New York / 2 April 2020
Photographs
Photographs New York / 2 April 2020
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1. Henri Cartier-Bresson 1908-2004 Rue Moufetard, Paris, 1952 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $15,000-25,000 Provenance The Halsted Gallery, Birmingham, Michigan, 1998
Literature Cartier-Bresson, The Europeans, pl. 114 Cartier-Bresson, Paris à vue d’oeil, pl. 16 Galassi, Henri Cartier-Bresson: The Modern Century, p. 55 Montier, Henri Cartier-Bresson and the Artless Art, pl. 150 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 65 Thames & Hudson, Henri Cartier-Bresson: Photographer, pl. 140
2. Henri Cartier-Bresson 1908-2004 Henri Matisse, Vence, France, 1944 Gelatin silver print, printed later. 9 3/8 x 14 in. (23.8 x 35.6 cm) Signed in ink in the margin. Estimate $7,000-9,000 Literature Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 121 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 283 Galassi, Henri Cartier-Bresson: The Modern Century, p. 226 Montier, Henri Cartier-Bresson and the Artless Art, pl. 277 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 200
3. Henri Cartier-Bresson 1908-2004 Gardens of the Palais Royal, Paris, 1959 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Literature Cartier-Bresson, Paris à vue d’oeil, pl. 34 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 32
4. Henri Cartier-Bresson 1908-2004 Sunday on the banks of the Seine, 1938 Gelatin silver print, printed later. 12 1/2 x 17 3/8 in. (31.8 x 44.1 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Provenance A Gallery for Fine Photography, New Orleans, 2001 Literature Galassi, Henri Cartier-Bresson: The Modern Century, back cover, p. 150
5. Mario Giacomelli
1925-2000
Scanno, 1959 Gelatin silver print, printed later. 11 5/ 7 x 15 1/2 in. (29.8 x 39.4 cm) Signed, titled, annotated ‘dalla Collezione del Museum of Modern Art, New York, USA’ in ink and copyright credit stamp on the verso. Estimate $3,000-5,000 Literature Cambridge University Press, A History of Photography: Social and Cultural Perspectives, p. 207
Property from a Private West Coast Collection
6. Bill Brandt
1904-1983
Yorkshire, 1945 Gelatin silver print, printed 1950s or 1960s. 9 x 7 5/8 in. (22.9 x 19.4 cm) Credit stamp on the verso. Estimate $4,000-6,000 Provenance Robert Klein Gallery, Boston, 1996
7. Brassaï (Gyula Halász) 1899-1984 La Môme Bijou, Bar de la Lune, 1932 Gelatin silver print, printed later. 14 7/8 x 11 1/2 in. (37.8 x 29.2 cm) Signed in ink in the margin; titled, dated in pencil, ‘81, Faubourg St-Jacques’ copyright credit, reproduction limitation, ‘Photographie Originale’ and ‘Tirage de l’Auteur’ stamps on the verso. Estimate $4,000-6,000 Provenance Peter M. David Gallery, Minneapolis Literature Bulfnch, Brassaï: The Monograph, p. 21 Fundacio Antoni Tapies, Brassaï: From Surrealism to Art Informel, pl. 65 Thames & Hudson, Brassaï: The Secret Paris of the 30’s, n.p.
6.
7.
8.
Property from a Private West Coast Collection
8. Lisette Model
1901-1983
San Francisco Opera, 1949 Gelatin silver print, printed 1960. 19 3/8 x 15 3/8 in. (49.2 x 39.1 cm) Signed, titled ‘Society’ and dated ‘1960’ in ink on the reverse of the fush-mount. Estimate $5,000-7,000 Provenance Acquired directly from the artist Phillips de Pury & Company, New York, Collection of Corbeau et Renard assembled by Gerd Sander, 9 April 2008, lot 272 Literature Editions Léo Scheer, Lisette Model, p. 152 Thomas, Lisette Model, pl. 10
9.
10. August Sander
9. Henri Cartier-Bresson
1876-1964
1908-2004
Konditor (Pastry Chef), Cologne, 1928
Allée du Prado, Marseille, France, 1932
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.
Gelatin silver print, printed 1970s. 14 x 9 3/8 in. (35.6 x 23.8 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $8,000-12,000 Literature Cartier-Bresson, The Decisive Moment, pl. 27 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 1 Galassi, Henri Cartier-Bresson: The Early Work, p. 89 Galassi, Henri Cartier-Bresson: The Modern Century, p. 90 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 48
10.
Estimate $12,000-18,000 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
11. Man Ray
1890-1976
Le Bouquet (Fireworks), 1935 Solarized gelatin silver print. 11 3/8 x 9 in. (28.9 x 22.9 cm) The photographer’s ‘31 bis Rue Campagne-Première’ (Manford M6) stamp and reduction notations in pencil and ink in various hands on the verso.
Estimate $50,000-70,000 Provenance Originally in the collection of Albert Skira, publisher of Minotaure By descent to his family Private Collection, Geneva Private Collection, New York
Literature Minotaure, No. 7, June 1935, p. 22 (this print) Schwarz, Man Ray: The Rigour of Imagination, pl. 462 Sayag and de l’Ecotais, Man Ray: Photography and its Double, p. 220
Minotaure, No. 7, June 1935 (not in sale)
Man Ray’s Le Bouquet, which shows freworks exploding in the night sky, demonstrates both Man Ray’s sophisticated Surreal visual sensibility and his technical command of the medium. Capturing freworks in such evocative detail with the limited equipment of his day presented a technical challenge which Man Ray handled with characteristic skill and elegance. He shifs the image into Surrealism through solarization: the technique of introducing light during the development process which yielded a variety of visual efects, including the selective reversal of tones. With its expressive range of tonal values, Le Bouquet possesses the same impact as a Rayograph and, as with the best of Man Ray’s photographs, it pivots between dream and reality. This photograph comes originally from the collection of Albert Skira, publisher of the Surrealist journal Minotaure. Initiated in 1933, Minotaure became the chief publication for the Surrealists and included on its editorial board André Breton, Marcel Duchamp, and
Paul Éluard, among others. The photograph ofered here is the print used for reproduction in Minotaure, No. 7, June 1935, an issue devoted to the theme of night. Le Bouquet appears as a full-page illustration alongside two photographs of Luna moths and accompanied by excerpts from 18th-century poet Edward Young’s proto-Surreal Night Thoughts. Taken as a whole, the spread—with its photographs of nocturnal phenomena and poetically evocative text—is a brilliant and Surreal meditation on the psychology of night. Man Ray was a frequent contributor to Minotaure, as was Brassaï, and images by both appear throughout no. 7, all relating to the issue’s nocturnal theme. In a sly and playful essay entitled Photography is Not Art published in 1943 in Charles Henri Ford’s journal View, Man Ray set himself the task of listing ‘what I consider the ten best photographs I have produced until now.’ An image which he describes as ‘Frozen freworks on the night of 14th of July in Paris’ appears as number 8, between Glass Tears and a photograph of one of his own paintings.
12. Henri Cartier-Bresson 1908-2004 Behind the Gare Saint-Lazare, Paris, 1932 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $10,000-15,000 Provenance The Halsted Gallery, Birmingham, Michigan, 1998 Literature Cartier-Bresson, The Decisive Moment, pl. 26 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 17 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 63 Clair, Henri Cartier-Bresson: Europeans, p. 23 Galassi, Henri Cartier-Bresson: The Modern Century, p. 81 Montier, Henri Cartier-Bresson and the Artless Art, pl. 89 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 45
13. Henri Cartier-Bresson 1908-2004 The Last Days of the Kuomintang (market crash), Shanghai, China, 1948-1949 Gelatin silver print, printed later. 9 3/8 x 14 1/4 in. (23.8 x 36.2 cm) Signed in ink and copyright credit blindstamp in the margin. Estimate $10,000-15,000 Literature Frizot, Henri Cartier-Bresson: China 19481949, cover Cartier-Bresson, The Decisive Moment, pl. 109 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 228 Galassi, Henri Cartier-Bresson: The Modern Century, p. 113 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 454 Viking, Henri Cartier-Bresson: The Face of Asia, pp. 170-171
14. Henri Cartier-Bresson 1908-2004 Roman Amphitheater, Valencia, Spain, 1933 Gelatin silver print, printed later. 12 x 17 3/4 in. (30.5 x 45.1 cm) Signed in ink in the margin. Estimate $6,000-8,000 Literature Cartier-Bresson, The Decisive Moment, pl. 18, variant Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 12 Chéroux, Henri Cartier-Bresson: Here and Now, pl. 55 Clair, Henri Cartier-Bresson: Europeans, p. 65 Montier, Henri Cartier-Bresson and the Artless Art, pl. 235 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 129
Property from a Private West Coast Collection
15. 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 $4,000-6,000 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
16. Hannah Höch
1889-1978
Clown, 1924 Unique collage of halfone and rotogravure elements. 4 5/8 x 3 3/4 in. (11.7 x 9.5 cm) Initialed in ink on the recto; signed, titled and annotated in pencil on the reverse of the second mount. Accompanied by numerous exhibition labels. Estimate $60,000-80,000 Provenance Fischer Fine Art Ltd., London Collection of Barry Friedman, New York Christie’s, New York, The Image as Object: Photographs from the Collection of Barry Friedman, 5 October 1998, lot 117
Exhibited Kunstverein, Kassel, April - June 1969 Hannah Höch, Musée d’Art Moderne, Paris, January - March 1976; and traveling to Preussischer Kulturbesitz, NationalGalerie, Berlin, March - May 1976 The Twenties in Berlin, Annely Juda Gallery, London, November 1978 January 1979 Hannah Höch: Photomontages, Paintings, Watercolors, Kunsthalle Tübingen, Germany, 23 February – 4 May 1980; and traveling to Kunsthalle Hanover; Von der Heydt Museum, Wuppertal; and Kunstverein Frankfurt through January 1981 L.A. Louver Gallery, Venice, California, January 1984 Hannah Höch - Geroge Grosz, La Boetie, Inc., New York, October - December 1983 Hannah Höch, Modernism, San Francisco, 25 October 1985 - 11 January 1986 Photomontage/Photocollage: the Changing Picture, 1920-1989, Jan Turner Gallery, Los Angeles, 4 August 2 September 1989
Hannah Höch was an originator of the photomontage and helped defne it as an expressive and efective tool for social critique. As early as 1916 she began assembling cutout images from printed media along with her lover Raoul Hausmann, one of the founders of the iconoclastic Dada movement. She became the only woman artist associated with Berlin Dadaists and showed work in their inaugural exhibition in 1916 and in the infuential Erste Internationale DadaMesse of 1920. Her work was included in the groundbreaking Film und Foto exhibition in 1929. As the 1920s progressed, Höch’s work increasingly addressed the role of the ‘new woman’ in Weimer Germany. While women were accorded more independence, Höch’s work undermines the idea that they had achieved anything close to equality with men. She found much of her
Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mammen, Des Moines Art Center, 23 April - 17 July 1994 Rrose is a Rrose is a Rrose: Gender Performance in Photography, Solomon R. Guggenheim Museum, New York, 17 January - 27 April 1997 Literature Lavin, Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch, pl. 93 Blessing, Rrose is a Rrose is a Rrose: Gender Performance in Photography, p. 25 Noun, Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mammen, pl. 19 For all, this collage
source material at Ullstein Verlag, a publisher of women’s magazines, where she worked between 1916 and 1926. She thus used images from the mass media to critique and satirize the stereotypes it promoted. As other women artists—Cindy Sherman and Barbara Kruger among them—would do later in the century, Höch raided popular culture for her subject matter, creating sometimes playful and sometimes biting commentary on feminine stereotypes. In the unique photomontage ofered here Höch draws an analogy between the ‘new woman’ and a clown. In it, the cheerful face of woman is enclosed within a clown’s costume, making her into a farcical fgure. As Höch authority Maud Lavin notes, ‘the clown guise masks the pathos behind the role of the comedienne’ (p. 128).
17. Alexander Rodchenko 1891-1956 Fire Escape, 1925 Gelatin silver print, printed later. 5 3/8 x 3 3/4 in. (13.7 x 9.5 cm) Lubomir Linhart collection stamp and annotations in pencil on the verso. Estimate $5,000-7,000 Provenance Originally in the collection of Lubomir Linhart, Prague Howard Greenberg Gallery, New York Christie’s, New York, 5 April 2012, lot 333 Private Collection, New York
Literature Lavrentiev, Alexander Rodchenko: Photography 1924-1954, pl. 146 Shudakov, Pioneers of Soviet Photography, pl. 24 The Museum of Modern Art, Aleksandr Rodchenko, p. 228
This photograph comes originally from the collection of Czech photography historian and author Lubomir Linhart who published a book on the work of Alexander Rodchenko in 1964.
18. Bernd and Hilla Becher 1931-2007 and 1934-2015 Cooling tower, steelworks, Haspe district, Hagen, Germany, 1969 Gelatin silver print, printed later. 15 7/8 x 13 in. (40.3 x 33 cm) Signed by both artists and numbered 31/60 in pencil in the margin. Estimate $5,000-7,000 Provenance Phillips de Pury & Company, New York, 31 January 2008, lot 232 Literature Lange, Bernd and Hilla Becher: Life and Work, pl. 12 teNeues, Bernd and Hilla Becher: Basic Forms, pl. 3
19. Pierre Dubreuil
1872-1944
The Driver, 1931 Oil print. 9 3/8 x 7 3/4 in. (23.8 x 19.7 cm) Artist’s monogram on the recto; signed, titled and annotated in pencil on the verso; signed, titled, annotated in pencil and notations in crayon on the reverse of the mount. Estimate $70,000-90,000 Provenance Collection of the Association Belge de Photographie, Brussels Collection of Tom Jacobson, San Diego Collection of John Waddell, New York Collection of Barry Friedman, New York Christie’s, New York, 4 October 2001, lot 182
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 dynamic Modernist sensibility. The Driver shows Dubreuil working at the peak of his abilities and is one of his most adventurous compositions. The straight and curved lines of the steering wheel break the image into three separate regions, one of which frames the driver’s face. The photograph’s rigorous geometry is humanized by the direct gaze of its subject. Dubreuil printed this image in the notoriously challenging Rawlins Oil process, of which he was a
master, carefully maintaining detail in the highlights and shadows and rendering them in rich charcoal-like tones. As of this writing, this is the only known print of this image extant. While Dubreuil’s photographs were widely published and exhibited in his day, including in the seminal International Exhibition of Pictorial Photography in Bufalo in 1910, surviving 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.
20. Margaret Bourke-White 1904-1971 Storage Tanks for Gas, I. G. Farben, Leunewerke, Germany, 1930 Gelatin silver print. 13 1/8 x 9 1/4 in. (33.3 x 23.5 cm) Signed in pencil on the mount; credit stamp and typed caption label on the reverse of the mount. Estimate $30,000-50,000 Literature Brown, Margaret Bourke-White: Photojournalist, frontispiece Callahan, The Photographs of Margaret Bourke-White, p. 64 San Francisco Museum of Modern Art, Taking Place: Photographs from the Prentice & Paul Sack Collection, pl. 149 Fortune, ‘Nitrogen,’ October 1930, Vol. 2, no. 4, p. 61, variants
21. Robert Capa
1913-1954
D-Day Landing, Omaha Beach, Normandy, 1944 Gelatin silver print, probably printed no later than 1954. 8 1/2 x 12 5/8 in. (21.6 x 32.1 cm) ‘Magnum Photos, Inc., 17 East 64th Street New York’ credit stamp, printer stamps, annotated ‘Allied Graphic Arts-Family of Man’ in pencil, and with other notations in unidentifed hands in pencil and crayon, all on the reverse of the fush-mount. Estimate $20,000-30,000
20.
Provenance Originally in the collection of Frank Stich, United States Army Air Force Literature LIFE, 19 June 1944, Vol. 16, No. 24, ‘Beachheads of Normandy: The Fateful Battle for Europe is Joined by Sea and Air,’ p. 27 Capa, Images of War, pp. 106-07 Whelan, This Is War! Robert Capa at Work, pp. 245 and fgs. 229, 233, 305, and 309 Whelan and Cornell Capa, Robert Capa: The Defnitive Collection, cover and p. 361 Aperture, Robert Capa: Photographs, p. 100 Jean-David Morvan and Severine Tréfouël, Omaha Beach on D-Day, cover and p. 58
21.
On 6 June 1944 photographer Robert Capa landed with American forces on Omaha Beach to document the Allied invasion of France. Capa’s eleven extant D-Day images have since served as a visual reference point for that decisive day in history. The photograph ofered here is arguably the most immediate and visceral of the group, taken at a low angle and showing the determination of its principal subject as he makes his perilous way from landing vessel to shore. The markings on the reverse of this print suggest that it is one of few surviving prints made during Capa’s lifetime. Magnum’s New York ofce was at the 64th Street address given on the stamp between 1953
and 1955. The print’s penciled notations indicate that it was in consideration for the Family of Man exhibition at The Museum of Modern Art; Edward Steichen and his team had concluded their selection process in mid-May of 1954, ahead of Capa’s death at the end of the month. This photograph comes originally from the collection of United States Army Captain Frank Stich of the 55th Squadron, Eighth Air Force, with whom Capa few into Germany to continue his coverage of the war afer D-Day. Capa warmly inscribed and signed a copy of his memoir Slightly Out of Focus to Stich: ‘To a comrade in arms—Frank Stich, 17 April 1947.’
Property from a Private West Coast Collection
22. Alfred Eisenstaedt
1898-1995
V-J Day, Times Square, New York City, 1945 Gelatin silver print, printed later. 17 1/2 x 12 in. (44.5 x 30.5 cm) Signed in ink in the margin. Estimate $10,000-15,000 Provenance Sotheby’s, New York, 30 September 2014, lot 87 Literature Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-Portrait, cover, p. 75 Eisenstaedt, Eisenstaedt: Remembrances, p. 67
22.
23.
24.
23. Imogen Cunningham 1883-1976 Edward Weston and Margrethe Mather, Photographers 1, 1923 Gelatin silver print, printed later. 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm) Signed and dated in pencil on the mount; typed title and date on an Imogen Cunningham Trust label with signature facsimile afxed to the reverse of the mount. Estimate $3,000-5,000
24. Walker Evans
1903-1975
1903-1975
26. Walker Evans
1903-1975
Family on Sidewalk, Florida, 1941
Arkansas Flood Refugee, 1937
Gelatin silver print, printed 1980s. 21 1/4 x 16 7/8 in. (54 x 42.9 cm) Estate blindstamp and numbered 30/75 in an unidentifed hand in ink in the margin.
Gelatin silver print. 7 1/8 x 7 7/8 in. (18.1 x 20 cm) Credit stamp (Keller stamp C), annotated ‘Withdrawn’ and signed by Arnold Crane in pencil on the verso.
Gelatin silver print. 6 5/8 x 6 1/4 in. (16.8 x 15.9 cm) Credit stamp (Keller stamp A), annotated ‘Withdrawn’ and signed by Arnold Crane in pencil on the reverse of the mount.
Estimate $7,000-9,000
Estimate $5,000-7,000
Estimate $7,000-9,000
Literature Evans, American Photographs, Part One, pl. 27 Harper & Row, Walker Evans at Work, p. 58 Harper & Row, Walker Evans: First and Last, p. 47 Harry N. Abrams, Inc., Walker Evans: The Hungry Eye, p. 63
Provenance Acquired from the artist by Arnold Crane, circa 1969 Private Collection, Chicago, circa 1980 Carol Ehlers Gallery, Chicago, circa 1999 Private Collection, Chicago, 2001
Provenance Acquired from the artist by Arnold Crane, circa 1969 Private Collection, Chicago, circa 1980 Carol Ehlers Gallery, Chicago, circa 1999 Private Collection, Chicago, 2001
Literature Keller, Walker Evans: The Getty Museum Collection, pl. 956
Literature Da Capo Press, Walker Evans: Photographs for the Farm Security Administration, 1935-1936, pl. 432, variant Evans, American Photographs, p. 96, variant Keller, Walker Evans: The Getty Museum Collection, pl. 577, variant
Main Street, Saratoga Springs, New York, 1931
25.
25. Walker Evans
26.
27. Charles Sheeler
1883-1965
Ford Plant, River Rouge, Bleeder Stacks, Detroit, 1927 Gelatin silver print, printed no later than 1941. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed in pencil on the mount; credited, titled and dated, possibly by the photographer, in pencil on the reverse of the mount.
Estimate $100,000-150,000 Provenance Gif of the artist to The Museum of Modern Art, New York, 1941 Sotheby’s, New York, Photographs from The Museum of Modern Art, 25 April 2001, lot 90
Literature Stebbins, Haas, and Mora, The Photography of Charles Sheeler, American Modernist, p. 143 Stebbins and Keyes, Sheeler: The Photographs, pl. 49 Montclair Art Museum, Precisionism in America, cat. no. 54 Detroit Institute of Art, The Rouge, cat. no. 10
“Sheeler was objective before the rest of us were.” Edward Steichen
In 1927 Charles Sheeler was hired by the advertising company N. W. Ayer & Son to photograph the Ford Motor Company’s new stateof-the-art factory complex near Detroit, situated on the banks of the River Rouge. The experience of photographing the River Rouge plant was a formative one for Sheeler, and provided him the opportunity to both utilize and further perfect his unique brand of photographic precision. The photographs he made at the Rouge became immediately famous and were reproduced widely in the media of the day. The photographs also served as inspiration for many of the paintings Sheeler would produce in the decades to come which duplicated—in part or in full—the industrial forms he had photographed with such objective clarity. Sheeler had trained as a painter under the American Impressionist William Merritt Chase and enjoyed some success in the New York art world in the frst decade of the 20th century. A 1909 trip to Europe exposed him to Picasso, Matisse, and Braque and caused him to recalibrate his approach to painting. When he was dropped by his gallery as a result of the shif in his work, Sheeler began photographing architecture and works of art for clients to make up for the lost income. He found in the medium the perfect tool for his eye, one that worked in conjunction with his drawing and painting. Going forward, photography informed his painted work, and painting inspired his photography. Only a handful of artists have produced work as accomplished as Sheeler across media.
The Rouge was, at the time, the largest industrial complex in the world and encapsulated every aspect of automobile manufactory. Sheeler spent six weeks touring the massive facility and learning the functions of the many structures before photographing. The bleeder stacks shown in this photograph served to release excess pressure from the tanks below. Sheeler’s photograph is objectively precise, yet also humanizes its subject. He later said of the Rouge: ‘There, I was to fnd forms which looked right because they had been designed with their eventual utility in view and in the successful fulfllment of their purpose it was inevitable that beauty should be attained’ (The Rouge, p. Sheeler:12). Sheeler’s Rouge photographs earned acclaim as both advertising images and art, and were reproduced in Ford News, Vanity Fair, and avant-garde publications such as Transitions and Hound and Horn. Pioneering gallerist Julien Levy included a selection in his American Photography exhibition in 1931. Levy and Lincoln Kirstein invited Sheeler to contribute to their 1932 exhibition at The Museum of Modern Art, New York, Murals by American Painters and Photographers; Sheeler produced a mural-sized triptych of photographs from the Rouge. As of this writing only four other prints of this image are known, all in institutional collections: The Museum of Modern Art, New York; Museum of Fine Arts, Boston; Amon Carter Museum, Fort Worth; and San Francisco Museum of Modern Art.
28. Walker Evans
1903-1975
Woman and Children, Havana, 1933 Gelatin silver print. 4 1/2 x 7 in. (11.4 x 17.8 cm) Credit stamp (Keller stamp B), annotated ‘Withdrawn’ and signed by Arnold Crane in pencil on the verso. Estimate $7,000-9,000 Provenance Acquired from the artist by Arnold Crane, circa 1969 Private Collection, Chicago, circa 1980 Carol Ehlers Gallery, Chicago, circa 1999 Private Collection, Chicago, 2001 Literature Beals, The Crime of Cuba, pl. 11 J. Paul Getty Museum, Walker Evans: Cuba, p. 17 Keller, Walker Evans: The Getty Museum Collection, pl. 317 Mora and Hill, Walker Evans: The Hungry Eye, p. 92, pl. 45
29. Dorothea Lange
1895-1965
Pea Contractor, Nipomo, California, 1930s Gelatin silver print. 7 1/2 x 6 in. (19.1 x 15.2 cm) Annotated ‘Transient’ in pencil on the verso. Estimate $7,000-9,000 Provenance Phillips, New York, 6 October 2016, lot 45 Literature San Francisco Museum of Modern Art, Dorothea Lange: American Photographs, pl. 26
30. Lewis Wickes Hine
1874-1940
Riveters on the Empire State Building, 1931 Gelatin silver print. 7 1/2 x 9 3/8 in. (19.1 x 23.8 cm) ‘Lewis W. Hine, Interpretive Photography, Hastings-On-Hudson, New York’ stamp on the verso. Estimate $8,000-12,000 Literature Admira Edizioni, Lewis Hine: Construire una nazione: geografa umana e ideale, pp. 19, 111
31. Dorothea Lange
1895-1965
Cable Car, San Francisco, 1956 Gelatin silver print. 9 7/8 x 9 7/8 in. (25.1 x 25.1 cm) ‘1163 Euclid Avenue’ credit stamp on the verso. Estimate $10,000-15,000 Literature Davis, The Photographs of Dorothea Lange, p. 92 Heyman, Celebrating A Collection: The Work of Dorothea Lange, p. 89
32. Edward Weston
1886-1958
Pepper II, 1929 Gelatin silver print. 9 1/4 x 7 3/8 in. (23.5 x 18.7 cm) Signed, titled and dated in pencil on the mount; annotated ‘10.00’ in pencil on the reverse of the mount.
Provenance Swann Galleries, New York, 29 October 1987, lot 422 Collection of Daniel Newburg Christie’s, New York, 29 April 1999, lot 151
Estimate $70,000-90,000
“Edward Weston knows, and in his work shows, that for richness and mystery, the pepper is subject matter equal to the poet.” The Carmelite, 7 August 1929
In 1929, Edward Weston began his now famous series of photographs of peppers. While his negative log lists one photograph of a pepper made in 1927 (later destroyed), he only began to address the subject matter in earnest in 1929. He would ultimately produce a total of twenty-six 8-by-10-inch negatives of peppers in that year and, based upon his daybook entries, it seems probable that most of them were made in July and August.
creative. Working within this narrow technical framework Weston experimented widely with his pepper studies, photographing both indoors and outdoors, in direct and indirect sunlight, and using an array of diferent materials as backgrounds, including burlap, glass dinner plates, and even a metal funnel. In Pepper II, Weston used a ceramic or porcelain bowl as a backdrop. The presence of a defnitive shadow beneath the pepper suggests that he made this photograph outside in direct sunlight.
In 1929 Weston was newly arrived in Carmel afer his Mexican sojourns and time spent in Los Angeles and San Francisco. The relocation marked a decisive change in his life and work, and his pepper stilllives represented the frst of the great series that would occupy him for the rest of his career. In peppers he found extremely photogenic subject matter, compelling for their variety of shapes (he loved their ‘marvelous convolutions’) and a glossy surface that was rendered as a deep gray in his fnal prints. In a daybook entry, he notes that he made eight negatives in one remarkable session: ‘July 8th, 1929 I will remember as an important day—and I feel the beginning of an important period—in my work’ (Daybooks, p. 128).
Weston did not work in a vacuum, nor did this project go unnoticed. His close friend Ramiel McGehee reliably brought him fresh subject matter from the green market. In August 1929, the local paper cautioned: ‘Do not disturb Edward Weston too suddenly in his studio these days. He is working upon peppers. Green peppers. For an hour at a time he alternates between his camera under the black hood, and from his subject, one green glossy fruit . . . Edward Weston knows, and in his work shows, that for richness and mystery, the pepper is subject matter equal to the poet’ (The Carmelite, 7 August 1929, Courtesy Paula B. Freedman & Paul M. Hertzmann, Inc., San Francisco, California).
Weston’s photographic practice was austere but efective. He worked with one large-format camera and a small selection of lenses, and used no studio lighting. He had reduced his equipment to what was absolutely necessary, and it was in this minimalism that he was most
This photograph is not represented in the near-defnitive Edward Weston collection at the Center for Creative Photography. As of this writing, no other early print of the image has been identifed and the photograph ofered here may be unique.
33.
This Edward Weston photograph, previously unknown, was originally acquired from the photographer by Toyo Miyatake, a JapaneseAmerican photographer who lived in Los Angeles. At the time, Weston operated a studio in nearby Tropico (now Glendale) and he and Miyatake were drawn together by their shared interests. As they became friends and colleagues, Weston began to establish a following within Los Angeles’s Japantown. Miyatake was a founding member of Shakudo-Sha, an association devoted to the promotion of arts and literature in the Japanese community, and the group sponsored an exhibition of Weston’s photographs in 1925. The show was a fnancial success, and an overjoyed Weston wrote to his fellow photographer Johan Hagemeyer, ‘I showed in the Japanese quarter—East 1st Street for three days—sold $140.00 worth of prints,’ noting that ‘the curiosity seekers amongst “society”’ would never had bought so strongly (Conger, p. 13). Shakudo-Sha organized three exhibitions of Weston’s work between 1925 and 1931, providing much needed income for the perennially cash-strapped photographer and helping fund his extended residencies in Mexico.
In 1942 Miyatake was imprisoned at Manzanar internment camp along with thousands of other Japanese-Americans. Unbeknownst to authorities, he smuggled in lenses, fabricated a camera body, and began making pictures that documented the life of the camp. While he started his work surreptitiously he ultimately was granted permission to photograph in the camp; his images remain a potent document of this chapter of American history. The photograph ofered here was likely made in one of Weston’s studios in Mexico City. A similar setting can be seen in his 1924 portraits of Rafael Sala and Felipe Texidor. The unconventional pose of the nude within Weston’s taut and highly ordered composition bears a similarity to his nudes of Anita Brenner, Miriam Lerner, Tina Modotti and others made during the early 1920s. This photograph now takes a place within that formative phase of Weston’s career. As of this writing, no other print of this image has been located.
34.
33. Edward Weston
1886-1958
34. Edward Weston
1886-1958
Nude in Studio, 1920s
Shells, 1927
Palladium print. 6 1/2 x 7 7/8 in. (16.5 x 20 cm) Annotated ‘5.00’ (crossed out) and ‘4.00’ in pencil on the verso.
Gelatin silver print, printed circa 1940. 8 3/4 x 6 3/4 in. (22.2 x 17.1 cm) Signed, titled and dated in pencil on the verso.
Estimate $25,000-35,000
Estimate $25,000-35,000
Provenance The artist to Toyo Miyatake, Los Angeles Private Collection, California, acquired from the descendants of the above
Provenance Andrew Smith Gallery, Santa Fe, 2004 Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 545 Museum of Fine Arts Boston, Edward Weston: Photography and Modernism, pl. 35 Newhall, Supreme Instants, cat. 143
35. Ansel Adams
1902-1984
Winter Sunrise, Sierra Nevada from Lone Pine California, 1944 Mural-sized gelatin silver print, printed 1967, fush-mounted. 39 x 63 1/4 in. (99.1 x 160.7 cm) Signed, titled and annotated in ink on a label accompanying the work. Additionally accompanied by a typed letter signed by Adams to the present owner, 1969. Estimate $300,000-500,000 Provenance From the artist to Schwabacher Brokerage Company, Monterey, 1967 Collection of Roger Poyner, Monterey, acquired from the above, 1969 Literature Adams, An Autobiography, p. 262 Adams, Born Free and Equal, pp. 106-107 Alinder and Stillman, Ansel Adams: Letters and Images, 1916-1984, p. 275 Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 38 Stillman, Ansel Adams: 400 Photographs, p. 245 Szarkowski, Ansel Adams at 100, pl. 85
The majestic mural-sized photograph ofered here is distinguished by the presence of Ansel Adams’ signature label, which was sent to the current owner in 1969. Adams typically did not sign his murals; the fush-mounted presentation lef no border for him to sign, and he was unwilling to write directly on the surface of a print. Afer acquiring this photograph, the owner reached out to Adams to ask for a signature and a statement of value for insurance purposes. Adams replied with a boldly signed and titled label to be placed on the reverse of the mural’s mount, and a typically genial letter, both of which accompany this lot. (continues on following page)
Installation view of lot 35
No other photographer of his generation experimented as adventurously or successfully as Adams with larger print sizes. The technical challenges of producing a compelling print in this size were considerable, and few photographers in the frst half of the 20thcentury had thought of making images beyond the standard formats. Adams’ success with larger print sizes was trailblazing in his own time and was prescient of the current trend in photography in which larger prints by contemporary artists predominate. Adams’ murals have their origin in the desire for public art in the 1930s. The frst notable display of photographs in this format was The Museum of Modern Art’s Murals by American Painters and Photographers exhibition in 1932. In his introduction to that show’s catalogue, Julian Levy identifed the difculties of creating
a photograph in grand format: ‘A good photo-mural is not merely the mechanical enlargement of a small photograph. The enlarged mural is a new and independent production, and the photographer who does not visualize in advance the fnal scale of his picture will usually be surprised and dismayed by the results.’ Adams met these challenges head-on with a characteristic combination of enthusiasm and technical virtuosity. Adams created his frst murals in 1935 when he received a commission to produce wall-sized prints of Yosemite National Park for the Yosemite Park & Curry Company. He continued to refne his technique through the following decades as other commissions and opportunities arose. In 1941 he was hired by the United States Department of the Interior to produce a series of murals for the
who had been forced from their homes by the War Relocation Authority were published in his 1944 book Born Free and Equal: The Story of Loyal Japanese-Americans. One December morning during this project, Adams awoke before dawn and drove with his wife to nearby Lone Pine. Afer setting up his 8-by-10-inch camera on the speciallybuilt platform atop his car, he waited for the right moment. As the sun rose behind him and began to illuminate the Sierras’ peaks, he made one exposure. ‘Within seconds,’ he wrote, ‘the tonal variety that created the mood of the scene was destroyed by a food of even sunlight.’ Winter Sunrise served as a kind of coda for Adams’ work at Manzanar and he chose it as the fnal illustration in Born Free and Equal.
Letter from Ansel Adams to Roger Poyner
Department’s Washington, D.C., ofces, although World War II prevented the completion of the project. Making large prints was time-consuming and costly, and most of his mural work was produced for corporations such as The American Trust Company (later Wells Fargo) and Polaroid.
Adams printed the mural ofered here in 1967 for the Schwabacher Brokerage Company. It hung in the company’s Monterey ofce until its closure in 1969, when it was purchased by the current owner, Roger Poyner. A lawyer and photography enthusiast, Poyner served as Assistant City Manager for Monterey in the 1960s and knew Adams from the tight-knit Monterey/Carmel community. Afer taking possession of the mural, and hanging it in a place of honor in his law ofce, Poyner approached Adams for the documentation which now accompanies the print.
In 1940 Adams published an article entitled ‘Photo-Murals’ in U.S Camera magazine, establishing himself as an authority on the subject. With characteristic humor, he dubbed mural-sized prints ‘enlargements with a vengeance,’ and further stated, ‘Apart from optical and technical considerations, the size of the photograph has an expressive relationship with the subject.’ Adams was particularly attuned to the efect a print’s scale would have on a viewer, no matter the format he worked in. His 1944 image, Winter Sunrise, Sierra Nevada from Lone Pine—with its sweeping horizontal bands of light and dark tonal values—made an especially successful transition to the mural format yielding an impressive and immersive print. It is arguably the ideal expression of this dramatic image. Adams made Winter Sunrise, Sierra Nevada from Lone Pine while photographing the Japanese relocation camp at Manzanar. Adams’ photographs of the encampment of over 10,000 Japanese Americans Signature label
36. Robert Adams
b. 1937
On Signal Hill Overlooking Long Beach, 1983 Gelatin silver print, printed 1988. 14 7/8 x 18 3/4 in. (37.8 x 47.6 cm) Signed, titled, dated, numbered 9/30 in pencil and copyright credit stamp on the verso. Estimate $15,000-25,000 Provenance Acquired directly from the artist Exhibited The Art of Photography: 1839-1989, The Sezon Museum of Art, Japan, 3 March 1 April 1990 Literature Aperture, Los Angeles Spring: Robert Adams, slipcase cover, p. 12 Adams, What Can We Believe Where?: Photographs of the American West, p. 77 Yale University Press, Robert Adams: The Place We Live, A Retrospective Selection of Photographs 1964-2009, Volume Two, p. 7
37. Robert Adams
b. 1937
Summer Nights #2, 1985 Gelatin silver print. 5 x 5 in. (12.7 x 12.7 cm) Signed, titled, dated in pencil and copyright credit stamp on the verso. Estimate $15,000-25,000 Provenance Janet Borden, Inc., New York, 2008 Literature Aperture, Robert Adams: Summer Nights, n.p.
38. Robert Adams
b. 1937
Longmont, Colorado, 1979 Gelatin silver print, printed 1989. 5 x 5 in. (12.7 x 12.7 cm) Signed and dated in pencil on the verso. Estimate $40,000-60,000
Actual size
Provenance Fraenkel Gallery, San Francisco Literature Aperture, Robert Adams, Summer Nights, n.p. Yale University Press, Robert Adams: The Place We Live, A Retrospective Selection of Photographs 1964-2009, Volume One, p. 201
39. Darren Almond
b. 1971
West Sea Canyon, 2009 Chromogenic print triptych, face-mounted to Plexiglas. Each 107 x 44 in. (271.8 x 111.8 cm) Overall 110 1/2 x 141 in. (280.7 x 358.1 cm) Signed in pencil, printed title, date and number 1/3 on a Certifcate of Authenticity accompanying the work.
Estimate $30,000-50,000 Provenance Galerie Max Hetzler, Berlin
40. Hiroshi Sugimoto
b. 1948
Lake Superior, Eagle River, 2003 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, 517’ in the margin.
Estimate $25,000-35,000 Provenance Private Collection, New York Hasted Kraeutler, New York
41. Hiroshi Sugimoto
b. 1948
South Pacifc Ocean, Tearai, 1991 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 ‘17/25, 360’ in the margin. Estimate $15,000-25,000
Provenance Sonnabend Gallery, New York Literature Contemporary Arts Museum Houston, Sugimoto, p. 83
42. Hiroshi Sugimoto
b. 1948
Time Exposed Kyoto: Kyoto Shoin Co., Ltd., printed 1991. Fify-one ofset lithographs. Fify prints approximately 9 1/2 x 12 1/8 in. (24.1 x 30.8 cm). One print 2 x 15 in. (5.1 x 38.1 cm). Each with blindstamp title, date and number on the mount. Title page. Colophon. Contained in an aluminum folio case. One from an edition of 500. Estimate $12,000-18,000
43. Richard Misrach
b. 1949
Stonehenge #4, 1975 Toned gelatin silver print. 14 1/2 x 14 3/8 in. (36.8 x 36.5 cm) Signed, titled, dated and copyright notation in pencil on the verso. Estimate $8,000-12,000 Provenance Robert Klein Gallery, Boston, 1996
44. Richard Misrach
b. 1949
Salton Sea (red), 1985 Chromogenic print, printed 1989. 18 1/4 x 23 in. (46.4 x 58.4 cm) Signed, titled, dated, numbered 22/25 and copyright notation in ink in the margin. Estimate $4,000-6,000
45. Todd Hido
b. 1968
Untitled, #6097 from A Road Divided, 2007 Chromogenic print. 29 1/2 x 37 1/2 in. (74.9 x 95.3 cm) Signed, titled, dated and numbered 3/5 in ink on an artist’s label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Stephen Wirtz Gallery, San Francisco Literature Hido, A Road Divided, cover, n.p. Aperture, The Open Road: Photography and the American Road Trip, p. 277
46. Darren Almond
b. 1971
Fullmoon@Baltimore, 2005 Chromogenic print. 47 x 47 in. (119.4 x 119.4 cm) Signed in ink on gallery label afxed to the reverse of the fush-mount. One from an edition of 5 plus 2 artist’s proofs. Estimate $5,000-7,000 Provenance Matthew Marks Gallery, New York Literature Taschen, Darren Almond: Fullmoon, p. 151
47. William Garnett
1916-2006
Sand Dune, Death Valley, California, 1967 Dye destruction print. 13 3/8 x 19 1/4 in. (34 x 48.9 cm) Signed in pencil on the window-mat; signed, titled in pencil, copyright credit, reproduction limitation and medium stamps on the reverse of the backing board. Estimate $3,000-5,000 Provenance Acquired directly from the artist
48. Edward Weston
1886-1958
Dunes, Oceano, 1936 Gelatin silver print, probably printed in the 1940s. 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) Initialed and dated in pencil on the mount; titled in pencil on the reverse of the mount.
Estimate $60,000-80,000 Provenance The artist to Van Deren Coke, San Francisco Edwynn Houk Gallery, Chicago Private Collection, Chicago Christie’s, New York, 9 October 1997, lot 83
Literature Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, fg. 941 Getty Publications, In Focus: Edward Weston, Photographs from The J. Paul Getty Museum, pl. 38 Lodima Press, Edward Weston: Life Work, pl. 73 Merrell, Edward Weston: A Legacy, pl. 11 Newhall, The Photographs of Edward Weston, p. 22
“I made several dune negatives that mark a new epoch in my work. I must go back there—the material made for me!” Edward Weston
Edward Weston began his iconic series of studies of the dunes at Oceano in 1934 when he frst visited the area. In his daybook entry for 20 April, he wrote: ‘I made several dune negatives that mark a new epoch in my work. I must go back there—the material made for me!’ The massive dunes at Oceano created an ever-shifing landscape of pure and unadorned form, and the subject matter was ideally suited to Weston’s vision. In a state of constant change, reshaped continuously by wind and water, the dunes presented completely new subject matter to Weston on each visit over the ensuing years. The photograph ofered here—frequently referred to by the alternate title Black Dunes— is one of the most celebrated and most distinctive from the series. It is remarkable for its preponderance of shadows which add depth and drama to the image, and for Weston’s meticulous management of sunlight to enhance the detail in the
foreground and to delineate the ridge lines that recede into the distance. Weston included the image in his celebrated retrospective at The Museum of Modern Art, New York in 1946, and it was shown in The World of Edward Weston, an exhibition curated by Beaumont and Nancy Newhall which originated at the Smithsonian Institution in 1956 and traveled to other venues. This print was originally acquired from Weston by photographer, curator, and author Van Deren Coke (1921-2004). Coke met Weston as a young man in 1938, and continued his friendship with the photographer until Weston’s death. When this photograph frst appeared at auction in 1997, the catalogue entry referenced a 1981 letter written by Coke stating that he got this photograph from Weston ‘in about 1938.’
49. O. Winston Link
1914-2001
NW1103, Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956 Gelatin silver print, printed later. 15 1/2 x 19 1/4 in. (39.4 x 48.9 cm) Signed, dated, annotated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $5,000-7,000 Literature Abrams, America’s Last Steam Railroad: Steam Steel & Stars, Photographs by O. Winston Link, p. 125 Abrams, An American Century of Photography: The Hallmark Photographic Collection, p. 367 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 104
50. Nathan Lyons
1930-2016
Vancouver, BC and Los Angeles, 1968-1969 Gelatin silver print diptych. Each 4 3/8 x 6 1/2 in. (11.1 x 16.5 cm) Each signed and dated in pencil on the verso. Estimate $4,000-6,000 Provenance Private Collection, New York
51. Lee Friedlander
b. 1934
Galax, Virginia, 1962 Gelatin silver print, printed later. 8 x 12 in. (20.3 x 30.5 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $4,000-6,000 Provenance Directly from the artist Literature Friedlander, Like a One-Eyed Cat, pl. 29 Galassi, Friedlander, pl. 75
52. Lee Friedlander
b. 1934
New Orleans, Louisiana, 1968 Gelatin silver print, printed later. 8 x 12 in. (20.3 x 30.5 cm) Signed, titled ‘N.O.,’ dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $4,000-6,000 Provenance Directly from the artist Literature Friedlander, Like a One-Eyed Cat, pl. 14 Friedlander, Self Portrait, pl. 24 Galassi, Friedlander, pl. 9
53. Robert Frank
1924-2019
View from hotel window – Butte, Montana, 1956 Gelatin silver print, printed no later than 1973. 8 1/2 x 12 1/2 in. (21.6 x 31.8 cm) Signed, titled and dated ‘1954’ and ‘1973’ in ink on the verso; accompanied by Joseph E. Seagram & Sons collection labels.
Provenance LIGHT, New York Collection of Joseph E. Seagram & Sons Phillips de Pury & Luxembourg, New York, The Seagram Collection of Photographs, 25 April 2003, lot 39 Pace/MacGill Gallery, New York, 2003 Exhibited Corporate Collections, Catskill Center for Photography, Woodstock, New York, 26 April - 27 May 1986
Estimate $65,000-85,000
Literature The Americans, no. 26 Greenough, Looking In: Robert Frank’s The Americans, pp. 240, 468, Contact no. 26 Frank, The Lines of My Hand, p. 83 ‘Robert Frank: The Lines of My Hand,’ U.S. Camera/Camera 35 Annual, 1972, n.p. Aperture, Robert Frank, p. 29 Aperture, Robert Frank: The Aperture History of Photography, Vol. 2, p. 39 Galassi, Robert Frank: In America, p. 84 Greenough and Brookman, Robert Frank: Moving Out, p. 188 Papageorge, Walker Evans and Robert Frank: An Essay on Infuence, p. 13 Szarkowski, Mirrors and Windows: American Photography Since 1960, p. 17 Aperture, The Open Road: Photography & The American Road Trip, p. 48 Davis, An American Century of Photography: from Dry-Plate to Digital: The Hallmark Photographic Collection, pl. 301
“To Robert Frank I now give this message: You got eyes.” Jack Kerouac
Robert Frank drove into Butte, Montana in May of 1956, afer receiving word of the renewal of the Guggenheim Fellowship funding his project to create a photographic document of America. He traveled from San Francisco through Nevada and Utah, making photographs in each state that would be included in his fnal selection of images for The Americans, before heading north to Montana. Butte was, in its own way, a classic western town, home to one of the largest mineral mining operations in the world and with a rough and rowdy reputation. While Frank may have had hopes of photographing mining operations in the area, as he had covered the automobile industry in Detroit, what ultimately inspired him were scenes that fell outside the industrial life of the town: a table game in a luncheonette; a woman and her children in their car; and the photograph ofered here, taken from the window of the Hotel Finlen which captures the roofops of the town in mid-light. In his free-form introduction to The Americans, Jack
Kerouac wrote that Frank ‘sucked a sad poem right out of America onto flm, taking rank among the tragic poets of the world. To Robert Frank I now give this message: You got eyes’—an observation which resonates strongly with this image. This photograph was for years in the celebrated collection of Joseph E. Seagram & Sons, one of the frst corporations to start a collection of photographs. Under the auspices of Phyllis Lambert, the collection was initiated in 1972 by legendary curator Pierre Apraxine who drew together works that addressed the urban experience. In 1974, Richard Pare took over the curatorial reigns, continuing Apraxine’s focus on superb images of exceptional print quality. The Seagram Collection of photographs was sold at Phillips in 2002, comprising a highly successful two-day auction that presented the collection in-full for the frst time.
54. Robert Frank
1924-2019
Benny on 11th Street, NYC, 1949 Gelatin silver print, printed later. 11 3/4 x 8 in. (29.8 x 20.3 cm) Signed, titled and dated in ink in the margin. Estimate $7,000-9,000 Provenance Acquired directly from the artist Literature Frank, The Lines of My Hand, n.p.
55. Garry Winogrand
1928-1984
Woman in Phone Booth, New York, 1968 or 1972 Gelatin silver print. 8 7/8 x 13 1/4 in. (22.5 x 33.7 cm) Signed in pencil on the verso. Estimate $5,000-7,000 Provenance Pace/MacGill Gallery, New York Literature T.F. Editores, Garry Winogrand: The Game of Photography, p. 81
56. Robert Frank
1924-2019
Rodeo - New York City, 1954 Gelatin silver print, printed 1977. 12 1/4 x 8 1/4 in. (31.1 x 21 cm) Signed, titled ‘NYC’ and dated ‘1955’ in ink in the margin; ‘Robert Frank Archive’ stamp on the verso. Estimate $30,000-50,000 Provenance Private Collection, Miami Literature The Americans, no. 10 Greenough, Looking In: Robert Frank’s The Americans, pp. xviii, 290, 478, 479, Contact no. 65 U.S. Camera Annual, 1958, p. 91 Frank, Robert Frank: Story Lines, p. 206
As Frank traveled the country taking photographs ultimately included in The Americans, he focused on both quotidian and archetypal aspects of the culture. Cowboys are among the most enduring and distinctly American archetypes, and they appear in several of the book’s images. Frank defes our expectations for this western icon in Rodeo, New York City, in which its subject laconically strikes a classic pose and lights a cigarette on the busy streets of Manhattan.
57. Irving Penn
1917-2009
Saul Steinberg, New York, Jan. 29, 1947 Gelatin silver print. 8 1/4 x 7 1/2 in. (21 x 19.1 cm) Signed, initialed, titled, dated, annotated ‘print made near date of photographic sitting’ in ink, two credit, two Condé Nast copyright credit reproduction limitation, three star stamps and edition stamp on the reverse of the mount. One from an edition of ten. Estimate $10,000-15,000 Provenance Private Collection, Berlin Collection of Corbeau et Renard Phillips de Pury & Company, New York, Collection of Corbeau et Renard, Assembled by Gerd Sander, 9 April 2008, lot 275 Galerie Daniel Varenne, Geneva Exhibited Saul Steinberg, L’Écriture Visuelle, Musée Tomi Ungerer, Strasbourg, France, 27 November 2009 - 28 February 2010 Literature Penn, Passage: A Work Record, p. 44 Corbeau & Renard, La trajectoire du regard, p. 137
58. Ray Metzker
1931-2014
66 FU - 9, Atlantic City, 1966 Gelatin silver print, printed later. 7 7/8 x 7 7/8 in. (20 x 20 cm) Signed, titled, numbered 2/3 and annotated in pencil on the verso. Estimate $5,000-7,000 Provenance Laurence Miller Gallery, New York, 2004
59. Richard Avedon
1923-2004
Rudolph Nureyev, Dancer, Paris Studio, France, July 25, 1961 Gelatin silver print. 23 x 19 3/4 in. (58.4 x 50.2 cm) Signed and numbered 15/35 in ink in the margin; title, date, edition and credit reproduction limitation stamp on the verso.
Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco, 2001 Literature Avedon, Evidence: 1944-1994, p. 143
60. Aaron Siskind
1903-1991
Terrors and Pleasures of Levitation New York: LIGHT, 1972. Ten gelatin silver prints, nine mounted. Each approximately 9 1/2 x 9 1/2 in. (24.1 x 24.1 cm) Eight prints signed in pencil on the mount with printed portfolio labels on the reverse of the mount; one print signed and titled in ink on the reverse of the mount; one print signed, titled and dated in ink in the margin. Numbered 7 in ink on the colophon. Accompanied by the linen portfolio and silver-stamped slipcase. Number 7 from an edition of 15.
Estimate $30,000-50,000 Provenance LIGHT, New York Private Collection, Miami Literature powerHouse Books, Aaron Siskind 100, n.p.
“Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. . . For me, a successful picture resolves these tensions without eliminating them.” Aaron Siskind
By the 1940s, Aaron Siskind’s concentration on social documentary photography had progressed to an increasingly abstract style, and he gained acceptance within the circle of New York painters that came to be known as the Abstract Expressionists. Yet Siskind’s work, by his own account, was always concerned with the reality in front of his camera, no matter how abstracted the image. He wrote: ‘The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture is realized, and the experience which brings them together. First, and emphatically, I accept the fat plane of the picture surface as the primary frame of reference of the picture’ (‘Credo,’ Spectrum, 1956, Vol. 6, no. 2).
Shortly afer moving to Chicago in 1951 to teach at the Institute of Design, Siskind embarked upon a series of photographs unlike others in his body of work. Photographing against a bright sky, he captured divers in mid-air before they plunged into the water along the Chicago lakefront. The images are devoid of situational context or horizon line, and their subjects seem to foat exuberantly in space. Siskind called the series Terrors and Pleasures of Levitation (or, alternatively, Pleasures and Terrors of Levitation). While depicting the human fgure, these photographs transcend documentation to become expressive studies in form and movement. Terrors and Pleasures of Levitation was published in 1972 by the pioneering New York gallery, LIGHT, where this portfolio was purchased. Released in a small edition of 15, its appearance at auction is rare.
61. Frederick Sommer
1905-1999
Livia, 1948 Gelatin silver print, printed later. 7 1/2 x 9 1/4 in. (19.1 x 23.5 cm) Signed, titled and twice dated in pencil on the reverse of the mount. Estimate $30,000-50,000
Provenance Christie’s, New York, 9 October 1997, lot 350 Collection of Nancy Richardson Sotheby’s, New York, Photographs from the Collection of Nancy Richardson, 16 October 2007, lot 70
Literature Yale University Press, The Art of Frederick Sommer: Photography, Drawing, Collage, cover, p. 41 Center for Creative Photography, Sommer: Words/Images, pl. 48 Turner, American Images: Photography 1945-1980, p. 51 Weiss, Venus, Jupiter & Mars: The Photographs of Frederick Sommer, pl. 24 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 50 LIGHT, p. 79
62. Frederick Sommer
1905-1999
Max Ernst, 1946 Gelatin silver print, printed later. 7 1/2 x 9 3/8 in. (19.1 x 23.8 cm) Signed, titled and twice dated in pencil on the reverse of the mount. Estimate $25,000-35,000
Provenance Sotheby’s, New York, 22 April 2006, lot 167
Literature Center for Creative Photography, Sommer: Words/Images, pl. 14 Weiss, Venus, Jupiter & Mars: The Photographs of Frederick Sommer, pl. 16 Yale University Press, The Art of Frederick Sommer: Photography, Drawing, Collage, p. 46 Galassi, American Photography 1890-1965 from the Museum of Modern Art, p. 77
Property of the Museum of Art, Rhode Island School of Design, Duplicates Sold to Beneft Acquisition Funds
63. Lee Friedlander
b. 1934
Freddie Small, 1958 Gelatin silver print, printed later. 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $3,000-5,000
64. Aaron Siskind
1903-1991
Selected Images from Harlem Document, 1935-1940 Twelve gelatin silver prints, printed later. Varying dimensions from 9 x 7 in. (22.9 x 17.8 cm) to 8 1/2 x 12 in. (21.6 x 30.5 cm) or the reverse. Seven prints signed in ink in the margin; fve prints signed, titled and dated in pencil and/or ink on the verso; one print with an ‘L’ blindstamp in the margin; one print with a ‘Printed From Original Negative At George Eastman House’ stamp on the verso.
Estimate $10,000-15,000 Provenance Acquired by the Museum in 2005 and 2008 Literature powerHouse Books, Aaron Siskind 100, n.p.
Property of the Museum of Art, Rhode Island School of Design, Duplicate Sold to Beneft Acquisition Funds
65. Harry Callahan
1912-1999
Wells Street, Chicago, 1949 Gelatin silver print, printed no later than 1978. 6 1/2 x 7 in. (16.5 x 17.8 cm) Signed in pencil in the margin. Estimate $6,000-8,000 Provenance Acquired by the Museum in 1978 Literature Greenough, Harry Callahan, p. 47 Szarkowski, Callahan, p. 81
Property of the Museum of Art, Rhode Island School of Design, Duplicate Sold to Beneft Acquisition Funds
66. Aaron Siskind
1903-1991
Martha’s Vineyard IIIa, 1954 Gelatin silver print, printed 1960s. 15 x 19 1/4 in. (38.1 x 48.9 cm) Signed, titled and dated in ink on the reverse of the mount. Estimate $4,000-6,000 Provenance Acquired by the Museum in 1973
67. Art Sinsabaugh
68. Robert Frank
Untitled (Midwest landscape), circa 1965
Chattanooga, Tennessee, 1955
Provenance Collection of The Art Institute of Chicago Sotheby’s, New York, 14 April 1992, lot 459
Gelatin silver print, mounted. 2 1/2 x 19 1/4 in. (6.4 x 48.9 cm)
Gelatin silver print, printed 1977. 8 1/4 x 11 1/2 in. (21 x 29.2 cm) Signed and dated in ink in the margin; ‘Robert Frank Archive’ stamp on the verso.
Literature The Americans, no. 71 Greenough, Looking In: Robert Frank’s The Americans, pp. 296, 467, Contact no. 71
1924–1983
Estimate $4,000-6,000 Provenance Collection of Stephen Garber, student of the artist Howard Greenberg Gallery, 2003
Estimate $15,000-25,000
1924-2019
69. William Eggleston
b. 1939
Untitled (Sumner, Mississippi, Cassidy Bayou in the Background), 1972 Dye transfer print, printed 1999. 14 3/8 x 21 3/4 in. (36.5 x 55.2 cm) Signed in ink in the margin; signed by William J. Eggleston III, Managing Trustee, titled, dated and numbered 9/15, all in ink within the Eggleston Artistic Trust copyright credit reproduction limitation stamp on the verso.
Estimate $60,000-80,000 Provenance Gallery of Contemporary Photography, Los Angeles, 1999 Literature Szarkowski, William Eggleston’s Guide, p. 30 Moore, Starburst: Color Photography in America 1970-1980, pl. 120
70. Harry Callahan
1912-1999
Untitled (telephone wires), 1945-1976 Two gelatin silver prints, printed 1970s. Each 4 3/4 x 4 3/4 in. (12.1 x 12.1 cm) Each signed in pencil in the margin.
Estimate $15,000-20,000 Provenance LIGHT, New York
71. Harry Callahan
1912-1999
Aix-en-Provence, 1958 Gelatin silver print. 7 x 9 in. (17.8 x 22.9 cm) Signed, titled and dated in ink and with the printed El Mochuelo Gallery label on the reverse of the mount. Estimate $10,000-15,000 Provenance LIGHT, New York Collection of Tennyson Schad, New York Acquired by present owner from the above Exhibited Photographs: Harry Callahan, Santa Barbara, El Mochuelo Gallery, 1964 Literature El Mochuelo Gallery, Photographs: Harry Callahan, pl. 117 (this print)
72. Harry Callahan
1912-1999
Eleanor and Barbara, Lake Michigan, 1953 Gelatin silver print, printed later. 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) Signed in pencil in the margin. Estimate $5,000-7,000 Provenance Laurence Miller Gallery, New York Collection of Joseph Baio, New York Christie’s, New York, Selections from the Baio Collection of Photography, 15 April 2010, lot 105 Literature Cox, Harry Callahan: Eleanor, pl. 53 Greenough, Harry Callahan, p. 101 Szarkowski, Callahan, pl. 195
73. Sally Mann
b. 1951
Holding Virginia, 1988 Gelatin silver print. 22 1/2 x 18 3/8 in. (57.2 x 46.7 cm) Signed, titled, dated, numbered 12/25, copyright notation and edition information in pencil on the verso. Estimate $10,000-15,000 Provenance Edwynn Houk Gallery, New York, 1998
74. Rineke Dijkstra
b. 1959
b. 1951
76. Sally Mann
b. 1951
Kolobrzeg, Poland, 27 July, 1992
Juliet in White Chair, 1982
Untitled (girl, couple and dog), 1985
Chromogenic print, printed 1995. 13 3/4 x 11 in. (34.9 x 27.9 cm) Signed, titled and dated in ink on the verso. One from an edition of 25.
Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed, dated, numbered 2/25 and copyright notation in pencil on the verso.
Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed, dated, numbered 1/25, copyright notation and edition information in pencil on the verso.
Estimate $8,000-12,000
Estimate $6,000-8,000
Provenance Bob van Orsouw Galerie, Zurich, 1996
Literature Mann, At Twelve: Portraits of Young Women, p. 16 Abrams, Sally Mann: A Thousand Crossings, pl. 11
Literature D.A.P., Rineke Dijkstra: Beach Portraits, n.p. Guggenheim, Rineke Dijkstra: A Retrospective, pl. 77 Hatje Cantz, Rineke Dijkstra: Portraits, p. 63 Schirmer/Mosel, Rineke Dijkstra: Portraits, p. 25
74.
75. Sally Mann
Estimate $4,000-6,000
75.
Literature Mann, At Twelve: Portraits of Young Women, p. 45
77.
77. Sally Mann 76.
b. 1951
Sherry and Sherry’s Grandmother, Both at Twelve Years, 1983 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm) Signed, dated ‘1984,’ numbered 2/25 and copyright notation in pencil on the verso. Estimate $6,000-8,000 Literature Mann, At Twelve: Portraits of Young Women, cover, p. 56 Aperture, Still Time: Sally Mann, p. 56
78. Sally Mann
b. 1951
At My Mother’s House, 1991 Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm) Signed, titled, dated, numbered 3/25, copyright notation and edition information in pencil on the verso. Estimate $6,000-8,000 Provenance Houk Friedman, New York, 1995 78.
79. Diane Arbus
1923-1971
Untitled (20), 1970-1971 Gelatin silver print, printed later by Neil Selkirk. 14 5/8 x 14 1/2 in. (37.1 x 36.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 24/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $6,000-8,000 Provenance Fraenkel Gallery, San Francisco Literature Aperture, Diane Arbus: Untitled, n.p. Arbus, Sussman, Philips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 65, variant
80. Diane Arbus
1923-1971
Untitled (28), 1970-1971 Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 1/2 in. (36.8 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 $6,000-8,000 Provenance Fraenkel Gallery, San Francisco Literature Arbus, Sussman, Philips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 65
81. Diane Arbus
1923-1971
A Waitress in a Nudist Camp in New Jersey, 1963 Gelatin silver print. 15 x 14 3/4 in. (38.1 x 37.5 cm) Signed, titled and dated in pencil on the verso. Estimate $50,000-70,000
Signature detail
Literature Arbus, Sussman, Philips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 72 ‘Diane Arbus,’ Camera, vol. 51, no. 11, November 1972, p. 12
82. Lisette Model
1901-1983
Coney Island Bather, New York, 1939-1941 Gelatin silver print, printed later. 19 5/8 x 15 3/8 in. (49.8 x 39.1 cm) Signed in pencil and copyright credit stamp on the verso. Estimate $3,000-5,000 Provenance Ricco/Maresca Gallery, New York, 2005 Literature Aperture, Lisette Model, cover
83. Bruce Davidson
b. 1933
Brooklyn Gang, Coney Island, New York, 1959 Gelatin silver print, printed 1970s. 8 x 11 3/4 in. (20.3 x 29.8 cm) Signed in pencil on the verso. Estimate $3,000-5,000 Provenance Acquired directly from the artist Literature Agrinde, Bruce Davidson: Photographs, cover Harry Ransom Center, Reading Magnum: A Visual Archive of the Modern World, cover, p. 246 Barbican, Another Kind of Life: Photography on the Margins, pp. 43, 268 Photo Poche, Bruce Davidson, p. 7 Harrison, Appearances: Fashion Photography Since 1945, p. 127 Tang/DelMonico Books/Prestel, Borrowed Light: Selections from the Jack Shear Collection, p. 334
84. Helen Levitt
1913-2009
Selected Images, circa 1942-1945 Three gelatin silver prints, printed later. Each approximately 7 x 10 in. (17.8 x 25.4 cm) or the reverse. Each signed, titled and dated in pencil on the verso; two with copyright notations and one annotated ‘Toned,’ all in pencil on the verso. Estimate $7,000-9,000 Provenance Laurence Miller Gallery Inc., New York Literature powerHouse Books, Helen Levitt: Crosstown, pp. 11, 17 San Francisco Museum of Modern Art, Helen Levitt, pl. 26, 47
85. Helen Levitt
1913-2009
N.Y. (masked children on stoop), circa 1942 Gelatin silver print, printed later. 7 7/8 x 11 7/8 in. (20 x 30.2 cm) Signed, titled and dated in pencil on the verso. Estimate $4,000-6,000 Literature Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 16 powerHouse Books, Helen Levitt: Crosstown, p. 81 San Francisco Museum of Modern Art, Helen Levitt, pl. 8 Aperture, Photography Speaks: 150 Photographers On Their Art, p. 175 Szarkowski, Looking at Photographs, p. 139
86. Garry Winogrand
1928-1984
Park Avenue, New York, 1959 Gelatin silver print. 13 x 8 3/4 in. (33 x 22.2 cm) Signed in pencil on the verso. Estimate $15,000-25,000
Provenance Directly from the artist Literature Szarkowski, Winogrand: Figments from the Real World, p. 77
87. Robert Frank
1924-2019
Newburgh, New York, 1955 Gelatin silver print, printed later. 12 1/4 x 8 1/8 in. (31.1 x 20.6 cm) Signed and dated in ink in the margin; signed, dated in ink, ‘Robert Frank Archive’ and copyright stamps on the verso. Estimate $60,000-80,000 Provenance Lunn Gallery, Washington, D.C., 1980 Literature The Americans, no. 40 Greenough, Looking In: Robert Frank’s The Americans, pp. 259, 472, 478, Contact no. 40 Phillips, The American Century: Art & Culture, 1950-2000, p. 80 Evergreen Review, vol. 1, no. 4, 1957, cover ‘A Pageant Portfolio: One Man’s U. S. A.,’ Pageant, April 1958, p. 29 U. S. Camera Annual, 1958, p. 114
Much of Robert Frank’s work for his seminal book The Americans was produced in reaction to the sanitized view of America found in picture magazines of the day. On his Guggenheim-funded travels he focused on those aspects of America not addressed in LIFE magazine—the interstitial aspects of American life that, to Frank, made the country truly distinctive. Biker culture was one such focus, and The Americans contains two images relating to the subject: that of an African-American couple astride a Harley Davidson in Indianapolis (The Americans, no. 82), and the photograph ofered here, taken at a motorcycle rally in Newburgh, New York. Bikers and bike culture would prove to be fertile subject matter for flmmakers, photographers, and writers as diverse as Kenneth Anger, Danny Lyon, Hunter S. Thompson, and Peter Fonda. Frank’s treatment of the subject predates them all. Newburgh, New York became the frst photograph from Frank’s Guggenheim project to be published in the United States when it appeared on the cover of the new literary magazine Evergreen Review in 1957.
88. Saul Leiter
1923-2013
89. Miroslav Tichý
1926-2011
Snow, 1960
Untitled, circa 1950-1980
Chromogenic print, printed later. 13 1/2 x 9 in. (34.3 x 22.9 cm) Signed in ink on the verso.
Gelatin silver print, mounted, with pencil and ink embellishment. 4 3/4 x 3 in. (12.1 x 7.6 cm) Overall 8 1/4 x 5 7/8 in. (21 x 14.9 cm)
Estimate $6,000-8,000 Literature Thames & Hudson, Saul Leiter, cover
Estimate $3,000-5,000 Provenance Howard Greenberg Gallery, New York, 2010
90. Robert Frank
1924-2019
Detroit, 1955 Gelatin silver print. 13 1/2 x 9 in. (34.3 x 22.9 cm) Signed in ink, ‘Robert Frank Archive’ and copyright credit reproduction limitation stamp on the verso; titled in green ink on a label afxed to the verso.
Estimate $12,000-18,000 Provenance Christie’s, New York, 24 April 2007, lot 471
Literature Frank, Story Lines, p. 87 Galassi, Robert Frank: In America, p. 65 Little, Brown and Co., Robert Frank: New York to Nova Scotia, p. 23
91. Robert Frank
1924-2019
Film Strips from ‘Pull My Daisy’, 1959 Gelatin silver print, printed later. 15 7/8 x 19 7/8 in. (40.3 x 50.5 cm) Signed in ink in the margin. Estimate $12,000-18,000 Provenance Acquired directly from the artist Literature Robert Frank: Fotografas/Films 1948/84, n.p.
92. Diane Arbus
1923-1971
The Junior Interstate Ballroom Dance Champions, Yonkers, NY, 1962 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 1/2 in. (37.5 x 36.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 26/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $15,000-25,000 Provenance Etherton/Stern Gallery, Tucson Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 40 Aperture, Diane Arbus, n.p.
93. Diane Arbus
1923-1971
Two Ladies at the Automat, N.Y.C., 1966 Gelatin silver print, printed later by Neil Selkirk. 14 1/4 x 14 1/4 in. (36.2 x 36.2 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 54/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso. Estimate $20,000-30,000
Provenance Robert Miller Gallery, New York Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 94
94. William Eggleston
b. 1939
Wedgewood Blue New York: Caldecott Chubb, 1979. Fifeen chromogenic prints mounted to paper within the artist’s bound book. Each approximately 6 x 9 in. (15.2 x 22.9 cm) or the reverse. Signed and numbered 2/20 in ink on the colophon. One from an edition of 20 numbered plus 4 lettered examples. Small folio, blue moiré with letterpress title label on spine, with original slipcase.
Estimate $10,000-15,000 Provenance Christie’s, New York, 8 April 1998, lot 370
95. William Eggleston
b. 1939
Untitled (Stage 14 parking lot, Hollywood), 1999-2000 Iris print. 17 3/4 x 26 7/8 in. (45.1 x 68.3 cm) Signed in ink in the margin; Eggleston Artistic Trust copyright credit reproduction limitation stamp on the verso. Number 6 from an edition of 7. Estimate $10,000-15,000 Provenance Cheim & Read, New York
Property from a Private West Coast Collection
96. Robert Polidori
b. 1951
Gas Station, Palm Springs, CA, USA, 1997 Chromogenic 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 $10,000-15,000 Provenance Weinstein Gallery, Minneapolis
97. William Eggleston
b. 1939
Flowers New York: Caldecott Chubb, 1978. Twelve chromogenic prints mounted to Rives BFK Gray paper within the artist’s book. Each approximately 6 x 9 in. (15.2 x 22.9 cm) or the reverse. Signed and numbered 5/100 in ink on the colophon. One from an edition of 100 numbered plus 10 lettered examples. Small folio, gilt-lettered red morocco with original slipcase. Estimate $7,000-9,000 Provenance Christie’s, New York, 8 April 1998, lot 368 Literature Steidl, William Eggleston: Flowers
98. Joel Sternfeld
b. 1944
Manville Corporation World Headquarters, Littleton, Colorado, October, 1980 Chromogenic print, printed 1987. 15 3/4 x 19 7/8 in. (40 x 50.5 cm) Signed, titled, dated and inscribed in ink on the verso. Estimate $3,000-5,000 Provenance Acquired directly from the artist Exhibited The Art of Photography: 1839-1989, Museum of Fine Arts, Houston, 11 February - 30 April 1989; and traveling to Australian National Gallery, Canberra, 17 June - 27 August 1989; Royal Academy of Arts, London, 23 September 23 December 1989 Literature D.A.P./ Distributed Art Publishers, Inc., Joel Sternfeld: American Prospects, pl. 7 Yale University Press, The Art of Photography: 1839-1989, pl. 340
99. Walker Evans
1903-1975
Selected Images, 1973-1974 Nine unique Polaroid prints. Each 3 1/8 x 3 in. (7.9 x 7.6 cm) One print dated ‘4/12/74’ in ink on the verso. Estimate $8,000-12,000 Provenance Andrea Rosen Gallery, New York Literature Rosenheim, Walker Evans: Polaroids, pp. 85, 91, variants
100. Joel Meyerowitz
b. 1938
Luncheonette, 12th Ave between 34th & 35th streets, New York City from Empire State, 1978 Chromogenic print, printed later. 18 1/2 x 23 1/8 in. (47 x 58.7 cm) Signed, titled and dated in ink on the verso. Estimate $4,000-6,000 Provenance Christie’s, New York, The American Landscape: Color Photographs from the Collection of Bruce and Nancy Berman, 7 October 2009, lot 154 Literature McGraw-Hill, American Images: New Work by Twenty Contemporary Photographers, p. 161 Edwynn Houk Gallery, Joel Meyerowitz: Modern Color Vintage Prints, p. 5, variant
101. Joel Sternfeld
b. 1944
McLean, Virginia, December 4, 1978 Dye transfer print, printed 1985. 14 7/8 x 19 3/8 in. (37.8 x 49.2 cm) Signed, titled, dated and annotated in ink on the verso. Estimate $12,000-18,000
Provenance Acquired directly from the artist Exhibited The Art of Photography: 1839-1989, The Sezon Museum of Art, Japan, 3 March 1 April 1990
Literature D.A.P./ Distributed Art Publishers, Inc., Joel Sternfeld: American Prospects, pl. 30 Greenough, On the Art of Fixing a Shadow: One Hundred and Fify Years of Photography, pl. 373 Aperture, The Open Road: Photography and the American Road Trip, p. 234
102. William Eggleston
b. 1939
Morals of Vision New York: Caldecott Chubb, 1978. Eight chromogenic prints mounted to Johannot paper within the bound artist’s book.
Each approximately 6 x 9 in. (15.2 x 22.9 cm) or the reverse. Signed and numbered 3/15 in ink on the colophon. One from an edition of 15 plus 4 lettered examples. Small folio, gilt-lettered blue half-morocco, with original slipcase. Estimate $25,000-35,000
Provenance Christie’s, New York, 8 April 1998, lot 369 Exhibited Steidl, Morals of Vision: William Eggleston
103. Joel Sternfeld
b. 1944
Exhausted Renegade Elephant, Woodland, Washington, June, 1979 Chromogenic print, printed 2003, fush-mounted. 42 x 52 3/8 in. (106.7 x 133 cm) Overall 49 5/8 x 60 in. (126 x 152.4 cm) Signed in ink, printed title, date and number 1/10 on a gallery label afxed to the reverse of the frame. Estimate $10,000-15,000 Provenance Luhring Augustine Gallery, New York Literature D.A.P./ Distributed Art Publishers, Inc., Joel Sternfeld: American Prospects, p. 49
104. Stephen Shore
b. 1947
Sunset Avenue, Palm Beach, Florida 10/28/73, 1973 Chromogenic print. 6 x 8 1/8 in. (15.2 x 20.6 cm) Signed, titled and dated in ink on the verso. Estimate $4,000-6,000 Provenance LIGHT, New York Literature Aperture, Stephen Shore: Uncommon Places, p. 36
105. William Eggleston
b. 1939
Untitled, 1983-1986 Chromogenic print. 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm) Signed and numbered 1/3 in ink on the verso. Estimate $6,000-8,000 Provenance Laurence Miller Gallery, New York Literature Eggleston, The Democratic Forest, p. 162
106. William Eggleston
b. 1939
Untitled (tire sign), n.d. Chromogenic print. 14 1/2 x 21 7/8 in. (36.8 x 55.6 cm) Signed and annotated in ink in the margin. Estimate $5,000-7,000
107. William Eggleston
b. 1939
Untitled (Hot Springs, Arkansas), 2001 Chromogenic print. 14 1/2 x 21 7/8 in. (36.8 x 55.6 cm) Signed and annotated in ink in the margin. Estimate $5,000-7,000 Literature Thames & Hudson, William Eggleston, p. 25 Whitney Museum of American Art, William Eggleston: Democratic Camera: Photographs and Video, 1961-2008, pl. 231
108. Jeannette Klute
1918-2009
Maquette for Woodland Portraits, 1954 Fify-three dye-transfer prints. Various sizes to 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm) or the reverse. All but 3 signed in ink on the recto; each mounted on thin board, with interleaved pages with typed captions and quotations and occasional pencil edits by Klute. In three parts, each unbound within board covers. Accompanied by Woodland Portraits (Boston, 1954), folio, gilt-lettered buckram, profusely illustrated with color reproductions of Klute’s photographs.
Estimate $10,000-15,000 Provenance Collection of the artist, South Bristol, New York Collection of Tom Jacobson, Tucson, acquired from the above in 1994 Literature Klute, Woodland Portraits, pls. 1-50 Mulligan, Jeannette Klute: A Photographic Pioneer, fgs. 9, 11-13, pp. 26, 29, 33, 34, 37, 40, 47, and 48
The group of 53 dye-transfer prints ofered in this lot comprise Jeannette Klute’s unique maquette for Woodland Portraits, one of the frst books devoted exclusively to color photography. Klute studied photography at the Mechanics’ Institute in Rochester and was hired as a lab technician by Eastman Kodak in 1938, becoming one of the few women to have a technical, as opposed to secretarial, position at the company. There, she had a direct role in the development of the dyetransfer process which, with its superior colors and stability, represented a signifcant advance in color photography. In her capacity as a manager, Klute hired women to fll many lab positions and helped change the culture of the male-dominated company. In the dye-transfer process, Klute found the ideal medium for the serene nature studies she made in the wetlands and forests around her home near Rochester. She collected the best of these images in the maquette ofered here, published as Woodland Portraits in 1954. The book received resounding praise: Edward Steichen wrote that it was ‘one of the most distinguished, carefully considered and produced books in the feld of photography,’ while Ansel Adams exclaimed, ‘It is magnifcent! . . . I think Miss Klute has made a major contribution to creative photography—a new and fresh approach.’ The success of the book was due in large part to the excellence of the color photographs, as well as Klute’s meticulous sequencing and sensitive pairing of images with quotations by poets and writers. Klute’s work has been exhibited at The Museum of Modern Art, New York; the Amon Carter Museum, Fort Worth; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; and the Bruce Museum, Greenwich, Connecticut. Klute printed in very limited quantities and her early dye-transfer prints, such as those ofered here, are rare. Contact the Photographs Department for additional documentation on this group.
109. William Eggleston
b. 1939
Memphis, circa 1972 Dye transfer print, printed 1986. 13 1/2 x 20 1/2 in. (34.3 x 52.1 cm) Signed in ink and ‘William Eggleston’s Guide’ copyright credit stamp on the verso. Number 9 from an edition of 9.
Estimate $20,000-30,000 Provenance Laurence Miller Gallery, New York, 2005
Literature Szarkowski, William Eggleston’s Guide, p. 23 Moore, Starburst: Color Photography in America 1970-1980, pl. 130
End of morning session
Beginning of afternoon session, 2pm
110. Robert Mapplethorpe
111. Robert Mapplethorpe
1946-1989
1946-1989
Orchids, 1985
Gardenia, 1979
Gelatin silver print. 15 x 15 1/8 in. (38.1 x 38.4 cm) Signed, dated and numbered 1/10 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount.
Gelatin silver print. 17 3/4 x 13 3/8 in. (45.1 x 34 cm) Signed, dated and numbered 1/10 in pencil in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount.
Estimate $15,000-25,000 Literature teNeues, Robert Mapplethorpe: The Complete Flowers, pl. 115
Estimate $8,000-12,000 Literature Random House, Mapplethorpe: Pistils, p. 95
112. Robert Mapplethorpe 1946-1989 Ken and Lydia, 1985 Gelatin silver print. 19 x 15 in. (48.3 x 38.1 cm) Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Number 2 from an edition of 10. Estimate $25,000-35,000 Provenance Robert Miller Gallery, New York Exhibited A New Reality: Black-and-White Photography in Contemporary Art, Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey, 1 September - 18 November 2007
113. Joel-Peter Witkin
b. 1939
Three Kinds of Women, 1992 Gelatin silver print. 24 1/4 x 33 1/4 in. (61.6 x 84.5 cm) Signed, titled, dated, numbered 5/12, copyright notation and annotated in pencil on the verso. Estimate $8,000-12,000 Provenance Acquired directly from the artist
114. Horst P. Horst
1906-1999
Greek Head with Orchids, 1988 Dye transfer print. 18 x 15 1/4 in. (45.7 x 38.7 cm) Signed in pencil on the verso. Estimate $10,000-15,000 Provenance Staley-Wise Gallery, New York, 1989
This work is from a projected edition of 10 that was not fully realized.
114.
115. Robert Mapplethorpe 1946-1989
116. Nobuyoshi Araki
b. 1940
SHIKI IN ME, 2006
Carnation, N.Y.C., 1978 Gelatin silver print from the Y Portfolio. 7 1/2 x 7 1/2 in. (19.1 x 19.1 cm) Signed and numbered 14/25 in pencil on the mount. Estimate $1,500-2,500 Literature Martineau and Salvesen, Robert Mapplethorpe: The Photographs, pl. 44 Mapplethorpe, Pistils, p. 94
115.
Unique work comprised of nine gelatin silver prints with applied acrylic paint and glitter. Each 20 7/8 x 15 1/2 in. (53 x 39.4 cm) Overall 65 3/4 x 53 1/2 in. (167 x 135.9 cm) Signed and dated in pencil on a Certifcate of Authenticity accompanying the work. Estimate $25,000-35,000 Provenance Taka Ishii Gallery, Tokyo
116.
117. Helmut Newton
1920-2004
118. Helmut Newton
1920-2004
Roselyne in Arcangues, 1975
Paloma Picasso, Saint-Tropez, 1973
Gelatin silver print. 12 1/4 x 8 in. (31.1 x 20.3 cm) Signed, titled and dated in pencil on the verso.
Gelatin silver print. 12 1/4 x 8 1/8 in. (31.1 x 20.6 cm) Signed, titled and dated in pencil on the verso.
Estimate $10,000-15,000
Estimate $4,000-6,000
Provenance From the artist to Matsumi Kanemitsu, Los Angeles Acquired from the above by the present owner Literature Stonehill Press, Helmut Newton, White Women, p. 73
Provenance From the artist to Matsumi Kanemitsu, Los Angeles Acquired from the above by the present owner Literature Paris Vogue, November 1973 Stonehill Press, Helmut Newton, White Women, p. 27 Hall-Duncan, The History of Fashion Photography, p. 203
Matsumi Kanemitsu (1922-1992), who acquired these photographs from Newton, was a painter and teacher based in Los Angeles.
119. Robert Mapplethorpe 1946-1989 Thomas, 1987 Gelatin silver print. 19 1/8 x 19 in. (48.6 x 48.3 cm) Signed, dated and numbered 3/10 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Estimate $15,000-25,000 Provenance Gallery 292, New York Literature Martineau and Salvesen, Robert Mapplethorpe: The Photographs, pl. 136 Random House, Mapplethorpe, p. 233
120. Steven Meisel
b. 1954
Linda Evangelista, New York City, 1989 Gelatin silver print. 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm) Signed and inscribed ‘For Herb, love you, Steven’ in pencil on the verso. Estimate $5,000-7,000
Provenance From the artist to Herb Ritts Fahey/Klein Gallery, Los Angeles, 2006 Exhibited Icons of Style: A Century of Fashion Photography, 1911-2011, The J. Paul Getty Museum, Los Angeles, 26 June21 October 2018 Literature Vogue Paris, June/July 1989
121. Mario Testino
b. 1954
122. Chuck Close
Provenance artnet Auctions, 1 August 2012, lot 69674
b. 1940
Kate Moss, London, 2006
Kate Moss, 2003
Chromogenic print, printed 2012. 16 1/2 x 23 in. (41.9 x 58.4 cm) Signed, numbered ‘26’ in ink, printed title, date, number and copyright credit reproduction limitation on a label afxed to the verso. Number 26 from an edition of 175. Enclosed in a portfolio box with stamped copyright credit.
Pigment print. 18 1/4 x 6 3/4 in. (46.4 x 17.1 cm) Overall 31 3/4 x 20 3/4 in. (80.6 x 52.7 cm) Signed, dated ‘2005’ and numbered 18/25 in pencil in the margin.
Literature W, September 2003 Kismaric and Respini, Fashioning Fiction in Photography Since 1990, p. 131
Estimate $8,000-12,000
Estimate $4,000-6,000 Literature Martineau, Icons of Style: A Century of Fashion Photography, pl. 221
This work was published by Counter Editions, London, to celebrate Mario Testino’s major retrospective at the Museum of Fine Arts, Boston in 2012.
121.
122.
123. Robert Mapplethorpe 1946-1989 Lisa Lyon, 1980 Gelatin silver print, fush-mounted. 14 x 14 in. (35.6 x 35.6 cm) Signed and numbered AP 1/2 in ink in the margin. One from an edition of 15 plus 2 artist’s proofs. Estimate $7,000-9,000 Provenance Acquired directly from the artist Private Collection, Lisa Lyon Phillips de Pury & Company, New York, 1 April 2009, lot 170 Literature St. Martin’s Press, Lady: Lisa Lyon, p. 22
124. Helmut Newton
1920-2004
SUMO Monte Carlo: Taschen, 1999. Oversized photography book with original metal stand designed by Philippe Starck. Book: 277/8 x 201/8 x 3 in. (70.8 x 51.1 x 7.6 cm) Stand: 30 x 22 x 22 in. (76.2 x 55.9 x 55.9 cm) Signed in blue crayon and stamp numbered 01777 of 10,000 on the title page; the stand embossed ‘STARCK’ and ‘HELMUT NEWTON.’
123.
Estimate $4,000-6,000
125. Helmut Newton
1920-2004
Lisa Lyon, 1980 Gelatin silver print. 11 1/2 x 7 3/4 in. (29.2 x 19.7 cm) Signed in ink in the margin; copyright credit and reproduction limitation stamps on the verso. Estimate $4,000-6,000 Provenance Christie’s, New York, 19 December 2011, lot 76 124.
125.
126. Daido Moriyama
b. 1938
How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. 15 1/8 x 10 3/8 in. (38.4 x 26.4 cm) Signed in Japanese and rōmaji in pencil on the verso. Estimate $4,000-6,000 Provenance Taka Ishii Gallery, Tokyo, 2006 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
127. Daido Moriyama
b. 1938
Landscape, 2005 Gelatin silver print. 14 x 21 1/4 in. (35.6 x 54 cm) Signed in Japanese and rōmaji in pencil on the verso. Estimate $3,000-5,000 Provenance Private Collection, New York
Photographs from a Private Collection, New York
128. Robert Frank
1924-2019
US 285, New Mexico, 1956 Gelatin silver print, printed circa 1986. 8 3/4 x 6 1/8 in. (22.2 x 15.6 cm) Signed, titled and dated ‘1955’ in ink in the margin. Estimate $30,000-50,000 Provenance Gif of the artist to the present owner, 1989 Literature The Americans, no. 36 Greenough, Looking In: Robert Frank’s The Americans, pp. 253, 469, 470, Contact no. 36 Frank, The Lines of My Hand, n.p. ‘The Highway: Four Photographs by Robert Frank,’ Current, November 1960, p. 33 U. S. Camera Annual, 1958, p. 100
129. Lee Friedlander
b. 1934
Newark, N.J., 1962 Gelatin silver print, printed 1980s. 8 1/4 x 12 1/4 in. (21 x 31.1 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. Estimate $5,000-7,000 Literature Friedlander, Like a One-Eyed Cat, pl. 13 Galassi, Friedlander, pl. 68
130. Lee Friedlander
b. 1934
131. Ernst Haas
1921-1986
1928-1984
Canyon de Chelly, 1983
Motion Study Rodeo, 1957
Fort Worth, Texas, 1974
Gelatin silver print, printed later. 12 x 7 7/8 in. (30.5 x 20 cm) Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.
Chromogenic print, printed later, fush-mounted. 17 x 25 3/4 in. (43.2 x 65.4 cm) Signed, titled, dated and numbered 1/30 by Alexander Haas, the artist’s son, in ink on a studio label afxed to the reverse of the frame.
Gelatin silver print. 8 1/4 x 12 1/2 in. (21 x 31.8 cm) Signed in pencil on the verso.
Estimate $4,000-6,000 Literature Friedlander, Like a One-Eyed Cat, cover, frontispiece Friedlander, Self Portrait, pl. 46 Galassi, Friedlander, pl. 42
Estimate $3,000-5,000 Provenance Acquired directly from the artist
Estimate $3,000-5,000 Provenance The Estate of Ernst Haas
131.
130.
132. Garry Winogrand
132.
Literature San Francisco Museum of Modern Art, Garry Winogrand, pl. 313 Szarkowski, Winogrand: Figments From the Real World, p. 190
133. Ernst Haas
1921-1986
White Sands, New Mexico, 1950 Gelatin silver print, fush-mounted. 13 1/8 x 19 1/2 in. (33.3 x 49.5 cm) Museum of Modern Art, New York, labels afxed to the reverse of the fush-mount. Estimate $7,000-9,000 Provenance Private Collection, New York Exhibited Ernst Haas: Color Photography, Museum of Modern Art, New York, August October 1962
The photograph ofered here was shown at The Museum of Modern Art in 1962 in the retrospective Ernst Haas: Color Photography, curated by John Szarkowski. While the exhibition’s emphasis was on Haas’ color photographs, Szarkowski included a small selection of black-and-white works. As is characteristic of MoMA’s exhibition style in the 1950s and 1960s, this photograph is on a thick fush-mount which gives it a commanding presence on the wall.
Whether working in color or black-andwhite, in the natural world, on movie sets, or on the road, Haas was ever sensitive to the expressive capabilities of light. In this image he has captured the drama of sunlight breaking through the clouds over the dunes of White Sands, New Mexico.
134. Richard Prince
b. 1949
Untitled (Cowboy), 1993 Ektacolor print. 16 x 23 7/8 in. (40.6 x 60.6 cm) Signed, dated and numbered 2/2 in ink on the verso. Estimate $200,000-300,000 Provenance Private Collection, Wyoming Phillips, New York, 4 April 2016, lot 80
“Prince takes as his landscape what he fnds at the corner newsstand. Using popular magazines, he travels the psyche of America in the two-dimensional space of the reproduced images it consumes—and is consumed by: representations of American lifestyle, objects of desire, and blurred characters in a sort of fctional world.” Corinne Diserens and Vicente Todolí, Spiritual America: Richard Prince
135. Nan Goldin
b. 1953
French Chris on the convertible, NYC, 1979 Dye destruction print, printed later. 26 x 38 3/4 in. (66 x 98.4 cm) Signed, titled, dated and numbered 17/25 in ink on a label afxed to the verso.
Estimate $18,000-22,000 Provenance Matthew Marks Gallery, New York Private Collection, New York
Literature Goldin, The Ballad of Sexual Dependency, p. 47 Musée d’art contemporain de Montréal, Nan Goldin, p. 35 Museu de Arte Moderna Rio De Janeiro, Nan Goldin: Heartbeat, pp. 64-65
136. William Eggleston
b. 1939
Untitled (cocktail on airplane), circa 1971-1974 Chromogenic print, printed later. 13 1/2 x 9 1/4 in. (34.3 x 23.5 cm) Signed in ink on the verso. Estimate $30,000-50,000 Provenance Private Collection, New York
With the nonchalance of a snapshot, William Eggleston perfectly captured the heavenly ease of a drink on a plane: blue sky, room to one’s own, light shining in, bourbon on ice. Though taken in the 1970s when fying was a luxury, the congeniality of this photograph is timeless. The radiance of a moment that Eggleston seems to capture ofhandedly in this picture is the hallmark of his style. As Peter Schjeldahl brilliantly observed, ‘The hour on Eggleston’s clock is always right now.’ It is highly unusual for Eggleston to have printed variants of his work. But in the case of this masterpiece we know of two versions of the image: that ofered here, in which the hand holding the swizzle stick tilts forward; and a variant frame in which the hand tilts slightly back. Both closely-linked photographs capture the same personally resonant details and awaken a Proustian moment: padded seat, window to the sky, plastic glass flled with bourbon over ice. Both are classic Eggleston: timeless and egalitarian in their life-is-in-color depiction of that which we all know.
Literature Thames & Hudson, William Eggleston, p. 90 Scalo, William Eggleston: Los Alamos, p. 99, variant Whitney Museum of American Art, William Eggleston: Democratic Camera: Photographs and Video, 1961-2008, pl. 43, variant
137. Duane Hanson
1925-1996
Waitress, 1992 Nine unique Polaroid prints. Each 3 1/2 x 2 7/8 in. (8.9 x 7.3 cm) Overall 16 1/2 x 19 1/2 in. (41.9 x 49.5 cm) Each with credit and estate copyright credit stamp on the verso. Each numbered sequentially 1-9 in ink on a circular label afxed to the margin. Eight prints numbered ‘1,’ ‘2’ or ‘3’ in pencil in the margin.
Estimate $10,000-15,000 Provenance Estate of Duane Hanson Laurence Miller Gallery, New York, 2003
The present lot, a series of nine Polaroids, is one of several studies by Duane Hanson that served as inspiration for his renowned work—hyper-realistic, life-sized sculptures of ordinary Americans. Informal and unassuming, Hanson’s subjects are at once familiar and foreign to the viewer. This example shows Hanson closely observing a waitress in several uniforms and poses as she goes about her vocation. Rather than replicating one image exactly, Hanson’s fnal sculptures are an amalgamation of all—a moment between frames that never materialized in his lens.
The Collection of Anna Taylor Delory
138. Andy Warhol
1928-1987
Self Portrait with Basquiat, October 4, 1982 Unique Polaroid print. 2 7/8 x 3 3/4 in. (7.3 x 9.5 cm) Copyright credit blindstamp on the recto. Estimate $30,000-50,000 Provenance From the artist to Jean-Michel Basquiat Acquired from the above, 1982
Actual size
On 4 October 1982, Andy Warhol turned his Polaroid camera on Jean-Michel Basquiat for a series of portraits of the young artist. At the end of the session, Basquiat requested a portrait with Warhol who stepped into the frame and assumed the now famous pose seen here. Of the Polaroids Warhol took that day, this is the only one where Basquiat is seen grinning from ear to ear. Warhol gave the double portrait to Basquiat who then quickly returned to his studio with the stilldeveloping print in hand, pinned it to his wall and created Dos Cabezas, a rendering of the double portrait painted in his characteristic visual language. Warhol recalled the day in his diary: ‘Down to meet Bruno Bischoferger (cab $7.50). He brought Jean-Michel Basquiat with him. He’s the kid who used the name
“Samo” when he used to sit on the sidewalk in Greenwich Village and paint T-shirts . . . And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together’ (Hackett, The Andy Warhol Diaries, p. 462). That day, immortalized in these two iconic works of art, marked the beginning of a friendship and artistic collaboration that would shape the course of Basquiat’s short career while providing Warhol a heralded fnal chapter of his. Days afer their meeting, Basquiat gave the Polaroid to his close friend Anna Taylor. The surface features of the object are artifacts of this celebrated frst encounter.
Jean-Michel Basquiat, Dos Cabezas, 1982. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.
A Discerning Vision: Property from an Important Private Collection ○
139. Francesca Woodman
1958-1981
Untitled, Providence, Rhode Island, 1976 Gelatin silver print, printed later by Igor Bakht. 5 1/2 x 5 1/2 in. (14 x 14 cm) Signed by George and Betty Woodman, numbered 5/40 in pencil and PE/FW credit stamp on verso; printer’s label afxed to the verso. Estimate $7,000-9,000 Provenance Marian Goodman Gallery, New York, 2000 Literature San Francisco Museum of Modern Art, Francesca Woodman, p. 206 Townsend, Francesca Woodman, p. 97
A Discerning Vision: Property from an Important Private Collection ○
140. Francesca Woodman
1958-1981
It must be time for lunch now, New York, 1979 Gelatin silver print, printed later by Igor Bakht. 4 1/4 x 4 1/4 in. (10.8 x 10.8 cm) Signed by George and Betty Woodman, numbered 13/40, annotated in pencil and PE/FW credit stamp on the verso. Estimate $5,000-7,000 Provenance Marian Goodman Gallery, New York, 2000 Literature San Francisco Museum of Modern Art, Francesca Woodman, p. 122
141. Hannah Wilke
1940-1993
So Help Me Hannah, Performalist Self-Portrait with Donald Goddard, 1978 Gelatin silver print. 12 7/8 x 8 1/2 in. (32.7 x 21.6 cm) Signed, titled, dated, copyright notation and annotated ‘all rights reserved’ in ink on the verso. Estimate $30,000-50,000 Provenance Ronald Feldman Fine Arts, New York Exhibited A New Reality: Black-and-White Photography in Contemporary Art, Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey, 1 September - 18 November 2007
In So Help Me Hannah, her 1978 performance at the PS1 Institute for Art and Urban Resources, New York’s new contemporary art space, Hannah Wilke walked the abandoned school naked while wearing high heels and carrying a gun. Her husband Donald Goddard photographed her movements throughout the building. As seen in the present lot, Wilke’s vulnerability, as suggested by her nudity and her hidden position beneath the stairwell, is undermined by the presence of the gun in her hand and her defant gaze. Using her body as a conceptual canvas, Wilke’s work bluntly confronts themes of sexuality, desire, gender identity, power and self-representation.
142. Robert Mapplethorpe
Estimate $40,000-60,000
1946-1989 Calla Lily, 1984 Gelatin silver print. 15 x 15 1/8 in. (38.1 x 38.4 cm) Signed, dated and numbered 2/10 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount.
Literature Mapplethorpe, Pistils, p. 110 Random House, Mapplethorpe, p. 268
143. Irving Penn
1917-2009
Iceland Poppy/Papaver nudicaule (E), New York, 2006 Pigment print. 14 5/8 x 20 in. (37.1 x 50.8 cm) Signed, initialed twice, titled, dated, annotated in ink, credit, copyright credit (Courtesy of Vogue) reproduction limitation and edition stamps on the reverse of the fush-mount. One from an edition of 12. Estimate $20,000-30,000 Literature Hamiltons Gallery, Irving Penn: Flowers, pl. XXXVII
144. Ormond Gigli
1925-2019
Girls in the Windows, New York City, 1960 Archival pigment print, printed later. 30 7/8 x 30 7/8 in. (78.4 x 78.4 cm) Signed and numbered 59/75 in ink in the margin. Estimate $20,000-30,000 Literature powerHouse Books, Ormond Gigli: Girls in the Windows and Other Stories, cover, p. 23 Little, Brown & Company, Refections in a Glass Eye: Works from the ICP, pl. 63
Fashion photographer Ormond Gigli, best known for his signature image Girls in the Windows, New York City, passed away in December 2019, leaving behind a legacy of vibrant and dynamic photographs. Gigli had an illustrious career, and his work was widely featured in publications such as LIFE and Paris Match. Yet, his most recognizable image, ofered here, was made without assignment. In 1960, the brownstone across from Gigli’s apartment was marked for demolition. Wanting to capture the sophistication of a bygone era of New York, Gigli flled the vacant windows with glamorous women. The stark contrast of the stripped building against the vibrancy of the women invigorates Girls in the Windows, New York City with a classic timelessness.
145. Candida Höfer
b. 1944
Pierpont Morgan Library New York IV, 2001 Chromogenic print, fush-mounted. 47 1/2 x 61 in. (120.7 x 154.9 cm) Overall 62 3/4 x 76 1/2 in. (159.4 x 194.3 cm) Signed in ink, printed title, date and number 6/6 on a label afxed to the reverse of the fush-mount.
Estimate $50,000-70,000 Provenance Ben Brown Fine Arts, London Sotheby’s, London, Contemporary Art Day Auction, 13 October 2012, lot 129 Literature Aperture, Candida Höfer: Architecture of Absence, p. 75 Schirmer/Mosel, Candida Höfer: Libraries, pp. 20-21
Designed by Charles McKim of the famed architecture frm McKim, Mead & White, and constructed between 1902 and 1906, the Pierpont Morgan Library was built to house its fnancier namesake’s private library, vast collection of historical manuscripts, old master drawings, prints and other rare materials. It became a public institution in 1924, and in the nearly 100 years since has continued to grow, both in physical footprint—now encompassing multiple buildings across half a city block—and holdings. When Candida Höfer photographed this hallowed institution in 2001, she had already established her reputation as a master photographer of grand interiors with a keen interest in libraries. While she is ofen thought of in the context of her Düsseldorf School of Photography peers, including Andreas Gursky, Thomas Struth and Axel Hütte, her work is distinguished for its focus on architectural space and rigorous commitment to documenting it devoid of people. Her work is not simply a document of space; rather, it is a meditation on function and history, themes that echo resoundingly in the present lot. In Pierpont Morgan Library, New York IV, 2001, Höfer captures the opulence of the room in exquisite detail. From the ornate architectural moldings that line the base of the embellished ceilings just out of view, to the vibrantly red velvet rug, and the walnut bookshelves with metal grills that keep the library’s collection of European literature safely housed, the decor rivals that of a Renaissance palace, harkening back to an era when intellectual curiosity was celebrated. At the core of Höfer’s work is a reverence for the past and for the sacred spaces that allow us to learn from it through its art, music and literature. This work is presented in a bespoke bronzed steel frame with Optium Museum Acrylic.
146. Andreas Gursky
b. 1955
Angler, Mühleim an der Ruhr, 1989 Chromogenic print, fush-mounted. 23 1/8 x 29 7/8 in. (58.7 x 75.9 cm) Overall 34 x 40 1/4 in. (86.4 x 102.2 cm) Signed in ink, printed title, date and number 3/8 on a label afxed to the reverse of the frame.
Estimate $25,000-35,000 Provenance Private Collection, Netherlands Phillips, New York, Contemporary Art Day Sale, 14 November 2014, lot 232
Literature Hatje Cantz, Andreas Gursky, Werke, Works 80-08, p. 87 Syring, Andreas Gursky: Photographs from 1984 to the Present, p. 63 The Museum of Modern Art, Andreas Gursky, p. 83
147. Wolfgang Tillmans
b. 1968
Deer Hirsch, 1995 Chromogenic print. 12 x 16 in. (30.5 x 40.6 cm) Signed, titled, numbered, inscribed and dated ‘Wolfgang Tillmans, Deer Hirsch, 3/10+1, ph 995, print 995’ on the reverse. Photographed in 1995 and printed in 1995, this work is number three from an edition of ten plus one artist proof.
Estimate $15,000-25,000 Provenance Regen Projects, Los Angeles Literature Phaidon, Wolfgang Tillmans, p. 87 Taschen, Wolfgang Tillmans, n.p.
148. Gregory Crewdson
b. 1962
Untitled (Empty House), 2001-2002 Chromogenic print. 47 1/2 x 59 1/2 in. (120.7 x 151.1 cm) Overall 53 1/2 x 65 1/2 in. (135.9 x 166.4 cm) Signed in ink, printed title, date and number 1/10 on a gallery label afxed to the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Luhring Augustine, New York Tilton Gallery, New York Literature Moody, Twilight: Photographs by Gregory Crewdson, pl. 1
149. Todd Hido
b. 1968
4124-c, 2005 Archival pigment print. 41 1/4 x 33 1/4 in. (104.8 x 84.5 cm) Signed, titled, dated and annotated ‘Artist Proof’ on an artist’s label afxed to the reverse of the fush-mount. One from an edition of 5 plus artist’s proofs. Estimate $4,000-6,000
150. Hiroshi Sugimoto
b. 1948
Cinerama Dome, Hollywood, 1993 Gelatin silver print. 16 1/2 x 21 1/8 in. (41.9 x 53.7 cm) Signed, titled, dated and numbered ‘17/25, 250’ in pencil on the mount; blindstamp title and number ‘17/25, 250’ in the margin.
Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York
151. No Lot
152. Alec Soth
b. 1969
Peter’s Houseboat, Winona, Minnesota, 2002 Archival pigment print, printed later, fush-mounted. 39 5/8 x 49 5/8 in. (100.6 x 126 cm) Signed in ink, printed title, date and number 4/5 on a label accompanying the work.
Provenance Stephen Wirtz Gallery, San Francisco Literature Steidl, Alec Soth: Sleeping by the Mississippi, n.p. Walker Art Center, From Here to There: Alec Soth’s America, p. 55
Estimate $60,000-80,000
“I fell in love with the process of taking pictures, with wandering around fnding things. To me it feels like a kind of performance. Te picture is a document of that performance.” Alec Soth
153. Hiroshi Sugimoto
b. 1948
Orinda Theatre, 1992 Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm) Signed and numbered ‘243’ in pencil on the mount; blindstamp title and number ‘4/25, 243’ in the margin. Estimate $20,000-30,000
Provenance Private Collection, California Mark Moore Gallery, Culver City, California Literature Damiani and Matsumoto Editions, Hiroshi Sugimoto: Theaters, p. 65
154. Hiroshi Sugimoto
b. 1948
Palace, New Jersey, 1977 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 ‘14/25, 218’ in the margin. Estimate $12,000-18,000
Provenance Michael Hue-Williams Fine Art, London Phillips de Pury & Company, New York, Contemporary Art Part II, 11 November 2005, lot 214 Literature Damiani and Matsumoto Editions, Hiroshi Sugimoto: Theaters, p. 23
155. Hiroshi Sugimoto
b. 1948
Kunsthaus Bregenz, Peter Zumthor, 2000 Gelatin silver print. 23 x 18 3/8 in. (58.4 x 46.7 cm) Signed in pencil on the mount; blindstamp number ‘3/25, 950’ in the margin. Estimate $10,000-15,000 Provenance Sonnabend Gallery, New York Literature Kunsthaus Bregenz, Hiroshi Sugimoto: Architecture of Time, p. 15
156. Hiroshi Sugimoto
b. 1948
Spur Gears: 0034, 2004 Gelatin silver print. 23 x 18 1/2 in. (58.4 x 47 cm) Signed in pencil on the mount; blindstamp number ‘4/25, 0034’ in the margin. Estimate $6,000-8,000
Provenance Fraenkel Gallery, San Francisco Literature Fondation Cartier pour l’art contemporain, Hiroshi Sugimoto: Conceptual Forms, p. 107
157. Shirin Neshat
b. 1957
Untitled from Soliloquy, 1999 Gelatin silver print. 17 x 22 1/4 in. (43.2 x 56.5 cm) Signed, titled, dated and numbered 5/10 in pencil on the verso. Estimate $15,000-25,000 Provenance Gladstone Gallery, New York Literature Charta, Shirin Neshat, p. 65, variant Charta, Shirin Neshat, Museo d’Arte Contemporanea, pp. 126-127, variant
158. Hiroshi Sugimoto
b. 1948
E.U.R. San Pietro e Paolo Piacentini, 1998 Gelatin silver print. 18 1/2 x 23 in. (47 x 58.4 cm) Signed in pencil on the mount; blindstamp number ‘5/25, 915’ in the margin. Estimate $7,000-9,000 Provenance Sonnabend Gallery, New York Literature Museum of Contemporary Art, Chicago, Sugimoto: Architecture, p. 89
159. Wolfgang Tillmans
b. 1968
Aufsicht (night), 2009 Chromogenic print, fush-mounted. 79 1/2 x 53 1/8 in. (201.9 x 134.9 cm) Signed, titled, numbered, inscribed and dated ‘Wolfgang Tillmans, Aufsicht (night), 1/1+1AP, ph 2009, pr 2009’ on a label afxed to the reverse of the artist’s frame. Estimate $50,000-70,000 Provenance Private Collection, New York
160. Hiroshi Sugimoto
b. 1948
Brooklyn Bridge, 2001 Gelatin silver print. 23 x 18 3/8 in. (58.4 x 46.7 cm) Signed in pencil on the mount; blindstamp number ‘11/25, 970’ in the margin.
Estimate $30,000-50,000 Provenance Sonnabend Gallery, New York
Literature Museum of Contemporary Art, Chicago, Sugimoto: Architecture, p. 27
161. Nan Goldin
b. 1953
Anthony by the sea, Brighton, England, 1979 Chromogenic print, printed later, fush-mounted. 60 x 40 in. (152.4 x 101.6 cm) Signed in ink, printed title, date and number 2/3 on a label accompanying the work. Estimate $10,000-15,000 Provenance Yvon Lambert, Paris Literature Goldin, The Ballad of Sexual Dependency, p. 50 Goldin, Couples and Loneliness, p. 15 Whitney Museum of American Art, Nan Goldin: I’ll Be Your Mirror, p. 109
162. Anne Collier
b. 1970
Eye (Paper Gradations), 2007 Chromogenic print, fush-mounted. 46 3/4 x 52 5/8 in. (118.7 x 133.7 cm) Overall 51 x 56 7/8 in. (129.5 x 144.5 cm) Signed in ink, printed title, date and number 1/5 on a label accompanying the work.
Estimate $25,000-35,000 Provenance Originally from the Collection of Bill Diamond, Chicago
Exhibited Anne Collier, Museum of Contemporary Art, Chicago, 22 November 2014 8 March 2015 and traveling to Aspen Art Museum, 10 April - 5 July 2015, another example exhibited Literature Museum of Contemporary Art, Chicago and ARTBOOK|D.A.P., Anne Collier, p. 77
163. Alex Prager
b. 1979
Eve from The Big Valley, 2008 Chromogenic print. 23 3/4 x 29 1/4 in. (60.3 x 74.3 cm) Signed, titled, dated and numbered 7/7 in ink on an artist’s label afxed to the reverse of the fush-mount. Estimate $7,000-9,000 Provenance M+B, Los Angeles Literature Chronicle Books, Alex Prager: Silver Lake Drive, p. 33
∆
164. Alex Prager
b. 1979
Hannah from Polyester, 2007 Chromogenic print, printed later, fush-mounted. 45 3/4 x 51 1/2 in. (116.2 x 130.8 cm) Signed in ink, printed title, date and number 5/5 on a Certifcate of Authenticity accompanying the work. Estimate $8,000-12,000 Literature Chronicle Books, Alex Prager: Silver Lake Drive, p. 29
165. Alex Prager
b. 1979
Molly from Week-End, 2009 Chromogenic print. 47 3/4 x 63 3/4 in. (121.3 x 161.9 cm) Signed, titled, dated and numbered 1/3 in ink on an artist’s label afxed to the reverse of the fush-mount. Estimate $12,000-18,000
Provenance Yancey Richardson Gallery, New York Literature Chronicle Books, Alex Prager: Silver Lake Drive, pp. 50-51
166. Richard Misrach
b. 1949
Untitled, 2007 Pigment print, printed 2010, fush-mounted. 59 x 78 3/4 in. (149.9 x 200 cm) Signed, titled, dated and numbered 3/5 in ink on a label afxed to the reverse of the frame. Estimate $40,000-60,000 Provenance Fraenkel Gallery, San Francisco, 2011
Richard Misrach’s transition to digital photography in the frst decade of the 2000s was both a departure from, and continuation of, his longstanding photographic concerns. Since the 1970s, he has worked in medium and large format flm sizes, concentrating on the American landscape and man’s impact upon it, creating an oeuvre characterized by technical rigor and an unerringly ethical approach to his subject matter. Digital photography ofered Misrach new freedoms. He availed himself of the new media’s ability to capture minute detail, and to maintain its resolution in large print sizes. Misrach’s masterstroke was to render these prints as negatives, with reversed coloration and tonality. Unlike analog photography, in which a negative is a necessary intermediary between exposure and fnal print, digital photography requires no negative. The large-scale negative print ofered here presents an entirely new vision of the American landscape while ofering Misrach’s commentary on the ever-changing medium of photography.
167. Lynn Davis
b. 1944
Iceberg V, Disko Bay, Greenland, 2004 Toned gelatin silver print. 39 1/2 x 39 3/4 in. (100.3 x 101 cm) Overall 53 1/4 x 52 1/4 in. (135.3 x 132.7 cm) Signed, dated and numbered 1/10 in ink on the reverse of the mount. Estimate $10,000-15,000 Provenance William Floyd Fine Art, New York, 2005 Literature Arena Editions, Lynn Davis: Monument, n.p.
168. Lynn Davis
b. 1944
Iceberg VIII, Disko Bay, Greenland, 2004 Toned gelatin silver print. 35 1/2 x 35 3/4 in. (90.2 x 90.8 cm) Overall 49 1/2 x 48 1/2 in. (125.7 x 123.2 cm) Signed, dated and numbered 1/10 in ink on the reverse of the mount. Estimate $8,000-12,000 Provenance William Floyd Fine Art, New York, 2005
Property from A Distinguished Midwestern Collection
169. Doug Starn and Mike Starn b. 1961 and b. 1961 Thin Plant, 1988 Unique work comprised of ten toned gelatin silver prints with applied tape and nails. 57 3/4 x 69 7/8 in. (146.7 x 177.5 cm) Overall 68 x 80 1/8 in. (172.7 x 203.5 cm) Signed, dated, annotated ‘#379’ in pencil and with exhibition label on the reverse of the frame. Estimate $12,000-18,000 Exhibited Options 34: Doug and Mike Starn, Museum of Contemporary Art, Chicago, 29 October - 4 December 1988
170. Doug Starn and 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 5/15 in ink on the reverse of the frame; printed title, date and number 5/15 on an artists’ label afxed to the reverse of the frame. Estimate $6,000-8,000 Provenance Janet Borden, Inc., New York
171. Louise Lawler
b. 1947
Window, 2003 Dye transfer print on museum box. 36 1/2 x 29 3/4 in. (92.7 x 75.6 cm) Signed, dated and numbered 4/5 in ink on the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Monika Sprüth Gallery, Cologne
172. Tomas Demand
b. 1964
Luke (Hatch), 2000 Chromogenic print, face-mounted to Plexiglas, and fush-mounted. 59 x 81 in. (149.9 x 205.7 cm) Signed, dated and numbered 6/6 in ink on the reverse of the strainer. Estimate $15,000-20,000 Provenance 303 Gallery, New York
171.
Literature Schirmer/Mosel, Thomas Demand: Photography, p. 65
173. Jef Wall
b. 1946
Basin in Rome 2, 2003-2006 Transparency in lightbox. 12 x 12 in. (30.5 x 30.5 cm) Overall 16 1/2 x 16 1/2 x 5 1/4 in. (41.9 x 41.9 x 13.3 cm) Number 1 from an edition of 10. Estimate $60,000-80,000 Provenance Marian Goodman Gallery, New York Literature Phaidon, Jef Wall: Complete Editions, p. 194 Steidl/Schaulager, Jef Wall Catalogue Raisonné 1978-2004, pl. 114 Vancouver Art Gallery, Jef Wall, pp. 22-23, 54 172.
173.
Jef Wall’s originality in the feld of contemporary art lies in his use of photography not as a tool for documentation but as an alternative paintbrush for creating evocative multi-layered artwork. His works are ofen presented as light boxes, as seen in the present lot, and are composed from memories of moments and scenes that he experienced, the grand and the insignifcant, infused with references to art history. In Basin in Rome 2, Wall constructs an image of a person reflling their water bottle from one of the many public water fountains throughout Rome fed by the city’s ancient aquifers. By showing just the fgure’s hand, Wall creates an open-ended narrative, shifing the image from the real to the conceptual.
174. Mariah Robertson
b. 1975
66, 2011 Unique chromogenic print. 49 x 63 in. (124.5 x 160 cm) Signed, printed title and date on a Certifcate of Authenticity accompanying the work.
Estimate $6,000-8,000 Provenance American Contemporary, New York
175. Richard Mosse
b. 1980
Seen and Not Seen, 2012 Chromogenic print. 49 1/2 x 39 1/2 in. (125.7 x 100.3 cm) Signed in ink, printed title and date on a gallery label afxed to the reverse of the fush-mount. One from an edition of 5 plus 1 artist’s proof.
Estimate $20,000-30,000 Provenance Jack Shainman Gallery, New York
176. John Baldessari
1931-2020
Life’s Balance (Male/Female), 1986 Gelatin silver print triptych, two with applied oil tinting. Each 14 1/8 x 14 1/4 in. (35.9 x 36.2 cm) Overall 14 1/8 x 43 in. (35.9 x 109.2 cm) Cirrus Gallery label afxed to the reverse of the frame.
Estimate $100,000-150,000 Provenance Cirrus Gallery, Los Angeles, 1986 Literature Yale University Press, John Baldessari Catalogue Raisonné: Volume Two: 1975-1986, p. 389
“I want you to think through my color indication of blue that it is very beautiful, idyllic, and safe, something of the platonic ideal we aspire to. Orange I have been using as a sort of wild card. . . It can mean whatever I want it to mean, but in the area of danger, for I use it always as an antithesis to blue, the fip side of the coin.” John Baldessari
Created at a seminal time in Baldessari’s career, Life’s Balance (Male/Female) uses appropriation to construct new meaning out of recombined fragments. The piece addresses issues of gender and identity and raises questions that Baldessari, with characteristically sly humor, declines to answer. Insightful and irreverent, Baldessari turned a photograph of a boy (wide-mouthed and jumping) upside down, fanking it with duplicate photographs of a girl on a hobby horse, both tinted with oil-based pigment. In Life’s Balance (Male/Female) Baldessari creates a work in which black-and-white and color, and male and female, unite in an enigmatic yet compelling whole. Baldessari began his career as a semi-abstract painter in the 1950s, but it was his rejection of the craf of painting for a more conceptual approach to art making in the 1970s that led to his most important work. Baldessari turned to photo-collage in the 1980s, pioneering the
use of appropriated photographic imagery which he ofen paired with paint and/or text in dynamic installations. In Life’s Balance, Baldessari breaks the boundaries between media creating a work that addresses an array of personal and social issues with humor. He described his process as ‘. . . a lifelong venture of trying to put a square peg in a round hole, of trying somehow to make a hybrid out of paint and photography. I rub two sticks together to make fre.’ Baldessari’s contribution to the Los Angeles art community, and the larger contemporary art scene, cannot be overstated. Baldisseri joined CalArts in 1970 as a founding faculty member in the School of Art. He lef in 1986 and later taught at the University of California, Los Angeles from 1996 to 2005. His roster of now-famous students includes David Salle, Mike Kelley, Jack Goldstein, Ken Feingold, Tony Oursler, James Welling, Barbara Bloom, and Matt Mullica.
177. Walead Beshty
b. 1976
Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C) and Abstract (Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C)), 2012 Chromogenic print diptych. 103 x 49 7/8 in. (261.6 x 126.7 cm) 39 1/2 x 29 3/4 in. (100.3 x 75.6 cm) Printed title and date on a gallery label afxed to the reverse of each frame. Estimate $30,000-50,000 Provenance Regen Projects, Los Angeles
178. James Welling
b. 1951
179. Matthew Brandt
b. 1982
Feb (10) c. 2014, 2014
Stepping Stone Falls 9 C2M1Y2, 2016
Unique chemigram with applied acrylic. 13 7/8 x 11 in. (35.2 x 27.9 cm) Signed, titled and dated in pencil on the verso.
Unique multi-layered Duraclear prints processed with Flint River, Michigan water, in LED lightbox frame. 18 3/8 x 12 3/8 in. (46.7 x 31.4 cm) Overall 20 1/2 x 14 3/4 x 2 3/4 in. (52.1 x 121.9 x 7 cm) Signed, titled and dated in pencil on the reverse of the frame.
Estimate $5,000-7,000 Provenance David Zwirner, London
Estimate $7,000-9,000 Provenance Yossi Milo Gallery, New York
180. Sheila Pinkel
b. 1941
Peas (positive/negative), 1978-1982 Two Xeroradiographs. Each 9 x 13 1/4 in. (22.9 x 33.7 cm) Overall 18 x 13 1/4 in. (45.7 x 33.7 cm) Signed in pencil on the mount.
Estimate $5,000-7,000 Provenance Directly from the artist
Sheila Pinkel’s fascination with light and form inspired a wide and varied photographic practice that began in the mid-1970s while a student in the graduate art program at UCLA. Studying under Robert Heinecken, Pinkel began to experiment with cameraless photography and to apply her understanding of three-dimensional sculpture, which she had studied as an undergraduate, to two-dimensional forms. Her exploration into the dynamic nature of light and the infnite aesthetic possibilities of its refraction eventually led to her phenomenological Lightworks, as seen in lot 181. These unique works began with a sheet of photographic paper which Pinkel folded and shaped and then exposed to light. Once unfolded and developed, the paper was lef with a rendering of light and shadow, sometimes geometric, sometimes organic. Continuing her investigations into alternative image making processes, Pinkel began in 1978 working with Xeroradiography, a medical technology more commonly known as mammography that would allow her to make an image of an object’s interior. Afer gaining access to machines at the USC School of Engineering, Pinkel began making prints by placing objects such as peas, as seen in lot 180, onto a charged selenium plate and exposing it to X-rays. That plate was then placed in a special Xerox machine which produced either a positive or negative print based on the machine’s setting. Working at the intersection of art and science and driven by an innate curiosity to investigate the unknown, Pinkel unlocked the creative potential of this highly technical process. Her photographs are held in an array of institutional collections including the Museum of Contemporary Art, Los Angeles, the Centre Pompidou in Paris and the Los Angeles County Museum of Art which holds 30 of her works.
181. Sheila Pinkel
b. 1941
Untitled from Folded Paper Series, 1974-1982 Unique gelatin silver Lightwork. 21 7/8 x 52 in. (55.6 x 132.1 cm) Signed in pencil on the verso and on the reverse of the fush-mount. Estimate $7,000-9,000 Provenance Directly from the artist
“I didn’t understand light as a physicist does, but I did have a feeling that light is a substance that I could use like paint.” Sheila Pinkel
182. Adam Fuss
b. 1961
Untitled, 2005 Unique gelatin silver print, mounted. 50 x 75 3/4 in. (127 x 192.4 cm) Signed in wax pencil, printed title, date and number ‘AF4180’ on a label and Certifcate of Authenticity, both accompanying the work. Estimate $20,000-30,000 Provenance Acquired directly from the artist
183. Adam Fuss
b. 1961
Untitled, 2003 Unique Cibachrome print. 39 3/4 x 30 in. (101 x 76.2 cm) Signed on the verso. Estimate $8,000-12,000 Provenance Timothy Taylor Gallery, London
184. Matthew Brandt
b. 1982
Lake Tapps, WA 3, 2012 Unique chromogenic print soaked in Lake Tapps water. 46 x 63 3/8 in. (116.8 x 161 cm) Signed, titled and dated in pencil on the verso. Estimate $7,000-9,000 Provenance Yossi Milo Gallery, New York
185. Adam Fuss
b. 1961
Untitled, 1992 Unique Cibachrome print. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm) Signed in wax pencil, printed title, date and number ‘AF493’ on a label accompanying the work. Estimate $8,000-12,000 Provenance Acquired directly from the artist, 1999
186. Vik Muniz
b. 1961
Big James Sweats Buckets from Sugar Children, 1996 Gelatin silver print. 13 1/4 x 10 1/4 in. (33.7 x 26 cm) Signed, titled, dated and numbered 2/10 in pencil on the verso. Estimate $15,000-20,000 Provenance Wooster Gardens, New York, 1998 Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 216 Arena Editions, Vik Muniz, Seeing is Believing, p. 112
187. Vik Muniz
b. 1961
Orphan Girl at the Cemetery, afer Eugene Delacroix from Gordian Puzzles, 2007 Chromogenic print. 48 3/4 x 39 1/2 in. (123.8 x 100.3 cm) Signed, dated in ink, printed title, date and number 1/6 on a gallery label afxed to the reverse of the fush-mount. Estimate $20,000-30,000 Literature Capivara, Vik Muniz: Obra Completa 1987-2009, p. 670
188. Vik Muniz
b. 1961
The Card Players, afer Cezanne from Pictures of Magazines 2, 2012 Chromogenic print. 70 x 83 1/8 in. (177.8 x 211.1 cm) Overall 74 1/2 x 87 1/2 in. (189.2 x 222.3 cm) Signed, dated in ink, printed title, date and number ‘AP 1/4’ on a gallery label afxed to the reverse of the fush-mount. One from an edition of 6 plus 4 artist’s proofs.
Estimate $25,000-35,000 Provenance Galerie Xippas, Paris
Literature Capivara, Everything So Far, Vik Muniz: Catalogue Raissoné, 1987-2015, p. 782
189. Abelardo Morell
b. 1948
Camera Obscura Image of The Chrysler Building in Hotel Room, 1999 Gelatin silver print. 18 x 22 1/4 in. (45.7 x 56.5 cm) Signed, titled and dated in pencil on the verso. Number 15 from an edition of 30. Estimate $4,000-6,000 Literature Bulfnch, Camera Obscura: Photographs by Abelardo Morell, p. 37
190. Stéphane Couturier
b. 1957
Usine Toyota n°19, Valenciennes (France) from Melting Point, 2005 Chromogenic print. 30 x 40 in. (76.2 x 101.6 cm) Signed, titled, dated and numbered 2/8 in ink on the reverse of the fush-mount. Estimate $5,000-7,000
191. Philip-Lorca diCorcia
b. 1951
London, 1995 Chromogenic print. 25 1/4 x 37 7/8 in. (64.1 x 96.2 cm) Overall 34 x 46 3/4 in. (86.4 x 118.7 cm) Signed in pencil on the verso. Number 8 from an edition of 15. Estimate $7,000-9,000 Provenance David Zwirner, New York
192. Abelardo Morell
b. 1948
Camera Obscura Image of Boston’s Old Custom House in Hotel Room, 1999 Gelatin silver print. 18 x 22 3/8 in. (45.7 x 56.8 cm) Signed, titled, dated and numbered 22/30 in pencil on the verso. Estimate $3,000-5,000 Provenance Bonni Benrubi Gallery, New York, 1999 Literature Bulfnch, Camera Obscura: Photographs by Abelardo Morell, p. 29
193. Edward Burtynsky
b. 1955
Uranium Tailings #12, Elliot Lake, Ontario, Canada, 1995 Chromogenic print, printed 2012. 35 1/2 x 70 1/2 in. (90.2 x 179.1 cm) Signed in ink, printed title, date and number 5/6 on an artist’s label afxed to the reverse of the fush-mount.
Estimate $15,000-25,000 Provenance Acquired directly from the artist
Literature National Gallery of Canada/Yale University Press, Manufactured Landscapes: The Photographs of Edward Burtynsky, pl. 16
194. Peter Beard
b. 1938
Lolindo Lion Charge, 1964 Polaroid print with ink, paint and metallic paint, executed later. 4 1/8 x 5 5/8 in. (10.5 x 14.3 cm) Signed in ink on the recto; ‘The Time is Always Now’ copyright credit reproduction limitation stamp and label on the reverse of the frame. Estimate $7,000-9,000 Provenance The Time is Always Now, New York Literature Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, p. 57, variant Taschen, Peter Beard, pl. 11, variant
195. Peter Beard
b. 1938
Tsavo, July, 1960 Polaroid print with ink, paint and metallic paint, executed later. 4 1/8 x 5 5/8 in. (10.5 x 14.3 cm) Signed, titled and dated in ink on the recto; ‘The Time is Always Now’ copyright credit reproduction limitation stamp and label on the reverse of the frame. Estimate $7,000-9,000 Provenance The Time is Always Now, New York Literature Taschen, Peter Beard, pl. 265, variant
196. Peter Beard
b. 1938
Ruhuti Valley (Aberdare Forest, Kenya), record-class rhino [circa 47”] for The End of the Game, 1972 Gelatin silver print with ink, afxed gelatin silver prints, chromogenic prints, Polaroid prints, magazine images, a fountain pen nib and applied blood, executed later. 52 1/2 x 72 in. (133.4 x 182.9 cm) Overall 57 1/2 x 77 in. (146.1 x 195.6 cm) Signed twice, initialed, titled, dated twice and annotated in ink on the recto. Estimate $60,000-80,000
Provenance Galerie Kamel Mennour, Paris Literature Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, p. 56, variant Taschen, Peter Beard, pl. 229, variant
197. Ori Gersht
b. 1967
198. Vik Muniz
b. 1961
Time afer Time: Blow Up 09, 2007
Hands from Pictures of Soil, 1997
Chromogenic print, fush-mounted. 39 1/4 x 29 3/8 in. (99.7 x 74.6 cm) Signed in ink, printed title, date and number 4/6 on a Certifcate of Authenticity accompanying the work.
Gelatin silver print. 22 3/4 x 19 in. (57.8 x 48.3 cm) Signed, titled, dated and numbered 1/10 in pencil on the verso.
Estimate $7,000-9,000 Provenance CRG Gallery, New York Sotheby’s, New York, Contemporary Living, 28 July 2016, lot 47
Estimate $10,000-15,000
Provenance Rena Bransten Gallery, San Francisco, 1998 Literature Capivara, Everything So Far, Vik Muniz: Catalogue Raisonné, 1987-2015, p. 319 Arena Editions, Vik Muniz: Seeing is Believing, p. 139
Property from the Collection of Blake Byrne, Los Angeles
199. Ori Gersht
b. 1967
May or May Not from Liquidation, 2005 Chromogenic print, fush-mounted. 49 1/2 x 60 in. (125.7 x 152.4 cm) Signed on a Certifcate of Authenticity accompanying the work. Number 6 from an edition of 6 plus 2 artist’s proofs. Estimate $7,000-9,000 Provenance Angles Gallery, Los Angeles
Property from a Private West Coast Collection
200. Edward Burtynsky
b. 1955
Dryland Farming #13, Monegros County, Aragon, Spain, 2010 Chromogenic print. 27 x 36 in. (68.6 x 91.4 cm) Signed in ink, printed title, date and number 2/10 on an artist’s label afxed to the reverse of the mount. Estimate $8,000-10,000 Literature Thames & Hudson, Edward Burtynsky: Essential Elements, p. 6
201. Nick Brandt
b. 1964
202. Nick Brandt
b. 1964
Cheetah in Tree, Maasai Mara, 2003
Elephant on Bare Earth, Amboseli, 2011
Archival pigment print. 40 1/4 x 37 7/8 in. (102.2 x 96.2 cm) Signed, dated and numbered 8/8 in pencil in the margin.
Archival pigment print. 27 1/2 x 22 in. (69.9 x 55.9 cm) Signed, dated and numbered AP 1/2 in ink in the margin. One from an edition of 15 plus 2 artist’s proofs.
Estimate $15,000-25,000 Provenance Iris Gallery, Aspen Literature Brandt, On This Earth, A Shadow Falls, p. 36
Estimate $10,000-15,000
Provenance Iris Gallery, Aspen Literature Brandt, Across The Ravaged Land, pp. 14, 51
203. Nick Brandt
b. 1964
Cheetah and Cubs, Maasai Mara, 2003 Archival pigment print. 39 3/8 x 51 3/4 in. (100 x 131.4 cm) Signed, dated and numbered 3/5 in pencil in the margin. Estimate $40,000-60,000
Provenance Hasted Kraeutler, New York Literature Brandt, On This Earth: Photographs from East Africa, p. 107 Brandt, On this Earth, A Shadow Falls, pl. 37
204. Zhang Huan
b. 1965
Family Tree, 2001 Nine chromogenic prints. Each 21 1/2 x 16 1/2 in. (54.6 x 41.9 cm) Each frame 27 1/2 x 23 in. (69.9 x 58.4 cm) Each signed, titled in Chinese and numbered 3/25 in ink on the verso.
Estimate $60,000-80,000 Provenance Private Collection, New York
Literature Zhang, Blessings, p. 11 Chiu, Zhang Huan: Altered States, pp. 129-137 Phaidon Press, Zhang Huan, n.p. Changsha, Chinese Avant-Garde Photography Since 1990, p. 93 Cotthem Gallery, Zhang Huan Pilgrimage to Santiago, p. 85 Hung and Phillips, Between Past and Future: New Photography and Video from China, p. 140 The Israel Museum, Made in China: Contemporary Chinese Art at the Israel Museum, n.p. Louisiana Museum of Modern Art, Made in China: Works from the Estella Collection, p. 407 Prestel Publishing, New China, New Art, p. 111
205. Pieter Hugo
b. 1976
Aissah Salifu, Agbogbloshie Market, Accra, Ghana from Permanent Error, 2010 Chromogenic print. 32 x 32 in. (81.3 x 81.3 cm) Signed, titled, dated and numbered 8/10 in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Yossi Milo Gallery, Inc., New York Literature Hugo, Permanent Error, p. 67
206. Steve McCurry
b. 1950
Sharbat Gula, Afghan Girl, Pakistan, 1984 Chromogenic print, printed 2014. 21 x 14 in. (53.3 x 35.6 cm) Signed in ink on the verso. Estimate $10,000-15,000
Provenance Beetles+Huxley, London Literature National Geographic, June 1985, cover Phaidon, Portraits, cover, n.p. Phaidon, Looking East: Portraits by Steve McCurry, p. 28 Phaidon, South Southeast, p. 137
207. Sebastião Salgado
b. 1944
Gold Mine, Brazil [Backs], 1986 Gelatin silver print, printed 2004. 17 3/4 x 11 7/8 in. (45.1 x 30.2 cm) Signed, titled ‘Brasil’ and dated in pencil on the verso; copyright credit blindstamp in the margin. Estimate $6,000-8,000
Provenance Acquired directly from the artist Literature Aperture, Sebastião Salgado: An Uncertain Grace, p. 18 Aperture, SS: Workers: An Archaeology of the Industrial Age, p. 316
208. Sebastião Salgado
b. 1944
Children’s Ward in the Korem Refugee Camp, Ethiopia, 1984 Gelatin silver print, printed 1996. 17 3/8 x 11 5/8 in. (44.1 x 29.5 cm) Signed, titled ‘Ethiopie’ and dated in pencil on the verso; copyright credit blindstamp in the margin. Estimate $5,000-7,000 Provenance Acquired directly from the artist Literature Aperture, Sebastião Salgado: An Uncertain Grace, pp. 78-79
209. Sebastião Salgado
b. 1944
Churchgate Station, Western Railroad Line, Bombay, India, 1995 Gelatin silver print, fush-mounted. 21 1/4 x 32 in. (54 x 81.3 cm) Signed, titled ‘India’ and dated in pencil on the verso. Estimate $10,000-15,000 Literature Aperture, Sebastião Salgado: Migrations: Humanity in Transition, p. 419
210. Sebastião Salgado
b. 1944
Dinka Cattle Camp of Amak, Southern Sudan, 2006 Gelatin silver print. 21 1/2 x 29 in. (54.6 x 73.7 cm) Signed, titled ‘South Sudan’ and dated in pencil on the verso. Estimate $10,000-15,000 Provenance NB Pictures, London Phillips, London, 8 May 2014, lot 123 Literature Taschen, Sebastião Salgado: Africa, cover Taschen, Sebastião Salgado: Genesis, pp. 258-259
Property from a Private West Coast Collection
211. Seydou Keïta
1921-2001
212. Luis González Palma
b. 1957
Untitled (father and daughter), n.d.
La Dolorosa, 1991
Gelatin silver print, printed 1995. 21 1/4 x 15 1/2 in. (54 x 39.4 cm) Signed twice, dated and annotated in ink in the margin; signed, dated, annotated ‘Paris’ by Philippe Salaün, printer, in pencil and printer’s stamp on the verso.
Three gelatin silver prints with applied paint and satin ribbon, mounted to handpainted 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 $7,000-9,000 Provenance Collection of Philippe Salaün, printer for the artist Acquired by the present owner from the above Literature Scalo, Seydou Keïta, p. 235
Estimate $7,000-9,000
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 handpainted wooden board.
213. Dinh Q. Lê
b. 1968
Untitled (helicopter, Apocalypse Now, prayers), 2000 Cut and woven chromogenic prints and linen tape. 39 3/8 x 60 in. (100 x 152.4 cm) Overall 47 x 67 in. (119.4 x 170.2 cm) Accompanied by a gallery Certifcate of Authenticity. Estimate $15,000-25,000 Provenance Elizabeth Leach Gallery, Portland
214. Seydou Keïta
1921-2001
Untitled (young woman wearing a head-scarf), n.d. Gelatin silver print, printed 1998. 16 x 22 3/8 in. (40.6 x 56.8 cm) Signed twice, dated and annotated in ink in the margin. Estimate $6,000-8,000 Provenance Collection of Philippe Salaün, printer for the artist Acquired by the present owner from the above Literature Scalo, Seydou Keïta, p. 21
215. Bill Henson
b. 1955
Untitled no. 44/157 from Paris Opera Project, 1990-1991 Chromogenic print. 48 5/8 x 48 5/8 in. (123.5 x 123.5 cm) Overall 58 1/2 x 53 1/8 in. (148.6 x 134.9 cm) Signed, titled, dated and numbered ‘5/5A’ in ink in the margin. Estimate $7,000-9,000
216. Bill Henson
b. 1955
Untitled (JPC SH 161 N14A), 1999-2000 Chromogenic print, fush-mounted. 41 x 60 3/4 in. (104.1 x 154.3 cm) Overall 52 x 71 1/8 in. (132.1 x 180.7 cm) Signed, titled, dated and numbered 3/5 in ink in the margin. Estimate $8,000-12,000 Provenance Robert Miller Gallery, New York
217. Ryan McGinley
b. 1977
Kudzu, 2014 Chromogenic print, face-mounted to Plexiglas. 59 1/2 x 39 3/4 in. (151.1 x 101 cm) Number 1 from an edition of 3. Estimate $15,000-25,000 Provenance Team Gallery, New York
218. Massimo Vitali
218.
b. 1944
219. Walter Niedermayr
b. 1952
220. Massimo Vitali
b. 1944
Les Menuires Quartett 2 #0567, 2000
Theodulgletscher II, 2005
Pic-nic Senate #0704, 2000
Chromogenic print, face-mounted to Plexiglas. 59 x 74 3/4 in. (149.9 x 189.9 cm) Overall 71 x 86 5/8 in. (180.3 x 220 cm) Signed, titled, dated and numbered 2/6 in ink on a label afxed to the reverse of the fush-mount.
Chromogenic print diptych. Each 49 1/2 x 39 in. (125.7 x 99.1 cm) Overall 51 3/4 x 82 in. (131.4 x 208.3 cm) Each signed in ink on the reverse of the fush-mount; printed title, date and number 2/6 on a label afxed to the reverse of each fush-mount.
Chromogenic print, face-mounted to Plexiglas. 58 3/4 x 74 3/8 in. (149.2 x 188.9 cm) Overall 71 x 86 1/4 in. (180.3 x 219.1 cm) Signed, titled, dated and numbered 5/9 in ink on an artist’s label afxed to the reverse of the fush-mount.
Estimate $20,000-30,000
Estimate $8,000-12,000
Estimate $15,000-25,000
Provenance Bonni Benrubi Gallery, New York
Provenance Robert Miller Gallery, New York, 2006
219.
220.
221. Uta Barth
b. 1958
Untitled (05.17), 2005 Four chromogenic prints, face-mounted to Plexiglas. Each 24 x 25 1/4 in. (61 x 64.1 cm) Overall 24 x 103 1/4 in. (61 x 262.3 cm) Signed, dated in ink, printed title, date and number 5/6 on a gallery label afxed to the reverse of the fush-mount of the frst panel. Estimate $4,000-6,000 Provenance Sies + Höke, Düsseldorf
222. Linda McCartney
1941-1998
Paul with Rose, Marrakech, 1972 Chromogenic print, printed later. 39 1/2 x 26 in. (100.3 x 66 cm) Signed, dated in ink, printed title, date and number 2/2 on a Certifcate of Authenticity accompanying the work. Estimate $6,000-8,000 Provenance Gagosian Gallery, New York Exhibited Linda McCartnery and Mary McCartney Mother Daughter, Gagosian Gallery, New York, 20 November 2015 - 30 January 2016
223. Larry Sultan
1946-2009
Golf Trophy, from Pictures from Home, 1984 Chromogenic print, fush-mounted. 28 3/8 x 34 1/4 in. (72.1 x 87 cm) Signed in ink on the recto. Estimate $5,000-7,000 Provenance Janet Borden Gallery, Inc., New York Private Collection, New York
224. Laurie Simmons
b. 1949
Long House (Red Bathroom/Blue Figure), 2004 Dye destruction, face-mounted to Plexiglas. 47 1/2 x 57 1/2 in. (120.7 x 146.1 cm) Signed in ink, printed title, date and number 3/5 in ink on an artist’s label afxed to the reverse of the fush-mount. Estimate $10,000-15,000 Provenance Sperone Westwater, New York Literature Modern Art Museum of Fort Worth, Laurie Simmons: Big Camera, Little Camera, p. 201
225. David Levinthal
b. 1949
226. Laurie Simmons
b. 1949
b. 1961
#2 Barbie, 1959, 1998
Pushing Lipstick (Spotlight), 1979
Unique Polaroid print, mounted. 24 1/8 x 20 3/4 in. (61.3 x 52.7 cm) Signed, dated and numbered 1/5 in ink in the margin.
Dye destruction print. 5 3/4 x 8 3/4 in. (14.6 x 22.2 cm) Signed, titled, dated and numbered 1/7 in pencil on the verso.
Chromogenic print, fush-mounted. 35 3/4 x 53 3/4 in. (90.8 x 136.5 cm) One from an edition of 10.
Estimate $5,000-7,000
Estimate $1,500-2,500
Estimate $6,000-8,000
Provenance Baldwin Gallery, Aspen
Literature Modern Art Museum of Fort Worth, Laurie Simmons: Big Camera, Little Camera, p. 110
Provenance Roebling Hall, New York
Literature Levinthal, Barbie Millicent Roberts: An Original, frontispiece
226.
225.
227. Eve Sussman
227.
Themis in the Birdcage (flm still from Rape of the Sabine Women), 2005
228. Ruud van Empel
b. 1958
World #21, 2006 Dye destruction print, face-mounted to Plexiglas. 33 x 23 1/4 in. (83.8 x 59.1 cm) Signed, titled, dated and numbered 6/13 in ink on an artist’s label afxed to the reverse of the fush-mount. Estimate $15,000-25,000
Provenance Private Collection, New York Literature Photoworks International BV, Ruud van Empel: Photoworks 1995-2010, p. 85
229. Loretta Lux
b. 1969
Marianne, 2004 Dye destruction print. 20 3/4 x 14 7/8 in. (52.7 x 37.8 cm) Signed, titled, dated and numbered 7/7 in ink on a label afxed to the reverse of the fush-mount. Estimate $8,000-12,000 Provenance Christie’s, Paris, Photographs, Icons & Style, 30 June 2015, lot 56 Literature Aperture, Loretta Lux, frontispiece
230. David LaChapelle
b. 1963
Deluge, 2006 Chromogenic print, Diasec and fush-mounted. 23 1/2 x 91 7/8 in. (59.7 x 233.4 cm) Signed in ink, printed title ‘Los Angeles,’ date and number 5/10 on an artist’s label accompanying the work. Additionally accompanied by a gallery Certifcate of Authenticity.
Estimate $20,000-30,000 Provenance Maruani & Noirhomme, Belgium Literature LaChapelle, Florence: Giunti, pp. 12-13 (detail), p. 106 (detail), pl. 1
“Deluge and After the Deluge: Museum are about the great disruption. It’s about the end of the world and great changes for humankind. Of course, the world still goes on. Deluge was inspired by the ceiling fresco by Michelangelo in the Sistine Chapel. In the picture everyone is helping one another, even as the foodwaters rise.” David LaChapelle
231. Andres Serrano
b. 1950
Female Bust, 1988 Dye destruction print, face-mounted to Plexiglas. 59 1/2 x 39 1/2 in. (151.1 x 100.3 cm) Signed, titled, dated and numbered 1/4 in ink on the verso. Estimate $20,000-30,000
Provenance Stux Gallery, New York Sotheby’s, New York, Contemporary Art: Part Two, 15 November 2001, lot 246 Literature Institute of Contemporary Art, University of Pennsylvania, Andres Serrano, cover, p. 61 Takarajima Books, Andres Serrano: Body and Soul, n.p.
232. Yasumasa Morimura
b. 1951
An Inner Dialogue with Frida Kahlo (Gif 2), 2001 Chromogenic print. 46 1/2 x 37 in. (118.1 x 94 cm) Signed, numbered 3/10 in ink, printed title and date on a label afxed to the reverse of the frame. Estimate $7,000-9,000 Provenance Luhring Augustine Gallery, New York Collection of Susan and Leonard Nimoy Christie’s, New York, First Open Post- War and Contemporary Art, 22 September 2010, lot 21 Literature Aperture, Daughter of Art History: Photographs by Yasumasa Morimura, p. 99
233. Sandy Skoglund
b. 1946
Gathering Paradise, 1991 Archival pigment print, printed later. 47 3/4 x 61 in. (121.3 x 154.9 cm) Signed, titled, dated, numbered 27/30, copyright notation in ink and signature blindstamp on the recto; signed, titled, dated, numbered 27/30 and copyright notation in ink on a label afxed to the reverse of the fush-mount. Estimate $12,000-18,000 Provenance Fay Gold Gallery, Atlanta Literature Abrams, Sandy Skoglund: Reality Under Siege: A Retrospective, p. 67
234. Sandy Skoglund
b. 1946
Coat hangers, 1979 Dye destruction print. 26 x 32 3/4 in. (66 x 83.2 cm) Overall 36 x 43 in. (91.4 x 109.2 cm) Signed, titled, dated ‘1980’ and numbered 3/20 in pencil on the verso. Estimate $4,000-6,000 Literature Abrams, Sandy Skoglund: Reality Under Siege: A Retrospective, p. 39 Paci Contemporary, Sandy Skoglund: Magic Time, p. 14
235. William Wegman
b. 1943
Netted, 1987 Unique Polaroid print. 24 x 20 1/2 in. (61 x 52.1 cm) Signed, titled and dated in ink in the margin. Estimate $3,000-5,000 Provenance Christie’s, New York, 24 April 2007, lot 455
236. Loretta Lux
b. 1969
The Irish Girls, 2005 Dye destruction print. 8 7/8 x 9 3/4 in. (22.5 x 24.8 cm) Signed, titled, dated and numbered 11/20 in pencil on the verso. Estimate $4,000-6,000 Provenance Yossi Milo Gallery, New York, 2005
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Sale Information Auction & Viewing Location
Auction License
Photographs Department
450 Park Avenue New York 10022
2013224
+1 212 940 1245
Auction
Auctioneers
2 April, 10am & 2pm Morning session, lots 1–109 Afernoon session, lots 110–236
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 Susanna Brockman – 2058779 Rebekah Bowling - 2078967
Deputy Chairwoman, Americas, Worldwide Head of Photographs
Viewing 24 March–1 April Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040120 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 Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335
Vanessa Hallett vhallett@phillips.com 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, 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 Man Ray, Le Bouquet (Fireworks), 1935, lot 11 Inside front cover Ansel Adams, Winter Sunrise, Sierra Nevada from Lone Pine California, 1944, lot 35 (detail) Richard Mosse, Seen and Not Seen, 2012, lot 175 (detail) Hiroshi Sugimoto, Brooklyn Bridge, 2001, lot 160 Robert Frank, Newburgh, New York, 1955, lot 87 (detail) Edward Weston, Pepper II, 1929, lot 32 Inside back cover William Eggleston, Memphis, circa 1972, lot 109 (detail) Back cover Richard Misrach, Untitled, 2007, lot 166 (detail)
Photographs London / Auction 15 May
Viewing
Enquiries
9 - 15 May Monday - Saturday, 10am - 6pm Sunday, 12pm - 6pm 30 Berkeley Square, London
+44 20 7318 4092 photographslondon@phillips.com Herb Ritts Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989
Editions & Works on Paper
Public viewing
New York / 21 April
editions@phillips.com +1 212 940 1220
13 - 21 April 450 Park Avenue New York Enquiries
Ellsworth Kelly Colored Paper Image XV (Dark Gray and Blue), from the Colored Paper Images series, 1976 Estimate $10,000-15,000 Š Ellsworth Kelly Foundation, Courtesy Matthew Marks Gallery
phillips.com
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Index Adams, A. 35
Garnett, W. 47
Neshat, S. 157
Adams, R. 36–38
Gersht, O. 197, 199
Newton, H. 117, 118, 124, 125
Almond, D. 39, 46
Giacomelli, M. 5
Niedermayr, W. 219
Araki, N. 116
Gigli, O. 144
Arbus, D. 79–81, 92, 93
Goldin, N. 135, 161
Penn, I. 57, 143
Avedon, R. 59
González Palma, L. 212
Pinkel, S. 180, 181
Gursky, A. 146
Polidori, R. 96 Prager, A. 163–165
Baldessari, J. 176
Prince, R. 134
Barth, U. 221
Haas, E. 131, 133
Beard, P. 194–196
Hanson, D. 137
Becher, B. & H. 18
Henson, B. 215, 216
Robertson, M. 174
Beshty, W. 177
Hido, T. 45, 149
Rodchenko, A. 17
Bourke-White, M. 20
Hine, L. W. 30
Brandt, B. 6
Höch, H. 16
Salgado, S. 207–210
Brandt, M. 179, 184
Höfer, C. 145
Sander, A. 10
Brandt, N. 201–203
Horst. H. P. 114
Serrano, A. 231
Brassaï 7
Hugo, P. 205
Sheeler, C. 27 Shore, S. 104
Bravo, M. Á. 15 Burtynsky, E. 193, 200
Keïta, S. 211, 214
Simmons, L. 224, 226
Klute, J. 108
Sinsabaugh, A. 67 Siskind, A. 60, 64, 66
Callahan, H. 65, 70–72 Capa, R. 21
LaChapelle, D. 230
Skoglund, S. 233, 234
Cartier-Bresson, H. 1–4, 9, 12–14
Lange, D. 29, 31
Sommer, F. 61, 62
Close, C. 122
Lawler, L. 171
Soth, A. 152
Collier, A. 162
Lê, D. Q. 213
Starn, D. & M. 169, 170
Couturier, S. 190
Leiter, S. 88
Sternfeld, J. 98, 101, 103
Crewdson, G. 148
Levinthal, D. 225
Sugimoto, H. 40–42, 150, 153–156, 158, 160
Cunningham, I. 23
Levitt, H. 84, 85
Sultan, L. 223
Link, O. W. 49
Sussman, E. 227
Davidson, B. 83
Lux, L. 229, 236
Davis, L. 167, 168
Lyons, N. 50
Testino, M. 121 Tichý, M. 89
Demand, T. 172
Tillmans, W. 147, 159
diCorcia, P.-L. 191
Man Ray 11
Dijkstra, R. 74
Mann, S. 73, 75–78
Dubreuil, P. 19
Mapplethorpe, R. 110–112, 115, 119, 123, 142
van Empel, R. 228
McCartney, L. 222
Vitali, M. 218, 220
Eggleston, W. 69, 94, 95, 97, 102,
McCurry, S. 206
105–107, 109, 136
McGinley, R. 217
Wall, J. 173
Eisenstaedt, A. 22
Meisel, S. 120
Warhol, A. 138
Evans, W. 24–26, 28, 99
Metzker, R. 58
Wegman, W. 235
Meyerowitz, J. 100
Welling, J. 178
Frank, R. 53, 54, 56, 68, 87, 90, 91, 128
Misrach, R. 43, 44, 166
Weston, E. 32–34, 48
Friedlander, L. 51, 52, 63, 129, 130
Model, L. 8, 82
Wilke, H. 141
Fuss, A. 182, 183, 185
Morell, A. 189, 192
Winogrand, G. 55, 86, 132
Morimura, Y. 232
Witkin, J. P. 113
Moriyama, D. 126, 127
Woodman, F. 139, 140
Mosse, R. 175 Muniz, V. 186–188, 198
Zhang, H. 204
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