Barley Mow Centre, Chiswick, W4 4PH photographica@chiswickauctions.co.uk www.chiswickauctions.co.uk
Lee Friedlander (b.1934). MOUNT RUSHMORE, SOUTH DAKOTA, 1969.Viewing exclusively at the Barley Mow Centre, London W4 4PH:
Friday 31 May: 10am-4pm
Saturday 1 June: 11am-4pm
Monday 3 June: 10am-4pm
Tuesday 4 June: 10am-4pm
Wednesday 5 June: 10am-4pm
Chiswick Auctions is delighted to share the highlights of the upcoming 19 th & 20 th Century Photographs sale, taking place in London on 6 June, shortly after the Photo London fair at Somerset House. Please get in touch for further information and condition reports for any of the lots previewed in this catalogue; the full catalogue will be available online 15 May, followed by a live auction at the Barley Mow Centre, London W4 4PH, on 6 June at 11am.
Following on from an outstanding Autumn 19 th & 20 th Century Photographs sale, we have seen growing traction in the field of British social documentary and photographic objects with unique provenance. In November, we achieved prominent results for works by Bert Hardy, Graham Smith, and Chris Killip, along with an auction record price for female street photographer Shirley Baker, and strong prices for American 20th century documentary work across the board. Unique works from the 19 th century also drew an enthusiastic response, including a rare ‘Photosculpture’ attributed to François Willème.
We are always looking for eclectic, diverse imagery and interesting photographic objects to offer to the wider market. Please do get in touch for a free and confidential valuation should you like to consign for a future sale.
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Symbol Key:
§ - Artist Resale Rights/Droit de Suite. Lots marked with ‘ARR/ §’ may be subject to a levy.
Ambrotypist Unknown, c.1860s
AMERICAN CIVIL WAR AMBROTYPE PORTRAIT OF A UNION SOLDIER, IN A UNION CASE, 1860s. Ninth plate ambrotype with gilt accents, in an elaborate pressed brass matt, housed in a fine Union Case, depicting a seated Union Soldier with his hand resting on a folded American flag.
£300- £500
R. Darcourt (XX), active 1850s-1880s
FRENCH QUARTER PLATE HAND-COLOURED DAGUERREOTYPE, c.1860.
A three-quarter profile seated portrait, showing a young male in dress uniform holding a book (possibly a young military cadet), with hand-painted gilt accent to the sitter’s hat, epaulettes, buttons, large decorative belt buckle and to the book binding, and red accents that complement the sitter’s dress uniform. Housed in a typical European oval ebonised wood frame, with bevelled mount, visible image aperture size: 85 x 70mm, photographer’s label verso reads Darcourt , Artiste Professeure, rue de paris, 132, a Belleville, Paris Imp. Carre et e imp. gristine - impress rue de paris 455 Belleville , with period backing paper and wall hook.
£150 - £250
FREDERICKSBURG, NO.1, 1863. Albumen print flush-mounted to card, negative by O’Sullivan and positive by Gardner, image/sheet size 170 x 228mm, card size 330 x 452mm. Plate 1 from the series INCIDENTS OF THE WAR, card with printed title, date attributions, and Congressional publication information lower margin recto.
£400 - £600
BALAKLAVA, LOOKING SEAWARDS, THE COMMANDANT’S HOUSE IN THE FOREGROUND, 1855. Salted paper print from a glass negative, on original Agnew & Sons mount, image size 260 x 360mm, titled and inscribed with printed ink ‘Published by T. Agnew & Sons, Feb. 29th, 1856. London P & D Colnaghi & Co., Paris, Moulin, 23 Rue Richer. New York Williams & Co.’, overall measuring 440 x 595mm.
The Royal Collection Trust holds a print of this image, with the accompanying caption: “Photograph of Balaklava looking towards the sea, with the Commandant’s house in the foreground. The Commandant’s house is painted white and has a tiled roof. There are other buildings lining the harbour and the old Genoese Castle can be seen on the hillside to the left. In the harbour to the right there is a large number of ships. The town of Balaklava with its port and purpose built railway yard were of strategic significance throughout the Crimean War.”
£600 - £800
ABOU SEMBIL, GRAND SPEOS - STATUES COLOSSALES, VUES DE TROIS-QUARTS, 1851-1852. Salted paper print from a paper negative, on original mount, image size 305 x 250mm, with letterpress title and photographer’s credit in lower margin.
Teynard, F. Égypte et Nubie : sites et monuments les plus intéressants pour l’étude de l’art et de l’histoire. Paris: Goupil et Cie, [1858], pl. 154.
£4,000 - £5,000
A PAIR OF JERUSALEM VIEWS FROM EGYPTE, NUBIE, PALESTINE, ET SYRIE, 1850. Two salted paper prints (Blanquart-Évrard process) from paper negatives, flush-mouted to period album pages, image sizes 160 x 215mm and 170 x 210mm, page size 320 x 455mm, each with a manuscript inscription upper left margin and printed caption, photographer’s credit, and publisher’s credit, Gide es Bandry, Editeurs, Imprimerie Photographique de BlanquardEvrard à Lille, lower margin recto.
PLATE 113: PALESTINE. JERUSALEM. Partie occidentale des murailles.
PLATE 114: PALESTINE. JERUSALEM. Quartier Occidental.
£800 - £1,200
Édouard Denis Baldus (1813-1889)
AMPHITHEATRE DE NÎMES, 1853-1855. Albumen print from a paper negative, mounted to period album page, image size 335 x 427mm, page size 480 x 630 mm, signed, titled, and numbered ‘26’ by the photographer in the negative, with the photographer’s signature stamp lower right margin.
Provenance:
Piasa, Photographies, November 19, 1999, Lot 21 Private Collection, UK
£1,500 - £2,500
A group of carbon prints (14), mounted to blue period card, with printed border, title, date, and attributions in lower right margin, image sizes approx. 235 x 185mm (or the reverse), card sizes 460 x 360mm (or the reverse), some numbered within the negative, comprising prints by both Henry Dixon and A&J Bool. Including views of 102 Leadenhall Street , 1878; The Sir Paul Pindar, Bishopsgate Street , 1878; Temple Bar , 1878; St Bartholomew the Great , 1877; St Bartholomew the Great and Cloth Fair , 1877; Cloth Fair , 1877; The Oxford Arms, Warwick Lane , 1875 (2); Lincon’s Inn: Old Square , 1867; Old Houses in Drury Lane , 1867 (2); Lincoln’s Inn Gateway , 1867; Old Houses in Wych Street , 1867 (2).
Founded in 1875, The Society for Photographing Relics of Old London was initially formed to record and preserve the Oxford Arms, a 17th-century coaching inn near St Paul’s Cathedral which had been marked for demolition. The group commissioned Alfred and John Bool to document the inn, and their glass plates were in turn printed by Henry Dixon & Sons. The group then sold the prints by subscription, which proved so popular that they went on to commission 120 photographs over the next 12 years. The present lot contains two views of the Oxford Arms, prior to its ultimate demolition in 1876.
£800 - £1,200
PICTURES FROM THE TYNG COLLECTION, 1931. Large-format portfolio in its original cardboard slipcase, overall measuring 520 x 370mm, with six tipped-in photogravures, the originals of which are held in the Tyng Collection, Royal Photographic Society of Great Britain. Each photogravure mounted recto to individual card leaves, each with web-patterened tissue guard, images measuring approx. 260 x 200mm (or the reverse), with a loose leaf contents list bearing the facsimile signature of J Dudley Johnston, the Society’s former President and Honorary Curator, 1924-1955. Stiff card covers,with original tissue wrapping (yellowed, tears with some loss), bound with hook/loop fastenings, gilt title, with a smaller version of Plate 4 (measuring 115 x 155mm) tipped into the cover.
Published in 1931, this was the first portfolio produced by the Royal Photographic Society's Pictorial Group, "in order that members may have the opportunity of acquiring a worthy record of some at least of the photographic masterpieces that make up the permanent collection." In 1927, friend of the Society, the late Stephen H Tyng (of New York), bequeathed a sum of money known as the Stephen H Tyng Foundation, "the annual interest on which was to be expended on the purchase of pictorial photographs of outstanding merit for the Society's Permanent Collection." The Pictorial Group of the RPS was then placed in charge of the fund's administration; each of the original photographs in the present portfolio were acquired as part of the Society's new Tyng Collection. Since 2017, the RPS Collection, including the Tyng Collection holdings, has been housed by the Victoria & Albert Museum.
The first plate of the portfolio is Rudolf Koppitz's celebrated signature image: Bewegungs Studie (Study of Movement), a dramatic and stylised portrait of dancers from the Vienna State Opera Ballet, originally made in 1925. The photogravures included in this portfolio are as follows:
No.1. BEWEGUNGS STUDIE (Study of Movement) by Prof. Rudolf Koppitz of Vienna.
No.2. St. Malo by Arthur W. Burgess, F.R.P.S., of Manchester.
No.3. A RUSSIAN BOY by Alexander Leventon, F.R.P.S., of Rochester, U.S.A.
No.4. MRS. VIOLET GORDON WOODHOUSE AT THE HARPSICHORD by Herbert Lambert, F.R.P.S, of Bath
No.5. GROOTE KERKE VEERE by John H. Anderson of London.
No.6. MURIEL EVANS by Arthuir F. Kales of Los Angeles, U.S.A.
£2,000 - £3,000
Eadweard Muybridge (1830-1904)
A PAIR OF PLATES FROM MUYBRIDGE’S ‘ANIMAL LOCOMOTION’, 1887. Collotypes (2) on two-toned pages, depicting a male throwing a spear, and a pair of women walking side-by-side, image sizes 235 x 320mm and 225 x 345mm, sheet sizes 460 x 600mm, each with Muybridge’s letterpress credit, alongside series title, plate number, copyright, and date recto.
Plate 12. Walking, 1887
Plate 361. Throwing a Spear, 1887
Provenance:
The Collection of Sir Elton John
Christie’s New York, Photographs from the Collection of Sir Elton John , 14 October 2004, Lot 15
Private Collection, UK
£1,200 - £1,800
THE GREAT WALL OF CHINA, 1907. Carbon print, image/sheet size 395 x 555mm.
Herbert George Ponting is best known for documenting Robert Falcon Scott’s Terra Nova Expedition, where he acted as the expedition's photographer and cinematographer, creating some of the most famous and memorable images of Scott's ill-fated journey to the South Pole. Prior to taking on this landmark assignment, Ponting established his reputation as a successful documentary photographer in Asia, publishing landscape stereoviews and images in Englishlanguage periodicals. From 1904-1907, he travelled throughout Japan, Myanmar, Korea, China and India. The present view was taken by Ponting in 1907, towards the end of his travels in Asia -- a sweeping view of the Great Wall from Nankou Pass, north of Beijing.
£3,000 - £4,000
Berenice Abbott (1898-1991)
HOPE AVENUE, #139, STATEN ISLAND, NEW YORK, NOVEMBER 30, 1937. Vintage silver gelatin print, sheet size 205 x 255mm, the photographer's Federal Art Project 'Changing New York' stamps, with hand-annotated titled, date, negative number, and project code, in pencil verso.
£1,500 - £2,500
TWO BOBBINS, IVORY COAST, 1935. Vintage silver gelatin contact print, sheet size 205 x 255mm, annotated ‘Walker Evans’ and numbered ‘R-509’ and ‘135-41’ in pencil verso.
The present contact print, uncropped and with an uncharacteristic shadow in its lower left corner, is likely a working print used during Walker Evans’ commission to document the works included in the Museum of Modern Art’s 1935 landmark exhibition African Negro Art . In 2000, The Metropolitan Museum of Art organised Perfect Documents: Walker Evans and African Art, 1935 , an exhibition that explored this multifaceted commission, which saw Evans photograph over 600 sculptures during the course of the six-week exhibition. In the catalogue that accompanied the Met’s exhibition, curator Virginia-Lee Webb writes, “If unwanted elements found their way into the negative or print, he simply cut them away. Evans’ repuation as a ruthless editor of his own work is strikingly demonstrated in the African art series, as is his highly personal and stylized approach.” (p.44)
A print of the finished study, without shadow, is held by the Getty Museum, Los Angeles, ref. 84.XM.488.25.
£400 - £600
MAN, TENANCINGO, MEXICO, 1933. Silver gelatin print, printed 1950s, tipped-in to period card along the upper edge, image size 220 x 175mm, card size 255 x 207mm, with hand-annotated title and return label reading “Man”, Tenancingo, Mexico, 1933, Photograph by Paul Strand / Return to Paul Strand / Orgeval 78, Yvelines, France, Strand’s printing instructions reading Do not crop this photograph in reproducing it / Please Handle With Care / and return print to / Paul Strand / Orgeval 78 / Yvelines, France in blue ink card verso. With additional transparent print instruction paper affixed to top edge of board.
Literature:
Krippner, J. & Carrillo, A. Paul Strand in Mexico. New York: Aperture, 2010, n.p.
£4,000 - £5,000
CABALLO DE MADERA [WOODEN HORSE], 1928. Silver bromide print, printed before 1983, image size 240 x 185mm, sheet size 255 x 205mm, signed and annotated ‘Mexico’ by the photographer in pencil verso.
Provenance:
Acquired by the present owner from The Photographers’ Gallery, London
£1,500 - £2,500
Josef Koudelka (b.1938) §
MAN WITH HORSE, ROMANIA, 1968. Silver gelatin print, printed 1980, image size 240 x 360mm, sheet size 310 x 405mm, signed by the photographer in ink lower margin recto, dated and inscribed “to Jacqueline + Romeo / from Josef” by the photographer in ink verso, with circular Romeo Martinez collection stamp verso.
Provenance:
The photographer to Romeo Martinez, Paris, 1980
Sotheby’s New York, 10 May 1983, Sale 5043 Private Collection, UK
£6,000 - £8,000
FIRST FIVE MINUTES OF A BABY’S LIFE, 1959. Silver gelatin print, printed 1979, image/sheet size 255 x 129mm, dedicated ‘For Bob, with love and appreciation. Peking - July 5, 79 - ‘ in Arnold’s hand in ink, with Arnold’s copyright stamp and Kirschenbaum Collection stamp verso.
Provenance:
Ex-Collection of Robert Kirschenbaum
£1,000 - £2,000
SCANNO, 1957-1959. Silver gelatin print, printed 1970s, image/sheet size 400 x 285mm, signed and dated ‘78 by the photographer in ink verso, with the photographer’s studio stamp verso.
Provenance:
Private Collection, UK
£1,200 - £1,800
BOULEVARD DE LA CHAPELLE, 1951. Silver gelatin print, printed later, image size 243 x 360mm, sheet size 305 x 402mm, signed by the photographer in ink lower right margin recto.
Provenance:
Private Collection, UK
£1,800 - £2,200
Henri Cartier-Bresson (1908-2004) §
CYCLIST, HYÈRES, FRANCE, 1932. Silver gelatin print, printed 1980s, image size 247 x 362mm, sheet size 305 x 405mm, signed by the photographer in ink lower right margin recto, with a faded dedication lower left margin recto, numbered in pencil verso.
Literature:
Chéroux, C. Henri Cartier-Bresson. Paris: Centre Pompidou, 2014, p.88.
Delpire, R (ed). Henri Cartier-Bresson: Photographer. Boston, 1979, pl.13
Galassi, P. Henri Cartier-Bresson: The Early Work. New York: The Museum of Modern Art, 1987, p.100
Galassi, P (ed). Henri Cartier-Bresson: The Modern Century. New York: The Museum of Modern Art, 2010, p.89
Humery, M. Henri Cartier-Bresson: Le Grand Jeu. Paris: Bibliothèque nationale de France and Fondation Henri Cartier-Bresson, 2020, pp.82, 248
Provenance:
Ex-Collection of Robert Kirschenbaum
£6,000 - £8,000
THE DECISIVE MOMENT, 1952. First American Edition, illustrated with 126 full-page gravure reproductions of Cartier-Bresson’s photographs, cover design by Henri Matisse. Folio, printed boards, original dust jacket, 160 pages, with captions pamphlet laid-in, exterior dimensions 370 x 272mm. New York: Simon and Schuster in collaboration with Editions Verve, Paris, 1952.
£600 - £800
Henri Cartier-Bresson (1908-2004) §
LEONOR FINI, ITALY, 1933. Silver gelatin print, printed 1980s, image size 363 x 245mm, sheet size 408 x 305mm, signed and inscribed “ For Bob / to look at / amities Henr i” by the photographer in ink lower right margin recto, with Cartier-Bresson’s blindstamp lower left margin recto.
Literature:
Chéroux, C. Henri Cartier-Bresson: Here and Now. London: Thames & Hudson, 2014, pl.95
Galassi, P. Henri Cartier-Bresson: The Early Work. New York: The Museum of Modern Art, 1987, p.136
Galassi, P (ed). Henri Cartier-Bresson: The Modern Century. New York: The Museum of Modern Art, 2010, p.101
Henri Cartier-Bresson: Photographer. New York Graphic Society, 1979, pl. 148
Provenance:
Ex-Collection of Robert Kirschenbaum
£6,000 - £8,000
Martine Franck (1938-2012) §
SWIMMING POOL DESIGNED BY ALAIN CAPEILLERES, LA BRUSC, VAR, FRANCE, 1976. Silver gelatin print, printed 1980s, image size 243 x 360mm, sheet size 312 x 405mm, with Franck’s copyright blindstamp lower left margin recto.
Provenance:
Ex-Collection of Robert Kirschenbaum
£2,000 - £3,000
ST PAUL’S SURVIVES, 31 DECEMBER, 1940. Vintage silver gelatin print, flush-mounted to period card, image/sheet size 345 x 433mm, card size 385 x 458mm, with Associated Newspapers Ltd. copyright credit reproduction limitation stamp on card verso.
£300 - £500
COCKNEY LIFE AT THE ELEPHANT AND CASTLE, LONDON, JANUARY, 8, 1949. Silver gelatin print, printed later, image size 232 x 355mm, sheet size 307 x 405mm, signed by the photographer in ink lower right margin recto, with the photographer’s Chartlands Farm stamp and typewritten caption affixed verso. Mounted and framed, with a dedication by the photographer in pencil on mount recto, and additional typewritten caption affixed to mount verso.
Cockney Life at the Elephant and Castle, London. There are thousands of similar basement rooms where tens of thousands of people live - yet each one is different.
- Picture Post Magazine, January 8, 1949.
£800 - £1,200
GIANT’S CAUSEWAY, COUNTY ANTRIM, 1965. Vintage silver gelatin exhibition print, flushmounted to board, overall measuring 381 x 270mm, titled in felt-tip pen, with the photographer’s stamp verso.
A rare view from Edwin Smith’s 1965 trip documenting the imposing landscape of the Giant’s Causeway, County Antrim. The Royal Institute of British Architects, which houses the Edwin Smith archive of prints and negatives, holds a print of this image (ref. ESP/IRE/780), as well as the negative (ref. 2812.3).
Provenance:
Private Collection, UK
Exhibited: Edwin Smith: Photographer, Painter, and Illustrator, Fry Art Gallery, Saffron Walden, UK, 2013
£200 - £300
Bill Brandt (1904-1983) §
LONDON [NUDE WITH BENT ELBOW], 1952. Oversized silver gelatin print, printed 1975-1983, image size 508 x 402mm, signed by the photographer lower right margin [faded].
Provenance:
Ex-Collection of Robert Kirschenbaum
£6,000 - £8,000
TWO BOYS, SALFORD, 1965. Glossy silver gelatin print, printed later, image/sheet size 245 x 292mm, signed, titled ‘Salford’, and dated 1965 by the photographer in pencil, with Baker’s Yew Tree Cottage stamp verso. Annotated ‘p.51’ in unknown hand in pencil verso.
£600 - £800
KISS, 1952. Vintage silver gelatin print, image size 168 x 120mm, sheet size 170 x 122mm, annotated ‘PGR45’ in pencil in an unknown hand, with the photographer’s stamp verso.
The present print is a close-crop of a view Robertson took for a July 1952 Picture Post report titled ‘ Old Girls Meet Again ’. Eleven old school friends from Westcliff School in Weston-super-Mare attend a reunion five years later in London, 1952. Published 12 July 1952.
£500 - £700
Lee Friedlander (b.1934)
MOUNT RUSHMORE, SOUTH DAKOTA, 1969. Silver gelatin print, printed 1978, image size 281 x 354mm, signed titled, dated, and numbered by the photogrpaher in pencil, with the photographer’s credit and copyright stamp verso.
Literature:
Friedlander, L. Lee Friedlander: Photographs. New York: Haywire Press, 1978, pl. 84.
Galassi, P. Friedlander [Exhibition Catalogue, MoMA Jun 5–Aug 29, 2005]. New York: The Museum of Modern Art, 2005, pl.278.
Slemmons, R. Like a One-Eyed Cat: Photographs by Lee Friedlander 1956-1987. Harry N Abrams, Inc, 1989, pl.92.
Provenance:
Ex-Collection of Robert Kirschenbaum
£3,000 - £5,000
WASHINGTON AVENUE, NORTH ADAMS, MASSACHUSETTS, 1974.
Vintage chromogenic print, printed 1976, image size 387 x 308mm, sheet size 510 x 410mm, signed, titled, dated by the photographer in ink verso.
Provenance:
Artist direct to the present owner
£2,000 - £3,000
Harold Chapman (1927-2022)
THE BEAT HOTEL, JUNE 1960. Vintage silver gelatin print, image size 150mm x 232mm, sheet size 240 x 305mm, signed by the photographer in felt-tip pen lower right margin recto, with the photographer’s caption inscription in pencil “Robin Page, Peter Golding, Thomas Neurath in the Beat Hotel Cafe / The Beat Hotel p.74” , Chapman’s copyright stamp, and Fotogram Paris stamp verso, and an additional inscription in pen reading “Le Beat Hotel - Photo Chapman / Dans le cafe; la patronne Madame Rachou derriere le bar. /Juin 1960 Paris 6e - Rue Git-le-Coeur” verso.
Provenance:
Artist direct to the present owner
Those shown in the photograph are, left to right: Robin Page, Canadian painter; Peter Bishop, English journalist; Larry Yampolsky, news-reel cameraman; Madame Rachou, owner; Thomas Neurath; Peter Golding, London fashion designer; John Hammer.
£400 - £600
SPRING BUDS, 1986. Silver gelatin print, printed 1987, image size 205 x 135mm, sheet size 255 x 205mm, signed, titled, dated, and inscribed by the photographer in felt-tip pen recto. Together with a signed letter from Ginsberg to the original owner, dated 1987.
£800 - £1,200
LONDON REFLECTION, 1949. Silver gelatin print, printed 1992 by Igor Bakht, sheet size 400 x 500mm, from an edition /30, titled, dated and signed “Alexander Haas” in pencil and with Ernst Haas copyright stamp verso.
£1,000 - £1,500
André Kertész (1894-1985) § WASHINGTON SQUARE PARK, NEW YORK CITY, 1965. Silver gelatin print, printed 1980s, flush-mounted to card, image size 354 x 237mm, card size 510 x 405mm, signed, titled, and dated by the photographer in pencil on the overmount.
Provenance:
Ex-Collection of Robert Kirschenbaum
£4,000 - £6,000
Ansel Adams (1902-1984)
DUNES, OCEANO, CALIFORNIA, 1963. Silver gelatin print, printed c.1980, flushmounted to board, image/sheet size 157 x 200mm, board size 355 x 453mm, signed and dedicated in pencil on mount recto, with Adams’ hand-annotated credit and address stamp verso. [Note: Dated 1960 in hand-annotation verso].
Literature:
Stillman, A. Ansel Adams: 400 Photographs , New York: Little, Brown and Co., 2007, p.403.
Stillman, A. (ed.). Looking at Ansel Adams: The Photographs and the Man, New York: Little, Brown and Co., 2012, p.208.
Szarkowski, J. The Portfolios of Ansel Adams, New York: Little, Brown and Co., 1998, IV, pl.4.
Provenance:
Ex-Collection of Robert Kirschenbaum
£5,000 - £7,000
MENDENHALL GLACIER, ALASKA, 1973. Vintage silver gelatin print, printed 1970s, image/sheet size 195 x 237mm, board size 337 x 382mm, signed and dated by the photographer in pencil on board recto.
Provenance:
Ex-Collection of Robert Kirschenbaum
£2,000 - £3,000
Paul Caponigro (b.1932)
STONEHENGE, 1967. Vintage silver gelatin print, printed 1970s, flush-mounted to card, image size 340 x 255mm, sheet size 350 x 272mm, card size 560 x 457, signed by the photographer in pencil lower right margin recto. Framed, with Cronin Gallery, Texas, label and the photographer’s signature in pencil on trimmed card affixed to verso, frame size 570 x 465mm.
Provenance:
Artist direct to the present owner
£1,000 - £2,000
BAY/SKY SERIES #2, PROVINCETOWN, 1977. Contact Kodak Ektacolor print, sheet size 205 x 257mm, signed, dated ‘79, and numbered 54/75 by the photographer in ink verso.
Provenance:
Artist direct to the present owner
£400 - £600
FOUNTAINS FELL, YORKSHIRE DALES, 2008. Digital c-type print, printed 2010, image size 420 x 535mm, sheet size 505 x 610mm, signed, numbered from an edition of 7, and dated ‘Oct 10’ by the photographer in ink on verso. Mounted, mount size 570 x 675mm, accompanied by signed certificate of authentication.
£700 - £900
LOLIONDO LION CHARGE, 1964. Silver gelatin print, printed 1977, image size 160mm x 243mm, sheet size 205 x 253mm, signed, dated ‘Nov 77’, and annotated ‘I.C.P.’ by the photographer in pencil verso. Overmounted, signed, titled, and dated by the photographer in pencil on mount.
Provenance:
Ex-Collection of Robert Kirschenbaum
£8,000 - £12,000
William Klein (1926-2022)
§
SATURDAY NIGHT IN TOKYO’S ROPPONGI ENTERTAINMENT DISTRICT, 1987.
Unique vintage silver gelatin print, printed 1987, with yellow enamel paint, overall measuring 500 x 599mm, signed, titled, dated, and inscribed by the photographer in pencil verso, with Kirschenbaum Collection stamp verso.
Provenance:
Ex-Collection of Robert Kirschenbaum
£6,000 - £8,000
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