photographs of plants, fruit and vegetables during the late nineteenth and early twentieth centuries. As a gardener Jones worked on several private estates including Ote Hall, Sussex, where he received great praise for his work. Despite the professionalism of his photography, each print skilfully composed and toned, Jones never once sought to publish or exhibit his photographs. Towards the end of his life Jones had become somewhat of a hermit, living for many years in a house with no running water or electricity and neglecting to claim his pension. At the time of his death in 1959, aged 92, almost no one was aware that he was a photographer at all. Jonesâ&#x20AC;&#x2122; photographs would have been long forgotten, if it was not for an unlikely discovery of 200 of his sepia-toned silver gelatin prints at Bermondsey Market in London in 1981. Celebrated for their sensibility, attention to detail and remarkable print quality, Jonesâ&#x20AC;&#x2122; photographs have earned him a place in the history of photography as one of the masters of his genre.

15 DARWIN TULIPS, 1905 Initialled and inscribed with title on reverse Gold-toned silver gelatin print, printed circa 1905 10 x 7 1â &#x201E;2 inches

During his lifetime Jones offered his services as a professional photographer to other gardeners who might seek to have their produce captured on camera. It is unknown whether his offer was ever taken up, and towards the end of his life Jones began using his own glass plate negatives as cloches to protect his seedlings, which may explain why none survive today.

ED WARD STEI C H EN (1879-1973) As a groundbreaking photographer, gallerist and museum curator, Edward Steichen was a driving force in establishing photography as an art form in its own right. He dedicated his life to the medium, leaving behind a legacy of images and exhibitions that were unequalled in their influence on the worlds of photography and art. Edward Steichen was born Eduard Jean Steichen in Luxembourg, on 27 March 1879. Two years later the family emigrated to America and settled in St Francis, a suburb of Milwaukee, where his father had found work in a copper mine. Steichen showed a natural talent for draughtsmanship at school, and left to serve an apprenticeship at the

American Fine Arts Company, a lithography firm, where he was soon made a designer. He was an accomplished painter and, after buying his first camera in 1895, pursued both photography and painting in his spare time. In 1900, Steichen travelled to Paris to continue his artistic education at AcadĂŠmie Julian, visiting New York en route. There he sought out Alfred Stieglitz, the famous Pictorialist photographer and magazine editor, and showed him some of his photographs. Stieglitz was impressed, and bought three.

16 SUNFLOWER, FRANCE, CIRCA 1920 Signed George Tice and Joanna Steichen on photographerâ&#x20AC;&#x2122;s estate label on reverse of mount Silver gelatin print, printed 1986 10 x 13 inches

Steichen returned to New York in 1902 and began working as a commercial photographer. His friendship with Stieglitz blossomed and he became a founding member of a group of photographers called the Photo-Succession. Organised and championed by Stieglitz, the group consisted of American Pictorialist photographers and was intended as a joint effort to promote photography as a fine art. The relationship between Stieglitz and Steichen developed further when, in 1905, they opened a gallery at 291 Fifth Avenue called ‘Little Galleries of the Photo-Succession’ (soon becoming known as ‘291’). This gallery was to become the principal exhibition space for photographers in New York, but also for artists of the European avantgarde. In 1906 Steichen returned to Paris, and set about sourcing their pictures for his gallery, which became an outlet for them in America. Together, Stieglitz and Steichen they showed work by Henri Matisse, Henri de Toulouse-Lautrec, Auguste Rodin, Pablo Picasso, Paul Cézanne, Constantin Brancusi, and many other artists of the time.

17 APPLE BLOSSOMS, 1932 Signed George Tice and Joanna Steichen on photographer’s estate label on reverse of mount Silver gelatin print, printed 1987 13 x 10 inches

In 1923, Steichen received his first major break as a photographer, when he became chief photographer for Condé Nast Publications. For the next fifteen years he took fashion photographs for Vogue and portraits for Vanity Fair, becoming hugely influential in both fields. His portraits of Gloria Swanson (1924) and Greta Garbo (1928), for example, have become icons in the history of photography. He closed his studio in 1938 in order to concentrate on another passion, plant breeding.

After the Second World War, Steichen changed paths again and became Director of the Department of Photography at the Museum of Modern Art in New York. He had already had significant success at promoting photography in America, particularly at 291, and this appointment was to be his apotheosis. Between 1947 and 1962, Steichen organised over forty ground-breaking exhibitions, and also bought photographic prints for the museum. Steichen was married three times, to Clara Smith (1903-22), to Dana Desoro Glover (1923-57), and then to Joanna Taub. He died on 25 March 1973 in West Redding, Connecticut.

18 DANA MILLER IN THE POND, UMPAWAG, CONNECTICUT, 1954 Signed George Tice and Joanna Steichen on photographer’s estate label on reverse of mount Silver gelatin print, printed 1986 9 1⁄2 x 7 1⁄2 inches

BERENI C E AB BOT T (1898-1991) Berenice Abbott was born in Springfield, Ohio, on 17 July 1898. After graduating from Ohio State University, Columbus, she moved to New York City and, inspired by the blossoming art scene, started to study Sculpture and Painting. While living in New York, she was introduced to the photographer, Man Ray, who hired her as a photography assistant when she moved to Paris in 1921. Despite having no previous knowledge of photography, she soon started to produce her own work and after three years left Man Ray to open her own studio. In 1926, she held her first solo show at the gallery, Le Sacre du Printemps. Consisting primarily of portraits of avant-garde personalities, the exhibition was well received. Abbott was introduced to the work of photographer, Eugène Atget, whilst working for Man Ray and formed a strong friendship with him. Atget had dedicated his style and career to documenting Paris and its life. When he died in 1927, Abbott bought most of the negatives, glass slides and prints (over 5,000 pieces in all) from his life’s work and took them back to New York.

donated the entire collection of Atget’s work to the Museum of Modern Art in New York. Abbott’s own work was inspired by Atget’s, and she dedicated her style to photographing New York City in the same manner, meticulously documenting its streets, buildings, parks and people supporting herself financially by teaching photography and winning commercial assignments. In 1935, she won the backing of the Federal Art Project and was able to take on assistants. She called her project Changing New York, and it ran until 1938. In the 1940s and 1950s Abbott continued to work although she became interested in science and began photographing semi abstract microscopic forms. In her later life Abbott moved to Monson, Maine, where she died on 9 December 1991.

Abbott dedicated the next forty years of her career to Atget, preserving his name in photographic history. She published books, held large retrospectives and sold prints to raise money. In 1968, she 26

Nightview, New York At about 5pm on 20 December 1932, Berenice Abbott was hanging out of a window on one of the top floors of the Empire State Building with her large format camera. She wanted to capture the city in darkness before the office lights were turned off. Using an exposure time of fifteen minutes, the photograph shows the frenetic energy of the city in a formalist study of the geometric shapes created by the vast skyscrapers of Manhattan. At a time when many Americans were still suffering from the effects of the Great Depression, Abbott offered an astonishing view of urban advancement. The photograph was featured in her photobook, Changing New York, that was financially supported by the Federal Art Project (FAP), the visual arts division of the New Deal Works Progress Administration Federal One programme. 19 NIGHTVIEW, NEW YORK, 1932 Signed on mount Stamped with photographers ink stamp on reverse of mount Silver gelatin print, printed later 9 1⁄4 x 7 1⁄2 inches

D OROTH EA LANGE (1895-1965) ‘I did not ask her name or her history. She told me her age, that she was 32. She said that they had been living on frozen vegetables from the surrounding fields and birds that the children killed. She had just sold the tires from her car to buy food.’ The story surrounding Dorothea Lange’s iconic photograph Migrant Mother is almost as famous as that of the image itself. Her photographs taken during the Depression of the appalling conditions of rural workers have become synonymous with one of the darkest periods in American history. Born Dorothea Nutzhorn on 26 May 1895 in Hoboken, New Jersey, Lange had a difficult childhood, contracting polio when she was seven. The illness left her right leg and foot weakened and she walked with a noticeable limp for the rest of her life. Speaking later of the illness, Lange described it as ‘the most important thing that happened to me, it formed me, guided me, instructed me, helped me and humiliated me’. Although her grandparents had emigrated from Germany in the late 1850s, crossing the Atlantic in steerage, the family quickly became established in the growing middle class and her father, Heinrich Nutzhorn, was a lawyer. Lange showed little interest in school but her parents ensured that she was always surrounded by art and literature. When her parents divorced, Lange blamed her father and took her mother’s maiden name which she would use for the rest of her life. 28 Lange studied photography at Columbia University under Clarence H. White, a significant member of the Photo-Secession group, and then

‘I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction… There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.’ Dorothea Lange, Popular Photography, February 1960

worked as an apprentice in photography studios in San Francisco. Through the 1920s she travelled around the Southwest with her muralist husband Maynard Dixon. With the onset of the Great Depression, Lange spent her time photographing the labour strikes and poverty of her local San Franciscan neighbourhood. In 1935, at the end of an unhappy marriage, she divorced Dixon and married Paul Schuster Taylor, a university professor and labour economist. Travelling together extensively, Lange would photograph the hardships of the Depression on rural communities for the Farm Security Administration (FSA), established by the US Agriculture Department, whilst Taylor wrote reports. These images of displaced workers firmly established Lange as a preeminent documentary photographer. Becoming the first woman to be awarded the Guggenheim fellowship in 1940, Lange continued her documentary work through the war, photographing the evacuation of Japanese-American citizens to detention camps after Japan’s attack on Pearl Harbour and the inauguration of the United Nations for the Office of War Information. In later life she suffered often from ill health but took on assignments for Life, travelling to Utah, Ireland and Death Valley. She died of oesophageal cancer in October 1965. A retrospective exhibition of her photography held at the New York Museum of Modern Art the year after she died described her work as ‘fundamental to the philosophy of modern documentary’.

Migrant Mother, Nipomo, California, 1936 Driving home along the Californian coast one day on Highway 101, Lange saw a pea pickers’ camp at Nipomo. The migrant workers had set up a camp by the side of the road after two weeks of sleet and heavy rain had caused a rust blight to destroy the crop. Florence Owens Thompson, the heroine of Migrant Mother, told Lange about the family’s destitution and the photographer continued to capture both her despair and perseverance in a series of photographs that appeared in the San Fransisco News with an article about the plight of the pea pickers. The federal government consequently rushed twenty thousand dollars of food to the migrants. The compositional skill and compassionate tone of the photograph has made it one of the most influential photographs of the documentary tradition.

20 MIGRANT MOTHER, NIPOMO, CALIFORNIA, 1936 Inscribed ‘Migrant Mother, Nipomo, California, 1936, Dorothea Lange’ and stamped with Library of Congress ink stamp on reverse Silver gelatin print, printed 1960s-1970s 13 1⁄2 x 10 1⁄2 inches

FRANTI SEK D RTIKOL (1883-1961) Born in 1883 in the Austro-Hungarian mining town of Pribram, František Drtikol grew up with a desire to draw and paint, influenced by the largely artisanal population of his hometown. As a child Drtikol displayed exceptional draughtmanship abilities, however he was discouraged from studying fine art by his father who saw the practice as risky and financially unstable. Instead, Drtikol was sent to become an apprentice under the wealthy photographer Antonin Mattas, who taught Drtikol to print, tone, retouch and copy, but allowed him very little time behind the camera. At the turn of the twentieth century Drtikol moved to Munich to study at the Teaching and Research Institute for Photography, where he became engrossed in Symbolism and Art Nouveau, graduating with distinction, and receiving much praise for his melancholic landscapes and decoratively stylised portraits.

After returning from military service in 1907, Drtikol set up his own photographic studio in his hometown of Pribram, and began accepting commissions for dramatic portraits, which utilized heavy shadow and geometric shapes. Alongside his professional work Drtikol also made documentary pictures of the local silver mines and his first nudes, which were amongst the first to ever be made in Bohemia. After his studio in Pribram eventually went bankrupt, Drtikol moved to Prague to set up a 2-floor studio in a remarkable Baroque corner house. Here Dritkol took portraits of many famous and influential people and developed his nudes extensively, experimenting with composite images and cut outs.

Later in his career Drtikol began replacing his sitters with shapes and silhouettes, demanding a more malleable subject than the human body. Around the same time he found an interest in Buddhism and his work took on a more spiritual and ephemeral quality, that made him more confident in his work. However, the happiness did not last, and around 5 years later in 1935 Drtikol stopped shooting photographs completely and sold his entire archive and his studio. Aside from the giving the odd lecture, Drtikol turned his back on photography entirely, and instead turned his attention back to painting. However, like his father said, it did not prove to be financially viable, and the artist fell into poverty. By the time of his death in 1961, Drtikol was a hermit. Very few people knew of his existence. It was not until a decade after his death that historians began to examine his work and certify Frantisek Drtikol as an undisputed master of twentieth century photography.

21 MOTHER EARTH, CIRCA 1930 Stamped with photographer’s blind stamp Silver gelatin print, printed later 11 1⁄4 x 8 3⁄4 inches

ED WARD W ESTON (1886-1958)

Edward Henry Weston was born on 24 March 1886 in Highland Park, Illinois, as the second son of Edward Burbank Weston, an obstetrician, and Alice Jeanette Brett, a Shakespearian actress. Alice died when Weston was five years old and his sister, Mary, brought him up in Chicago. When he was sixteen Weston’s father gave him a Bull’s Eye #2 camera that he used to photograph parts of Chicago and his aunt’s farm. He developed his own photographs and showed a natural talent for the medium. His first photograph was published in Camera and Darkroom in 1906. Shortly afterwards, Weston moved to California and worked briefly as a surveyor before becoming an itinerant photographer.

Mexico, Weston’s reputation and fame grew as Modotti and he staged a series of well-received exhibitions, but it was after his return to California in 1926 that he started producing the still lifes and close-ups of natural forms and nudes for which he is best remembered. Modotti described his study of a shell, Nautilus (1927), as ‘mystical and erotic’ in recognition of Weston’s attention to surface texture. Weston’s urge to render ‘the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh’ can be considered as the beginning of a tradition of West Coast artists interested in psychological implications of surface texture continuing through to the work of Ed Ruscha and the Pop artists.

In 1908 Weston enrolled in the Illinois College of Photography in Effingham, Illinois, but by the age of 21 he was back in California, working as a retoucher for several portrait studios in Los Angeles. Weston married his first wife, Flora Chandler, in 1909. They had four children together but within several years the couple became estranged and Weston would have a string of affairs with models, studio assistants and members of the burgeoning Bohemian scene in LA.

In 1929 Weston moved to Carmel, California, where he focused on photographing abstract, natural forms. He became a founding member of Group f/64 in 1932 alongside Ansel Adams, Imogen Cunningham and Willard Van Dyke. Naming themselves after the optical term denoting the level to which the camera lens had to be set in order to ensure maximum sharpness in both foreground and background, the group aimed to achieve an aesthetic of precise crispness that would allow for the ‘true’ nature of the subject to emerge. Weston would state his aim as ‘to clearly express my feeling for life with photographic beauty, present objectively the texture, rhythm, form in nature, without subterfuge or evasion in technique or spirit, to record the quintessence of the object or element before my lens, rather than an interpretation, a superficial phase, or passing mood’. For Weston, the camera could distil the subject to an elemental pureness, stripping away any painterly pretence.

Weston opened his own studio in Tropico, California, in 1911, named ‘The Little Studio’. He quickly gained international renown for the quality of his portraits undertaken in the fashionable soft focus Pictorialist style. He met Margrethe Mather in 1912 who became his model and studio assistant. Mather had previously been a prostitute and was part of the Bohemian scene in LA. Weston was attracted to her uninhabited lifestyle and he would later say that she continued to be the most important influence over his work long after their relationship had finished. The photographs Weston took of the Armco Steelworks in Middletown, Ohio, in 1922 marked a turning point in his career. He replaced his Pictorialist style with a precise, often abstract, Modernist aesthetic. The same year he went to New York and met the group of photographers associated with Alfred Stieglitz and Georgia O’Keefe. In 1923 Weston moved to Mexico City and opened a studio with his assistant and lover at the time, Tina Modotti. During his time in

Weston became the first photographer to receive a Guggenheim Fellowship in 1936. Using the grant to go out West with his assistant and wife-to-be, Charis Wilson, he produced 1,400 negatives. In 1946 the Museum of Modern Art, New York, staged a major retrospective of Weston’s work, cementing his reputation as not only one of the most important photographers of the twentieth century, but also as one of the most important artists. In his later years Weston suffered from Parkinson’s disease but he oversaw the printing of his work by his sons Brett and Cole. He died on 1 January 1958 at his home in Carmel.

22 CHAYOTES IN A PAINTED WOODEN BOWL, 1924 Signed and inscribed on mount Early platinum print with varnish, mounted on board 7 1⁄2 inches x 9 1⁄2 inches Provenance: Edwynn Houk Gallery, New York Private Collection, London

BRASSAI (1899-1984) Brassaï was born Gyula Halász in Brasso, Transylvania, now Brasov, Romania, on 9 September 1899. His father was a professor of French literature at Brasov University, and Halasz was brought up in an academic, comfortable environment. He studied at the Hungarian Academy of Fine Arts in Budapest, before being drafted into the cavalry regiment of the Austro-Hungarian army during the First World War. After the war, he began a career in journalism and publishing. In 1924, Halasz moved to work in Paris and he quickly fell into a Bohemian circle of artists, writers and photographers. In particular, he became friendly with the Hungarian, André Kertész, who tutored him. By 1929, Halasz was taking regular photographs and began to specialise in night photography, a practice that had become popular in Paris at the time. He would wander the streets at night, photographing the people and buildings that he came across, often with an overtly Surrealist approach. By 1932, he had adopted the pseudonym Brassaï, meaning from Brasso in his native tongue, and had taken up photography as his principal occupation.

Brassaï’s photographs from the 1930s show prostitutes, down and outs, drinkers, pimps and other inhabitants of the night all taken in poor light, and filled with brooding atmosphere and implied narratives. Later in the decade, he added further to this repertoire by focussing on the city’s graffiti the subject of a solo exhibition at New York’s Museum of Modern Art in 1957. However, he also photographed the more respectable sections of Paris society – its writers, artists, intellectuals, operas and ballets. In 1935 he joined the Rapho photographic agency, and quickly became world-famous for his images of Paris a city that seemed the centre of all things artistic during the inter-war period. He was also a prolific writer, a film-maker and a sculptor. Brassaï died in Beaulieu-sur-Mer, France, on 8 July 1984.

Brassaï seemed to have a natural affinity with Paris, revelling in its rich atmosphere and photographic potential. In 1933, he published his first book, Paris De Nuit, which was met with critical and popular acclaim. 34

Graffiti Textes et photos, et deux conversations avec Picasso. Published by Les Editions du temps, Paris, 1961

Graffiti Brassaï was a photographer of the night, treading the backstreets of Paris to seek out overlooked, often unnerving angles on the city. He was particularly interested in graffiti, thinking of it as an outsider art form through which those dispossessed by society could leave their mark. Brassaï’s photographs of graffiti appeared in the first issue of the Surrealist journal, Minotaure, in 1933, and later he would publish Graffiti (1960), accompanied by a touring exhibition. The photographer shared his interest in graffiti with his friend, Pablo Picasso, who considered it to symbolise the transformative capability of art. The artist thought the two holes carved in the wall, symbolising the eyes of man, could reflect the way in which art acts as a language that transforms the world into signs. Brassaï and Picasso thought that the immortality of the photograph could be used to counteract the ephemerality of graffiti. The pair even jokingly theorised a typology of graffiti dependent on nationality. ‘The phalluses you see on the walls in Rome,’ Picasso told Brassaï, ‘are specifically Italian’.

23 GRAFFITI, CIRCA 1956 Stamped with photographer’s ink stamp on reverse Silver gelatin print, printed circa 1956 15 3⁄4 x 11 1⁄2 inches

24 LE SOULEYMANIE PENDANT LA FETE DU RAMADAN, HAGIA SOFIA, ISTANBUL, 1953 Signed, dated and inscribed with title on reverse Silver gelatin print, printed 1960s 15 1⁄2 x 11 1⁄2 inches Provenance: Private Collection, Paris, acquired directly from Gilberte Brassai

25 FILLE DE JOIE, QUARTIER D’ITALIE, 1932 Stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed 1960s 15 1⁄2 x 11 1⁄2 inches Provenance: Private Collection, Paris, acquired directly from Gilberte Brassai

WALK ER EVANS (1903-1975) Walker Evans was born in St Louis, Missouri on 3 November 1903. His father was a member of a successful advertising firm, and he had a comfortable upbringing. On graduating in 1922 from a private school in Andover, Massachusetts, he hoped to become a writer. He attended the prestigious Williams College, but dropped out after a year. In 1926, he moved to Paris to immerse himself in the city’s avant-garde scene. Returning to the United States after suffering from writer’s block, Evans turned to photography. He spent his early career photographing the streets of New York, experimenting with high and low angles, patterns

26 CROSSROADS STORE, POST OFFICE, SPROTT, ALABAMA, USA, 1936 Stamped with Library of Congress ink stamp on reverse Silver gelatin print, printed later 6 1⁄4 x 9 1⁄2 inches

of light and shadow and various compositions. He later published his first three prints of the Brooklyn Bridge, in the poet, Hart Crane’s book, The Bridge (1930). Unable to find steady work, Evans led an impoverished life in New York. However, in 1931, he was asked to photograph Victorian Architecture, in Boston, Massachusetts, by the writer and patron of the arts, Lincoln Kirstein. Evans had to use an 8 x 10 view camera, a completely different piece of machinery from his usual 35mm Leica. He became absorbed in the project, fastidious to all minor details. Gaining some success, he

was then sent to Cuba in 1933, to work on a reportage project about the declining political conditions. It was in Cuba that he found the documentary calling that so acutely fitted his style. In 1935, Evans was hired as an information specialist by the Farm Security Administration, (FSA), which developed aid programmes for impoverished farmers during the Great Depression. The photographs were used as evidence of the extreme poverty in rural United States. Evans travelled through the Southern United States, photographing, with precision, everything he saw. It was during this time that he created his most important and significant work with the writer, James

Agee, for Fortune Magazine. The latter project resulted in the groundbreaking book, Let Us Now Praise Famous Men (1941). In 1938, one year after Evans had finished photographing for the FSA, the Museum of Modern Art in New York honoured Evans with the first solo exhibition of any photographer. Evans started a project on the subways of New York, using a concealed camera. He worked on this project until 1941 and, in 1943, went to work for Time magazine as an art critic. In 1944 he moved to Fortune Magazine as a staff photographer, where he remained until 1956. Evans died on 10 April 1975 at his home in Old Lyme, Connecticut.

27 FLOYD BURROUGHS AND TENGLE CHILDREN, HALE COUNTY, ALABAMA, USA, 1936 Stamped with Library of Congress ink stamp on reverse Silver gelatin print, printed later 6 1â &#x201E;4 x 9 1â &#x201E;2 inches

AARON SISK I ND

(1903-1991) Aaron Siskind contributed to the Modernist revolution of the photographic medium. The fifth of six children in a Russian-Jewish immigrant family in New York City, he studied literature with the objective of becoming a writer. In 1929, he was given his first camera as a honeymoon gift and soon after became dedicated to the medium. In 1932, Siskind joined the New York Photo League and participated as an active social documentary photographer, creating series such as Harlem Document. Siskind was instrumental in establishing the ‘The Feature Group’, which produced influential photo-series including The Most Crowded Block in the World, Tabernacle City and Dead End: The Bowery.

28 CHICAGO 23, 1957 Signed and inscribed with title on reverse Silver gelatin print, printed circa 1957 13 1⁄4 x 10 1⁄2 inches

In the early 1940s, Siskind left the Photo League and became close to many members of the New York School of Abstract Expressionism, including Robert Motherwell, Willem de Kooning and Franz Kline. Guided by the philosophy of the Abstract Expressionists, Siskind began photographing discarded objects as abstract compositions. In 1945, he published The Drama of the Objects and he exhibited regularly with the prominent gallerist Charles Egan. Through his process of experimentation he helped to transform photography as a medium. In addition to helping revolutionise the media, Siskind was an influential and passionate teacher. With an invitation from his friend Harry Callahan, Siskind moved to Chicago and taught photography at the Institute of Design for twenty years. His works are held in a number of prestigious collections including the Art Institute of Chicago, the Museum of Modern Art, New York, and the J Paul Getty Museum, Los Angeles.

MARGARET BOURK E-W H I TE (1904-1971) Margaret Bourke-White was born in New York on 14 June 1904, into a middle class family, and was home-schooled by her mother. Her father was an engineer and inventor. Bourke-White began to take photographs to earn money as a student at Cornell University and, by 1928, developed a particular eye for architectural and industrial photography. In 1930 she was taken on by Fortune magazine, and dispatched to the Soviet Union to photograph its industrial installations. Soon she was their principal photographer, and her career took off quickly. She scaled the heights of the Chrysler Building during its construction for an apparently death-defying shoot to produce some of the most memorable images of New York ever taken.

In 1936, Bourke-White became one of the founders of Life magazine and her photograph of the Fort Peck Dam in Montana was featured on the front cover of the first issue. This was the first of many assignments for the magazine. During the Second World War, Bourke-White was the first female photojournalist both to be allowed into combat zones and to fly in a combat mission. At the end of the war, she took shocking images of the newly liberated Buchenwald concentration camp that reverberated through the world’s press. Margaret Bourke-White died in Darien, Connecticut, on 27 August 1971 after a long battle with Parkinson’s Disease.

29 AERIAL VIEW OF LOWER WEST SIDE OF MANHATTAN, 1939 Inscribed ‘Hudson River Valley Lower Manhattan’ and ‘(West Side Waterfront + Battery Park)’ and stamped with Time Inc and photographer’s credit ink stamps on reverse Silver gelatin print, printed circa 1939 10 1⁄2 x 13 1⁄2 inches

M AN RAY (1890-1976) Man Ray’s great influence on twentieth century art covers a range of disciplines including painting, photography, sculpture and film. A key member of the Dada and Surrealist movements, he considered himself to be principally a painter, but is best remembered for his fashion, portrait, and camera-less photography. Man Ray was born Emmanuel Radnitzky on 27 August 1890 in Philadelphia, USA, into a family of Jewish-Russian immigrants. In 1911, his family adopted the more American sounding surname, Ray, and their eldest son adapted his nick-name, ‘Manny’, to become Man Ray. In 1921 he relocated to Paris to pursue a career as an aritst. There Man Ray sought friendships amongst the radical artists of the Dada movement, many of whom were introduced to him by Jean Cocteau. He became well-known for his portraits of fellow artists and writers including Georges Braque, Ernest Hemingway, Pablo Picasso and Henri Matisse but also for his daring, unusual and, crucially, camera-less photographs known as ‘rayographs’, after himself. Man Ray made many rayographs, but also made experimental films, worked as a fashion photographer, and took traditional studio photographs to pursue his own artistic agenda, which was becoming increasingly Surrealist. 42

Man Ray took on the photographer and model, Lee Miller, as an assistant (and lover) in 1929. Together they resurrected the photographic process of solarisation in which a developing print is exposed to light, thereby giving the image’s contents an otherworldly glow. Much of Man Ray’s work from this period is characterised by this technique. They became a celebrated art-world couple and, until they split in 1934, created a number of influential works of art. Chief among them was A l’heure de l’observatoire, les Amoureux (1932-34), in which Lee Miller’s gigantic lips hover over Paris. Like many of his artistic cricle Man Ray returned to the United States in 1940 because of the Second World War. He spent a few months in New York before quickly moving to California, in search of Hollywood and further artistic glory. However, the Parisian years were his most innovative and influential period and, although he continued to work productively in the United States, he found it harder to find the support and admiration that he had won in France. In California he met Juliet Browner, a dancer and model, whom he married in 1946 in a dual ceremony with Max Ernst and Dorothea Tanning. In 1951, Man Ray returned to Paris with his wife where he continued to work and exhibit. He remained there until he died, from a lung infection, on 18 November 1976.

30 LEE MILLER, 1931 Signed, inscribed with title and dated on reverse of mount Silver gelatin print, printed circa 1931, mounted on card 4 x 2 3⁄4 inches

BILL BRAND T (1904-1983) Bill Brandt was born in Hamburg, Germany on 3 May 1904, into a wealthy family of bankers and merchants. He spent his early years in Germany and then, as he suffered from tuberculosis, at sanatoria in Switzerland and Austria. He moved to London in 1933 and, by the time of his death in 1983, had transformed himself into a quintessential Englishman as the result of a lifetime trying to bury his roots. He had also become world-famous for his highly idiosyncratic photographs. Brandt’s early work was a mixture of photojournalism for magazines such as Picture Post, and personal photographic projects that he undertook some being published as books such as The English at Home (1936), and London at Night (1938). Both as a photojournalist and an Anglophile, Brandt was drawn to the British class system, and much of

his work highlights its inequalities during the inter-war years. He also became particularly well known during the Second World War, for his images of Londoners sheltering from the Blitz in Underground stations. From the mid 1940s, Brandt’s work began to change completely, as he concentrated almost exclusively on the female nude for the remainder of his career. With an eye that was drawn in equal measure to Surrealism, photojournalism and Conceptual art, Brandt has been recognised as one of the most influential and important British photographers of the twentieth century. Bill Brandt died in London on 20 December 1983.

Campden Hill, London, 1977 Although Bill Brandt is usually remembered for his photographs of the Blitz and London at night, he gained the most inventive momentum in his work on the nude. Brandt experimented with nudes through the 1930s and early 40s but in 1944 he bought a camera with a wide-angle lens that transformed his approach. Brandt used a mixture of both professional models and family and friend. Campden Hill, London shows his second wife, the journalist Majorie Beckett. Whilst Brandt’s nudes show a clear debt to French Surrealism and Man Ray, they also betray an understanding of American formalism, particularly that of Edward Weston. Quoting Henry Moore, Constantin Brancusi and Jean Arp, Brandt’s nudes turn the body into sculpture, splitting it into biomorphic shapes. 31 CAMPDEN HILL, LONDON, 1977 Stamped with photographers ink stamp on reverse Silver gelatin print, printed circa 1977 9 x 7 3⁄4 inches

32 NUDE, 1957 Signed with initials and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp on reverse Early silver gelatin print 9 x 7 3â &#x201E;4 inches

33 NUDE, EAST SUSSEX, 1977 (opposite) Signed on reverse Silver gelatin print, printed circa 1977 16 x 12 inches

34 SALVADOR DALI, 1957 Silver gelatin print, printed circa 1957 9 x 8 inches

35 JEAN DUBUFFET, 1962 Stamped with photographerâ&#x20AC;&#x2122;s ink stamp on reverse Silver gelatin print, printed circa 1962 9 x 8 inches

ANGUS MC BEAN (1904-1990) Angus McBean was born in South Wales on 8 June 1904, the son of a surveyor for the mining industry. After his father’s death in 1925, the family moved to London where McBean developed an interest in photography. An initial career in mask-making introduced him to London’s theatrical circles, and then to Hugh Cecil, the photographer, who hired him as an assistant. McBean then opened his own studio, and became well-known for his theatre photography. He photographed many of the West End’s leading figures, in particular the actress Vivien Leigh, with whom he enjoyed a long professional relationship. McBean became celebrated for his creative, surreal photographs that often employed multiple negatives and strong, dramatic lighting.

After the Second World War, McBean continued to work as a portrait photographer, taking notable pictures of Audrey Hepburn (1950) and for the album cover of the Beatles’ Please Please Me (1963). He received support and admiration from other acclaimed photographers such as Cecil Beaton and David Bailey, and continued to work until his death on 9 June 1990.

36 MARLENE DIETRICH, NO HIGHWAY IN THE SKY, PINEWOOD STUDIOS, 1951 Signed, dated and inscribed on reverse of mount Early silver gelatin print 14 1⁄4 x 11 1⁄4 inches

PH I LIP PE H ALSMAN (1906-1979) Philippe Halsman was born in Latvia on 2 May 1906, to middle-class, Jewish parents. Although he was introduced to art at a young age, he did not become interested in photography until later in life. In 1928, while studying engineering in Dresden, Germany, Halsman was accused of killing his father while the two of them were on a hiking tour in Austria. He was charged with patricide and sentenced to four years in prison. Because he was Jewish, there was significant publicity surrounding the trial and Albert Einstein campaigned for his innocence. Upon his release from prison in 1931, he was exiled from Austria and moved to France, where he discovered a taste for photography. He started shooting for the fashion magazine Vogue, and established a reputation as a portrait photographer. In 1940, with the help of Einstein, Halsman fled to the United States, escaping the invasion of France and Hitler’s growing anti-Semitism. In 1941, Halsman met the Surrealist artist Salvador Dalí. Throughout the following decade, the two artists formed a strong friendship and collaborated on a large portfolio. In 1942, Halsman secured a contract with the American cosmetics company, Elizabeth Arden. Soon after which, he began shooting covers for Life Magazine. Halsman enjoyed an extremely successful career, photographing many celebrities, including Alfred Hitchcock, Judy Garland, Winston Churchill, Marilyn Monroe, Pablo Picasso, President John F. Kennedy and his friend, Albert Einstein. In 1958, the magazine, Popular Photography, placed Halsman in a list of the ‘World’s Ten Greatest Photographers’. In 1975, he received the Life Achievement in Photography award, granted by the American Society of Magazine Photographers. Halsman died in New York City on 25 June 1979.

37 JOHN F KENNEDY, APRIL 1952 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed later 13 3⁄4 x 10 3⁄4 inches

ORMOND GI GLI (born 1925) Born into a working class New York family in 1925, Ormond Gigli received his first camera when he was a young teenager. It was a gift from his father who had borrowed the money to buy it. At high school Gigli took after-school jobs assisting various photographers, one of these jobs was for Wilhela Cushman, fashion editor of Ladies’ Home Journal, from whom Gigli learnt about the exuberant world of fashion photography. Receiving his draft in the Second World War, he joined the navy as a photographer and then returned to civilian life to go to the School of Modern Photography in New York on the GI Bill.

Although invited to work for the Ladies’ Home Journal after the war, Gigli decided to go to Paris where he lived, as he put it, ‘the life of a starving artist’. Whilst in Europe Gigli took trips to Spain and Portugal, returning to Paris with photographs to show to Life magazine, the editor of which asked him: ‘Will you do what I tell you to do? Will you take some straight-on shots, and not just profiles, because [Robert] Capa won’t.’ Gigli’s work for Life, his first assignment of which was featured as a centrefold, became the catalyst for the beginning of a hugely successful career. He went on to publish extensively in other magazines such as Paris March, Colliers and Time. His famous sitters included Sophia Loren, Anita Ekberg, Marcel Duchamp, John F. Kennedy, Halston, Gina Lollobrigida, Diana Vreeland, Giancarlo Giannini, Marlene Dietrich, Judy Garland, Sir Laurence Olivier, Alan Bates, Richard Burton, Willem de Kooning, Liza Minnelli, Louis Armstrong and Miles Davis.

Girls in Windows ‘Every photographer dreams of having one signature photograph that he’s known for.’ Ormond Gigli undoubtedly achieved this ambition of his with the photograph Girls in Windows (1960). It has surpassed the rest of his long and celebrated career to become an iconic image of postwar New York. Looking out of his studio window one day at the dilapidated building on the other side of the street, Gigli imagined the scene that would become his most celebrated photograph. ‘I had the vision,’ he later explained, ‘of 43 women in formal dress adorning the windows of the skeletal façade.’ The brownstone opposite Gigli’s was in the middle of demolition and only the structural frame of the building remained to be taken down. Gigli was granted permission to use the building for the shoot on the agreement that the demolition supervisor’s wife could feature in the photograph. The shoot was arranged to take place during the demolition workers’ lunchtime and the models each took up position in the empty windows, some bravely leaning out over the perilous drop onto the sidewalk below whilst Gigli photographed from the opposite fire escape. The striking contrast of the crumbling nineteenth-century building and the vibrant modern fashions of the women’s formal attire epitomises a moment in New York’s history in which the post-war period was coloured by a new fervour to eliminate urban decay from the city. A few days after Gigli took the photograph, the building was flattened. Asked about Girls in Windows in a recent interview, Gigli said: ‘I have a big print of it up on my wall. I still smile whenever I look at it, even after all these years.’

In 1960 Gigli bought a brownstone on East 58th Street. He turned the ground floor into a studio, the first floor into his family home, and set about renovating the apartments on the upper floors. He came up against resistance from Marcel Duchamp, a founding figure of the Dada and Modernist movements, who lived on the top floor. Duchamp was reluctant to leave the apartment as he thought the stairs kept him young. He moved out, however, on the arrival of Gigli’s renovators. The building opposite Gigli’s became the focus of his famous Girls in Windows. Through the 1970s and 80s Gigli focused on advertising photography, maintaining the tendencies towards playfulness and vibrancy that his earlier work had established. He later sold the New York house and retired to a farm in the Berkshires.

38 GIRLS IN WINDOWS, NEW YORK, 1960 Signed and numbered Digital c-type print, printed 2014, mounted on board 22 x 22 inches From an edition of 100

HORST P H ORST (1906-1999) Horst Paul Albert Bohrmann was born in Weißenfels-an-der-Saale, East Germany, on 14 August 1906 the son of a prosperous shop owner. Not wanting to be confused with the Nazi official, Martin Bormann, in 1943 he later legally changed his name to Horst P Horst. Horst developed a love for avant-garde art and design at an early age, and left the Kunstgewerbeschule in Hamburg to become an apprentice of the architect, Le Corbusier, in Paris. There, Horst met the photographer, George Hoyningen-Huene, who sparked his own interest in the medium. Through Hoyningen-Huene, Horst was introduced to many artists, including the photographer, Cecil Beaton; the interior designer, JeanMichael Frank; the New Yorker writer, Janet Flanner; and the designer, Coco Chanel. Horst emigrated to the United States in 1939, and found a job at the fashion magazine, Vogue, for which he would work for the rest of his life.

Horst was a perfectionist who raised the standards of fashion photography, and indeed helped to define it. His study of Greek sculpture and Classical painting often informed his compositions, and he was a meticulous photographic technician. When fashion photography changed its tone during the 1960s, his work fell out of popular favour. However, his strong style and sense of drama led him to continue to find work, shooting advertisements for different fashion houses. Pop icon, Madonna, propelled Horst to superstardom when she based her music video for Vogue on Horst’s most iconic fashion photograph, ‘Mainbocher Corset’, taken in 1939. 39 HELEN BENNETT, PARIS, 1936 Stamped with photographer’s blind stamp Signed and inscribed with title on reverse Silver gelatin print, printed later 18 x 12 3⁄4 inches

Horst died at the age of 93, on 18 November 1999, at his home in Palm Beach Gardens, Florida.

Mainbocher Corset, 1939 This is one of the most famous fashion photographs ever taken and is Horst P Horst’s masterpiece. It was taken at Vogue Studios, Paris, in 1939 on the eve of the Second World War. Indeed, Horst left the next morning for Le Havre to escape the impending conflict. Like many of Horst’s pictures Mainbocher Corset references the pose and perfection of Classical sculpture, but this image has proven particularly enduring and has gone on to inspire numerous photographers and fashion designers.

40 MAINBOCHER CORSET, 1939 Stamped with photographer’s blind stamp Signed in pencil on reverse Silver gelatin print, printed later 18 x 13 inches

This was the final photograph created by Horst P Horst for the June 1940 edition of Vogue. As seen in the study for this shoot, Horst asked his model, who later became his wife, Lisa Fonsaggrives, to contort and conform her body in to letters, which subsequently spelt out the word â&#x20AC;&#x2DC;Vogueâ&#x20AC;&#x2122;.

41 LISA FONSSAGRIVES-PENN STUDY FOR VOGUE COVER, 1940 Signed Signed and numbered 14/25 on reverse Platinum-palladium print, printed later 14 x 11 inches

42 LILLIAN MARCUSON, NY, 1950 Stamped with photographerâ&#x20AC;&#x2122;s blind stamp Signed and inscribed with title on reverse Silver gelatin print, printed later 17 x 13 1â &#x201E;2 inches

43 ROUND THE CLOCK I, NEW YORK, 1987 Stamped with photographerâ&#x20AC;&#x2122;s blind stamp Signed, inscribed with title and dated on reverse Silver gelatin print, printed later 11 1â &#x201E;2 x 9 inches

ROMANO C AGNONI (born 1935) Born in Pietrasanta, Tuscany, in 1935 as the son of a stonemason, Romano Cagnoni was made a refugee as a child, escaping from the Nazi massacre at Sant’Anna di Stazzema. Cagnoni was drawn to photography during the period of hardship that followed the war when he started taking portraits of people on the beaches near Pietrasanta. In 1958 he moved to London and briefly worked as a wedding photographer in order to afford a better camera. In London Cagnoni started working for the Report agency run by Simon Guttmann, considered a founder of photojournalism. Cagnoni and Guttmann collaborated on major news stories including Harold Wilson’s prime ministerial campaign. As a member of the paparazzi, Cagnoni became renowned for the lengths to which he went in order to secure the ‘scoop’. Whilst Elizabeth Taylor was hiding out from photographers in the Dorchester Hotel, Cagnoni painted his hands black to disguise himself in the night and lowered himself by a rope on to her terrace. There he photographed her dining with her husband, Eddie Fisher, and the detectives hired to protect her. Whilst Cagnoni did not enjoy his

career as a paparazzo, finding it artificial and creatively unsatisfying, he became adept at photographing in adverse situations, a skill that would be vital to his reportage work. As a war photographer Cagnoni went to exceptional lengths to bring the realities of conflict to light. Along with James Cameron, he was the first Western non-Communist journalist allowed in North Vietnam in 1965. He was also the first photographer to set up a studio on the front line of the fighting in Chechnya in 1995. Cagnoni’s photographs have been published extensively in Life, The Sunday Times Magazine, New York Times Magazine, Observer Magazine, Der Spiegel, L’Express and Epoca. Although Cagnoni is famed for the hard-hitting exposés of his war reportage, his photography is often informed by a poetic lyricism brought around through his deft eye for composition. Harold Evans, former editor of the Sunday Times, has described Cagnoni as one of the most famous photographers ever, putting him in the ranks of Henri Cartier-Bresson, Don McCullin and W Eugene Smith.

44 ENGLAND SOUTHSEA PIER, 1981 Signed, inscribed with title, dated, numbered 1/25, and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed after 2007 15 1⁄4 x 22 1⁄2 inches

GI ANNI GARD I N (born 1930) Taking up the gauntlet thrown down by the great humanist photographers of the early twentieth century, Gianni Berengo Gardin was fascinated by the toil and struggle of workers. Although Gardin is a household name in Italy having published some 250 photobooks and staged over 200 solo exhibitions worldwide, his work is relatively unknown outside his own country. Gardin was born in Liguria, Italy, on 10 October 1930 to a Venetian father and Swiss mother. He started taking photographs when the family moved to Rome in the mid-1940s. His early dogged spirit emerged during the war when, as the German occupying soldiers ordered the confiscation of cameras, he decided to go out and take photographs. Joining the Fascist youth movement like most young Italians at the time, Gardin became aware of the atrocities of the regime when he saw his troupe leader attack a road worker for refusing to salute him. After the war Gardin moved to Venice with his family where he received the motivation to become a professional photographer when Cornell Capa, the famous American photographer and friend of Gardin’s uncle, sent him photobooks of the greats of American documentary photography including Dorothea Lange, William Klein and Eugene W Smith.

In Venice Gardin embraced the vibrant artistic atmosphere and moved in the same circles as Peggy Guggenheim, Vedova and Santomaso but he insisted that his photography was more reportage than art, wanting it to communicate the reality of his subjects’ lives. In 1965 Gardin moved to Milan where he gained a reputation for the quality of his reportage and documentary photography. Working in series, Gardin narrates the stories of communities from Italy, Britain and India to name but a few. Although Gardin cites his influences to include Henri Cartier-Bresson, Willy Ronis, Edouard Boubat and Robert Doisneau, his photography can be uncompromisingly frank in its depiction of the hardships of working classes. In photographs like Toscana (1958) workers appear set adrift amidst the expansive fields in which they work. The Italian landscape is revitalised through the deft use of his wide-angle lens. Whilst the romance of Gardin’s revered French masters is indeed evident in his street photography of the Italian cities, it is countered by the investigative candour of his reportage work.

45 TOSCANA, 1958 Stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed before 1975 6 1⁄2 x 9 3⁄4 inches

In 1972 the magazine Modern Photography announced Gardin to be one of the ‘World’s Top 32 Photographers’. He has won a plethora of prizes including the Leica Oskar Barnack Award at Rencontres Internationales de la Photographie in Arles, the World Press Photo Award, the Oscar Goldoni Prize for best photography book and the Lucie Lifetime Achievement Award. His work is held in collections worldwide including the Calcografia Nazionale, Rome, the Museum of Modern Art, New York, the Bibliothèque Nationale de France, the Maison Européenne de la Photographie, Paris, the FNAC Collection, Paris, and the Musée de l’Elysée, Lausanne.

46 DINTORNI LAGO DI REVINE, VITTORIO VENETO, 1958 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed before 1975 9 1⁄2 x 7 3⁄4 inches

TIM GI DAL (1909-1996) Born Nachum Gidalewitsch in Munich, 1909, Tim Gidal has been recognised as one of the founding forefathers of photojournalism. His first picture story ‘The Vagabond Congress’ was published by Muncher Illustrierte Presse when he was just twenty years old. Like many of his associates, Gidal’s journey into photography began with empty pockets. The introduction of the first Leica in 1924 gave birth to a new crop of illustrated magazines, which served as a suitably new and exciting livelihood for many boisterous young journalists. Armed with the first pocket-sized cameras, Gidal, along with Andre Kertesz, Wolfgang Weber, Felix Man, set about introducing their lenses to previously unattainable scenes, shaping the future of photography as they went. Having been brought up in a religious family with strong Zionist convictions, Gidal eventually settled in Jerusalem in 1936 after playing an active role in the Bau Weiss Youth Movement. However Palestine had little interest in candid photo-journalism, and instead favoured kitsch propaganda. After a two year struggle to make ends meet Gidal eventually sold the first of many stories to the newly thriving magazine Picture Post. The success led Gidal to London where he would stay for two years before embarking on a trip by sea back to Palestine, through Bombay, Basrah and Iraq – producing many memorable pictures along the way.

After growing tired of war-torn Palestine, Gidal joined the Eighth Army as a military photographer where he was donned ‘Tim’ by his fellow officers. After a string of successful photo stories published by the army’s magazine Parade, the honorary Captain Gidal was sent to cover North Africa, the Eastern Mediterranean and the wider Middle East before eventually being sent to Mountbatten’s headquarters in Burma, where the photographer contracted typhus.

47 PONT TRANSBORDEUR, MARSEILLE, 1930 Signed Signed and inscribed ‘For Peter’ on reverse Silver gelatin print, printed later Printed on 12 x 8 inch paper

Gidal returned to Jerusalem where he married Sonia Epstein and had a son, Peter. He was invalided out of the army and began to redraft his future as an art theorist, joining the reputable New School for Social Research, New York, in 1947, where he remained until 1968. Two years later Gidal divorced his wife and concentrated his efforts on writing Modern Photojournalism, Origin and Evolution 1910-30 (1972). After remarrying in 1980, Gidal devoted the remaining years of his life to securing his place in the history of photojournalism. He exhibited extensively throughout Europe and Israel with the support of his second wife Pia Lis. He died on 4 October 1996.

IRVING PENN (1917-2009) Irving Penn has been hailed as one of the greatest photographers of the twentieth century. His portraits and fashion photography have been internationally recognised and celebrated by critics and public alike. Irving Penn was born in Plainfield, New Jersey on 16 July 1917. After studying design under Alexey Brodovitch and graduating in 1938 from the Philadelphia Museum School of Industrial Art (now the University of the Arts) with the intention of becoming a painter, Penn found himself drawn to photography. His first cover picture for American ‘Vogue’, a still life taken in 1943, marked the start of a lifelong relationship between the photographer and the fashion magazine which lasted until Penn’s death in 2009. Throughout his career, Penn specialised in fashion photography, and worked almost exclusively in a studio environment. He set his subjects against a muted background and under specific lighting conditions, thus highlighting the qualities of the individual rather than their surroundings or social context. Penn’s portraits are stylistically often very simplistic, but the character of the sitter is always given great importance. This is also evident throughout his fashion photographs, in which the models’ personalities often suffuse the image.

From 1950, Penn worked as an international freelance photographer. Between 1950-1, he created a series of portraits entitled ‘Small Trades’, which featured French and British workers posing in their work-clothes and uniforms. In these ground-breaking studies Penn celebrated the working man, subsequently extending this anthropological project by taking further photographs of traditional people in countries such as Nepal, New Guinea and Morocco. Penn published a number of critically acclaimed books such as Moments Preserved (1960) and Worlds in a Small Room (1974). His work has been exhibited in many galleries worldwide, most recently at the National Portrait Gallery in London (in 2010). Irving Penn died aged 92 at his home in Manhattan on October 7th 2009. His fashion photography encapsulated post-World War II glamour, and his particular ability to emphasize the individual in his subject earned him a long career and a reputation as one of the world’s most outstanding photographers.

48 FISH MADE OF FISH, 1939 Stamped with ‘Photograph by Penn’ and Condé Nast copyright ink stamps on reverse Early silver gelatin print, mounted on board 9 3⁄3 x 13 1⁄2 inches

64 49 MARLENE DIETRICH, 1948 Early silver gelatin print, mounted on board 9 1⁄2 x 7 1⁄2 inches 50 MARLENE DIETRICH, 1948 Early silver gelatin print, mounted on board 9 1⁄2 x 7 1⁄2 inches

Marlene Dietrich During the late 1940s Irving Penn took a number of portraits of famous sitters sandwiched into this V-shaped set, the shape of which ingeniously leads the eye directly onto the subject. By pushing famous names such as Marlene Dietrich, Truman Capote and the Duchess of Windsor into such a tight space Penn squeezed out enhanced versions of their personalities through their exaggerated gestures and expressions.

51 MARLENE DIETRICH, 1948 Stamped with ‘Photograph by Penn’ and Condé Nast copyright ink stamps on reverse Early silver gelatin print, mounted on board 9 x 7 1⁄2 inches

52 GIRL IN BED, 1949 Signed, inscribed with title, numbered 13/15 and stamped with photographerâ&#x20AC;&#x2122;s copyright and edition ink stamps on reverse of mount Platinum-palladium print, mounted on aluminium, printed November 1979 21 x 15 3â &#x201E;4 inches

RAY ATKESON (1907-1990) Despite being considered ‘the dean of Northwest nature photography’ by the New York Times, Ray Atkeson’s vast oeuvre of winter sports photography and alpine landscapes has been curiously passed over by the history of photography. Atkeson was born in 1907 on a farm near Grafton, Illinois, and started using a Brownie box camera at the age of 15. He had one of his earliest successes when he forgot about a camera set up in front of a disused railway station until about an hour after he set the exposure time. The resulting photograph was published in a magazine. On completing high school Atkeson went West, taking labouring jobs in the wheat fields of Kansas and apple-picking in Oregon. Taking his

camera with him on these jobs, he documented the grandeur of the American Great Plains. He arrived in Oregon at the age of 21 where he would remain for seventeen years, practicing as a commercial photographer. His decision to go freelance in 1946 marked an important turning point in his career as his focus moved towards photographing the spectacular ski and snow country of the intermountain region of the Western United States. It is for these enchanting snowy vistas that he is best remembered. Lugging a heavy 4x5 camera through the mountains in the days before the invention of the chairlift, Atkeson can be regarded as a truly intrepid photographer, intent on bringing the splendour and

54 SNOWSHOE GELANDESPRUNG, OLAF RODEGARD PROVES THAT HIS MOUNTAIN TROOP TRAINING ON SNOWSHOES WAS NOT WASTED, AS HE PERFORMS A JUMP FROM BLUE MOUNTAIN SNOW CORNICE ABOVE ANTHONY LAKES, OREGON, CIRCA 1960 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

53 MAN POWERING THROUGH POWDER SNOW, CIRCA 1960 Stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

exhilaration of the sublime alpine landscape to the public’s attention. As his wife, Doris, has said, ‘his greatest joy was sharing the beauty of these places with people who couldn’t go there’. Hollywood’s endorsement of snow sports made Atkeson’s work particularly sought after and it was published in National Geographic, Life, Sports Illustrated, Saturday Evening Post and Reader’s Digest. From the 1930s to 50s, Atkeson made thousands of photographs and published many photobooks, including Ski and Snow Country: The Golden Years of Skiing in the West which features a text by the famed skier, Warren Miller. His photographs from this period capture the glamour of the early winter sports scene and resound with a sense of the excitement and danger that accompanied its rise in popularity.

In his later career, the assistance of his granddaughter, Karen Schmeer, ensured that Atkeson could continue to work even when his eyesight began to fail. He died in 1990 at the age of 83 at his home in Portland. Although Atkeson’s work appears in collections alongside the greats of the American canon – Dorothea Lange, Edward Weston and Ansel Adams – his name has not been indelibly inscribed onto the history of photography in the same manner as some of his contemporaries. He is, perhaps, one of the most unjustly forgotten innovators of the medium.

56 JORDAN ANDERSON ROCKETS INTO SPACE IN A SPECTACULAR ‘GELANDESPRUNG’ FROM THE RIM OF THE SKI BOWL AT THE FOOT OF THE MT HOOD WHICH IS OREGON’S LOFTIEST PEAK, CIRCA 1960 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

55 SUN VALLEY SKIER, CIRCA 1960 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

57 WOMAN PLOUGHING DOWN THE SLOPES ON A SUNNY DAY, CIRCA 1960 Stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

58 A WINTER VISTA AT SUGAR BOWL CALIFORNIA, CIRCA 1960 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches 59 MOUNT BAKER WASHINGTON FROM THE TOP OF TABLE MOUNTAIN, CIRCA 1960 Inscribed with title and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1970 10 x 8 inches

ROB ERT D OI SNEAU (1912-1994) Robert Doisneau was born in Gentilly, Val-de-Marne, France, on 14 April 1912. He studied lithography at L’École Estienne in Chantilly, but upon graduation found his degree useless, the trade being on the decline. In 1930, he began to embrace photography as a hobby and would wander the streets of Paris recording daily life. In 1932, he sold his first photograph to the newspaper L’Excelsior, and soon after found work as an assistant to the sculptor and photographer, André Vigneau. However, this experience was cut short by an impending military service. In 1934, Doisneau found work as an advertising photographer at a Renault factory in Boulogne-Billancourt, and it was there that he had his formal training in photography. He was drafted into the Second World War, in 1939, fighting first in the army and later in the Resistance. Throughout the war, he used his skills as an engraver to forge passports and identification papers as well as photographing Paris through its stages of Occupation and Liberation. When Paris was officially

liberated in 1944, he was one of the only photographers there, and he captured many, now famous, pictures of euphoric Parisians. Doisneau gained recognition with his post-war photographs, and began selling them to Life magazine. In 1946, he joined the French photography agency, Rapho, and stayed with them, despite being asked by Henri Cartier-Bresson to join Magnum Agency in 1947. He felt his roots and home in Paris were more important than international assignments or achievements. Between the years 1949 and 1956, Doisneau published six books of street photography, but interest in his work faded from the 1960s as the French lost their taste for his distinct style. He continued to work, however, and produced advertising work and celebrity portraits for the next few decades. He spent most of his life in Montrouge, Paris, and died there on 1 April 1994.

60 LE PETIT BALCON, 1953 Signed Initialled, dated and inscribed with title on reverse Silver gelatin print, printed later 9 1⁄2 x 13 1⁄2 inches

WILLY RONI S (1910-2009) More so than his famous contemporaries – Henri Cartier-Bresson, Robert Doisneau and Brassaï – Willy Ronis is remembered foremost as the photographer of Paris. Whilst Ronis’ vision is more romantic, humanist and poetic than his counterparts, throughout his long career he endeavoured to capture the true spirit of the city and its people. Ronis was born in Paris on 14 August 1910. Both his parents were Jewish refugees who had fled to France to escape the pogroms of Eastern Europe. His father was a studio photographer and the young Ronis helped with printing and retouching. Ronis found the studio environment oppressive, however, and became preoccupied with drawing and music. He spent time in the Louvre studying the Old Masters but started taking photographs at the age of 15 when his father gave him a Kodak camera. He became a talented violinist and would later draw similarities between music and photography, saying, ‘many of my photographs are taken from above, either looking down

or up, three planes in one image, like three different melodies in a fugue which work together to give the piece structure and harmony’. Ronis gave up music to take over the studio in 1932 when his father became ill. Ronis’ early photography was preoccupied with social unrest and the rise of the leftist Popular Front. His first published photograph shows a street demonstration on Bastille Day 1936 and he maintained a lifelong commitment to leftist causes. Despite the political intent with which Ronis’ career began, he is best remembered for his romanticised vision of Paris and its inhabitants. He preferred to walk around his local area of Belleville-Ménilmontant with camera in hand rather than travel. Ronis described the spontaneity of this approach, saying, ‘most of my photographs were taken on the spur of the moment, very quickly, just as they occurred’. Whilst this aligns Ronis’ work with the ‘decisive moment’ of his friend, Cartier-Bresson, whereas the latter’s photography maintained the distanced gaze of the street photographer

61 LE VIGNERON GIRONDIN, 1945 Signed Inscribed with title, dated and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed 2004 16 1⁄4 x 12 3⁄4 inches

62 BOLLENE, 1954 Inscribed with title, dated and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed circa 1954 10 x 7 3⁄4 inches

par excellence, the former’s is coloured by the intimacy and empathy with which he knew and understood the people of Paris. During the Second World War Ronis was a meteorologist with the French air force and served briefly with the artillery. He refused to wear the Star of David during the Nazi Occupation and fled south of the occupied territory. He discovered a passion for the landscape and culture of Southern France and would return to Provence in 1972 when he became a photography teacher at the School of Fine Arts, Avignon and Saint Charles, Marseille. During the war he also met his wife, Marie-Anne Lansiaux, who became the subject of one of his most famous photographs, Nu provençal (1949). The photograph shows Marie-Anne washing at a sink in a rustic room whilst on holiday in Provence. Ronis photographed her again much later whilst she suffered from Alzheimer’s disease, hidden almost completely in an autumnal forest. Ronis won the Prix Kodak in 1947 but rather than joining the Magnum Photo Agency, recently established by his friends, David Seymour and Robert Capa, he took up with the Rapho Agency whose members included Doisneau and Brassaï. In 1955 Ronis was included in Edward Steichen’s vast Family of Man exhibition that encapsulated the humanist spirit of photography at the time. In his later career Ronis went on to enjoy an array of awards and honours including the Prix Nadar (1981), being made Honoured Photographer at Les Rencontres d’Arles (1980) and Commander of the Ordre des Arts et des Lettres (1986). In 1995 the Museum of Modern Art commissioned a touring retrospective that was intended to mark his centenary. Ronis died, however, at the age of 99 on 12 September 2009, the year before the exhibition opened.

63 LE NU PROVENCAL, GORDES, FRANCE, 1949 Signed Inscribed with title, dated and stamped with photographer’s copyright ink stamp on reverse Silver gelatin print, printed 2000 12 1⁄2 x 10 1⁄4 inches

BERT HARDY (1913-1995) British press photographer, Bert Hardy, was born into a working class family in Blackfriars, London in 1913. The eldest son of seven children, Hardy left school at the young age of 14 to begin earning money working in a chemist’s shop which also processed photographs. Hardy’s first break came when he managed to photograph King George V and Queen Mary as they passed through his borough in a carriage. The young photographer was able to sell 200 small prints of his shot, and use the success to buy his first Leica with which he went on to freelance for The Bicycle magazine. In 1941 Hardy joined the increasingly respected Picture Post, becoming the magazine’s chief photographer after just a few months. He later served as a military photographer from 1942-46, taking part in the 1944 D-Day landings and covering the liberation of Paris.

After returning from war, Hardy began to receive substantial critical acclaim for his photographs. Three of his pictures were selected to be in Edward Steichen’s famous Family of Man exhibition and the resulting book. After writing an article for an amateur photography magazine claiming that photographers did not need expensive equipment to create good photographs, Hardy staged a carefully posed photograph of two women sitting on the railings of Blackpool’s promenade using a Kodak Box Brownie in 1951. This photograph has since gone on to become an iconic image of post-war Britain. Since his death in 1995, memorials remembering his life and work have been erected in St Bride’s Church, Fleet Street, and the Priory, Webber Street, London.

64 MAIDENS IN WAITING, 1951 Signed Stamped with photographer’s ink stamp and affixed with label reading ‘It’s the cameraman not the camera that wins the prize.’ ‘Maidens in waiting’ taken on a Kodak Box-Brownie at a distance of four yards with a 2x yellow filter for bright sunshine. Blackpool. Picture Post Magazine. July 14, 1951. Photograph by Bert Hardy’ on reverse Silver gelatin print, printed later 9 x 7 1⁄2 inches

65 LIVERPOOL, CIRCA 1950 Stamped with photographer’s ink stamp and ‘Schipol’ ink stamp on reverse Silver gelatin print, printed before 1966 9 x 9 1⁄4 inches

66 CHORUS GIRL, CIRCA 1950 Inscribed with title and stamped with photographer’s ink stamp and Picture Post ink stamp on reverse Silver gelatin print, printed circa 1950 11 1⁄4 x 12 1⁄4 inches

THURSTON HOPKI NS (1913-2014) Thurston Hopkins was born in London in 1913 and educated at Brighton College of Art as a graphic illustrator. Then, during the 1930s, he decided to teach himself to become a photographer. Working in the press industry at the outbreak of the Second World War, he joined the RAF photographic unit. However, Hopkins continued to work for

various newspapers and other media at the same time. Joining the magazine Picture Post in 1950, he firmly established himself as a incisive and important photojournalist, a reputation that stayed with him until his death in October 2014.

67 A COLD EVENING IN ISLINGTON, 1950 Signed, inscribed with title, dated and stamped with photographerâ&#x20AC;&#x2122;s ink stamp on reverse Silver gelatin print, printed later 16 x 12 inches

68 THE REV. RHINEDORP, VICAR OF PIMLICO, STEPS OUT, 1954 Signed, inscribed with title, dated and stamped with Picture Post credit stamp on reverse Silver gelatin print, printed circa 1954 14 3â &#x201E;4 x 11 inches

69 ‘LA DOLCE VITA’, KNIGHTSBRIDGE, LONDON, 1950 Signed Silver gelatin print, printed later 12 x 15 inches

70 SCARBOROUGH BEACH, 1952 Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s ink stamp on reverse Silver gelatin print, printed later 12 x 16 inches

ROGER M AYNE (1929-2014) Roger Mayne was born in Cambridge, and studied Chemistry at Oxford University, where he began taking photographs. By 1951 he had begun to contribute pictures to Picture Post and, in 1954, he moved to London, determined to forge a career as a freelance photographer. He met with modest success, taking on various projects that included photographing the artists that lived and worked in St Ives, Cornwall. 1956 was a breakthrough year for Mayne as his portraits were exhibited in solo exhibitions at the Institute of Contemporary Arts, London, and at George Eastman House, New York. That same year, he began his seminal study of Southam Street in West London, which continued intermittently for five years. It remains his most important

work, and established his reputation as an influential photojournalist. In the series, he documented daily life, with particular focus on children and their outdoor games. The original series is now owned by the Victoria and Albert Museum, and is a valuable record of London’s urban environment in the 1950s. Mayne married the actor, director and playwright, Ann Jellicoe, in 1962, with whom he collaborated on several projects including The Shell Guide to Devon (1975). He is best known for his black and white work from the 1950s, but was a significant contributor (in colour) to The Sunday Times Magazine in the 1960s, and continued to be in demand as a photographer into the twenty first century. He died in 2014.

71 CHILDREN PLAYING ON THE ROAD, SOUTHAM STREET, 1956 Signed, dated and inscribed ‘*’89’ Signed, dated, and inscribed with title on reverse Silver gelatin print, printed 1989 15 x 11 inches

72 FOOTBALLER REACHING, BRINDLEY ROAD, 1957 Signed, dated and inscribed ‘*’02’ Signed, dated, and inscribed with title on reverse Silver gelatin print, printed 2002 13 1⁄2 x 10 1⁄4 inches

73 FOOTBALLER AND SHADOW, SOUTHAM STREET, LONDON 1956 Signed, dated and inscribed ‘*’03’ Signed, dated, and inscribed with title on reverse Silver gelatin print, printed 2003 12 x 15 1⁄4 inches

MARI O GI ACOMELLI (1925-2000) Mario Giacomelli was born in Senigallia, Italy, on 1 August 1925. By the age of thirteen, he had taught himself the fundamentals of painting, dropped out of school and begun working at a printing shop as a typesetter. He became fascinated with bits of wire in the walls at his shop and decided to teach himself the foundations of photography in order to photograph them. The Second World War inflicted a heavy toll on the region surrounding Senigallia. Giacomelli set about documenting both the local landscape, and rural people in their farming communities often with an emphasis on the old, the sick and the poor. His photographs were often desolate, ridden with natural scars and interesting impurities.

Obsessed with disturbing themes of loneliness and death and quickly establishing a distinct style, he employed intense contrasts to conjure up dream-like, poetic settings. To help achieve this he applied manipulative techniques in the darkroom, adjusting the amounts of light by means of burning and dodging. In 1960, Giacomelli was commissioned by the Catholic Church to document the lives of local priests. He applied both a blurred and candid feel to this project and, by the end of 1961, had created a body of work that has become his most celebrated. He died on 25 November 2000 in the town of his birth, after a long battle with cancer.

74 UNTITLED, FROM THE SERIES ‘PUGLIA’, 1958 Signed, stamped with photographer’s ink stamp and ‘Puglia’ series ink stamp on reverse Silver gelatin print, printed circa 1979 11 3⁄4 x 14 3⁄4 inches

I NGE MORATH (1923-2002) Inge Morath was born in Graz, Austria, on 27 May 1923, to parents who were scientists. She began her education at a French-speaking school, before moving to the German intellectual centre, Darmstadt, and then to Berlin. In 1937, Morath attended the Degenerate Art Exhibition, organised by the Nazi regime to shift public opinion against Modern art. For Morath, the exhibition had the opposite effect and she found the work stimulating and inspiring. After working as a journalist and translator, Morath was offered a job at Heute, an illustrated magazine, where she became the Austrian editor. She began to work with Ernst Haas, the photographer, writing articles to accompany his pictures. In 1949, both Morath and Haas were asked to join the Magnum Photo Agency by the photographer Robert Capa, and it was whilst working there as an editor that Morath decided

75 MRS EVELEIGH NASH, BUCKINGHAM PALACE MALL, LONDON, 1953 Signed on reverse Silver gelatin print, printed later 11 x 14 inches

she wanted to be a photographer herself. In 1955, after two years of taking photographs, Morath presented her work to Robert Capa. He was so impressed, he asked her to join Magnum full-time as a photographer. Morath began to shoot stories for publications such as Vogue, travelling extensively in Europe, the Middle East, North Africa and America. She also, like other Magnum photographers, worked on motion picture sets as a still photographer. In London she had met the director John Huston, several of whose films she went on to photograph, including Moulin Rouge (1952) and The Misfits (1960), with Marilyn Monroe, Clark Gable and Montgomery Clift. It was on this set that she met her second husband, Arthur Miller, with whom she settled in the United States. Inge Morath died on 30 January 2002. That same year, fellow members of Magnum Photos set up the Inge Morath Award in her honour.

RUTH ORK IN (1921-1985) Ruth Orkin was born in Boston, Massachusetts, on 3 September 1921, the daughter of the silent film actress, Mary Ruby. Orkin developed a passion for photography from the age of ten and, at seventeen, made national headlines by cycling from Los Angeles to New York, photographing her journey along the way. By 1945, she had moved to New York permanently, and had begun working as a freelance photo-journalist. Orkin worked for various magazines, producing photo-essays and portraits of notable musicians including Leonard Bernstein and Aaron Copeland. In 1951 Life magazine sent her to Israel, and then to

Florence. There, she met a young girl called Nina Lee Craig who she photographed in various scenarios, including American Girl in Italy – now her most celebrated image. In 1952, Orkin married Morris Engel, the photographer and filmmaker. A year later, they produced the film The Little Fugitive, which met with huge critical acclaim and was nominated for an Academy Award. Orkin continued working as a photographer, and published two books of her work: A World Through My Window (1978) and More Pictures Through My Window (1978). Ruth Orkin died in New York on 16 January 1985.

76 AMERICAN GIRL IN ITALY, 1951 Signed and dated ‘1952, 1980’ on mount Silver gelatin print, printed 1980 12 x 18 1⁄2 inches

O WI NSTON LI NK (1914-2001) Ogle Winston Link was born in Brooklyn, New York, on 16 December 1914. His father, a public school teacher, encouraged him to develop an early interest in woodworking, arts and crafts and photography. Link attended the Polytechnic Institute of Brooklyn and graduated in 1937 with a degree in civil engineering. Upon graduation, he was offered a job as a photographer at the public relations firm, Carl Byoir Associates. He worked at the company from 1937 to 1942, and there mastered his photography skills. In 1945, Link opened up his own studio in New York City, becoming a professional photographer with a reputation for industrial photographs of factory interiors. Although he had developed an aesthetic and conceptual curiosity for the railway system in America throughout the Second World War, it did not fully develop until a trip to Stanton, Virginia in 1955. From then on, Link financed his own project of documenting the Norfolk and Western Railway Line. He focused on the transition of the

train’s source of power from steam to diesel. His engineering background made him meticulous with his photography and he soon became obsessed by the American railway. He began recording the sounds of the trains, and released them as a set entitled Sounds of Steam Railroading. He not only focused on the trains, but also documented the trackside communities, and the blue-collar Americans performing their jobs, so creating a social record of the railways and their impact. Many of his railway photographs were published in a magazine called Trains, as well in numerous photography books, his most famous being Steam Steel & Stars, America’s Last Steam Railroad (1987). From 1940 until his retirement in 1983, Link worked primarily in advertising photography, shooting for various large companies. On 30 January 2001, he died of a heart attack near his home in South Salem, Westchester County, New York. At the time of his death he was working on the O Winston Link Museum at the Norfolk and Western Passenger Station in Roanoke, Virginia. It opened in 2004.

77 THE PELICAN AT RURAL RETREAT, 1957 Signed, dated ‘12-83’, and stamped with photographer’s credit ink stamp on reverse Silver gelatin print, printed December 1983 16 x 20 inches

VIVIAN M AI ER (1926-2009) In 2007, Chicago based auctioneer Roger Gunderson came into possession of a number of storage lockers, filled with photographs, newspaper clippings, clothing and other bric-a-brac. Seeing the potential for a small profit, Gunderson quickly began auctioning off the contents to various collectors. Two of the men present at the auction were Ron Slattery, a regular with a penchant for old amateur photographs, and Jon Maloof, a realtor sourcing material for a book project. Slattery was the first to successfully bid for some of the material. He acquired a box of around 2,000 small prints for $250. Maloof went for negatives, 30,000 of them, for $400. Maloof ’s bid was blind, he had no idea what he had bought and it was not until he returned home to scan the negatives that he discovered the contents. Born in New York on 1 February 1926 to a French mother, Maria Jaussaud, and Austro-Hungarian father, Charles Maier, Vivian Dorothea Maier spent her childhood in France, where she lived on her family’s farm ‘Bonne Regard’, overlooking the French Alps. Although Maier’s

father left the family before her move to France, her time there was idyllic, the surroundings were beautiful and her peers were in awe of her American heritage. Maier often travelled to New York, where she and her mother shared a living space with award-winning portrait photographer, Jeanne Bertrand. At the age of 25, Maier moved permanently to live in the United States. After working in a sweatshop in New York for five years, she moved to Chicago’s North Shore where she found a job working as a nanny for a number of middle class families. She cared for one particular family, the Ginsbergs, for fourteen years. Her relationship with them was to be the closest she would ever experience to a family of her own. In the suburbs of Chicago, Maier had a comfortable life, living amongst a reasonably wealthy community in a quiet residential area. But when her work was finished, she would leave the suburbs for central Chicago or New York to photograph.

78 SELF-PORTRAIT, 1957 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 7/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

79 SELF-PORTRAIT, 1960 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 6/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

Wandering the streets of New York’s dangerous Bowery area, Maier would use her Rolleiflex twin lens camera to capture the lives of people in the city. Portraits of distinctive individuals, urban structures and children at play. Her pictures were shot from the hip, looking down into the camera, making no eye contact with the subject. This created a divide between photographer and subject, a barrier behind which Maier could work without interruption. Although Maier would on average shoot a roll of film a day, producing just under 100 exposures a week, she very rarely showed her work to anyone. Her handprints, made in the en-suite bathroom of her employer’s home, were kept secret. Those who saw her work the most were the developers in the downtown printing labs where she would take bundles of film rolls every week. Occasionally, she would look through her pictures in the drug store, granting the staff the odd glance. Maier continued like this for many years, amassing a huge archive of street photography. It was not just the streets of Chicago that caught her eye; Maier also went on a yearlong trip around the world with her

camera, funded by the sale of her deceased aunt’s house in France. The trip included sojourns in Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy, and the American Southwest, all of which she documented with her camera. Around the late 1960s Maier was told by the Ginsbergs that her services were no longer required as the children in her care had left for college. She was forced to move from the comfort of the Chicago suburbs and into the city, where property was less expensive. Continuing to work intermittently as a nanny but with nowhere to store her now enormous collections of photographs, books, newspapers, cameras, videos and vintage clothing, Maier was forced to rent out expensive storage lockers, using the majority of her salary to retain her precious possessions. This eventually led to periods of homelessness, and for a long time she claimed social security in order to buy rolls of film. As the years passed, her jobs became shorter and her hoarding and secretive behaviour more extreme. Maier’s deteriorating situation, coupled with grave political events including the assassination of Robert F. Kennedy and Richard Nixon’s

80 CENTRAL PARK, NEW YORK, 1954 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 2/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

81 UNTITLED, UNDATED Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 6/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

scandalous resignation, imposed new weight on her photography. Whereas previously her subject matter had featured curious pedestrians and playing children, it now turned to homeless drug addicts, burnt out buildings and riots. Snapshots of newspaper headlines became a key focus, accompanied by mounds of clippings stored dutifully in her various lockers. Later in life Maier’s reclusive characteristics were catalysed by the difficulties of living constantly on the edge of homelessness. Those who saw her camera presumed that it was part of some eccentric costume matched with old-fashioned clothing, usually a man’s coat and large black shoes. In many ways this unusual persona worked to Maier’s advantage. Despite appearing as an outcast, she was non-threatening. In 2007, Maier slipped on ice in downtown New York, hitting her head on the floor causing serious injury. She was admitted to hospital, where doctors were confident that she would make a full recovery. However, she refused treatment and her health began to deteriorate rapidly. At the same time, her financial difficulties peaked and, despite being

financially aided by the Ginsbergs, Maier’s debts finally caught up with her. Whilst in hospital, her storage lockers containing her archive were sold to dealers to clear her debts. Over the next two years, Maier’s life would become the obsession of three individuals. The first to purchase her work at auction, Ron Slattery, realised the potential value in his collection of old photographs and preserved them carefully so that they may appreciate over time. Chicago based artist and collector, Jeffrey Goldstein, would go on an acquisition spree of Maier negatives. After taking the biggest personal interest in Maier’s life, John Maloof would make it his mission to meet Maier. Maloof was too late, Vivian Maier had died as a result of her head injuries, just months before. Maloof has dedicated himself to exploring, archiving and promoting Maier’s life and work: collecting and scanning negatives, promoting her work online, producing a feature-length documentary as well as a book and organising exhibitions.

82 CHICAGO, IL , UNDATED Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 5/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

83 UNTITLED, 1954 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 4/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

84 UNTITLED, SELF-PORTRAIT, UNDATED Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 13/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

85 SELF PORTRAIT, UNDATED Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 2/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

86 SELF PORTRAIT, CHICAGO, 1959 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 2/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

87 NEW YORK, 10 APRIL, 1955 Signed by John Maloof, stamped with Maloof Collection edition stamp and numbered 5/15 on reverse 12 x 12 inches Silver gelatin print, printed 2014 From an edition of 15

JESSE ALEXAND ER (born 1929) Jesse Alexander’s legendary archive of motorsports photography provides a thrilling insight into the Golden Age of racing. Alexander started photographing motor racing when the post-war period of austerity gave way the technological advancements and the ensuing rise of racing in the 1950s. His career as a photographer began when he went to shoot the original Carrera Panamerica, better known as the Mexican Road Race, in 1953, widely considered the most dangerous road race in the world. Here he met famous drivers including Juan Fangio and Eugenio Castellotti. He then moved to Europe to cover Formula One and the long distance races, the 24 Hours of Le Mans, the Mille Miglia and the Targa Florio, before returning to United States in the late 1960s. In 1955 Alexander went to Monaco to photograph the Grand Prix for the first time. His photographs of the races, cars, drivers and spectators capture the excitement and glamour of these hugely popular events. The most advanced cars of the day – Maseratis, Mercedes, Ferraris and Porsches – rush into Alexander’s shots, through jubilant crowds and auspicious surroundings. The narrow roads of the course provided a challenging environment in which to photograph but Alexander would always seek out the most advantageous viewpoints from which to shoot. He also took portraits of the drivers, their friends and spectators. One in particular provides an intimate close-up of Jim Clark, the Scottish winner of 25 Grand Prix. The brilliantly candid portrait from 1962, showing Clark’s face marked by his goggles and the dirt of the track, is particularly poignant given the tragic, fatal crash that would curtail his celebrated career in 1968.

An international array of museums and galleries has exhibited Alexander’s photography. His work is held notably by the Birmingham Museum of Art, the Akron Museum and the Santa Barbara Museum of Art. He lives and works in Carpinteria, California.

88 JIM CLARK, SPA, BELGIUM, 1962 Signed Archival pigment print, printed 2014 17 x 22 inches

89 ASTON MARTIN VICTORY, SHELBY, MOSS AND DAVID BROWN, LE MANS, 1959 Signed Archival pigment print, printed 2014 17 x 22 inches

90 STIRLING MOSS, ASTON MARTIN PITS, LE MANS, 1958 Signed Archival pigment print, printed 2014 17 x 22 inches

BRUCE DAVID SON (born 1933) Bruce Davidson remains one of the world’s great photographers. A member of the prestigious Magnum Photos agency since 1958, he took inspiration from his friend and mentor, Henri Cartier-Bresson, and went on to redefine the genre of photojournalism with his singular style and methods. Davidson, unlike other photographers before him, embedded himself in the world of his subjects for extended periods, he even joined a circus in 1958 in order to get the right pictures, the results of which formed themselves into series of powerful photo-essays. ‘Brooklyn Gang’ and ‘East 100th Street’ are perhaps his two most famous, and are the results of months living with both a gang of youths on Coney Island, and the inhabitants of a run-down tenement block in Harlem, New York. Through a combination of familiarity and his own visual poetry, Davidson brought these, and other subjects, to life in the many books and exhibitions that resulted from these projects.

Davidson is mainly interested in documenting the struggles and triumphs of people as they go through their lives - the American Dream laid bare. His photographs are powerful, truthful, sometimes brutal, and often breathtaking. Through this honesty Davidson gives his subjects a voice and a platform to be remembered by, but he also finds the process personally satisfying. As he once said: ‘My pictures are not escapes from reality, but a contemplation of reality, so that I can experience life in a deeper way.’ Davidson has been the recipient of numerous awards, including a Guggenheim Fellowship, and two grants from the USA’s National Endowment for the Arts. He has had solo exhibitions at many major institutions including the Museum of Modern Art, New York; Tate Modern, London; and the Smithsonian Museum of American Art, Washington DC. He currently lives and works in New York.

91 MARILYN MONROE WITH CAMERAMAN ON SET OF THE MISFITS, 1960 Signed and stamped with photographer’s ink stamp and Magnum Photo Library ink stamp on reverse Silver gelatin print, printed circa 1960 6 1⁄2 x 9 1⁄2 inches

92 MARILYN MONROE AND ARTHUR MILLER ON THE SET OF THE MISFITS, 1960 Signed on reverse Silver gelatin print, printed circa 1960 10 x 8 inches

The Misfits The Misfits, directed by John Huston with a screenplay by Arthur Miller, was a major film that was released in 1961 and saw the final on-screen appearances of both Clark Gable and Marilyn Monroe. Famous for its difficult production that was blighted by the breakdown of Monroe’s marriage to Miller, extreme temperatures and a soaring budget, the film is also famous amongst photography aficionados. This is because Magnum Photos was engaged as part of the film’s promotional strategy, and its making was subsequently covered by Bruce Davidson, Eve Arnold, Cornell Capa, Henri Cartier-Bresson, Elliott Erwitt, Ernst Hass, Erich Hartmann, Inge Morath and Dennis Stock – eight of the most celebrated photographers of all time.

93 MARILYN MONROE, 1960 Signed, stamped with Bruce Davidson/Magnum Photos ink stamp and John Hillelson Agency ink stamp on reverse Silver gelatin print, printed circa 1960s 11 3⁄4 x 8 inches

SI R CEC IL BEATON (1904-1980) Photographer, artist, designer and socialite, Cecil Beaton was born in Hampstead, London, on 14 January 1904, into the family of a wealthy merchant. Whilst at Harrow School, he developed a passion for both photography and social advancement which, combined with his natural talent for aesthetics, subsequently propelled him to the heights of fame. As a prominent member of the Bright Young People during the 1920s, a set he had purposefully adopted, Beaton photographed a generation of glitzy young socialites and artists with unique style. His sparkling photographs provide a fascinating record of this enduringly popular group, but his ambition was not satisfied. In the late 1920s, he headed for Hollywood and New York, working for Condé Nast as a portrait and fashion photographer, and quickly created a formidable reputation, and an international demand for his work.

After the Second World War, during which he worked as a photographer for the Ministry of Information, Beaton continued as before, albeit altering his style to fit with the changing times. He also earned acclaim for his costume designs, winning Oscars for Gigi in 1957 and My Fair Lady in 1964. Beaton’s brilliant eye, theatrical persona, ruthless ambition and addiction to social advancement kept him in work for over six decades. From Stephen Tennant and the Sitwells, to Andy Warhol and the Rolling Stones, from flappers to Twiggy, Beaton’s career straddled the twentieth century, recording its heroes and starlets, fashions and tastes. Beaton died at Reddish House, Broad Chalk, Wiltshire, on 18 January 1980.

Marilyn Monroe ‘She romps, she squeals with delight, she leaps on to the sofa. She puts a flower stem in her mouth, puffing on a daisy as though it were a cigarette. It is an artless, impromptu, high-spirited, infectiously gay performance. It will probably end in tears.’ Cecil Beaton, 1957 94 MARILYN MONROE, AMBASSADOR HOTEL, NEW YORK, 22 FEBRUARY 1956 Stamped with Sotheby’s edition ink stamp, inscribed with title and numbered on reverse Silver gelatin print, printed 2009 18 x 18 inches From an edition of 50

Julie Andrews This photograph was taken in 1959, the year that the twentyfive year old Julie Andrews married Tony Walton, the set and costume designer. Andrews had worked with Beaton in 1956, when he deisgned the Broadway production of Lerner and Loewe’s My Fair Lady.

95 JULIE ANDREWS, 1959 Stamped with Sotheby’s edition ink stamp, inscribed with title and numbered on reverse Silver gelatin print, printed 2014 18 x 18 inches From an edition of 50

96 MRS CHARLES JAMES, 716 MADISON AVENUE, NEW YORK, 1955 Stamped with Sotheby’s edition ink stamp, inscribed with title and numbered on reverse Silver gelatin print, printed 2013 18 x 18 inches From an edition of 50

97 AUDREY HEPBURN, JANUARY 1960 Stamped with Sothebyâ&#x20AC;&#x2122;s edition ink stamp, inscribed with title and numbered on reverse Silver gelatin print, printed 2009 18 x 18 inches From an edition of 50

SNOWD ON (born 1930) Antony Armstrong-Jones was born in London on 7 March 1930, the son of a barrister. His wealthy, well-connected family included significant artists: his great-grandfather was the cartoonist, Linley Sambourne, and his uncle was the famous costume and set designer, Oliver Messel. In 1952, following his education at Eton College and Cambridge University, Armstrong-Jones opened a small photography studio in Pimlico, London. Like Cecil Beaton and Norman Parkinson before him, he relied on photographing debutantes to make a living, whilst developing the more inventive side of his work. It did not take long â&#x20AC;&#x201C; his first book, London, was published in 1958 and established Armstrong-Jones as a serious photojournalist. At the same time, he was becoming increasingly successful as a portrait photographer, even gaining several commissions to photograph the Royal Family, and was also in demand as an innovative photographer of the theatre. In 1960, Armstrong-Jones married Princess Margaret, and was created 1st Earl of Snowdon, after his favourite mountain. This union was sensational at the time, as he was both a commoner and a photographer

â&#x20AC;&#x201C; the first time either had married into the Royal Family. He was quickly smothered by the routines of royalty, and his photographic career temporarily came to a halt. By 1963, however, Snowdon, as he had become known professionally, was working again, now for The Sunday Times Magazine, and produced numerous moving and important photo-essays. Having had polio as a child, he had a particular interest in photographing disability and mental illness, both of which featured heavily in his work during the next twenty-five years. He was also producing portraits of such figures as Lucian Freud, Anthony Blunt and Rudolf Nureyev, for which he has now become best known. He was honoured for his portraiture in 2004, with a retrospective exhibition at the National Portrait Gallery. Over his long career, Snowdon produced a remarkable archive of images, mastering several genres of photography in the process. However, his brilliance as a photographer was always overshadowed by his royal status and the controversy that surrounded his relationship with Princess Margaret, exacerbated by their divorce in 1972. Snowdon lives in Kensington, London, and is still in demand as a photographer. GHP

98 JEAN QUICK IN AN ADVERTISEMENT FOR COURTAULDS HATS, 1957 Signed and numbered 12/50 Silver gelatin print, printed 2010 18 x 18 inches From an edition of 50

99 PRINCESS MARGARET, CARIBBEAN, 1960s Signed and numbered 13/50 Digital fibre print, printed 2010 16 x 20 inches From an edition of 50

Princess Diana Snowdon is famous for his charm, but a portrait sitting with him is not always a comfortable experience. He is unimpressed by pretension or selfimportance, and he will prick the egos of his sitters in order to reveal something of the true person underneath. In addition he sometimes insists that his sitters wear one of his blue denim shirts, thereby immediately putting them on the same level and removing any airs of rank or power. Here Princess Diana is wearing one such shirt, although there is clearly no issue with atmosphere in the studio.

100 PRINCESS DIANA, 1991 Signed and numbered 7/50 Silver gelatin print, printed 2010 20 x 15 1â &#x201E;2 inches From an edition of 50

101 ANTHONY BLUNT, LONDON, 1963 Signed and numbered 13/50 Silver gelatin print, printed 2008 18 x 18 inches From an edition of 50

DAVI D FARRELL (1919-2013) Born in London in 1919, David Farrell studied at Dulwich College and later trained at the Royal Academy of Music. Following a period of active service with the RAF during the Second World War, in 1946 he moved to Gloucestershire, where he became a central figure in a circle of intellectuals and artists including Lynn Chadwick, Jacob Bronowski and Peter Nichols. Abandoning his ambitions to become a solo violinist due to growing family responsibilities, Farrell turned to photography, securing a significant commission from the British Council to photograph a series of well-known artists including Henry Moore, Eduardo Paolozzi and Barbara Hepworth. These portraits established his reputation and attracted regular commissions for newspapers and magazines. In 1955 he received his first music assignment to photograph Yehudi Menuhin and Sir Thomas Beecham at the Bath Festival. Over the next 30 years Farrell made numerous portraits of musicians and performers in informal situations, preferring to photograph them at home or in the studio rather than in public performance.

His approach proved popular with his sitters; Paul Scofield described him as the one photographer ‘who never intruded’. John Gielgud, on seeing his portrait, asked ‘David, where were you? I didn’t know you were there!’ Menuhin claimed that Farrell created the visual equivalent of his own musical achievements. Expanding his portfolio through commissions from London Weekend Television and Thames TV, Farrell went on to photograph most of the pop stars of the period, including early performances by the Beatles, Cilla Black and Tom Jones. In the 1960s and 70s he turned to theatre and film with an invitation to photograph the production of Peter Hall’s A Midsummer Night’s Dream (1968) starring Diana Rigg and Helen Mirren. He subsequently worked on more than 100 films and TV dramas alongside directors including Michael Winner and Ken Loach. Upon his death aged 93, Farrell left an extensive archive of images which together form a fascinating ‘hall of fame’ of the twentieth century’s best known stars of stage, screen and soundtrack.

102 LYNN CHADWICK WITH ‘STRANGER III’ IN THE CHAPEL AT LYPIATT, 1958 Stamped with photographer’s estate ink stamp and numbered on a label on reverse of mount Digital fibre print, mounted on aluminium, printed 2013 30 x 45 inches From an edition of 3

WILLIAM K LEIN (born 1928) William Klein was born in New York on 19 April 1928. His parents were the children of Jewish Hungarian immigrants. While growing up in an Irish neighbourhood he experienced anti-Semitism, leaving him alienated at school. He subsequently spent many days of truancy in happy relief at the Museum of Modern Art. At fourteen, three years ahead of his peers, he graduated from high school, and went to study sociology at the City College of New York. At eighteen he joined the US army for two years and was sent to Germany and France. On being discharged he remained in France and in 1948 moved to Paris, enrolling at the Sorbonne to study history of art. The following year he briefly studied painting under Fernand Léger, whose influence may be seen in Klein’s photographs. In 1952 Klein held two solo exhibitions in Milan, where he collaborated with the architect Angelo Mangiarotti. It was through these exhibitions that he took his first steps towards his career as a photographer. He also met Alexander Liberman, the art director of Vogue, with whom he shared an interest in kinetic sculpture. Liberman was impressed by Klein’s exhibition, particularly the photographs, and invited him to return to New York. 98

Over an intense eight-month period, Klein created his photographic diary of New York, but the photographs were never actually published by Vogue. Liberman was positive about them, but Vogue was shocked by what they regarded as a crude and vulgar view of the city.

Despite this, and despite his total lack of experience in the area, Liberman offered Klein a job as a fashion photographer for the magazine. That same year, they published an article on Klein called A New Photographic Eye. Klein took his photo-diary of New York to Paris, where it was finally published by Editions du Seuil as, Life is Good & Good for You in New York. In 1957, a year after it was published, Klein was awarded the Prix Nadar for it, despite the controversy surrounding the photographs. He went on to produce three more books, Rome (1958), Moscow (1959-61) and Tokyo (1961). Between 1965 and the 1980s, Klein abandoned photography and focused on film, producing various documentaries and television commercials. In the 1980s, Klein returned to photography once more and was awarded the Hasselblad Award in 1990. During the 1990s, he began creating mixed media works of art, combining painting and photography. Although fashion photography had seemed an unlikely area for Klein to enter, with the help of Liberman, he became revolutionary in his ambivalent and ironic approach to the world of fashion. His photographs are characterised by natural lighting, high contrast, motion blur, the stretching and distorting of shapes due to his use of wideangle lenses for close-ups, over-exposure with flash and the use of high-grain film.

Gun 1, New York, 1955 This is one of Klein’s most famous images, taken from his seminal book of street photography, Life is Good & Good for You in New York (1956). The book had been his personal side project while his fashion work for Vogue magazine paid the bills. Klein had travelled back to New York from Paris in 1954 to take up a position at Vogue, invited by the magazine’s famous art director, Alexander Liberman. However Klein’s principal motivation for the move was the opportunity to work on the book project. Once published in 1956 it became one of the most influential photography books of the twentieth century. Its brash, technically radical photographs altered the rules of photography and influenced future generations of photographers including, famously, the Japanese photographic icon, Daido Moriyama. William Klein said of this particular image: ‘… This seems to be considered my key image… It’s fake violence, a parody. I asked the boy to point the gun at me and then look tough. He did, and then we both laughed… [I see it] as a double self-portrait. I was both the street kid trying to look tough, and the timid, good little boy on the right.’

103 GUN 1, NEW YORK, 1955 Signed, inscribed with title and dated on reverse Silver gelatin print, printed later 19 3â &#x201E;4 x 15 3â &#x201E;4 inches

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104 CLUB ALLEGRO FORTISSIMO, PARIS, 1990 Signed, inscribed with title and dated on reverse Silver gelatin print, printed later 19 3⁄4 x 15 3⁄4 inches

ROBERT M APPLETH ORPE (1946-1989) ‘I really believe that Robert sought not to destroy order, but to reorder, to reinvent, and to create a new order, I know that he always wanted to do something that no one else had done. That was very important to him.’ The words of his ex-lover, great friend and artistic partner, Patti Smith, portray Robert Mapplethorpe as a thoughtful anarchist. Hailed as the greatest studio photographer of his generation, Mapplethorpe was initially thought an iconoclastic practitioner of ‘deviant art’ but his work is now considered to be of huge art historical and social significance. He rose to simultaneous fame and notoriety in the 1980s for his controversially explicit sexual imagery that sought to upend traditional notions of beauty. Born 4 November 1946 as the third of six children, Mapplethorpe grew up in a Roman Catholic household in Floral Park, Queens, New York. His mother was a housewife and his father was an electrician. He would say of his background: ‘I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave.’ Mapplethorpe studied drawing, painting and sculpture at the Pratt Institute, Brooklyn, where he discovered the work of Joseph Cornell and Marcel Duchamp. His early art shows his debt to the collages and assemblages of these artists. John McKendry, the curator of prints and photographs at the Metropolitan Museum, took Mapplethorpe up as a kind of adopted son and bought him a Polaroid camera. The young artist started incorporating Polaroids into his collages in the late 60s. Between 1967 and 1974 he lived with soon-to-be punk rock star, Patti Smith, in the Chelsea Hotel. She supported him financially on her earnings from a bookshop and became a frequent subject of his camera. In the mid-1970s Mapplethorpe acquired a Hasselblad medium-format camera and started photographing his social circle of artists, musicians, socialites, porn stars and members of the sadomasochism scene. He struck up a friendship with George Dureau whose photographs of amputees and dwarves had a deep and lasting impact on his art. Mapplethorpe met the wealthy arts patron, Sam Wagstaff, at a party in 1972. They became lovers and Wagstaff initiated Mapplethorpe to the underground world of bondage and sadomasochism. Wagstaff also financed the purchase of Mapplethorpe’s studio space, calling him his ‘shy pornographer’.

Often imbued with sublime beauty and haunting presence, Mapplethorpe’s photographs of acts of extreme sex sought to rework traditional portraiture by presenting liminal experience and sexual excess. Frequently a participant in the sexual acts that he photographed, Mapplethorpe explored the fraught tension between fine art and pornography. His first solo exhibition was held in 1977 in New York featuring photographs of flowers, male nudes and sadomasochistic scenes. In 1978 Mapplethorpe gained notoriety when the explicit images in his book X Portfolio caused a national outcry. Mapplethorpe’s work was not only shocking but also technically innovative in its use of 20 x 24 inch Polaroids, photogravures, platinum prints on paper and linen and dye transfer colour prints. His work became more focused on notions of classical beauty through the 1980s as he undertook still lifes and formal portraits with an exacting formalism reminiscent of Edward Weston. He met Lisa Lyon, the first World Women’s Bodybuilding Champion, and they worked together on portraits and figure studies. Although sometimes cast as a ‘documentarian’ of the New York gay scene, Mapplethorpe was more concerned with the potential of the camera to invent and renew rather than document. By 1986 Mapplethorpe was taking on an increasingly eclectic range of commissions. He designed sets for Lucinda Childs’ dance performance, Portraits in Reflection and produced a photogravure series for Arthur Rimbaud’s A Season in Hell. He also made 50 New York Artists, a book of artists’ portraits. The same year he was diagnosed with AIDS but continued working voraciously. In 1988 the Whitney Museum of American Art mounted Mapplethorpe’s first major retrospective. Suffering severely from his illness, Mapplethorpe arrived at the show’s opening in a wheelchair, having been released from hospital just days before. He died aged 42 in Boston, Massachusetts, from AIDS-related illness on 9 March 1989. During the same year as his death a travelling exhibition of his work courted significant controversy for its homoerotic and sadomasochistic subject matter. Conservative and religious organisations used the exhibition to decry what they considered to be the government’s endorsement of obscenity. Before his death he founded the Robert Mapplethorpe Foundation to promote the photographic arts and medical research into HIV and AIDS. The foundation has raised millions of dollars in aid of this research.

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105 PHEASANT, 1984 Signed by Michael Ward Stout, executor of the estate, inscribed with title, dated, numbered 5/10 and stamped with estate copyright ink stamp on reverse Silver gelatin print, printed after 1989 From an edition of 10

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106 WRESTLER, 1989 Signed by Michael Ward Stout, executor of the estate, inscribed with title, dated, numbered 3/10 and stamped with estate copyright ink stamp on rteverse Silver gelatin print, printed after 1989 From an edition of 10

NASA Photography has always been used by NASA to record and analyse its findings, but also to disseminate its successes around the world’s media. These prints were made for such purposes in the months and years following each mission. As such these prints are extremely rare and collectable documents of the golden age of space exploration

107 EDWARD WHITE OVER HAWAII, THE FIRST AMERICAN SPACE WALK, GEMINI 4 MISSION, 1965 C-type print, printed circa 1965 7 1⁄4 x 10 1⁄4 inches

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108 RECEDING MOON, APOLLO 8 MISSION, 1968 Inscribed ‘AS8-14-2505’ on reverse C-type print, printed circa 1968 7 1⁄4 x 7 1⁄2 inches

109 JACK SCHMITT, APOLLO 17 MISSION, 1972 Stamped with NASA ink stamp on reverse C-type print, printed circa 1972 7 1⁄4 x 7 inches

110 CROSS-SUN ‘AFTER’, APOLLO 16 MISSION, 1972 Stamped with NASA ink stamp on reverse C-type print, printed circa 1972 7 1⁄4 x 7 inches

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111 ITEK PANORAMIC CAMERA, APOLLO 15 MISSION, CIRCA 1972 REVOLUTION 35, FRAME 1521 Silver gelatin print, printed circa 1972 9 x 9 inches

112 ITEK PANORAMIC CAMERA, APOLLO 16 MISSION, CIRCA 1972 REVOLUTION 16, FRAME 1977 Silver gelatin print, printed circa 1972 9 x 9 inches

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113 ITEK PANORAMIC CAMERA, APOLLO 16 MISSION, CIRCA 1972 REVOLUTION 26, FRAME 608 Silver gelatin print, printed circa 1972 9 x 9 inches

M ICH AEL KENNA (born 1953) Michael Kenna was born in 1953 in Lancashire, England, into an Irish Catholic family. From an early age Kenna aspired to be a priest and, aged eleven, began studying at a seminary school. However, art quickly became his strongest subject and at the age of 17 he moved to Banbury School of Art in Oxfordshire. He studied painting and then photography, before going on to pursue a degree in photography at the London College of Printing. Initially Kenna concentrated on commercial photography, however he soon turned to landscapes after seeing the work of Bill Brandt, Josef Sudek, Eugène Atget and Alfred Steiglitz.

In 1977 Kenna moved to San Francisco where a number of galleries were willing to show his work. He quickly settled into life in California where he lived and worked as a photographer for over thirty years. Kenna looks for interesting compositions and arrangements within the natural landscape. He is drawn to certain times of day and night, preferring to photograph in the mist, rain and snow. Clear blue sky and sunshine do not inspire him. He also only photographs his work in black and white, as he believes, ‘black and white is immediately more mysterious because we see in colour all the time. It is quieter than colour.’

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114 LE DESERT DE RETZ, STUDY 8, CHAMBOURCY, YVELINES, FRANCE, 1988 signed, dated and numbered 10/45 on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1⁄2 x 8 inches From an edition of 45

He also likes to photograph on his own, in silence, creating a sense of calm, solitude and tranquility. As he said in an interview in 2009 with Fine Art Photography magazine: ‘I prefer suggestion over description. The world is pretty chaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding and/or creating calm shelters from the storm, places where quiet and solitude is encouraged and inner contemplation possible. I think we could all use a break from time to time...’

Kenna currently lives in Seattle, with his wife and children and continues to travel the world producing new work. His photographs are held in permanent collections at the Bibliotheque Nationale, Paris, the National Gallery of Art, Washington DC, Tokyo Metropolitan Museum of Photography, and the Victoria and Albert Museum, London.

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115 LE DESERT DE RETZ, STUDY 21, CHAMBOURCY, YVELINES, FRANCE, 1988 Signed, dated and numbered 29/45 on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1⁄2 x 8 inches From an edition of 45

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116 COURS LA REINE, PARIS, FRANCE, 1987 Signed, dated and numbered 2/45 on mount Signed, dated, inscribed with title and stamped with photographerâ&#x20AC;&#x2122;s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1â &#x201E;2 x 8 inches From an edition of 45

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117 TREE, SEINE AND QUAI VOLTAIRE, PARIS, FRANCE, 2013 Signed, dated and numbered 3/45 on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1⁄2 x 8 inches From an edition of 45

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118 OCTAGONAL BASIN, PARC DE SCEAUX, HAUTS-DE-SEINE, FRANCE, 1996 Signed, dated and numbered 40/45 on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1⁄2 x 8 inches From an edition of 45

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119 PEBBLES AND BEACH HOUSE, CAYEUX-SUR-MER, PICARDIE, FRANCE, 2009 Signed, dated and numbered 4/45 on mount Signed, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse Sepia toned silver gelatin print 7 1⁄2 x 8 inches From an edition of 45

ED WARD BURTYNSK Y (born 1955) Edward Burtynsky’s remarkable photographic depictions of global industrial landscapes have won him international acclaim and made him one of the most respected photographers working today. His work is included in over fifty museums and galleries worldwide. Born on 22 Febrary 1955 in St Catharines, Ontario, to parents who had immigrated to Canada from Ukraine in 1951, Burtynsky’s first brush with photography came when he was eleven and his father purchased a darkroom, complete with cameras and instruction manuals, from the widow of an amateur photographer. With his father he learnt how to make black and white prints. He then studied the subject formally from the early 1970s, acquiring a Bachelor of Applied Arts in Photography from Ryerson University, Toronto, in 1976 and a diploma in Graphic Art from Niagara College, Welland, in 1982.

The theme of Burtynsky’s work is landscape altered by industry and he cites his early exposure to the General Motors plant in his hometown as having steered the development of his photographic work. His subjects include the raw elements of mining, quarrying, manufacturing, shipping and oil production, and yet the results show that beauty can be found even in these most unlikely of places. In 1985, Burtynsky founded Toronto Image Works, a facility that offers darkroom rental, a photo laboratory, equipment use and digital new media courses to all levels of the city’s art community. The following year the facility opened a gallery space in which to display work by local as well as international artists. Burtynsky is an active lecturer on the art of photography and sits on the Boards of Contact, Toronto’s international photography festival, and The Ryerson Gallery and Research Centre. He has won the TED Prize and the Outreach Award at Les Rencontres d’Arles, is the recipient of five honorary doctorates and is a member of the Royal Canadian Academy of Arts.

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120 SILVER LAKE OPERATIONS #12, 2007 Signed and numbered on photographer’s edition label on reverse of mount Digital c-type print, mounted on aluminium, printed 2013 27 x 34 inches From an edition of 10

MI CHAEL NAJJAR (born 1966) Michael Najjar is a photographer and video artist interested in the relationship between digital technologies and modern life. Najjar was born on 31 October 1966 in Landau, Germany. He studied photography and new media art at the Bildo-Akademie für Kunst und Medien in Berlin where he became interested in cultural theorists including Jean Baudrillard and Paul Virilio whose theorisation of existence in the information age would indelibly mark his artistic practice.

Najjar’s series netropolis (2003-06) considers the development of mega cities. His hybrid images of Berlin, London, Mexico City, New York, Paris, São Paulo, Shanghai and Tokyo are fantastic visions of everchanging nexuses of activity played out in the urban sprawl. The images show these cities to be endless networks of information in which everything is wired and connected but strangely isolated.

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121 NETROPOLIS | LONDON From the series netropolis (2003-2006) Signed, dated, inscribed with title and numbered on reverse of mount Lightjet print, diasec mounted, printed 2007 23 1⁄2 x 35 1⁄2 inches From an edition of 6

Continuing with his efforts to convey the infiltration of information into daily life, Najjar climbed Mount Aconcagua, the highest mountain in America and highest in the world outside the Himalayas, for his series high altitude (2008-10). These works link the jagged peaks of mountain ranges with the abstract patterning traced by the peaks and troughs of the financial markets. The virtual world of the stock markets is transposed onto the material, bringing to light the vast shift undertaken towards the intangibility of digitalisation in recent years.

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122 NETROPOLIS | DUBAI From the series netropolis (2003-2006) Signed, dated, inscribed with title and numbered on reverse of mount Lightjet print, diasec mounted, printed 2007 23 1⁄2 x 35 1⁄2 inches From an edition of 6

As Najjar has said: ‘Such experience of virtuality is strikingly exemplified by the global economic and financial system. If the focus used to be on the exchange of goods and commodities, it is now securely on the exchange of immaterial information.’ Najjar is currently working on his project, outer space, in which he will travel to space as one of Virgin Galactic Pioneer Astronauts. He began work on his current series by undergoing intense training for future astronauts in Russia’s Star City, in stratospheric and zero-g flights,

centrifuge and spacewalk training sessions, recording what happened to him with the camera in order to probe his own perceptions. Najjar’s work has been shown in galleries and museums worldwide. His first major retrospective took place at the Museum for Photography and the Museum for Contemporary Art GEM, the Hague. His work has also been shown at Somerset House, London, Borusan Contemporary, Istanbul, and Tucson Museum of Art, Tucson. He lives and works in Berlin.

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123 NETROPOLIS | HONG KONG From the series netropolis (2003-2006) Signed, dated, inscribed with title and numbered on reverse of mount Lightjet print, diasec mounted, printed 2007 23 1⁄2 x 35 1⁄2 inches From an edition of 6

SARAH Q UI LL (born 1946) Sarah Quill was born in Shawford, Hampshire, and brought up by her father, Jeffrey Quill, who was chief test pilot for the Supermarine Spitfire, and other Vickers prototype aircraft, before and during the Second World War. Educated at the Royal Naval School, Haslemere, and the Couvent Anglais, Bruges, she studied French at the Institute of Linguists, London, qualifying as an Associate. Quill wanted to be a photographer from an early age, and was later inspired by French and Italian cinema. She worked for a while as assistant to Bruno de Hamel, at his studio in Shorts Gardens, Covent Garden, before going freelance in 1971. Making a start in journalism, she was employed by The Times on a number of special reports, including one on Xavier de Salas, director of the Museo del Prado, in Madrid.

While early on she travelled mostly in Spain, Sarah turned to Venice in 1972, after the Italian Art and Archives Rescue Fund had provided a focus for concerns about the aftermath of the 1966 floods. From that time, she has worked for long periods in the city, documenting the architecture and way of life. From 1973, she also lectured in Venice, on photography and its history as part of the John Hall Pre-University Course. Quillâ&#x20AC;&#x2122;s photographs have been regularly used to illustrate books since 1976, and have been shown in group and solo exhibitions since 1982.

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124 RIO DELLA GIUDECCA (III), BURANO, ITALY, 2008 Signed, dated, inscribed with title, and numbered 1/25 Digital c-type print, mounted on board, printed 2014 20 x 24 inches From an edition of 25

125 RIO DI TERRANOVA (XV), BURANO, ITALY, 2010 Signed, dated, inscribed with title, and numbered 1/25 Digital c-type print, mounted on board, printed 2014 20 x 24 inches From an edition of 25

NADAV K AND ER (born 1961) Nadav Kander was born in Tel Aviv, Israel, in 1961. His father was a commercial pilot but stopped working when he lost sight in one eye. In 1963 Kander’s family moved to Johannesburg, South Africa, where he spent the rest of his childhood. He started photographing with a Pentax camera that he received at his bar mitzvah. On a family holiday to Europe when he was 14 he visited galleries with his sister, Tamar, an artist. He has said that this trip was the cause of his subsequent decision to live in Europe. On being drafted into the South African Air Force he worked in a darkroom printing aerial photographs. This provided the stimulus for his ambition to became a professional photographer. On leaving the air force he worked for the photographer, Harry de Zitter, before leaving for America and then England where in settled in 1986. Kander has become renowned for his large-format landscapes of epic scale. His soft lighting and pastel colouring of desolate landscapes render urban wastelands sublime. His haunting landscapes extract a melancholy

beauty from the quiet surroundings. Alongside his landscape work, Kander is a prolific portrait photographer. His photographs of President Barack Obama and his staff were published as Obama’s People (2009). Another strand of his work uses the nude to explore the continued ability of the naked body to shock in the twenty first century. His most recent series, Dust, features images of the ruins of an unmapped Soviet nuclear test site between Russia and Kazakhstan. In 2009 Kander won the Prix Pictet for photography of environmental importance with his series Yangtze – The Long River that involved a 4,000-mile trip from Shanghai to Qinghai. The same year he was also named International Photographers of the Year at the 7th Annual Lucie Awards. His work is held in collections including the National Portrait Gallery, the Victoria and Albert Museum, the Franks-Suss Collection, and the Photography Museum, Lianzhou. He lives in London with his wife, Nicole, and their three children.

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126 NANJING II, JIANGSU II (METAL PALM), 2007 Signed and numbered 3/5 on reverse C-type print, printed 2014, mounted on aluminium 47 1⁄4 x 58 3⁄4 inches From an edition of 5

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Isley Standing forms part of Kander’s series BODIES. 6 Women, 1 Man in which models were coated in white marble dust and photographed against the black backdrop of the artist’s studio. Railing against the digitally manipulated bodies permeating the media, the series monumentalises the imperfect human form. Kander’s nudes are vulnerable but majestic, flawed but beautiful. Posed with their faces hidden, the nudes make reference to classical sculpture and the Renaissance interest in anatomical detail. Although the ‘honest’ nude is nothing new – Gerry Badger and Martin Parr have justly said in their history of the photobook that ‘more film has probably been exposed on naked and semi-naked women than on any other subject in photography’s history’ – Kander’s nudes are astonishingly affecting in their isolated grandeur.

127 ISLEY STANDING, 2010 Signed and numbered 3/6 on reverse C-type print 47 1⁄4 x 35 1⁄2 inches From an edition of 6

PAUL K ENNY (born 1951) Paul Kenny was born in 1951 and educated in Salford, and then at the University of Newcastle upon Tyne where he studied fine art.

remote beaches of Wester Ross in north-west Scotland and the Western fringes of the outlying Islands as subject matter.

Kenny has spent many years developing a unique, camera-less photographic practice that is rooted in his concern for the environment, and in his love for both the British coastline and innovative photography. He has travelled to Japan, France and Ireland but his work has gained the most creative momentum by taking the

In 2004 he returned to Northumberland where he now lives and works. Since returning, the windswept beaches between Holy Island and Berwick upon Tweed have woven their way into his work.

Icons These two works are from the early stages of a new body of work, tentatively titled ‘Sea Icons’. Icons are often referred to as ‘Windows onto Heaven’ and Kenny likes the idea that something small, enigmatic and beautifully made can be an entry point to the contemplation of vast unfathomable ideas. Kenny renders down scraps of flotsam and jetsam that he collects from the strandline into regular squares and rectangles, which evoke looking through a window or at the creased contours on an unfolded map. He is interested in the tension of man-made objects that have been battered by nature, and he tries to exploit this tension to make the viewer consider man’s position in the universe.

128 PERRIER SQUARE, 2014 Signed, dated, stamped with photographer’s blind stamp, inscribed with title and numbered 1/10 Pigment print on archival cotton rag paper, printed 2014 Printed on 22 x 20 inch paper From an edition of 10

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In 2000 he was made a Fellow of the Ballinglen Arts Foundation and now spends time annually at their facility in North West Mayo, Eire.

results was the hugely successful solo show, O Hanami, which was held London in 2012.

In 2010 he took a conscious year out from the seashore and focused his attention to his garden and the hedgerows around his home. The

Paul Kenny has work in major public and private collections including Deutche Bank, Goldman Sachs, the National Photography Collection, Bradford and the National Gallery of Scotland.

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129 MAPPING THE STRAND LINE, 2014 Signed, dated, stamped with photographerâ&#x20AC;&#x2122;s blind stamp, inscribed with title and numbered 1/10 Pigment print on archival cotton rag paper, printed 2014 Printed on 24 x 20 inch paper From an edition of 10

STEVE MCCURRY (born 1950) Steve McCurry is recognised universally as one of today’s finest image-makers. Best known for his evocative colour photography, he captures human struggle and joy in the finest documentary tradition. A member of Magnum Photos since 1986, many of his images have become modern icons. Born in Philadelphia in 1950, he graduated cum laude from the College of Arts and Architecture at Pennsylvania State University. After working at a newspaper for two years, he left for India to freelance. It was in India that McCurry learned to watch and wait on life. His career was launched when, disguised in native garb, he crossed the Pakistan border into rebel-controlled Afghanistan just before the Russian invasion. When he emerged, he had rolls of film sewn into his clothes and images that would be published around the world as some of the first to document the conflict. His coverage won the Robert Capa Gold Medal for Best Photographic Reporting from Abroad, an award dedicated to photographers exhibiting exceptional courage and enterprise. He is the recipient of numerous awards, including Magazine Photographer of the Year, awarded by the National Press Photographers’ Association in 1984. In the same year he won an unprecedented four first prizes in the World Press Photo Contest. He has also twice won the Olivier Rebbot Memorial Award.

130 MONSOON SKIES OVER BIHAR, INDIA, 1983 Signed and numbered on photographer’s edition label on reverse Digital c-type print, printed 2014 Printed on 20 x 24 inch paper From an edition of 90

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McCurry has covered many areas of international and civil conflict, including Burma, Sri Lanka, Beirut, Cambodia, the Philippines, the Gulf War, the former Yugoslavia, and continuing coverage of Afghanistan and Tibet. He focuses on the human consequences of war, not only showing what war impresses on the landscape, but also on the faces of its victims

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McCurry’s work has been featured in every major magazine in the world and frequently appears in National Geographic magazine with recent articles on Tibet, Afghanistan, Iraq, Yemen, and the temples of Angkor Wat, Cambodia. A high point in his career was the rediscovery of the previously unidentified Afghan refugee girl that many have described as the most recognisable photograph in the world today. When McCurry finally located Sharbat Gula. ‘After almost two decades’, he said, ‘her skin is weathered; there are wrinkles now, but she is as striking as she was all those years ago’. Returning from an extended assignment in China, McCurry’s coverage of the September 11th attacks in 2001 have since become a key document of the attacks, and is a testament to the heroism and nobility of the people of New York City.

131 QUISSA KHAWANI BAZAAR, PAKISTAN, 1984 Signed and numbered on photographer’s edition label on reverse Digital c-type print, printed 2014 20 x 24 inches From an edition of 30

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132 SHIP BREAKING YARD, KARACHI, 1985 Signed and numbered on photographerâ&#x20AC;&#x2122;s edition label on reverse Digital c-type print, printed 2014 20 x 24 inches From an edition of 30

PAULET TE TAVORMI NA (born 1949) Paulette Tavormina is a self-taught photographer, based in New York. For the past twenty years she has made a name for herself in both the commercial and fine art fields of photography with her singularly innovative approach to still life. In the commercial sphere she has worked in the film industry as a prop-specialist and food-stylist, designing and creating elaborate food scenes for major films including Nixon (1995), The Phantom (1996) and The Perfect Storm (2000). She has also worked as a photographic stylist

for many cook books. Since 2007 she has worked as a photographer of paintings and works of art at Sotheby’s, New York. As an artist herself, Tavormina has combined her love of seventeenth century Old Master paintings, with her skill and knowledge as a food stylist, blending these skills to produce exquisite photographs that recall the work of Francisco de Zurbarán, Adriaen Coorte, Giovanna Garzoni, and other still-life painters from the period. Her images have been exhibited at many of America’s most prestigious galleries.

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133 FLOWERS AND FISH I, AFTER G.V.S., 2012 Affixed with photographer’s signature label, inscribed with title and numbered 1/7 on reverse Archival pigment print Printed on 24 x 24 inch paper From an edition of 7

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134 FLOWERS AND FISH IV, AFTER G.V.S., 2012 Affixed with photographerâ&#x20AC;&#x2122;s signature label, inscribed with title and numbered 2/7 on reverse Archival pigment print printed on 24 x 24 inch paper From an edition of 7

JULI E BLAC K M ON (born 1966) Born in 1966 in Springfield, Missouri, Julie Blackmon started photographing her family whilst attending Missouri State University. As the eldest of nine children, the chaos of family life has always been central to her subject matter. After learning about artists like Sally Mann, Diane Arbus and Helen Levitt at college, she started photographing domestic scenes of her sisters playing in the garden and around the house. Blackmon came back to photography after some time away from it when she moved into a house with a darkroom and

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135 LOADING ZONE, 2009 Signed, inscribed with title, dated and numbered 1/25 on reverse Digital c-type print, printed 2014 24 x 31 inches From an edition of 25

started photographing her children so she could hang some pictures on the walls. Soon she was photographing cousins and other children around the neighbourhood. Blackmon’s work reveals the uncanny in everyday life, presenting modern Gothic tableaux in which children inhabit a surreal underworld of disorientating spaces. ‘As an artists and as a mother’, Blackmon has said, ‘I believe life’s most poignant moments come from the ability to fuse

fantasy and reality: to see the mythic amidst the chaos.’ She cites a wide range of influences including Edward Gorey, Lewis Carroll and Tim Burton. Blackmon’s monograph Domestic Vacations (2008) looks to seventeenth-century Dutch and Flemish masters in her use of classical compositions and tableaux vivants. She describes this work in terms of the Dutch proverb ‘a Jan Steen household’, referring to the disorganised houses filled with the mayhem of family life typical of Steen’s paintings.

Although Blackmon’s scenes emerge as if through the vivid imagination of a child, they are carefully constructed using Renaissance perspectives and arranged sets to produce flawless compositions. This style aligns with a tradition of female artists working in a mode of Gothic surrealism originating with Dorothea Tanning and Leonora Carrington and continued by contemporary artists such as Anna Gaskell and Holly Andres.

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136 PATIO, 2010 Signed, inscribed with title, dated and numbered 19/25 on reverse Digital c-type print, printed 2014 24 x 33 1⁄2 inches From an edition of 25

Blackmon’s photographs have appeared on the cover of Time and New York Magazine and are held by collections including George Eastman House, Rochester, NY, the Kemper Museum of Contemporary Art, Kansas City, MO, the Museum of Fine Arts, Houston, TX, the Photographic Centre Northwest, Seattle, WA, and the Musée Français de la Photographie. She currently lives and works in Springfield, Missouri.

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137 CONCERT, 2010 Signed, inscribed with title, dated and numbered 23/25 on reverse Digital c-type print, printed 2014 24 x 31 inches From an edition of 25

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138 PICNIC, 2012 Signed, inscribed with title, dated and numbered 8/25 on reverse Digital c-type print, printed 2014 24 x 31 inches From an edition of 25

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139 AIRSTREAM, 2011 Signed, inscribed with title, dated and numbered 8/25 on reverse Digital c-type print, printed 2014 24 x 31 inches From an edition of 25

HOLLY ANDRES (born 1977) Named as one of the 15 emerging West Coast artists under the age of 35 by Art Ltd, Holly Andres has become one of the most influential contemporary American photographers. Her extraordinary ability to expose the uncanny within the domestic space has led to exceptional public and critical acclaim. Born in Missoula, Montana, in 1977, Andres studied at the Art Institute of Seattle, Washington, and then for her BFA at the University of Montana, Missoula, and her MFA at Portland State University, Oregon. She uses her memories of growing up in rural Montana to narrate the experiences and transitions of childhood and adolescence. Laden with the fantasies of childhood, Andres’ photographs present stories of children investigating the strangeness within the familiar. Andres has said that her work ‘relies on the tension between an apparently approachable subject matter and a dark, sometimes disturbing subtext’. She creates tableaux vivants by using live models and staged sets, the stillness of the scenes adding to their surreality. Inhabiting otherworldly spaces, her characters peer into mysterious drawers, ponder locked doors and stare into unknown spaces. Full of symbolism, allusion and suggestion, the photographs present young women struggling with the expectations of womanhood. Andres’ first solo show, Sparrow Lane (2008), narrates the story of four young women growing up with allusions to Nancy Drew and Lewis Carroll’s Alice in Wonderland. Referencing Alfred Hitchcock and 1970s horror films, Andres’ scenes hint at both hidden knowledge and immediate danger to unsettling effect. Her following series, The Fall of Spring Hill, shows mothers heroically protecting their children against the inevitable loss of innocence.

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140 THE GLOWING DRAWER, 2008 From the series ‘Sparrow Lane’ Signed, inscribed with title, dated and numbered 12/12 on reverse Digital c-type print, printed 2014 20 x 25 inches From an edition of 12

The cinematic pathos of her narratives adds to the deep sense of unease of the dramatic tonality and dark subject matter. Andres had her first major museum exhibition, The Homecoming, at the Hallie Ford Museum in Salem, Oregon and her work has been

exhibited extensively in galleries worldwide. Her photographs have appeared in The New York Times Magazine, Time, Art in America, Artforum, Exit Magazine, Art News, Modern Painters, Oprah Magazine, Elle Magazine, W, The LA Times, Glamour and Blink.

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141 THE MISSING BIRD, 2008 From the series ‘Sparrow Lane’ Signed, inscribed with title, dated and numbered 8/12 on reverse Digital c-type print, printed 2014 20 x 25 inches From an edition of 12

142 THE SPILT MILK, 2008 (opposite right) From the series ‘Sparrow Lane’ Signed, inscribed with title, dated and numbered 9/12 on reverse Digital c-type print, printed 2014 20 x 25 inches From an edition of 12

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LAURA LETI NSKY (born 1962) Laura Letinsky was born in Winnipeg, Canada, in 1962 and undertook her BFA at the University of Manitoba and her MFA at the Yale University School of Art. She fell into photography when she found she did not have the necessary prerequisites for the painting class she wished to take. Although she initially struggled with the medium, after a discussion with her professor, in which she was told to think about photography in terms of the ‘making’ rather than ‘taking’ of a picture, she started to use photography to translate the three-dimensional into the two.

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143 UNTITLED #8, 2010 From the series III From & Void Full Signed, inscribed with title and numbered on photographer’s edition label on reverse Archival pigment print 40 x 48 inches From an edition of 9

Letinsky’s early series, Venus Inferred (1990-96), looks at intimacy and domesticity, sometimes using her partner and herself as subject matter. Her focus then shifted towards the still lifes for which she is renowned. Referencing Freud’s essay ‘Mourning and Melancholia’, the series, Morning and Melancholia (1997-2001), presents the detritus from an indulgent dinner party of the previous evening. Tables with remnants of food in varying states of decay are seen from above to reveal the far edge and the subsequent drop into space. Northern Renaissance painting casts a strong influence across Letinksy’s work, the balance between

ripeness and decay proving intrinsic to her practice. The still lifes are inextricably involved in matter of consumerism and consumption, tying the microcosmic scenes to larger social structures. Developing the line of questioning about artifice and representation opened up in her earlier work, Letinsky’s series Ill Form and Void Full (2010-11) uses paper cuttings from lifestyle magazines alongside three-dimensional objects to challenge assumptions of vision. The relationship between positive and negative space is brought into question as collage and assemblage merge into a dizzying nexus of visual information. Quoting Matisse and Rauschenberg more so than the Cubists, Letinsky undertakes a postmodernist dissolution of high and low distinctions to probe the ‘truth’ value with of a photograph. As Letinsky has said: ‘My photographs are very much about this medium, its self-referentiality… I want an acute tension between what is in the picture – the image, what is nameable – and its status as an object.’ Letinsky’s art relies on trompe d’oeil and other visual trickery to force the viewer to question the pretence implicit to the medium. Letinsky has had exhibitions at the Canadian Museum of Contemporary Photography; Casino Luxembourg; Galerie m Bochum, Germany; Museum of Modern Art, New York; Nederlands Foto Institute; and The Renaissance Society, Chicago. Her work is held in collections including the Art Institute of Chicago; J.P. Getty Museum, Los Angeles; Hermes Collection, Paris; Musee de Beaux-Arts, Montreal, QUE; The Museum of Fine Art, Houston, TX; and San Francisco Museum of Modern Art.

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144 UNTITLED #57, 2010 From the series III From & Void Full Signed, inscribed with title and numbered on photographer’s edition label on reverse Archival pigment print 53 1⁄2 x 48 inches From an edition of 9

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145 UNTITLED #22, 2006 From the series To Say It Isn’t So Signed, inscribed with title and numbered on photographer’s edition label on reverse Archival pigment print 53 1⁄2 x 48 inches From an edition of 9

ALEX M AC LEAN (born 1947) Alex MacLean was born in Seattle, Washington on 8 January 1947 and spent his childhood growing up on an eleven acre ‘hobby farm’, just outside Washington DC. He was interested in photography from an early age and when he was nine went on holiday to Europe taking his clamshell Brownie camera. His passion for photography developed as he got older and whilst studying for his undergraduate degree at Harvard University he enjoyed photographing the landscapes of subsistence farming surrounding him. During his studies MacLean tried to exploit his photographic skills by applying to join the Harvard Crimson Newspaper but it did not employ him.

Maclean went on to gain a Masters degree in architecture from Harvard and graduated in 1973. As part of the course he regularly undertook field research, using his camera as the main source for gathering information. When he was offered the chance to research from the air, MacLean discovered it gave him the best view for site analysis and two years after graduating, in 1975, went on to acquire his pilot licence. This helped him fulfil his ambition to photograph our rapidly changing environment and document our impact on the landscapes below. That same year MacLean founded his company, Landslides, specialising in aerial photography for architects, designers, planners and environmentalists. MacLean has gone on to amass an

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146 TWISTS AND TURNS OF A WATERSLIDE PARK, WILDWOOD, NJ, 1996 Signed, fixed with photographer’s edition label and numbered 2/9 on reverse of mount Digital c-type print, printed 2014 Printed on 24 x 30 inch paper From an edition of 9

archive of over 350,000 images of streetscapes, parks, gardens, campuses, plazas, mining and extraction pits and urban design developments across parts of America and Europe. The commissions MacLean has received through Landslides also allow him to explore his personal artistic practice which is chiefly concerned with development, industry and humanity’s footprint on the natural world. With only one minor accident and one camera lens lost, MacLean continues to spend two to three hours per day flying from

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147 SETTLEMENT GRADIENT, FORT SASKATCHEWAN, ALBERTA, CA, 2014 Signed, fixed with photographer’s edition label and numbered 2/9 on reverse of mount Digital c-type print, printed 2014 Printed on 24 x 30 inch paper From an edition of 9

one state to the next observing the dramatic landscape below watching it evolve and change. As he said in an interview for Photographer’s Forum in 1994: ‘It’s easy to fall into imitations yourself. I try to take a fresh approach to all the shots, to be really open to what I’m seeing rather having a premeditated idea about what I’m going to shoot, or forcing a statement out of something that’s not there. My good pictures really come from my being responsive.’

Currently living in Lincoln, Massachusetts, MacLean has received multiple awards over the past nineteen years, most recently receiving the CORINE International Book award for one of his twelve published books. He has exhibited across Europe and America with his first show opening in Boston, Massachusetts in 1977 and his most recent was at the Centre Pompidou Metz, in 2013.

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148 BEACH GOERS AND GREEN UMBRELLAS, NAVARRE BEACH, FL, 2007 Signed, fixed with photographerâ&#x20AC;&#x2122;s edition label and numbered 2/9 on reverse of mount Digital c-type print, printed 2014 Printed on 24 x 30 inch paper From an edition of 9

M ICH AEL W OLF (born 1954) Michael Wolf was born in Munich, Germany, in 1954. He studied at UC Berkeley and then did a degree in visual communication at the University of Essen. He moved to Hong Kong in 1995 where he worked as a photojournalist for Stern magazine. Whilst working on what would be his final project for the magazine, ‘China: Factory of the World’, he found inspiration in Chinese vernacular culture and the complexities of urban spaces.

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149 ARCHITECTURE OF DENSITY #57, 2009 Signed on reverse of mount Digital C-type print, mounted on aluminium, printed 2013 48 1⁄2 x 72 1⁄2 inches From an edition of 9

Wolf ’s series Architecture of Density focuses on life in mega cities. His large-scale photographs of urban sprawl TURN the high-rise buildings of Hong Kong into abstract geometries, seemingly divorced from the thousands of people they accommodate. The photographs extract formalist patterning from these vast structures by hiding the skyline and the ground. The buildings are rendered eerily empty of their inhabitants as they stretch far beyond the scope of the picture frame. Wolf ’s

images expose the extremities to which humanity has been driven in order to provide for the exploding population, bespeaking the stifling claustrophobia of modern urban life but also of an extraordinary ability to adapt. This urge to capture the ever-changing urban sprawl aligns with a tradition of architectural photography that stretches from the work of Berenice Abbott, through that of Thomas Struth and Bernd and Hilla Becher to Andreas Gursky and Nadav Kander.

Wolf â&#x20AC;&#x2122;s interest in the interaction of people and the built environment led to a project in which he trawled through the archives of Google Street View, isolating small details from street scenes in order to raise questions about voyeurism and privacy. His series Paris Street View and Manhattan Street View counteract humorously candid moments with the threat of constant surveillance in modern life.

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150 ARCHITECTURE OF DENSITY #77, 2006 Signed on reverse of mount Digital C-type print, mounted on aluminium, printed 2013 48 1â &#x201E;2 x 60 inches From an edition of 9

Wolf has published five photobooks and won first prize in the World Press Photo Award Competition in 2004 and 2010. He was shortlisted for the Prix Pictet in 2010. His work is held in permanent collections including the Metropolitan Museum of Art, New York, the Brooklyn

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151 ARCHITECTURE OF DENSITY #105, 2008 Signed on reverse of mount Digital C-type print, mounted on aluminium, printed 2013 40 1â &#x201E;2 x 53 inches From an edition of 9

Museum, the San Jose Museum of Art, California, the Museum of Contemporary Photography, Chicago, the Museum Folkwang, Essen, and the German Museum for Architecture, Frankfurt.

JUSTI NE B LAU (born 1977) Justine Blau is a multidisciplinary artist, making sculptures, installations and photographs about the nature of the photographic medium and modern attitudes towards the environment. She was born in PĂŠtrange, Luxembourg in 1977 and has become one of the foremost contemporary artists working with environmental themes. The 2010 series The Circumference of the CumanĂĄn Cactus, commissioned by Manchester Piccadilly Station, consists of nine light

boxes showing Arcadian landscapes. The images took the place of advertising billboards in the train station, hinting at the fruitless search for an idyllic, exotic space, provoked by the tourism industry. The images consist of collaged pictures gleaned from the internet that suggest the endless miniaturization of the world through digital interaction. They hence expose the ways in which culture imposes a grasp on how nature is viewed. The construction of seemingly natural landscapes from paradoxically man-made materials deconstructs the

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152 THE CIRCUMFERENCE OF THE CUMANAN CACTUS 1, 2010 Signed and numbered 3/7 on edition label affixed to reverse of mount Digital c-type print, mounted on dibond, printed 2014 48 x 36 inches From an edition of 7

‘truth’ value of photography, exposing the tenuous positioning of the medium between nature and artifice. The collages of found objects create optical illusions that reinvent the kitsch materials from which they are constructed. Blau deconstructs the trust implicated within the photographic medium, opening it up for questioning in relation to the travel and tourism industries it supports. Blau’s 2013 series, What Colour is the Red Planet, Really?, commissioned by the Centre national d’audiovisuel, Dudelange, consists of light boxes

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153 THE CIRCUMFERENCE OF THE CUMANAN CACTUS 2, 2010 Signed and numbered 4/7 on edition label affixed to reverse of mount Digital c-type print, mounted on dibond, printed 2014 48 x 36 inches From an edition of 7

filled with images taken from the NASA website to construct a Martian landscape. Her sculptural work examines similar ideas to that of her collages. Her series, Mountain (2012), consisted of digital prints fashioned into mountainous forms and encased within a glass dome. A single image taken from the internet is assembled through a process of ‘copying and pasting’ until a recognisable form emerges. The works speak of both the enshrinement and entrapment of nature through humanity’s obsession with knowing the landscape in its totality. The

sublime landscape is dwarfed and encased to echo the domestication of the environment in the digital age. Blau’s work is held by collections including the Centre national d’audiovisuel, Dudelange, Musée d’art Moderne, Paris, and the Musée de la Villa Vauban, Luxembourg. She has recently exhibited at Euroartphoto, Palazzo Steline, Milan (2014), Zeitgenössische Menagerie visueller Philosoph-innen, Art Biennale, Halberstadt (2014),

Arendt & Medernach, Luxembourg (2014), the National Gallery of Iceland, Reykjavik (2013), the Centre national de l’audiovisuel, Luxembourg (2013), Los primeros emprendores, Galerie Toutouchic, Metz (2013); Los primeros emprendores, Centre d’Art Dominique Lang, Dudelange (2013). She currently lives in Luxembourg and Berlin.

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154 THE CIRCUMFERENCE OF THE CUMANAN CACTUS 3, 2010 Signed and numbered 3/7 on edition label affixed to reverse of mount Digital c-type print, mounted on dibond, printed 2014 48 x 36 inches From an edition of 7

SUSAN DERGES (born 1955) Born in London in 1955, Susan Derges has become recognised for her camera-less photographs and darkroom experimentation. Her work aims to explore the connection between the observer and the observed. Frustrated by the inevitable separation of photographer and subject by the camera, she removes it to achieve a more physical connection with her subject matter. Her large, narrow prints invite the viewer to do the same. To capture her famous sky-scapes, Derges takes photographs of the sky using positive (slide) film, which she then projects onto light sensitive Ilfochrome paper whilst it is submerged in a bath of water in her darkroom. Using the light from the projector, Derges creates photograms on top of the projected sky by placing foliage into the bath along with the paper and exposing the resulting shapes directly onto its surface.

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Widely exhibited in both gallery and museum collections, Derges has been recently made an Honorary Fellow of the Royal Photographic Society and she received the British Arts Council Award in 2010.

155 FULL MOON, BRIARS, 2006 Signed on reverse Unique Ilfochrome print 66 3â &#x201E;4 x 40 inches

MONA K UH N (born 1969) Mona Kuhn is a photographer best known for her elegant, provocative nudes that reference traditional iconography and show a mastery of photographic technique. Kuhn was born in SĂŁo Paulo, Brazil, in 1969 to German parents and began taking photographs aged twelve. She moved to the USA in 1992 to attend Ohio State University and then the San Francisco Art

Institute. After graduating she began working as a photographer and her first book, Photographs, was published by Steidl in 2004. Kuhnâ&#x20AC;&#x2122;s photographic practice is centered around the nude, and broadly forms a celebration of people who are comfortable being naked. She likes to know her subjects well, and tries to find models through friends rather than agencies. Her pictures of these young women and men are

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156 DAISY, 2012 Signed and numbered on reverse Digital c-type print, printed 2012 30 x 30 inches From an edition of 8

sensual yet restrained in their nudity, and are often laced with erotic tension. But they are also about being nude and not naked, and thus in control and not vunerable.

Getty Museum, the Los Angeles County Museum of Art, the George Eastman House, and the International Center of Photography in New York.

Mona Kuhnâ&#x20AC;&#x2122;s work has been exhibited internationally and is included in the collections of many prominent museums including the John Paul

Kuhn lives and works in Los Angeles.

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157 CHANNON, 2013 Signed and numbered on reverse Digital c-type print, printed 2013 30 x 30 inches From an edition of 8

YORAM ROTH (born 1968) Yoram Roth was born in 1968 in Berlin, and studied photography in New York during the late 1980s. He has found success as a fine-art photographer due to his elaborately staged, immaculately executed photographs that often have a strong narrative theme. Each series is the result of careful preparation, and relies on sets, makeup, props, and lighting that would to suited to any film set. Each picture is carefully planned using storyboards and sketches, before being set up and photographed in his Berlin studio. Roth has pursued various different projects in this way, including a number of photobooks – a medium to which he is devoted. The three images in this catalogue belong to a larger series entitled Hopper’s Americans, photographed during 2009. The resulting images are rich in Americana and atmosphere, recalling the paintings of Edward Hopper and Hollywood films of the 1950s. The series contains a variety of unexplained scenarios and the viewer is invited to weave their own narrative into the pictures.

158 ON THE BED IN THE AFTERNOON SUN, 2010 From ‘Hopper’s Americans’, 2010 Signed and numbered on photographer’s edition label on reverse of mount Archival Ditone Print, printed 2009, mounted on aluminium 56 x 40 inches From an edition of 2

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159 ALIVE IN THE MORNING AIR, 2010 From ‘Hopper’s Americans’, 2010 Signed and numbered on photographer’s edition label on reverse of mount Archival Ditone Print, printed 2009, mounted on aluminium 40 x 30 inches From an edition of 3

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160 ALIVE IN THE MORNING LIGHT, 2010 From ‘Hopper’s Americans’, 2010 Signed and numbered on photographer’s edition label on reverse of mount Archival Ditone Print, printed 2009, mounted on aluminium 56 x 40 inches From an edition of 2

RUUD VAN EM PEL (born 1958) Rudolph van Empel was born in the southern city of Breda, the Netherlands, in 1958. After graduating in graphic design from the Academie St. Joost, Empel worked briefly as a designer and later as a creative designer specialising in theatre décor. In 1995 Empel made the transition from stage to staged-photography when he presented his first photographic project entitled The Office, a series of portraits showing various indiviuals in workplaces that Empel had constructed. This initiated the ‘digital collage’ work for which he would later become known.

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The project was largely black and white due to the limitations of technology at the time, namely a computer which ‘crashed every five minutes’, that prevented Empel from producing full-scale colour montages until the new millennium. ‘When I made them I did not actually plan to start a career in art, I was just enjoying myself making things on my new computer.’ The artist took inspiration for these early works from 1930s cinema, producing mysterious and sometimes unnerving scenes. This would become a consistent theme throughout Empel’s work, who’s subjects are constructed from an anatomical palette of digital eyes, ears, noses and more. This is more apparent in his earlier work. As his skill, and the technology, has developed, Empel has become able to construct human beings with almost frightening accuracy. 161 IDENTITY #1, 2014 Signed, dated, inscribed with title and numbered 5/10 on reverse Archival pigment print, printed 2014 33 x 23 1⁄2 inches From an edition of 6

In 2009 Empel presented three bodies of work as part of the touring Picturing Eden exhibition curated by Deborah Klochko of George Eastman House. These were Venus, Moon and the critically acclaimed World. These three series of digitally constructed portraits of children have become Empel’s most exhibited and recognisable works. One element which has drawn particular attention to Empel’s portraits is the consistent appearance of black children in his work. Although it is not intended as any particular statement, Empel has commented on the portrayal of black children in Dutch media as often ‘poor’ or ‘suffering’. ‘I received some positive responses from black audiences, who said they liked the way my work portrays black children in a respectful and beautiful way rather than as a victim.’ A recurring theme in Empel’s work is the innocence of children. The artist meticulously choses clothing that echoes the formal Sunday dress that he and his siblings would wear to church as a child. This is intended as a comment on the mixed feelings of both oppression and pride, which such clothes instilled. So integral is the accuracy of such clothing to his work that Empel often digitally constructs garments from memory by photographing specific materials and patterns and then ‘stitching’ them together.

162 SUNDAY # 5, 2012 Signed, dated, inscribed with title and numbered 4/7 on reverse Archival pigment print, printed 2014 33 x 23 1⁄2 inches From an edition of 6

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RANK IN (born 1966) John Rankin Waddell, known professionally as Rankin, is a photographer renowned for his landmark editorial and advertising work. Rankin was born in Paisley in 1966 and brought up in St Albans, Hertfordshire. He dropped out of his accounting course at Brighton Polytechnic to study photography at Barnfield College, Luton, and then at the London College of Printing. On graduating in 1992 he founded the magazine Dazed and Confused in collaboration with Jefferson Hack. The magazine became an important platform for emerging creative minds. Following its success, Rankin founded several other magazines including RANK, AnOther Magazine, AnOther Man and Hunger. Rankin has photographed the world’s most famous faces, from Kate Moss and Madonna, to Tony Blair and the Queen. He has worked with many of the world’s most successful brands – Nike, Dove, Diageo and Breakthrough Breast Cancer – and shot covers for the world’s most influential magazines – Elle, German Vogue, Harpers Bazaar, Esquire, GQ, Rolling Stone and Wonderland. His worldwide campaign for Dove’s ‘Real Women’ aligned well with the candid approach he likes to take towards his subjects.

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In 2009 he commissioned the building of Annroy, a space to house his studio, living space and gallery where he holds exhibitions of his recent work.

Branching out into television presenting, Rankin’s BBC 4 documentary Seven Photographs that Changed Fashion, shown in January 2009, paid tribute to Cecil Beaton, Erwin Blumenfeld, Richard Avedon, Helmut Newton, Herb Ritts, David Bailey and Guy Bourdin through the recreation of their seminal fashion photographs. He has also shot the documentaries South Africa in Pictures, Shooting the Stars, The Life Magazine Photographers and Alive: In the Face of Death. Rankin’s 2009 interactive exhibition, Rankin Live, saw him photograph over 1,600 people in the street. He photographed one person every fifteen minutes, then retouched, printed and hung the image within half an hour of the shoot. The project aimed to show that anyone can look like a magazine cover star and highlighted his interest in the democratisation of the photographic image. In interview, Rankin has been eager to point to the diversity of his work: ‘People think I am a celebrity photographer, or a fashion photographer, or a nude photographer. But when you see it all like this you start to understand I’m not really any of those things, I’m a mixture of all of them.’ Founding Rankin Film Productions in 2011, Rankin has worked as an independent film director on both commercial and personal projects in recent years. He has published over 30 books and holds an Honorary Fellowship to the Royal Photographic Society. He lives with his wife, Tuuli, and son, Lyle, in London

163 TOUCH YOUR TOES, 1996 Signed and numbered 10/15 on photographer's edition label on reverse of mount Digital c-type print, mounted on board, printed 2014 20 x 24 inches From an edition of 15

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A brief breakdown of print types ‘Early’ prints Commonly known as ‘vintage’. These prints were made soon after the photograph was taken. Opinions vary but generally for a print to be truly ‘vintage’ it should be made with a year of the shutter being clicked. For very old and nineteenth century prints this can be stretched to five years or even more. Given the imprecise nature of this definition we prefer to either describe the exact print year, if known, or simply label them ‘early’ prints if not. For famous images by famous photographers early prints generally command the highest prices and, in most cases, are the most sought after by collectors. Particularly for images taken before the 1970s, they are often small, rare and, due to their age, may not be in perfect condition. Early prints were generally not made for sale to collectors. They would have been made either for reproducing the image in publications, exhibitions, gifts, distribution throughout the press network, and for many other commercial purposes. ‘Printed later’ prints Prints that have been made later in a photographer’s career, but still under their control. For example, Henri Cartier-Bresson made many prints in the 1990s from photographs that he took in the 1930s and 40s. This type of print was often associated with either the production of books, or for exhibitions in galleries or museums, and many were made expressly for sale to collectors. This is generally not the case with early prints. As a result, they are often editioned, unless the photographer chooses not to work with editions. These prints are generally less expensive than early prints, unless the production is of such fantastic quality/appeal that they eclipse early prints, which happens with artists such as with Ansel Adams, Irving Penn, Yousuf Karsh and others. Modern Prints Fall into two categories (those made of old photographs, and those made of new photographs.) They are made in the present day, under the photographer’s control. These are almost always made for exhibition, either for museums who are showing work retrospectively or, more often, for sale in commercial galleries. A modern print can also, of course, be made from a new photograph by a photographer who is working in the present day. The former are normally produced in larger editions (25-50) as, later in their career, a photographer is less likely to produce more sellable work, and wants to maximise the commercial potential of their archive, while at the same time needing to limit production to a reasonably small number. Contemporary photographs are normally produced in smaller editions (3-10) on the basis that a contemporary photographer is likely to produce more work in the future, and would like to raise the demand by limiting supply as much as makes commercial sense.

Posthumous prints Made after the photographer’s death, from the original negative or transparency, or from a digital scan of it. These are normally produced by the photographer’s estate, or an associated archive that has come to own the negatives. Despite not being made under the artist’s control posthumous prints can become sought after, especially if there are no other types of prints available. The surge in demand for prints by Vivian Maier, for example, is a wonderful example of this. Additionally, if prints made during the photographer’s lifetime have become extremely sought after and stratospherically expensive, a secondary tier of collecting often appears at this level, as with the case of posthumous prints of work by Diane Arbus and Edward Weston, amongst others. Editioning Editions have been around much longer than the photographic art market, and originally were used for numbering the output of sculptures, prints, books and other reproducible art forms. Photographers adopted editioning as a useful tool when the market for photographs began to grow in commercial art galleries. A photographer usually establishes an edition when they embark on offering an image for sale as a print. They choose a number and papersize, and make a commitment to produce no more than that number of prints in that size. When all of the offered sizes have sold out then the image will cease to be available on the primary market. Photographers will often choose a few different paper-sizes to offer the work in, each with its own separate edition. Sometimes they print the whole edition in one go, but usually prints are made and numbered on demand as they are sold. Some photographers also include a small number of ‘artist’s proofs’ as a part of their editions, which are essentially an extension of the edition size. Once an edition has sold out the artist will not produce another print of that image in that edition. Trust is required between an artist, their gallery and their collectors for the system to work. Establishing that trust is an important part of an artist’s career development, and no serious, established photographer would threaten their own reputation by breaching that trust. Likewise no decent gallery would risk their reputation by working with a photographer who behaves badly. Some older photographers don’t believe in editions – Henri CartierBresson didn’t, for example – and simply sign a print whenever they or their galleries sell one. This can also work well as the market is fed at its own pace, and the most desirable prints become the most numerous, often feeding demand for themselves and trading higher as a result of their availability.

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