PASSION & HUMANITY: THE SUSIE TOMPKINS BUELL COLLECTION [Catalogue]

PASSION & HUMANITY THE SUSIE TOMPKINS BUELL COLLECTION

“. . . IT IS WITH RESPONSIBILITY THAT THE PHOTOGRAPHER AND HIS MACHINE ARE BROUGHT TO THEIR ULTIMATE TEST. HIS MACHINE MUST PROVE THAT IT CAN BE ENDOWED WITH THE PASSION AND HUMANITY OF THE PHOTOGRAPHER; THE PHOTOGRAPHER MUST PROVE THAT HE HAS THE PASSION AND HUMANITY WITH WHICH TO ENDOW THE MACHINE.” DOROTHEA LANGE, 1952

33.00.TINA MODOTTI artist

PASSION & HUMANITY THE SUSIE TOMPKINS BUELL COLLECTION New York, 4 April 2019

AUCTION &

PHOTOGRAPHS

VIEWING LOCATION

DEPARTMENT CONTACT

450 Park Avenue, New York 10022

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AUCTIONS

DEPUTY CHAIRMAN, AMERICAS,

4 April, 10am, Photographs (lots 59–253) 4 April, 5pm, Passion & Humanity: The Susie Tompkins Buell Collection (lots 1–58)

Vanessa Hallett vhallett@phillips.com

WORLDWIDE HEAD OF PHOTOGRAPHS

SENIOR INTERNATIONAL SPECIALIST VIEWING

27 March – 4 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm SALE DESIGNATION

When sending in written bids or making enquiries please refer to this sale as NY040019 or Passion & Humanity.

Christopher Mahoney cmahoney@phillips.com HEAD OF SALE

Caroline Deck cdeck@phillips.com HEAD OF DEPARTMENT, NEW YORK

Sarah Krueger skrueger@phillips.com

ABSENTEE AND TELEPHONE BIDS

SPECIALIST

tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Rachel Peart rpeart@phillips.com SPECIALIST, REGIONAL DIRECTOR, CHICAGO

Carol Ehlers cehlers@phillips.com CATALOGUER

Clare Milliken cmilliken@phillips.com ADMINISTRATOR

Alexander Weinstock aweinstock@phillips.com

PASSION & HUMANITY THE SUSIE TOMPKINS BUELL COLLECTION

The Susie Tompkins Buell Collection of photography is one of the fnest and most select collections in private hands. Replete with masterpieces by Tina Modotti, Edward Weston, Edward Steichen, Imogen Cunningham, and Dorothea Lange, among many others, the collection is undeniably remarkable. It was built with feeling and intelligence, with passion and humanity.

Susie Tompkins Buell’s early engagement with photography in the 1980s and 1990s shaped the market in the decades that followed. Her auction purchases of fne prints by Weston and Modotti for record prices in 1991, which made headline news in the art press and was noted by The New York Times, brought a new awareness to photography. Working in conjunction with her curator and close friend Merrily Page, she built her collection piece-by-piece, with strict attention paid to the quality of the images, and equally to the quality of the prints themselves. This all-important focus on quality resulted in a collection rich in prints in their ideal states: Weston’s Palm Trunk, Cuernavaca (lot 21), on its original mount

and signed and dated in-full by him; Steichen’s Heavy Roses, Voulangis, France (lot 15), with its subtle use of solarization; and Margaret Bourke-White’s 1937 Flood Refugees, Louisville, Kentucky (lot 4), that bears a 1938 exhibition label, are just three examples among many ideal prints in this collection. These images have lost none of their aesthetic or social resonance since the time of their making.

Ms. Buell was a market maker at a crucial time in the photography world, when the medium was just beginning to come into its own, and to evolve from a “collectible” into a mature and fully-formed feature of the fne-art market. Her commitment to photography was a major endorsement. Afer setting her sights on a worthy photograph, she was unafraid to pursue it past its high estimate, frequently setting artist records in the process. The quality of the collection, in terms of its overall aesthetic, thematic unities, and the fneness of its individual parts, is a testament to her vision and determination.

Although the collection has many masterpiece-level works, Ms. Buell’s vison extended beyond icons. She championed photographers such as Alma Lavenson and Consuelo Kanaga long before their achievements were generally acknowledged. The collection’s outstanding Dorothea Lange holdings show not only several of the photographer’s most famous images, but also many lesser-known but equally powerful photographs. This inclusion of under-represented photographers and images is one of the great strengths of the collection.

Ms. Buell’s approach to collecting photography parallels her political activism and involvement in causes benefting women, girls, and civil rights.

Another strength lies in its thoughtful combination of aesthetic and social concerns: the intersection between

Photograph by Laure Joliet for Remodelista, from ‘A Home at the Top of the World, San Francisco Edition’ Opposite: Credit David Butow/Redux

Modernism and social realism; between a sensibility informed by the art historical and a sensitivity informed by the social struggles of a changing world; between the passion of the photographers behind the camera and the humanity of the subjects captured by their lenses. The photographs demonstrate the medium’s ability to fnd beauty in the ordinary, as well as the role that it can play in efecting change through a more sincere representation of the world around us.

From the formal triumphs of Weston and Steichen, to Modotti’s masterful balance between the artistic and the documentary, to Lange’s and Kanaga’s supremely empathetic portraits, Susie Tompkins Buell’s collection is not one thing, it is the intersection of many things, all of which are celebrated within the pages of this catalogue.

THIS INTERVIEW WITH SUSIE TOMPKINS BUELL WAS CONDUCTED BY ALLIE HAEUSSLEIN, ASSOCIATE DIRECTOR OF PIER 24 PHOTOGRAPHY, AND WAS ORIGINALLY PUBLISHED IN SLIGHTLY EXPANDED FORM ON THE OCCASION OF THEIR EXHIBITION COLLECTED IN 2016.

Allie Haeusslein: How long have you been collecting art?

AH: What has surprised you most?

Susie Tompkins Buell: I’ve been collecting photography for twenty-four years.

STB: How I never get tired of a really great image— I only go deeper with it.

AH: Why did you start collecting?

AH: Who or what has infuenced you?

STB: I was setting up a new apartment, and I simply wanted to fll my walls with beautiful images that moved me—I never thought of my photography collection as a fnancial investment, but rather as an emotional one.

They are beautiful lessons on the wall.

STB: Merrily Page, who was my friend and curator of my photography collection. Merrily helped me understand my connection to photography. She taught me that I shouldn’t buy a photograph unless it made the hair on my arm stand up.

AH: What was the frst artwork you acquired?

AH: Has your study of photography changed how you see the world?

STB: Mended Stockings by Dorothea Lange (lot 7). That photograph never ceases to amaze me. It represents something I believe in deeply: a woman holding it together with dignity during the harshest times. It is so poignant to see how Lange recognized the power of that image; it will be a lesson for centuries to come.

AH: Has your collection been shaped by a particular concept or theme?

STB: It fell into place over time—it generally speaks to me about the courage and dignity of women and their desire to express hope and trust in the most difcult times.

AH: Has your approach to collecting remained consistent over time, or have there been signifcant shifs in your interests or direction?

STB: With rare exceptions, I did all of my collecting in the ’90s—I have found that I’ve never wanted to make any changes, my collection feels complete.

STB: Yes. When strife is witnessed in a beautiful way, it allows you to take it on in a much more meaningful way.

AH: What advice would you give to someone interested in starting a collection?

STB: I would suggest that they not look at photographs as an investment. I always ask myself a key question: do I stop thinking about the image afer it’s no longer in front of me? If it’s unforgettable it’s meant to be part of my collection.

1. CONSUELO KANAGA

1894-1978

Profle of a Young Girl from the Tennessee Series, 1948 Gelatin silver print.

11 7/8 x 9 5/8 in. (30.2 x 24.4 cm) Credit stamp on the reverse of the mount.

ESTIMATE

$15,000-25,000 PROVENANCE

Simon Lowinsky Gallery, New York, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 103 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, cover and p. 100

Few photographers’ lives have threaded in and out of the history of 20th-century photography as did Consuelo Kanaga’s.

Born in Oregon, she began her photographic career at the San Francisco Chronicle, and from there her work in the medium brought her into contact with a whole host of notables: from Albert Bender to Alfred Stieglitz, from photographers associated with Group f.64 to those of New York’s Photo League. A true individualist, she connected deeply with her colleagues in the feld, but declined to become a member of any movement or devote herself to a single ideology. Her photographs were exhibited in Group f.64’s inaugural show in San Francisco in 1932 and at The Museum of Modern Art, New York, multiple times in the 1940s, 50s, and 60s. In a career that spanned decades, her approach to photography was driven exclusively by an overriding sense of empathy for her subjects.

Kanaga’s peripatetic life took her to several American cities and to Europe, and she supported herself with magazine work and portrait commissions, all the while continuing her personal photographic projects. She moved to New York permanently in 1935, and in 1936, she married the painter Wallace Putnam, from whose collection many of the Kanaga works in this sale originally come.

Kanaga was, perhaps, one of the fnest photographers to ever photograph African Americans. Her work avoided the cliché, the dramatized, or the sentimental, and focused instead on the dignity of the individuals who came before her camera. She was socially progressive in a segregated America.

According to those who knew her, she was a passionate champion of those ill-treated or ignored by society. In a 1972 interview she summed up her life’s work thus: ‘One thing I had to say in my photography was that Negroes are beautiful and that poverty is a tender and terrible subject to be approached on one’s knees’ (Camera 35, Vol. 16, no. 10).

The photograph ofered here was taken on a trip to Tennessee in 1948, a trip that resulted in what many regard as some of Kanaga’s best work.

2. DOROTHEA LANGE

1895-1965

Hand of a Young Daughter, Transplanting Sweet Potatoes, Tenant Farmers, Colored, Near Chatham, North Carolina, 1939 Gelatin silver print.

7 3/8 x 9 3/8 in. (18.7 x 23.8 cm) Signed in pencil on the mount; signed, dated and captioned extensively in ink on the reverse of the mount.

ESTIMATE

EXHIBITED

Dorothea Lange: American Photographs, San Francisco Museum of Modern Art, 19 May - 4 September 1994; and traveling to Milwaukee Art Museum; International Center of Photography, New York; Phillips Collection, Washington, D. C.; and Joslyn Art Museum, Omaha, through November 1995 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

$15,000-25,000 LITERATURE PROVENANCE

Simon Lowinsky Gallery, New York, 1990 Page Imageworks, San Francisco, as agent

Pier 24 Photography, Collected, p. 109 (this print)

3. DOROTHEA LANGE

1895-1965

Oklahoma Sharecropper and Family Entering California. Stalled on the Desert Near Indio, California, 1937 Gelatin silver print.

7 3/8 x 7 3/8 in. (18.7 x 18.7 cm) Annotated ‘16112-E’ in an unidentifed hand in pencil on the mount; a typed caption label afxed to the reverse of the mount.

ESTIMATE

$15,000-25,000 PROVENANCE

Page Imageworks, San Francisco, 1996

EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 109 (this print) Borhan, Dorothea Lange: The Heart and Mind of a Photographer, p. 149

4. MARGARET BOURKE-WHITE 1904-1971 Flood Refugees, Louisville, Kentucky, 1937 Gelatin silver print.

9 5/8 x 13 1/8 in. (24.4 x 33.3 cm) Credited and titled in a calligraphic hand in ink on the mount; credit stamp and titled in an unidentifed hand in pencil and a gold foil 1938 Grand Central Exposition label on the reverse of the mount.

ESTIMATE

$150,000-250,000

Flood Refugees, Louisville, Kentucky, dramatizes the humanitarian crisis created by the fooding of the Ohio River in 1937, which killed nearly 900 people and displaced thousands more in Louisville, hitting that city’s African-American quarter especially hard. At the time, the Louisville food was considered one of the three most disastrous foods in American history.

PROVENANCE

Christie’s, New York, 26 April 1988, lot 88 EXHIBITED

First International Photographic Exposition, Grand Central Palace, New York, 18-29 April 1938 LITERATURE

LIFE, 15 February 1937, p. 9 Goldberg, Bourke-White, p. 76 Goldberg, Margaret Bourke-White: A Biography, pl. 31 Callahan, The Photographs of Margaret Bourke-White, pp. 136-137 Callahan, Margaret Bourke-White: Photographs, p. 94 Brown, Margaret Bourke-White: Photojournalist, p. 61 Silverman, For All the World to See: The Life of Margaret Bourke-White, p. 124

Margaret Bourke-White was dispatched

by LIFE magazine in January to cover the story, and she arrived on the last fight into Louisville before the airport closed. Hitching rides on rowboats and a raf, she made her way into the city and photographed throughout the food zones. The photograph ofered here is the best of that series, capturing the harsh juxtapositions of American life at the time in a single frame. It was frst published in LIFE in February 1937. The irony of the billboard’s message was lost on no one: as LIFE’s caption wryly observed, ‘It was going to take a lot of money to restore the American standard of living in the cities and towns of the Ohio Valley.’

This photograph’s exhibition label attests to its early print date. It was shown in 1938 in the First International Photographic Exposition, held at the Grand Central

Palace in New York City. Organized by photographer and LIFE photo editor Willard Morgan, the exhibition included a large selection of images by BourkeWhite and a host of Farm Security Administration photographers, including Dorothea Lange, Walker Evans, Russell Lee, and others. While Flood Refugees, Louisville, Kentucky, is one of the most famous of Bourke-White’s images for LIFE, few early prints, especially those with a documented exhibition history, are extant. It is believed that in recent years only one other early print has appeared at auction, in 2014.

Bourke-White had covered the Dust Bowl for Fortune magazine in 1934, and the conditions she saw then opened her eyes to the devastating efects manmade and natural disasters could have on working people. Remembering the Louisville experience in her 1967 autobiography, she wrote, ‘To me this mammoth food was another bitter chapter in the bleak drama of waste of our American earth, which I had watched unfolding and had tried to record since the drought. The juxtaposition of blowing soil and rainfall, of eroded farmlands and inundated cities, made an ominous continuing pattern’ (Portrait of Myself, p. 150).

5. MARION POST WOLCOTT 1910-1990 Shoes, Made of Old Automobile Tires, of Henry Mitchell, FSA client, Greene County, Georgia, 1939 Gelatin silver print.

10 1/4 x 12 3/4 in. (26 x 32.4 cm) Signed in pencil, credited and annotated ‘Farm Security Administration, Photograph by Marion Post Wolcott’ in a calligraphic hand in ink on the recto; signed, captioned and annotated ‘An original vintage FSA print from the personal collection of M. P. W.’ in pencil on the reverse of the fush-mount.

ESTIMATE

$6,000-8,000 PROVENANCE

Page Imageworks, San Francisco, 1996

As suggested by the calligraphic credit on the recto, as well as its thick mount and large size, this photograph was almost certainly used by the Farm Security Administration as an exhibition print.

6. MARION POST WOLCOTT 1910-1990 Vegetable Pickers, Migrants, Waiting Afer Work to be Paid, Near Homestead, Florida, 1939 Gelatin silver print.

6 3/8 x 9 1/2 in. (16.2 x 24.1 cm) Signed and inscribed ‘Original vintage FSA print’ in pencil, Farm Security Administration stamp and typed caption and date on the verso.

ESTIMATE

$6,000-8,000 PROVENANCE

Collection of Graham Nash, Los Angeles Sotheby’s, New York, Photographs from the Collection of Graham Nash, 25 April 1990, lot 253 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 10 March 1996 LITERATURE

Hurley, Marion Post Wolcott: A Photographic Journey, p. 171 O’Neal, A Vision Shared: A Classic Portrait of America and Its People, 1935-1943, p. 195

7. DOROTHEA LANGE

1895-1965

A Sign of the Times–Mended Stockings, Stenographer, San Francisco, 1934 Gelatin silver print.

9 1/4 x 6 5/8 in. (23.5 x 16.8 cm) The ‘1163 Euclid Avenue, Berkeley, California, Telephone Landscape-4 3880’ credit stamp and notations in unidentifed hands in pencil and ink on the reverse of the fush-mount.

ESTIMATE

$60,000-80,000 PROVENANCE

Gif from the photographer to her son and daughter-in-law Edwynn Houk Gallery, Chicago, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Dorothea Lange: American Photographs, San Francisco Museum of Modern Art, 19 May - 4 September 1994; and traveling to Milwaukee Art Museum; International Center of Photography, New York; Phillips Collection, Washington, D.C.; and Joslyn Art Museum, Omaha, through November 1995 The American Century: Art and Culture 1900-2000, Whitney Museum of American Art, New York, 23 April - 22 August 1999 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 109 (this print) Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 6, variant Davis, The Photographs of Dorothea Lange, p. 35, variant

As recounted by Susie Tompkins Buell in the interview that prefaces this catalogue, Dorothea Lange’s A Sign of the Times—Mended Stockings was the frst photograph she acquired. Ms. Buell says of this image: ‘That photograph never ceases to amaze me. It represents something I believe in deeply: a woman holding it together with dignity during the harshest times. It is so poignant to see how Lange recognized the power of that image; it will be a lesson for centuries to come.’

8. TINA MODOTTI

1896-1942

Telephone Wires, Mexico, 1925 Palladium print.

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed and dated in pencil on the mount.

ESTIMATE

$250,000-350,000 PROVENANCE

From the photographer to Diego Rivera Private Collection Sotheby’s, New York, 14 April 1992, lot 217A Page Imageworks, San Francisco, as agent EXHIBITED

Tina Modotti: Photographs, Museum of Fine Arts, Houston, 17 December 1995 25 February 1996, and the San Francisco Museum of Modern Art, 28 March 30 May 1996 Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, pp. 111 and 113 (this print) Telegrafca Mexicana, Num. 30, April 1929, cover Lowe, Tina Modotti: Photographs, pl. 28 Schultz, et al., Tina Modotti: Photographien & Dokumente, p. 53 Hooks, Tina Modotti, pl. 5 Sullivan, Women Photographers, pl. 48

In 1923, the Italian-born flm actress and budding photographer Tina Modotti moved to Mexico City with her lover Edward Weston, and their time there was transformative for them both. In three crucial years in Mexico, Weston was introduced to a wholly new visual world that he would absorb and use in his work going forward. Modotti, who had lived in the city once before and already moved in the city’s artistic and political circles, was infuenced by Mexico in a diferent way. While Weston had far more photographic experience, Modotti was a quick study and was soon creating images which were distinct in both content and aesthetic from her mentor’s.

Modotti’s Telephone Wires, made in 1925, exemplifes how independent an artist Modotti had become during her time with Weston in Mexico. With its bold repetition of diagonal and crisscrossing lines, Telephone Wires has more in common with the Constructivist explorations of Alexander Rodchenko or László Moholy-Nagy’s New Vision than with Edward Weston’s brand of American Modernism.

Modotti’s composition is infused with the energy coursing through its wires, and is as dynamic a symbol of the modern age as any she would create.

Modotti made two studies of telephone or telegraph wires, and both were celebrated by the Estridentistas, a collective devoted to modernizing Mexico culturally. Modotti’s images of wires were perfect metaphors for the modernization and communication that the movement espoused. The Estridentistas’ goals were frst articulated in the November 1926 issue of the journal Horizonte, which illustrated Modotti’s work alongside revolutionary Mexican artists such as José Clemente Orozco, Gabriel Fernández, and Diego Rivera, the original owner of this photograph. Modotti’s inclusion in this company was a sign of her acceptance within the visually and politically radical Mexican avant-garde.

As of this writing, early prints of this image have been located in two institutional collections: The Museum of Modern, New York, and the Baltimore Museum of Art.

9. TINA MODOTTI

1896-1942

Campesinos, 1926 Platinum or palladium print.

8 3/8 x 7 3/8 in. (21.3 x 18.7 cm) Vittorio Vidali’s ‘Commander of the Fifh Regiment’ stamp, reduction and other annotations in unidentifed hands in pencil on the verso.

ESTIMATE

$150,000-250,000 PROVENANCE

From the photographer to Vittorio Vidali By descent to his son Carlos Vidali Sotheby’s, New York, 17 April 1991, lot 211 Page Imageworks, San Francisco, as agent EXHIBITED

Tina Modotti: Photographs, Philadelphia Museum of Art, 16 September - 26 November 1995, and traveling to The Museum of Fine Arts, Houston; and the San Francisco Museum of Modern Art through 1996 Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April - 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Lowe, Tina Modotti: Photographs, pl. 66 (this print) Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 58 (this print) Pier 24 Photography, Collected, p. 112 (this print) Mexican Folkways, August-September 1926 Schultz, et al., Tina Modotti: Photographien & Dokumente, p. 94 Hooks, Tina Modotti: Photographer and Revolutionary, p. 122 Hooks, Tina Modotti, pl. 15 Agostinis, Tina Modotti: Gli Anni Luminosi, p. 107 Albers, Shadows, Fire, Snow: The Life of Tina Modotti, n.p.

Robert Miller and Spencer Throckmorton, Tina Modotti, Photographs, pl. 19 Aperture Masters of Photography: Tina Modotti, p. 63 Throckmorton Fine Art, Tina Modotti and Edward Weston: Mexican Years, pl. 29

Tina Modotti’s involvement in the political conficts of her adopted country was far stronger than that of Edward Weston, her lover and photographic mentor. While Weston’s fascination with Mexican culture was evident in his fnely conceived studies of handcrafs and architecture, his chief interests were always in the formal concerns of photography. In contrast, Modotti had an abiding concern for the struggles of the Mexican working class, and many of her most powerful photographs refect this. Nowhere do her formal and social concerns coalesce so successfully as in Campesinos, in which marching workers in a May Day parade are united with a composition of solidarity and strength.

The present print is only the second early example of this image to be ofered at auction. It comes originally from the collection of Vittorio Vidali (1900-1983), Modotti’s friend and companion in the last years of her life. Upon her death in 1942, Vidali inherited the negatives and photographs that had remained in her possession. This print (as well as the print of Roses, Mexico, ofered as lot 33), bears his stamp, which dates to the time of the Spanish Civil War.

Actual size

10. CONSUELO KANAGA

1894-1978

School Girl (St. Croix), 1963 Gelatin silver print.

9 1/2 x 7 in. (24.1 x 17.8 cm) Credit stamp on the verso.

ESTIMATE

$6,000-8,000 PROVENANCE

Page Imageworks, San Francisco, 1995 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 103 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 99 Sullivan, Women Photographers, pl. 51

11. CONSUELO KANAGA

1894-1978

Two Hands, 1930 Gelatin silver print.

6 1/4 x 9 1/4 in. (15.9 x 23.5 cm) Signed and titled in pencil on the mount; a typed credit and title label afxed the reverse of the mount.

LITERATURE

Pier 24 Photography, Collected, p. 102 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 63 Heyman, Seeing Straight: The f.64 Revolution in Photography, pl. 77

ESTIMATE

$10,000-15,000 PROVENANCE

Christie’s, New York, 5 October 1995, lot 335 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

The image ofered here was likely one of two photographs by Consuelo Kanaga included in the exhibition A Showing of Hands, held at San Francisco’s de Young Museum in 1932.

In a society still segregated at that time, Kanaga’s radical photograph treats its subject with sensitivity and respect.

12. EDWARD WESTON

1886-1958

Circus Tent, 1924 Platinum or palladium print.

9 1/4 x 7 1/4 in. (23.5 x 18.4 cm) Signed, dated and annotated ‘Mexico D. F.’ in pencil on the verso; signed, initialed, annotated ‘Mexico D. F.’ and numbered 9/50 in pencil on the mount.

ESTIMATE

$400,000-600,000 PROVENANCE

From the photographer to a San Francisco pianist By descent to her son Private Collection, Chicago Sotheby’s, New York, 7 April 1998, lot 205 Page Imageworks, San Francisco, as agent EXHIBITED

Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 LITERATURE

Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 116 Neutra, Amerika. Die Stilbildung des neuen Bauens in den Vereinigten Staaten, p. 10 Conger, Edward Weston in Mexico 1923-1926, p. 33, pl. 3 Bunnell, ed., EW 100: Centennial Essays in Honor of Edward Weston, fg. 21 Mora, et al., Edward Weston: Forms of Passion, fg. 1 Newhall, Supreme Instants: The Photography of Edward Weston, pl. 17 Lowe, Tina Modotti: Photographs, p. 24, fg. 13

The photograph shown on its full mount

Made within Edward Weston’s frst year in Mexico, Circus Tent represents one of the photographer’s most decisive steps into abstraction. As with much of the work Weston created in Mexico, this image marks a departure from his previous approach and shows him entering a new phase of exploration which would take him in several productive aesthetic directions. Circus Tent is one of the triumphs of Weston’s Mexican period and is undeniably a standout image within an oeuvre that is remarkable for its quality. Presented here, on its original full mount, this print is a superb example of this formative period in Weston’s career.

Weston made this image in March 1924 on a visit to the Gran Circo Ruso, a circus outft run by Russian refugees. Afer seeing an evening performance, he and Tina Modotti returned the next day with their cameras. In his daybook, he writes, ‘I took my Grafex to the circus, made negatives of the graceful folds, the poles and ropes of the tents,’ noting that ‘Tina too made several good things of the circus’ (Daybooks, Mexico, p. 53). On March 26 he recounts printing the photograph, pleased that he had ‘pulled a good print from the negative’ (ibid., p. 59).

The photograph proved to be an important one from the time of its making. Weston included it in his critically successful Aztec Land Gallery exhibition in that year, where Diego Rivera praised it as his favorite (ibid., p. 98). It was included in Weston’s 1927 exhibition at the Los Angeles County Museum.

Additionally, designer and architect Richard Neutra, who had chosen Weston to select West Coast work for the 1929 Film und Foto exhibition in Stuttgart, illustrated it in his infuential book Amerika (Vienna, 1930). Despite the image’s early and continuing signifcance, prints of it are scarce. The Center for Creative Photography, Tucson, and the Oakland Museum hold gelatin silver prints in their collections.

Another platinum-palladium print is reported in a private collection. It is believed that this is the only early print of this image to appear at auction.

13. ALMA LAVENSON

1897-1989

Self Portrait, 1932 Gelatin silver print, printed 1980s.

7 x 9 3/8 in. (17.8 x 23.8 cm) Signed, titled and annotated ‘32/68’ in pencil on the verso.

ESTIMATE

$8,000-12,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1989 Page Imageworks, San Francisco, as agent

EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 106 (this print) Ehrens, Alma Lavenson: Photographs, cover and p. 87 Fuller, Alma Lavenson, p. 1

Like her friend Consuelo Kanaga, whose portrait by Lavenson appears as lot 18, Alma Lavenson was not ofcially a member of Group f.64, but was included in the group’s landmark exhibition at San Francisco’s de Young Museum in 1932. Self-taught, and at frst a Pictorialist, she went on to become an important proponent of American Modernism.

14. ALMA LAVENSON

1897-1989

Glass Study, 1931 Gelatin silver print.

8 x 10 3/4 in. (20.3 x 27.3 cm) Signed in pencil in the margin; titled and annotated ‘N1931, P1931’ in pencil on the verso.

ESTIMATE

EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

$20,000-30,000 LITERATURE PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1991 Page Imageworks, San Francisco, as agent

Pier 24 Photography, Collected, p.107 (this print)

15. EDWARD STEICHEN

1879-1973

Heavy Roses, Voulangis, France, 1914 Palladium print, solarized.

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

$400,000-600,000 PROVENANCE

Collection of the Steichen family Houk Friedman, New York, 1991 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 LITERATURE

Steichen, A Life in Photography, pl. 62 Sandburg, Steichen the Photographer, p. 33 Longwell, Steichen: The Master Prints 1895 – 1914, pl. 72 Joanna Steichen, Steichen’s Legacy, pl. 308 Photo Poche, Edward Steichen, pl. 24 Ewing, Flora Photographica: Masterpieces of Flower Photography, from 1835 to the Present, pl. 11

Heavy Roses, Voulangis, France, was made shortly before Edward Steichen lef the country at the outset of World War I. Steichen’s extended French sojourn, living in Voulangis in a cottage surrounded by fower gardens, was an especially formative time in his career. During this time, painting gave way to photography as his chief artistic pursuit, and he continued to experiment and refne his approach to the modern medium. In Steichen’s photography, this period marked a slow but steady trend away from the atmospheric efects of Pictorialism toward a fuller exploitation of the camera’s capacity to capture the detail and volume of objects. It has been suggested that Heavy Roses was the last photograph Steichen made before feeing Europe.

Whether or not this is the case, the photograph has an elegiac quality. Its detailed account of its subject matter suggests an acceptance of the realities that faced Steichen at this junction.

The unifying constant throughout Steichen’s long career in photography is his rigorous attention to craf. The present print is an exceptional example of this. Steichen solarized the print slightly by exposing it to light during development, creating a subtle but signifcant reversal of tones in the dark areas that gives the image a nearly three-dimensional appearance. The def employment of this technique heightens the photograph’s intensity, and reinforces Steichen’s reputation as one of the fnest photographic printers in the history of the medium.

Heavy Roses, Voulangis, France, remains one of Steichen’s most celebrated images, yet early prints of it are scarce. The Museum of Modern Art, New York, has in its collection a palladium print believed to have been made close to the time of the negative.

Three gelatin silver prints made by Steichen at various dates have appeared at auction, as well as several prints made much later by Rolf Petersen. It is believed that the present photograph is the only palladium print to appear at auction.

16. ALMA LAVENSON

1897-1989

Iris, 1932 Gelatin silver print.

9 3/8 x 7 1/2 in. (23.8 x 19.1 cm) Signed twice, dated in pencil and titled in ink on the verso.

ESTIMATE

$15,000-25,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1990 Page Imageworks, San Francisco, as agent LITERATURE

Ehrens, Alma Lavenson: Photographs, p. 6

17. EDWARD STEICHEN

1879-1973

Magnolia Blossoms, Voulangis, France, circa 1921 Gelatin silver print.

7 5/8 x 9 3/8 in. (19.4 x 23.8 cm) ESTIMATE

$40,000-60,000 PROVENANCE

Collection of Kate Steichen, the photographer’s daughter Simon Lowinsky Gallery, New York, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996

18. ALMA LAVENSON

1897-1989

Consuelo Kanaga, 1933 Gelatin silver print.

7 x 5 1/4 in. (17.8 x 13.3 cm) Signed and dated in pencil on the verso.

ESTIMATE

$3,000-5,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1991 Page Imageworks, San Francisco, as agent EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, pp. 105 and 107 (this print) Fuller, Alma Lavenson, p. 4 Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 35

19. CONSUELO KANAGA

1894-1978

Camellia in Water, 1927-1928 Gelatin silver print.

3 3/4 x 2 7/8 in. (9.5 x 7.3 cm) Signed and inscribed in pencil on the mount.

ESTIMATE

$5,000-7,000 PROVENANCE

Butterfeld & Butterfeld, San Francisco, 21 November 1993, lot 1759 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 103 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, frontispiece and p. 186 Actual size

20. ALMA LAVENSON

1897-1989

Auratum Lily, 1932 Gelatin silver print.

9 1/2 x 7 1/4 in. (24.1 x 18.4 cm) Signed and dated in pencil on the mount; titled in ink on the ‘3921 Harrison Street, Oakland California’ label, with Brooklyn Institute of Arts and Sciences and Orange Camera Club exhibition labels on the reverse of the mount.

ESTIMATE

$10,000-15,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1989 Page Imageworks, San Francisco, as agent EXHIBITED

Brooklyn Institute of Arts and Sciences, February 1933 Orange Camera Club, East Orange New Jersey, n.d.

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 106 (this print)

21. EDWARD WESTON

1886-1958

Palm Trunk, Cuernavaca, 1925 Platinum or palladium print.

9 3/4 x 6 3/8 in. (24.8 x 16.2 cm) Signed, dated and annotated ‘Cuernavaca’ in pencil on the verso; priced ‘20.00’ in pencil and a Fine Arts Society label with typed credit and alternative title, ‘The Palm Trunk,’ afxed to the reverse of the mount.

ESTIMATE

$400,000-600,000

In 1923, Edward Weston lef California for Mexico in the company of his lover, Tina Modotti, and his eldest son Chandler, embarking on what would become, for Weston, a defning artistic journey. The Mexican landscape, the light, the indigenous peoples and their crafs, the vibrant community of writers and painters in Mexico City—all would help to sever Weston’s last ties to Pictorialism, a style that had served him so well in the past.

PROVENANCE

From the photographer to The San Diego Museum of Art, 1927 Sotheby’s, New York, 17 April 1991, lot 217 Page Imageworks, San Francisco, as agent EXHIBITED

San Diego Museum of Art, May 1927 Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 LITERATURE

Conger, Edward Weston in Mexico 1923-1926, p. 39, fg. 21 Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl.36 (this print) Mora, et al., Edward Weston: Forms of Passion, p. 107 Stebbins, Photography and Modernism, pl. 21

In Mexico, Weston’s work began to go in new, and sometimes radical, directions. He began to concentrate on singular forms and let them dominate the frame: not only Mexican toys and pottery, but also a toilet basin, a woman’s nude back, the heads of his Mexican friends.

Palm Trunk, Cuernavaca, represents the apex of this new imagery in his oeuvre. Taken in the garden of his friend Frederick Davis, like Weston an Illinois native, the photograph is at once both realistic and abstract. Weston wrote in his daybook, ‘Why should a few yards of white tree trunk, exactly centered, cutting across an empty sky, cause such real response? And why did I spend my hours doing it? One question simply answered—I had to!’ (Daybooks, Mexico, p. 139).

This print of Palm Trunk, Cuernavaca, was shown in Weston’s 1927 solo exhibition at The San Diego Museum of Art and was one of two images the Museum purchased from the photographer at that time. The label on the reverse of the mount—‘Acquired by the Fine Arts Society’—refers to the organization that would later become known as The San Diego Museum of Art. As of this writing, it is believed that the print ofered here may be one of only three surviving early prints of this image: the others are a platinum-palladium print, originally from the collection of Weston’s friend Jean Charlot, sold at auction in 1994; and an early gelatin silver print acquired from Weston’s family by the Lane Collection at the Museum of Fine Arts, Boston, in the late 1960s or early 1970s. Weston remarked in his daybook upon the few number of prints he made of his Mexican work: ‘. . . usually two or three prints sufce. Or rather I should say that because of the cost I can aford to make but few prints . . . “If only I could use one more sheet of paper,” I say to myself, and then stoically, though regretfully, seal the can of palladiotype [paper]’ (ibid., p. 91).

22. DOROTHEA LANGE

1895-1965

Hoe Culture, Alabama Tenant Farmer Near Anniston, 1936 Gelatin silver print.

9 1/2 x 7 5/8 in. (24.1 x 19.4 cm) Farm Security Administration credit stamps and typed caption and date on the verso.

ESTIMATE

$6,000-8,000 PROVENANCE

Page Imageworks, San Francisco, 1992 EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p.109 (this print) Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 57 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 71 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 93 Lange and Taylor, An American Exodus: A Record of Human Erosion, p. 11 Meltzer, Dorothea Lange: A Photographer’s Life, p. 265 NBC Editions, Dorothea Lange: The Human Face, p. 62

23. DOROTHEA LANGE

1895-1965

Migrant Mother, Nipomo, California, 1936 Gelatin silver print, likely an early print.

9 3/8 x 7 1/8 in. (23.8 x 18.1 cm) Credited, dated and captioned ‘32 yr. old migrant pea picker, mother of 11 children’ in an unidentifed hand in ink on the reverse of the fush-mount.

ESTIMATE

$100,000-150,000 PROVENANCE

Page Imageworks, San Francisco, 1992 EXHIBITED

A History of Women Photographers, New York Public Library, 19 October 1996 - 4 January 1997, and traveling to the National Museum of Women in the Arts, Washington, D. C.; Santa Barbara Museum of Art; and Akron Museum of Art through November 1997 The American Century: Art and Culture 1900-2000, Whitney Museum of American Art, New York, 23 April - 22 August 1999 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 108 (this print) Whitney Museum of American Art, The American Century: Art and Culture 1900-2000, p. 248 (this print) San Francisco News, March 11, 1936 ‘Draggin’- Around People,’ Survey Graphic, September 1936 Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, back cover and pl. 43 The Museum of Modern Art, Dorothea Lange, p. 25 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 77 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 133 Davis, The Photographs of Dorothea Lange, p. 45 Keller, In Focus: Dorothea Lange, Photographs from the J. Paul Getty Museum, pl. 13 Meltzer, Dorothea Lange: A Photographer’s Life, cover and p. 213 NBC Editions, Dorothea Lange: The Human Face, p. 99 Partridge, Restless Spirit: The Life and Work of Dorothea Lange, p. 4 Partridge, Dorothea Lange: A Visual Life, pl. 6.16

24. DOROTHEA LANGE

1895-1965

Undernourished Cotton Picker’s Child, Strike Meeting, Kern County, California, 1938 Gelatin silver print.

7 1/2 x 7 1/2 in. (19.1 x 19.1 cm) Annotated ‘18732E’ in an unidentifed hand in ink on the mount; Farm Security Administration stamp and typed caption afxed to the reverse of the mount.

ESTIMATE

$7,000-9,000 PROVENANCE

Page Imageworks, San Francisco, 1996 EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 108 (this print) O’Neal, A Vision Shared: A Classic Portrait of America and Its People, 1935-1943, p. 182 Partridge, Dorothea Lange: A Visual Life, p. 112, fg. 6.20

The Library of Congress caption for this image is, ‘Kern County, California. Undernourished cotton picker’s child listening to speeches of organizer at strike meeting to raise wages from seventy-fve cents to ninety cents a hundred pounds. Strike unsuccessful.’

25. DOROTHEA LANGE

1895-1965

Daughter of a Migrant Tennessee Coal Miner, Living in American River Camp Near Sacramento, California, 1936 Gelatin silver print.

7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) Farm Security Administration stamps, captioned and annotated in an unidentifed hand in pencil on the verso.

ESTIMATE

$8,000-12,000 PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1991 Page Imageworks, San Francisco, as agent LITERATURE

Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 47 O’Neal, A Vision Shared: A Classic Portrait of America and Its People, 1935-1943, p. 125 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 101, variant Davis, The Photographs of Dorothea Lange, p. 47, variant there titled Refugee from Drought, Dust, Depression, near Sacramento, California, November

26. CONSUELO KANAGA

1894-1978

She is a Tree of Life to Them, 1950 Gelatin silver print.

13 1/4 x 10 in. (33.7 x 25.4 cm) Annotated ‘Hetty about 14 / Call frst,’ likely by the photographer in ink and Wallace Putnam Estate annotations by Kristina Amadeus in ink on the verso.

ESTIMATE

$10,000-15,000 PROVENANCE

The photographer to Wallace Putnam, her husband Gif from Putnam to Kristina Amadeus, Putnam’s agent and estate executor, 1987 Donated by Amadeus to the Estate of Wallace Putnam, 1992 Photocollect, New York, 1993 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 103 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 175 Steichen, The Family of Man, p. 32

She is a Tree of Life to Them was made by Consuelo Kanaga in Maitland, Florida, where she had taken up brief residence in an artists’ colony in the winter of 1950. Venturing into the reclaimed agricultural swampland around Maitland, she took this and many other photographs of AfricanAmerican feld workers, including Mother and Son (The Question, Florida) (lot 39).

The image gained icon status, as well as its title, in Edward Steichen’s 1955 blockbuster exhibition The Family of Man. There it was paired with a phrase from Proverbs 3:18—‘She is a tree of life to them that lay hold upon her: and happy is everyone that retaineth her’—and has been known by that title ever since. For Steichen, the photograph represented an archetype of motherhood, and he ofen referred to it as one of his favorite images in the show. He wrote, ‘How completely this picture speaks . . . for itself! This woman has been drawing her children to her, protecting them, for thousands of years against hurt and discrimination’ (The New York Times Magazine, 29 April 1962, pp. 62-63).

27. DOROTHEA LANGE

1895-1965

White Angel Breadline, 1933 Gelatin silver print, printed no later than 1957.

13 1/4 x 10 1/4 in. (33.7 x 26 cm) Signed, titled and inscribed ‘For Phil Greene – from Dorothea Lange, May 1957, the White Angel Breadline, San Francisco, 1932 [sic]’ in ink on a label and a contact print of another image from the series afxed to the reverse of the fush-mount.

ESTIMATE

$100,000-150,000 PROVENANCE

From the photographer to Phillip Greene, 1957 Page Imageworks, San Francisco, as agent, 1990 EXHIBITED

The American Century: Art and Culture 19002000, Whitney Museum of American Art, 23 April - 22 August 1999 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

LITERATURE

Pier 24 Photography, Collected, pp. 109 and 110 (this print) Whitney Museum of American Art, The American Century: Art and Culture 1900-2000, p. 249 (this print) Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 1 The Museum of Modern Art, Dorothea Lange, p. 20 Davis, The Photographs of Dorothea Lange, cover and p. 21 Keller, In Focus: Dorothea Lange, Photographs from the J. Paul Getty Museum, pl. 4 Meltzer, Dorothea Lange: A Photographer’s Life, p. 117 NBC Editions, Dorothea Lange: The Human Face, p. 45 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 71 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 45 Partridge, Restless Spirit: The Life and Work of Dorothea Lange, p. 41 Partridge, Dorothea Lange: A Visual Life, pl. 6.13

White Angel Breadline, one of Dorothea Lange’s most compelling images, has become a defnitive representation of the human toll taken by the Depression. This photograph pre-dates her work for the Resettlement Administration (later the Farm Security Administration), and set the template for the humanistic approach she continued to pursue throughout her career.

In 1933, Lange operated her own portrait studio in San Francisco and catered to an afuent clientele. As she recounted many times, however, she could not ignore the growing number of newly unemployed people in the city, and she took to the street, camera in hand, to explore the situation.

One early outing brought her to a breadline operated by a wealthy woman known as the White Angel, who dispensed food to those in need. Lange exposed three negatives there, with her 3 1/4 -by-4 1/4 Grafex camera, each taken from a slightly diferent vantage point.

The print ofered here is one of the few prints of White Angel Breadline to be personally inscribed by Lange to one of her colleagues in the feld. Lange gave this print to the young photographer and flmmaker Phillip Greene, who had assisted her in the darkroom at one time and was the cameraman for the Lange documentary produced by San Francisco’s public television station KQED. In addition to the inscription by Lange on the reverse of the photograph’s mount is a contact print of another image taken with her Grafex at the breadline on that day.

Reverse of fush-mount

28. TINA MODOTTI

1896-1942

Labor 1 or Hands Washing, circa 1927 Platinum or palladium print.

7 1/2 x 9 1/4 in. (19.1 x 23.5 cm) Signed, annotated ‘Mexico D. F.’ and ‘Enlarged negative from a 3 1/4 - 4 1/4 grafex – 20th of a second’ in pencil on the verso.

ESTIMATE

$80,000-120,000

Tina Modotti’s embrace of the struggles of the Mexican working class inspired many of her photographs during her stay in that country, and in 1926, she began work on a series of studies of Mexican workers that combined her aesthetic and political views. Modotti authority Sarah Lowe cites Labor 1, or Hands Washing, as one of her strongest photographs from this time. Lowe writes,

PROVENANCE

Page Imageworks, San Francisco, 1997 EXHIBITED

Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April - 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 113 (this print) Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 73 (this print) Creative Art Magazine, vol. 4, No. 2, February 1929, p. xlviii Lowe, Tina Modotti: Photographs, pl. 75 Constantine, Tina Modotti: A Fragile Life, p. 140 Hooks, Tina Modotti: Photographer and Revolutionary, p. 141 Hooks, Tina Modotti: Phaidon 55, p. 77 Hooks, Tina Modotti, pl. 31 Schultz, et al., Tina Modotti: Photographien & Dokumente, p. 86

‘Through close cropping and elegant composition, Modotti created icons that fairly explode. Literally, these hands do the necessary work for Mexico, while fguratively, they represent the potential political power vested in the campesinos and the trabajadores’ (Tina Modotti: Photographs, p. 36).

In contrast to the masterfully orchestrated Campesinos (lot 9), which shows the collective strength of workers united, Labor 1—with its depiction of a pair of muscular hands at work— demonstrates the power inherent in the individual.

An early gelatin silver print of this image is in the collection of The Museum of Modern Art, New York.

29. EDWARD WESTON

1886-1958

Ollas, Oaxaca, 1926 Platinum or palladium print.

7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, dated and annotated ‘Oaxaca’ in pencil on the verso; signed, dated and annotated ‘Oaxaca’ in pencil on the mount.

ESTIMATE

$200,000-300,000 PROVENANCE

From the photographer to Merle Armitage, March 1928 Collection of The San Diego Museum of Art, donated by Armitage, 1929 Sotheby’s, New York, 17 April 1991, lot 221 Page Imageworks, San Francisco, as agent EXHIBITED

Armitage Print Collection, Los Angeles Public Library, April 1928 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 LITERATURE

Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 268 Armitage, ‘The Photography of Edward Weston,’ Touring Topics, June 1930, n.p.

Armitage, The Art of Edward Weston, p. 31 Conger, Edward Weston in Mexico 1923-1926, p. 54, fg. 30 Lowe and Thompson, Edward Weston: Life Work, pl. 33

From the time of his arrival in Mexico, Weston was struck by the handcrafs of the Mexican people. In Mexican pottery, carving, and textiles, Weston saw a unity of design and function that represented for him a kind of purity. His daybook from this period is full of rapturous descriptions of these: every marketplace held delights and he bought avidly.

‘With my meagre collection of Oaxaca juguettes I envy no one’s collection of “modern” sculpture,’ he wrote (Daybooks, Mexico, p. 165). In June of 1926, Weston encountered this grouping of ollas, pottery vessels used for storage, in the market square in Oaxaca. He wrote, ‘I worked there with my camera—the big 8 x 10 box drawing a crowd of curious spectators. I did a “close up” of the heaped black ollas’ (ibid., p. 167).

This print was purchased from Weston by his friend and avid supporter, Merle Armitage. Armitage was a book designer, writer, and musical impresario who appreciated Weston’s work at a time when photography’s status as a fne art was by no means universally accepted. In 1932, he published the frst monograph on Weston’s work, The Art of Edward Weston, in which this image is included.

Armitage understood Weston as a Modernist and praised his work’s ‘piercing intensity’ (Touring Topics, 1930). In the 1928 exhibition of graphic works from Armitage’s collection at the Los Angeles Public Library, Ollas, Oaxaca, was the sole photograph shown along with work by Pablo Picasso, Henri Matisse, James McNeill Whistler, John Marin, Rockwell Kent, and others. Shortly thereafer, Armitage donated this photograph to The San Diego Museum of Art, which had given Weston a solo exhibition in 1927.

30. EDWARD WESTON

1886-1958

Piramide del Sol, 1923 Platinum or palladium print.

7 3/8 x 9 5/8 in. (18.7 x 24.4 cm) Signed or credited, titled, dated and annotated ‘Mexico D. F.’ by the photographer or an associate in pencil on the mount.

ESTIMATE

$100,000-150,000 PROVENANCE

Collection of Carlos Mérida, likely acquired from Edward Weston Lowinsky Gallery, New York, 1993 Page Imageworks, San Francisco, as agent EXHIBITED

Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 LITERATURE

Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 37 (this print)

Edward Weston made an excursion to the Pre-Columbian archaeological site at Teotihuacán in November of 1923, accompanied by a small group of artists and friends and ‘three cameras, good food, and plenty of wine’ (Daybooks, Mexico, p. 33). The massive Pyramid of the Sun, the center of the ancient city of Teotihuacán, was then, as now, one of the most signifcant surviving monuments of Mesoamerica, and Weston photographed it from two diferent vantage points. The view most frequently reproduced is the Pyramid from a distance (Conger 108); far scarcer is the present view, which, in Weston’s treatment, transcends the documentary to achieve a more profound visual experience.

In the image ofered here, the viewer is no longer grounded in conventional space.

Instead, there is only the structure’s strong diagonal geometry and the amorphous shapes of the clouds that foat against the sky. As in Weston’s Palm Trunk, Cuernavaca (lot 21), the horizon line has disappeared.

This other-worldly efect is enhanced by the bravura quality of this print, whose extraordinary tonalities are flled with both detail and space, and which places the viewer in the realm of magic realism.

This photograph comes originally from the collection of the celebrated Guatemalanborn artist Carlos Mérida (1891–1987), who was active in Mexico in the 1920s. The date of Weston and Mérida’s frst meeting is unknown, but they had several acquaintances in common and traveled in the same artistic circles. Weston photographed one of Mérida’s murals in 1926 (Conger 533) and made a portrait of Mérida in Carmel in 1934 (Conger 793). Their work was exhibited together at The Museum of Modern Art, New York, in 1948, in a show called This Is Contemporary Art. Other artists in the exhibition included Henry Moore, Georges Braque, Fernand Léger, Wassily Kandinsky, and Joan Miró.

On the reverse of this print’s mount are the faint outlines of Tina Modotti’s portrait of a woman named Tilly. This image transfer, or ofsetting, indicates that the present print by Weston and a print of Modotti’s photograph were physically adjacent for some length of time.

At the time of this writing, only one other print of this image has been located, in the collection of the Museo Regional de Guadalajara, acquired by that museum in 1924.

31. ALMA LAVENSON

1897-1989

Easter Lily, 1932 Gelatin silver print.

9 3/4 x 7 1/2 in. (24.8 x 19.1 cm) Signed in pencil on the Crescent Board mount; titled and dated in ink on the ‘58 Wildwood Gardens, Piedmont, California’ label afxed to the reverse of the mount.

ESTIMATE

$7,000-9,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1991 Page Imageworks, San Francisco, as agent EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 107 (this print) Heyman, Seeing Straight: The f.64 Revolution in Photography, pl. 68

32. ALMA LAVENSON

1897-1989

Water Lilies, 1932 Gelatin silver print.

7 3/4 x 9 3/4 in. (19.7 x 24.8 cm) Signed and dated in pencil on the verso.

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

ESTIMATE

Pier 24 Photography, Collected, p. 106 (this print)

EXHIBITED

LITERATURE

$12,000-18,000 PROVENANCE

Collection of Alma Lavenson Albert and Paul Wahrhafig, sons of Alma Lavenson Susan Ehrens, Berkeley, 1989 Page Imageworks, San Francisco, as agent

33. TINA MODOTTI

1896-1942

Roses, Mexico, 1924 Platinum or palladium print.

7 1/2 x 8 1/2 in. (19.1 x 21.6 cm) Vittorio Vidali’s ‘Commander of the Fifh Regiment’ stamp on the verso; signed in pencil and the Fifh Regiment stamp on the reverse of the repurposed mount.

ESTIMATE

$300,000-500,000 PROVENANCE

From the photographer to Vittorio Vidali By descent to his son Carlos Vidali Sotheby’s, New York, 17 April 1991, lot 212 Page Imageworks, San Francisco, as agent EXHIBITED

Tina Modotti: Photographs, Philadelphia Museum of Art, 16 September - 26 November 1995, and traveling to The Museum of Fine Arts, Houston, and the San Francisco Museum of Modern Art through 1996 Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April - 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Lowe, Tina Modotti: Photographs, pl. 22 (this print) Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 26 (this print) Pier 24 Photography, Collected, p. 112 (this print) Constantine, Tina Modotti: A Fragile Life, p. 118 Schultz, et al., Tina Modotti: Photographien & Dokumente, p. 36 Hooks, Tina Modotti: Photographer and Revolutionary, title page and p. VIII Hooks, Tina Modotti, pl. 8 Sullivan, Women Photographers, pl. 44

In her brief years in Mexico in the 1920s, Tina Modotti evolved into a highly accomplished photographer. From the beginning, her concerns were balanced between the social and the formal, the documentary and the aesthetic. While Mexico City’s streets, culture, and politics fascinated her, the controlled confnes of the studio ofered her the opportunity to perfect her own photographic vision and technique.

The print ofered here comes originally from the collection of Vittorio Vidali (1900–1983), Modotti’s close friend and political ally during the last years of her life. It was Vittorio Vidali who preserved Modotti’s photographs and negatives afer her death, and these in turn were inherited by Vidali’s son Carlos, who has subsequently promoted Modotti’s work and reputation through exhibitions and museum donations.

The works she created on the streets and in her studio are linked by an assured and consistent visual sensibility. Roses, Mexico, Modotti’s most accomplished still life, demonstrates her ability to unite multiple forms into a cohesive and compelling whole.

As in Campesinos (lot 9), Roses synthesizes a unifed and harmonious composition from a multiplicity of similar parts. In Campesinos, the workers gather in a show of solidarity and strength. In Roses, a similar cohesion takes place, one that is less overtly political but perfectly in tune with her photographic vision.

In 1991, the year this print of Roses, Mexico, was sold at auction, The New York Times noted that it set a record not only for a work

by Tina Modotti, but for any photograph sold at auction. In the 1990–1991 auction season in New York, this print of Roses bested works

by El Lissitzky, Man Ray, and even Modotti’s own lover, Edward Weston, who came in a close second. Prints of the image are scarce.

As of this writing, at least two prints have been located in private collections, and two in institutions. It is believed that this is one of only two early prints made by Modotti to appear at auction.

34. CONSUELO KANAGA

1894-1978

Annie Mae Merriweather, 1935 Gelatin silver print.

12 1/2 x 9 3/4 in. (31.8 x 24.8 cm) Credit stamp on the verso.

ESTIMATE

$7,000-9,000 PROVENANCE

Page Imageworks, San Francisco, 1995 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, pp. 102 and 104 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 66

In 1935, Kanaga photographed Annie Mae Merriweather for the lefist magazine the New Masses. Merriweather was the widow of Jim Press Merriweather, a sharecropper who was lynched in Lowndes County, Alabama, for his union activities.

Merriweather’s harrowing account of her husband’s death, and her own torture at the hands of those who killed him, was published in the November 1935 issue of Labor Defender. Edward Steichen included this image in his 50 Photographs by 50 Photographers exhibition at The Museum of Modern Art, New York, in 1948, and gave the Museum his personal print of the image which it retains today. Kanaga said of Merriweather, ‘When you look at her face, you can see all the sorrow and trouble in the world. And yet it is so beautiful’ (quoted in Davidov, Women’s Camera Work, p. 205).

35. CONSUELO KANAGA

1894-1978

Annie Mae Merriweather, circa 1935 Toned gelatin silver print.

9 1/2 x 7 1/4 in. (24.1 x 18.4 cm) Signed twice in pencil on the mount.

ESTIMATE

$7,000-9,000 PROVENANCE

Simon Lowinsky Gallery, New York, 1993 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 102 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 97, variant

“ I THOUGHT A MEDIUM LIKE PHOTOGRAPHY COULD CHANGE THE WORLD.” CONSUELO KANAGA

36. IMOGEN CUNNINGHAM 1883-1976 Calla, circa 1925 Gelatin silver print.

11 x 9 1/2 in. (27.9 x 24.1 cm) Signed in pencil in the margin; the photographer’s ‘1331 Green St., San Francisco 9’ stamp and annotated ‘Neg + Print made in the 1920s,’ likely by the photographer, in pencil on the verso.

ESTIMATE

$250,000-350,000 PROVENANCE

From the photographer to Barbara K. Adelson, Detroit, 1970 Sotheby’s, New York, 1 November 1989, lot 222 Edwynn Houk Gallery, Chicago Private Collection, Switzerland Edwynn Houk Gallery, Chicago, 1991 Page Imageworks, San Francisco, as agent EXHIBITED

The Camera and Eye: Modern Photography 1925 to the Present, Detroit Institute of Arts, 23 July - 14 September 1975 Photographs from Detroit Collections, Detroit Institute of Arts, 4 October - 27 November 1983 Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 LITERATURE

Lorenz, Imogen Cunningham: Flora, pl. 8 Ewing, Flora Photographica: Masterpieces of Flower Photography, from 1835 to the Present, p. 6 Sullivan, Women Photographers, pl. 42

In the 1920s, Imogen Cunningham began a series of botanical studies that were perfect iterations of the newly emerging Modernist aesthetic in photography. Precise and flled with detail, they represented a purely photographic vision. Calla, ofered here, is a dramatic example from the series: with its pristine white form unfurling against the print’s dark background, it is one of the most striking of the botanical images Cunningham would create in that decade.

Calla was one of the images chosen by Edward Weston to represent the best of American photography at Film und Foto, the 1929 Stuttgart exhibition that served as the defnitive declaration of Modernism in the medium. Of the ten Cunningham photographs in that show, eight were botanical studies, among them not only the Calla image ofered here, but also the Magnolia Blossom of lot 40. Cunningham was one of the relatively few woman photographers represented in Film und Foto, and her work was shown alongside other progressive American and European photographers of the day, including Edward Weston, László Moholy-Nagy, El Lissitzky, Man Ray, and Alexander Rodchenko.

With Calla, Cunningham set a template that would be used, decades later, by photographers such as Irving Penn and Robert Mapplethorpe. In Imogen Cunningham: Flora, Cunningham authority Richard Lorenz described how Cunningham constructed her botanicals, an approach imitated by countless other artists who have tackled similar subjects since: ‘she

empowered her images by isolating her subject; she minimized the background, expanded scale with close-up scrutiny, and formalized presentation’ (p. 12).

Like the example of Magnolia Blossom ofered as lot 40, Calla is printed on a rich, matte-surface gelatin silver paper. In the early 1930s, Cunningham began printing on glossier paper, as did her West Coast colleagues in Group f.64. The present Calla’s matte surface suggests strongly that it was made prior to that transition. The paper Cunningham chose for this print is the ideal medium for the image, giving the print a sof gradation of tones while obscuring none of the image’s considerable detail.

The photograph ofered here was originally acquired from the photographer by the artist and collector Barbara K. Adelson of Detroit. Inspired by Ansel Adams photographs they had purchased at Tom Halsted’s 831 Gallery, Adelson and her husband made a trip to the West Coast in 1970 to meet Adams personally. It was Adams who put the Adelsons in touch with Cunningham, and they visited her in San Francisco that same trip, when they bought the present print and other images.

Adelson remembers that her heart began to pound when she saw the Calla, and as she recounted recently, ‘I had to have it.’

Adelson and her husband, Dr. Seymour Adelson, went on to become major donors of art, including photographs, to institutions such as the Detroit Institute of Arts, the Flint Art Institute, and the University of Michigan Museum of Art.

37. CONSUELO KANAGA

1894-1978

Imogen Cunningham, circa 1952 Gelatin silver print.

4 3/4 x 3 7/8 in. (12.1 x 9.8 cm) Credit stamp on the verso.

ESTIMATE

$2,000-3,000 PROVENANCE

Page Imageworks, San Francisco, 1996 LITERATURE

Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 208

Consuelo Kanaga met photographer Imogen Cunningham during her time in San Francisco, and exhibited work alongside her in the seminal Group f.64 show in 1932. As women artists working in a feld dominated by men, the two formed a strong connection.

In a letter to The Museum of Modern Art, New York, curator Grace Mayer, Kanaga said of Cunningham, ‘She is the greatest woman I have ever known in Photography. Generous, human, and brave’ (Consuelo Kanaga: An American Photographer, p. 211).

38. CONSUELO KANAGA

1894-1978

Sunfower, 1942 Gelatin silver print, printing date unknown.

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Credit stamp and annotated ‘Gif to Kristina Amadeus from Wallace Putnam’ in an unidentifed hand in pencil on the verso.

ESTIMATE

$4,000-6,000 PROVENANCE

From the photographer to Wallace Putnam, her husband Gif from Putnam to Kristina Amadeus, Putnam’s agent and estate executor Page Imageworks, San Francisco, as agent, 1996 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 102 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 199, variant

39. CONSUELO KANAGA

1894-1978

Mother and Son (The Question, Florida), 1950 Toned gelatin silver print.

10 1/2 x 8 in. (26.7 x 20.3 cm) Credit stamp on reverse of mount.

ESTIMATE

$6,000-8,000 PROVENANCE

Page Imageworks, San Francisco, 1995 EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 103 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 167

40. IMOGEN CUNNINGHAM

1883-1976

Magnolia Blossom (‘Formen Einer Blume’), 1925 Gelatin silver print.

7 1/4 x 9 3/8 in. (18.4 x 23.8 cm) Signed and dated in pencil on the mount; accompanied by the original mat with typed title, ‘Formen Einer Blume,’ on the photographer’s ‘4540 Harbor View, Oakland, California’ label on the reverse.

ESTIMATE

$100,000-150,000 PROVENANCE

Collection of B. F. Stein, San Francisco, likely acquired from the photographer Howard Greenberg Gallery, New York, 1995 Page Imageworks, San Francisco, as agent LITERATURE

Dater, Imogen Cunningham: A Portrait, pl. 11 The Imogen Cunningham Trust, Imogen Cunningham, Frontiers: Photographs 1906-1976, table 4, image C, pl. 34 Mann, Imogen Cunningham: Photographs, pl. 11 Lorenz and Heiting, Imogen Cunningham: 1883-1976, p. 200 Lorenz, Imogen Cunningham: The Modernist Years, n.p.

Lorenz, Imogen Cunningham: Flora, pl. 11 Lorenz, Imogen Cunningham: Ideas without End, pl. 38 Fundacion MAPFRE, Imogen Cunningham, cat. 70 Ewing, Flora Photographica: Masterpieces of Flower Photography, pl. 77

Magnolia Blossom has become the signature image from the series of fower studies Imogen Cunningham created in the 1920s. Along with Calla (lot 36), Magnolia Blossom was one of eight botanical studies by Cunningham shown in the pivotal 1929 Film und Foto exhibition in Stuttgart.

Fluent in German, Cunningham had studied photography and photo-chemistry in Germany in the 1910s, and the title she gave to Magnolia Blossom for Film und Foto was ‘Formen Einer Blume.’ It was exhibited under the German title in several other European venues thereafer, and it is this title which appears on her Harbor View studio label accompanying this lot. It is possible that the print ofered here was an early exhibition print.

The present print showcases Cunningham’s skills not only as a photographer, but also as a printer. Her def management of tones, from the pristine white of the petals to the deep blacks that punctuate the composition, enhances both the detail and drama of the subject, drama not always evident in prints of the image on other papers. Her handling of the blossom’s central stamen is particularly compelling and is rendered here with a level of clarity that is equal parts science and poetry.

Cunningham printed the photograph ofered here on a lustrous matte-surface gelatin silver paper. In the early 1930s, Cunningham, along with Edward Weston, Ansel Adams, and other photographers associated with the anti-Pictorial Group f.64, would transition to photographic papers with harder, glossier surfaces. This photograph’s matte surface, as well as its format and presentation, indicate an early printing of this iconic work.

This photograph comes originally from the collection of photographer B. F. Stein. Several of Stein’s portraits of Cunningham were held in the collection of Cunningham’s friend Peg Frankel (www.pegsart.com). The Smithsonian Institution’s collection of Cunningham’s letters has correspondence between the two dating to 1975.

41. TINA MODOTTI

1896-1942

Woman Carrying Olla, 1926 Gelatin silver print.

7 1/4 x 9 1/2 in. (18.4 x 24.1 cm) Signed and dated in pencil on the mount.

ESTIMATE

$60,000-80,000 PROVENANCE

EXHIBITED

Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24, San Francisco, 2 May 2016 31 January 2017

Page Imageworks, San Francisco, 1997 LITERATURE

Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 64 (this print) Pier 24 Photography, Collected, p. 112 (this print) Lowe, Tina Modotti: Photographs, p. 12 Agostinis, Tina Modotti: Gli Anni Luminosi, p. 114 Hooks, Tina Modotti, pl. 16

Actual size

42. TINA MODOTTI

1896-1942

Edward Weston with Camera, circa 1924 Gelatin silver print.

4 3/8 x 3 3/8 in. (11.1 x 8.6 cm) Annotated ‘This being a back view may not worry you so much!’ by Edward Weston in ink on the verso.

ESTIMATE

$25,000-35,000

EXHIBITED

Modotti and Weston: Mexicanidad, Laguna Art Museum, 25 October 1997 - 4 January 1998 Tina Modotti & Edward Weston: The Mexico Years, Barbican Centre, London, 29 April - 1 August 2004 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

PROVENANCE

Collection of photographer Keith Fishman, Santa Barbara Page Imageworks, San Francisco, 1997

LITERATURE

Lowe, Tina Modotti: Photographs, pl. 7 (this print) Lowe, Tina Modotti & Edward Weston: The Mexico Years, pl. 13 (this print) Pier 24 Photography, Collected, p. 112 (this print)

43. EDWARD WESTON

1886-1958

Tina Modotti, 1921 Platinum or palladium print.

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed, titled and dated in pencil on the mount.

ESTIMATE

$200,000-300,000 PROVENANCE

Charles Isaacs Photographs, Malvern, Pennsylvania, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Mexico as Muse: Tina Modotti and Edward Weston, San Francisco Museum of Modern Art, 2 September 2006 - 2 January 2007 LITERATURE

Hooks, Tina Modotti: Photographer and Revolutionary, p. 63

This photograph is one of a small number of sensual and evocative portraits Edward Weston made of Tina Modotti shortly afer their meeting in California in 1921. Weston was captivated by Modotti’s beauty and lively intelligence, and their afair began immediately, despite the fact that both were romantically attached to others: Weston to his then-lover and photographic partner Margrethe Mather, and Modotti to the exotically pseudo-named Oregon-born artist Robo Roubaix de l’Abrie Richey. Weston authority Beth Gates Warren notes that Modotti ‘was completely uninhibited and natural in front of the camera, and Weston’s photographs of her expressive face and shapely body clearly refect the highly tempestuous nature of their relationship’ (Artful Lives: Edward Weston, Margrethe Mather and the Bohemians of Los Angeles, p. 220).

As with many of Weston’s studies of his lovers, the portrait ofered here is a collaborative efort between sitter and photographer: Modotti performs for Weston, and Weston employs his vision and technical skills to create an indelible image. The photograph

is emblematic of their already deep, and deepening, relationship, a relationship that lasted only a few years but had a profound efect on them both. Later, the two would move to Mexico together, where Modotti would become not only a photographer of imagination and skill, but an activist in the struggles of the Mexican people. The present portrait is a counterpoint to a study of Weston by Modotti, ofered here as lot 42. Taken in Mexico around 1924, that image shows Weston at work with his large-format Korona View camera.

The photograph is a rare survivor from the dawn of one of the most productive artistic relationships of the 20th century. And like all of the Weston and Modotti photographs in the Buell collection, it dates from the brief years when the photographers were together. As of this writing, no other early print of this photograph has been located. It may have been taken during the same sitting as the photograph Weston entitled Head of an Italian Girl. Amy Conger notes that the negatives from this session appear to have been lost (Conger 69, note).

44. CONSUELO KANAGA

1894-1978

Frances (with Daisies), 1936 Gelatin silver print.

10 5/8 x 8 3/4 in. (27 x 22.2 cm) Signed in pencil on the mount; signed and annotated ‘Portrait’ in pencil on the reverse of the mount.

EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1994

ESTIMATE

LITERATURE

$4,000-6,000

Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 116

PROVENANCE

From the photographer to Wallace Putnam, her husband Gif from Putnam to Kristina Amadeus, Putnam’s agent and estate executor Page Imageworks, San Francisco, 1996

45. CONSUELO KANAGA

1894-1978

Portrait of Kenneth Spencer, 1933 Toned gelatin silver print.

9 1/2 x 5 3/4 in. (24.1 x 14.6 cm) Signed in pencil on the mount; signed in pencil on the reverse of the mount.

ESTIMATE

$6,000-8,000 PROVENANCE

Photocollect, New York, 1993 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 102 (this print) Millstein and Lowe, Consuelo Kanaga: An American Photographer, p. 110

Consuelo Kanaga photographed the singer and actor Kenneth Spencer in 1933 at the beginning of his career. Classically trained at the Eastman School of Music, Spencer struggled to get concert bookings because of his race. In addition to his concert performances, he appeared in the historic flm Cabin in the Sky, the frst Hollywood flm to feature an all-African-American cast, alongside Lena Horne, Ethel Waters, and Louis Armstrong. In 1950, Spencer relocated to Germany where he found steady employment as a performer and recording artist.

46. DOROTHEA LANGE

1895-1965

A Negro Boy Who Wants to go to High School, His Father is a Sharecropper near Earle, Arkansas, 1935 Gelatin silver print.

9 3/8 x 7 3/8 in. (23.8 x 18.7 cm) Captioned extensively by the photographer in pencil and with a Resettlement Administration stamp on the verso.

ESTIMATE

$10,000-15,000 PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1991 Page Imageworks, San Francisco, as agent EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 108 (this print)

47. DOROTHEA LANGE

1895-1965

Ex-Slave with a Long Memory, Alabama, 1938 Gelatin silver print.

13 1/4 x 10 3/8 in. (33.7 x 26.4 cm) Signed in ink on the recto; annotated ‘negative number 38164-1’ and ‘11 of series,’ likely by the photographer, in ink on the reverse of the fush-mount.

ESTIMATE

$25,000-35,000 PROVENANCE

Christie’s, New York, 24 April 1990, lot 403 Page Imageworks, San Francisco, as agent

EXHIBITED

Dorothea Lange: American Photographs, San Francisco Museum of Modern Art, 19 May - 4 September 1994; and traveling to Milwaukee Art Museum, International Center of Photography, New York; Phillips Collection, Washington, D. C.; and Joslyn Art Museum, Omaha, through November 1995 Collected, Pier 24 Photography, San Francisco, 2 May 2016 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 109 (this print) Aperture, Dorothea Lange: Photographs of a Lifetime, p. 93 Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 62 The Museum of Modern Art, Dorothea Lange, p. 43 Meltzer, Dorothea Lange: A Photographer’s Life, p. 216

48. DOROTHEA LANGE

1895-1965

Mother and Children on the Road, Tulelake, Siskiyou County, California, 1939 Gelatin silver print.

7 1/2 x 7 1/2 in. (19.1 x 19.1 cm) Annotated ‘20993-E’ in an unidentifed hand in pencil on the verso.

ESTIMATE

$10,000-15,000 PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 LITERATURE

Borhan, Dorothea Lange: The Heart and Mind of a Photographer, cover and p. 153 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 117

49. DOROTHEA LANGE

1895-1965

People Living in Miserable Poverty, Elm Grove, Oklahoma, 1936 Gelatin silver print.

7 1/4 x 7 3/8 in. (18.4 x 18.7 cm) ESTIMATE

$5,000-7,000 PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1990 Page Imageworks, San Francisco, as agent EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 109 (this print)

50. DOROTHEA LANGE

1895-1965

Portrait of a Boy, Mississippi Delta, 1936 Gelatin silver print.

8 x 7 1/8 in. (20.3 x 18.1 cm) Credited and dated in an unidentifed hand in pencil on the verso.

ESTIMATE

EXHIBITED

Object Lessons: Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 7 December 1995 - 10 March 1996 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

$10,000-15,000 LITERATURE PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1990 Page Imageworks, San Francisco, as agent

Pier 24 Photography, Collected, p. 108 (this print)

51. DOROTHEA LANGE

1895-1965

Turpentine Worker, DuPont, Georgia, 1937 Gelatin silver print.

7 3/8 x 6 5/8 in. (18.7 x 16.8 cm) Annotated ‘RA 17845E’ in an unidentifed hand in pencil on the verso.

ESTIMATE

$5,000-7,000 PROVENANCE

Photo West Gallery, San Diego Susan Ehrens, Berkeley, 1990 Page Imageworks, San Francisco, as agent

52. DOROTHEA LANGE

1895-1965

Utah Harvest, 1953 Gelatin silver print.

6 3/8 x 5 3/4 in. (16.2 x 14.6 cm) Annotated ‘Vintage photograph by Dorothea Lange from the collection of Christina Gardner’ in pencil on the reverse of the fush-mount; a fragment of another photograph afxed to the reverse of the fush-mount.

ESTIMATE

$2,000-3,000 PROVENANCE

From the photographer to Christina Gardner Photofnd Gallery, New York, 1991 Page Imageworks, San Francisco, as agent LITERATURE

Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 201

This photograph was originally acquired from Dorothea Lange by Christina Gardner. Gardner was a family friend and, for several years, an assistant to Dorothea Lange. She and her husband, the photographer Homer Page, lived for a while in the garden cottage owned by Lange and her husband Paul Schuster Taylor.

53. DOROTHEA LANGE

1895-1965

Unemployment Benefts Aid Begins, San Francisco, 1939 Gelatin silver print.

7 3/4 x 9 5/8 in. (19.7 x 24.4 cm) Farm Security Administration stamps and typed caption on the verso.

ESTIMATE

$7,000-9,000

EXHIBITED

Dorothea Lange: American Photographs, San Francisco Museum of Modern Art, 19 May - 4 September 1994; and traveling to Milwaukee Art Museum; International Center of Photography, New York; Phillips Collection, Washington, D. C.; and Joslyn Art Museum, Omaha, through November 1995 Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017

PROVENANCE

LITERATURE

Page Imageworks, San Francisco, 1990

Pier 24 Photography, Collected, p. 108 (this print) Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, pl. 49, variant there titled Line-Up at Social Security in early days of the program

The Library of Congress caption for this photograph reads: ‘Unemployment benefts aid begins. Line of men inside a division ofce of the State Employment Service ofce at San Francisco, California, waiting to register for benefts for one of the frst days the ofce was open.

They will receive from six to ffeen dollars per week for up to sixteen weeks.

Coincidental with the announcement that the federal unemployment census showed close to ten million persons out of work, twenty-two states begin paying unemployment compensation.’

54. RUSSELL LEE

1903-1986

Mother Teaching Children Numbers and Alphabet in Home of Sharecropper, Transylvania Project, Louisiana, 1939 Gelatin silver print.

7 1/4 x 9 5/8 in. (18.4 x 24.4 cm) Farm Security Administration stamps and typed caption on the verso.

ESTIMATE

$2,500-3,500 PROVENANCE

Page Imageworks, San Francisco, 1992 LITERATURE

Steichen, The Bitter Years: 1935 - 1941, n.p

55. PETER KILLIAN

Active 20th Century

Free School Lunch (Giving Thanks, Washington, D.C.), 1940 Gelatin silver print.

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) United States Department of Agriculture credit stamp, typed caption and annotated in an unidentifed hand in pencil on the verso.

ESTIMATE

$1,000-1,500 PROVENANCE

Page Imageworks, San Francisco, 1992

56. DOROTHEA LANGE

1895-1965

Pledge of Allegiance at Raphael Weill Elementary School a Few Weeks Prior to Evacuation, San Francisco, 1942 Gelatin silver print.

13 3/8 x 10 1/8 in. (34 x 25.7 cm) ‘1163 Euclid Avenue, Berkeley, California’ credit stamp and initialed by Daniel Dixon in pencil on the verso.

ESTIMATE

$15,000-25,000 PROVENANCE

Collection of Daniel Dixon, the photographer’s son Houk Friedman, New York, 1991 EXHIBITED

Collected, Pier 24 Photography, San Francisco, 2 May 2016 - 31 January 2017 LITERATURE

Pier 24 Photography, Collected, p. 108 (this print) The Museum of Modern Art, Dorothea Lange, p. 55 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 133 Borhan, Dorothea Lange: Heart and Mind of a Photographer, p. 171 Davis, The Photographs of Dorothea Lange, p. 81 Keller, In Focus: Dorothea Lange, Photographs from the J. Paul Getty Museum, pl. 24 Maisie and Conrat, Executive Order 9066: The Internment of 110,000 Japanese Americans, p. 32, variant NBC Editions, Dorothea Lange: The Human Face, p. 81, variant

57. DAN BUDNIK

b. 1933

Selected Images of the Selma to Montgomery Marches, 1965 Four gelatin prints, printed 2002.

Each 7 5/8 x 11 3/4 in. (19.4 x 29.8 cm) or the reverse.

Each signed in ink in the margin; each signed, titled, dated, annotated and copyright notation in pencil on the verso.

ESTIMATE

$6,000-8,000 PROVENANCE

Gif of the photographer, circa 2002

Titles include Solitary Elder Viewing Marchers from her Porch at 939 Oak Street, Montgomery Alabama, 25 March 1965; Joyous Spectators at Oak Street, Montgomery, Alabama, 25 March 1965; Dr. Martin Luther King, Jr., Beulah Baptist Church, Montgomery, Alabama, March 1965; Veronica Smith, Philip Hunter and Kirk Carrington who Marched the Entire 54 Miles, City of St, Jude Staging Area, the Final Day, 25 March 1965

58. HELEN LEVITT

1913-2009

Boy with Gun, circa 1942 Gelatin silver print, probably printed in the 1950s.

9 1/4 x 6 1/4 in. (23.5 x 15.9 cm) Signed twice and annotated ‘N.Y., circa 1942’ in pencil on the verso.

ESTIMATE

$10,000-15,000 PROVENANCE

Paul M. Hertzmann, Inc., San Francisco, 1991 Page Imageworks, San Francisco, as agent LITERATURE

Phillips and Hambourg, Helen Levitt, pl. 16 Agee, A Way of Seeing, pl. 39 powerHouse Books, Helen Levitt: Crosstown, p. 54

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Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information.

It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party.

All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000.

Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions.

Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such

Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots:

♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party.

The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated.

Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

•No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate.

Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications.

Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes.

Where we record such information we will process it in accordance with our Privacy Policy.

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SALE INFORMATION AUCTION & VIEWING LOCATION

AU C T I O N L I C E NS E

PHOTOGRAPHS DEPARTMENT

450 Park Avenue New York 10022

2013224

+1 212 940 1245

AUCTIONS

AU C T I O N E E R S

DEPUTY CHAIRMAN, AMERICAS,

4 April, 10am, Photographs (lots 59–253) 4 April, 5pm, Passion & Humanity: The Susie Tompkins Buell Collection (lots 1–58)

Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susannah Brockman – 2058779 Rebekah Bowling - 2078967

VIEWING

27 March – 4 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm SALE DESIGNATION

When sending in written bids or making enquiries please refer to this sale as NY040019 or Passion & Humanity.

ABSENTEE AND TELEPHONE BIDS

C ATA LO G U E S

tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery C L I E N T ACCO U N T I N G

Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253

WORLDWIDE HEAD OF PHOTOGRAPHS

Vanessa Hallett vhallett@phillips.com SENIOR INTERNATIONAL SPECIALIST

Christopher Mahoney cmahoney@phillips.com HEAD OF SALE

Caroline Deck cdeck@phillips.com HEAD OF DEPARTMENT, NEW YORK

Sarah Krueger skrueger@phillips.com SPECIALIST

Rachel Peart rpeart@phillips.com SPECIALIST, REGIONAL DIRECTOR, CHICAGO

Carol Ehlers cehlers@phillips.com CATALOGUER

Clare Milliken cmilliken@phillips.com

C L I E N T S E RV I C E S

450 Park Avenue +1 212 940 1200

ADMINISTRATOR

SHIPPING

Alexander Weinstock aweinstock@phillips.com

Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335

PROPERTY MANAGER

Barry Seunarine bseunarine@phillips.com PHOTOGRAPHY

Front cover Tina Modotti, Telephone Wires, Mexico, 1925, lot 8 (detail) Frontispiece Tina Modotti, Roses, Mexico, 1924, lot 33 (detail) Opposite index Edward Weston, Ollas, Oaxaca, 1926, lot 29 (detail) Inside back cover Margaret Bourke-White, Flood Refugees, Louisville, Kentucky, 1937, lot 4 (detail) Back cover Dorothea Lange, Oklahoma Sharecropper and Family Entering California. Stalled on the Desert Near Indio, California, 1937, lot 3 (detail)

Jean Bourbon Kent Pell Matt Kroenig Mark Babushkin

ACKNOWLEDGEMENTS Phillips would like to thank the following people for their generous assistance in the preparation of this catalogue:

DENISE BETHEL

CHARLES ISAACS

KAREN HAAS, MUSEUM OF FINE ARTS, BOSTON

EDWYNN HOUK URSULA GROPPER

LESLIE SQUYRES, CENTER FOR CREATIVE PHOTOGRAPHY

DALE STULZ

TASHA LUTEK, THE MUSEUM OF MODERN ART

RICHARD GADD OF THE WESTON GALLERY

MALCOLM WARNER, LAGUNA ART MUSEUM

HOWARD GREENBERG AND APOLLONIA COLACICCO OF HOWARD GREENBERG GALLERY

COREY KELLER, SAN FRANCISCO MUSEUM OF MODERN ART SARAH M. LOWE

LAURE JOLIET, PHOTOGRAPHER; NATHALIE FLEMING OF THIS REPRESENTS; AND ANNIE QUIGLEY OF REMODELISTA

BETH GATES WARREN BARBARA ADELSON CARLOS VIDALI

DAVID BUTOW, PHOTOGRAPHER, AND LORI REESE OF REDUX PICTURES

SUSAN EHRENS AND LELAND RICE

CHRISTOPHER MCCALL AND ALLIE HAEUSSLEIN OF PIER 24 PHOTOGRAPHY

PAUL HERTZMANN AND SUSAN HERZIG

ALEX RAMOS AND MYLES KUSABA OF LEICA STORE, SAN FRANCISCO

We are thankful for the many types of assistance provided by all of those listed above. If there is anyone we have unintentionally lef of the list, we apologize and thank you for your help nonetheless.

450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale.

Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

• Company purchases: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information or the certificate of incorporation) to verify the status of the company.

• Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Title Title

• Private purchases: Proof of identity in the form of government-issued identification will be required.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Zip Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone (for Phone Bidding only)

• If we receive identical bids, the first bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

Please complete the following section for telephone and absentee bids only Lot Number

Brief Description

In Consecutive Order

US $ Limit* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct.

Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

• Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228.

• Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $2,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips. com or available by emailing dataprotection@phillips.com.

• Phillips’s premises may be subject to video surveillance and recording.

Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and sales or use taxes

Signature

Date

By checking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please check this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

Artist | Icon | Inspiration Women in Photography Presented with Peter Fetterman 7 June 2019, New York

Visit us at phillips.com

Enquiries +1 212 940 1245 photographs@phillips.com Imogen Cunningham The Unmade Bed, 1957 (detail)

29. EDWARD WESTON

INDEX B O U RK E-W H I T E, M .

B U D NIK , D.

4

57

C U N NIN G H A M , I.

K A N AG A , C .

3 6, 4 0

1, 10, 11, 19, 26, 3 4, 3 5, 37–3 9, 4 4, 4 5

K IL L I A N, P. 5 5

L A N G E, D.

2, 3, 7, 2 2–2 5, 27, 4 6 –5 3, 5 6

L AV ENS O N, A .

L EE, R.

13, 14, 16, 1 8 , 20, 3 1, 32

54

L E V I T T, H.

58

M O D OT T I, T.

S T EI CH EN, E.

W E S TO N, E.

8 , 9, 28 , 3 3, 41, 42

15, 17

12, 2 1, 2 9, 3 0, 4 3

WO LCOT T, M . P. 5, 6

4. MARGARET BOURKE-WHITE

phillips.com