ARTIST | ICON | INSPIRATION: WOMEN IN PHOTOGRAPHY [Catalogue]

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

1. Imogen Cunningham

26. Emmet Gowin

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

Auction & Viewing Location

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Auction 7 June, 10am

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Viewing 2 – 6 June Sunday 12pm – 6pm Monday – Thursday 10am – 6pm

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15. Carrie Mae Weems

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Artist | Icon | Inspiration: Women in Photography explores the role of women as artists, subjects, and innovators in a collaborative efort between Peter Fetterman and Phillips.

Women have played a central role in photography throughout the history of the medium. They have shaped the trajectory and development of this art form through their participation as creators and sources of inspiration. This auction celebrates the varied roles they have played by ofering works of art created through the lenses of women like Dorothea Lange, Diane Arbus, Graciela Iturbide, Carrie Mae Weems, Shirin Neshat and Sally Mann alongside portraits of women who continue to inspire us today, such as Rosa Parks, Ruth Bader Ginsburg, and Jacqueline Kennedy. We look forward to providing collectors with the opportunity to acquire important and pivotal works that celebrate every aspect of women’s historic and continuing involvement in photography.

Peter Fetterman Gallerist and Collector Vanessa Hallett Deputy Chairwoman, Americas, Worldwide Head of Photographs

For additional lot information and literature for this sale, please visit the online catalogue on phillips.com

1. Imogen Cunningham

1883-1976

The Unmade Bed, 1957 Gelatin silver print, printed later.

10 5/8 x 13 1/2 in. (27 x 34.3 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 $12,000-18,000 Provenance Alinder Gallery, California Literature Dater, Imogen Cunningham: A Portrait, pl. 60

“One must not have a too pronounced notion of what constitutes beauty in the external and above all, must not worship it. To worship beauty for its own sake is narrow, and one surely cannot derive from it that aesthetic pleasure which comes from fnding beauty in the commonest things.�

Imogen Cunningham

2. Henri Cartier-Bresson

1908-2004

Martine Franck, Paris, 1967 Gelatin silver print, printed later.

9 3/8 x 14 in. (23.8 x 35.6 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $8,000-12,000 Provenance Acquired directly from the artist Literature Centre Pompidou, Henri Cartier-Bresson: L’exposition, p. 54 ChÊroux, Henri Cartier-Bresson: Here and Now, pl. 383 Galassi, Henri Cartier-Bresson: The Modern Century, p. 216 Montier, Henri Cartier-Bresson and the Artless Art, pl. 225

3.

3. Ruth Bernhard

1905-2006

4. Ruth Bernhard

1905-2006

Perspective II, 1967 Gelatin silver print, printed later.

11 5/8 x 19 1/2 in. (29.5 x 49.5 cm) Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

In the Box - Horizontal, 1962 Gelatin silver print, printed later.

10 1/2 x 19 in. (26.7 x 48.3 cm) Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $7,000-9,000

Estimate $8,000-12,000

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, cover, pl. 26 Mitchell, Ruth Bernhard: Between Art & Life, p. 89

Literature Chronicle Books, Ruth Bernhard: The Eternal Body, back cover, pl. 19 Mitchell, Ruth Bernhard: Between Art & Life, pp. 13, 104

4.

5. Judy Dater

b. 1941

Imogen and Twinka at Yosemite, 1974 Gelatin silver print, printed later.

13 x 9 3/4 in. (33 x 24.8 cm) Signed, titled, dated and copyright notation in pencil on the verso.

Estimate $3,000-5,000 Provenance Acquired directly from the artist Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature Dater, Imogen Cunningham: A Portrait, cover, p. 126 Facio, Colección fotográfa del Museo Nacional de Bellas Artes, p. 95 5.

6.

6. Martine Franck

1938-2012

Tulku Khentrul Lodro Rabsel, age 12, with his tutor Lhagyel. Shechen Monastery in Bodnath, Nepal, 1996 Gelatin silver print, printed later.

10 1/2 x 15 7/8 in. (26.7 x 40.3 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $4,000-6,000

7.

Provenance Acquired directly from the artist Literature Baring, Martine Franck, cover, p. 50 Aperture, Martine Franck: One Day To The Next, p. 72 Fondation Henri Cartier-Bresson, Martine Franck, pp. 248-249

8.

7. Mary Ellen Mark

1940-2015

Mother Teresa Feeding a Man at the Home For the Dying, Calcutta, India, 1980 Selenium-toned gelatin silver print.

12 3/8 x 18 1/2 in. (31.4 x 47 cm) Signed, titled, dated and numbered 13/25 in pencil on the verso.

Estimate $1,500-2,500 Provenance Acquired directly from the artist Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4Â January 2004 Literature Fulton, Mary Ellen Mark: 25 Years, p. 63

8. Henri Cartier-Bresson

1908-2004

Srinagar, Kashmir, 1948 Gelatin silver print, printed later.

11 1/2 x 17 1/2 in. (29.2 x 44.5 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $12,000-18,000 Provenance Acquired directly from the artist Literature Thames & Hudson, Henri Cartier-Bresson: In India, cover, pl. 17 Cartier-Bresson, The Decisive Moment, pl. 87 Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 162 Galassi, Henri Cartier-Bresson: The Modern Century, p. 120 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 407 Viking, Henri Cartier-Bresson: The Face of Asia, pp. 70-71

9. Henri Cartier-Bresson

1908-2004

Jerรณnimos Monastery, Lisbon, Portugal, 1955 Gelatin silver print, printed later.

17 1/2 x 11 5/8 in. (44.5 x 29.5 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $8,000-12,000 Provenance Acquired directly from the artist

Literature Clair, Henri Cartier-Bresson: Europeans, p. 51 Galassi, Henri Cartier-Bresson: The Modern Century, p. 143 Montier, Henri Cartier-Bresson and the Artless Art, pl. 211

10. Manuel Álvarez Bravo

1902-2002

La hija de los danzantes (daughter of the dancers), Cholula, Puebla, 1933 Platinum palladium print, printed later.

9 3/8 x 6 5/8 in. (23.8 x 16.8 cm) Signed and annotated ‘México’ in pencil in the margin.

Estimate $4,000-6,000 Provenance Acquired directly from the artist Private Collection, California Literature Kismaric, Manuel Álvarez Bravo, cover, p. 93 Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 63 The J. Paul Getty Museum, Manuel Álvarez Bravo, pl. 17 The Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 1 Turner Publicaciones, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 35

11. Manuel Álvarez Bravo

1902-2002

Ensayo de Danza (dance rehearsal), Mexico, circa 1920s Platinum palladium print, printed later.

9 3/8 x 6 3/4 in. (23.8 x 17.1 cm) Initialed in pencil on the verso.

Estimate $4,000-6,000 Provenance ROSEGALLERY, Santa Monica

12.

12. Graciela Iturbide

b. 1942

Mujer ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico), 1979 Photogravure.

16 1/2 x 24 in. (41.9 x 61 cm) Signed, titled ‘Mujer angel’ and numbered 1/30 in pencil in the margin.

Estimate $4,000-6,000 Provenance Graphicstudio, Tampa Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature MFA Publications, Graciela Iturbide’s Mexico, p. 14 Phaidon, Graciela Iturbide, pp. 18-19 13.

14.

13. Flor GarduĂąo

b. 1957

MelancolĂ­a, U.S.A., 2018 Gelatin silver print.

17 7/8 x 14 in. (45.4 x 35.6 cm) Signed, titled, dated and annotated in pencil on the verso.

Estimate $3,000-5,000 Provenance Acquired directly from the artist

14. Martine Franck

1938-2012

Les Petites Dalles, Normandy, 1973 Gelatin silver print, printed later.

19 1/2 x 29 3/8 in. (49.5 x 74.6 cm) Signed and numbered 3/10 in ink in the margin; signed, titled, dated and numbered 3/10 in pencil on the verso.

Estimate $6,000-8,000 Provenance Acquired directly from the artist Literature Baring, Martine Franck, p. 7 Fondation Henri Cartier-Bresson, Martine Franck, pp. 110-111 Kyoto Museum of Contemporary Art, Martine Franck, p. 10

“Long before I picked up a camera I was deeply concerned with the ways in which AfricanAmericans were depicted, and, for the most part, I didn’t like what I saw. So one way of dealing with it was to step in and rethink how black women, more specifcally, need to be represented.”

Carrie Mae Weems

15. Carrie Mae Weems

b. 1953

Untitled (man smoking) from Kitchen Table Series, 1990 Gelatin silver print.

26 7/8 x 26 7/8 in. (68.3 x 68.3 cm) Signed in ink, printed title, date and number ‘PP1/1’ on a gallery label afxed to the reverse of the frame. One from an edition of 5 plus 1 artist’s proof and 1 printer’s proof.

Estimate $25,000-35,000 Provenance Acquired directly from the artist Literature Weems, Carrie Mae Weems: Kitchen Table Series, p. 24 The National Museum of Women in the Arts, Carrie Mae Weems, pl. 25 Yale, Carrie Mae Weems: Three Decades of Photography and Video, pl. 6.4

Carrie Mae Weems’ acclaimed Kitchen Table Series depicts the life stages and relationships of a female protagonist, played by Weems herself. In these constructed tableaux vivants, Weems uses the table as the anchor for her heroine’s life story; the site at which she embraces her partner, engages with her daughter or sits alone in contemplation. In the present lot, Weems’ character is seated alongside a male counterpart, the scene imbued with the weight and complexity of their relationship as they eye each other over their card game. By embracing the role of both sitter and photographer, Weems powerfully embodies the nuanced representation of African-American women that she found lacking in the public discourse.

16. Marc Riboud

1923-2016

Young girl holding a fower, Washington, 1967 Gelatin silver print, printed later.

11 1/2 x 17 3/8 in. (29.2 x 44.1 cm) Signed in ink in the margin; credit stamp on the verso.

Estimate $5,000-7,000 Provenance Acquired directly from the artist’s estate

17. Declan Haun

1937-1994

Justice, 1963 Gelatin silver print, printed later.

13 5/8 x 9 1/8 in. (34.6 x 23.2 cm) ‘Black Star’ agency credit stamp on the verso.

Estimate $3,000-5,000 Provenance Joseph Bellows Gallery, California Literature Szarkowski, The Photographer’s Eye, p. 56

18. Bob Adelman

1931-2016

Rosa Parks, March on Washington, August, 1963 Gelatin silver print, printed 2007.

18 1/4 x 11 in. (46.4 x 27.9 cm) Signed, numbered 1/15 in pencil and copyright credit stamp on the verso.

Estimate $4,000-6,000 Provenance Acquired directly from the artist’s estate Literature Adelman, Mine Eyes Have Seen: Bearing Witness to the Struggle for Civil Rights, p. 147

“You must never be fearful about what you are doing when it is right.”

Rosa Parks

19. Jacques Lowe

1930-2001

Jacqueline Kennedy, 1961 Gelatin silver print.

9 1/4 x 13 3/8 in. (23.5 x 34 cm) Signed in ink in the margin; signed, dated in ink, ‘830 Sixth Ave.’ copyright credit, ‘Vintage Print’ and ‘B504’ stamps on the verso.

Estimate $4,000-6,000 Provenance Acquired directly from the artist

20. Michael O’Neill

b. 1951

Ruth Bader Ginsburg, Supreme Court, D.C., November 1, 1998 Gelatin silver print.

22 7/8 x 18 1/4 in. (58.1 x 46.4 cm) Signed, titled ‘RBG,’ dated and numbered 4/25 in pencil on the verso.

Estimate $3,000-5,000 Provenance Acquired directly from the artist

“Fight for the things that you care about.

But do it in a way that will lead others to join you.�

Ruth Bader Ginsburg

21. David Montgomery

b. 1937

Queen Elizabeth with Corgis, 1967 Chromogenic print, printed later.

21 x 14 in. (53.3 x 35.6 cm) Signed and numbered 6/25 in pencil on the verso.

Estimate $2,000-3,000 Provenance Acquired directly from the artist Literature London Observer, 12 November 1967, cover

22. Willy Ronis

1910-2009

Marchands de frites, rue Rambuteau, Paris, 1946 Gelatin silver print, printed 2008.

16 5/8 x 13 1/4 in. (42.2 x 33.7 cm) Signed in ink in the margin; initialed, dated in ink, titled, dated, annotated in pencil and copyright credit stamp on the verso.

Estimate $4,000-6,000 Provenance Acquired directly from the artist Literature Taschen, Willy Ronis, cover, p. 38

23. Grace Robertson

b. 1930

‘On the Caterpillar,’ London Women’s Pub Outing, 1956 Gelatin silver print, printed later.

17 3/4 x 12 1/2 in. (45.1 x 31.8 cm) Signed, titled and dated in pencil on the verso.

Estimate $1,500-2,500 Provenance Acquired directly from the artist Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature University of Brighton, Grace Robertson: A Sympathetic Eye, p. 71 Virago Press, Grace Robertson: Photojournalist of the 50s, p. 92

24. August Sander

1876-1964

Frau eines Malers (Painter’s Wife, Helene Abelen), circa 1926 Gelatin silver print, printed 1994.

10 x 7 1/4 in. (25.4 x 18.4 cm) ‘Köln Lindenthal’ credit blindstamp on the recto; signed, dated, numbered 3/12, annotated by Gerd Sander, the artist’s grandson, ‘Archiv’ copyright credit stamp and ‘Menschen Des Zwanzigsten Jahrhunderts’ label on the verso and/or the reverse of the mount.

Estimate $7,000-9,000 Provenance Acquired directly from the artist’s estate Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature Abrams, August Sander: People of the 20th Century, Volume III: The Woman, pl. III/16/12

25. Édouard Boubat

1923-1999

Lella, Bretagne, France, 1947 Gelatin silver print, printed later.

16 1/2 x 12 in. (41.9 x 30.5 cm) Signed in ink in the margin; signed, titled and dated in pencil on the verso.

Estimate $5,000-7,000 Provenance Acquired directly from the artist Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature Thames & Hudson, Édouard Boubat, cover Abrams, Édouard Boubat: The Monograph, p. 24

26. Emmet Gowin

b. 1941

Edith, Chincoteague, Virginia, 1967 Gelatin silver print, printed later.

6 1/4 x 6 1/4 in. (15.9 x 15.9 cm) Signed, titled, dated and annotated in pencil on the verso.

Estimate $6,000-8,000 Provenance Private Collection, New York Literature Knopf, Emmet Gowin: Photographs, p. 21

27. René Groebli

b. 1927

Eye of Love #516, 1952 Platinum palladium print, printed later.

20 3/8 x 13 1/2 in. (51.8 x 34.3 cm) Signed in pencil in the margin; signed, dated, numbered 2/7 in pencil, copyright credit and ‘31 Studio’ stamps on the verso.

Estimate $4,000-6,000

28.

28. Willy Ronis

Nuit au châlet, 1935 Gelatin silver print, printed 2004.

12 3/8 x 17 5/8 in. (31.4 x 44.8 cm) Signed in ink in the margin; initialed, dated in ink, titled, dated, annotated in pencil and copyright credit stamp on the verso.

Estimate $4,000-6,000

29.

29. Martine Franck

1910-2009

Provenance Acquired directly from the artist Literature Hamilton, Willy Ronis: Photographs 1926-1995, pl. 38 Taschen, Willy Ronis, p. 31

1938-2012

Snow in Jardin des Tuileries, 1978 Gelatin silver print, printed later.

14 1/8 x 21 1/4 in. (35.9 x 54 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $4,000-6,000 Provenance Acquired directly from the artist

30.

30. Sabine Weiss

b. 1924

New York, 1955 Gelatin silver print, printed later.

12 3/4 x 17 3/4 in. (32.4 x 45.1 cm) Signed, titled and dated in pencil on the verso.

Estimate $3,000-4,000 Provenance Acquired directly from the artist

31. Sergio LarraĂ­n

1931-2012

Tottenham Court Road, underground station, London, England, 1959 Gelatin silver print.

7 1/2 x 11 1/2 in. (19.1 x 29.2 cm) Magnum credit, copyright, reproduction stamps and typed Magnum caption label on the verso.

Estimate $4,000-6,000 Provenance Private Collection, New York

31.

32. Henri Cartier-Bresson Easter Sunday in Harlem, 1947 Gelatin silver print, printed later.

17 1/2 x 11 5/8 in. (44.5 x 29.5 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $8,000-12,000 Provenance Acquired directly from the artist

1908-2004

Literature Cartier-Bresson, The Decisive Moment, pl. 42 Galassi, Henri Cartier-Bresson: The Modern Century, p. 217 Thames & Hudson, Henri Cartier-Bresson: The Image and The World, pl. 291

33. Herman Leonard

1923-2010

Billie Holiday, NYC, 1949 Gelatin silver print, printed later.

11 7/8 x 9 1/2 in. (30.2 x 24.1 cm) Signed, titled, dated and copyright notation in ink in the margin.

Estimate $2,000-3,000 Provenance Acquired directly from the artist

34. Herman Leonard

1923-2010

Ella Fitzgerald, Duke Ellington and Benny Goodman, NYC, 1948 Gelatin silver print, printed later.

9 x 12 3/8 in. (22.9 x 31.4 cm) Signed, titled, dated and copyright notation in ink in the margin.

Estimate $2,500-3,500 Provenance Acquired directly from the artist

35. Berenice Abbott

1898-1991

New York at Night, 1932 Gelatin silver print, printed later.

13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Signed in pencil on the mount; credit stamp on the reverse of the mount.

Estimate $6,000-8,000

36. Berenice Abbott

1898-1991

Pike and Henry Streets, Manhattan, March 6, 1936 Gelatin silver print.

5 1/4 x 7 1/8 in. (13.3 x 18.1 cm) Signed, titled, dated in pencil and Federal Art Project ‘Changing New York’ credit stamp on the verso.

Estimate $5,000-7,000 Provenance Witkin Gallery, New York, 1978 Collection of photographer Paul Joyce Sotheby’s, London, 15 November 2005, lot 59

37. Vera Lutter

b. 1960

745 Fifh Avenue, New York City: September 29, 1995 Unique gelatin silver print, mounted on canvas.

78 1/2 x 55 7/8 in. (199.4 x 141.9 cm) Signed in ink, printed title and date on a gallery label afxed to the reverse.

Estimate $20,000-30,000 Provenance Fraenkel Gallery, San Francisco

Vera Lutter is one of the most innovative photographers currently documenting the constructed environment. Working with a massive room-sized pinhole camera, Lutter captures her subjects through exposures that can sometimes last days. Lutter herself remains inside the camera for much of this time, moderating and guiding the incoming light projected onto a single sheet of photographic paper, burning and dodging areas that need more or less exposure. The resulting images, each unique, monumental in scale, and reversed in tonal values, show us familiar urban terrain in a wholly new way. In the photograph ofered here, taken from 745 Fifh Avenue, New York City, the subject matter is divided equally between the city’s architectural structures and the passage of time.

38. Helen Levitt

1913-2009

39. Helen Levitt

1913-2009

N.Y. (masked children on stoop), circa 1940 Gelatin silver print, printed later.

8 x 11 5/8 in. (20.3 x 29.5 cm) Signed, titled and dated in pencil on the verso.

N.Y.C. (children dancing on the sidewalk), 1940 Gelatin silver print, printed later.

7 3/8 x 10 1/4 in. (18.7 x 26 cm) Signed, titled and dated in pencil on the verso.

Estimate $4,000-6,000

Estimate $4,000-6,000

Provenance Laurence Miller Gallery, New York

Provenance Directly from the artist

40. Berenice Abbott

1898-1991

Automat, 977 Eighth Avenue, 1936 Gelatin silver print, printed later.

14 1/2 x 18 1/2 in. (36.8 x 47 cm) Signed in pencil on the mount; copyright credit Commerce Graphics and ‘Changing New York’ Museum of the City of New York stamps on the reverse of the mount.

Estimate $6,000-8,000

Provenance Howard Greenberg Gallery, New York, 1993 Literature Finley, Berenice Abbott, n.p.

O’Neal, Berenice Abbott: American Photographer, p. 141 Yochelson, Berenice Abbott: Changing New York, Middle West Side, pl. 34

41. Helen Levitt

1913-2009

N.Y. (children with laundry), 1972 Dye transfer print, printed later.

9 5/8 x 14 1/4 in. (24.4 x 36.2 cm) Signed, titled and dated in pencil on the verso.

Estimate $5,000-7,000 Provenance Laurence Miller Gallery, New York Exhibited New York: Capital of Photography, The Jewish Museum, New York, 28 April - 2 September 2002

42. Lisette Model

1901-1983

Coney Island bather, New York, 1939-1941 Gelatin silver print from Twelve Photographs, printed 1976.

19 1/2 x 15 5/8 in. (49.5 x 39.7 cm) Signed and numbered ‘VIII - 60/75’ in pencil on the verso.

Estimate $3,000-5,000 Provenance Lunn Ltd., Washington, D.C.

43. Bruce Davidson

b. 1933

44. Bruce Davidson

b. 1933

Brooklyn Gang, Coney Island, New York, 1959 Gelatin silver print, printed later.

12 3/8 x 18 1/2 in. (31.4 x 47 cm) Signed in pencil on the verso.

Chicago (couple in front of jukebox), 1962 Gelatin silver print, printed later.

12 3/8 x 18 1/2 in. (31.4 x 47 cm) Signed in pencil on the verso.

Estimate $4,000-6,000

Estimate $3,000-5,000

Provenance Acquired directly from the artist Private Collection, Santa Monica

Provenance Acquired directly from the artist Private Collection, Santa Monica

45. Diane Arbus

1923-1971

Puerto Rican Woman with a Beauty Mark, NYC, 1965 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 59/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso.

Estimate $10,000-15,000 Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 84 Aperture, Diane Arbus, n.p.

46. Diane Arbus

1923-1971

Patriotic Young Man with a Flag, N.Y.C., 1967 Gelatin silver print, printed later by Neil Selkirk.

15 x 14 1/2 in. (38.1 x 36.8 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated and numbered 29/75 by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso.

Estimate $7,000-9,000 Provenance Fraenkel Gallery, San Francisco Literature Aperture, Diane Arbus, n.p.

Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 38

47. Diane Arbus

1923-1971

Lady in a rooming house parlor, Albion, NY, 1963 Gelatin silver print, printed later

by Neil Selkirk.

14 7/8 x 14 5/8 in. (37.8 x 37.1 cm) Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 21/75

by Doon Arbus, Executor, in ink, estate copyright credit and reproduction limitation stamps on the verso.

Estimate $7,000-9,000

Provenance Fraenkel Gallery, San Francisco Alan Koppel Gallery, Chicago Literature Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 106

48.

48. Fan Ho

1937-2016

Lonely Stroll, 1958 Gelatin silver print.

13 1/8 x 18 3/8 in. (33.3 x 46.7 cm) Signed, titled thrice, dated, annotated ‘“Diploma of Excellence,” Norway International Salon, Norway, 1959’ in ink and credit stamp on the verso.

49.

Estimate $10,000-15,000 Provenance Modernbook Gallery, San Francisco

50.

49. Édouard Boubat

1923-1999

50. Ruth Orkin

1921-1985

New York, 1982 Gelatin silver print, printed later.

9 1/2 x 14 in. (24.1 x 35.6 cm) Signed in ink in the margin; signed, titled and dated in pencil on the verso.

American Girl in Italy, 1951 Gelatin silver print, printed later.

12 7/8 x 19 5/8 in. (32.7 x 49.8 cm) Signed, titled, dated and copyright notation in pencil on the verso.

Estimate $2,500-3,500

Estimate $10,000-15,000

Provenance Acquired directly from the artist

Provenance Directly from the artist’s estate

Literature Contrejour, Édouard Boubat: Pauses, p. 48

Literature Howard Greenberg Gallery/Ruth Orkin Photo Archive, Ruth Orkin: American Girl in Italy – The Making of a Classic, cover, pl. 10 Viking Studio Books, A Photo Journal: Ruth Orkin, cover Rosenblum, A History of Women Photographers, pl. 227

∆

51. Robert Mapplethorpe

1946-1989

Selected Images of Lisa Lyon, 1982 Three gelatin silver prints, each fush-mounted.

Varying dimensions from 15 1/8 x 15 1/8 in.

(38.4 x 38.4 cm) to 151/8 x 191/8 in. (38.4 x 48.6 cm) Each print signed, variously dated and/or numbered in ink; two prints with a copyright credit reproduction limitation stamp on the reverse of the fush-mount. Each print is number AP 1 from an edition of 10 plus 2 artist’s proofs.

Estimate $6,000-8,000 Provenance Acquired directly from the artist Collection of Lisa Lyon Literature St. Martin’s Press, Lady Lisa Lyon, pp. 32-33, 110, 111

52. Yousuf Karsh

1908-2002

Georgia O’Keefe, 1956 Gelatin silver print, printed later.

19 1/8 x 15 1/4 in. (48.6 x 38.7 cm) Signed in ink on the mount; copyright credit stamp on the reverse of the mount.

Estimate $4,000-6,000

“I’ve been absolutely terrifed every moment of my life—and I’ve never let it keep me from doing a single thing I wanted to do.”

Georgia O’Keefe

Provenance Acquired directly from the artist’s estate Literature Karsh, Yousuf Karsh: Heroes of Light and Shadow, p. 41 Godine, Karsh: Beyond the Camera, p. 103 University of Toronto Press, Karsh Portraits, p. 151

53. Steve McCurry

b. 1950

54. Sebastião Salgado

b. 1944

Dust Storm, Rajasthan, India, 1983 Fujicolor Crystal Archive print, printed later.

21 1/8 x 14 in. (53.7 x 35.6 cm) Signed, dated, numbered 86/90 and annotated ‘India’ in ink on the verso.

Asháninka, State of Acre, Brazil, 2016 Gelatin silver print.

20 x 14 1/2 in. (50.8 x 36.8 cm) Signed, dated and annotated ‘Brasil’ in pencil on the verso; credit blindstamp in the margin.

Estimate $10,000-15,000

Estimate $5,000-7,000

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

Literature Phaidon, Steve McCurry: India, cover

55. Steve McCurry

b. 1950

Sharbat Gula, Afghan Girl, Pakistan, 1984 Fujicolor Crystal Archive print, printed 2014.

21 x 14 1/4 in. (53.3 x 36.2 cm) Signed in ink, printed title and date on a label afxed to the verso.

Estimate $10,000-15,000

Provenance Acquired directly from the artist 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

56. Lalla Essaydi

b. 1956

Bullet Revisited #3, 2012 Chromogenic print triptych.

Each 20 1/4 x 16 in. (51.4 x 40.6 cm) Overall 23 1/4 x 57 3/8 in. (59.1 x 145.7 cm) Signed in ink, printed title, date and number 15/15 on a label afxed to the reverse of the lef panel’s fush-mount.

Estimate $15,000-25,000 Literature Harper’s Bazaar Art, September October 2015, cover, right panel

“In my art, I wish to present myself through multiple lenses—as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes.”

Lalla Essaydi

57. Chester Higins

b. 1946

Muslim Woman, New York City, 1990 Platinum palladium print, printed 2008.

27 1/4 x 21 5/8 in. (69.2 x 54.9 cm) Signed, dated, numbered 20/25 in pencil and copyright credit stamp on the verso.

Estimate $10,000-15,000 Provenance Acquired directly from the artist Literature Higgins, Feeling the Spirit: Searching the World for the People of Africa, p. 179

58. Lalla Essaydi

b. 1956

Converging Territories #11, 2003 Chromogenic print, fush-mounted.

30 x 37 in. (76.2 x 94 cm) Signed, dated and numbered 2/15 in ink in the margin.

Estimate $10,000-15,000 Provenance Schneider Gallery, Chicago

59. 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 $20,000-30,000 Provenance Barbara Gladstone Gallery, New York Literature Charta, Shirin Neshat, p. 65, variant Charta, Shirin Neshat, Museo d’Arte Contemporanea, pp. 126-127, variant

60. Francesca Woodman

1958-1981

Portico with Caryatids of Delphi, March 12, 1980 Diazotype.

19 1/4 x 17 1/2 in. (48.9 x 44.5 cm) Overall 24 x 18 in. (61 x 45.7 cm) Signature, annotations and drawings in the positive template.

Estimate $15,000-20,000 Provenance From the photographer to Daniel Wolf, New York Gary Edwards Gallery, Washington, D.C. Literature Woodman, Francesca Woodman: Photographic Works, p. 96, variant

Portico with Caryatids of Delphi combines photographic images with drawing and handwritten text and relates directly to Francesca Woodman’s Temple Project. This project consisted of a series of large-scale studies of draped models, referencing caryatid fgures in classical architecture, and was frst exhibited in 1980 at The Alternative Museum in New York City. While Woodman’s images in that exhibition were monumental in scale, the smaller, more intimate work ofered here presents insight into her creative process.

This work was made with the diazotype technique, a positive-to-positive imaging process used primarily by engineers and architects. Woodman

adapted this industrial process to her own artistic purposes. Drawing and writing on transparent paper, on which she also placed photographic transparencies, she created a template which was contact-printed onto diazotype paper and developed with ammonia vapor. The diazotype gave Woodman a great deal of latitude in the size of her prints, and she used it to create composite images such as the one ofered here, as well as the life-sized images she made for the exhibition.

The print ofered was sent by Woodman to Daniel Wolf, the frst gallerist to show her work in New York City.

61. Zanele Muholi

b. 1972

ZaVa, Amsterdam, 2014 Gelatin silver print, fush-mounted.

14 7/8 x 19 1/8 in. (37.8 x 48.6 cm) Signed in ink, printed title, date and number 6/8 on a gallery label accompanying the work.

Estimate $5,000-7,000 Provenance Yancey Richardson Gallery, New York Literature Thomas, The Extended Moment: Fify Years of Collecting Photographs at the National Gallery of Canada, pl. 168

“This is why the self-portraits are so major to me. . . We get caught up in other people’s worlds, and you never ask yourself how you became.”

Zanele Muholi

62. Alma Lavenson

1897-1989

Self Portrait, 1932 Gelatin silver print, printed later.

9 x 11 3/4 in. (22.9 x 29.8 cm) Signed in pencil in the margin.

Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003Â - 4Â January 2004

Estimate $8,000-12,000

Literature Ehrens, Alma Lavenson: Photographs, cover, p. 87 Fuller, Alma Lavenson, p. 1

Provenance Susan Ehrens Ltd., Berkeley

63. Dorothea Lange

1895-1965

A Sign of the Times–Mended Stockings, Stenographer, San Francisco, 1934 Gelatin silver print, probably printed in the 1950s or 1960s.

9 1/2 x 7 3/8 in. (24.1 x 18.7 cm) Printing notations in an unidentifed hand in pencil on the verso.

Estimate $18,000-22,000

Provenance Family of the artist, California Edwynn Houk Gallery, Chicago Private Collection, Chicago Alan Klotz Gallery, New York

“You know there are moments such as these when time stands still. . .”

Dorothea Lange

64. Dorothea Lange

1895-1965

Argument in a Trailer Court, Richmond, California, 1944 Gelatin silver print, on an exhibition fush-mount, printed no later than 1952.

10 x 12 3/8 in. (25.4 x 31.4 cm) Estimate $25,000-35,000 Provenance From the Collection of John Dixon, the artist’s son Edwynn Houk Gallery, New York Phillips, New York, 2 October 2012, lot 152

Exhibited Diogenes with a Camera II, Museum of Modern Art, New York, 1952 Literature San Francisco Museum of Modern Art/ Chronicle Books, Dorothea Lange: American Photographs, back cover, pl. 98 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 129 Borhan, Dorothea Lange: The Heart and Mind of a Photographer, p. 179 Davis, The Photographs of Dorothea Lange, p. 87

65. Dorothea Lange

1895-1965

Migrant Mother, Nipomo, California, 1936 Gelatin silver print, printed circa 1955.

13 1/4 x 10 3/8 in. (33.7 x 26.4 cm) Signed in pencil on the mount; dated and annotated ‘Nipomo’ in pencil on the reverse of the mount. Accompanied by a manuscript letter and postcard by Lange, postmarked 1953 and 1955, respectively.

Estimate $120,000-180,000 Provenance From the artist to photographer William Heick, circa 1955 By descent to the present owner Literature Meister, Dorothea Lange: Migrant Mother, cover, pp. 3, 13 Meltzer, Dorothea Lange: A Photographer’s Life, cover, p. 213 Aperture, Dorothea Lange: Photographs of a Lifetime, p. 77 Borhan, Dorothea Lange: The Heart and Mind of a Photographer, p. 133 Davis, The Photographs of Dorothea Lange, p. 45 Keller, In Focus: Dorothea Lange, Photographs from The J. Paul Getty Museum, pl. 13 NBC éditions, Dorothea Lange: The Human Face, p. 99 Partridge, Dorothea Lange: A Visual Life, pl. 6.16 Partridge, Restless Spirit: The Life and Work of Dorothea Lange, p. 4 San Francisco Museum of Modern Art, Dorothea Lange: American Photographs, pl. 43

Dorothea Lange’s Migrant Mother, Nipomo, California, has become an enduring icon since its making in 1936. Taken while Lange was working for the Farm Security Administration documenting the hardships of the Great Depression, Migrant Mother combines the photographer’s characteristic respect and empathy for her subjects with her compositional rigor. The photograph was reproduced widely in the press in the 1930s and in the decades to come. Through this exposure Migrant Mother transcended its original documentary purpose to become a universal symbol of motherhood and perseverance under adversity.

In her recent book, Dorothea Lange: Migrant Mother, Sarah Hermanson Meister ofers a comprehensive study of the image, its history, and legacy. The photograph’s central fgure is Florence Owens Thompson, a migrant worker camped with her four daughters and other migrants alongside a farm whose crops had frozen, eliminating the possibility of paid work. Meister notes that Thompson was Cherokee, a fact unknown at the time of the photograph’s initial publication, adding an even greater degree of resonance to the image. In her assessment of the continuing relevance of Migrant Mother, Meister writes, “The superlatives that have been heaped upon it have done nothing to dilute its impact, nor have the passing decades diminished our inclination to empathize with the subjects’ plight” (pp. 15 and 18). (continued)

This print of Migrant Mother was acquired from Lange by photographer and flmmaker William Heick. Correspondence from Lange to Heick accompanying this lot documents a warm and respectful friendship between them. In Lange’s 1955 postcard she asks, “Sometime will you swap with me? A print of [Heick’s photograph] Indian Clam Digger for anything of mine you like.” It is believed that the exchange – of Clam Digger for Migrant Mother – was made shortly thereafer.

Afer serving in the Navy during World War II, William Heick (1916-2012) studied photography at the California School of Fine Arts under Ansel Adams and Minor White, and maintained close friendships with Imogen Cunningham and Lange. Heick was known for his accomplished ethnographic photographs, specifcally his images of Native Americans, and produced numerous flms. His work has been shown at the San Francisco Museum of Modern Art, the Seattle Museum of Art, and many other institutions.

William Heick, Clam Digger, 1950 (not in sale)

recto

verso

Postcard from Dorothea Lange to William Heick, 1955 (accompanying the lot)

Actual size

66. Tina Modotti

1896-1942

Untitled (bird sculpture), 1926 Gelatin silver print.

2 7/8 x 3 3/4 in. (7.3 x 9.5 cm) Initialed and dated in pencil on the mount; annotated ‘Propriedad de Lola Cueto’ likely by Lola Cueto in ink on the reverse of the mount.

Estimate $7,000-9,000 Provenance Collection of Lola Cueto, Mexico City Collection of Frances Toor, Mexico City Throckmorton Fine Art, Inc., New York

Tina Modotti’s still life study of a native Mexican sculpture showcases the photographer’s embrace of Mexican culture and her skill at creating a compelling photographic composition from a minimum of elements. In this image, Modotti made the inspired choice of using tinfoil as a backdrop; placed just outside of the feld of focus, the foil creates a mysterious and visually arresting background for the lively bird fgure. As evidenced by the notation on the reverse of its mount, this photograph comes originally from the collection of Mexican artist Lola Cueto (1897-1978). Modotti and Cueto were friends, and both were involved in Mexico City’s dynamic 1920s art scene. Cueto’s work combined elements of Cubism and other aspects of Modernism with Mexican folk art. This photograph was subsequently owned by another friend of Modotti’s, Frances Toor (1890-1956), the anthropologist and publisher of the infuential magazine, Mexican Folkways.

67. Barbara Morgan

1900-1992

Martha Graham - Letter to the World, 1940 Gelatin silver print, probably printed in the 1950s or 1960s.

14 5/8 x 19 1/2 in. (37.1 x 49.5 cm) Signed, titled and dated in pencil on the mount; signed, initialed, titled, dated, annotated in ink and copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $12,000-18,000

Literature Aperture, Masters of Photography: Barbara Morgan, cover High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 181 Newhall, The History of Photography, p. 232

68. Gertrude Käsebier

1852-1934

Mother and Child, 1903 Platinum print, mounted.

6 3/4 x 7 in. (17.1 x 17.8 cm) Signed and dated in pencil on the recto.

Estimate $7,000-9,000 Provenance Lunn Ltd., Washington, D.C. Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004

69. Heinrich Kuehn

1886-1944

Tonwertstudie III (Study in Tonal Values III), Mary Warner, 1908 Photogravure.

11 1/2 x 9 1/8 in. (29.2 x 23.2 cm) Estimate $10,000-20,000 Provenance Lunn Ltd., Washington, D.C. Literature Neue Galerie, Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen, p. 83, variant

Heinrich Kuehn is best known for his perceptive studies of his domestic life and family, including Mary Warner, a young Englishwoman who came to work for the Kuehn family as a nanny shortly afer the birth of their youngest child. Afer the death of Kuehn’s wife, Warner took on the care of the family’s four children and ran the household. She also served as a frequent collaborator with Kuehn on a series of photographs, of which the image ofered here is a prime example. Kuehn was a skilled photographic crafsman, and experimented with an array of techniques, including the photogravure. Kuehn perfected the process to his own high standards, and the print ofered here demonstrates the wide range of expressive tonality Kuehn could achieve with it.

70. George Henry Seeley

1880-1955

The Mourning Veil, 1904 Platinum print.

9 1/2 x 7 3/8 in. (24.1 x 18.7 cm) Signed, titled and annotated ‘Stockbridge Massachusetts U.S.A’ in ink on the verso; signed, titled, annotated ‘Stockbridge Massachusetts U.S.A’ in ink and ‘Société de Photographie de Marseille, III Salon International d’Art Photographique, 1905’ exhibition label on the reverse of the mount; numerical exhibition label on the mount.

Provenance Swann Galleries, New York, 8 October 1991, lot 416

Estimate $7,000-9,000

Literature The Berkshire Museum, Intimations & Imaginings: The Photographs of George H. Seeley, p. 26

Exhibited Salon International d’Art Photographique, Société de Photographie de Marseille, 1905 Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004

71. Julia Margaret Cameron

1815-1879

My Ewen’s Bride (Annie Chinery Cameron), 1869 Albumen print, mounted to board.

12 x 10 in. (30.5 x 25.4 cm) Inscribed ‘for her dear Charlotte’ by the photographer in ink; credited and annotated ‘Freshwater’ and ‘From Life Registered Photograph Copyright’ in ink and annotations in unidentifed hands in pencil on the mount.

Estimate $5,000-7,000 Provenance Private Collection, London Literature Cox and Ford, Julia Margaret Cameron: The Complete Photographs, no. 192, p. 499

Few photographers of the 19th century created as rich an oeuvre as Julia Margaret Cameron, or had as lasting an impact on the photography to come. Cameron pushed past the conventions of portraiture to create images referencing literature, history, and art. While aligned with Pre-Raphaelite painting, Cameron’s work is emphatically photographic, flled with detail and defnition. The photograph ofered here is of Annie Chinery, a favorite model of Cameron’s, who married her son Ewen in 1869, the year this portrait was made. Cameron’s inscription “for her dear Charlotte” likely refers to Charlotte Norman, another young woman within Cameron’s large circle of friends and family.

72. Gertrude Käsebier

1852-1934

Blessed Art Thou Among Women, 1899 Photogravure on tissue, printed 1903.

9 1/4 x 5 1/2 in. (23.5 x 14 cm) On the original Camera Work leaf.

Estimate $4,000-6,000

Literature Camera Work, No. 1, pl. 3 Michaels, Gertrude Käsebier: The Photographer and Her Photographs, p. 50 Margolis, Alfred Stieglitz, Camera Work: A Pictorial Guide, p. 1 Peterson, Alfred Stieglitz’s Camera Notes, pl. 53

73. Lewis Wickes Hine

1874-1940

Italian Mother and Child, Ellis Island, 1905 Gelatin silver print, probably printed afer 1917.

6 5/8 x 4 3/4 in. (16.8 x 12.1 cm) The photographer’s ‘Interpretive Photography’ stamp; magazine and publication stamps; and titled, credited, and annotated in unidentifed hands in pencil and crayon, all on the verso.

Estimate $5,000-7,000

74. Elliott Erwitt

b. 1928

New York City, 1953 Gelatin silver print, printed later.

11 3/8 x 17 1/2 in. (28.9 x 44.5 cm) Signed in ink in the margin; signed, titled and dated in pencil on the verso.

Estimate $3,000-4,000 Provenance Acquired directly from the artist Literature Erwitt, Elliott Erwitt: Snaps, p. 67

75. Sally Mann

b. 1951

Sunday Funnies, 1991 Gelatin silver print.

18 3/4 x 23 1/8 in. (47.6 x 58.7 cm) Signed, titled, dated, numbered 17/25, copyright notation and edition information in pencil on the reverse of the mount.

Estimate $12,000-18,000 Provenance Houk Friedman Gallery, New York Literature Mann, Immediate Family, n.p.

76. Sally Mann “I fnd the very nature of motherhood fraught with conficts and fears, as well as with humor and tenderness. . .

Photographing my children in those quirky, often emotionally charged moments has helped me acknowledge and resolve some of the inherent contradictions between the idea or image of motherhood and its reality.

And it has opened up to me a world of exquisite beauty in a form and place where I would have least expected it.�

Sally Mann

b. 1951

Jessie Bites, 1985 Gelatin silver print.

18 1/2 x 22 1/2 in. (47 x 57.2 cm) Signed, titled, dated, numbered 18/25, copyright notation and edition information in pencil on the verso.

Estimate $20,000-30,000 Provenance Houk Friedman Gallery, New York Literature Mann, Immediate Family, n.p.

Abrams, Sally Mann: A Thousand Crossings, pl. 13

77. Sally Mann

b. 1951

Fallen Child, 1989 Gelatin silver print.

19 3/4 x 23 3/4 in. (50.2 x 60.3 cm) Signed, titled, dated, numbered 10/25, copyright notation and edition information in pencil on the verso.

Estimate $12,000-18,000 Literature Mann, Immediate Family, n.p.

78. Sally Mann

b. 1951

Jessie at 6, 1988 Gelatin silver print.

19 1/2 x 23 3/8 in. (49.5 x 59.4 cm) Signed, titled, dated, numbered 3/25 and copyright notation in pencil on the verso.

Estimate $15,000-20,000 Provenance Private Collection, New York Literature Mann, Immediate Family, n.p.

Abrams, Sally Mann: A Thousand Crossings, pl. 9

79.

79. Sandy Skoglund

b. 1946

80. Sandy Skoglund

b. 1946

Atomic Love, 1992 Dye destruction print.

47 3/8 x 63 in. (120.3 x 160 cm) Signed, titled, dated, numbered 1/30 and copyright notation in ink on the recto.

Raining Popcorn, 2001 Dye destruction print.

39 x 49 5/8 in. (99.1 x 126 cm) Signed, titled, dated and numbered 7/30 in ink on the recto.

Estimate $7,000-9,000

Estimate $7,000-9,000

Provenance Janet Borden, Inc., New York

Provenance Janet Borden, Inc., New York

Exhibited Sandy Skoglund: Reality Under Siege, Smith College Museum of Art, Northampton, 12 March 1998 - 24 May 1998, traveling to Cincinnati Art Museum, The Columbia Museum of Art, Toledo Museum of Art and The Jacksonville Museum of Contemporary Art through 7 November 1999

Literature PaciArte Contemporanea, Sandy Skoglund: Magic Time, p. 53

80.

81. Loretta Lux

b. 1969

The Fish, 2003 Dye destruction print.

9 x 12 1/2 in. (22.9 x 31.8 cm) Signed, titled, dated and numbered 20/20 in pencil on the verso.

Estimate $4,000-6,000

81.

Provenance Yossi Milo Gallery, New York Literature Aperture, Loretta Lux, p. 69

82. Anne Collier

b. 1970

Relevance, Supposition, Connection, Viewpoint, Evidence from Questions, 2011 Five chromogenic prints.

Each 46 1/4 x 35 in. (117.5 x 88.9 cm) Each overall 51 1/2 x 40 in. (130.8 x 101.6 cm) Each signed in ink, printed title, date and number 4/5 on an artist’s label afxed to the reverse of the frame.

Estimate $50,000-60,000 Provenance Anton Kern Gallery, New York Private Collection, New York Exhibited Paper, Le Musée d’Art Modern et d’Art Contemporaine (MAMAC), Nice, France, 30 June – 30 September 2012 Literature MAMAC, Paper, pp. 36-37

Using found materials as her subject matter, American artist Anne Collier documents our visual culture with the same approach as a classic still life photographer. Her intelligent and slyly playful imagery reframes appropriation for the 21st century. Collier’s Questions series documents a sequence of printed educational materials, each outlining a schematic approach to analyzing an academic problem. Removed from the context of the classroom, and presented as individual works, these questions and discussion prompts are transformed into a gentle but direct interrogation of the experience of looking at art.

The suite of Questions ofered here was shown in the Paper exhibition at Le Musée d’Art Modern et d’Art Contemporaine in Nice, France, in 2012.

Questions was also included in the major 20142015 retrospective of Collier’s work at the Museum of Contemporary Art, Chicago, which toured to Bard College and The Art Gallery of Ontario, Toronto, and in her solo 2018 exhibition at FRAC Normandie Rouen, France. A suite is also in the collection of the Museum of Fine Arts, Boston.

83. Angela Strassheim

b. 1969

Untitled (Alicia in the Pool) from Pause, 2006 Chromogenic print.

37 1/2 x 47 1/2 in. (95.3 x 120.7 cm) Signed in ink, printed title, date and number 4/8 on a gallery label afxed to the reverse of the fush-mount.

Estimate $10,000-15,000

84. Alex Prager

b. 1979

Ellen from Polyester, 2007 Chromogenic print.

47 x 43 in. (119.4 x 109.2 cm) Signed, titled, dated and numbered 3/7 in ink on the reverse of the fush-mount.

Estimate $30,000-40,000

Provenance Marvelli Gallery, New York

Provenance Robert Berman Gallery, Santa Monica Private Collection, California

Literature Harper’s Magazine, December 2014, cover

Literature Prager, Silver Lake Drive, p. 19

85. Alex Prager

b. 1979

Crystal from Polyester, 2007 Chromogenic print.

47 1/2 x 63 in. (120.7 x 160 cm) Signed, titled, dated and numbered 2/5 in ink on the reverse of the fush-mount.

Estimate $25,000-35,000 Provenance Robert Berman Gallery, Santa Monica Private Collection, California Literature Prager, Silver Lake Drive, p. 23

“A street photographer goes into the world looking for moments, I set the stage for moments to happen, but once we are both there, I think a similar thing occurs.�

Alex Prager

86. Cindy Sherman

b. 1954

Untitled (Lucille Ball), 1975 Fujicolor Crystal Archive print, printed 2001.

10 x 7 3/4 in. (25.4 x 19.7 cm) Signed and dated in ink on the verso.

Estimate $8,000-12,000

Provenance Metro Pictures, New York Literature The Museum of Modern Art, Cindy Sherman: The Complete Untitled Film Stills, fg. 1, there titled The Lucy Photo-Booth Shoot Schor, Cindy Sherman: The Early Works 1975-1977, pp. 37, 123

87. William Klein

b. 1928

Smoke + Veil, Paris (Vogue), 1958 Gelatin silver print, printed later.

17 3/4 x 12 5/8 in. (45.1 x 32.1 cm) Signed, titled and dated in pencil on the verso.

Estimate $4,000-6,000 Provenance Private Collection, Europe Literature Random House, William Klein: In & Out of Fashion, cover, there titled Evelyn Tripp, Paris Centre Georges-Pompidou, William Klein, p. 83 High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 54

88. Jean-Philippe Charbonnier b. 1921

Bettina, la plus belle, Paris. Vitrine de Van Cleef et Arpels, Place VendĂ´me, 1953 Gelatin silver print, printed 2001.

15 x 13 1/4 in. (38.1 x 33.7 cm) Signed, titled, dated, numbered 32/50 and annotated in pencil on the verso.

Estimate $4,000-6,000 Exhibited Woman: A Celebration, Orange County Museum of Art, Santa Ana, 2 August 2003 - 4 January 2004 Literature Rizzoli, Paris Deluxe: Place VendĂ´me, cover, detail Paris Audiovisuel, Jean-Philippe Charbonnier: Photographs, pl. 77

89.

89. Lillian Bassman

1917-2012

Blowing Kiss, Barbara Mullen, New York, circa 1958 Gelatin silver print, printed later.

31 x 29 3/4 in. (78.7 x 75.6 cm) Signed in ink and numbered 11/25 in pencil on an artist’s label afxed to the verso.

Estimate $20,000-30,000 Provenance Acquired directly from the artist Literature Solomon, Lillian Bassman: Women, p. 127, variant

90. Martine Franck

1938-2012

Rehearsal, Ballet Moiseyev, Moscow, Russia, 2000 Gelatin silver print, printed later.

12 1/8 x 18 1/8 in. (30.8 x 46 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $4,000-6,000 Provenance Acquired directly from the artist Literature Kyoto Museum of Contemporary Art, Martine Franck, p. 53 Steidl, Martine Franck: Women/Femmes, p. 20

90.

“What I most like about photography is the moment that you can’t anticipate: you have to be ready to greet the unexpected.”

Martine Franck

91. Olivia Parker

b. 1941

Miss Appleton’s Shoes, 1976 Toned gelatin silver print.

6 5/8 x 4 7/8 in. (16.8 x 12.4 cm) Signed, titled, dated, numbered ‘19’ and copyright notation in ink in the margin.

Estimate $3,000-5,000 Provenance Private Collection, California

91.

92. Norman Parkinson

1913-1990

Audrey Hepburn with Flowers II, Rome, 1955 Archival pigment print, printed 2017.

20 x 15 5/8 in. (50.8 x 39.7 cm) Signed, titled, dated, numbered 18/21 by Elizabeth Smith, Archive co-manager, in ink and Estate copyright credit stamp on the verso.

Estimate $6,000-8,000 Provenance Acquired directly from the artist’s estate

93. Julius Shulman

1910-2009

Case Study House #22, Los Angeles, CA, Pierre Koenig Architect, 1960 Gelatin silver print, printed later.

20 x 15 7/8 in. (50.8 x 40.3 cm) Signed, titled and dated in ink on the recto.

Estimate $7,000-9,000 Provenance Acquired directly from the artist Literature Rizzoli, A Constructed View: The Architectural Photography of Julius Shulman, cover Alexander, Julius Shulman’s Los Angeles, pl. 52 Taschen, Julius Shulman: Architecture and its Photography, p. 3

94. Henri Cartier-Bresson

1908-2004

Queen Charlotte’s Ball, London, 1959 Gelatin silver print, printed later.

17 1/2 x 12 in. (44.5 x 30.5 cm) Signed in ink and copyright credit blindstamp in the margin.

Estimate $25,000-35,000

Provenance Acquired directly from the artist Literature Clair, Henri Cartier-Bresson: Europeans, p. 217

95. Allan Grant

1919-2008

Audrey Hepburn and Grace Kelly backstage at the 28th Annual Academy Awards, Hollywood, CA, 1956 Gelatin silver print, printed 1968.

17 3/4 x 13 5/8 in. (45.1 x 34.6 cm) Signed, dated, annotated in pencil, credit and ‘Life Photo’ credit stamps on the verso; typed copyright credit label afxed to the verso.

Estimate $10,000-15,000 Provenance Acquired directly from the artist

96. Eve Arnold

1912-2012

Marilyn on the set of ‘The Misfts,’ Nevada, 1960 Gelatin silver print, printed later.

12 3/8 x 18 7/8 in. (31.4 x 47.9 cm) Signed in pencil on the verso.

Estimate $3,000-5,000 Provenance Acquired directly from the artist

97. Yousuf Karsh

1908-2002

Audrey Hepburn, 1956 Gelatin silver print, printed later.

9 1/4 x 7 1/2 in. (23.5 x 19.1 cm) Signed in ink on the mount.

Estimate $12,000-18,000

Provenance Acquired directly from the artist’s estate Literature Travis, Yousuf Karsh: Regarding Heroes, back cover, p. 97 Deutschen Historischen Museums, Yousuf Karsh: Helden aus Licht und Schatten, pl. 55 Little, Brown and Company, Karsh: A Sixty-Year Retrospective, p. 180

98. Barry Lategan

b. 1935

Twiggy, 1966 Platinum palladium print, printed 2012.

23 1/4 x 19 1/2 in. (59.1 x 49.5 cm) Signed, titled, dated, numbered 26/35 in pencil and ‘31 Studio’ blindstamp in the margin.

Estimate $8,000-12,000 Provenance Acquired directly from the artist Literature National Portrait Gallery, London, Twiggy: A Life in Photographs, cover, detail, p. 29

99. David Montgomery

b. 1937

Grace Coddington, Vidal Sassoon fve-point cut, 1966 Gelatin silver print, printed later.

16 5/8 x 16 7/8 in. (42.2 x 42.9 cm) Signed and numbered 5/10 in ink in the margin.

Estimate $2,000-3,000 Provenance Acquired directly from the artist Literature Phaidon, Grace: Thirty Years of Fashion at Vogue, pp. 22-23

100. Jerry Schatzberg

b. 1927

Faye Dunaway, 1968 Platinum palladium print, printed later.

19 7/8 x 19 7/8 in. (50.5 x 50.5 cm) Signed and numbered 1/20 in pencil on the verso.

Estimate $10,000-15,000 Provenance Acquired directly from the artist

101. Arthur Elgort

b. 1940

Kate Moss, CafĂŠ Lipp, Paris, Vogue Italia, 1993 Gelatin silver print, printed later.

15 x 22 3/4 in. (38.1 x 57.8 cm) Signed in pencil on the verso.

Number 11 from an edition of 30.

Estimate $6,000-8,000 Provenance Acquired directly from the artist Private Collection, New York

102. Horst P. Horst

1906-1999

V.O.G.U.E. (Lisa Fonssagrives), NY, 1940 Gelatin silver print, printed later.

17 7/8 x 13 5/8 in. (45.4 x 34.6 cm) Signed, titled, dated in pencil and credit stamp on the verso; signature blindstamp in the margin.

Estimate $5,000-7,000

Provenance Acquired directly from the artist Literature Vogue, 1 June 1940, cover Kazmaier, Horst: Sixty Years of Photography, p. 17 National Portrait Gallery, Horst Portraits: 60 years of style, pl. 64 Vendome Press, Lisa Fonssagrives: Three Decades of Classic Fashion Photography, pp. 14, 56

103. Horst P. Horst

1906-1999

Coco Chanel, II, Paris, 1937 Platinum palladium print, printed later.

14 1/2 x 11 5/8 in. (36.8 x 29.5 cm) Signed, titled, dated, numbered ‘AP,’ and annotated in pencil on the verso; signature blindstamp in the margin. One from an edition of 6 plus artist’s proofs.

Estimate $5,000-7,000 Provenance Acquired directly from the artist’s estate

104. Norman Parkinson

1913-1990

Travel Clothes, Vogue, May, 1953 Gelatin silver print.

7 5/8 x 7 5/8 in. (19.4 x 19.4 cm) ‘Vogue Studio’ credit, Condé Nast reproduction limitation, ‘Brogue May 1953,’ Norman Parkinson Trust copyright stamps and annotated in ink on the verso.

Estimate $4,000-6,000 Provenance Acquired directly from the artist’s estate Literature British Vogue, May 1953, p. 85

105. Sabine Weiss

b. 1924

La 2CV sous la pluie, Paris, 1957 Gelatin silver print, printed later.

16 3/4 x 13 in. (42.5 x 33 cm) Signed, titled, dated and annotated in pencil on the verso.

Estimate $3,000-4,000 Provenance Acquired directly from the artist Literature Contrejour, Sabine Weiss: Intimes Convictions, p. 102 Éditions de La Martinière, Sabine Weiss, p. 64 Weiss, Sabine Weiss: L’oeil Intime, p. 86

106. Eve Arnold

1912-2012

Gala Opening, Metropolitan Opera, New York, 1950 Gelatin silver print, printed later.

13 7/8 x 13 1/2 in. (35.2 x 34.3 cm) Signed in pencil on the verso.

Estimate $2,500-3,500 Provenance Acquired directly from the artist

107. Ormond Gigli

b. 1925

Girls in the Windows, New York City, 1960 Chromogenic print, printed later.

49 1/2 x 49 1/2 in. (125.7 x 125.7 cm) Signed, titled, dated and numbered 31/75 in ink on the reverse of the mount.

Estimate $25,000-35,000

Provenance Acquired directly from the artist 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

Sale Information Auction & Viewing Location 450 Park Avenue New York 10022

Auction License 2013224

Photographs Department +1 212 940 1245

Auction 7 June, 10am

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

Deputy Chairwoman, Americas, Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com

Viewing 2 – 6 June

Sunday 12pm – 6pm Monday – Thursday 10am – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY040219 or Women in Photography.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335

Head of Sale Rachel Peart rpeart@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 Alma Lavenson, Self Portrait, 1932, lot 62 Back cover Vera Lutter, 745 Fifh Avenue, New York City: September 29, 1995, lot 37 (detail)

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Index Neshat, S. 59

Abbott, B. 35, 36, 40

Haun, D. 17

Adelman, B. 18

Higgins, C. 57

Arbus, D. 45–47

Hine, L. W. 73

O’Neill, M. 20

Arnold, E. 96, 106

Ho, F. 48

Orkin, R. 50

Horst, H. P. 102, 103 Parker, O. 91

Bassman, L. 89 Bernhard, R. 3, 4

Iturbide, G. 12

Bravo, M. Á. 10, 11

Parkinson, N. 92, 104 Prager, A. 84, 85

Boubat, É 25, 49 Karsh, Y. 52, 97 Käsebier, G. 68, 72

Riboud, M. 16

Cameron, J. M. 71

Klein, W. 87

Robertson, G. 23

Cartier-Bresson, H. 2, 8,

Kuehn, H. 69

Ronis, W. 22, 28

Charbonnier, J-P. 88

Lange, D. 63–65

Salgado, S. 54

Collier, A. 82

Larraín, S. 31

Sander, A. 24

Cunningham, I. 1

Lategan, B. 98

Schatzberg, J. 100

Lavenson, A. 62

Seeley, G. H. 70

Dater, J. 5

Leonard, H. 33, 34

Sherman, C. 86

Davidson, B. 43, 44

Levitt, H. 38, 39, 41

Shulman, J. 93

Lowe, J. 19

Skoglund, S. 79, 80

Elgort, A. 101

Lutter, V. 37

Strassheim, A. 83

Erwitt, E. 74

Lux, L. 81

9, 32, 94

Essaydi, L. 56, 58

Franck, M. 6, 14, 29, 90

Weems, C. M. 15 Mann, S. 75–78

Weiss, S. 30, 105

Mapplethorpe, R. 51

Woodman, F. 60

Mark, M. E. 7 Garduño, F. 13

McCurry, S. 53, 55

Gigli, O. 107

Model, L. 42

Gowin, E. 26

Modotti, T. 66

Grant, A. 95

Montgomery, D. 21, 99

Groebli, R. 27

Morgan, B. 67 Muholi, Z. 61

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