Photography & Photo Books

Photography & Photo Books September 11

Photography & Photo Books AUCT ION

Sales 1639C Wednesday, September 11, 2019 at 1 pm 1808 Chestnut Street, Philadelphia, Pennsylvania 19103 Cover: Lot 15, Inside Front Cover: Lot 43, Inside Back Cover: Lot 42

D EPAR TM ENT

CLIE NT SE RVICE S

Darren Winston Department Head dwinston@freemansauction.com 267.414.1247

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1 ABBAS (iranian, 1944–2018) TWO PHOTOGRAPHS OF ISLAMIC MEN IN SENEGAL, 1988 1988. Printed blurb, and notations and number codes in ink on verso. Resin-coated gelatin silver prints.

Images/sheets: 7 1/2 x 11 in. (19.1 x 27.9cm).

Abbas joined Magnum Photos, a cooperative of documentary photographers, in 1981. He is known for documenting conflicts in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle East, Chile, Cuba, and South Africa during apartheid, and for his work on various religions. $1,000-1,500 2 [Abbott, Berenice] Mitchell, Joseph The Bottom of the Harbor New York: Limited Editions Club, 1991. #166 of 250 copies signed by Mitchell. 4to.

Illustrated with five photogravures by Abbott. Original L.E.C. newsletter laid in.

Quarter black morocco over dark blue linencovered boards, spine lettered in gilt; in dark blue cloth-covered slip case. Light shelf wear to slip case, otherwise a fine copy. $400-700 4 ANSEL ADAMS (american, 1902-1984) MOON AND HALF DOME, YOSEMITE NATIONAL PARK, CALIFORNIA POSTER 1985. New York Graphic Society Books/Little, Brown and Company, Boston.

35 1/2 x 25 in. (90 x 63.5cm) Unexamined out of frame. $80-120 5 ANSEL ADAMS (american, 1902-1984) THREE NATIONAL PARKS POSTERS Washington, D.C.: U.S. Government Printing Office for the Department of the Interior, National Parks Service, 1968.

Each 42 x 28 in. (106.7 x 71.1cm).

Ansel Adams took many photographs for the National Park Service and became an important part of the environmental conservation movement. $200-300 6 LAURE ALBIN-GUILLOT (french, 1879-1962) PHOTOGRAVURE FROM “MICROGRAPHIE DECORATIVE” 1931. Planche IX; unnumbered, from an edition of 305 copies. Photogravure.

20 1/2 x 16 1/2 in. (52 x 41.9cm).

Framed. $100-150

7 LAURE ALBIN-GUILLOT (french, 1879-1962) PHOTOGRAVURE FROM “MICROGRAPHIE DECORATIVE” 1931. Planche XVI; unnumbered, from an edition of 305 copies. Photogravure on metallic paper.

20 1/2 x 16 1/2 in. (52 x 41.9cm).

Framed. $100-150 8 LAURE ALBIN-GUILLOT (french, 1879–1962) WOMAN IN BATHING SUIT Ca. 1930. Signed in pencil on lower right of image. Gelatin silver print.

Image/sheet: 8 x 6 1/8 in. (20.3 x 15.6cm).

Laure Albin-Guillot is known for working with a variety of subject matter—everything from celebrities to microscopic organisms. $400-600 9 [AMBROTYPE] HALF-PLATE AMBROTYPE IN LACQUER CASE INSET WITH MOTHER-OF-PEARL Ca. 1860. Lacquer case inset with mother-ofpearl, containing a half-plate ambrotype of an unknown gentleman. Front panel detached at hinge.

Case: 6 x 4 3/4 in. (15.2 x 12.1cm).

Image: 4 3/4 x 3 3/8 in. (12.1 x 8.6cm). $100-150 10 [AMBROTYPE] THREE THERMOPLASTIC PHOTOGRAPH CASES WITH AMBROTYPES Ca. 1850s. Three thermoplastic photograph cases, each containing an ambrotype. One frame detached from case, hinges on another case broken, small crack in rear panel and spine of another.

Cases: approximately 3 3/4 x 3 1/4 in.

(9.5 x 8.3cm) each.

Images: 2 3/4 x 2 in. (7 x 5.1cm) (oval) each.

Ambrotypes, which are underexposed glass negatives on a dark background, were sold in cases to protect the fragile negatives. $100-150 11 [AMERICANA] GRADUATE SCHOOL OF BANKING, RUTGERS UNIVERSITY, CLASS OF 1940 June 17-29, 1940. Gelatin silver print.

8 x 38 in. (20.3 x 96.5cm).

Framed. $80-120

12 [Americana] Meade Family Photo Archive Ca. 1870s to early 1900s. 101 photographs including 80 cabinet cards; 7 tintypes; 6 carte de visites; 2 postcards; 1 cyanotype; and 5 others. Size and condition varies; smallest measuring 1 1/2 x 1 in.

(3.8 x 2.5cm), largest measuring 7.5 x 19 in.

(19 x 48.2cm). note: Wonderful archive of 101 photographs documenting the life and times of the Meade-Large family. Images include scenes of their homes on Spruce Street in West, Philadelphia, “Summer Hill” in Frankford, Philadelphia, and their vacation home at Bay Head, New Jersey. The family depicted is primarily that of Sarah Wise-Large, daughter of Civil War General George Mead (18151872), her immediate and extended family, friends, and other unidentified individuals. provenance: From the collection of the late George Meade Easby (1918-2005) of Chestnut Hill, Philadelphia, great grandson of General Meade. $100-150 13 [AMERICANA] GROUP OF SIX PHOTOGRAPHS OF MISS AMERICA CONTESTANTS 1926–1952. Various credit stamps (Acme, Underwood and Underwood, International Newsreel Photo), pencil notations, and printed newsprint captions on verso; one photo has newsprint caption adhered to edge of recto. Gelatin silver prints.

Images: approximately 8 3/4 x 6 3/4 in.

(22.2 x 17.1cm) each.

Sheets: approximately 9 x 7 in.

(22.9 x 17.9cm) each.

Photographs of Miss America contestants, including winners Norma Smallwood, 1926, and Bess Myerson, 1945. $100-150 14 [AMERICANA] NINETEENTH CENTURY POLICE DEPARTMENT Late 19th century. Albumen print mounted to board. Toned, tidemarks along top and right edge; small surface abrasions.

12 1/4 x 16 in. (31 x 40.6cm).

Period frame. note: A formidable lot. $80-120

15 [Americana] Group of 21 Vernacular Photographs Ca. 1950s. Twelve photographs with the copyright stamp of Harry Wolf, Detroit on verso; one with the copyright stamp of Freedly Rose, Michigan on verso, and eight without any identifying stamps.

Gelatin silver prints.

Each 8 x 10 in. (20.3 x 25.4cm). note: A suite of 21 charming vernacular photographs capturing mid-century family life aboard the Great Lakes steamship SS North American around the Upper Peninsula area of Michigan. At the height of its popularity during the decade following WWII, the Georgian Bay Line of steamships ferried vacationers and workers to various points along the Great Lakes including Chicago, Detroit, and Cleveland. $200-300 16 ALÉCIO DE ANDRADE (brazilian, b. 1938) THREE PHOTOGRAPHS OF LONDON, ENGLAND 1972. Titles and notes in purple and blue ink on verso of each. Gelatin silver prints.

Images/sheets: approximately 9 3/4 x 6 3/4 in. (24.8 x 17.1cm) each.

Alécio de Andrade was an associate member of Magnum Photos, a cooperative of documentary photographers, from 1970–1976. $200-300 17 ALÉCIO DE ANDRADE (brazilian, b. 1938) GROUP OF FIVE PHOTOGRAPHS OF RUSSIAN IMMIGRANTS IN ISRAEL 1971. Titled and numbered in ink, with Magnum stamps on verso. Gelatin silver prints.

Each image/sheet: 6 3/4 x 10 in.

(17.1 x 24.4cm).

Alécio de Andrade was an associate member of Magnum Photos, a cooperative of documentary photographers, from 19701976. $200-300 18 JULIUS ANDRES NUDE WITH MESH NETTING Ca. 1930s. Photographer’s stamp on verso.

With certificate of authenticity. Gelatin silver print.

Image: 6 3/4 x 4 3/8 in. (17.1 x 11.1cm).

Sheet: 7 1/8 x 5 1/8 in. (18.1 x 13cm). $200-300

19 [AVIATION] GROUP OF 23 EARLY AVIATION PHOTOS Ca. 1910s–20s. Coated albumen and gelatin silver prints, some mounted to paper, many with printed captions below or on verso.

Some with paint highlights on image, presumably for reproduction.

Images: of varying sizes, most approximately 6 1/2 x 8 1/2 in. (16.5 x 21.6cm) each.

Paper mounts: of varying sizes, most approximately 9 1/4 x 10 1/2 in.

(23.5 x 26.7cm) each.

Most notable are images of the first flight of Poulet and Benoise from France to Melbourne, and van Ryneveld and Brand with the Silver Queen which they flew from England to South Africa in 1920. $150-250 20 [Ballagh, Robert] Joyce, James Dubliners (New York): Limited Editions Club, (1986). #804 of 1,000 copies signed by Ballagh and Thomas Flanagan (Introduction). 4to.

Illustrated with six photogravures by Ballagh.

Original L.E.C. newsletter laid in. Quarter green morocco over beige linen-covered boards, spine sunned, lettered in gilt; in grey cloth slip case. A near-fine copy. $100-150 21 BRUNO BARBEY (french, b. 1941) AYATOLLAH KHOMEINI, 1986 1986. Printed blurb, number code in ink, and Magnum Photos Inc. stamp on verso. Resincoated gelatin silver print.

Image: 8 1/2 x 5 3/4 in. (21.6 x 14.6cm).

Sheet: 9 1/2 x 7 in. (24.1 x 17.8cm).

Bruno Barbey joined Magnum Photos, a cooperative of documentary photographers, in 1964. He has photographed wars and covered conflicts in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait. This photo was taken three years before Ayatollah Khomeini’s death. $300-500 22 BRUNO BARBEY (french, b. 1941) BOMBAY RIOTS, 1984 1984. Printed blurb, Magnum Photos Inc. stamp, and number codes in ink and penci on verso. Resin-coated gelatin silver print.

Image: 5 1/2 x 8 1/4 in. (14 x 21cm).

Sheet: 7 x 9 1/2 in. (17.8 x 24.1cm).

Bruno Barbey joined Magnum Photos, a cooperative of documentary photographers, in 1964. He has photographed wars and covered conflicts in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait. $200-300

23 BRUNO BARBEY (french, b. 1941) THREE PHOTOGRAPHS OF BRITISH SOLDIERS IN NORTHERN IRELAND, 1971 1971. Printed blurb (one printed directly, two on labels), Barbey’s Magnum copyright stamp, and number codes and cross-outs in ink and pencil on verso. Gelatin silver prints.

Images/sheets: 6 3/4 x 9 3/4 in.

(17.1 x 24.8cm) each.

Bruno Barbey joined Magnum Photos, a cooperative of documentary photographers, in 1964. He has photographed wars and covered conflicts in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait. $800-1,200 24 JOSEF BARTUŠKA MARIE Ca. 1930s. Three photographs. With certificate of authenticity from the Museum of Decorative Arts, Prague. Gelatin silver prints mounted on paper.

Images: approximately 1 1/8 x 1 1/2 in.

(2.9 x 3.8cm) each.

Sheets: 1 3/8 x 1 3/4 in. (3.5 x 4.4cm) each.

Paper: 9 x 6 1/8 in. (22.9 x 15.6cm).

Josef Bartuška was a part of the avant-garde group Linie. $400-600 25 LILLIAN BASSMAN (american, 1917-2012) ANN ST. MARIE, CHANEL 1959, printed later. Gelatin silver print.

Signed, dated, titled, and inscribed “series of 25 print no. 3” in pencil by Bassman on verso.

Sheet: 16 x 19 7/8 in. (40.64 x 50.48cm).

Framed. provenance: Howard Greenberg Gallery, New York, New York.

The Avon Collection, New York, New York. $4,000-6,000 26 LILLIAN BASSMAN (american, 1917-2012) DORIAN LEIGH, HARPER’S BAZAAR 1948/1992, signed, titled, dated, and inscribed “Archival Print/series of 25 print no. 4” on verso. Gelatin silver print.

12 x 12 in. (30.5 x 30.5cm).

Framed. provenance: Howard Greenberg Gallery, New York, New York.

The Avon Collection, New York, New York. $2,000-3,000

27 JOSHUA H. BEAL (american, 1832-1902) PANORAMIC VIEW OF MANHATTAN, SHOWING BROOKLYN BRIDGE UNDER CONSTRUCTION 1876. Five albumen prints mounted to board and framed together. Tidemark along top edge; other scattered dampstaining and surface abrasions.

10 x 88 in. (25.4 x 223.5cm).

Unexamined out of frame.

Captured from the east tower of the stillunder-construction Brooklyn Bridge in January 1876, Beal’s composite photo provides a sweeping view of Lower Manhattan. Numerous landmarks can be seen including Trinity Church, the New York Tribune and Western Union buildings, at the time the city’s tallest buildings. This rare photograph (only five other copies are known to exist) captures New York during its early transformation from a dense fabric of low-rise buildings to the modern metropolis we see today. $3,000-5,000 28 FELICE BEATO (attributed) (british, 1825–ca. 1908) FOUR PHOTOGRAPHS OF JAPANESE WOMEN Hand-tinted albumen prints.

Each 10 1/2 x 13 1/2 in. (27 x 34cm).

Felice Beato was a professional travel photographer who lived in Japan, which had recently opened to the West, from 18621885. $400-600 29 Beaton, Cecil Cecil Beaton’s New York Philadelphia & New York: J.B. Lippincott Company, 1938. First edition. 8vo. Publisher’s yellow cloth, stamped in black; top edge stained purple; original illustrated dustjacket, lightly worn, flaps creased. $100-200 30 BERND AND HILLA BECHER (german, 1931-2007; 1934-2015) TWO OFF-SET PRINTS Each print signed in pencil by Bernd and Hilla Becher on recto.

Each approximately 30 x 23 in.

(76.2 x 58.4cm).

Condition varies. $100-150 31 [Benson, Richard] Crane, Hart The Bridge New York: Limited Editions Club, 1981. #804 of 2,000 copies signed by Benson. 4to.

Illustrated with five black and white photographs by Benson. Original L.E.C. newsletters laid in. Pale blue linen boards, lettered in blind and in blue; in decorative paper-covered slip case. A fine copy. $80-120

32 WILSON A. BENTLEY (american, 1865–1931) TWO PHOTOGRAPHIC STUDIES OF SNOW CRYSTALS Ca. 1903-1910. Each mounted to an embossed board, with notes in pencil in an unknown hand on verso. Gold-toned gelatin silver prints.

Images: approximately 2 7/8 x 3 in.

(7.3 x 7.6cm) (oval) and 2 5/8 x 2 1/8 in.

(6.7 x 5.4cm) (oval).

Sheets: approximately 5 x 5 in.

(12.7 x 12.7cm) each.

Wilson A. Bentley was a pioneer of photomicrography, a process which allowed him to take photos of individual snowflakes.

He photographed 5,000 snowflakes between 1885 and 1931, when he died from pneumonia he had contracted while walking through a blizzard. $600-800 33 IAN BERRY (british, b. 1934) THREE PHOTOGRAPHS OF SOUTH AFRICA 1985. Printed blurb, Magnum Photos Inc. stamp, and number codes in ink on verso.

Photo #8 has additional red “Manchete” stamp with notes in ink. Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 3/4 (14.6 x 22.2cm) each.

Sheets: 7 x 9 1/2 in. (17.8 x 24.1cm) each.

Ian Berry joined Magnum Photos, a cooperative of documentary photographers, in 1962. He first went to South Africa at the age of 17, and photographed events there for decades after, including the 1960 Sharpeville shootings and the 1994 election. $600-800 34 IAN BERRY (british, b. 1934) YOUTH CLIMBS PROTECTIVE WIRING WITH BLACK FLAG, NORTHERN IRELAND, 1981 1981. Printed blurb, number codes in ink and pencil, and circular red sticker on verso.

Gelatin silver print.

Image: 5 3/4 in. x 8 1/2 (14.6 x 21.6cm).

Sheet: 7 x 9 1/2 in. (17.8 x 24.1cm).

Ian Berry joined Magnum Photos, a cooperative of documentary photographers, in 1962. This photograph was taken during the week of Bobby Sands’s death. Sands was a Provisional IRA member, Member of Parliament, and leader of hundreds of prisoners in the Maze Prison, Belfast, where he died following a 66-day hunger strike. $400-600 35 [Meatyard, Gene] Berry, Wendell The Unforeseen Wilderness: An Essay on Kentucky’s Red River Gorge Lexington: The University Press of Kentucky, 1971. First edition. Square 4to. Signed by Berry in pen on title-page and dated “10/9/84”. Beige cloth; spine lettered in gilt; original dust-jacket with closed tear in bottom of front panel and other small closed tears along top edge. $100-150

36 FELIX BONFILS (ATTRIBUTED) (french, 1831–1885) DAME TURQUE Ca. 1890s. Albumen print.

Image/sheet: 9 3/4 x 7 1/4 in.

(24.8 x 18.4cm).

Felix Bonfils one of the first commercial photographers to produce images of the Middle East, and one of the first to use Photochrom, a color printing technique developed in 1880. $100-150 37 MARGARET BOURKE-WHITE (american, 1904-1971) BOUDOIR OF A SHARECROPPER’S WIFE 1937. Associated Press Photo, date (Nov 22 1937), and “Farmers Tenant” stamps on verso, and caption printed on newsprint including the quote: “Sometimes I tell my husband we couldn’t be worse off if we tried.” Gelatin silver print.

Image: 8 3/8 x 6 1/2 in. (21.3 x 16.5cm).

Sheet: 9 x 7 in. (22.9 x 17.8cm).

Margaret Bourke-White took photographs of sharecroppers in the Deep South for her book “You Have Seen Their Faces”, which included text by her husband, the writer Erskine Caldwell. $400-600 38 [Bourke-White, Margaret] First Issue of Life Magazine Time Inc., November 23, 1936. Vol. 1, No. 1.

4to. Cover photograph of a dam at Fort Peck, Montana by Bourke-White. note: >The first issue of this pillar of American photojournalism. $100-150 39 MARGARET BOURKE-WHITE (american, 1904-1971) RELIGION AND THE LAND 1937. Associated Press Photo, date (Nov 22 1937), and Farmers Tenant stamps on verso, and caption printed on newsprint including the quote: “Sometimes I feel like I’ve lived on this place since the world began. Maybe I’ll be here when everybody else has gone to heaven.” Gelatin silver print.

Image: 6 3/8 x 8 3/8 in. (16.2 x 21.3cm).

Sheet: 7 1/8 x 9 in. (18.1 x 22.9cm).

Margaret Bourke-White took photographs of sharecroppers in the Deep South for her book “You Have Seen Their Faces”, which included text by her husband, the writer Erskine Caldwell. $400-600

40 MARGARET BOURKE-WHITE (american, 1904-1971) SHARECROPPER COUPLE 1937. Associated Press, Farmer’s Tenant, and date stamps on verso. Typewritten Associated Press note included, dated 11/13/37, with quote: “A man learns not to expect much after he’s farmed cotton most of his life.” Gelatin silver print.

Image: 6 1/4 x 8 1/8 in. (15.9 x 20.6cm).

Sheet: 6 1/4 x 9 (15.9 x 22.9cm).

Margaret Bourke-White took photographs of sharecroppers in the Deep South for her book “You Have Seen Their Faces”, which included text by her husband, the writer Erskine Caldwell. $600-800 41 MARGARET BOURKE-WHITE (american, 1904-1971) STATE FARM Ca. 1930’s. Mounted gelatin silver print. Two additional slips of paper matted below, one inscribed, “To Wilma Smith Leland with best regards Margaret Bourke-White”, other signed “Bourke-White”; warmly toned.

12.5 x 9 in. (31.7 x 22.8cm).

Framed. $1,500-2,500 42 MARGARET BOURKE-WHITE (american, 1904-1971) WORKER’S CLUB-MOSCOW Ca. 1930s. Signed and titled by BourkeWhite in pencil under photograph; some slight abrasions to edges, warmly toned.

Mounted gelatin silver print.

9 x 13 in. (22.8 x 33cm).

Framed. $1,500-2,500

43 SAMUEL BOURNE (british, 1834-1912) VIEWS OF KASHMIR AND INDIA Ca. 1860s. 20 albumen prints mounted onto 13 boards. Twelve with Bourne’s signature and inventory number in the negative; one with signature only in the negative; six with inventory number only; one without signature or inventory number. Four prints with later caption inscriptions in ink below image, and four prints numbered in pencil at top of image in a later hand. Each board lightly toned and bowed, scattered chipping to edges and corners.

Size varies; largest measuring 11 1/2 x 9 1/2 in. (29.21 x 24.13cm), smallest 4 x 3 1/2 in. (10.16 x 8.89cm).

Lockwood de Forest (1850-1932), was an American artist, interior designer and a key figure in the Aesthetic Movement of the latter 19th century. In 1882, after working with Louis Comfort Tiffany, he opened his own shop and studio in New York City, becoming a catalyst in reviving East Indian craftsmanship and style. He is also renowned for his intricately decorated furniture and interiors.

Samuel Bourne was a British photographer known for his near decade-long (1863-1870) work shooting various scenes, peoples and landscapes in India and Kashmir, establishing the studio Bourne & Shepherd there in 1863. provenance: From the collection of American painter, interior designer, and furniture designer Lockwood de Forest and collected by him during his travels through India and Kashmir from 1879-1881; by descent in the family. $600-800 44 BRASSAÏ (french, 1899-1984) LA FEMME AU MONOCLE, MONTPARNASSE, PARIS 1933, printed later. Signed and editioned 2/40 in ink on recto and with photographer’s stamp and title and date in an unknown hand on verso. Gelatin silver print.

Image: 11 1/2 x 8 1/2 in. (29.2 x 21.6cm).

Sheet: 15 7/8 x 12 in. (40.3 x 30.5cm).

Part of Brassaï’s “Paris by Night” series which was published as a book of the same name in 1933. It depicts a patron of Le Monocle, a lesbian nightclub in Paris. $1,500-2,500 45 BRASSAÏ (french, 1899-1984) PICASSO’S STUDIO 1932, printed later. Signed in ink on recto.

Obelisk Gallery label on verso of frame.

Gelatin silver print.

Sight: 11 1/2 x 8 1/2 in. (29.2 x 21.5cm).

Brassaï knew Picasso for over thirty years, and in the 1940s made numerous photographs of his work displayed in his studio. $1,000-1,500

46 FRÉDÉRIC BRENNER (french, b. 1959) HASSIDIC CELEBRATION Ca. 1980. Signed below image in ink. Gelatin silver print.

Image: 8 3/4 x 14 1/8 in. (22.2 x 35.9cm).

Sheet: 12 x 15 7/8 in. (30.5 x 40.3cm).

Frédéric Brenner is known for his photographs of Jewish communities around the world, particularly his series Diaspora, which documents the Jewish Diaspora at the end of the twentieth century. $500-700 47 Bussche, Wolf von dem Homage & Remembrance Berkeley and Providence, 1992. Portfolio #20 of 44. With 11 silver prints mounted to paper, as called for on colophon, depicting the World Trade Center towers and Washington Square; lacking original portfolio case. Each print signed, titled, and dated by von dem Bussche in pencil on verso. Old mold residue to bottom of some sheets, including the colophon.

Each print approximately 17 1/4 x 12 1/2 in.

(43.8 x 31.7cm) on 22 x 18 in.

(55.8 x 45.7cm) paper sheets. note: A charming portrait of Andre Kertesz taken in 1974, and ten ethereal and ghostly images of the World Trade Center towers and Washington Square taken from von dem Bussche’s apartment window at Two Fifth Avenue, between January and June, 1976. $600-900 48 HENRI CARTIER-BRESSON (french, 1908–2004) ON THE BANKS OF THE MARNE Ca. 1938, printed later. Bresson’s signature in ink on recto and credit stamp on verso.

Gelatin silver print.

Image: 5 3/4 x 8 1/2 in. (14.6 x 21.5cm).

Sheet: 7 x 9 1/2 in. (17.7 x 24cm).

Henri Cartier-Bresson is known for his candid street photography made using 35mm film, and was one of the founding members of Magnum Photos in 1947. $1,500-2,500 49 HENRI CARTIER-BRESSON (french, 1908–2004) UNTITLED Ca. 1930s. Bresson’s signature in ink on recto and credit stamp on verso. Gelatin silver print.

Image: 8 3/4 x 5 3/4 in. (22.2 x 14.6cm).

Sheet: 9 1/2 x 7 in. (24 x 17.7cm).

Henri Cartier-Bresson is known for his candid street photography made using 35mm film, and was one of the founding members of Magnum Photos in 1947. $1,500-2,500

50 Ceskoslovenská Fotografie Prague: Fotograficky Obzor/Svaz Ceskoslovenská Klubu Fotografu Amatéru, 1931–40, 1946. Eleven volumes of the complete run of 13 (lacking the supplementary volumes of 1941 and 1949).

4to. 64 pp. each, with varying pages of ads in rear. First through eighth volumes bound in white cloth-covered boards stamped in red, grey, blue, and black; ninth through eleventh volumes bound in off-white papercovered boards stamped in red, grey, blue, and black.

Publication ceased during Nazi occupation, but an additional three volumes were published after World War II. Covers of first eight volumes designed by Karl Teige. $200-300 51 VÁCLAV CHOCOLA (czech, 1923–2005) CAROUSEL HORSES 1958. Signed, titled, and dated in pencil on verso. Gelatin silver print.

Image/sheet: 11 3/4 x 15 7/8 in.

(29.8 x 40.3cm). $600-800 52 Cowley, Malcolm Exile’s Return: A Literary Odyssey of the 1920’s New York: Limited Editions Club, 1981. #804 of 2,000 copies signed by Cowley and Berenice Abbott. 4to. Illustrated with 12 black and white photographs by various photographers, including Abbott, Alvin Coburn, Andre Kertesz, Man Ray, and Walker Evans. Original L.E.C. newsletter laid in. Quarter brown cloth over decorated boards; in slip case. A near-fine copy. $80-120 53 VALDIR CRUZ (brazilian, 1954) YANOMAMI SERIES, #1 1995, printed ca. 1997. Signed and editioned 6/25 in pencil on recto of board. Titled, dated, and annotated in pencil, with Throckmorton Fine Art, LLC artwork label on verso. Reader’s Digest label on verso of mat.

Selenium toned silver print mounted to board and matted.

Image: 18 1/8 x 12 1/8 in. (46 x 30.8cm).

Board: 24 x 20 in. (61 x 50.8cm).

From Cruz’s project documenting the life of the nearly extinct Yanomami—a group of indigenous people in the Brazilian Rainforest—exhibited 10/30/1997–01/10/1998 in Cruz’s show, Faces of the Rainforest, at Throckmorton Fine Art, LLC, and published in a book of the same name in 1997. $600-800

54 Cunningham, Bill Facades (Clinton, New Jersey): The Main Street Press, (1978). First edition, #201/250 clothbound copies printed for the Educational Foundation for the Fashion Industries. 4to. Inscribed and signed by Cunningham on title-page. Numerous photo illustrations. Original quarter white cloth over black boards, lettered in gilt, lightly worn; text and photos bright and clean. $120-180 55 [CURIOSA] CABINET CARD OF FAMILY WITH ALBINO CHILD Ca. 1880-1890. Cabinet card.

Image: 5 1/2 x 4 in. (14 x 10.2cm).

Card: 6 1/2 x 4 1/4 in. (16.5 x 10.8cm).

Cabinet card from F.E. Post, Denver, Colorado. Photograph depicts what appears to be a young Native American couple with an albino child. $80-120 56 [CURIOSA] GROUP OF SIX CABINET CARDS AND CARTE DE VISITES OF ALBINO WOMEN Ca. 1880–1890. Cabinet cards and carte de visites.

Ranging in size from 4 x 2.5 in.

(10.2 x 6.4cm) to 4 1/4 x 6 1/2 in.

(10.8 x 16.5cm).

Four photographs by Chas. Eisenmann, Bowery, New York; one by Houser, Sterling, Illinois; and one by J.S. LaBeau, Chicago, Illinois. Depicted are Birdie Morrell (at age 7 and as a young woman), Lulu Van, Lillie Martin, Lizzie Cavalier, and one unidentified woman. $200-300 57 [CURIOSA] THREE CABINET CARDS AND CARTE DE VISITES OF CIRCASSIAN BEAUTIES Ca. 1880–1890. Cabinet cards and carte de visites, one with top section trimmed away.

Some with ink or pencil notations on verso.

Ranging in size from 4 x 2.5 in.

(10.2 x 6.4cm) to 4 1/4 x 6 1/2 in.

(10.8 x 16.5cm).

Three images of Circassian beauties. One was taken by Howie, Detroit, Michigan, the other two are uncredited. Depicting Zula Zelick, “The Circassian Queen,” Selena Beda, and an unknown woman.

Circassian beauties were sideshow acts based on Johann Friedrich Blumenbach’s pseudo-scientific theories of race, including his belief that the most beautiful and pure white people were the Circassians. Sideshow Circassians were usually American women with wild, curly hair, an exotic effect they created by shampooing with beer.

Popularized by P.T. Barnum, these exhibits were accompanied by tales of harem life and rescue from slavery, capitalizing on a white post-Civil War audience preoccupied by race. $100-150

58 [CZECH] TWO PHOTOGRAPHIC STUDIES OF MODERNIST ARCHITECTURE Ca. 1930s, photographer unknown. Each with a pencil note on verso: “Private mansion Brünn Czech Republic”, and: “Modern warehouse Brünn Czech Republic”. Gelatin silver prints.

Images: 6 1/2 x 8 3/8 in. each (16.5 x 21.3cm).

Sheets: approximately 9 x 10 3/8 in.

(22.9 x 26.4cm) each. $200-300 59 [Czech Photography] GROUP OF 30 BOOKS ON CZECH PHOTOGRAPHY Various places (primarily Prague), publishers, and dates (1970–2014). 28 titles in 30 volumes. Condition varies. $100-150 60 Dater, Judy Cycles (Tokyo: Kodansha Co., Ltd., 1992). First edition. 4to. 254 pp. With 27 pp. pamphlet, as issued. Red cloth stamped in gilt; photographic dust-jacket; matching slip case, unevenly faded. A near-fine copy. $100-150 61 RAYMOND DEPARDON (french, b. 1942) AUSCHWITZ 1981. Printed blurb, pencil and ink notations, and stamp on verso. Gelatin silver print.

Image: 5 3/4 x 8 1/2 (14.6 x 21.6cm).

Sheet: 7 x 9 1/2 in. (cm).

Raymond Depardon joined Magnum Photos, a co-operative of documentary photographers, in 1978. He is known for his documentary photography as well as filmmaking. $300-500 62 SUSAN DERGES (british, b. 1955) THE OBSERVER AND THE OBSERVED, #12 1991. Gelatin silver print.

37 1/2 x 30 in. (94.3 x 76.2cm).

Framed. provenance: The Avon Collection, New York, New York. $3,000-5,000 63 LUIGI DIAZ FASHION PHOTO FOR MOLYNEUX 1933. Gelatin silver print. Photographer’s stamp, various ink and pencil annotations, and typed description: “A mole grey ensemble by MOLYNEUX in one of the new hairy woolens. The hat is made of the same fabric. (exclusive).”, on verso. With faint white and black paint lines emphasizing certain lines of the image—edge of cape, eyebrows, hatband, etc.

Image/sheet: 8 5/8 x 6 1/8 in.

(21.9 x 15.6cm). $200-300

64 Drtikol, František (Czech, 1883–1961) František Drtikol Prague: Pressfoto, 1981. First edition. Text by Katerina Klaricová. Stiff photographic portfolio, toned; containing 12 loose bromoil prints, first image unevenly toned; with 12 pp. of text in stapled self wrappers.

Volume 7 of the International Photography Editions series. $200-300 65 FRANTIŠEK DRTIKOL (czech, 1883–1961) NUDE PHOTO-MONTAGE Ca. 1930. With certificate of authenticity from the Museum of Decorative Arts, Prague. Gelatin silver print.

Image/sheet: 6 3/8 x 4 5/8 in.

(16.2 x 11.7cm).

Though František Drtikol was a well-known portrait photographer, he also made a number of avant-garde nude studies, and was one of the first photographers to incorporate Art-Deco elements into his work. In 1935 he suddenly stopped taking photographs, began painting, and eventually fell into obscurity. $600-800 66 DAVID DOUGLAS DUNCAN (american, 1916-2018) TURKISH CAVALRY MANEUVERS 1948, printed later. Signed by Duncan in puple ink on recto. Gelatin silver print. Small creasing to corners; two closed tears to top edge, repaired with tape on verso.

16 x 20 in. (40.6 x 50.8cm). provenance: From the collection of a longtime Time/LIFE photography department staffer and colleague of Duncan. $800-1,200 67 Dvorák, Karel Miloslav Stibor (Ostrava: Profil, 1984). Square 8vo.

Unpaginated. Stiff white wrappers, printed in black, in photographic glazed paper dustjacket. Inscribed by Stibor on half-title.

The fourth volume in this series. $100-150 68 ARNOLD EAGLE (hungarian/american, 1909-1992) THIRD AVENUE EL STOVE TENDER Gelatin silver print 9.7 x 12.7 in. (24.6 x 32.2cm).

Framed. provenance: Christie’s, New York, October 6, 1995, lot 259. $400-600

69 ARNOLD EAGLE (american, 1909–1992) RUTH CURRIER DANCING IN “ODE” Ca. 1950s. Title in pencil in an unknown hand on verso. Gelatin silver print mounted on board.

Image/sheet: 9 1/2 x 7 1/4 (17.8 x 18.4cm).

Board: 9 3/4 x 7 3/4 in. (24.8 x 19.7cm).

Arnold Eagle worked on a number of longterm documentary photography projects in New York City in the 1930s and 1940s, including one of the Martha Graham Dance Company, which he began shooting in 1944.

Ruth Currier was a principal dancer for the José Limón Dance Company, and later its director. $200-300 70 MARY BETH EDELSON (american, b. 1933) THREE PHOTOGRAPHS “Light Feet: The Burned One Prays for Light Feet.” 1977. Titled and with artist’s stamp on verso. Gelatin silver prints mounted to board.

Each 20 x 20 in. (50.8 x 50.8cm).

Framed. provenance: The Avon Collection, New York, New York. $800-1,200 71 HAROLD EDGERTON (american, 1903-1990) BATON MULTIFLASH 1953, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print. Small abrasions to lower right corner.

19 7/8 x 16 in. (50.4 x 40.6cm).

Matted. $400-600 72 HAROLD EDGERTON (american, 1903-1990) BULLET THROUGH BULB 1936, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

16 x 19 7/8 in. (40.6 x 50.4cm).

Hinge mounted and matted. $500-800 73 HAROLD EDGERTON (american, 1903-1990) HAMMER SHATTERING GLASS 1933, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

19 7/8 x 16 in. (50.4 x 40.6cm).

Hinge mounted and matted. $300-500 74 HAROLD EDGERTON (american, 1903-1990) MOVING SKIP ROPE 1952, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print. Minor creasing to corners; minor soiling to top and bottom edge, not affecting image.

16 x 19 7/8 in. (40.6 x 50.4cm).

Matted. $500-800

75 HAROLD EDGERTON (american, 1903-1990) PETER DESJARDIN DIVING 1940, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

19 7/8 x 16 in. (50.4 x 40.6cm).

Matted. $800-1,200 76 HAROLD EDGERTON (american, 1903-1990) RODEO 1940, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

19 3/4 x 16 in. (50.1 x 40.6cm).

Matted. $500-800 77 HAROLD EDGERTON (american, 1903-1990) WES FESLER KICKING A FOOTBALL 1934, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

19 7/8 x 16 (50.4 x 40.6cm).

Hinge mounted and matted. $500-800 78 HAROLD EDGERTON (american, 1903-1990) WHITE PIGEON (RISING DOVE) 1934, printed later. Signed by Edgerton in pencil on verso. Gelatin silver print.

19 7/8 x 16 in. (50.4 x 40.6cm).

Matted. $400-600 79 JOSEF EHM (czech, 1909-1989) THE BOURGEOIS, PRAGUE FAIR FIGURES Ca. 1930s. Signed in ink with Pawel Barchan stamp and note in an unknown hand on verso. Gelatin silver print.

Image/sheet: 7 1/8 x 6 1/2 in.

(18.1 x 16.5cm).

Josef Ehm was a Czech photographer and teacher who co-edited the Czech magazine Photographic Horizon with Jaromír Funke from 1939 to 1941. $800-1,200 80 JOSEF EHM (czech, 1909–1989) FEMALE NUDE 1946. Signed in ink, titled and dated in pencil, and stamped on verso. Matted gelatin silver print mounted to board.

Image/sheet: 15 1/4 x 11 3/8 in.

(38.7 x 28.9cm) Board: 24 x 18 in. (61 x 45.7cm) Josef Ehm was a Czech photographer and teacher who co-edited the Czech magazine “Photographic Horizon” with Jaromír Funke from 1939 to 1941. $500-700

81 ALFRED EISENSTAEDT (american/german, 1898-1995) DYING MONK, VARLAAN MONASTERY, THESSALY, GREECE 1934, printed later. Signed by Eisenstaedt in white ink on recto. Gelatin silver print mounted to board.

Image: 13 1/4 x 9 3/4 in. (33.6 x 24.7cm); board: 20 x 16 in. (50.8 x 40.6cm). provenance: From the collection of a longtime Time/LIFE photography department staffer and colleague of Eisenstaedt. $500-800 82 [Eisenstaedt, Alfred] Hemingway, Ernest The Old Man and the Sea (New York): Limited Editions Club, (1990). #166 of 600 copies signed and numbered by Eisenstaedt. Oblong folio. Illustrated with five photogravures by Eisenstaedt. Original L.E.C. newsletter laid in. Quarter blue morocco over beige linen-covered boards, spine lettered in gilt; in suede-lined blue linen falldown-back box. A fine copy. $300-500 83 ALFRED EISENSTAEDT (american/german, 1898-1995) GROUP OF 16 PHOTOGRAPHS Ca. 1955-1984. Images vary. Gelatin silver prints, printed later. All unsigned and unnumbered; condition varies.

10 photographs 14 x 11 in. (35.5 x 27.9cm); 6 photographs 10 x 8 in. (25.4 x 20.3cm). provenance: From the collection of a longtime Time/LIFE photography department staffer and colleague of Eisenstaedt. $300-500 84 ALFRED EISENSTAEDT (american/german, 1898–1995) WOMEN ON WILSHIRE BOULEVARD, LOS ANGELES Ca. 1930s. Two stamps on verso, one crediting Eisenstaedt and Pix, the other stating that the print is original and must be returned. Gelatin silver print.

Image: 4 5/8 x 6 1/2 in. (11. 7 x 16.5cm).

Sheet: 5 x 7 in. (12.7 x 17.8cm).

Alfred Eisenstaedt was a staff photographer for LIFE Magazine and was one of the first photojournalists to use a small hand-held 35mm camera, instead of the usual, larger 4x5 (inch) press camera. $400-600 85 WALKER EVANS (american, 1903-1975) TORN POSTER ON BRICK WALL ADVERTISING “J.C. LINCOLN’S SUNNY SOUTH MINSTRELS”, ALABAMA 1936, printed later. Signed and numbered (42/75) by Evans in pencil below image.

Mounted gelatin silver print.

Image: 15 1/4 x 11 1/4 in. (38.7 x 28.5cm).

Sheet: 19 3/4 x 14 3/4 in. (50.1 x 37.4cm).

Framed. $2,000-3,000

86 [FASHION & SPORTS] EDWARDIAN-ERA FASHION AND SPORTING NEGATIVES Ca. 1910, printed later. Chromogenic prints from copy negatives (24 prints and 28 negatives). Prints have printed paper notes, with negative envelopes, taped to rectos.

Image/sheet: approximately 15 x 11 in.

(38.1 x 27.9cm) each.

Negatives: 3 x 2 1/2 in. (7.6 x 6.4cm) each. $200-300 87 ZDENKO FEYFAR (czech, 1913-2001) PORTRAIT OF JOSEF SUDEK 1945. Pencil notation and photographer’s stamp on verso. Gelatin silver print.

Image/sheet: 10 7/8 x 8 3/4 in.

(27.6 x 22.2cm).

Zdenko Feyfar’s portrait of photographer Josef Sudek depicts him wearing the harness-like contraption he used to carry his camera after he lost his arm in 1917 during the war. $800-1,200 88 Fotorádce Prague: E. Beaufort, Podniky Grafické a Nakladatelské, undated (ca. 1940s-1950s).

13 issues (1–5, 7–13, 17) of this Czech photography series. Stiff photographic wrappers, some pencil notations and stamps on wrappers and title-pages. Text with blackand-white photographs and the occasional line drawing. $200-300 89 MARTINE FRANCK (belgian, 1938–2012) FOUR PHOTOGRAPHS OF FRENCH STUDENTS PROTESTING UNIVERSITY REFORMS, 1986 1986. Printed blurb, number code in pencil, Magnum Photos Archive and Paris Library stamps and Franck’s Magnum Photo copyright stamp on verso of each. Resincoated gelatin silver prints.

Images: 5 3/4 x 8 1/2 in. (14.6 x 21.6cm) each.

Sheet: 7 x 9 1/2 in. (17.8 x 24.1cm) each.

Martine Franck joined Magnum Photos, a cooperative of documentary photographers, in 1986. In these images, French students were peacefully protesting a government plan to make state-run universities more expensive and more selective. $600-800

90 LEONARD FREED (american, 1929–2006) CHEERLEADERS AT THE 1984 REPUBLICAN CONVENTION, DALLAS, TEXAS 1984. Descriptive label, number code in ink, and printed label with “1984 Republican Convention: Dallas” label and photo caption on verso. Resin-coated gelatin silver print.

Image: 6 1/4 x 9 1/2 in. (15.9 x 24.1cm).

Sheet: 8 x 10 in. (20.3 x 25.4cm).

Leonard Freed joined Magnum Photos, a cooperative of documentary photographers, in 1972, and is best known for his coverage of the American Civil Rights Movement. $200-300 91 LEONARD FREED (american, 1929-2006) FROM THE SERIES THE DANCE OF THE PIOUS 1984. Ten photographs and one book.

Printed blurb, Magnum Photos Archive and Paris Library stamps, and notation in pen and pencil on verso of each photograph. Gelatin silver prints.

Each 9 1/2 x 7 in. (3.74 x 2.75cm).

Included in this lot, the publication La Danse des fideles (Paris: Chene, 1984). $500-800 92 LEONARD FREED (american, 1929–2006) THREE PHOTOGRAPHS OF THE DAYS LEADING UP TO THE GENEVA SUMMIT, 1985 1985. Printed blurb on verso of each. Resincoated gelatin silver prints.

Images: 5 3/4 x 8 1/2 in. (14.6 x 21.6cm) each.

Sheets: 7 x 9 1/2 in. (17.8 x 24.1cm).

Leonard Freed joined Magnum Photos, a cooperative of documentary photographers, in 1972, and is best known for his coverage of the American Civil Rights Movement. These three images depict peaceful protests against the nuclear arms race. $600-800 93 LEONARD FREED (american, 1929–2006) FOUR PHOTOGRAPHS OF FRENCH NUDISTS 1984. Printed blurb and Magnum Photos Archive and Paris Library stamps on verso of each. Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 3/4 in. (14.6 x 22.2cm) each.

Sheets: 7 x 9 1/2 in. (17.8 x 24.1cm) each.

Leonard Freed joined Magnum Photos, a cooperative of documentary photographers, in 1972, and is best known for his coverage of the American Civil Rights Movement. $600-800

94 LEONARD FREED (american, 1929–2006) SEVEN PHOTOGRAPHS OF TURKISH IMMIGRANTS IN GERMANY 1984. Printed blurb, Freed’s Magnum Photos stamps, and number code in ink on verso of each. Resin-coated gelatin silver prints.

Images: 6 x 9 in. (15.2 x 23.9cm) each.

Sheets: 8 x 10 in. (20.3 x 25.4cm) each.

Leonard Freed joined Magnum Photos, a cooperative of documentary photographers, in 1972, and is best known for his coverage of the American Civil Rights Movement. $800-1,200 95 LEE FRIEDLANDER (american, b. 1934) THREE PRINTS FROM “CHERRY BLOSSOM TIME IN JAPAN” 1984–1986. Each signed and editioned 7/50 in pencil on recto, dated in pencil, and stamped on verso. Matted photogravure prints.

Image: 8 1/2 x 12 3/4 in. (21.6 x 32.4cm).

Sheet: 15 x 20 1/4 in. (38.1 x 51.4cm).

First published as a portfolio of 25 photogravures (Haywire Press, 1986) and printed by Thomas Palmer. Friedlander’s chaotically composed images were radical because they were black-and-white—few, if any, contemporary photographers had captured Japan’s famous cherry blossoms in anything but full color. $800-1,200 96 LEONARD FREED (american, 1929–2006) PROTESTANT-CATHOLIC CONFLICT IN NORTHERN IRELAND, CA. 1980S Ca. 1980s. Printed blurb, number code and crossed-out words in ink, and Freed’s Magnum Photos credit stamp on verso.

Gelatin silver print.

Image/sheet: 6 1/2 x 9 3/4 in.

(16.5 x 24.8cm).

Leonard Freed joined Magnum Photos, a cooperative of documentary photographers, in 1972, and is best known for his coverage of the American Civil Rights Movement. $200-300 97 FRANCIS FRITH (british, 1822-1898) GROUP OF 15 PHOTOGRAPHS OF EGYPT, 1857-1859 1857-1859. Each with photographer’s signature and most dated in the negative.

Albumen prints flush-mounted to board.

Image/sheet: approximately 9 x 6 3/8 in.

(22.9 x 16.2cm) each.

Francis Frith was one of the first photographers to experiment with glass negatives, allowing him to created highlydetailed and easily reproducable images of sights most English citizens had never seen.

He produced nine publications from his trips to the Middle East. $300-500

98 Frith, Francis (British, 1822-1898) Views of London Bonnington’s Carrageen or Irish Moss, ca.

1900. Unpaginated. Small oblong folio. Red pebbled leather stamped in gilt; light scattered foxing to prelims and tissue guards. Carbon prints on blue-base paper.

Album containing 16 prints depicting famous London landmarks (St. Paul’s Cathedral, London Bridge, Piccadilly Cirucs, etc.) with printed captions pasted onto album pages advertising “Bonnington’s Carrageen or Irish Moss”. Bonnington’s was a cough syrup invented and sold in Australia and New Zealand. $200-300 99 EVA FUKOVA (czech, 1927-2015) CROWD WITH HANGING FLAGS 1958. Photographer’s stamp, signature, title, and date in ink on verso. Gelatin silver print.

Image: 9 1/2 x 7 1/2 in. (24.1 x 19.1cm).

Sheet: 9 7/8 x 7 7/8 in. (25.1 x 20cm).

Eva Fukova often created her surreal photographs by utilizing a technique she called “multiplage,” in which she superimposed negatives on top of each other. $600-800 100 EVA FUKOVA (czech, 1927-2015) SCULPTURE EXHIBITION 1959. Signed, titled, and dated in pencil on verso. Gelatin silver print.

Image: 11 x 14 1/8 in. (27.9 x 35.9cm).

Sheet: 11 1/4 x 14 1 /4 in. (28.6 x 36.2cm).

Eva Fukova often created her surreal photographs by utilizing a technique she called “multiplage,” in which she superimposed negatives on top of each other. $300-500 101 EVA FUKOVA (czech, 1927-2015) SURREALIST LANDSCAPE 1959. Photographer’s stamp, signature, title, and date in ink on verso. Gelatin silver print.

Image/sheet: 9 1/2 x 7 3/4 in.

(24.1 x 19.7cm).

Eva Fukova often created her surreal photographs by utilizing a technique she called “multiplage,” in which she superimposed negatives on top of each other. $400-600 102 EVA FUKOVA (czech, 1927-2015) VILLAGE OF QUOGUE 1974. Signed, titled, and dated in pencil on verso. Gelatin silver print.

Image/sheet: 13 x 9 1/8 in. (33 x 23.2cm).

Eva Fukova often created her surreal photographs by utilizing a technique she called “multiplage,” in which she superimposed negatives on top of each other. $800-1,200

103 EVA FUKOVA (czech, 1927-2015) ZRCADIENÍ 1945. Photographer’s stamp, signature, title, and date in ink on verso. Gelatin silver print.

Image: 9 3/8 x 6 5/8 in. (cm).

Sheet: 9 7/8 x 7 7/8 in. (25.1 x 20cm).

Eva Fukova often created her surreal photographs by utilizing a technique she called “multiplage,” in which she superimposed negatives on top of each other. $200-300 104 JEAN GAUMY (french, b. 1948) IRAN’S CHADORED WARRIORS 1986. Printed blurb, Magnum Photos Inc. stamp, and number code in ink on verso.

Resin-coated gelatin silver print.

Image: 5 3/4 x 8 3/4 in. (14.6 x 22.2cm).

Sheet: 7 x 9 1/2 in. (17.8 x 24.1cm).

Jean Gaumy joined Magnum Photos, a cooperative of documentary photographers, in 1977. Among many other photography projects and films, he documented Iran during the 1980s, including the funeral of Ayatollah Khomeini. $200-300 105 Genthe, Arnold (American, 1869-1942) Old Chinatown New York: Mitchell Kennerley, 1913. Second expanded edition. 8vo. Profusely illustrated with numerous black and white photographs.

Publisher’s black cloth, stamped in gilt and in red; rare original dust-jacket with wear to panels and corners, tape repairs along top edge, chipping to top front panel; otherwise in extraordinary condition. note: Shot surreptitiously with a small handheld camera, Genthe’s photographic record of San Francisco’s Chinatown is considered one of the most important books of documentary photography of the 20th century, here in the expanded second edition and in its rare original dust-jacket. $600-900 106 LYNN GEESAMAN (american, b. 1938) TWO PHOTOGRAPHS “Chateau d’Escliment, France” and “Bagatelle, Paris.” 1995. Each signed, titled, and dated by Geesaman in pencil on verso.

Gelatin silver prints.

Each 23 7/8 x 19 7/8 in.

(60.64 x 50.48cm).

Framed. provenance: The Avon Collection, New York, New York. $600-800

107 MIRO GREGOR (czech, 20th century) NUDE Ca. 1950s–1960s. With photographer’s stamp and signature in pencil, and numerous pencil notations in an unknown hand on verso. Gelatin silver print.

Image/sheet: 15 1/8 x 12 1/2 in.

(38.4 x 31.8cm). $800-1,200 108 Hájek, Karel (Czech, 1900–1978) Výstava Fotografií Karla Hájka Prague: Knihovna Hlavniho Mesta Prahy, 1936. 4to. Unpaginated. Stiff off-white linen weave wrappers in unprinted black dustjacket.

An exhibition catalogue for Hájek’s 1936 exhibition of 181 photos at the Prague City Library. Book design and typography by Karel Hájek and Jirí Trnka. $100-150 109 Hák, Miroslav Ocima: svet kolem nás Prague: Ceskoslovenské filmové nakladatelství, 1947. First edition. Square 8vo. 15 pp. of text, with 45 sheet-fed gravures. Stiff photographic wrappers.

Miroslav Hák worked as the photographer for the theater group D34, for the Czech film industry, and in the 1940s was part of the avant-garde Group 42. (Heiting, 302). $200-300 110 Heartfield, John A-I-Z Berlin: Neuer, Deutscher, 30 August 1932.

Staple-bound limp printed wrappers.

Contains a photomontage by Heartfield. and John Heartfield Berlin: Neuer Kurs, 1972. Eleven loose prints of Heartfield photomontages in a silver cardstock portfolio. $100-150 111 [Heckel, Vilém] Vilém Heckel Prague: Panorama, 1981. First edition. Text by Petr Teusk. 4to. Stiff photographic portfolio, rear fold separating; containing 18 loose bromoil prints; with 28 pp. of text in stapled self wrappers. $300-500

112 Hutton, Hugh McMillen Life Studies: A Short Course in Figure Drawing (Minneapolis, Minnesota: Bart Publication, 1927). First edition. Large 4to. 79 pp.

Maroon cloth-covered boards, stamped in gilt; previous owner’s inscription on front paste-down. With 16 mounted albumen prints (each approximately 7 1/2 x 4 3/4 in.

[19.1 x 12.1cm]) depicting a nude model in various poses.

Hugh McMillen Hutton, an editorial cartoonist for the Philadelphia Inquirer, produced this as a guide for art students— the photographs (all present in this volume) were meant to be removed and placed in front of the student as they drew. $600-800 113 Igout, Louis Jean Baptiste (French, 1837–ca.

1881) Album d’Etudes Poses Ca.1870s. Small folio. 22 contact sheet-style mounted albumen prints, each comprised of 16 images. Quarter red faux leather, stamped in gilt, over marbled paper-covered boards, front hinge starting; marbled endpapers.

An album of 352 artistic nude studies. $800-1,200 115 LOTTE JACOBI (american/german, 1896-1990) SELF PORTRAIT Ca. 1930, (printed 1976). Signed in pencil on recto. Gelatin silver print.

Image: 9 1/4 x 6 5/8 in. (23.5 x 16.8cm).

Sheet: 13 7/8 x 10 7/8 (34.6 x 27.6cm).

Lotte Jacobi, an established portrait photographer in Germany, fled the Nazis and opened a studio in New York, which she ran until 1955. In the 1950s, her work shifted from portraits to more abstract “cameraless photographs”, made by placing in glass or cellophane in front of a flashlight positioned above a piece of photographic paper. $800-1,200 116 Jenícek, Jicí (photographer) and Ladislav Sutnar (designer) Dvacet let ceskoslovenské armády v osvobozeném státe Prague: for the Interior Ministry, 1938. 4to.

243 pp. Quarter white pigskin, stamped in gilt, over orange cloth-covered boards; black endpapers; photographic dust-jacket, variously chipped and torn, with tape repairs.

Dvacet let ceskoslovenské armády v osvobozeném státe [Twenty Years of the Czechoslovakian Army in the Liberated State] was designed by Ladislav Sutnar with 72 black-and-white photographs by Jicí Jenícek, and produced by the Interior Ministry in pre-war Czechloslovakia. $100-150

117 ALFRED CHENEY JOHNSTON (american, 1884–1971) ZIEGFELD NUDE WITH BOA Ca. 1920s–30s. Artist’s stamp on verso.

Carbon print.

Image/sheet: 13 x 10 1/2 in. (33 x 26.7cm).

Alfred Cheney Johnston is known for his photographs of actresses and showgirls, particularly the Ziegfield Follies perfomers. $400-600 118 RENE BURRI AND LEONARD FREED FOUR PHOTOGRAPHS FROM BIRTH OF A NATION, 40 YEARS OF ISRAEL Ca. 1988. Printed blurb, Magnum Photos Inc. stamp, and number code in ink on verso of each. Gelatin silver prints. Tape and whiteout residue on the verso of two photographs.

Each 9 1/2 x 7 in. (3.74 x 2.74cm). $500-800 119 [JUDAICA] JEWISH STRONG BOY Signed in ink “Morris Sarprio/Jewish Strong Boy/From/Bronx New York” and dated “5/9/46”. Sepia toned gelatin silver print.

7 1/2 x 9 1/2 in. (2.95 x 3.74cm). $80-120 120 [JUDAICA] GROUP OF 10 PHOTOGRAPHS OF JEWISH MEN Ca. 1870–1920. Albumen prints, some mounted to board.

Image/sheet: ranging from 8 1/4 x 6 in.

(21 x 15.2cm) to 11 x 8 3/4 in.

(27.9 x 22.2cm).

Ten photographs of Jewish men and landmarks, taken by various photo studios including Lehnert et Landrock and Bonfils.

Subjects include the Jewish Town Hall in Prague, a Jewish banker in Tunisia, and a rabbi in Jerusalem. $500-700 121 [JUDAICA] TWO CARTE DE VISITES OF NORTH AFRICAN JEWISH MEN Ca. late 19th century.

Each approx. 4 x 2 1/2 in. (10.1 x 6.3cm). $80-120 122 [JUDAICA] GROUP OF 16 PHOTOGRAPHS OF JEWISH WOMEN Ca. late 19th century. Albumen prints, most mounted to board.

Image/sheet: ranging from 4 x 3 1/4 in.

(10.2 x 8.3cm) to 11 x 9 in. (27.9 x 22.9cm).

Sixteen photographs of Jewish women (including one duplicate). Taken by various photo studios including Garrigues, Ch.(arles) Lallemand, and Bonfils. Jewish women in various examples of native dress. Taken in Tunisia, Turkey, Algeria, Persia, and Syria. $600-800

123 YOUSUF KARSH (armenian/canadian, 1908-2002) WINSTON CHURCHILL 1941, printed later. Signed by Karsh in white ink on recto; copyright stamp on verso.

Gelatin silver print dry mounted to board; in original Karsh Studio folder.

13 1/2 x 10 3/8 in. (34.2 x 26.3cm). $3,000-5,000 124 YOUSUF KARSH (armenian/canadian, 1908-2002) SIR EDMUND HILLARY Ottawa, 1960. Signed by Hillary in black pen on recto; Karsh copyright stamp on verso; small fissure to bottom; small surface abrasions. Gelatin silver print.

8 x 10 in. (20.32 x 25.4cm).

Framed. note: >Photographed seven years after completing the first official ascent of Mt. Everest alongside Nepali Sherpa Tenzing Norgay (1914-1986), a windswept Hillary is shot here in the early 60’s during a reprieve from a busy season scaling numerous Himalayan summits. $800-1,200 125 Kenmochi, Kazuo Narushisu no henbo [Narcissus Transformation]-Photo Imagination Tokyo Bronzesha, 1981. First edition. 4to.

Illustrated with black and white photographs.

Printed photographic boards; in photographic dust-jacket. Near fine/Fine. note: Erotic and psychedelic photobook by elusive photojournalist of the Japanese underworld Kazuo Kenmochi. $600-900 126 ANDRÉ KERTÉSZ (american/hungarian, 1894-1958) OSSIP ZADKINE’S STUDIO 1926, (printed later). Signed and dated in pencil on verso. Gelatin silver print.

Image: 9 3/4 x 7 1/2 in (24.8 x 18.7cm).

Sheet: 10 x 8 in. (25.1 x 20.3cm).

This image appears in Still Life, a portfolio of ten silver gelatin prints by Kertész, published in 1981. $800-1,200 127 ANDRÉ KERTÉSZ (hungarian/american, 1894-1985) POND WITH REFLECTIONS 1983. Signed and dated by Kertesz in pencil below image. Mounted gelatin silver print.

Image: 6 7/8 x 6 3/4 in. (17.4 x 17.1cm). $1,200-1,800

128 KUSAKABE KIMBEI (attrib.) (japanese, 1841–1934) ACTRESSES AND VIEW OF SUMIDAKAWA TOKYO (MOUNTED TO VERSO) No date. Title in ink below image. Handtinted albumen print mounted to board.

8 1/2 x 10 1/2 in. (21.6 x 26.7cm).

Board: 10 1/2 x 13 3/4 in. (26.7 x 34.9cm). and (mounted to verso) No date. Printed title adhered to board below image. Hand-tinted albumen print mounted to board.

8 1/2 x 10 1/2 in. (21.6 x 26.7cm).

Board: 10 1/2 x 13 3/4 in.

Kusakabe Kimbei was a Japanese photographer who worked as a colorist and assistant to Felice Beato before opening his own studio. $200-300 129 IRVING KLAW (american, 1910-1966) BETTIE PAGE Ca. 1950s, printed later. Gelatin silver print.

4 5/8 x 3 7/8 in. (11.4 x 8.8cm).

Framed.

Likely photographed by Klaw due to the resemblance of the furniture as it appears in numerous other shots by him, and likely reprinted ca. 1990s. $200-300 130 FRANÇOIS KOLLAR (hungarian/french, 1904-1979) MULTIPLE EXPOSURE PORTRAIT Ca. 1930s. Pencil notations and photographer’s stamp on verso. Gelatin silver print.

Image: 11 1/4 x 8 1/2 in. (28.6 x 21.6cm).

Sheet: 11 5/8 x 8 1/2 in. (29.5 x 21.6cm).

François Kollar was an advertisting and fashion photographer before becoming a sought-after portraitist. $600-800

131 [Krims, Les] (American, b. 1942) Five titles by Les Krims The Little People of America 1971 Buffalo, New York: 1972. First edition. 24 photographic prints (5 x 5 3/4 in.

[12.7 x 14.6cm] each) and folded text by A.D. Coleman printed on orange paper, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, corners splitting. note: >Krims photographed members of “The Little People of America,” a national organization founded by actor Billy Barty.

The Deerslayers Buffalo, New York: 1972. First edition. 22 of 24 photographic prints (5 x 5 3/4 in.

[12.7 x 14.6cm] each) and folded text by Alex J. Sweetman printed on orange paper, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, slightly concave.

Krims photographed deer hunters at “deer check stations” where New York State conservationists examine the health of the deer.

The Incredible Case of the Stack O’Wheats Murders Buffalo, New York: 1972. 10 photographic prints (5 x 5 3/4 in. [12.7 x 14.6cm] each) and folded text by Robert A. Sobieszek printed on orange paper, signed by Krims on second leaf of same, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, corner split and bottom tray slightly concave.

Ten parodies of crime scene photography by Krims, in which a stack of pancakes are placed next to each victim (modeled by friends and family), with Hershey’s syrup used to mimic blood.

Making Chicken Soup (Rochester, New York: Humpy Press/Light Impressions, 1972). First edition. 12mo. 28 plates, plus 12 unnumbered pp. of text.

Perfect-bound with stiff photographic wrappers; previous owner’s signature on title-page.

Photographs of Krims’s topless mother making chicken soup, accompanied by captions and recipes.

Fictcryptokrimsographs (Buffalo, New York: Humpy Press Inc., 1975).

First edition. 12mo. 40 plates, 12 pp. of text.

Introduction by Hollis Frampton. Perfectbound stiff photographic wrappers, pp. 3540 disbound; previous owner’s signature on title-page.

Contains images of Krims’s erotic but humorous Polaroid SX-70 prints, which he manipulated by drawing into the emulsion before they dried. $200-300

132 GERMAINE KRULL (german, 1897–1985) TWO NUDE STUDIES FROM DER AKT Ca. 1925. One with printed notations on verso. Carte de visites.

Image: 4 x 3 1/4 in. (10.2 x 8.3cm) and 5 x 3 1/8 in. (12.7 x 7.9cm).

Sheet: 5 1/2 x 3 1/4 in (14 x 8.3cm) and 5 3/8 x 3 1/2 in. (13.7 x 8.9cm).

Der Akt [The Nude] was published in 1920 and contained 20 mounted photogravures of nudes by Germaine Krull, a pioneer of avantgarde photomontage and photographic books. $800-1,200 133 DOROTHEA LANGE (american, 1895–1965) GENERAL STORE IN WIDTSOE, UTAH 1936. With various pencil and ink notations, date stamp (Dec 29 1936), and Lange’s Resettlement Adminstration credit stamp on verso. Gelatin silver print.

Image: 7 1/2 x 9 5/8 in. (19.1 x 24.4cm).

Sheet: 7 7/8 x 10 in. (20 x 25.4cm).

Dorothea Lange worked for the Farm Security Administration in the 1930s, for the U.S. government from 1942 to 1945, and became a photographer for LIFE magazine in 1954. In 1941 she received the first Guggenheim Fellowship awarded to a woman. $800-1,200 134 JAN LAUSCHMANN (czech, 1901–1991) BENT TREE 1934. Initialed and dated in pencil on verso.

Gelatin silver print.

Image/sheet: 7 1/8 x 9 3/8 in.

(18.1 x 23.8cm).

Jan Lauschmann was a professor of photographic chemistry and manufacturing technology and played a significant role in the development of the modern Czechoslovakian photochemical industry. $300-500 135 JAN LAUSCHMANN (czech, 1901–1991) OUTDOOR CAFÉ 1933. Signed, titled, and dated in ink on verso. Gelatin silver print.

Image/sheet: 12 1/8 x 11 1/2 in.

(30.8 x 29.2cm).

Jan Lauschmann was a professor of photographic chemistry and manufacturing technology and played a significant role in the development of the modern Czechoslovakian photochemical industry. $500-700

136 JAN LAUSCHMANN (czech, 1901–1991) PARKED CARS 1931. Initialed and dated in pencil on verso.

Gelatin silver print.

Image/sheet: 11 3/4 x 15 3/4 in.

(29.8 x 40cm).

Jan Lauschmann was a professor of photographic chemistry and manufacturing technology and played a significant role in the development of the modern Czechoslovakian photochemical industry. $500-700 137 RUSSELL LEE (american, 1903–1986) CHICAGO HOUSING 1941, (printed ca. 1970s). Title, dates, and code in pencil in an unknown hand, and “Reproduced from the Collections of the Library of Congress” label on verso. Gelatin silver print.

Image: 9 1/2 x 7 1/4 in. (24.1 x 18.4cm).

Sheet: 10 x 8 in. (25.4 x 20.3cm).

Russell Lee worked for the Farm Security Administration documenting rural communities affected by the drought and the Great Depression. $200-300 138 ALEXANDER LIEBERMAN (russian, 1912–1999) PORTRAIT OF BETTY PARSONS Ca. 1960s. Copyright stamp on verso.

Gelatin silver print.

Image: 6 1/4 x 9 1/2 in. (15.9 x 24.1cm).

Sheet: 8 x 10 in. (20.3 x 25.4cm).

Betty Parsons was a painter and sculptor but is best known as an influential gallerist and dealer of mid-century art. $100-150 140 REMIE LOHSE (american, 1892–1947) PHOTO OF A NIGHTCLUB Ca. 1930s. Lohse’s signature in ink and name printed on recto, and “Not for publication” stamped on verso. Gelatin silver print mounted on board.

Image: 6 3/4 x 9 3/4 in. (cm).

Sheet: 13 3/4 x 11 in. (cm). $400-600 141 Löwy, J(osef).

Album Wiener Frauen-Typen Wien: Neuen Illustr. Ztg, (1890). Folio.

Twelve loose plates in stiff grey bookcloth portfolio, stamped in gilt, one flap of portfolio split. $100-150

142 DANNY LYON (american, b. 1942) GAUCHO FIELD MEET, CHICAGO 1965, printed 1983. Signed in pencil and with red Bleak Beauty wetstamp on verso. Gelatin silver print mounted on board.

Image: 9 1/8 x 13 1/2 in. (23.2 x 34.3cm).

Sheet: 9 1/2 x 14 1/4 in. (24.1 x 36.2cm).

From Lyon’s “Bikeriders” series, which documented the Chicago Outlaw Motorcycle Club during his membership from 1963 to 1967. $800-1,200 143 [Madonna] O’Brien, Glenn (editor) Sex Warner Books, (1992). First edition. Folio.

Photographs by Steven Meisel. Metallic spiral spine over brushed aluminum “boards.” Original printed unopened Mylar bag and CD, also in its own unopened printed Mylar sleeve. $200-300 144 [Mapplethorpe, Robert] Rimbaud, Arthur A Season in Hell (New York): Limited Editions Club, (1986). #804 of 1,000 copies signed in pencil by Mapplethorpe and translator Paul Schmidt.

4to. Illustrated with eight photogravures by Mapplethorpe. Original L.E.C. newsletter laid in. Full red morocco, lettered in black; in black cloth slip case. A fine copy. $400-700 145 MARY ELLEN MARK (american, 1940-2015) ACROBATS REHEARSING THEIR ACT AT THE GREAT GOLDEN CIRCUS, AHMEDABAD, INDIA 1989. Signed, titled, dated, and numbered 15/25 on verso.

Platinum print.

19 x 19 in. (48.3 x 48.3cm).

Framed. provenance: The Avon Collection, New York, New York. $1,500-2,500 146 FRANCES McLAUGHLIN-GILL (american, 1919-2014) DIOR BLACK, VOGUE 1952. Gelatin silver print. Signed by McLaughlin-Gill and inscribed,”‘Dior Black’ photographed for/Vogue Magazine August 1952/Paris collections.” by her in pencil on verso; Staley-Wise gallery sticker on bottom right.

20 x 16 in. (50.8 x 40.64cm).

Framed. provenance: Staley-Wise Gallery, New York, New York The Avon Collection, New York, New York. $3,000-5,000

147 EMILA MEDKOVÁ (czech, 1928–1985) UNTITLED COMPOSITION Ca. 1970s. Photographer’s stamp on verso.

Gelatin silver print.

Image/sheet: 6 7/8 x 10 1/2 in.

(17.5 x 26.7cm).

Emila Medková was a student of Josef Ehm and became a central member of the postwar Czech surrealists. $200-300 148 SUSAN MEISALAS (american, b. 1948) GROUP OF 12 PHOTOGRAPHS OF MESKITO INDIANS, NICARAGUA 1985. Printed blurb and number code in ink on verso of each. Resin-coated gelatin silver prints.

Image: 6 1/4 x 9 1/4 in. (15.9 x 23.5cm) each.

Sheet: 8 x 10 in. (20.3 x 25.4cm) each.

Susan Meisalas joined Magnum Photos, a cooperative of documentary photographers, in 1976. These images depict the Meskito Indians returning to Waspan, their homeland, after being ousted by the Nicaraguan Army fours years prior. $1,000-1,500 149 JOEL MEYEROWITZ (american, b. 1938) NEW YORK CHRISTMAS 1976. Signed, titled, and dated and with exposure notes in ink on verso. Chromogenic print.

Image: 9 5/8 x 7 5/8 in. (24.4 x 19.4cm).

Sheet: 13 7/8 x 10 7/8 in. (35.2 x 27.6cm).

Starting in the early 1970s, Joel Meyerowitz transitioned from black-and-white street photography to large format color images, making him one of the earliest advocates of fine art color photography. $300-500 150 [Czech Photography] Mezinárodní Fotografický Salon Prague: Svac Cs. Klubu Fotografu Amatéru, 1933, 1935. 8vo. In two volumes.

Unpaginated. Stiff printed wrappers.

Illustrated catalogues for the second and third international photography exhibitions organized by the Club of Amatuer Photographers in Prague. Rare. $100-150

151 LEE MILLER (american, 1907–1977) FASHION PHOTO FOR BERGDORFGOODMAN 1933. Photographer’s wetstamp and various ink and pencil annotations on verso and very faint red crayon marks on recto. Gelatin silver print.

Image/sheet: 9 1/2 x 6 1/8 in.

(24.1 x 15.6cm).

Lee Miller was a fashion model in the 1920s before studying with Man Ray in Paris. In 1932 she returned to New York, where she set up a photo studio. She was also a World War II correspondent for Vogue. $400-600 152 LEE MILLER (american, 1907–1977) PORTRAIT OF JOSEPH CORNELL (WITH ONE OF HIS OBJECTS) 1933, printed ca. 1975. Gelatin silver print.

12 x 16 in. (30.4 x 40.6cm) Lee Miller was a fashion model in the 1920s before studying with Man Ray in Paris. In 1932 she returned to New York, where she set up a photo studio. She was also a World War II correspondent for Vogue. $800-1,200 153 LÉONARD MISONNE (belgian, 1870–1943) FOREST SCENE 1922. Certified, dated, and signed in pencil by the photographer’s grandson, and annotated in an unknown hand on verso.

Mediobrome print.

Image/sheet: 11 1/4 x 15 1/8 in.

(28.6 x 38.4cm).

Léonard Misonne was a Pictorialist photographer and is known for his atmospheric and dream-like landscapes. $800-1,200 154 LISETTE MODEL (american/austrian, 1901-1983) PROMENADE DES ANGLAIS, NICE 1934, printed 1980; #1 from an edition of 50.

Signed by Model on verso in pencil, with her copyright stamp and other inscriptions in pencil to same. Gelatin silver print; small indentations at top and bottom edge.

19 x 15 1/2 in. (48.2 x 39.3cm) $800-1,200 155 LISETTE MODEL (american/austrian, 1901-1983) PROMENADE DES ANGLAIS, NICE 1934, printed 1980; #6 from an edition of 50. Signed by Model on verso in pencil, with her copyright stamp and other inscriptions in pencil to same. Gelatin silver print; small creasing along top right edge.

19 x 15 1/2 in. (48.2 x 39.3cm) $800-1,200

156 LISETTE MODEL (american/austrian, 1901-1983) REFLECTION, NEW YORK 1940, printed 1980; #1 from an edition of 50.

Signed by Model on verso in pencil and with her copyright stamp and other inscriptions in pencil to same. Gelatin silver print; small indentation at right edge.

19 x 15 1/2 in. (48.2 x 39.3cm) $3,000-5,000 157 LISETTE MODEL (american/austrian, 1901-1983) WALL STREET 1940, printed 1980; #3 from an edition of 50. Signed by Model on verso in pencil and with her copyright stamp and other inscriptions in pencil to same. Gelatin silver print; small creases and wear to edges; indentation at right edge; tape remnants from old mount on verso.

19 x 15 1/2 in. (48.2 x 39.3cm). $800-1,200 158 SARAH MOON (french, b. 1941) SASHA FOR THE NEW YORK TIMES 1995, signed, titled and numbered 1/30 on verso. Color pigment transfer print. image: 13 7/8 x 10 5/8 in. (35.2 x 27cm).

Sheet: 15 x 12 in. (38.1 x 30.5cm).

Framed. provenance: Staley-Wise Gallery, New York, New York.

The Avon Collection, New York, New York. $2,000-3,000 159 SARAH MOON (french, b. 1941) UNTITLED FASHION PHOTO (YOUNG WOMAN IN CLOUDS) Ca. 1970s. Signed in pencil on verso. Gelatin silver print.

Image: 8 x 12 7/8 in. (20.3 x 32.7cm).

Sheet: 11 1/4 x 15 3/8 in. (28.6 x 39.1cm).

One of the first photographs from the campaign that launched the Cacharel perfume Anaïs Anaïs in 1978. $1,000-1,500 160 ABELARDO MORELL (american/cuban, b. 1948) CAMERA OBSCURA IMAGE OF A BUILDING INSIDE ST. PANCRAS CHAMBERS ROOM, LONDON 2001. Signed, titled, dated, and editioned 2/30 in pencil on verso. Gelatin silver print.

Image: 18 x 22 1/2 in. (45.7 x 57.2cm).

Sheet: 20 x 23 7/8 in. (50.8 x 60.6cm).

Morell is known for his often surreal camera obscura images which capture cityscapes and landscapes. $800-1,200

161 CARL MYDANS (american, 1907-2004) BOATS Ca. 1940s, presumably Shanghai, printed later. Signed by Mydans in black ink on recto.

Gelatin silver print mounted to board.

Image: 10 3/4 x 13 5/8 (27.3 x 34.6cm); board: 16 x 20 in. (40.6 x 50.8cm). provenance: From the collection of a longtime Time/LIFE photography department staffer and colleague of Mydans. $300-500 162 CARL MYDANS (american, 1907-2004) GENERAL DOUGLAS MACARTHUR LANDING IN LUZON, 1945 1945, printed later. Signed by Mydans in purple ink on recto. Gelatin silver print.

11 x 14 in. (27.9 x 35.5cm). provenance: From the collection of a longtime Time/LIFE photography department staffer and colleague of Mydans. $1,500-2,500 163 JAMES NACHTWEY (american, b. 1948) THREE PHOTOGRAPHS OF KURDS FLEEING IRAQI ATTACKS 1988. Printed blurb, Magnum Photos Inc. stamp, and number codes in ink on verso of each. Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 3/4 in. (14.6 x 22.2cm).

Sheets: 7 x 9 1/2 in. (17.8 x 24.1cm).

James Nachtwey was a member of Magnum Photos, a cooperative of documentary photographers, from 1986 until 2001, when he helped found the photo agency, VII. $300-500 164 YASUSHI NAGAO (japanese, 1930-2009) YAMAGUCHI ASSASSINATING JAPANESE SOCIALIST PARTY POLITICIAN INEJIRO ASANUMA 1966. With clipping, ink notations, and Bettmann Newsphotos conditons of use label on verso. Selenium-toned gelatin silver print.

Image: 7 1/8 x 9 in. (18.1 x 22.9cm).

Sheet: 8 x 10 in. (20.3 x 25.4cm).

Yasushi Nagao, then a Tokyo press photographer, won the 1961 Pulitzer Prize for this photo of the assassination of Socialist politician Inejiro Asanuma by 17-year-old Futaya Yamaguchi. $500-700 165 MOISEI NAPPELBAUM (russian, 1869-1958) OLGA, FREDERIKA ET IDA NAPPELBAUM Ca. 1926. Gelatin silver print mounted on board; titled in Cyrillic in pencil on verso.

6 x 4 in, (15.5 x 10.5cm). Small abrasions to surface, slight oxidation at left edge, small loss to top left corner, likely trimmed. $300-500

166 Narahara, Ikko Domains Tokyo: Sonorama, 1978. First edition. 4to.

Unpaginated. Black boards stamped in white; photographic dust-jacket.

In the early 1970s, Narahara studied with Diane Arbus and recorded her speeches which have become an important document of Arbus’s thoughts on her work shortly before her death. $200-300 167 [Native Americana] Six Photo Postcards from “Banff Indian Day” Banff, Alberta, Canada, ca. 1913.

Each postcard approx. 3 1/4 x 5 1/4 in.

(8.2 x 13.3cm). note: Likely depicted are people of the Nakoda (Stoney) Nation of North Western Canada.

Soon after Banff National Park’s creation in 1887 the Nakoda people were expelled and excluded from entering the park over the next several decades, and only allowed entrance during this annual event, here in its 24th year. $200-300 168 [Native Americana] YUMA, ARIZONA, 1886 Albumen cabinet card, showing Yuma Indians and others. Titled, annotated, and dated on reverse. Worn and soiled at bottom left corner.

5 1/4 x 8 1/2 in. (13.3 x 21.5cm). $100-150 169 LUSHA NELSON (latvian/american, 1900–1938) RABBINICAL SCHOLARS Ca. 1930s. Signed by Nelson in pencil on recto of mat and verso of photograph.

Gelatin silver print.

9 x 8 in. (22.8 x 20.3cm).

Lusha Nelson, a protégé of Edward Steichen, worked as a staff photographer for Condé Nast in the 1930s and had a brief yet prolific career before his early death. $400-600 170 ARNOLD NEWMAN (american, 1918–2006) PORTRAIT OF GEORGES ROUALT 1957, printed ca. 1960s–70s. Signed, titled, and dated in pencil on recto of board, and stamped on verso. Gelatin silver print mounted to board.

Image: 19 1/2 x 15 5/8 in. (49.5 x 39.7cm).

Board: 24 x 20 in. (61 x 50.8cm).

Arnold Newman is known for his “environmental” portraits in which he depicted his subject in their natural habitat, surrounded by their favorite objects— capturing their interior state as well as their appearance, an unconventional idea in the 1930s. $600-800

171 ARNOLD NEWMAN (american, 1918–2006) PORTRAIT OF MAX ERNST 1946, printed later. Signed, titled, and dated in pencil on recto, with photographer’s stamp on verso. Gelatin silver print, mounted to board.

Image: 19 1/2 x 15 in. (49.5 x 38.4cm) Board: 24 x 19 7/8 in. (61 x 50.1cm) Arnold Newman is known for his “environmental” portraits in which he depicted his subject in their natural habitat, surrounded by their favorite objects— capturing their interior state as well as their appearance, an unconventional idea in the 1930s. $800-1,200

175 BILL OWENS (american, b. 1938) PINTO AND MAID OF LIVERMORE 1971. Signed in pencil and editioned 16/250 in ink on verso. With certificate of authenticity from Eyestorm (London, England). Gelatin silver print.

Image: 8 1/8 x 11 7/8 in. (20.6 x 30.2cm).

Sheet: 10 7/8 x 13 7/8 in. (27.6 x 35.2cm).

Bill Owens became a staff photographer for a California newspaper, the Livermore Independent. While working for the paper, he began his Suburbia series. He published this series as a book in 1972, and it has since become one of the most important photography books of the twentieth century. $600-800

172 DOROTHY NORMAN (american, 1905-1997) TARA AND RITA PAUDIT, WOODS HOLE 1943, inscribed with title and date on mount verso and with artist’s stamp. Gelatin silver print.

3 5/8 x 2 7/8 in. (9.2 x 7.3cm).

Framed. provenance: The Avon Collection, New York, New York. $400-700

176 Pappas, Sam C. Remember…Japan-Okinawa…Pearl Harbor…

Prviately printed, 1946. Oblong 8vo. Steel spiral-bound with stiff grey wrappers, stamped in red and blue. Twenty-five gelatin silver prints with four images per page and with 27 leaves of text; four leaves of text and one of photos detached.

Contains 100 captioned black-and-white photographs, each 3 x 4 in. (7.6 x 10.2cm), documenting the U.S. naval presence in the Pacific during World War II. The photographs were taken by Sam C. Pappas and others, and include images of invasions, bombings, the Japanese surrender aboard the USS Missouri, and a Japanese propaganda photo of an attack force on its way to bomb Pearl Harbor. $100-150

173 [O’Neil, Hank] Warren, Robert Penn All the King’s Men (New York): Limited Editions Club, (1989). In two volumes. #166 of 600 copies signed by Warren and O’Neil. 4to. Illustrated with 10 photogravures by O’Neil. Original L.E.C. newsletter laid in. Quarter black morocco over tan linen; spine lettered in gilt; foreedge untrimmed, other edges trimmed; in black cloth slip case. A fine copy. $300-500 174 RUTH ORKIN (american, 1921-1985) WOMEN’S MINI-MARATHON UP CENTRAL PARK WEST, JUNE 3, 1978 1978. Signed, titled and dated in pencil on recto and verson of mat, and in ink on verso of photo. Chromogenic print.

Image: 13 3/4 x 10 in. (34.9 x 25.4cm).

Sheet: 14 1/4 x 10 in. (36.2 x 25.4cm).

Ruth Orkin was a photojournalist and filmmaker known for photographing actors and musicians. She took many photos from her New York apartment, later publishing them in two books, A World Through My Window and More Pictures From My Window. $300-500

177 GILLES PERESS (french, b. 1946) GROUP OF 11 PHOTOGRAPHS OF NORTHERN IRELAND 1986. Printed blurb, number codes in ink, and Peress’s Magnum Photos credit stamp on verso of each. Resin-coated gelatin silver prints.

Images: 6 1/4 x 9 1/4 in. (15.9 x 23.5cm) each.

Sheets: 8 x 10 in. (20.3 x 25.4cm) each.

Gilles Peress joined Magnum Photos, a cooperative of documentary photographers, in 1971. Among many other projects, he documented the conflict in Northern Ireland for twenty years, beginning after Bloody Sunday in 1972. $1,500-2,500

178 [Philadelphia] Album of the Philadelphia Custom House Philadelphia, March, 1871. Folio. Featuring a mounted manuscript page of resolutions adopted by officers of the House; one mounted albumen print of the original Philadelphia Custom House; one mounted albumen portrait likely of Collector of Customs Henry D. Moore; 223 window mounted carte de visites of officers and employees of the Custom House, each measuring 5 x 3 in., and with their names in manuscript below each; Contemporary brown leather over heavy boards, worn and rubbed, front board detached; elaborately stamped in gilt; metal claps; gauffered edges in gilt; gilt dentelles; moiré silk endpapers.

Ex-library with book-plate on front pastedown, mounted barcode and ink stamp on front free endpaper, and ink stamp under large mounted photograph. Sold with all faults. note: Henry D. Moore (1817-1887), was a Whig member of the U.S. House of Representatives from Pennsylvania from 1849-1853, unsuccessful candidate for mayor of Philadelphia in 1856, and State Treasurer of Pennsylvania from 1861-1865. $200-300 179 GUGLIELMO VON PLÜSCHOW (german, 1852–1930) NUDE COUPLE Ca. 1900. Numeric notation in blue crayon and photographer’s Rome studio stamp on verso. Albumen print.

Image/sheet: approximately 8 1/2 x 6 3/8 in. (21.6 x 16.2cm).

Guglielmo Plüschow moved to Italy to become a wine merchant but became known for his nude photographs of local youths. He was charged more than once with the corruption and seduction of minors. $400-600 180 [Polaroid] 12 Instant Images on Polaroid Type 105 Positive/Negative Film Cambridge, MA: Polaroid Corporation, 1974.

One of 1,000 copies. Folio. Portfolio containing 12 prints, with facsimile signatures, from original photographs by Ansel Adams, David Bailey, Walker Evans, Sarah Moon, Josef Sudek, and seven others. $300-500 181 [Posters] EXHIBITION POSTER FOR THE CLARENCE WHITE SCHOOL OF PHOTOGRAPHY, 19371938 1938. Photogravure print from collotype.

Sheet: 17 1/2 x 11 1/2 in. (44.5 x 29.2cm).

Featuring a photograph by Hans Jorgensen.

Based in New York City, the Clarence White School of Photography was founded in 1914, and students included Margaret BourkeWhite, Dorothea Lange, Anton Bruehl, and Ralph Steiner. $300-500

182 LADISLAV POSTUPA (czech, 1929-2016) JIZDA SMRTÍ [Death Ride] 1964. Signed, titled, and dated in pencil on verso. Gelatin silver print.

Image/sheet: 15 3/4 x 12 in. (40 x 30.5cm).

Ladislav Postupa worked as a designer but became an important avant-garde photographer in post-war Czechoslovakia. $600-800 183 LADISLAV POSTUPA (czech, 1929-2016) PHOTO-MONTAGE 1967. Signed, titled, and dated in pencil on verso. Gelatin silver print.

Image: 3 3/8 x 15 3/4 in. (8.6 x 40cm).

Sheet: 12 x 15 3/4 in. (30.1 x 40cm).

Ladislav Postupa worked as a designer but became an important avant-garde photographer in post-war Czechoslovakia. $300-500 184 LADISLAV POSTUPA (czech, 1929-2016) SEDÍCÍ [SITTING] 1967. Signature and “Sedící” in pencil on verso. Gelatin silver print.

Image: 11 1/8 x 12 in. (28.3 x 30.5cm).

Sheet: 15 3/4 x 12 in. (40 x 30.5cm).

Ladislav Postupa worked as a designer but became an important avant-garde photographer in post-war Czechoslovakia. $400-600 185 [PRESS] GROUP OF FIVE PRESS PHOTOGRAPHS Various subjects, including the first day of summer at Coney Island, 1932; Funeral march in protest of the execution of Julius and Ethel Rosenberg, 1953; Atomic bomb test, 1962; Albert Einstein and other scientists, 1931; and Hunger March on Washington, 1932. Size and condition varies. $80-120 186 [PRESS] WRECKAGE OF THE BRITISH R101 AIRSHIP 1930. Gelatin silver print; image was for use as a wire photo but not itself a wire photo.

The R101, completed in 1929, was a British rigid airship which when built was the world’s largest flying craft at 731 ft (223 m) in length. It was not surpassed by another hydrogen-filled rigid airship until the German Hindenburg flew seven years later. It crashed in France on its maiden voyage on October 5th, 1930 and was one of the worst airship accidents of the 1930s. $300-600 187 [PRESS] YANKS ENTERTAIN RETURNING BUDDIES Ca. 1945. Gelatin silver print. Associated Press photo; printed caption sheet included.

6 1/4 x 8 in. (15.8 x 20.3cm) (sight).

Framed. $100-150

188 ROBERT RAUSCHENBERG (american, 1925–2008) UNTITLED 1979. Signed, editioned 32/100, and dated in ink below image. With Brooke Alexander and Trisha Brown Company labels on verso of frame. Gelatin silver print.

7 x 7 in. (17.8 x 17.8cm).

This photograph was made for the premiere of “Glacial Decoy,” a collaborative work with Trisha Brown. $800-1,200 189 VILÉM REICHMANN (czech, 1908–1991) STONE SCULPTURE OF A SEATED FIGURE Ca. 1960. Signed in pencil on verso. Gelatin silver print.

Image: 13 1/8 x 11 7/8 in. (33.3 x 30.2cm).

Sheet: 13 5/8 x 12 1/2 in. (34.6 x 31.8cm).

Vilém Reichmann is best known for his photographs of the city of Brno and his surrealist still lifes. $200-300 190 [Reichmann, Vilém] Vilém Reichmann Prague: Pressfoto, 1984. First edition. Text by Alena Šlachtová. 4to. Stiff photographic portfolio; containing 13 loose halftone prints (duplicate of image #1); with 14 pp. of text, stapled self wrappers.

Volume 8 of the International Photography Editions series. $200-300 191 GERHARD RIEBICKE, ETC. (german, 1878-1957) 13 PHOTOS OF NUDES IN OUTDOOR SETTINGS Ca. 1928. Six images by Riebecke, two by Dr. Bruno Wolf, and five unknown. With various printed codes and blank address lines on versos. Postcard-format gelatin silver prints.

Image: approximately 5 1/4 x 3 1/4 in.

(13.3 x 8.3cm) each.

Sheet: approximately 5 1/2 x 3 1/2 (14 x 9cm) each.

Gerhard Riebecke is best known for his romantic images of graceful and athletic nudes. Under the Nazi regime he focused on sports photography but was still eventually censored. $400-600 192 LENI RIEFENSTAHL (german, 1902-2003) HURDLE JUMPER (FILM STILL FROM OLYMPIA) 1936. Pencil notations and Tillhor stamp on verso. Tobis Cinema logo printed on lower right of image. Gelatin silver print.

Image: 8 3/4 x 10 7/8 in. (22.2 x 27.6cm).

Sheet: 9 3/8 x 10 7/8 in. (23.8 x 27.6cm).

A film still from Riefenstahl’s film Olympia, which documented the 1936 Summer Olympics in Berlin. Promotional film stills were sent out by Tobis Cinema. $500-700

193 WILLIAM M. RITTASE (american, 1887–1968) PARACHUTE INSPECTION 1942. Various credit, date, and press stamps on verso. Gelatin silver print.

Image: 9 1/2 x 7 3/4 in. (24.1 x 19.7cm).

Sheet: 10 x 8 in. (25.4 x 20.3cm).

William M. Rittase worked as a photographer in Philadelphia during the 1920s and 1930s, shooting images for advertisements and articles in Fortune magazine and other publications. This image, which depicts women inspecting parachutes at the Pioneer Parachute Company in Manchester, Connecticut, is credited to the Office of War Information. $500-700 194 ALEXANDER RODCHENKO (russian, 1891-1956) MOSCOW VIEW Ca. 1920s, printed ca. 1940s. Gelatin silver print; small surface abrasions; residue at top right corner; trimmed along right edge; ink and pencil notations on verso; tape remnants to same.

7 x 9 in. (17.7 x 22.8cm). $500-800 195 MARTHA ROSLER (american, b. 1943) NEW YORK 1996. C-print.

26 x 39 in. (66 x 99.1cm).

Framed. provenance: The Avon Collection, New York, New York. $2,000-3,000 196 JAROSLAV RÖSSLER (czech, 1902–1990) PARIS STUDIO 1926. Initialed “R” and dated “Paris 26” in ink and with photographer’s stamp, on verso.

Gelatin silver print.

Image/sheet: 4 7/8 x 5 1/8 in.

(12.4 x 13cm).

Jaroslav Rössler worked as an apprentice to František Drtikol, lived in Paris from the 1920s until returning to Prague in 1935 to open a portrait studio. He was a member of Devetsil, a Czech group of avant-garde artists. provenance: Dorotheum, Vienna, April 28, 2005, lot 75. $800-1,200 197 ARTHUR ROTHSTEIN (american, 1915–1985) MIGRANT WORKER’S HOME Ca. 1937, printed later. Various notes in pencil and in ink in an unknown hand, and “Reproduced from the Collections of the Library of Congress” stamp on verso. Gelatin silver print.

Image: 6 1/4 x 9 1/2 in. (15.9 x 24.1cm).

Sheet: 8 x 10 in. (20.3 x 25.4cm).

Arthur Rothstein worked as a photographer for the Farm Security Administration from 1935 until 1940. $200-300

198 [Czech Photography] Rozhledy Fotografa Amatéra Prague: Rozhledy Fotografa Amatéra, 1926–29. 46 issues, plus index. Limp wrappers, printed in black, red, brown, and blue, several with front cover detached; contains text, reproductions of photographs, and ads.

A near-complete run for the years 1926–29 (missing first issue of 1927). $300-500 199 ALBERT RUDOMINE (french/russian, 1892–1975) TWO PHOTOGRAPHS OF RODIN SCULPTURES Ca. 1930-1940. Photographer’s Paris studio stamp on verso. Gelatin silver prints.

Image/sheet: approximately 9 3/8 x 7 in.

(23.8 x 17.8cm) each.

Albert Rudomine, dressmaker-turnedphotographer, worked for the French National Museums during World War II, including the Musée Auguste Rodin. $300-500 200 DRAHOMÍR JOSEF RUZICKA (czech/american, 1870–1960) VIEW OF NEW YORK CITY FROM CENTRAL PARK Ca. 1930s, printed later. Three photographs.

Photographer’s initial “R” in ink on lower right below image. Gelatin silver print.

Image: 8 3/4 x 7 in. (22.2 x 17.8cm).

Sheet: 9 1/2 x 7 in. (24.1 x 17.8cm).

After retiring from medicine (he was one of the first doctors to use X-rays), Ruzicka took up photography. When he visited his native Czechslovakia, he shared his modernist techniques and images with local camera clubs, influencing a new generation of photogaphers such as Josef Sudek.

Sold with two additional photographs, Old Man Playing Violin, and Charles Bridge, Winter (Prague), both gelatin silver prints, both initialed “R” in ink on verso, each image approximately 8 3/4 x 7 in. (22.2 x 17.8cm), sheet: 9 1/2 x 7 in. (24.1 x 17.8cm). $400-600 201 DIANA SCHOENFELD (american, b. 1949) TWO PHOTOGRAPHS “Rhythmic Arrangement: Withered Iris and Teeth” and “Rhythmic Arrangement: Luminous Pods.” 1979. Each signed, titled, and dated on verso. Gelatin silver prints. each 7 x 5 in. (17.8 x 12.7cm).

Framed. provenance: The Avon Collection, New York, New York. $200-300

202 J. PASCAL SÉBAH (turkish, 1823–1886) DANSE DU VENTRE Ca. 1890s. Albumen print, mounted to paper.

Image/sheet: 10 1/2 x 8 1/4 in.

(26.7 x 21cm).

Paper: 13 x 9 3/4 in. (33 x 24.8cm).

Jean Pascal Sébah was the son of photographer Pascal Sébah, and continued to run his photo studio in Constantinople. He also helped produce 51 photographic albums documenting the span of the Ottoman Empire, commissioned by Sultan Abdulhamid II. $100-150 203 SHUNK-KENDER harry shunk (german, 1924-2006) and jános kender (hungarian, 1938-2009) THREE PHOTOS OF CHRISTO’S WRAPPED COAST, LITTLE BAY, AUSTRALIA 1969. Each with Shunk-Kender credit stamp and title (latter partially obscured by pulledoff tape) in blue ink on verso. Gelatin silver prints.

Images: two are approximately 7 5/8 x 10 in. (19.4 x 25.1cm) and one is 5 1/8 x 9 3/4 in. (13 x 24.8cm).

Sheet: 8 x 10 1/8 in. (20.3 x 25.7cm) each.

Shunk and Kender first shot Christo and Jeanne-Claude’s wrapping of the Trocadéro in Paris (1964) then went on to photograph all of their subsequent site-specific projects.

For this project, the artists worked with over 100 people for four weeks, wrapping one and a half miles of cliffs with one million square feet of fabric and 35 miles of rope. $300-500 204 ART SINSABAUGH (american, 1924–1983) NEW MEXICO HOT AIR BALLOONS 1980. Signed and annotated “N.M. LA #17” in pencil on verso. Gelatin silver print.

Image/sheet: 15 7/8 x 19 7/8 in.

(40.3 x 50.5cm).

Art Sinsabaugh served as a photographer in the United States Air Force in Asia (1943–1945), and later studied photography with Harry M. Callahan, Aaron Siskind and László Moholy-Nagy. $600-800 205 GAIL SKOFF (american, b. 1949) BALINESE DANCERS Hand-colored gelatin silver print. sight: 12 1/2 x 12 1/4 in. (31.8 x 31.1cm) Framed. provenance: The Avon Collection, New York, New York. $400-600

206 Smith, W. Eugene Minamata: Life-Sacred and Profane (Tokyo: Seibu Department Store), (1973).

Folio. Signed by Smith in blue ink on front cover. Illustrated with 12 reproductions of photographs by Smith. Photo-pictorial wrappers; contents loose as issued. Portfolio worn; old mold residue on front panel; dampstaining along right edge; spine ends torn.Two plates with dampstaining to left edge; one plate with crease to bottom corner; other light wear. note: Published to accompany the exhibition of Smith’s work at the Seibu Department Store in Tokyo, these photos, along with his later photo book “Minamata: Words and Photographs”, helped bring world attention to the environmental vicitims of what came to be known as Minamata disease, extreme mercury poisioning from water contamination by the Chisso Corporation chemical factory in Minamata, Japan. $200-300 207 Smith, W. Eugene, and Aileen M. Smith Minamata New York: An Alskog-Sensorium Book/Holt, Rinehart and Winston, 1975. First edition thus. 4to. 192 pp. Signed in ink on half-title

by Eugene and Aileen Smith. Stiff perfectbound wrappers, lamination peeling slightly.

Eugene and Aileen Smith photographed and wrote about the devastating effects of mercury poisoning on the people of Minamata, Japan. High mercury levels in the water and food occurred after the Chisso company spent years dumping industrial waste into the bay. (Roth, p. 232). $300-500 208 W. EUGENE SMITH (american, 1918-1978) WOUNDED LIE IN LEYTE CATHEDRAL 1944. Associated Press Photo printed caption, crediting Smith, red date stamp (December 22, 1944), and blue crayon note, “W-195 U.S. & Jap—1944 Leyte, Philippines” on verso. Ink notation on border below and to right of image. Gelatin silver print.

Image: 6 3/4 x 6 1/2 in. (17.1 x 16.5cm).

Sheet: 9 x 7 in. (22.9 x 17.8cm).

W. Eugene Smith was a war correspondent in the Pacific and worked on and off as a staff photographer for LIFE magazine. He joined Magnum, the documentary photo cooperative, in 1957. $600-800 209 ROGER SMITH WWII-ERA AFRICAN-AMERICAN NURSES Ca. 1940s. Credit and caption stamp on verso. Gelatin silver print.

Image: 9 1/2 x 7 3/4 in. (24.1 x 19.7cm).

Sheet: 10 x 8 1/4 in. (25.4 x 21cm).

Photograph depicting two African-American nurses during their training course at Freedman’s Hospital in Washington, D.C. Taken for the Office of War Information. $100-150

210 HERB SNITZER (american, b. 1932) TENNESSEE WILLIAMS 1961. Mounted gelatin silver print.

9.5 x 7.5 in. (24.13 x 19.05cm).

Framed.

On assignment at the time with the New York Times Sunday Magazine, Snitzer captured a brooding Williams (1911-1983) during rehearsals for the Broadway premier of The Night of the Iguana, adapted a few years later into an Academy Award-winning motion picture by John Huston. $500-800 211 TERRY SPENCER (british, 1918–2009) THE BEATLES BEING INTERVIEWED AFTER BEING AWARDED CONTROVERSIAL M.B.E 1965. LIFE magazine Picture Collection credit stamp (dated 6-13-65) and pencil notations in an unknown hand on verso. Gelatin silver print.

Image/sheet: 13 1/8 x 9 3/8 in.

(33.3 x 28.3cm).

Terry Spencer was an RAF pilot during World War II, and later became a photographer for LIFE magazine. $500-700 212 [Sports] Group of 65 Associated Press Photos of Various Sports Ca. 1945-1946. Gelatin silver prints. Most photos with printed caption sheet. Condition varies.

Each approximately 7 x 9 in.

(17.7 x 22.8cm). note: Including six photos of hockey, nine photos of football, seven photos of tennis, four photos of harness racing, 14 photos of horse racing, 20 photos of basketball, and five photos of baseball. $100-150 213 CHRIS STEELE-PERKINS (british, b. 1947) FOUR PHOTOGRAPHS OF MINERS’ STRIKE, BRAMPTON, YORKSHIRE, 1984 1984. Printed blurb, and number code in pencil on verso of each. Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 3/4 in. (14.6 x 22.2cm).

Sheets: 7 x 9 1/2 in. (17.8 x 24.1cm).

Chris Steele-Perkins joined Magnum Photos, a co-operative of documentary photographers, in 1979. He began his work as a photojournalist documenting subcultures and urban poverty in Britain. $300-500

214 BERT STERN (american, 1929-2013) MARILYN MONROE 1962, printed later. From the series “The Last Sitting”. Signed in gold marker on recto, with photographer’s stamp on verso.

Chromogenic print.

Image: 18 3/4 x 12 5/8 in. (47.6 x 32.1cm).

Sheet: 19 x 13 in. (48.3 x 33cm).

Taken during Stern’s last photo shoot with Monroe (commissioned by Vogue), six weeks before her death. $800-1,200 215 BERT STERN (american, 1929-2013) MARILYN MONROE WITH SHAWL From the series The Last Sitting, #100/250.

Signed by Stern in gray felt marker below image. Later chromogenic print. Edward Weston Collection stamp on verso.

21 1/2 x 20 inches (54.6 x 50.8cm).

Framed. $1,500-2,500 216 [Stieglitz, Alfred] Stieglitz Memorial Portfolio: 1864-1946 New York: Twice a Year Press, (1947). First and limited edition, one of 1,500 copies.

Folio. Edited and published by Dorothy Norman. Illustrated with 18 photographic reproductions by Stieglitz, loose as issued.

Stiff printed glossy coated wrappers; lightly worn, old mold residue on front and back wrapper, light edge wear, light dampstaining to same. Photographs lightly worn with scattered soiling and creasing to edges. $200-300 217 EZRA STOLLER (american, 1915-2004) CORNING GLASS Ca. 1939. With the copyright label of Pictor Pictorial Services Inc, New York City on verso, and with Stoller’s name rubberstamped on same. Gelatin silver print mounted on board. Board toned and lightly soiled; corners worn and chipped; notation in pencil below image, presumably editorial and for reproduction purposes.

14 x 14 in. (35.5 x 35.5cm). Likely taken at the 1939 New York World’s Fair. $400-600 218 EZRA STOLLER (american, 1915-2004) INTERIOR STAIRCASE Ca. 1939. Presumably of architect Alvar Aalto’s Finnish Pavilion at the 1939 World’s Fair in New York. With the copyright label of Pictor Pictorial Services Inc, New York City, on verso and with Stoller’s name rubberstamped on same. Gelatin silver print mounted to board. Toning to board; notation in pencil below image, presumably editorial and for reproduction purposes.

14 x 14 in. (35.5 x 35.5cm). $500-800

219 JOSEF SUDEK (czech, 1896-1976) CRACKED GROUND ROCK Ca. 1930. Notes in pencil and Sudek’s studio stamp on verso. Gelatin silver print.

Image: 9 x 6 3/4 in. (22.9 x 17.1cm).

Sheet: 9 1/4 x 6 7/8 in. (23.5 x 17.5cm).

Josef Sudek was a bookbinder who became a photographer after losing his right arm in World War I, in 1917. He is known for his detailed, carefully printed images of Prague. $800-1,200 220 [Sudek, Josef] Fotografie Prague: Státní Nakladatelství Krásné Literatury, Hudby a Uméní, 1956. First edition. Small 4to. 232, (6) pp. Profusely illustrated with photogravures, including six fold-out plates. Tan cloth stamped in black; top edge stained black; white silk ribbon marker; previous owner’s inscription on titlepage; printed dust-jacket, lightly soiled, variously chipped, with reinforcement to folds on verso.

Josef Sudek’s (1896–1976) first monograph, designed by Františka Tichého, with poems

by Vladimíra Holana and Jaroslava Seiferta, and with a portrait of Sudek by Josefa Ehma.

Published by the State Belles Lettres Music and Art Publishers to commemorate Sudek’s sixtieth birthday. “One of the finest books of photography ever made” (Roth, p. 144). $200-300 221 GEORGE TICE (american, b. 1938) AMISH BOY Ca. 1960s, printed ca. 1980s. Signed in pencil on recto. Gelatin silver print mounted to board.

5 x 7 3/4 in. (12.7 x 19.6cm).

George Tice is known for his images of suburban and rural American scenes, as well as his skill in photographic printing—he worked as master printer for Edward Steichen and has printed portfolios of Edward Weston’s work, among others. $1,000-1,500 222 GEORGE TICE (american, b. 1938) VIRGINIA’S PLACE, HANNIBAL, MISSOURI 1982, printed 11/27/92. Signed in pencil on board below image, and with title, date, and notations in pencil on verso. Selenium-toned gelatin silver print mounted on board.

Image: 7 3/8 x 9 1/2 in. (18.7 x 24.1cm).

Board: 11 x 14 in. (27.9 x 35.6cm).

George Tice is known for his images of suburban and rural American scenes, as well as his skill in photographic printing—he worked as master printer for Edward Steichen and has printed portfolios of Edward Weston’s work, among others. $1,000-1,500

223 MIROSLAV TICHÝ (czech, 1926–2011) UNTITLED Ca. 1950-1980. “4” in pencil on verso.

Gelatin silver print.

Image/sheet: approximately 7 x 5 in.

(17.8 x 12.7cm).

Miroslav Tichý built his own cameras using materials such as bottle caps, cigar boxes, toilet paper rolls, tin cans, and clothing elastic. This gave his photographs their signature flaws, which he compounded by deliberately making mistakes while printing them. He made only one print from each negative. Tichý almost exclusively took photos of unsuspecting women; his methods were considered subversive in his native Czechloslovakia and he was arrested more than once at the local pool for taking photos without permission. $400-600 224 MIROSLAV TICHÝ (czech, 1926–2011) UNTITLED Ca. 1950-1980. “32” in pencil on verso. With certificate of authenticity issued by Prague Auctions. Gelatin silver print.

Image/sheet: approximately 7 x 4 1/2 in.

(17.8 x 10.8cm).

Miroslav Tichý built his own cameras using materials such as bottle caps, cigar boxes, toilet paper rolls, tin cans, and clothing elastic. This gave his photographs their signature flaws, which he compounded by deliberately making mistakes while printing them. He made only one print from each negative. Tichý almost exclusively took photos of unsuspecting women; his methods were considered subversive in his native Czechloslovakia and he was arrested more than once at the local pool for taking photos without permission. $400-600 225 MIROSLAV TICHÝ (czech, 1926–2011) UNTITLED Ca. 1950-1980. “33” in pencil on verso. With certificate of authenticity issued by Prague Auctions. Gelatin silver print.

Image/sheet: approximately 7 x 4 1/2 in.

(17.8 x 10.8cm).

Miroslav Tichý built his own cameras using materials such as bottle caps, cigar boxes, toilet paper rolls, tin cans, and clothing elastic. This gave his photographs their signature flaws, which he compounded by deliberately making mistakes while printing them. He made only one print from each negative. Tichý almost exclusively took photos of unsuspecting women; his methods were considered subversive in his native Czechloslovakia and he was arrested more than once at the local pool for taking photos without permission. $400-600

226 MIROSLAV TICHÝ (czech, 1926–2011) UNTITLED Ca. 1950-1980. “40” in pencil on verso. With certificate of authenticity issued by Prague Auctions. Gelatin silver print.

Image/sheet: approximately 7 x 4 1/4 in.

(17.8 x 10.8cm).

Miroslav Tichý built his own cameras using materials such as bottle caps, cigar boxes, toilet paper rolls, tin cans, and clothing elastic. This gave his photographs their signature flaws, which he compounded by deliberately making mistakes while printing them. He made only one print from each negative. Tichý almost exclusively took photos of unsuspecting women; his methods were considered subversive in his native Czechloslovakia and he was arrested more than once at the local pool for taking photos without permission. $400-600 227 Tmej, Zdenek (Czech, 1920–2004) Abeceda: Duševního Prázdna Prague: Nakladatelství Zádruha, 1946. First edition. 4to. Unpaginated. Illustrated with photogravures. Stiff wrappers, variously chipped; rubber stamps to recto of first free leaf and copyright page, possibly ex-library; dust-jacket wanting.

Photographs by Zdenk Tmej with text by Alexandra Urbanová. Tmej’s “Alphabet of Spiritual Emptiness” largely consists of photos surreptitiously taken at Breslau in 1942 while forced to work for the Nazi war effort. (Roth, p.124.). $200-300 228 Tmej, Zdenek (Czech, 1920–2004) Abeceda: Duševního Prázdna Prague: Nakladatelství Zádruha, 1946. First edition. 4to. Unpaginated. Illustrated with photogravures. Stiff wrappers in photographic dust-jacket, variously chipped, with large chip affecting last “A” in title.

Photographs by Zdenek Tmej with text by Alexandra Urbanová. Tmej’s “Alphabet of Spiritual Emptiness” largely consists of photos surreptitiously taken at Breslau in 1942 while forced to work for the Nazi war effort. (Roth, p.124.). $1,000-1,500 229 [Toyen] (designer) Matka: Povídky a medailony Prague: Rudolf Kmoch, 1943. 8vo. 175 pp.

With frontispiece by Toyen. Quarter cloth over decorated paper-covered boards; photographic dust-jacket also designed by Toyen.

With André Breton’s help, the painter Toyen (1902–1980) helped make Prague a significant center for Surrealist activity. Born Marie Cermínová, he adopted the name Toyen, dressed in men’s clothes, and used masculine pronouns. $100-150

230 [TRAVEL & EXPLORATION] GROUP OF SIX PORTRAITS OF CHINESE MEN AND WOMEN Ca. 1890s. With pencil notations on versos.

Two albumen prints, one coated albumen print, one gelatin silver print, and one collodion silver print.

Ranging in size from 4 x 5 3/4 in.

(10.2 x 14.6cm) to 6 x 4 in. (15.2 x 10.2cm).

Includes a group portrait of male musicians and two portraits of women, one with bound feet, and a group of wrestlers. $300-500

234 ARTHUR TRESS (american, b. 1940) YOUNG MAN STANDING BY RAILROAD TRACK Ca. 1980. Tress’s New York studio stamp and pencil notation in an unknown hand on verso. Gelatin silver print.

Image/sheet: 8 x 7 7/8 in. (20.3 x 20cm).

Arthur Tress began his career as a documentary photographer but in the 1970s he began experimenting with manipulating his photographs to create dream-like images. $200-300

231 [Travel & Exploration] Group of 22 Albumen Prints Ca. 19th century. Primarily albumen prints mounted to later paper. Size and condition varies. Photographers include H. Arnoux (2), G. Lekegian (2), Langaki (1), Gonzalez (1), all others unidentified. note: Locations depicted include Egypt, France, Monaco, Rome, the Alhambra in Granada, and others. $100-150

235 [Ulmann, Doris] Peterkin, Julia Roll, Jordan, Roll New York: Robert O. Ballou, (1933). First deluxe edition, one of 350 copies signed by Ulmann and Peterkin on limitation page, this copy out of series. Illustrated with 90 handpulled photogravure plates by Ulmann; lacking the additional laid in photogravure plate signed by her; lacking all but two of the tissue guards. Publisher’s three-quarter white cloth over brown paper-covered boards, lightly worn, white cloth soiled and slightly darkened, boards slightly faded; front cover with debossed image of an AfricanAmerican woman, back cover with publisher’s device stamped in gilt; spine lettered in gilt; top edge gilt, other edges untrimmed; slip case wanting; previous owner’s note in pencil on front free endpaper: “Compliments of the author & Dr. Holland.” note: “Ullman’s (sic) soft-focus photos - rendered as tactile as charcoal drawings in the superb gravure reproductions here - straddle Pictorialism and Modernism as they appear to dissolve into memory” (Roth, p.78-79) $2,000-3,000

232 [TRAVEL & EXPLORATION] ALBUM OF CORNELIUS KRAUSE MEXICO LAND INVESTIGATION Ca. 1923. Oblong 4to. Album of panoramic gelatin silver prints, corners bumped. Forty image sheets mounted to black paper album pages, with two images per sheet and descriptive text on each photo.

Images: approximately 3 1/2 x 9 1/2 (8.9 x 24.1cm) each.

Sheete: 8 x 9 3/4 in. (20.3 x 24.8cm).

Cornelius Krause (1886–1968) was born in Manitoba, Canada, on a Mennonite reserve.

These photos were collected by him and taken by a Mexican land agent that traveled with Krause and other delegates who were considering moving a group of Mennonites from Canada to Mexico. $400-600 233 ARTHUR TRESS (american, b. 1940) CHINA EMPLOYMENT AGENCY Ca. 1980. Tress’s New York studio stamp and pencil notation in an unknown hand on verso. Gelatin silver print.

Image/sheet: 8 x 7 7/8 in. (20.3 x 20cm).

Arthur Tress began his career as a documentary photographer but in the 1970s he began experimenting with manipulating his photographs to create dream-like images. $400-600

236 [Various] The Quiet in the Land Portfolio New York: Laumont Editions, 2006. Edition #31/50. Twenty-four signed c-prints (11 x 14 in. [27.9 x 35.6cm] each) in falldown-back box, lower right corner bumped, bound in silk designed by Carol Cassidy, with clasp by Lorenz Bäumer. Prints are signed, numbered, and dated by artist on verso of each. Prints by: Marina Abramovic, Janine Antoni, Hans Georg Berger, Cai Guo-Qiang, Ann Hamilton, Dinh Q. Lê, Jun NguyenHatsushiba, Shirin Neshat, Vong Phaophanit, Allan Sekula, Shahzia Sikander, and Rirkrit Tiravanija. $5,000-7,000

237 ALBERTO VENZAGA (swiss, b. 1950) FIVE PHOTOGRAPHS OF SOUTH AFRICA DURING APARTHEID, 1986 1986. Printed blurb, number code in ink, and Magnum Photos stamp, on verso of each.

Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 1/2 in. (14.6 x 21.6cm) each.

Sheet: 7 x 9 1/2 in. (17.8 x 24.1cm) each.

Alberto Venzaga worked for Magnum Photos, a co-operative of documentary photographers, for four years, and is a photojournalist and filmmaker. $600-800 238 [VERNACULAR] MAN READING ABOARD SHIP Ca. 1930s. Gelatin silver print. Light edge wear.

14 x 11 in. (35.5 x 27.9cm). $100-150 239 [Vernacular] POINTER DOG PORTRAIT No date but 20th century. Gelatin silver print on heavy paper stock; light edge wear.

11 x 14 in. (27.9 x 35.5cm). $80-120 240 ROMAN VISHNIAC (american/russian, 1897–1990) THREE PHOTOGRAPHS Cheder Students, Vrchni Apsa: 1937, printed in 1943. Printed newsprint caption, dated 28-43 adhered to verso. Gelatin silver print.

Image: 5 3/4 x 6 1/2 in. (14.6 x 16.5cm); sheet: 6 x 7 in. (15.2 x 17.8cm). Printed as a press photo for an exhibition of Vishniac’s works at Teacher’s College, Columbia University.

And (Untitled) Woman on Park Bench, Paris: ca.

1937, printed in 1943. Printed newsprint caption adhered to verso. Gelatin silver print.

Image: 8 x 6 1/2 in. (20.3 x 16.5cm); sheet: 9 x 7 in. (22.9 x 17.8cm). Printed as a press photo for an exhibition of Vishniac’s works at Teacher’s College, Columbia University.

And Grandfather and Granddaughter: 1937, printed in 1972. Printed caption taped to verso, copyright stamp in blue to same.

Gelatin silver print. Image: 7 3/8 x 9 1/2 in.

(18.73 x 24.13cm); sheet: 7 3/4 x 10 1/8 in.

(19.68 x 25.71cm). Printed as a press photo for an exhibition and book “The Concerned Photographer 2” at the International Center of Photography. $500-800

241 FRANTIŠEK VOBECKÝ (czech, 1902–1990) RECLINING WOMAN 1936. Signed in ink on recto. Titled and dated in pencil on verso. Gelatin silver print.

Image/sheet: 11 3/4 x 15 1/2 in.

(30 x 39.4cm).

František Vobecký took up photography in order to document his paintings, but began experimenting with photomontages in the 1950s. These started as collages of everyday items but soon showed a Surrealist influence. $600-800 242 FRANTIŠEK VOBECKÝ (czech, 1902–1990) VZPOMÍNKY 1936. Signed and titled in pencil on verso.

Gelatin silver print.

Image/sheet: 15 1/2 x 11 5/8 in.

(39.4 x 29.5cm).

František Vobecký took up photography in order to document his paintings, but began experimenting with photomontages in the 1950s. These started as collages of everyday items but soon showed a Surrealist influence. $400-600 243 Weber, Bruce Brothers Los Angeles: Twelvetrees Press, 1983. First edition, limited to 5,000 copies. Folio.

Unpaginated. Profusely illustrated with monochromatic photogravures. Dark blue cloth, stamped in blind, top front corner bumped and bottom edge faded; photographic dust-jacket, with minor indents on rear panel. $100-150 244 JACK WELPOTT (american, 1923-2007) JANET IN HER ROOM 1972. Signed in pencil on verso. Gelatin silver print.

Image 9 5/8 x 12 1/8 in. (24.4 x 30.8cm).

Sheet: 10 7/8 x 13 7/8 in. (27.6 x 35.2cm).

Jack Welpott is known for his nude studies of women and for his early documentary photographs of his midwestern community, many of which were published in Driving to Stony Lonesome (2006). $600-800 245 BRETT WESTON (american, 1911-1993) LAKE AND ERODED ROCKS 1969. Signed in pencil on recto of mount.

Gelatin silver print mounted on board.

Image: 9 1/4 x 7 3/4 in. (23.5 x20cm).

Board: 15 x 13 1/4 in. (38.1 x33.7cm).

Brett Weston, son of Edward Weston, was part of Group f/64, which formed in California in the 1930s. They were proponents of “pure photography”—stark, highly detailed large-format black-and-white images. Other members included Ansel Adams, Willard Van Dyke, and Imogen Cunningham. $800-1,200

246 BRETT WESTON (american, 1911-1993) LEAF AND RAINDROPS 1979. Signed in pencil on recto of board.

Gelatin silver print mounted to board.

Image: 10 1/2 x 11 1/8 in. (26.7 x 28.3cm).

Board: 15 x 17 5/8 in. (38.1 x 44.8cm).

Brett Weston, Edward Weston’s son, was part of Group f/64, which formed in California in the 1930s. They were proponents of “pure photography”—stark, highly detailed large-format black-and-white images. Other members included Ansel Adams, Willard Van Dyke, and Imogen Cunningham. $1,000-1,500 247 EDWARD WESTON (american, 1888-1958) NUDE, CHARIS WILSON 1936, printed 1988. Text on verso of frame in unknown hand: “Test strip of a photo taken

by Edward Weston, but made by his youngest son Cole Weston, 1988, in Boca Raton, Florida, signed on back and given to Joan Rosenstein.” Also signed by Cole Weston in pencil on verso of print and dated 1988. Gelatin silver print.

5 x 8 in. (12.7 x 20.3cm).

Charis Wilson (1914-2009) was Edward Weston’s wife, assistant, and model. She wrote the application that won Weston a Guggenheim grant in 1937 (the first to be awarded to a photographer), and is believed to have written a number of articles attributed to Weston. Cole Weston (19192003), Weston’s son, inherited his negatives and printed them for decades after. Joan Rosenstein was a painter, photographer, and student of Cole Weston. $1,000-1,500 248 EDWARD WESTON (american, 1888-1958) NUDE ON DUNES 1939, printed 1980s. Printed on verso: “Negative by Edward Weston/Print by Cole Weston”, and with Edward’s name stamped and Cole’s signature in pencil. Gelatin silver print (matted).

Image: 7 x 8 7/8 in. (17.8 x 22.5cm).

Sheet: 13 1/4 x 14 7/8 in. (33.7 x 37.8cm).

Maudelle Bass Weston (1908-1989) was a dancer who also modeled for Diego Rivera.

Despite her last name, she was not related to any of the Westons. Cole Weston (19192003), Edward Weston’s son, inherited his father’s negatives and printed from them for decades after. $1,000-1,500

249 EDWARD WESTON (american, 1888-1958) SHELL (NAUTILUS) 1927, printed 1980s. On verso of mount: “Negative by Edward Weston/Print by Cole Weston”, with Edward’s name stamped and Cole’s signature in pencil. Gelatin silver print.

Image: 9 3/8 x 7 1/4 in. (28.3 x 18.4cm).

Mount: 14 7/8 x 13 1/8 in. (37.8 x 33.3cm).

Cole Weston (1919-2003), Edward Weston’s son, inherited his father’s negatives and printed from them for decades after. $1,500-2,500 250 MARION POST WOLCOTT (american, 1910–1990) NEGRO CHURCH NEAR MANNING, SOUTH CAROLINA 1939, printed ca. 1970s. Title, dates, and code in pencil in an unknown hand, and “Reproduced from the Collections of the Library of Congress” label on verso. Gelatin silver print.

Image: 7 x 9 1/2 in. (17.8 x 24.1cm).

Sheet: 7 3/4 x 10 in. (19.7 x 25.4cm).

Marion Post Wolcott worked for the Farm Security Administration from 1938 until 1942, during which time she photographed the many migrant workers affected by the Depression, as well as wealthy subjects who were able to avoid its devasting effects. $200-300 251 [World War I] Album of World War I Cavalry and Infantry Photographs 24 original gelatin silver prints mounted on 12 leaves; green cloth-bound album, lettered in gilt.

Each photo approximately 3 x 4 in.

(7.6 x 10.1cm). $100-150 252 [World War II] Group of 34 Associated Press Photos of the Pacific Ocean Theater of World War II Ca. 1945-1946. 34 gelatin silver prints. Each photo with printed caption sheet. Condition varies.

Each approximately 7 x 9 in.

(17.7 x 22.8cm). note: 34 press photos of the Pacific Theater of WWII and the aftermath of Allied victory.

Subjects include five photos of the War Crimes trial of Lt. Gen. Tomoyuki Yamashita, eight photos of Allied troop subjects, and 21 photos of Japanese Army subjects. $200-300

253 [WORLD WAR II] GROUP OF 85 PHOTOS OF WWII-ERA AIRPLANE PRODUCTION 1942–43. Various credit stamps and captions printed on versos. Gelatin silver prints.

ImageS: 7 3/4 x 9 1/2 in. (19.7 x 24.1cm) each.

Sheets: 8 x 10 in. (20.3 x 25.4cm) each.

Eighty-five press photographs, mostly from Pratt & Whitney Company and Lockheed, showing men and women engaged in wartime airplane production. Some taken under the auspices of the Office of Emergency Management (O.E.M.). Most photographs are credited to (Andreas) Feininger, (Alfred T.) Palmer, (David) Bransby, and (Alexander) Liberman. A few are credited as “Official British Photo” from the Office of War Information (OWI). $500-700 254 CHERYL YOUNGER (american, b. 1946) MY DAUGHTER IS THE ONE IN THE TUTU WITHOUT SEQUINS 1980. Gelatin silver print.

Sight: 11 1/2 x 17 3/4 in. (29.2 x 45.1cm); not examined out of frame.

Framed. provenance: The Avon Collection, New York, New York. $200-300 255 PATRICK ZACHMAN (french, b. 1955) TWO PHOTOGRAPHS OF THE NEW FACE OF CHINA 1987. Printed label, printed description and photo caption, Magnum Photos Inc. stamp, and notations in pencil and ink on versos.

Resin-coated gelatin silver prints.

Images: 5 3/4 x 8 3/4 (14.6 x 22.2cm).

Sheets: 7 x 9 1/2 in. (cm).

Ian Berry joined Magnum Photos, a cooperative of documentary photographers, in 1990. He is known for his photographs of Jewish communities in France, the Naples police and Mafia, and the 1989 events at Tiananmen Square in Beijing. $200-300 256 Y.A. ZMATLIK THE TUNE OF THE WINTER ON THE MLODAU 1934. Signed in pencil below image. Title in ink in an unknown hand, with Museum of Science and Industry, Chicago, IL, label and stamp on verso. Accompanied by a letter from the museum certifying that the photo was in its collection from the early 1930s until 2005. Gelatin silver print mounted on board.

Image: 10 5/8 x 10 1/2 in. (27 x 26.7cm).

Sheet: 17 3/8 x 13 1/2 in. (44.1 x 34.3cm). $200-300

PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Megan Latona at mlatona@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property.

Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property.

Annie Hauls Michael Topley Lambertville, NJ 08530 609.577.5133 annie@anniehauls.com *East Coast deliveries only

Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Art In Transit Nick Clarke 2052 Coral Street Philadelphia, PA 19125 540.550.7080 nclarke@artintransit.net

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

Atelier Art Services ‡ Katie Campbell 1330 North 30th Street Philadelphia, PA 19144 215.842.3500 | Fax: 215.235.0421 estimates@atelierfas.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com

The Packaging Store ‡ Alex Long 1513 Gehman Road Harleysville, PA 19438 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts ‡ Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com

‡ Shippers that can fulfill international deliveries

IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale.

Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms.

Forms should be submitted to our Client Services office on the second floor.

Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale.

Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid.

By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale.

In writing Bid forms are available in the sale room and at the back of the catalogue.

These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit.

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids.

Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released.

Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us.

Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale.

Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot.

If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

v10.2019

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale.

By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property.

Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer.

The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/ her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of thebuyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1%of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all

costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved

by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

v2.2016

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Darren Winston dwinston@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com

Mid-Atlantic Samuel T. Freeman III sfreeman@freemansauction.com

Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President

Departments

Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Whitney Bounty wbounty@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Megan Latona mlatona@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Antiquities & Tribal Art Alex Tweedy atweedy@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Sawyer Thomson sthomson@freemansauction.com Oriental Rugs & Carpets David M. Weiss dweiss@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Sarah Riley, GG sriley@freemansauction.com

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