Photographs New York, 4 April 2019
85. Helmut Newton
154. Dorothea Lange
Photographs New York, 4 April 2019
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59. Adam Fuss
b. 1961
From the series ‘My Ghost’, 1998 Unique gelatin silver print, fush-mounted. 38 x 30 1/4 in. (96.5 x 76.8 cm) Signed on a label accompanying the work. Estimate $10,000-15,000 Provenance Cheim & Read, New York
60. Seydou Keïta
1921-2001
Untitled (two sisters with their arms around each other), 1956-1957 Gelatin silver print, printed 1998. 16 x 15 3/4 in. (40.6 x 40 cm) Signed twice and dated in ink in the margin. Estimate $6,000-8,000 Provenance Stephen White, Los Angeles Literature Scalo, Seydou Keïta, p. 238
61. Sally Mann
b. 1951
The New Mothers, 1989 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled, dated, numbered 13/25, copyright notation and edition information in pencil on the verso. Estimate $20,000-30,000 Provenance Joel Soroka Gallery, Aspen Literature Mann, Immediate Family, n.p.
62. Carrie Mae Weems
b. 1953
#3156 from American Icons, 1989-1990 Gelatin silver print. 14 3/8 x 14 1/4 in. (36.5 x 36.2 cm) Signed, dated and numbered 1/3 in pencil on the verso. Estimate $12,000-18,000 Provenance P.P.O.W., New York
Please reference the note with lot 64 for additional information.
63. J. D. ‘Okhai Ojeikere
1930-2014
Mkpuk Eba and Coiling Penny Penny, 1974 Two gelatin silver prints, printed 2013. Each approximately 18 x 17 5/8 in. (45.7 x 44.8 cm) Each signed, dated, annotated in ink, credit stamp and credit blindstamp in the margin; both signed and annotated in pencil by Philippe Salaün, printer, in pencil and printer’s stamp on the verso. Estimate $8,000-12,000 Provenance André Magnin, Paris, author and curator Literature Magnin, J.D. ‘Okhai Ojeikere: Photographies, pp. 6-7
Property from a Private West Coast Collection
64. Carrie Mae Weems
b. 1953
High Yella Girl from Colored People, 1988-1989 Toned gelatin silver print with Prestype and frame, printed 1997. 13 3/8 x 14 3/4 in. (34 x 37.5 cm) Overall 29 1/2 x 29 1/2 in. (74.9 x 74.9 cm) Signed, dated and numbered ‘AP 2/2’ in ink on the verso. One from an edition of 5 plus 2 artist’s proofs. Estimate $25,000-35,000 Provenance Weinstein Gallery, Minneapolis
Since her frst photography course at The Studio Museum in Harlem at the age of twenty-one, Carrie Mae Weems has utilized photography, sculpture, text, audio, video, and installation to explore and re-contextualize cultural identity and relationships. In particular, she has harnessed the photographic medium’s power to help dispel cultural myths. Presented here is a portrait from her series Colored People, in which Weems paired brightly toned photographs with classifying labels. In doing so, Weems underscores the restrictive and outdated social values assigned to skin tones and labels—proudly reclaiming them with their new colorful iterations.
Similarly, in her American Icons series (lot 62), Weems highlights the pervasiveness of racism in contemporary society. By confronting viewers with objects and images that continue to have a cultural presence, Weems highlights the existing attitudes relating to race that are perpetuated through these seemingly innocuous objects. Weems’ powerful work is in collections around the world including The Metropolitan Museum of Art, New York; The Museum of Fine Arts, Houston; The Museum of Modern Art, New York; and The Tate Modern, London.
65. Adam Fuss
b. 1961
From the series ‘My Ghost’, 1999 Unique gelatin silver print. 35 x 31 1/2 in. (88.9 x 80 cm) Signed in wax pencil, printed title, date and number ‘AF3027’ on a label accompanying the work. Estimate $15,000-20,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City
66. Adam Fuss
b. 1961
For Allegra from the series ‘My Ghost’, 2009 Daguerreotype. 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm) Signed, dated and annotated ‘AFD 313’ in ink on the reverse of the frame. Estimate $8,000-12,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City
67. Sally Mann
b. 1951
Untitled from Deep South, 1998 Gelatin silver print, toned with tea. 37 x 46 3/4 in. (94 x 118.7 cm) Signed, titled, dated and numbered 5/10 in pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Edwynn Houk Gallery, New York, 1999 Literature Bulfnch Press, Sally Mann: Deep South, p. 67
68. Sally Mann
b. 1951
Untitled from Deep South, 1998 Gelatin silver print, toned with tea. 39 x 47 1/2 in. (99.1 x 120.7 cm) Signed, titled, dated and numbered 3/10 in pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Edwynn Houk Gallery, New York, 1999 Literature Bulfnch Press, Sally Mann: Deep South, p. 59
69. Ori Gersht
b. 1967
Wildfowers from Flowers, 2004 Chromogenic print, fush-mounted. 48 1/2 x 60 1/2 in. (123.2 x 153.7 cm) Signed on a label accompanying the work. Number 1 from an edition of 6. Estimate $20,000-30,000 Provenance Mummery + Schnelle, London Phillips, London, 21 May 2015, lot 37
70. Chris McCaw
b. 1971
Instant #1, 2014 Single pack of 10 Fuji difusion transfer prints. Each 3 3/4 x 2 7/8 in. (9.5 x 7.3 cm) Framed 11 1/2 x 42 in. (29.2 x 106.7 cm) Each initialed, dated, sequentially numbered 1-10 and copyright notation in ink on the verso. Estimate $5,000-7,000 Provenance Aperture, New York, 2015
Since 2003, Chris McCaw has experimented with sun-burning photographic papers. Here, McCaw used a 40-inch lens to amplify the power of the sun and transform an entire pack of stacked Fuji difusion flm. With a single exposure McCaw created ten distinct impressions of the sun in which light exposed only the top layer of flm, while the sun’s channeled heat transformed all ten layers to varying degrees.
71. Ori Gersht
b. 1967
Time Afer Time: Blow Up 09, 2007 Chromogenic print, fush-mounted. 39 1/4 x 29 3/8 in. (99.7 x 74.6 cm) Number 4 from an edition of 6. Estimate $10,000-15,000 Provenance CRG Gallery, New York Sotheby’s, New York, Contemporary Living, 28 July 2016, lot 47
72. Irving Penn
1917-2009
Columbine/Aquilegia vulgaris: William Guiness, New York, 2006 Pigment print. 21 1/4 x 19 1/2 in. (54 x 49.5 cm) Signed, initialed twice, titled, dated, annotated in ink, copyright credit (courtesy of Vogue) reproduction limitation and edition stamps on the reverse of the fush-mount. One from an edition of 16. Estimate $20,000-30,000
Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XI
73. Irving Penn
1917-2009
Three Asaro Mud Men, New Guinea, 1970 Selenium toned gelatin silver print, printed 1984. 19 x 19 in. (48.3 x 48.3 cm) Signed, initialed, titled, dated in ink, credit, copyright credit (courtesy of Vogue) and Condé Nast reproduction limitation and edition stamps on the reverse of the mount. One from an edition of 25. Estimate $40,000-60,000
Provenance Halsted Gallery, Birmingham, Michigan Literature Hambourg and Rosenheim, Irving Penn: Centennial, pl. 149 Penn, Passage: A Work Record, p. 193 Szarkowski, Irving Penn, pl. 108 Westerbeck, Irving Penn: A Career in Photography, pl. 31
An additional print of this image is in the collection of The Metropolitan Museum of Art, New York.
74. Peter Beard
b. 1938
Tsavo East (early ‘60’s), (as Brör Blixen knew it in the ‘20’s + ‘30’s), West of Daka Dima/ near the Tiva for The End of the Game/ Last Word from Paradise, 1960 Toned gelatin silver print with applied ink, paint and blood with afxed stamp, gelatin silver and chromogenic prints, executed later. 47 x 95 1/2 in. (119.4 x 242.6 cm) Overall 53 x 101 1/2 in. (134.6 x 257.8 cm) Signed, titled, dated and annotated in ink on the recto; ‘The Time is Always Now’ copyright credit reproduction limitation stamp and label on the reverse of the frame. Estimate $150,000-250,000 Provenance The Time is Always Now, New York Literature Taschen, Peter Beard, pl. 177, variant
With a dynamic visual lexicon that combines photography, collage, painting and text, Peter Beard’s Tsavo East fuses the seminal elements that have defned his work over the last 60 years. This mural-sized collage weaves together Beard’s endless fascination with the natural world, beauty, and cultural exploration. Anchoring the work is the central image, Tsavo Before the Die-Of, one of Beard’s most poignant photographs referencing the annihilation of 35,000 elephants in his adopted home of Kenya. Combined with it is a masterful composition of seemingly disparate parts: gelatin silver and chromogenic prints that include portraits of author Karen Blixen and big game hunters J.A. Hunter and Philip Percival, alongside his iconic images such as Magritte Ramme and World Record Elephant Tusks and Large Tusker (c. 150 lbs per side); hand applied blood and paint with his trademark handprint across the lower edge; the abstract movement and buildup of paint pooling in the lower right corner; the precisely placed postage stamp of East Africa’s native Superb Starling in the upper right of the main image; and a quote from Karen Blixen’s Out of Africa: “In the very old days the elephant upon the roof of the earth, led an existence deeply satisfying to himself and for to be set up as an example to the rest of creation.” Tsavo East exemplifes the most celebrated characteristics of Beard’s oeuvre: a harmonious visual amalgamation of commentary, scale, and media.
75. Peter Beard
b. 1938
Uganda, 1966 Gelatin silver print with ink and paint, executed 2006. 9 7/8 x 7 in. (25.1 x 17.8 cm) Signed, titled and dated in ink on the recto; signed, titled and dated in ink within a Peter Beard Studio copyright credit reproduction limitation stamp on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the Peter Beard Studio, New York
76. Peter Beard
b. 1938
Large tusker (c. 150 lbs per side), Tsavo North, near hunting block 33/ Ithumber Hill on the Athi-Tiva dry river, February, 1965 Gelatin silver print with watercolor paint and ink, executed later. 15 x 22 1/4 in. (38.1 x 56.5 cm) Overall 24 1/2 x 28 1/4 in. (62.2 x 71.8 cm) Signed, titled, dated and annotated in ink on the recto; ‘The Time is Always Now’ label and copyright credit reproduction limitation stamp on the reverse of the frame. Estimate $35,000-45,000
Provenance The Time is Always Now, New York Phillips, London, 2 November 2017, lot 20 Literature Beard, Zara’s Tales from Hog Ranch: Perilous Escapes in Equatorial Africa, p. 159, variant Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, p. 136, variant Taschen, Peter Beard: The End of the Game, pp. 4-5, variant
77. Irving Penn
1917-2009
Gerbera Daisy/Gerbera jamesonii “Husky,” New York, 2006 Pigment print. 14 x 18 1/2 in. (35.6 x 47 cm) Signed, initialed twice, titled, dated, annotated in ink, Condé Nast copyright credit reproduction limitation and edition stamps on the reverse of the fush-mount. One from an edition of 10. Estimate $25,000-35,000 Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XIV
78. Irving Penn
1917-2009
Cottage Tulip: Sorbet, New York, 1967 Platinum palladium print, printed 1987. 17 3/8 x 17 7/8 in. (44.1 x 45.4 cm) Signed, initialed, titled, dated, numbered 2/9, annotated, credited in ink and/or pencil and copyright credit Condé Nast reproduction limitation stamp on the reverse of the aluminum fush-mount. Estimate $50,000-70,000
Provenance Pace/MacGill Gallery, New York Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XVII Penn, Passage: A Work Record, p. 164, variant Penn, Still Life, n.p., variant Westerbeck, Irving Penn: A Career in Photography, pl. 52, variant
79. Lynn Davis
b. 1944
Iceberg #24, Disko Bay Greenland, 2000 Gelatin silver print. 36 x 36 in. (91.4 x 91.4 cm) Signed, dated, numbered 8/10 in ink and credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Edwynn Houk Gallery, New York
80. Robert Mapplethorpe
1946-1989
Skull + Crossbones, 1983 Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm) Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 3 from an edition of 10. Estimate $8,000-12,000 Provenance Sotheby’s, New York, 9 October 2009, lot 176
Property of an Important East Coast Collector
81. Robert Mapplethorpe
1946-1989
Calla Lily, 1987 Gelatin silver print. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm) Signed, dated and numbered 4/10 in ink in the margin; signed in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $40,000-60,000
Provenance Christie’s, New York, 23 April 1996, lot 531 Literature Random House, Mapplethorpe: Pistils, p. 119
82. Robert Mapplethorpe
1946-1989
Lisa Lyon, 1981 Gelatin silver print, fush-mounted. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm) Signed and numbered ‘AP 1/2’ in ink in the margin. One from an edition of 10 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance From the artist to Lisa Lyon Phillips de Pury & Company, London, 16 May 2009, lot 74 Literature St. Martin’s Press, Lady: Lisa Lyon, p. 78
83. Robert Mapplethorpe
1946-1989
Lisa Lyon, 1980 Gelatin silver print. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) Signed and numbered ‘AP 1/2’ in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. One from an edition of 15 plus 2 artist’s proofs. Estimate $6,000-8,000 Provenance From the artist to Lisa Lyon Phillips de Pury & Company, London, 16 May 2009, lot 76 Literature Kardon, Robert Mapplethorpe: The Perfect Moment, p. 11 Random House, Mapplethorpe, p. 153 St. Martin’s Press, Lady: Lisa Lyon, p. 23
84. Irving Penn
1917-2009
Kate Moss (Hand on Neck), New York, April 25, 1996 Platinum palladium print. 16 1/2 x 16 1/2 in. (41.9 x 41.9 cm) Signed, initialed, titled, dated, numbered 5/13 in ink, dated, annotated in pencil, copyright credit (courtesy of Vogue) reproduction limitation and credit stamp on the reverse of the aluminum fush-mount. Estimate $60,000-80,000 Provenance Private Collection, San Francisco
85. Helmut Newton
1920-2004
Sie Kommen, Paris (Dressed and Naked), 1981 Four gelatin silver prints. Each print of Dressed is 761/2 x 373/4 in. (194.3 x 95.9 cm). Each print of Naked is 76 1/8 x 34 3/4 in. (193.4 x 88.3 cm). Overall Dressed dimensions are 77 3/4 x 78 1/4 in. (197.5 x 198.8 cm). Overall Naked dimensions are 77 1/ 2 x 72 1/4 in. (196.9 x 183.5 cm). Each signed, titled, dated, numbered 1/3 and annotated ‘Lef Side,’ ‘Right Side,’ ‘Dressed,’ or ‘Naked’ in pencil on the verso. Estimate $600,000-800,000 Provenance Acquired directly from the artist, early 1990s Literature French Vogue, November 1981, pp. 164-165, variant presentation, there titled Une Taille Fine et un Buste Parfait Newton, Helmut Newton: Big Nudes, n.p. Newton, World Without Men, p. 72 Felix, The Best of Helmut Newton, pls. 31-32 Harrison, Appearances: Fashion Photography Since 1945, pp. 40-41 Heiting, Helmut Newton: Work, pp. 188-189 Lagerfeld, Helmut Newton 47 Nudes, p. 47 (Naked) Puschkin Museum, Helmut Newton in Moskau, The Photographic Work, 3 October - 5 November 1989, p. 41 Scalo, Helmut Newton: Pages from the Glossies: Facsimiles 1956-1998, pp. 430-431, variant presentation Schirmer Mosel, Helmut Newton: Aus dem Photographischen Werk, pp. 31-32 Taschen, Helmut Newton: Work, pp. 188-189 Kicken and Förster, Points of View: Masterpieces of Photography and Their Stories, pp. 248-249 Koetzle, Photo Icons: Vol. 2, pp. 142-151
Sie Kommen, Paris (Dressed and Naked), the title for Helmut Newton’s stunning diptych, translates from German to English as “they are coming.” It is an imposing diptych of four super-women on the march. Posed exactly in the same way in the lef and right halves, they are triumphant and empowered both in their high fashion suits and in their nudity. Further, the present lot is a rare exhibition-sized printing, which imbues the models with a towering presence, and places all who stand before this monumental installation, in the path of the models’ powerful, verging on dangerous, beauty.
First used as a two-page spread in French Vogue in 1981, Sie Kommen, Paris marked a turning point in Newton’s work. Newton started working for French Vogue in the 1960s and had become famous for introducing erotic subjects to fashion photography. In his earlier work, the location in which he photographed his models added to the sexual fantasy of his images, but with Sie Kommen, Paris, Newton lef the lush interiors and streets of Paris and shot his subjects in a studio. In Sie Kommen (Dressed) we see the interior of the studio where the white backdrop touches the foor. In contrast, in Sie Kommen (Naked) the clothes disappear with the exception of high heels, and the studio becomes a boundless white space. As Karl Lagerfeld once noted, it is only with high heels that “. . .a woman [is] really naked for Newton.” With no supporting props the dressed and naked models become the whole story. Anne Tucker, who curated the frst American retrospective of Newton, said “Big Nudes, for me, is where he steps away from the fashion magazines and came into his own on what a Helmet Newton woman was. . . Look at the way these women are boldly striding in these pictures. . . They are Amazons.” One can only imagine the efect such a subversively powerful image had on the public when it frst appeared in French Vogue. Since then, Sie Kommen, Paris, has become an icon and has been illustrated extensively. It is the centerfold image in Newton’s provocative book Helmut Newton: Big Nudes, 1990. In his introductory essay for Big Nudes, Karl Lagerfeld states that for Newton “. . .there is no ‘weaker sex’. . . His women are part of a ‘strong’ sex.” Lagerfeld goes on to discuss the three periods of Newton’s life: the Berlin of his youth, “his spiritual home” from which Newton fed in 1938 afer the horrors of Kristallnacht (during which his father was interned); “the unknown mysterious Australian period” where Newton enlisted in the Australian army; followed by Paris, where he arrived “in 1956 in a white Porsche with red leather upholstery.” It is in the fashion world of Paris that Newton created this enduring image of sex, glamour, and female power, which boldly resonates from this exceptional presentation of Sie Kommen, Paris.
86. Joel Brodsky
1939-2007
Jim Morrison, The Doors, The American Poet, New York City, 1967 Archival pigment print, printed later. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm) Signed, titled ‘American Poet,’ dated and numbered 22/28 in pencil in the margin. Estimate $15,000-25,000 Literature The Best of the Doors, album cover
87. Mark Morrisroe
1959-1989
Reclining Nude; Laura Brown, 1984-1985 Chromogenic print with applied ink. 11 5/8 x 16 3/4 in. (29.5 x 42.5 cm) Overall 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated, numbered 2 and copyright notation in ink in the margins. Number ‘2’ from an edition of 12. Estimate $5,000-7,000
88. Annie Leibovitz
b. 1949
John Lennon and Yoko Ono, The Dakota, New York, December 8, 1980 Dye destruction print. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) Signed, titled, dated and numbered 7/40 in ink in the margin. Estimate $18,000-22,000 Provenance Sidney Janis Gallery, New York, 1983 Private Collection, New Haven Literature Harper Collins, Annie Leibovitz: Photographs 1970-1990, cover, pp. 114-115 Leibovitz, Master Set, pl. 41 Pantheon, Annie Leibovitz: Photographs, n.p. Random House, Annie Leibovitz at Work, p. 47
89. Mona Kuhn
b. 1969
George, 2003 Chromogenic print. 29 3/4 x 29 3/4 in. (75.6 x 75.6 cm) Signed, titled, dated, numbered 3/8 and copyright notation in pencil on the reverse of the fush-mount. Estimate $4,000-6,000 Provenance Yossi Milo Gallery, New York Literature Steidl, Mona Kuhn: Photographs, p. 73
Property from a Private West Coast Collection
90. Robert Mapplethorpe
1946-1989
Apartment Windows, 1977 Gelatin silver print, printed 2010. 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fushmount. Number 6 from an edition of 10. Estimate $10,000-15,000 Provenance Weinstein Gallery, Minneapolis
91. Nan Goldin
b. 1953
Jimmy Paulette on David’s Bike, N.Y.C., 1991 Dye destruction print. 15 3/8 x 23 1/4 in. (39.1 x 59.1 cm) Signed, titled, dated, numbered 2/25 and inscribed in ink on the verso. Estimate $7,000-9,000 Provenance Acquired directly from the artist Literature Bibliothek der Fotografe, Portfolio: Nan Goldin, cover
92. Peter Hujar
1934-1987
Two Queens in a Car, Halloween, 1977 Gelatin silver print. 14 1/2 x 14 1/2 in. (36.8 x 36.8 cm) Signed, titled, dated, annotated by Stephen Koch, Executor, in pencil, estate and estate copyright credit reproduction limitation stamps on the verso. Estimate $12,000-18,000 Provenance Matthew Marks Gallery, New York
93. Robert Mapplethorpe
1946-1989
Ajitto, 1981 Gelatin silver print, printed 2009. 17 5/8 x 13 7/8 in. (44.8 x 35.2 cm) Signed, dated by Michael Ward Stout, Executor, in ink and estate copyright credit reproduction limitation stamp on the reverse of the fushmount. Number 12 from an edition of 15. Estimate $10,000-15,000 Provenance Robert Miller Gallery, New York Literature Schirmer/Mosel, Robert Mapplethorpe: The Black Book, frontispiece Kardon, Robert Mapplethorpe: The Perfect Moment, p. 70 Martineau and Salvesen, Robert Mapplethorpe: The Photographs, pl. 99 Random House, Mapplethorpe, p. 164
94. Dave Heath
1931-2016
Jennine/Pommy Vega, NYC, circa 1957 Gelatin silver print, printed 1962. 5 3/8 x 7 1/4 in. (13.7 x 18.4 cm) Signed and annotated ‘1’ in ink in the margin; titled, dated and annotated in pencil on the verso. Estimate $7,000-9,000 Provenance Simon Lowinsky Gallery, New York Literature Heath, A Dialogue with Solitude, pl. 64
95. Ray K. Metzker
1931-2014
Untitled (Chicago), 1958 Gelatin silver print. 6 x 8 3/8 in. (15.2 x 21.3 cm) Signed, annotated ‘Vintage I’ and ‘58 AB-21’ in pencil on the verso. Estimate $5,000-7,000 Provenance Private Collection, Boston
96. Irving Penn
1917-2009
Cigarette 47, New York, 1972 Platinum palladium print, printed 1974. 23 1/2 x 18 1/2 in. (59.7 x 47 cm) Signed, initialed, dated, numbered 3/3, variously annotated including ‘neg. no. 47’ in pencil, and copyright credit reproduction limitation stamp on the reverse of the aluminum fush-mount. Estimate $30,000-50,000
Provenance Pace/MacGill Gallery, New York, 2004 Literature Hambourg and Rosenheim, Irving Penn: Centennial, pl. 165 Hamiltons Gallery, Irving Penn: Cigarettes, pl. VII
An additional print of this image is in the collection of The Metropolitan Museum of Art, New York.
97. Daido Moriyama
b. 1938
Brigitte Bardot Poster, Aoyama, 1969 Silkscreen on canvas, printed 2012. 42 1/2 x 53 1/2 in. (108 x 135.9 cm) Signed in Japanese and rōmaji and numbered 2/3 in ink on the reverse. Estimate $8,000-12,000 Literature San Francisco Museum of Modern Art/ D.A.P. Publishers, Daido Moriyama: Stray Dog, pl. 84
98. Daido Moriyama
b. 1938
How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. 22 3/4 x 15 1/8 in. (57.8 x 38.4 cm) Signed in Japanese and rōmaji in pencil on the verso. Estimate $5,000-7,000 Literature Phaidon, Daido Moriyama, cover, p. 111 Daiwa Radiator Factory, Daido Moriyama: The Complete Works Vol. 2 1974–1992, p. 407 Fondation Cartier pour l’art contemporain, Daido Moriyama, p. 57 Galerie Kamel Mennour, Daido Moriyama: Remix, n.p. Shimane Art Museum, Hunter of Light: Daido Moriyama 1965–2003, pl. 348
99. Daido Moriyama
b. 1938
Stray Dog, Misawa, Aomori, 1971 Silkscreen on canvas, printed 2012. 43 x 56 1/4 in. (109.2 x 142.9 cm) Signed in Japanese and rōmaji and numbered 4/5 in ink on the reverse. Estimate $12,000-18,000 Literature San Francisco Museum of Modern Art/ D.A.P. Publishers, Daido Moriyama: Stray Dog, cover (detail), pl. 22 Fondation Cartier pour l’art contemporain, Daido Moriyama, pp. 8-9 Tucker, The History of Japanese Photography, p. 249
100. Hiroshi Sugimoto
b. 1948
Saint Benedict Chapel, 2000 Gelatin silver print. 22 7/8 x 18 3/8 in. (58.1 x 46.7 cm) Signed in pencil on the mount; blindstamp number ‘16/25, 951’ in the margin. Estimate $8,000-12,000 Provenance Fraenkel Gallery, San Francisco Literature Museum of Contemporary Art, Chicago, Sugimoto: Architecture, pp. 26, 31
Property of a Distinguished Private Collection
101. Hiroshi Sugimoto
b. 1948
Tasman Sea, Ngarupupu, 1990 Gelatin silver print. 16 5/8 x 21 3/8 in. (42.2 x 54.3 cm) Signed in pencil on the mount; blindstamp title, date and number ‘15/25, 330’ in the margin. Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York Fraenkel Gallery, San Francisco
Property from a Private West Coast Collection
102. Doug & Mike Starn b. 1961 and b. 1961 Seascape in Fog, 1987-2002 Three toned gelatin silver prints on thai mulberry paper with metallic push pins. Each 14 1/2 x 11 1/2 in. (36.8 x 29.2 cm) Overall 14 1/2 x 34 1/2 in. (36.8 x 87.6 cm) Signed, dated and numbered 4/15 in ink on the reverse of the frame; printed title, date and number 4/15 on an artists’ label afxed to the reverse of the frame. Estimate $6,000-8,000 Provenance Weinstein Gallery, Minneapolis
103. Hiroshi Sugimoto
b. 1948
Ionian Sea, Santa Cesarea, 1993 Gelatin silver print. 16 5/8 x 21 1/4 in. (42.2 x 54 cm) Signed in pencil on the mount; blindstamp title, date and number ‘7/25, 425’ in the margin. Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco, 1995 Collection of Howard Stein, New York Phillips, New York, The Odyssey of Collecting: Photographs from Joy of Giving Something Foundation, 4 April 2017, lot 109 Exhibited Hope Photographs, The National Arts Club, New York, February – March 1997, and traveling to 9 other venues through 2005 Literature George and Marks, eds., Hope Photographs, pp. 144-145 (this print)
104. Doug & Mike Starn b. 1961 and b. 1961 Blot Out The Sun #6, 1998-1999 Lysonic inkjet prints on thai mulberry and tissue papers with encaustic. Each 12 1/2 x 10 in. (31.8 x 25.4 cm) Overall 14 1/2 x 23 1/8 in. (36.8 x 58.7 cm) Signed, dated and numbered 1/3 in pencil on the reverse of the frame. Estimate $12,000-18,000
Property from a Private West Coast Collection
105. Doug & Mike Starn b. 1961 and b. 1961 Blot Out The Sun #2, 1999-2000 Lysonic inkjet print on thai mulberry and tissue papers with wax and encaustic. 28 1/4 x 23 3/4 in. (71.8 x 60.3 cm) Signed, dated and numbered 2/3 in pencil on the reverse of the frame. Estimate $7,000-9,000 Provenance Weinstein Gallery, Minneapolis
106. Hiroshi Sugimoto
b. 1948
Mediterranean Sea, La Ciotat, 1989 Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm) Signed in pencil on the mount; blindstamp title, date and number ‘4/25, 323’ in the margin. Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco
Property from a Private West Coast Collection
107. Harry Callahan
1912-1999
108. Harry Callahan
1912-1999
Aix-en-Provence, France, 1958 Gelatin silver print, mounted on Brudno board. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed in ink on the reverse of the mount.
Multiple Exposure Tree, Chicago, 1956 Gelatin silver print, printed later. 8 3/4 x 8 5/8 in. (22.2 x 21.9 cm) Signed in pencil in the margin.
Estimate $7,000-9,000
Estimate $3,000-5,000
Provenance Contemporary Works/Vintage Works, Pennsylvania
Provenance Grisebach GmbH, Berlin, 2 June 2005, lot 1155
Literature Aperture, Callahan, n.p. Philadelphia Museum of Art, Elemental Landscapes: Photographs by Harry Callahan, pl. 2
Literature The Museum of Modern Art, Harry Callahan, p. 66
109. Robert Adams
b. 1937
Pawnee National Grassland, Colorado, 1984 Gelatin silver print, printed 1992. 8 7/8 x 11 1/8 in. (22.5 x 28.3 cm) Signed, titled, dated in pencil and copyright credit stamp on the verso. Estimate $7,000-9,000 Literature Yale University Press, Robert Adams: The Place We Live, A Retrospective Selection of Photographs 1964-2009, Volume One, p. 224, there titled Weld County, Colorado
110. Henry Wessel, Jr.
1942-2018
Tucson, Arizona, 1976 Gelatin silver print. 8 5/8 x 13 in. (21.9 x 33 cm) Signed, titled and dated in pencil on the verso. Estimate $6,000-8,000 Provenance Matthew Marks Gallery, New York Literature Steidl, Henry Wessel, pl. 37
111. Henry Wessel, Jr.
1942-2018
Southern California, 1985 Gelatin silver print, printed later. 15 1/8 x 22 1/4 in. (38.4 x 56.5 cm) Signed, titled, dated and numbered 7/12 in pencil on the verso. Estimate $4,000-6,000 Provenance Carole Christensen Lief Gallery, Venice, California
112. Robert Adams
b. 1937
Tract home and abandoned shopping cart. Colorado Springs, Colorado, 1968-1971 Gelatin silver print. 5 1/4 x 5 7/8 in. (13.3 x 14.9 cm) Signed, dated in pencil, titled in ink and ‘213 E. Fontanero St.’ credit stamp on the reverse of the mount. Estimate $15,000-20,000 Provenance Matthew Marks Gallery, New York
113. Lewis Baltz
1945-2014
Uniontown, PA., 1976 Gelatin silver print. 6 x 7 7/8 in. (15.2 x 20 cm) Signed, titled and dated in pencil on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the artist
“I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.” Garry Winogrand
114. Garry Winogrand
1928-1984
Women are Beautiful New York: RFG Publishing, Inc., 1981. Eighty-fve gelatin silver prints. Each approximately 8 3/4 x 13 in. (22.2 x 33 cm) or the reverse. Each signed and numbered ‘3/20 AP’ in pencil on the verso. Numbered ‘III’ in ink on the colophon. Together with title pages and essay by the artist. Enclosed within a white, buckram bound album with mylar sleeves and matching slipcase, both with black printed titles. One from an edition of 80 plus 20 artist’s proofs. Estimate $70,000-90,000 Provenance Phillips de Pury & Company, New York, 7 October 2005, lot 291 Collection of Howard Stein, New York Sotheby’s, New York, 175 Masterworks to Celebrate 175 Years of Photography: Property from Joy of Giving Something Foundation, 12 December 2014, lot 156 Literature Winogrand, Women Are Beautiful Stack, Winogrand: 1964, p. 265 Szarkowski, Winogrand: Figments from the Real World, pp. 21, 25, 27, 90, 104-111 T.F. Editores, Garry Winogrand: The Game of Photography, cover, pp. 16, 75, 77-79, 81, 85-86, 89-90, 92-93, 116-117
115. Richard Misrach
b. 1949
Bomber #2, Phoenix, Arizona, 1975 Toned gelatin silver print. 14 5/8 x 14 1/8 in. (37.1 x 35.9 cm) Signed and dated in pencil in the margin; signed, titled and copyright notation in pencil on the verso. Estimate $6,000-8,000 Provenance Acquired directly from the artist
Bomber #2, Phoenix, Arizona, is one of Richard Misrach’s earliest night views, and he made very few prints of it. With its nighttime setting and skillful use of toning, this image looks forward to the night views Misrach would take in the desert and at Stonehenge (as in lot 116) in the coming years.
116. Richard Misrach
b. 1949
Stonehenge #1, 1979 Toned gelatin silver print. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm) Signed, dated and inscribed in ink in the margin; signed, titled and copyright notation in pencil on the verso. Estimate $9,000-12,000 Provenance Grapestake Gallery, San Francisco, 1979 Literature Arena Editions, Richard Misrach: The Sky Book, p. 11 Fraenkel Gallery, Richard Misrach: Chronologies, pl. 7
117. Garry Winogrand
1928-1984
Apollo 11 Moon Shot, Cape Kennedy, Florida, 1969 Gelatin silver print, printed later. 8 5/8 x 13 in. (21.9 x 33 cm) Signed in pencil on the verso. Estimate $7,000-9,000 Literature Szarkowski, Winogrand: Figments from the Real World, p. 153 The Museum of Modern Art, Garry Winogrand: Public Relations, p. 18 T.F. Editores, Garry Winogrand: The Game of Photography, p. 67
118. Garry Winogrand
1928-1984
New York City, 1968 Gelatin silver print from Fifeen Photographs, printed 1974. 8 1/2 x 12 3/4 in. (21.6 x 32.4 cm) Signed and numbered 66/75 in pencil on the mount. Estimate $6,000-8,000 Provenance Private Collection, London Literature Winogrand, Women are Beautiful, cover T.F. Editores, Garry Winogrand: The Game of Photography, p. 75 Szarkowski, Winogrand: Figments from the Real World, p. 27
119. Stephen Shore
b. 1947
2nd St., Ashland, Wisconsin, July 9, 1973 Fujicolor Crystal Archive print, printed later. 17 1/8 x 21 5/8 in. (43.5 x 54.9 cm) Signed, titled, dated and numbered 3/8 in ink on the verso. Estimate $12,000-18,000 Provenance Galerie Conrads, Dßsseldorf Literature Aperture, Stephen Shore: Uncommon Places The Complete Works, p. 20
120. William Egleston
b. 1939
Untitled (rural gas station with pump), circa 1970 Kodak Ekatacolor print. 3 x 3 in. (7.6 x 7.6 cm) Signed in ink on the verso. Estimate $5,000-7,000 Provenance Laurence Miller Gallery, New York Exhibited William Eggleston: First Color 1967-1972, Laurence Miller Gallery, New York, 20 February - 4 April 1992
Actual size
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
121. Stephen Shore
b. 1947
Horseshoe Bend Motel, Lovell, Wyoming, 1973 Fujicolor Crystal Archive print, printed 2003. 17 3/8 x 21 3/4 in. (44.1 x 55.2 cm) Signed, titled and numbered 6/8 in ink on the verso. Estimate $15,000-20,000 Provenance 303 Gallery, New York, 2003 Literature Aperture, Stephen Shore: Uncommon Places, p. 23
122. William Egleston
b. 1939
Morals of Vision New York: Caldecot Chubb, 1978. Eight chromogenic prints mounted to Johannot paper within the bound artist’s book. Varying dimensions from 6 x 9 in. (15.2 x 22.9 cm) to 7 x 10 in. (17.8 x 25.4 cm). One print 8 x 51/4 in. (20.3 x 13.3 cm). Signed and numbered 2/15 in ink on the colophon. One from an edition 15 plus 4 lettered examples. Bound in gilt-lettered buckram and leather, with a matching slipcase. Estimate $65,000-75,000 Literature Steidl, Morals of Vision: William Eggleston
Illustrated with eight original photographs, and produced to the highest bibliographic standards, Morals of Vision presents a unique format in which to view William Eggleston’s work. The quiet tone and def sequencing of the book’s photographs create a meditative experience which is enhanced by the quality of the presentation. The book is the perfect showcase for a photographer who is undeniably contemporary, but whose creative roots are buried deep in the past.
Morals of Vision is one of a quartet of artist-books of the photographer’s work published by Caldecott Chubb in the late 1970s, along with Election Eve (1977), Flowers (1978), and Wedgewood Blue (1979). Produced in a small edition of 15, and rarely seen on the market, it has since attained near-legendary status within Eggleston’s oeuvre. Additional editions of Morals of Vision are in the collections of The J. Paul Getty Museum, Los Angeles; The Metropolitan Museum of Art, New York; and The Museum of Modern Art, New York.
123. Joel Sternfeld
b. 1944
Near Lake Powell, Arizona, August, 1979 Chromogenic print, printed 1996. 22 x 27 7/8 in. (55.9 x 70.8 cm) Signed, initialed, titled, dated, numbered 87/100 and inscribed in ink on the reverse of the mount. Estimate $6,000-8,000 Provenance Pace/MacGill Gallery, New York Literature D.A.P. Publishers, Joel Sternfeld: American Prospects, pl. 10 Moore, Starburst: Color Photography in America 1970-1980, pl. 229
Property from a Private West Coast Collection
124. Alec Soth
b. 1969
The Farm, Angola State Prison, Angola, LA, 2004 Chromogenic print. 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated and numbered 13/15 in ink on the verso. Estimate $4,000-6,000 Provenance Weinstein Gallery, Minneapolis Literature Soth, Sleeping by the Mississippi, n.p.
Property from a Private West Coast Collection
125. Robert Polidori
b. 1951
Gas Station, Palm Springs, CA, USA, 1997 Fujicolor Crystal Archive print. 30 5/8 x 40 in. (77.8 x 101.6 cm) Overall 42 1/8 x 51 1/2 in. (107 x 130.8 cm) Signed in ink, printed title, date and number ‘AP 2’ on a gallery label afxed to the reverse of the fush-mount. One from an edition of 10 plus artist’s proofs. Estimate $12,000-18,000
Property from a Private West Coast Collection
126. Richard Misrach
b. 1949
The Santa Fe, 1982 Chromogenic print. 18 1/8 x 22 7/8 in. (46 x 58.1 cm) Signed, titled, dated, numbered ‘#3,’ annotated and copyright notation in ink in the margin. One from an edition of 50 plus artist’s proofs. Estimate $8,000-12,000 Literature Fraenkel Gallery, Richard Misrach: Chronologies, pl. 13 Misrach, Desert Cantos, pl. 6 Tucker, Crimes and Splendors: The Desert Cantos of Richard Misrach, p. 73
127. Hiroshi Sugimoto
b. 1948
Metropolitan State, Los Angeles, 1993 Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm) Signed, titled, dated, numbered ‘1/25, 248’ in pencil on the mount; blindstamp title and number ‘1/25, 248’ in the margin. Estimate $15,000-20,000 Literature Sugimoto, Theaters, p. 108
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
128. Diane Arbus
1923-1971
Clouds on Screen at a Drive-In Movie, N.J., 1960 Gelatin silver print, printed later by Neil Selkirk. 12 x 17 7/8 in. (30.5 x 45.4 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 16/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000
Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, pp. 2-3 Rosenheim, diane arbus: in the beginning, p. 183
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
129. Diane Arbus
1923-1971
Young Couple in Washington Square Park, NYC, 1965 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 7/8 in. (37.5 x 37.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 7/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 45
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
130. Diane Arbus
1923-1971
Couple arguing, Coney Island, N.Y., 1960 Gelatin silver print, printed later by Neil Selkirk. 10 x 6 3/4 in. (25.4 x 17.1 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 11/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Fraenkel Gallery, San Francisco Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 238 Rosenheim, diane arbus: in the beginning, p. 159
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
131. Diane Arbus
1923-1971
Two Ladies Walking In Central Park, N.Y.C., 1962 Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 1/4 in. (36.8 x 36.2 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 7/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $8,000-12,000 Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 71
A Constant Pursuit: Photographs from the Collection of Ed Cohen & Victoria Shaw
132. Diane Arbus
1923-1971
Child in a beret, N.Y.C., 1962 Gelatin silver print, printed later by Neil Selkirk. 14 x 14 1/2 in. (35.6 x 36.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 8/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $10,000-15,000 Provenance Fraenkel Gallery, San Francisco Literature Harper’s Bazaar, September 1962 Aperture, Diane Arbus: Magazine Work, p. 28, there titled Bill Blass Designs for Little Ones
Property from a Private West Coast Collection
133. Lee Friedlander
b. 1934
Kansas City, Missouri, 1965 Gelatin silver print, printed no later than 1978. 6 1/2 x 9 3/4 in. (16.5 x 24.8 cm) Signed, dated and inscribed ‘May 20 1978 Chicago - For Ted with pleasure’ in ink and credit reproduction limitation stamp on the verso. Estimate $8,000-12,000 Provenance From the artist to Ted Hartwell, Minneapolis Weinstein Gallery, Minneapolis
Ted Hartwell was the founding Curator of Photographs at the Minneapolis Institute of Art from 1972 to 2007.
134. Lee Friedlander
b. 1934
Texas, 1965 Gelatin silver print, printed 1970s. 7 3/8 x 11 1/8 in. (18.7 x 28.3 cm) Signed, titled, dated in pencil and credit reproduction limitation stamp on the verso. Estimate $6,000-8,000 Provenance Private Collection, New York Literature Friedlander, Like a One-Eyed Cat: Photographs 1956-1987, pl. 35 Galassi, Friedlander, pl. 123
135. Ezra Stoller
1915-2004
Miami Parking Garage, Robert Law Weed and Associates, Miami, FL, 1948-1949 Gelatin silver print, printed later. 11 1/4 x 17 3/4 in. (28.6 x 45.1 cm) Signed in pencil on the verso. One from an edition of 20. Estimate $6,000-8,000 Provenance Acquired directly from the artist
136. Charles Moore
1931-2010
Dogs used by Birmingham, Ala. Cops to quell Negro Race Riots, 1963 Gelatin silver print. 9 x 13 in. (22.9 x 33 cm) ‘LIFE Photo by Charles Moore’ credit reproduction limitation stamp, extensively annotated with publication usage information in unidentifed hands in ink, crayon and pencil, and with ‘Famous Picture’ label and various Time, LIFE and other stamps, all on the verso. Estimate $15,000-25,000 Provenance Time LIFE Archive, New York Howard Greenberg Gallery, New York Private Collection, New York Literature LIFE, 17 May 1963, vol. 54, no. 20, pp. 30-31 LIFE, 26 December 1969, vol. 67, no. 25, pp. 46-47 Durham, Powerful Days: The Civil Rights Photography of Charles Moore, p. 105
Born in Alabama in 1931, Moore was raised with a sincere empathy for the racial struggles of the African-American population. His photographs documenting some of the most important events in the late 1950s and 1960s were published in local newspapers as well as LIFE magazine, where he worked as a contract photographer, and helped inform the country of the real-world implications of segregation and the dangerous eforts to undo the racial imbalance of the past century. The cultural signifcance of this image cannot be overstated. The notations and stamps on the reverse of the print document an extensive publication history including, most notably, its use in LIFE in both 1963 and 1968. In 1964, Andy Warhol appropriated the image for his painting Race Riot, a seminal work within his Death and Disasters series, further solidifying its place within the cultural and art historical discourse.
The power of photography is most evident when it is used as a tool to bear witness to social injustice. This photograph, taken by Charles Moore in Birmingham, Alabama in 1963, shows a group of police ofcers whose dogs are seen attacking an African-American protester during the Birmingham race riots. With its display of the disproportionate violence by law enforcement against the isolated demonstrator, this image is a sobering representation of the entire American civil rights movement.
verso
137. Frederick Sommer
1905-1999
Young Explorer, 1951 Gelatin silver print. 8 3/8 x 4 1/8 in. (21.3 x 10.5 cm) Signed in pencil on the reverse of the mount. Estimate $15,000-25,000 Provenance Christie’s, New York, 23 April 1990, lot 64 Literature Davis, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 53
138. Paul Strand
1890-1976
Couple, South Uist, 1954 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, titled and dated in ink on the reverse of the fush-mount. Estimate $6,000-8,000 Provenance Collection of Hazel Strand, the photographer’s widow Private Collection, New York By descent to the present owner Literature Aperture, Paul Strand, p. 143, there titled Mary and John Mackinnon
139. Robert Frank
b. 1924
Political Rally, Chicago, 1956 Gelatin silver print, printed later. 22 x 14 in. (55.9 x 35.6 cm) Signed, titled ‘Chicago’ and dated in ink in the margin. Estimate $70,000-90,000 Provenance Pace/MacGill Gallery, New York Literature The Americans, no. 58 Greenough, Looking In: Robert Frank’s The Americans, pp. 281, 476, Contact no. 58 Greenough, Robert Frank: Moving Out, p. 180 Aperture, Robert Frank, frontispiece, variant Kismaric, American Politicians: Photographs from 1843 to 1993, p. 151, variant Szarkowski, Looking at Photographs, p. 177, variant Szarkowski, The Photographer’s Eye, p. 152, variant
With its 83 photographs culled from nearly 27,000 negatives, Robert Frank’s The Americans presents a complex portrait of America in the mid-20th century. From its blunt depictions of racial division, to its metaphoric representations of the American Dream, to the idiosyncratic juxtapositions within many of the frames, this seminal book serves as a cultural archive driven by the curiosity of an artist. Political Rally, Chicago, 1956, is one of several images taken at political parades across the country in the year leading up to the 1956 presidential election. This photograph of a tuba player is contextualized by the small detail on the musician’s jacket which reveals the scene to be a rally in support of Adlai Stevenson’s second unsuccessful campaign for president. This impressive, large-format print is a slightly wider crop than is seen in some editions of The Americans, revealing more of the female fgure on the right. Another print with the same cropping is in the collection of The Metropolitan Museum of Art, New York. For additional works by Robert Frank, please reference lots 140 and 141.
140. Robert Frank
b. 1924
Hoover Dam, 1955 Gelatin silver print, printed later. 17 3/4 x 12 in. (45.1 x 30.5 cm) Signed in ink in the margin. Estimate $20,000-30,000 Literature Greenough, Robert Frank: Moving Out, p. 168 Pantheon, Robert Frank: The Lines of my Hand, n.p. Greenough, Looking In: Robert Frank’s The Americans, pl. 63, variant Scalo, Robert Frank: Hold Still, Keep Going, p. 30, variant
An additional print of this image is in the collection of the National Gallery of Art, Washington, D.C.
141. Robert Frank
b. 1924
US 285, New Mexico, 1956 Gelatin silver print, probably printed in the 1960s. 13 1/8 x 8 3/4 in. (33.3 x 22.2 cm) Signed, titled and dated in ink in the margin; ‘Robert Frank Archive’ and copyright credit stamps on the verso. Estimate $25,000-35,000 Provenance Private Collection, Japan Literature The Americans, no. 36 Greenough, Looking In: Robert Frank’s The Americans, pp. 253, 469, 470, Contact no. 36 Pantheon, Robert Frank: The Lines of my Hand, n.p. ‘The Highway: Four Photographs by Robert Frank,’ Current, November 1960, p. 33 U. S. Camera, 1958, p. 100
Additional prints of this image are in the collections of the Art Institute of Chicago; The Metropolitan Museum of Art, New York; and the Philadelphia Museum of Art.
142. Harry Callahan
1912-1999
Cape Cod, 1972 Gelatin silver print. 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm) Signed in pencil in the margin. Estimate $4,000-6,000 Provenance Zabriskie Gallery, New York, 1972 Literature Greenough, Harry Callahan, pl. 151 Szarkowski, Callahan, p. 187
142.
143. Harry Callahan
1912-1999
Eleanor in the Attic, 1948 Eleanor and Barbara, Lake Michigan, 1953 Two gelatin silver prints, printed later. Each 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Each signed in pencil in the margin. Estimate $6,000-8,000 Provenance LIGHT Gallery, New York, early 1980s Literature Cox, Harry Callahan: Eleanor, pls. 19, 53 Greenough, Harry Callahan, p. 101 Rizzoli, Visions and Images: American Photographers on Photography, p. 13 Szarkowski, Callahan, pp. 97, 195 The Museum of Modern Art, Harry Callahan, p. 13
143.
144. Ernst Haas
1921-1986
144. Beach refection, USA, 1962 Chromogenic print, printed later. 22 1/2 x 34 in. (57.2 x 86.4 cm) Signed, titled, dated and numbered 1/15 by Alexander Haas, the artist’s son, in ink on a studio label accompanying the work.
Estimate $4,000-6,000 Provenance Directly from the Estate of Ernst Haas Literature Steidl, Ernst Haas: Color Correction, p. 11
145. Joel Meyerowitz
b. 1938
Bay/Sky/Porch Self-published, 1979. Fifeen chromogenic prints. Each 7 7/8 x 9 5/8 in. (20 x 24.4 cm) or the reverse Each signed, dated and numbered 56/75 in ink on the verso. Numbered 56/75 in ink on the colophon. Enclosed within a burgundy linen clamshell portfolio case with gilt title. Number 56 from an edition of 75 plus 15 artist’s proofs. Estimate $7,000-9,000 Literature Meyerowitz, A Summer’s Day, p. 68 Moore, Starburst: Color Photography in America 1970-1980, pl. 215 Museum of Fine Arts, Boston, Cape Light: Color Photographs by Joel Meyerowitz, pl. 3 145.
146. Harry Callahan
1912-1999
Eleanor, Port Huron, 1954 Gelatin silver print, printed later. 7 x 6 3/4 in. (17.8 x 17.1 cm) Signed by the artist and additionally signed by Eleanor Callahan, both in pencil in the margin. Estimate $2,500-3,500 Provenance LIGHT Gallery, New York Literature Szarkowski, Callahan, front matter, variant Cox, Harry Callahan: Eleanor, pl. 76
147. Harry Callahan
1912-1999
Untitled, Eleanor, 1947 Gelatin silver print, printed later. 4 1/2 x 2 5/8 in. (11.4 x 6.7 cm) Signed by the artist and additionally signed by Eleanor Callahan, both in pencil in the margin. Estimate $4,000-6,000 Provenance LIGHT Gallery, New York Literature Cox, Harry Callahan: Eleanor, pl. 16 Greenough, Harry Callahan, p. 80 Szarkowski, Callahan, p. 61
148. Edward Weston
1886-1958
Nude, 1936 Gelatin silver print, printed later by Cole Weston. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm) Signed, titled, dated in pencil by Cole Weston and Edward Weston signature stamp on the reverse of the mount. Estimate $10,000-15,000 Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 968 Mora, Edward Weston: Forms of Passion, cover, p. 223 Newhall, Edward Weston, Photographer, p. 60 Wilson, Edward Weston Nudes, pl. 82 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 118 Taschen, 20th Century Photography, p. 731
149. Harry Callahan
1912-1999
Cape Cod, 1972 Gelatin silver print. 7 x 7 in. (17.8 x 17.8 cm) Signed in pencil in the margin. Estimate $3,000-5,000 Provenance LIGHT Gallery, New York
150. Berenice Abbott
1898-1991
New York Portfolio IV New York: Parasol Press, Ltd., 1979. Twelve gelatin silver prints. Each approximately 15 1/4 x 19 1/4 in. (38.7 x 48.9 cm) or the reverse. One print 181/4 x 231/4 in. (46.4 x 59.1 cm). Each signed and lettered ‘A’ in pencil on the mount; credit reproduction limitation stamp on the reverse of each mount. Title page. Colophon. One from an edition of 65, numbered 1 through 60 and lettered sequentially ‘A-E’. Enclosed in a cloth clamshell case. Estimate $10,000-15,000 Provenance Martina Hamilton Gallery, New York Literature Centre National de la Photographie, Berenice Abbott, n.p. Commerce Graphics, Berenice Abbott, n.p. Dover Publications, New York In The Thirties: As Photographed By Berenice Abbott, pp. 11-12, 20, 22, 30-31, 75, 91 O’Neal, Berenice Abbott: American Photographer, pp. 97, 146, 150, 167 Yochelson, Berenice Abbott: Changing New York, n.p.
Property from a Private West Coast Collection
151. W. Eugene Smith
1918-1978
Three Generations of Miners. A Welsh Coal-Mining Town, Wales, Great Britain, 1950 Gelatin silver print from W. Eugene Smith: A Portfolio of Ten Photographs, printed 1977. 9 1/4 x 13 in. (23.5 x 33 cm) Signed in pencil on the recto; signed, titled ‘Welsh Miners’ and dated in pencil on the mount. One from an edition of 25 plus artist’s proofs. Estimate $6,000-8,000 Literature Harry N. Abrams, Inc., W. Eugene Smith: Photographs 1934-1975, cover, p. 95 Aperture, Let Truth Be the Prejudice – W. Eugene Smith: His Life and Photographs, p. 143 Aperture, W. Eugene Smith: His Photographs and Notes, n.p. Aperture, W. Eugene Smith: Master of the Photographic Essay, p. 72 Hughes, W. Eugene Smith: Shadow & Substance, n.p. Phaidon, W. Eugene Smith, p. 51
Actual size
Actual size
Property from a Private West Coast Collection
152. Dorothea Lange
1895-1965
Bad Trouble Over the Weekend from Last Ditch Series, 1964 Gelatin silver print. 5 1/2 x 3 3/8 in. (14 x 8.6 cm) Annotated ‘from the Series - Last Ditch,’ ‘Roll 240’ and ‘#15’ in ink and/or pencil on the reverse of the fush-mount. Estimate $10,000-15,000 Literature Aperture, Dorothea Lange: Photographs of a Lifetime, p. 157 The Museum of Modern Art, Dorothea Lange, p. 71
153. Walker Evans
1903-1975
James Agee, Oldfeld, Aug., 1937 Gelatin silver print, fush-mounted. 4 3/8 x 3 5/8 in. (11.1 x 9.2 cm) Signed in pencil on the secondary mount; titled and dated in ink on the reverse of the secondary mount. Estimate $8,000-12,000 Provenance Weinstein Gallery, Minneapolis
154. Dorothea Lange
1895-1965
Migrant Mother, Nipomo, California, 1936 Gelatin silver print, printing date unknown. 13 1/2 x 10 3/8 in. (34.3 x 26.4 cm) Accompanied by a typed letter signed by Rondal Partridge. Estimate $80,000-100,000 Provenance Irwin Welcher, San Francisco, possibly acquired from Dorothea Lange in the 1950s or 1960s Eddie Diba, San Francisco Private Collection, San Francisco To the present owner, 2009 Literature San Francisco News, March 11, 1936 “Draggin’- Around People,” Survey Graphic, September 1936 Meltzer, Dorothea Lange: A Photographer’s Life, cover, p. 213 Szarkowski, Phillips, and Heyman, Dorothea Lange: American Photographs, back cover, 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 there titled Human Erosion in California/Facing Starvation/Starvation/Migrant Mother, Nipoma, California Light, Witness In Our Time, Working Lives of Documentary Photographers, Rondal Partridge, Dorothea Lange in The Field, p. 203 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 Whitney Museum of American Art, The American Century: Art and Culture 1900-2000, p. 248 Partridge, Dorothea Lange, A Visual Life, 1994, flm including extensive interviews with Rondal Partridge PBS American Masters, Dorothea Lange: Grab A Hunk of Lightning, 2014, flm
Letter from Rondal Partridge accompanying this lot
It is believed that this masterfully-made print of Lange’s most iconic image came originally from the collection of Irwin Welcher, the San Francisco-based photographic printer who worked with Dorothea Lange in the 1950s and 1960s. Lange frst encountered Welcher when he was hired to make prints for Edward Steichen’s monumental Family of Man exhibition, an exhibition for which Lange was Steichen’s west coast representative. Welcher was also involved in printing the photographs for Lange’s 1966 retrospective at The Museum of Modern Art, New York. Lange may have given this print to Welcher as a guide print. This print was shown to photographer Rondal Partridge (1917-2015), who worked with Lange during her years as photographer for the Farm Security Administration, and remained close to her throughout her life. Ron, as his friends called him, was the son of photographer Imogen Cunningham and worked with Lange in her darkroom in Berkeley, California. He was an acknowledged expert on her life and prints. In the 2009 letter that accompanies this photograph, Ron outlines his opinion that the print was made by Lange, stating that it “exhibits all of the typical tonality of Dorothea’s printing from 1922 to 1945.” Indeed, the print is distinguished by a nuanced tonality and high level of detail. It is also possible that this print was made by Welcher, likely to Lange’s specifcations during the period they worked together. Welcher was a sensitive and scrupulous interpreter of Lange’s photographs, and his prints of her images that have come to market all share the same high degree of print quality and rich tonality as the print ofered here. In a 1966 interview, Welcher described the experience of working with Lange: “My association with Dorothea was more than that of a businessman and a client. There was an empathy. Many times Dorothea had only to say a word or two and I immediately grasped what she meant . . . As for myself, I can say this was truly a labor of love. It is not very ofen that one gets the opportunity to be a part of the history of art” (“Dorothea Lange and Her Printer,” Popular Photography, Volume 59, no. 1, July 1966, p. 70).
Property from a Private West Coast Collection
155. Ansel Adams
1902-1984
Frozen Lake and Clifs, Sierra Nevada, California, 1927 Gelatin silver print, printed 1973-1977. 10 1/4 x 13 1/4 in. (26 x 33.7 cm) Signed in pencil on the mount; Carmel credit stamp (BMFA 11) with title and date in an unidentifed hand in ink on the reverse of the mount. Estimate $7,000-9,000 Literature Adams, Examples: The Making of 40 Photographs, p. 10 Adams, Yosemite and the Range of Light, pl. 27 Alinder, Ansel Adams: 1902-1984, p. 12 Newhall, Ansel Adams: The Eloquent Light, pp. 168-169 Stillman, Ansel Adams: 400 Photographs, p. 93 Stillman, Ansel Adams in the National Parks, p. 10 Szarkowski, Ansel Adams at 100, pl. 32 Haas and Senf, Ansel Adams, p. 146, for stamp
Property from a Private West Coast Collection
156. Ansel Adams
1902-1984
Still Life, San Francisco, circa 1932 Gelatin silver print from Portfolio VI, printed 1974. 19 1/4 x 14 3/4 in. (48.9 x 37.5 cm) Signed and numbered ‘VI-6, 57/110’ in pencil on the mount; ‘Portfolio VI’ credit, title, date and reproduction limitation stamp on the reverse of the mount. Estimate $5,000-7,000 Literature Stillman, Ansel Adams: 400 Photographs, p. 88 Szarkowski, The Portfolios of Ansel Adams, Portfolio VI, pl. 6
Property from a Private West Coast Collection
157. Ansel Adams
1902-1984
Monolith, the Face of Half Dome, Yosemite National Park, 1927 Gelatin silver print, printed 1973-1977. 19 1/4 x 14 1/4 in. (48.9 x 36.2 cm) Signed in pencil on the mount; Carmel credit stamp (BMFA 11) with title and date ‘c. 1926’ in an unidentifed hand in ink on the reverse of the mount. Estimate $18,000-22,000 Literature Newhall, The Eloquent Light, cover, p. 45 Stillman, Ansel Adams: 400 Photographs, cover, p. 35 Adams, Yosemite and the Range of Light, pl. 54 Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 2 Museum of Fine Arts, Boston, Ansel Adams: The Early Years, pls. 6-7 Haas and Senf, Ansel Adams, p. 146, for stamp
158. Ansel Adams
1902-1984
Moon and Clouds, Northern California, 1959 Gelatin silver print from Portfolio V, printed 1970. 15 1/2 x 19 1/4 in. (39.4 x 48.9 cm) Signed and numbered ‘V-4 - 11/110’ in pencil on the mount; titled, dated, numbered ‘4’ in an unidentifed hand in ink within the ‘Portfolio V’ credit and reproduction limitation stamp on the reverse of the mount. Estimate $12,000-18,000 Literature Stillman, Ansel Adams: 400 Photographs, p. 362 Szarkowski, The Portfolios of Ansel Adams, Portfolio V, pl. 4
159. Edward Weston
1886-1958
Mount Lassen National Park, 1937 Gelatin silver print, probably printed in the 1940s-1950s. 7 1/4 x 9 1/4 in. (18.4 x 23.5 cm) Initialed and dated in pencil on the mount. Estimate $10,000-15,000 Provenance Private Collection, Boston Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 1138 Aperture, Edward Weston, p. 210
160. Alfred Stieglitz
1864-1946
Grasses, 1933 Gelatin silver print. 6 x 9 1/8 in. (15.2 x 23.2 cm) Estimate $12,000-18,000 Provenance Joel Oppenheimer Gallery, Chicago Andrew Smith Gallery, Santa Fe Private Collection, California Literature Greenough, Alfred Stieglitz: The Key Set, Volume Two, cat. no. 1504
161. Josef Sudek
1896-1976
Untitled (forest), 1948 Pigment print. 6 3/8 x 4 3/4 in. (16.2 x 12.1 cm) Dated and annotated in pencil by the artist, with a paper manufacturing stamp and other annotations in unidentifed hands in pencil, all on the verso. Estimate $10,000-15,000 Provenance Collection of Petr Helbich, the photographer’s assistant Literature Aperture, Josef Sudek: Poet of Prague: A Deeper Vision, p. 125, variant Aperture, Josef Sudek: Poet of Prague: A Photographer’s Life, p. 125, variant
162. Josef Sudek
1896-1976
Untitled (landscape with trees), circa 1924 Gelatin silver print. 8 1/2 x 11 1/8 in. (21.6 x 28.3 cm) Signed in pencil on the mount. Estimate $5,000-7,000 Provenance From the photographer to his student By descent Michael R. Weintraub, Inc., New York Private Collection, California
163. Henri Cartier-Bresson 1908-2004 Henri Matisse, Vence, France, 1944 Gelatin silver print, printed later. 11 1/2 x 17 3/8 in. (29.2 x 44.1 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 121 Galassi, Henri Cartier-Bresson: The Modern Century, p. 226
164. André Kertész 1894-1985 Shadows of the Eifel Tower, 1929 Gelatin silver print, printed later. 10 3/4 x 13 5/8 in. (27.3 x 34.6 cm) Signed and dated in pencil on the verso. Estimate $3,000-5,000 Provenance Atlanta Gallery of Photography Phillips, New York, 4 April 2016, lot 165 Literature Art et Médecine, October 1931, frontispiece Aperture Masters of Photography: André Kertész, p. 45 Borhan, André Kertész: His Life and Work, p. 108 Ducrot, André Kertész: Sixty Years of Photography, 1912-1972, p. 137 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 170
165. Henri Cartier-Bresson 1908-2004 Near Juvisy-sur-Orge, France, 1955 Gelatin silver print, printed later. 9 1/4 x 14 in. (23.5 x 35.6 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Literature Galassi, Henri Cartier-Bresson: The Modern Century, pp. 1, 156 Montier, Henri Cartier-Bresson and the Artless Art, pl. 250
166. Henri Cartier-Bresson 1908-2004 Gardens of the Palais Royal, Paris, 1959 Gelatin silver print, printed later. 17 3/8 x 11 1/2 in. (44.1 x 29.2 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $12,000-18,000 Provenance Galerie Beyeler, Basel Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 32 Bulfnch, Henri Cartier-Bresson: City and Landscapes, pl. 66 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 46 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 41
167. Laure Albin-Guillot 1879-1962 Untitled (nude study), circa 1930 Fresson print, fush-mounted to paper. 23 1/2 x 6 1/4 in. (59.7 x 15.9 cm) Signed in pencil on the recto. Estimate $7,000-9,000 Provenance Prakapas Gallery, New York, 1981 Collection of Tom Jacobson, Tucson
168. Manuel Álvarez Bravo
1902-2002
La Buena Fama Durmiendo (The Good Reputation Sleeping), 1938 Gelatin silver print, printed later. 9 3/4 x 13 in. (24.8 x 33 cm) Signed and annotated ‘Mexico’ on the verso. Estimate $5,000-7,000 Provenance Private Collection, Los Angeles Literature Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 77 J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 28 Kismaric, Manuel Álvarez Bravo, p. 123 Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 21 Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 48
169. Horst P. Horst
1906-1999
170. Horst P. Horst
1906-1999
Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 17 5/8 x 13 3/8 in. (44.8 x 34 cm) Signed in pencil on the verso; signature blindstamp in the margin.
Lisa on Silk I, N.Y., 1940 Platinum palladium print, printed later. 19 x 15 in. (48.3 x 38.1 cm) Signed in pencil in the margin; signed, titled, dated, numbered ‘AP 1/3’ and annotated in pencil on the verso.
Estimate $8,000-12,000
Estimate $10,000-15,000
Literature American Vogue, 15 September 1939 French Vogue, December 1939 Kazmaier, Horst: Sixty Years of Photography, pl. 8 Hall-Duncan, The History of Fashion Photography, p. 65 High Museum of Art, Chorus of Light: Photographs From The Sir Elton John Collection, p. 192 Martineau, Icons of Style: A Century of Fashion Photography, pl. 69 Muir, Vogue 100: A Century of Style, p. 78 Taschen, 20th Century Photography: Museum Ludwig Cologne, p. 267
Literature Kazmaier, Horst: Sixty Years of Photography, pl. 32 Rizzoli, Horst: Photographer of Style, pl. 33
Property from a Private West Coast Collection
171. Erwin Blumenfeld
1897-1969
Amsterdam, circa 1933 Unique gelatin silver print, solarized from a paper negative. 11 7/8 x 9 1/4 in. (30.2 x 23.5 cm) Signed in stylus on the recto; signed by the sitter, Marina Schinz, in ink, typed credit, ‘495a keizersgracht’ address, copyright credit and estate stamps on the verso. Estimate $10,000-15,000 Provenance Jane Corkin Gallery, Toronto Literature Blumenfeld, The Photographic Nudes of Erwin Blumenfeld: The Naked and the Veiled, p. 96, variant
Blumenfeld’s oeuvre exhibits not only his impact on fne art and fashion photography, but his passion for pushing the boundaries of the medium. Amidst the Dadaist movement in post-World War I Europe, the embrace of Surrealism led artists to abandon traditional darkroom practices and explore techniques such as cameraless imagery, photomontage, distortions, multiple exposures, and solarization. Like his contemporaries such as Man Ray, Herbert Bayer, and Paul Citroen, Blumenfeld experimented with many of these practices. Solarization, evident in the present lot, was achieved by exposing the print to light during the development process. The efect transformed the already carefully constructed nude composition into an even more dynamic image with a reversal of the positive and negative tones, producing a sof glow throughout.
Property from a Private West Coast Collection
172. Man Ray
1890-1976
Florence Meyer Homolka, 1940s Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm) ‘Photograph Man Ray’ (Manford M25) and reproduction limitation (Manford M30) stamps on the verso. Estimate $6,000-8,000 Provenance Throckmorton Fine Art, New York Literature J. Paul Getty Museum, Man Ray in Paris, pl. 41 Manford, Behind the Photo: The Stamps of Man Ray, for stamps
Property from a Private West Coast Collection
173. Man Ray
1890-1976
Pablo Picasso, 1932 Gelatin silver print, probably printed before the 1950s. 11 5/8 x 9 in. (29.5 x 22.9 cm) ‘31 bis, Rue Campagne-Première’ (Manford M28) credit and reproduction limitation (Manford M30) stamps on the verso. Estimate $25,000-35,000 Provenance The Estate of Juliet Man Ray, the photographer’s widow Howard Greenberg Gallery, New York Literature Dover, Photographs by Man Ray: 105 Works, 1920-1934, p. 77 Penrose, Man Ray, pl. 43, variant, there dated 1934 The Bunkamura Museum of Art, Photographies de Man Ray, pl. 253, variant Manford, Behind the Photo: The Stamps of Man Ray, for stamps
Property from a Private West Coast Collection
174. Richard Avedon
1923-2004
Francis Bacon, artist, Paris, April 11, 1979 Gelatin silver print. 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm) Signed, numbered 3/10 in pencil, title, date, edition and copyright credit reproduction limitation stamps on the verso. Estimate $15,000-25,000
Provenance Stephen Wirtz Gallery, San Francisco Literature Louisiana Museum of Modern Art, Richard Avedon: Photographs: 1946 - 2004, n.p. Avedon, An Autobiography, pl. 214, variant Steidl, Richard Avedon: Portraits of Power, p. 233, variant
Actual size
Property from a Private West Coast Collection
175. Constantin Brancusi
1876-1957
Self-Portrait in His Studio, circa 1921 Gelatin silver print. 4 3/8 x 3 3/8 in. (11.1 x 8.6 cm) Estimate $20,000-30,000 Provenance The Estate of Katharine Graham, former Publisher of The Washington Post Sotheby’s, New York, 24 October 2002, lot 181 Edwynn Houk Gallery, New York Literature Agrinde Publications, Brancusi: photographer, cover
Property from a Private West Coast Collection
176. Gordon Parks
1912-2006
Alberto Giacometti, Paris, France, 1951 Gelatin silver print, printed later. 9 3/4 x 11 1/2 in. (24.8 x 29.2 cm) Signed in ink on the verso. Estimate $5,000-7,000 Provenance Weinstein Gallery, Minneapolis
177. Arnold Newman
1918-2006
Igor Stravinsky, 1946 Gelatin silver print, printed later. 6 7/8 x 13 in. (17.5 x 33 cm) Signed, titled, dated and copyright notation in pencil in the margin; copyright credit reproduction limitation stamp on the verso. Estimate $3,000-5,000 Literature LIGHT Gallery, LIGHT, p. 67 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 180
178. Henri Cartier-Bresson 1908-2004 Alberto Giacometti, rue d’Alésia, Paris, 1961 Gelatin silver print, printed later. 13 7/8 x 9 1/4 in. (35.2 x 23.5 cm) Signed, inscribed ‘pour Heiner Bastian très cordialement’ in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Provenance Collection of Heiner and Céline Bastian Phillips de Pury & Company, New York, 28 April 2005, lot 182 Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 114 Cartier-Bresson, Henri Cartier-Bresson: À Propos de Paris, pl. 104 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 289 Galassi, Henri Cartier-Bresson: The Modern Century, p. 54 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 212 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 10
179. Mario Giacomelli
1925-2000
Untitled from I Pretini, 1968 Gelatin silver print, mounted. 10 1/4 x 15 1/2 in. (26 x 39.4 cm) Signed and dated in ink on the recto. Estimate $8,000-12,000 Provenance Acquired directly from the artist, 1976
Property from a Private West Coast Collection
180. Brassaï (Gyula Halász)
1899-1984
Grafti (Les deux coeurs), Paris, circa 1957 Gelatin silver print, printed no later than 1979. 11 3/4 x 8 5/8 in. (29.8 x 21.9 cm) Signed, dated ‘4/7/79,’ annotated ‘E.A’ and inscribed ‘pour Olga et Loca bien amicalement’ in ink in the margin; signed, titled, annotated ‘E/A’ in ink and two ‘81, Faubourg St-Jacques’ copyright credit stamps on the verso. Estimate $5,000-7,000 Provenance From the photographer to Olga Klein, artist Contemporary Works/Vintage Works, Pennsylvania
Property from a Private West Coast Collection
181. Charles Sheeler
1883-1965
Chartres, South Side from Street, 1929 Gelatin silver print. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed, titled ‘Chartres’ and dated in ink on the reverse of the mount. Estimate $30,000-50,000 Provenance Acquired directly from the artist Collection of David McAlpin Edwynn Houk Gallery, New York Literature Stebbins & Keyes, Charles Sheeler: The Photographs, pl. 63 Stebbins, More and Haas, The Photography of Charles Sheeler: American Modernist, p. 182
Charles Sheeler was one of the main proponents of a specifcally American strain of Modernism which he pursued with equal mastery in painting, drawing, and photography. His commercial assignments for Ford Motor Company and Fortune magazine, amongst others, aforded him the means to pursue his artistic endeavors, including his celebrated project at Chartres Cathedral in 1929. Recognizing that the building’s beauty and grandeur could not be properly documented in a single photograph, Sheeler sought to create a series of images, each focused on a particular section of this gothic tour-de-force. In the present photograph, Sheeler captures the light as it
hits the south façade with the cathedral casting a fgurative shadow on its surroundings. This shadow, paired with the strong vertical planes within the image, is a perfect example of the compositional precision that Sheeler carried across media throughout his career. This print was originally in the collection of David McAlpin who, beginning in the 1920s, assembled one of the foremost early collections of photography, which he gifed to institutions including the Princeton University Art Museum and The Museum of Modern Art, New York.
Property from a Private West Coast Collection
182. André Kertész
1894-1985
Property from a Private West Coast Collection
183. André Kertész
1894-1985
Meudon, France, 1928 Gelatin silver print, printed 1970s. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm) Signed and dated in pencil on the verso.
Chez Mondrian, 1926 Gelatin silver print, printed 1970s. 9 5/8 x 7 1/8 in. (24.4 x 18.1 cm) Signed and dated in pencil on the verso.
Estimate $4,000-6,000
Estimate $4,000-6,000
Literature Borhan, André Kertész: His Life and Work, p. 187 Ducrot, André Kertész: Sixty Years of Photography, p. 141 Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 31 Lifson, André Kertész: A Lifetime of Photography, p. 31 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 165
Literature Borhan, André Kertész: His Life and Work, p. 155 Ducrot, André Kertész: Sixty Years of Photography, p. 119 Greenough, André Kertész, pl. 50 Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 136 Bulfnch Press, On the Art of Fixing A Shadow: One Hundred and Fify Years of Photography, pl. 240 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 124
Property from a Private West Coast Collection
184. August Sander
1876-1964
Konditor (Pastry Chef), Cologne, 1928 Gelatin silver print, printed 1990 by Gerd Sander. 22 7/8 x 15 3/4 in. (58.1 x 40 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, numbered 8/18 by Gerd Sander, the artist’s grandson, in pencil, ‘Archiv’ copyright credit and ‘Menschen des 20.Jahrhunderts’ credit stamps on the verso. Estimate $15,000-20,000 Provenance Weinstein Gallery, Minneapolis Literature Abrams, August Sander: People of the 20th Century, Volume II: The Skilled Tradesmen, back cover of slipcase, pl. II/8/19 Aperture, August Sander, p. 51
Property from a Private West Coast Collection
185. Luis González Palma
b. 1957
La Dolorosa, 1991 Three gelatin silver prints with applied paint and satin ribbon, mounted to hand painted wooden board. 29 7/8 x 48 1/2 in. (75.9 x 123.2 cm) Overall 45 1/2 x 55 in. (115.6 x 139.7 cm) Number 1 from an edition of 10. Accompanied by a gallery certifcate. Estimate $10,000-15,000 Exhibited Luis González Palma, Art Institute of Chicago, 18 April - 12 July 1992 Literature Arena Editions, Luis González Palma, fg. 2, variant, there titled Mater Dolorosa
This is the only print from the edition of 10 that is mounted to a hand painted wooden board.
Property from a Private West Coast Collection
186. Manuel Álvarez Bravo
1902-2002
Dos Pares de Piernas (Two Pairs of Legs), 1928-1929 Gelatin silver print, printed later. 9 1/8 x 7 1/8 in. (23.2 x 18.1 cm) Signed and annotated ‘Mexico’ in pencil on the verso. Estimate $5,000-7,000 Provenance Throckmorton Fine Art, New York Literature Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 17 J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 2 Kismaric, Manuel Álvarez Bravo, p. 67 Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 2 Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 8
Property from a Private West Coast Collection
187. August Sander
1876-1964
188. August Sander
1876-1964
Mädchen im Kirmeswagen (Girl in Fairground Caravan), 1926-1932 Gelatin silver print, printed 1992 by Gerd Sander. 10 x 7 3/4 in. (25.4 x 19.7 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, dated, numbered 11/12, by Gerd Sander, the artist’s grandson, in ink and/or pencil and ‘Archiv’ copyright credit stamp on the verso.
Revolutionäre (Revolutionaries), 1929 Gelatin silver print, printed 1990 by Gerd Sander. 22 1/4 x 16 5/8 in. (56.5 x 42.2 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, numbered 2/7 by Gerd Sander, the artist’s grandson, in pencil, ‘Archiv’ copyright credit and ‘Menschen des 20.Jahrhunderts’ credit stamps on the verso.
Estimate $5,000-7,000
Estimate $5,000-7,000
Provenance Deborah Bell Photographs, New York
Provenance Weinstein Gallery, Minneapolis
Literature Szarkowski, Photography Until Now, cover, p. 241 Abrams, August Sander: People of the 20th Century, Volume VI: The City, pl. VI/37/1
Literature Abrams, August Sander: People of the 20th Century, Volume II: The Skilled Tradesmen, pl. II/11/12
189. Pierre Dubreuil
1872-1944
Gardiens fdèles, circa 1932 Oil print. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm) Signed, titled in pencil, annotated ‘45. Padlocks’ in ink and stamped ‘DB69’ on the reverse of the mount; titled in pencil on the mount. Estimate $50,000-70,000 Provenance Collection of Tom Jacobson, Tucson Exhibited Pierre Dubreuil Retrospective, Royal Photographic Society, London, 1935 Pierre Dubreuil, Photographs 1896–1935, Musée d’Art Moderne, Centre Georges Pompidou, Paris, 1987 Pierre Dubreuil Rediscovered, The Museum of Photographic Arts, San Diego, 1988; and traveling to Alliance Française, New York, 1989; and The Detroit Institute of Arts, 1990 Literature Jacobson, Pierre Dubreuil: Photographs 1896-1935, pl. 22 (this print)
Few European photographers operated as successfully as Pierre Dubreuil in the two dominant, frequently opposed, styles of the early 20th century, Pictorialism and Modernism. His best photographs synthesize elements of these two photographic modes and combine a Pictorialist emphasis on the craf of photographic printing with a Modernist simplifcation of form. Rendered here as an oil print—the technically-demanding printing technique of which Dubreuil was a master—and exploiting a lively repetition of forms, Gardiens fdèles is the quintessential Dubreuil photograph. This photograph illustrates Dubreuil’s frequently overlooked sense of visual humor. The title translates as ‘faithful guardians,’ and a close examination of the shapes of the individual locks reveals their resemblance to dogs’ faces. In this image, Dubreuil creates a visual pun that likens the locks to watchdogs, both faithful guardians of the home. While Dubreuil’s photographs were widely published and exhibited in his day, extant prints are scarce. Fearing for the safety of his work at the outset of World War II, Dubreuil sold his negatives and many of his photographs to the Agfa Gevaert factory in Belgium. When the factory was bombed, nearly all of Dubreuil’s oeuvre was destroyed. The print of Gardiens fdèles ofered here is believed to be one of only two extant prints, and is the only one which bears his monogram, indicating that it was intended for exhibition.
190. Paul Outerbridge, Jr.
1896-1958
Brooklyn Bridge, circa 1923 Platinum print. 4 1/2 x 3 5/8 in. (11.4 x 9.2 cm) Paul Outerbridge estate notations in an unidentifed hand in pencil on the verso. Estimate $10,000-15,000
191. Emil Otto Hoppé
1878-1972
Germany Brunner Mond Chemical Workers, October, 1928 Gelatin silver print. 7 x 10 1/4 in. (17.8 x 26 cm) Signed, titled, dated, annotated in ink and/or pencil, Hoppé copyright credit, ‘The Mansell Collection’ reproduction limitation and ‘Dorien Light Ltd’ stamps on the verso. Estimate $3,000-5,000 Provenance Gallery 292, New York Actual size
Taken in Zaporizhia, Ukraine, The World’s Largest Dam - Dnieperstroi, is a classic example of Margaret Bourke-White’s unparalleled ability to communicate the vitality of industrialization amidst the economic and political changes of the 1930s and 1940s. In this important early industrial image, Bourke-White played with perspective to communicate the immense scope of new construction. Bourke-White presents her subject as a modern Parthenon, with its half-built pillars, soon to become the main arteries of the dam, steadfastly towering side-by-side before the forces of nature. In her book Eyes on Russia, 1931, where this image appears as the frontispiece, Bourke-White wrote: “I saw the fve-year plan as a great scenic drama being unrolled before the eyes of the world,” referring to Russia’s program for economic and industrial modernization. Bourke-White is one of the photographers directly responsible for creating the modern vocabulary of photojournalism. She lived a life as bold as her pictures, breaking through political, professional, and gender boundaries. She was Fortune magazine’s frst staf photographer, and the frst Western professional photographer permitted into the Soviet Union. She was also LIFE magazine’s frst female photographer, and it was a photograph by her that famously appeared on its frst cover in 1936. She was the frst female war correspondent credentialed to work in combat zones during World War II. In 1930, Bourke-White participated in the Men and Machines exhibition in New York City. It was in reference to that exhibition that Bourke-White predicted that “Any important art coming out of the industrial age will draw inspiration from industry, because industry is alive and vital.”
Property from a Private West Coast Collection
192. Margaret Bourke-White
1904-1971
The World’s largest dam – Dnieperstroi, 1930 Gelatin silver print. 13 1/8 x 9 1/4 in. (33.3 x 23.5 cm) Signed in pencil on the mount; titled in pencil and credit stamp on the reverse of the mount. Estimate $20,000-30,000
Provenance Throckmorton Fine Art, New York Literature Bourke-White, Eyes on Russia, frontispiece Brown, Margaret Bourke-White: Photojournalist, p. 39
Actual size
193. Walker Evans
1903-1975
Untitled, 1940-1941 Gelatin silver print. 4 1/2 x 7 3/8 in. (11.4 x 18.7 cm) Signed in pencil on the mount; ‘1681 York Avenue, New York, N.Y. 10028’ credit stamp (Keller stamp I) on the reverse of the mount. Estimate $20,000-30,000 Provenance Acquired directly from the artist Collection of Arnold Crane, Chicago Private Collection, Chicago Literature Keller, Walker Evans: The Getty Museum Collection, fg. 635, variant and p. xvi, for stamp
194. Edward Steichen
1879-1973
6th Ave. and 40th St., circa 1930 Gelatin silver print. 9 1/8 x 7 3/8 in. (23.2 x 18.7 cm) Titled in an unidentifed hand in pencil on the verso. Estimate $40,000-60,000 Provenance Collection of Joanna Steichen, the photographer’s widow Howard Greenberg Gallery, New York Private Collection, Switzerland Literature Brandow & Ewing, Edward Steichen: Lives in Photography, pl. 164
This photograph is one of a series of views Edward Steichen made from the windows of his New York City studio in the Beaux Arts building on 40th Street and 6th Avenue. Photographing over several years, Steichen used this vantage point to capture the many moods the ever-changing city, in times of prosperity and poverty, always capturing the energy and dynamism of the metropolis.
195. Horace Bristol
1908-1997
PBY Blister Gunner, Rescue at Rabaul, 1944 Gelatin silver print, printed later. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm) Signed and annotated ‘#20’ in pencil on the verso. Estimate $8,000-12,000 Provenance Collection of Horace Bristol, Jr. Literature Conner and Heimerdinger, Horace Bristol: An American View, p. 93
196. Alfred Eisenstaedt
1898-1995
Midshipmen at the U.S. Naval Academy, Annapolis, 1936 Gelatin silver print, printed 1989. 11 7/8 x 9 1/2 in. (30.2 x 24.1 cm) Signed and numbered 4/250 in ink in the margin; credited, titled, dated, annotated and copyright Time Inc. in an unidentifed hand in pencil on the verso. Estimate $3,000-5,000 Literature Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-Portrait, p. 66
Property from a Private West Coast Collection
197. Berenice Abbott
1898-1991
New York at Night, 1932 Gelatin silver print, printed later. 13 1/4 x 10 3/8 in. (33.7 x 26.4 cm) Signed in pencil on the mount; credit stamp on the reverse of the fush-mount. Estimate $6,000-8,000 Literature Steidl, Berenice Abbott: Volume II, cover, frontispiece, p. 35 Commerce Graphics, Ltd., Berenice Abbott, n.p. O’Neal, Berenice Abbott: American Photographer, p. 2 Photo Poche, Berenice Abbott, pl. 20 The New York Public Library, Berenice Abbott: A Modern Vision, pl. 9 Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, p. 125
Property from a Private West Coast Collection
198. Berenice Abbott
1898-1991
Newsstand, 32nd Street and 3rd Avenue, 1935 Gelatin silver print, printed later. 15 1/4 x 19 3/8 in. (38.7 x 49.2 cm) Signed in pencil on the mount; credit stamp on the reverse of the mount. Estimate $3,000-5,000 Literature O’Neal, Berenice Abbott: American Photographer, p. 166
199. Lewis Wickes Hine
1874-1940
Selected Images (rural child labor), 1910-1933 Ten gelatin silver prints. Varying dimensions from 2 3/8 x 4 in. (6 x 10.2 cm) to 4 3/4 x 6 5/8 in. (12.1 x 16.8 cm). Each print variously credited, titled, numbered and/or annotated in various hands in ink and/or pencil on the verso; one print numbered in pencil in the margin. Estimate $12,000-18,000 Literature Aperture, America and Lewis Hine: Photographs 1904-1940, p. 102 for Miner in safety helmet, 1933
200. Lewis Wickes Hine
1874-1940
Selected Images (urban child labor), 1910-1914 Ten gelatin silver prints. Varying dimensions from 3 1/2 x 2 7/8 in. (8.9 x 7.3 cm) to 4 5/8 x 6 5/8 in. (11.7 x 16.8 cm) or the reverse. Each print variously credited, titled, numbered and/or annotated in various hands in ink and/or pencil on the verso; one print with date stamp on the verso; one print with typed title label on the verso. Estimate $12,000-18,000
201. Alfred Stieglitz
1864-1946
The Steerage, 1907 Large format photogravure on vellum, printed 1915. 12 7/8 x 10 1/4 in. (32.7 x 26 cm) Estimate $12,000-18,000 Provenance From the artist to Georgia O’Keefe, New Mexico Private Collection, New York Phillips, New York, The Curious Collector: Important Photographs from the Collection of Dr. Anthony Terrana, 3 April 2013, lot 65 Literature Camera Work, Number 36, October 1911, p. 39 Stieglitz, 291, September-October 1915 Greenough, Alfred Stieglitz: The Key Set, Volume One, cat. no. 310 Bulfnch Press, Alfred Stieglitz, pl. 18 Margolis, Alfred Stieglitz, Camera Work: A Pictorial Guide, p. 100 Norman, Alfred Stieglitz: An American Seer, pl. XVI The Museum of Fine Arts, Boston, Alfred Stieglitz: Photographer, pl. 8 Green, A Critical History of American Photography, p. 195
202. Lewis Wickes Hine
1874-1940
One of the little spinners working in a South Carolina Cotton Mill, 1908 Gelatin silver print, printed afer 1917. 4 7/8 x 6 5/8 in. (12.4 x 16.8 cm) Titled, dated in ink, ‘Lewis W. Hine, Interpretive Photography, Hastings-On-Hudson, New York’ and ‘Property of National Child Labor Committee’ stamps, and variously annotated in unidentifed hands in ink and/or pencil on the verso. Estimate $7,000-9,000
203. Abelardo Morell
b. 1948
Camera Obscura NYC Looking South, 1996 Gelatin silver print, mounted. 30 5/8 x 38 5/8 in. (77.8 x 98.1 cm) Signed, titled and numbered 5/15 on a label accompanying the work. Estimate $8,000-12,000 Provenance Bonni Benrubi Gallery, New York Literature Bulfnch Press, Camera Obscura: Photographs by Abelardo Morell, p. 35 Davis, An American Century of Photography: From Dry-Plate to Digital, The Hallmark Photographic Collection, pl. 2
Property from a Private West Coast Collection
204. Vera Lutter
b. 1960
Small Logo, Pepsi Cola: August 8, 2002 Unique gelatin silver print. 14 x 27 in. (35.6 x 68.6 cm) Signed, titled and dated in pencil on the reverse of the mount. Estimate $7,000-9,000
205. Bernd and Hilla Becher 1931-2007 and 1934-2015 Water Towers, 1968-1984 Six gelatin silver prints, mounted to board, printed and assembled no later than 1997. Each 15 3/4 x 12 1/8 in. (40 x 30.8 cm) Overall 47 1/4 x 61 3/4 in. (120 x 156.8 cm) Signed by both artists in pencil on a sequence map accompanying the work. Estimate $80,000-120,000 Provenance Sonnabend Gallery, New York, 1997 Literature The MIT Press, Bernd and Hilla Becher: Water Towers, pls. 13, 16, 19, 23 teNeues, Bernd and Hilla Becher: Basic Forms, pl. 62
Titles include: Toledo, Ohio, USA, 1984; Youngstown, Ohio, USA, 1980; Akron, Ohio, USA, 1980; Leeds, GB, 1968; Mannheim-Neu-Ostheim, D, 1978; Carmaux, France, 1984
“The emotional ingredient in the Bechers’ work is in the intelligence and truthfulness with which they understand and chronicle the emotions of seriousness. Seriousness is inherent in industrial structures because they usually deal with the primordial forces of earth, air, fre, and water. . .” Weston J. Naef, The Art of Bernd and Hilla Becher essay in Water Towers
206. Bernd and Hilla Becher 1931-2007 and 1934-2015 Cooling Tower, Steelplant, Eisenhüttenstadt, East Germany, 1994 Gelatin silver print. 23 1/4 x 12 1/2 in. (59.1 x 31.8 cm) Signed by both artists, titled, dated and numbered 1/5 in pencil on the verso. Estimate $15,000-20,000 Provenance Sonnabend Gallery, New York Olga Korper Gallery, Toronto, 1998 Literature The MIT Press, Bernd and Hilla Becher: Cooling Towers, pl. 163
207. Candida Höfer
b. 1944
Bibliothek der Kunsthalle Basel I, 1999 Chromogenic print. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm) Overall 34 1/2 x 34 1/2 in. (87.6 x 87.6 cm) Signed in ink on the reverse of the fush-mount; printed title, date and number 4/6 on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Karyn Lovegrove Gallery, Los Angeles
208. Thomas Ruf
b. 1958
Haus no. 9 II, 1991 Chromogenic print, face-mounted to Plexiglas. 52 1/2 x 79 in. (133.4 x 200.7 cm) Overall 75 3/4 x 100 in. (192.4 x 254 cm) Twice signed, dated, numbered 2/4 and annotated in pencil on the verso. Estimate $15,000-25,000 Provenance Private Collection, Cologne Christie’s, London, Post-War and Contemporary Art Day Sale, 10 February 2005, lot 221 Literature Hatje Cantz, Thomas Ruf: Editions 1988-2014: Catalogue Raisonné, pl. 53 Winzen, Thomas Ruf 1979 to the Present, p. 192
209. Wolfgang Tillmans
b. 1968
Rem Koolhaas, 2000 Chromogenic print. 16 x 12 in. (40.6 x 30.5 cm) Signed, titled, numbered, inscribed and dated ‘Wolfgang Tillmans, Rem Koolhaas, 2/10 +1, photo 04-00, print WT 05-01’ (on the reverse). Photographed in 2000 and printed in 2001, this work is number two from an edition of ten plus one artist proof. Estimate $8,000-12,000 Literature D.A.P. Publishers, Portraits: Wolfgang Tillmans, cover Phaidon, Portraits: Wolfgang Tillmans, p. 157
210. Rineke Dijkstra
b. 1959
Tiergarten Berlin, August 13, 2000 Archival pigment print, printed 2017. 54 x 42 in. (137.2 x 106.7 cm) Signed, variously dated, numbered 7/10 in ink, printed title, date and number on multiple labels afxed to the reverse of the frame. Estimate $15,000-20,000
Provenance Anthony d’Ofay Gallery, London Exhibited Rineke Dijkstra / Nan Goldin / Sheila Hicks, Museum of Fine Arts Boston, 20 October 2018 21 January 2019 Literature Guggenheim, Rineke Dijkstra: A Retrospective, p. 187
211. Richard Learoyd
b. 1966
Tatiana on Mirror, 2010 Unique dye destruction print, fush-mounted. 48 3/4 x 58 in. (123.8 x 147.3 cm) Overall 60 1/2 x 70 in. (153.7 x 177.8 cm) Signed in ink on the reverse of the frame. Estimate $30,000-50,000 Literature McKee Gallery, Portraits and Figures: Richard Learoyd, pl. 12
212. Anne Collier
b. 1970
Questions (Connection), 2011 Chromogenic print. 60 3/4 x 46 in. (154.3 x 116.8 cm) Signed in ink, printed title, date and number 1/5 on an artist’s label afxed to the reverse of the frame. Estimate $20,000-30,000 Provenance Marc Foxx Gallery, Los Angeles
213. Anne Collier
b. 1970
Despair, 2005 Chromogenic print. 34 5/8 x 43 1/4 in. (87.9 x 109.9 cm) Signed in ink, printed title, date and number 4/5 on a gallery label afxed to the reverse of the frame. Estimate $12,000-18,000 Provenance Marc Foxx Gallery, Los Angeles Literature Presentation House Gallery, Anne Collier, p. 37
214. Sharon Core
b. 1965
Various Cakes, 2004 Chromogenic print, face-mounted to Plexiglas. 24 3/4 x 22 3/4 in. (62.9 x 57.8 cm) Signed, dated and numbered 20/25 in ink on the reverse of the fush-mount. Estimate $15,000-20,000 Provenance Bellwether Gallery, New York
215. Gregory Crewdson
b. 1962
Untitled (Bud Man) from Twilight, 1999 Archival pigment print, printed 2010. 49 1/2 x 57 1/2 in. (125.7 x 146.1 cm) Signed in ink, printed title, date and number ‘AP 1/2’ on a label afxed to the reverse of the fush-mount. One from an edition of 10 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance Luhring Augustine Gallery, New York Private Collection, Denver Sotheby’s, New York, 12 September 2007, lot 198 American Masters Collection I, Kansas City Literature Harry N. Abrams, Twilight: Photographs by Gregory Crewdson, pl. 35
215.
216.
217.
216. David Levinthal
b. 1949
Untitled from Wild West, 1988 Untitled from Wild West, 1989 Two Polaroid Polacolor ER Land Film prints. Each approximately 26 x 20 3/4 in. (66 x 52.7 cm) Each signed, dated and annotated ‘AP’ in ink in the margin. Each from an edition of 10. Estimate $9,000-12,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City
217. Andres Serrano
b. 1950
Blood Cross, 1985 Dye destruction print, face-mounted to Plexiglas. 39 3/8 x 59 3/8 in. (100 x 150.8 cm) Signed, titled and numbered 1/4 in ink on the verso. Estimate $10,000-15,000 Provenance Fay Gold Gallery, Atlanta, 1990
218. Vik Muniz
b. 1961
A Bar at the Folies Bergère, afer Edouard Manet, from Pictures of Magazines 2, 2012 Chromogenic print. 70 x 97 1/4 in. (177.8 x 247 cm) Overall 75 5/8 x 101 5/8 in. (192.1 x 258.1 cm) Signed, dated in ink, printed title, date and number 2/6 on a gallery label afxed to the reverse of the fush-mount. Estimate $50,000-70,000 Provenance Xippas Galerie, Paris, 2012 Literature Capivara, Everything So Far, Vik Muniz: Catalogue Raisonné, 1987-2015, p. 779
219. Ahmet Ertug
b. 1949
Trinity College Library, The Long Room, Dublin, 2008 Chromogenic print, fush-mounted, printed later. 87 x 70 7/8 in. (221 x 180 cm) Overall 96 7/8 x 80 3/4 in. (246 x 205 cm) Signed in ink, printed title, date and number 1/3 on an artist’s label accompanying the work. Estimate $50,000-70,000
Provenance Directly from the artist Literature Ertug, Temples of Knowledge: Historical Libraries of The Western World, cover
220. Matthew Brandt
b. 1982
La Brea B1 from La Brea, 2013 Unique heliograph made with tar from the La Brea Tar Pits on aluminum. 62 x 45 in. (157.5 x 114.3 cm) Signed, titled and dated in ink on a label afxed to the reverse. Estimate $10,000-15,000 Provenance Yossi Milo Gallery, New York
In this photograph, Matthew Brandt reinjects new life into both an extinct species and one of the earliest 19th-century photographic techniques by cleverly combining the two. Inspired by Nicéphore Niépce’s heliograph process, Brandt places his negative—here an ancestor of the California Condor—against a sheet of aluminum covered in tar collected from La Brea Tar Pits. He then allows the work to sit in sunlight. The sun hardens the tar in proportion to the negative’s clear and opaque areas, resulting in an image rendered in hardened tar. Brandt’s ingenious connection of subject and medium itself is characteristic of his practice and is clearly evident in the present lot.
Property from a Private West Coast Collection
221. Robert Polidori
b. 1951
Steinway Piano Factory, Astoria Queens, New York, 2003 Fujicolor Crystal Archive print. 32 3/4 x 42 in. (83.2 x 106.7 cm) Overall 41 x 49 in. (104.1 x 124.5 cm) Signed in ink, printed title, date and number 1/10 on gallery labels afxed to the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Weinstein Gallery, Minneapolis
222. Vik Muniz
b. 1961
Burning Standard, afer Ed Ruscha from Pictures of Cars, 2008 Chromogenic print, fush-mounted. 50 x 94 3/4 in. (127 x 240.7 cm) Overall 57 1/4 x 101 7/8 in. (145.4 x 258.8 cm) Signed, dated in ink, printed title, date and number 5/6 on an artist’s label afxed to the reverse of the frame. Estimate $40,000-60,000 Exhibited Precious Metal: Vik Muniz: Pictures of Car Parts (Afer Ed Ruscha), Bruce Meyer Family Gallery|Petersen Museum, 9 January – 9 April 2017 Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 613 Bruce Meyer Family Gallery|Petersen Museum, Precious Metal: Vik Muniz: Pictures of Car Parts (Afer Ed Ruscha), p. 15 Green Means Go Publications, Ed Ruscha, Vik Muniz and the Car Culture of Los Angeles, p. 8 Imago Galleries, Vik Muniz: Afer Ed Ruscha, n.p.
223. Abelardo Morell
b. 1948
Tent-Camera Image on Ground: Roofop View of the Brooklyn Bridge, 2010 Chromogenic print. 46 x 60 in. (116.8 x 152.4 cm) Overall 55 x 70 in. (139.7 x 177.8 cm) Signed, titled and dated in ink on the reverse of the fush-mount. One from an edition of 6. Estimate $10,000-15,000 Provenance Bonni Benrubi Gallery, New York
224. Susan Derges
b. 1955
Passage, 2012 Unique dye destruction photogram, fush-mounted. 35 1/8 x 64 in. (89.2 x 162.6 cm) Signed in ink, printed title and date on a gallery label accompanying the print. Estimate $10,000-15,000 Provenance Danziger Gallery, New York Private Collection, New York
225. Adam Fuss
b. 1961
Untitled, 2008 Unique gelatin silver print. 72 1/2 x 44 in. (184.2 x 111.8 cm) Signed in wax pencil, printed title, date and number ‘AF4156’ on a label accompanying the work. Estimate $40,000-60,000 Provenance Acquired directly from the artist American Masters Collection I, Kansas City
226. Annie Leibovitz
b. 1949
Kate Moss, 1999 Pigment print from The Kate Moss Portfolio, printed 2010. 21 3/8 x 25 7/8 in. (54.3 x 65.7 cm) Signed in pencil on the verso. Number 17 from an edition of 30. Estimate $12,000-18,000 Provenance Private Collection, New York Literature American Vogue, October 1999, p. 301, variant
227. Lalla Essaydi
b. 1956
Converging Territories #10, 2003 Chromogenic print, face-mounted to Plexiglas. 44 x 55 in. (111.8 x 139.7 cm) Signed, titled and numbered 9/10 in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Laurence Miller Gallery, New York Literature powerHouse Books, Lalla Essaydi: Converging Territories, p. 7 Noorderlicht Foundation, NAZAR: Photographs from the Arab World, p. 28
228. Terry O’Neill
b. 1938
229. Mary McCartney
b. 1969
Brigitte Bardot, Spain, 1971 Gelatin silver print, printed later. 21 3/8 x 14 in. (54.3 x 35.6 cm) Signed by the artist and by Brigitte Bardot, and numbered 22/50 in ink in the margin. Signed and numbered 22/50 in ink on a Certifcate of Authenticity accompanying the work.
Kate In Boots, 2012 Chromogenic print. 17 3/4 x 14 in. (45.1 x 35.6 cm) Signed, titled, dated and numbered 5/10 in ink on the verso; signed, dated in ink, printed title, date and number 5/10 on a Certifcate of Authenticity afxed to the reverse of the frame.
Estimate $8,000-12,000
Estimate $5,000-7,000
Provenance Acquired directly from the artist
Provenance Private Collection, Los Angeles
Literature ACC Editions, Terry O’Neill: The A-Z of Fame, cover Little, Brown, Celebrity: The Photographs of Terry O’Neill, p. 29
230. Mario Testino
b. 1954
Kate Moss, 2008 Pigment print from The Kate Moss Portfolio, printed 2010. 26 1/2 x 19 7/8 in. (67.3 x 50.5 cm) Signed in ink on the verso. Number 17 from an edition of 30. Estimate $20,000-30,000 Provenance Private Collection, New York Literature British Vogue, October 2008, p. 320 Taschen, Kate Moss by Mario Testino, n.p.
231.
231. Chuck Close
b. 1940
Kate Moss, 2003 Pigment print from The Kate Moss Portfolio, printed 2010. Each 16 1/2 x 12 3/8 in. (41.9 x 31.4 cm) Overall 16 1/2 x 26 in. (41.9 x 66 cm) Signed, dated ‘2011’ and numbered 17/30 in pencil in the margin. Estimate $12,000-18,000 Provenance Private Collection, New York Literature ‘All about Kate,’ W, September 2003, n.p.
232. Gavin Bond
b. 1970
Backstage: Volume III, 2009 Twelve chromogenic prints. Each 26 x 22 in. (66 x 55.9 cm) or the reverse. Signed in ink, printed title, date and number 2/10 on artist’s labels accompanying the works. Accompanied by a signed Certifcate of Authenticity and a black leather clamshell case. Estimate $8,000-12,000 Provenance Phillips de Pury & Company, New York, 9 April 2011, lot 235 232.
233. Mario Sorrenti
b. 1971
Kate Moss, 1993 Pigment print from The Kate Moss Portfolio, printed 2010. 25 1/8 x 20 in. (63.8 x 50.8 cm) Signed in pencil on the verso. Number 17 from an edition of 30. Estimate $15,000-20,000 Provenance Private Collection, New York
Property from a Private West Coast Collection
234. Sarah Moon
b. 1941
Pour Alexander McQueen, 1999 Toned gelatin silver print. 12 7/8 x 10 1/2 in. (32.7 x 26.7 cm) Signed, titled, dated and numbered 2/20 in pencil on the verso; credit blindstamp in the margin. Estimate $4,000-6,000 Provenance Weinstein Gallery, Minneapolis
235. Massimo Vitali
b. 1944
Venezia Coriandoli #2959, 2008 Chromogenic print, face-mounted to Plexiglas. 59 x 74 5/8 in. (149.9 x 189.5 cm) Overall 69 3/4 x 85 1/4 in. (177.2 x 216.5 cm) Signed, titled, dated and numbered 1/6 in ink on a label accompanying the work. Estimate $15,000-25,000 Provenance Bonni Benrubi Gallery, New York
236. Vik Muniz
b. 1961
Townscape Madrid, afer Gerhardt Richter from Pictures of Pigment, 2007 Chromogenic print. 39 1/2 x 41 3/4 in. (100.3 x 106 cm) Signed, dated in ink, printed title, date and number 3/6 on an artist’s label afxed to the reverse of the fush-mount. Estimate $25,000-35,000 Provenance Galerie Maximillian, Aspen Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 575
237. Ahmet Ertug
b. 1949
Strahov Monastery Library, Theological Hall, Prague, 2008 Chromogenic print, fush-mounted, printed later. 86 5/8 x 70 7/8 in. (220 x 180 cm) Overall 96 1/2 x 80 3/4 in. (245 x 205 cm) Signed in ink, printed title, date and number 1/3 on an artist’s label accompanying the work. Estimate $40,000-60,000
Provenance Directly from the artist Literature Ertug, Temples of Knowledge: Historical Libraries of The Western World, pl. 68
238. Elger Esser
b. 1967
397 Wimereux, 2004 Chromogenic print, Diasec mounted. 48 1/4 x 64 in. (122.6 x 162.6 cm) Signed in ink, printed title, date and number 4/5 on a label accompanying the work. Estimate $8,000-12,000 Provenance Galerie Thaddaeus Ropac, Paris
239. Nan Goldin
b. 1953
Valerie Floating in the Sea, Mayreau Island, 2001 Dye destruction print. 25 1/2 x 38 in. (64.8 x 96.5 cm) Signed, titled, dated and numbered 5/15 in ink on a gallery label afxed to the reverse of the frame. Estimate $5,000-7,000 Literature Phaidon, The Devil’s Playground, pp. 304-305
240. Massimo Vitali
b. 1944
Rosignano 3 Women, 1995 Chromogenic print, Diasec and fush-mounted, printed 2012. 47 1/4 x 61 1/2 in. (120 x 156.2 cm) Overall 59 x 73 1/4 in. (149.9 x 186.1 cm) Signed, titled, dated and numbered ‘AP/1’ in ink on a label accompanying the work. One of an edition of 9 plus artist’s proofs. Estimate $20,000-30,000
Provenance Priska C. Juschka Fine Art, New York, 2002 Exhibited The Deep Element: Photography at the Beach, Corcoran Gallery of Art, Washington, D.C., 9 June - 14 October 2012 Literature Steidl, Massimo Vitali: Landscape with Figures, p. 31
241. William Wegman
b. 1943
Cocktails, 1995 Gelatin silver print with applied ink. 12 3/8 x 10 7/8 in. (31.4 x 27.6 cm) Signed, titled and dated in pencil on the verso. Estimate $3,000-5,000 Provenance Pace/MacGill Gallery, New York
242. William Wegman
b. 1943
About face, 2001 Chromogenic print. 7 1/8 x 7 in. (18.1 x 17.8 cm) Signed, titled, dated and numbered 4/12 in ink on the verso. Estimate $3,000-5,000 Provenance Pace/MacGill Gallery, New York
243. Ruud van Empel
b. 1958
Mood #4, 2014 Archival pigment print. 27 1/2 x 19 5/8 in. (70 x 50 cm) Signed, titled, dated and numbered 7/7 in ink on an artist’s label accompanying the work. Estimate $8,000-12,000
244. Robert ParkeHarrison
b. 1968
Selected Images, 1997-2000 Four photogravures with applied wax. Three prints approximately 16 5/8 x 15 1/2 in. (42.2 x 39.4 cm). One print 15 3/4 x 18 in. (40 x 45.7 cm). Each initialed, titled, dated and variously numbered in pencil in the margin. Three prints from an edition of 35 and one print from an edition of 40. Estimate $5,000-7,000 Provenance Bonni Benrubi Gallery, New York
Titles include: Exhausted Globe, 1997; Patching the Sky, 1997; Flying Lesson, 2000; Consumption, 1997
245. Sebastião Salgado
b. 1944
The Eastern Part of the Brooks Range, Arctic National Wildlife Refuge, Alaska, USA, 2009 Gelatin silver print, fush-mounted. 64 3/4 x 48 1/4 in. (164.5 x 122.6 cm) Signed, titled ‘Alaska’ and dated in pencil on the verso. Estimate $30,000-40,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, cover, p. 323
246. Sebastião Salgado
b. 1944
Iceberg between the Paulet Island and the South Shetland Islands, Antarctica, 2005 Gelatin silver print. 21 1/4 x 29 5/8 in. (54 x 75.2 cm) Signed, titled ‘Antartica’ and dated in pencil on the verso. Estimate $10,000-15,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, pp. 20-21
247. Nick Brandt
b. 1964
Elephant Mother and Two Babies, Serengeti, 2002 Archival pigment print. 11 5/8 x 13 3/4 in. (29.5 x 34.9 cm) Signed, dated ‘2003’ and numbered 1/35 in pencil in the margin. Estimate $6,000-8,000 Provenance Debra Heimerdinger|Fine Art Photographs, San Francisco Literature Brandt, On This Earth: Photographs from East Africa, p. 39 Brandt, On this Earth, A Shadow Falls, pl. 27
248. Sebastião Salgado
b. 1944
Mountain Zebras, Hoanib River Valley, Damaraland, Namibia, 2005 Gelatin silver print. 21 1/8 x 29 7/8 in. (53.7 x 75.9 cm) Signed, titled ‘Namibia’ and dated in pencil on the verso. Estimate $9,000-12,000 Literature Taschen, Sebastião Salgado: Africa, p. 95
249. Sebastião Salgado
b. 1944
Chinstrap Penguins (Pygoscelis Antarctica), Deception Island, Antarctica, 2005 Gelatin silver print, fush-mounted. 64 1/2 x 47 1/2 in. (163.8 x 120.7 cm) Signed, titled ‘Antartica’ and dated in pencil on the verso. Estimate $25,000-35,000 Provenance Peter Fetterman Gallery, Santa Monica Literature Taschen, Sebastião Salgado: Genesis, p. 86
Property from a Private West Coast Collection
250. Edward Burtynsky
b. 1955
Shipyard #18, Qili Port, Zhejiang Province, China, 2005 Chromogenic print. 22 x 18 in. (55.9 x 45.7 cm) Signed in ink, printed title, date and number 21/25 on an artist’s label afxed to the reverse of the mount. Estimate $4,000-6,000 Literature Steidl, China: The Photographs of Edward Burtynsky, p. 75
251. Nadav Kander
b. 1961
Chongqing II, Chongqing Municipality from Yangtze, The Long River, 2006 Chromogenic print, fush-mounted. 37 3/4 x 49 1/2 in. (95.9 x 125.7 cm) Signed, dated in ink, printed title, date and number 2/5 on a Certifcate of Authenticity accompanying the work. Titled, dated, numbered 2/5 in ink on an artist’s label afxed to the reverse of the frame. Estimate $8,000-12,000 Provenance Flowers Gallery, New York Literature Hatje Cantz, Nadav Kander: Yangtze, The Long River, pl. 47 Prestel, Constructing Worlds: Photography and Architecture in the Modern Age, p. 249
252. Steve McCurry
b. 1950
Sharbat Gula, Afghan Girl, Pakistan, 1984 Chromogenic print, printed later. 21 x 14 in. (53.3 x 35.6 cm) Signed and annotated in ink on the verso; signed, dated in ink on a Certifcate of Authenticity and printed title on an artist’s label, both accompanying the work. Estimate $10,000-15,000 Literature National Geographic, vol. 167, no. 6, June 1985, cover Phaidon, Portraits, cover, n.p. Phaidon, Looking East: Portraits by Steve McCurry, p. 28 Phaidon, South Southeast, p. 137
Property from a Private West Coast Collection
253. Sebastião Salgado
b. 1944
Serra Pelada, Gold Mine, Brazil (Cast of Thousands), 1986 Gelatin silver print. 13 1/2 x 20 1/8 in. (34.3 x 51.1 cm) Signed, titled ‘Brasil’ and dated in pencil on the verso; copyright credit blindstamp in the margin. Estimate $5,000-7,000 Literature Aperture, Sebastiao Salgado: An Uncertain Grace, pp. 24-25 Aperture, Sebastião Salgado: Workers, pp. 300-301
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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022
Auction License 2013224
Photographs Department +1 212 940 1245
Auctions 4 April, 10am, Photographs (lots 59–253) 4 April, 5pm, Passion & Humanity: The Susie Tompkins Buell Collection (lots 1–58)
Auctioneers 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
Deputy Chairman, Americas, Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com
Viewing 27 March – 3 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040119 or Photographs. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
Catalogues 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 Client Accounting 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 Client Services 450 Park Avenue +1 212 940 1200 Shipping Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335
Head of Department, New York Sarah Krueger skrueger@phillips.com Senior International Specialist Christopher Mahoney cmahoney@phillips.com Senior Specialist Caroline Deck cdeck@phillips.com Specialist 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 Property Manager Barry Seunarine bseunarine@phillips.com Photography Jean Bourbon Kent Pell Matt Kroenig Mark Babushkin
Front cover Sally Mann, The New Mothers, 1989, lot 61 Back cover Anne Collier, Questions (Connection), 2011, lot 212 (detail) Inside front cover Helmut Newton, Sie Kommen, Paris (Dressed and Naked), 1981, lot 85 Inside back cover Vik Muniz, Burning Standard, afer Ed Ruscha from Pictures of Cars, 2008, lot 222 (detail)
Sally Mann On the Maury 1992 Gelatin silver print 10 x 8 inches (25.4 x 20.3 cm) Private collection ©Sally Mann
Phillips is proud to be a sponsor of Sally Mann: A Thousand Crossings on view at the Museum of Fine Arts, Houston, from 3 March to 27 May 2019. Featuring some 125 works—including many works not previously exhibited or published—the exhibition is at once a sweeping overview of Mann’s artistic achievement of the past four decades and a focused exploration of how the legacy of the South emerges within her work.
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Editions & Works on Paper Auction 23 April 2019 New York Public viewing 15-23 April at 450 Park Avenue or at phillips.com
Ed Ruscha Miracle, 1999 lithograph Estimate $15,000-20,000 ŠEd Ruscha courtesy of the artist and Gagosian
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Enquiries editions@phillips.com +1 212 940 1220
Index Abbott, B. 150, 197, 198
Frank, R. 139–141
Newman, A. 177
Adams, A. 155–158
Friedlander, L. 133, 134
Newton, H. 85
Adams, R. 109, 112
Fuss, A. 59, 65, 66, 225 Ojeikere, J. D. ‘O. 63
Albin-Guillot, L. 167 Arbus, D. 128–132
Gersht, O. 69, 71
O’Neill, T. 228
Avedon, R. 174
Giacomelli, M. 179
Outerbridge, P. 190
Goldin, N. 91, 239 Baltz, L. 113
González Palma, L. 185
ParkeHarrison, R. 244 Parks, G. 176
Beard, P. 74–76 Becher, B. & H. 205, 206
Haas, E. 144
Penn, I. 72, 73, 77, 78, 84, 96
Blumenfeld, E. 171
Heath, D. 94
Polidori, R. 125, 221
Bond, G. 232
Hine, L. W. 199, 200, 202
Bourke-White, M. 192
Höfer, C. 207
Brancusi, C. 175
Hoppé, E. O. 191
Brandt, M. 220
Horst, H. P. 169, 170
Salgado, S. 245, 246, 248, 249, 253
Brandt, N. 247
Hujar, P. 92
Sander, A. 184, 187, 188
Ruf, T. 208
Serrano, A. 217
Brassaï 180 Bravo, M. Á. 168, 186
Kander, N. 251
Sheeler, C. 181
Bristol, H. 195
Keïta, S. 60
Shore, S. 119, 121
Brodsky, J. 86
Kertész, A. 164, 182, 183
Smith, W. E. 151
Burtynsky, E. 250
Kuhn, M. 89
Sommer, F. 137 Sorrenti, M. 233
Callahan, H. 107, 108, 142, 143, 146, 147, 149
Lange, D. 152, 154
Soth, A. 124
Cartier-Bresson, H. 163, 165, 166, 178
Learoyd, R. 211
Starn, D. & M. 102, 104, 105
Close, C. 231
Leibovitz, A. 88, 226
Steichen, E. 194
Collier, A. 212, 213
Levinthal, D. 216
Sternfeld, J. 123
Core, S. 214
Lutter, V. 204
Stieglitz, A. 160, 201 Stoller, E. 135
Crewdson, G. 215 Man Ray 172, 173
Strand, P. 138
Davis, L. 79
Mann, S. 61, 67, 68
Sudek, J. 161, 162
Derges, S. 224
Mapplethorpe, R. 80–83, 90, 93
Sugimoto, H. 100, 101, 103, 106, 127
Dijkstra, R. 210
McCartney, M. 229
Dubreuil, P. 189
McCaw, C. 70
Testino, M. 230
McCurry, S. 252
Tillmans, W. 209
Eggleston, W. 120, 122
Metzker, R. K. 95
Eisenstaedt, A. 196
Meyerowitz, J. 145
van Empel, R. 243
Ertug, A. 219, 237
Misrach, R. 115, 116, 126
Vitali, M. 235, 240
Essaydi, L. 227
Moon, S. 234
Esser, E. 238
Moore, C. 136
Weems, C. M. 62, 64
Evans, W. 153, 193
Morell, A. 203, 223
Wegman, W. 241, 242
Moriyama, D. 97–99
Wessel, H. 110, 111
Morrisroe, M. 87
Weston, E. 148, 159
Muniz, V. 218, 222, 236
Winogrand, G. 114, 117, 118
Photographs. London, 16 May 2019 Public viewing 10–16 May 2019 30 Berkeley Square, London, W1J 6EX Enquiries +44 207 318 4087 photographslondon@phillips.com
Man Ray, La Prière, 1930 Gelatin silver emulsion on linen, printed 1971.
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222. Vik Muniz
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