PHOTOGRAPHS [Catalogue] by PHILLIPS

London / 25 September 2020

Photographs

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Lot 3

3. Ruud van Empel World #1, 2005

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Photographs London / 25 September 2020

Auction & Viewing Location

Photographs Department

30 Berkeley Square, London, W1J 6EX

+44 20 7318 4092

Auction Friday, 25 September, 2pm

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Viewing

Vanessa Hallett vhallett@phillips.com

19–25 September Monday–Saturday 10am–6pm Sunday 12pm–6pm

Head of Photographs, Europe Yuka Yamaji yyamaji@phillips.com

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK040120 or Photographs.

Head of Sale, Specialist Rachel Peart rpeart@phillips.com Cataloguer

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Clare Lamport clamport@phillips.com Administrator Daisy de Montjoye ddemontjoye@phillips.com

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Our Team Photographs Europe

Yuka Yamaji

Rachel Peart

Clare Lamport

Head of Photographs, Europe

Head of Sale, Specialist

Cataloguer

yyamaji@phillips.com +44 20 7318 4098

rpeart@phillips.com +44 20 7901 7940

clamport@phillips.com +44 20 7318 4087

Vanessa Hallett

Sarah Krueger

Christopher Mahoney

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Head of Department, New York

Senior International Specialist

skrueger@phillips.com +1 212 940 1225

cmahoney@phillips.com +1 212 940 1208

New York

vhallett@phillips.com +1 212 940 1243

Caroline Deck

Carol Ehlers

Senior Specialist

Specialist, Regional Director, Chicago

cdeck@phillips.com +1 212 940 1247

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cehlers@phillips.com +1 773 230 9192

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Executives Edward Dolman

David Norman

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Chief Executive Officer

Chairman, Americas

Senior Advisor to the CEO

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Cheyenne Westphal

Jonathan Crockett

Hugues Joffre

Global Chairwoman

Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Senior Advisor to the CEO

ÂŠ Brigitte Lacombe

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+852 2318 2023 jcrockett@phillips.com

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Deputy Chairmen & Chairwomen

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Head of Private Sales

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4063 psumner@phillips.com

Vanessa Hallett

Vivian Pfeiffer

Marianne Hoet

Elizabeth Goldberg

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Americas, Senior International Specialist, American Art

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+1 212 940 1392 vpfeiffer@phillips.com

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Business Development

Americas Vivian Pfeiffer Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeiffer@phillips.com

Client Advisory

Europe Giulia Campaner Mendes

Margherita Solaini

Laurent Taevernier Client Liaison Coordinator

Client Advisor

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Asia

Middle East & South Asia

Iori Endo

Yassaman Ali

Senior Client Advisor

Client Advisory Director

+44 20 7318 4039 iendo@phillips.com

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Trusts, Estates & Valuations

Americas Jennifer Jones

Laura Wenger

Senior Vice President, Director of Trusts, Estates & Valuations

Associate Vice President Account Manager Trusts, Estates & Valuations

+1 212 940 1272 jjones@phillips.com

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+1 212 940 1302 lwenger@phillips.com

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International Specialists & Regional Directors

Europe Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Elie Massaoutis

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Head of Design, France, Senior International Specialist

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+33 686 408 515 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

Dr. Nathalie Monbaron

Dr. Alice Trier

Regional Director, Geneva

Specialist, 20th Century & Contemporary Art, Germany

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+49 173 25 111 69 atrier@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Kirsten MacDonald

Lori Spector

Thibault Stockmann

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

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Regional Director, Scandinavia

International Specialist, 20th Century & Contemporary Art, France

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+45 2010 2111 kmacdonald@phillips.com

+41 76 259 30 39 lspector@phillips.com

+33 601 888 749 tstockmann@phillips.com

Americas CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

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Regional Director, Los Angeles

Specialist, Miami

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Silvia Coxe Waltner

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Kyoko Hattori

Jane Yoon

Wenjia Zhang

Alicia Zhang

Yolanda Zeng

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Regional Director, China

Associate Regional Representative, Shanghai

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Asia

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Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

International Specialist, Taiwan

Associate Regional Representative, Singapore

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Senior Consultant, Indonesia

Senior Consultant, Thailand

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Our team is comprised of experts from auction houses, museums, galleries and other leading arts institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips holds private sales and curated selling exhibitions across all of our categories around the world. Our range of services includes appraisals for private clients, advisors, attorneys and other key fduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.

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In this edition, we have curated a multifaceted collection of exclusive works, ranging from rare masterpieces to unique works and sold-out editions. As this exciting programme evolves, so does our criteria for entry. If it’s the frst, the last, special, unique, a one-of or the only chance to own it, then it might just be the ultimate… While each work is distinctive, the one thing they all have in common is that they are not available anywhere else. 10 out of the 13 works on offer are fresh to market, including our cover lot, Zanele Muholi’s powerful portrait from the ongoing series Somnyama Ngonyama (lot 1), Ruud van Empel’s frst ever work in his seminal World series (lot 3), Wolfgang Tillmans’s investigation of the photographic paper (lot 4) and two rare, early prints from Ishiuchi Miyako’s emotionally charged Apartment series (lots 12-13). Fashion photography is represented with Herb Ritts’s era-defning portrait of fve legendary supermodels (lot 5) and Steven Klein’s unique, oversized diptych of his ‘Good Kate, Bad Kate’ covers for W magazine (lot 6). Debuting at auction is Dutch artist Jan Banning with his interpretation of Vermeer, featuring a Moroccan girl (lot 2). ULTIMATE ofers something special for every collector.

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Lot 1

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Lot 2

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1. Zanele Muholi

2. Jan Banning

3. Ruud van Empel

South African, b. 1972

Dutch, b. 1954

Dutch, b. 1958

Zodwa, Paris from Somnyama Ngonyama, 2014

Moroccan girl (Nissrine) reading an application form for an “inburgeringscursus” (citizenship course) at a closed window from National Identities, 2007

World #1, 2005

Gelatin silver print, mounted. Image: 80.3 x 48.4 cm (31 5/8 x 19 in.) Frame: 92 x 61.5 cm (36 1/4 x 24 1/4 in.) Signed in ink, printed title, date and number 3/8 on a Certifcate of Authenticity accompanying the work. This work is number 3 from the sold-out edition of 8 + 2 APs. This image exists only in this size and edition. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ‡

Archival pigment print in artist’s frame. Image: 48.5 x 57.6 cm (19 1/8 x 22 5/8 in.) Frame: 60.5 x 69.5 cm (23 7/8 x 27 3/8 in.) Signed in ink, printed title, date, number 10/10 and copyright reproduction limitation on a Certifcate of Authenticity afxed to the reverse of the frame. This work is number 10 from the sold-out edition of 10 + 1 AP. This image is sold out in all sizes and editions.

plus Buyers Premium and VAT*

Provenance STEVENSON, Johannesburg Literature Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, New York: Aperture, 2018, pl. 46

Zanele Muholi, here as Zodwa, is strong and composed, emerging from the shadows with a powerful contemporary application of chiaroscuro. This reflective work is from the ongoing series Somnyama Ngonyama, translated from the Zulu language as ‘Hail, the Dark Lioness’. Turning the camera on themselves, Muholi explores diferent characters and archetypes to confront the politics of race, gender and sexuality. Muholi is a 2016 recipient of a Chevalier from l’Ordre des Arts et des Lettres and an Infnity Award from ICP, and their work resides in such prominent institutions as New York’s Guggenheim Museum and MoMA, Boston’s Museum of Fine Arts and London’s Tate Modern, which will open the visual activist’s frst major UK survey in November 2020.

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 † plus Buyers Premium and VAT*

Literature ‘The Clasp of Civilizations’, Newsweek, 17 October 2011, pp. 46–47

Jan Banning’s interpretation of Vermeer, ofered here, taken in a nun’s cell at the Catharijneconvent Museum in Utrecht with his Moroccan cleaning lady’s daughter as the model, is one of his most sought-afer works. Banning, himself born to immigrant parents, ‘wanted to question the idea of a clearly defned national identity … propagated to exclude migrants using iconic works of art.’ Created in 2007 in reaction to rising right-wing populism in Europe, this photograph is just as powerful today. Banning’s work has been exhibited internationally and resides in a number of institutions, including Rijksmuseum, Amsterdam; Museum of Fine Arts, Houston and High Museum of Art, Atlanta.

Dye destruction print, face-mounted and mounted. 150 x 105.5 cm (59 x 41 1/2 in.) Signed in pencil, printed title, date and number 3/9 on an artist label afxed to the reverse of the mount. This work is number 3 from the sold-out edition of 9 + 2 APs. This image exists only in this size and edition. Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Stux Gallery, New York, 2006 Literature D. Klochko, Picturing Eden, Rochester, NY: George Eastman Museum, 2006, cover and pl. 138

Long sold out and appearing at auction for the frst time, World #1 is the work that led Ruud van Empel to focus on black children as his long-term subject and set off his seminal World series. Presented in a white Sunday-best dress that van Empel remembers from his childhood, a young black girl – portrayed as a symbol of purity and innocence – is surrounded by a fantastical forest. ‘To me, both nature and the innocence of children are something beautiful,’ expresses van Empel. ‘Children are born innocent into a cruel and dangerous world. I wanted to do something with that idea.’

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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Lot 3

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4. Wolfgang Tillmans German, b. 1968 paper drop (studio) II, 2011 Chromogenic print, mounted on Dibond, in artist’s frame. Image: 135 x 202 cm (53 1/8 x 79 1/2 in.) Frame: 145.5 x 212.8 cm (57 1/4 x 83 3/4 in.) Signed in pencil, printed title, date and number 1/1 + 1 AP on a gallery label afxed to the reverse of the frame. This work is number 1 from the sold-out edition of 1 + 1 AP. Estimate £100,000-150,000 $131,000-196,000 €111,000-166,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

The photographic paper flls the frame of paper drop (studio) II, folded back in a teardrop shape to reveal its glossy surface of shimmering turquoise tones, manifesting themselves from the inside out. Removing extraneous detail, Tillmans showcases the photographic paper as it takes on a sculptural life of its own, focusing his investigation on its duality: What intrigues me is the tension of the two key qualities of a photograph: the promise of it being a perfect, controlled object, and the reality of a photographic image being mechanically quite unsophisticated. It creases or buckles when it’s too dry, curls in humidity, becomes rigid and vulnerable when it’s mounted, and for that reason, loses its flexibility. I choose to reconcile all this and don’t pretend that it isn’t happening. I’ve made that all part of the visual experience. This oversized example from Tillmans’s long-term paper drop series epitomises his preoccupation with the visual immediacy of the surface.

Provenance Andrea Rosen Gallery, New York

‘In my lens-based paper drop images I made the photographic paper itself my subject matter, creating images that are fgurative and abstract at the same time. I liken them to mathematical functions. I can’t calculate them, but a mathematician could describe exactly how their shapes happened through the tension of the paper and gravity. Tey are almost like scientifc illustrations.’ Wolfgang Tillmans

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5. Herb Ritts

American, 1952-2002

Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989 Gelatin silver print, mounted on board. Image: 47 x 50.5 cm (18 1/2 x 19 7/8 in.) Mount: 55 x 64.8 cm (21 5/8 x 25 1/2 in.) Signed by the artist, titled, dated, numbered 25/25 by the Herb Ritts Studio in pencil and copyright credit stamp on the reverse of the mount.

This work is number 25 from the edition of 25 + 3 APs. As of this writing, the other prints from the edition are held in various collections, including the J. Paul Getty Museum, and with the Herb Ritts Foundation. Estimate £70,000-90,000 $91,600-118,000 €77,400-99,500 ‡ plus Buyers Premium and VAT*

In 1989, Herb Ritts photographed this era-defining portrait of legendary supermodels Stephanie Seymour, Cindy Crawford, Christy Turlington, Tatjana Patitz and Naomi Campbell while working on a story for Rolling Stone magazine. Presented in timeless monochrome against a minimal background, the subjects gaze back at the viewer with their graceful limbs intertwined. Taken at a time before Ritts used his own studio, the photograph shows the deck of his Hollywood Hills home. Cindy Crawford recalls the making of this now-iconic image: We’re at Herb’s house, this is a tiny, tiny little – not even a terrace – like an outdoor hallway. Naomi’s probably almost touching the house. Stephanie is obviously almost touching the wall on the left. We’re crammed in this five-foot space. That’s why we’re so close together. I’m sure they had clothes there, but often with Herb, there were clothes there and you ended up not wearing them. I think like any good relationship, you have trust, and that’s why I was able to do things with Herb that I wouldn’t probably have done with other people. I didn’t have to protect myself because I knew Herb was protecting me.

Provenance Robert Klein Gallery, Boston, 1997 Literature Herb Ritts: WORK, Boston: Museum of Fine Arts, 1996, n.p. Herb Ritts, Paris: Fondation Cartier pour l’art contemporain, 2000, n.p. Herb Ritts: L.A. Style, Los Angeles: Getty, 2012, pl. 28 Icons of Style: A Century of Fashion Photography, Los Angeles: Getty, 2018, p. 281, pl. 188

‘And the one particular thing that I love about this picture,’ expressed Ritts, ‘there’s a very true soulfulness coming from these girls. Obviously, they’re nude – it’s not about fashion – but they were great friends, and all of a sudden, you just put them together and have them knowing each other. There’s a great heart that comes when I look at that picture and think back about how they just started.’ The J. Paul Getty Museum holds another print from this edition and the Museum of Fine Arts, Boston, holds a larger print that was exhibited as part of their groundbreaking 1996 retrospective, Herb Ritts: WORK, which remains one of the most popular exhibitions in their history. The exquisite example ofered here has remained in the same private collection since 1997 and is appearing at auction for the frst time.

While the published image from the session that appeared in the May 1989 issue of Rolling Stone did not include Christy Turlington (fg. 1), who had signed an exclusive contract with Calvin Klein the previous year, she had stopped by Ritts’s house and unexpectedly joined the shoot for a few frames. ‘We said, “How can you not be in this picture?”’ Naomi Campbell remembers. ‘And she jumped in, and that was it!’ The resulting image, which was done in a mere two minutes, best embodies Ritts’s belief that ‘surprise in the moment is the true magic of the medium.’ Ritts succeeded in not only photographing these fve supermodels in the same place at the same time but also capturing a profound sense of intimacy, trust and tenderness through the unity of their naked bodies and interwoven limbs to create one of the most well-known images in the history of fashion photography.

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Fig 1. ‘Hot Cool’, Rolling Stone, Issue 552, May 1989, pp.112-113

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ÔYouÕre trying to get to one moment with one frame that may eventually speak to your generation.Õ Herb Ritts

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Lot 6

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6. Steven Klein

American, b. 1965

Kate Moss Diptych, 14 December 2011 Unique archival pigment print diptych. Each image: 152.4 x 101.6 cm (60 x 40 in.) Each frame: 156 x 118.4 cm (61 3/8 x 46 5/8 in.) Signed in ink, printed title, date and ‘unique’ on a Certifcate of Authenticity accompanying the work. This diptych is unique and has been created exclusively for ULTIMATE. Estimate £40,000-60,000 $52,300-78,500 €44,200-66,300 ‡ plus Buyers Premium and VAT*

Literature W, March 2012, covers S. Tonchi et al., W Stories, New York: Abrams, 2014, right: cover and pp. 154–155

‘The idea for Kate Moss was based on light over dark and good over evil, which everything has aspects of. It was also based on the idea of how the public perceives Kate Moss. We decided to explore the idea of Good Kate, Bad Kate. We shot over two nights in London. I started photographing Kate when she was 16 years old, when she frst arrived in New York. It had been some time since we had worked together on any project and we both had a lot of nervous anticipation to create something great. Kate takes her work very seriously, but at the same time has a great wit and humor. We played one song on repeat for the two long nights that we shot – Linda Jones’s ‘Hypnotize’. Good and Bad Kate both ran as covers for W magazine.’ Steven Klein, March 2020 Please refer to ULTIMATE STEVEN KLEIN for an interview with the artist.

7. Bastiaan Woudt

Dutch, b. 1987

Circle, Alkmaar, 2019 Archival pigment print, mounted. Image: 178.5 x 133.5 cm (70 1/4 x 52 1/2 in.) Frame: 190 x 145 cm (74 3/4 x 57 1/8 in.) Signed, titled, dated and numbered AP1 in ink/pencil on the reverse of the mount. This work is AP1 from the sold-out edition of 3 + 1 AP. This image is sold out in all sizes and editions. Estimate £18,000-22,000 $23,600-28,800 €19,900-24,300 plus Buyers Premium and VAT*

In this bold composition, a model’s profle, her head and part of her face obscured by a large, fat circle, is outlined against a plain background. ‘Circle arose out of the curiosity to combine geometrical shapes with my models. The goal was to create an abstract image in which a sign of humanity plays an important role,’ Bastiaan Woudt explains. ‘By largely “hiding” the models you create a distance, but by adding a human aspect, such as a hand or silhouette of a face, it remains tangible and recognisable.’ A self-taught photographer, Woudt has developed his distinctive monochromatic aesthetic through experimentations in both in-camera and post-production techniques.

W, March 2012, covers

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Lot 7

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Lot 8

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8. Yoo Hyun Mi

Korean, b. 1964

9. Eiji Ohashi

Japanese, b. 1955

10. Amanda Means

American, b. 1945

Earth No. 1 from Still Life, 2007

Roadside Lights #016, 2016

Water Glass 2, 2011

Chromogenic print. Image: 100 x 80 cm (39 3/8 x 31 1/2 in.) Frame: 110 x 90 cm (43 1/4 x 35 3/8 in.) Signed in ink, printed title, date and number 3/3 on an artist label accompanying the work.

Chromogenic print, mounted. Image: 101.4 x 152 cm (39 7/8 x 59 7/8 in.) Frame: 109 x 160 cm (42 7/8 x 62 7/8 in.) Signed, dated in ink, printed title, date and number 2/2 on an artist label afxed to the reverse of the frame. Signed Certifcate of Authenticity accompanying the work.

Gelatin silver print, mounted. Image: 116 x 95.5 (37 5/8 x 45 5/8 in.) Frame: 124.5 x 104 cm (49 x 40 7/8 in.) Signed, titled, dated and numbered AP2 in ink on an artist label afxed to the reverse of the mount.

This work is number 3 from the sold-out edition of 3 + 1 AP. This image is sold out in all sizes and editions. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ plus Buyers Premium and VAT*

Literature Hyun Mi Yoo: Cosmos, Ostfldern: Hatje Cantz, 2013, p. 51

What appears at frst to be a photograph of a painting uncovers, on closer inspection, Yoo Hyun Mi’s unique analogue-based process. To create Earth No. I, Yoo painted her props – a small globe, a wooden table and a backdrop – meticulously adding shadows and highlights to underscore the painterly illusion then arranged them before photographing the fnal composition. For Yoo, the space she has created represents peaceful contemplation, the blank globe symbolising ‘the earth from the past, present and the future.’ Please note that the artist’s name appears in Korean order with the surname before the forename.

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This work is number 2 from the sold-out edition of 2 + 1 AP. This image is sold out in all sizes and editions. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ‡

This work is AP2 from the sold-out edition of 5 + 2 APs. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ‡ plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Literature E. Ohashi, Roadside Lights, Tokyo: Zen Foto, 2017, n.p.

The ever-present vending machine is a staple of Japanese landscape and can be found alongside nearly every road, illuminating the streets at night. On Christmas Eve 2016, Sapporo, the capital of Eiji Ohashi’s native Hokkaidō, was unusually still and tranquil in the wake of the worst snowstorm in 60 years; Ohashi ventured out by foot to capture this lone vending machine, its head covered in snow, ‘heroically continuing to work’ with its luminescence underscoring its perseverance. Ohashi has been the recipient of numerous awards, including the Moscow International Foto Awards (2016), photo-eye Best Books (2017) and the Special Photographer Award at the 34th Higashikawa Awards (2018).

Amanda Means explains her camera-less process for her transformative Water Glass series: ‘My instrument is an 8x10 inch wooden enlarger whose lens is pointed toward the adjacent wall, onto which is tacked a large sheet of photographic paper. With wood and a black cloth, I’ve constructed a large chamber between the powerful lamp and the lens, into which I place an actual water glass.’ Means’s technique produces a negative image of the water glass, from which she creates a 4x5 negative for printing her editions. The resulting image, as seen here, has been rendered by light passing through the glass, the water and the ice, illuminating the rich textures, shapes and lines from the delicate air bubbles to the vertical streaks of condensation. The monumentality of the full-frame water glass transcends this ordinary household object into the sublime.

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Lot 9

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Lot 10

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11. 須田一政 Issei Suda

Provenance Acquired directly from the artist, 2007

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Japanese, 1940-2019 神奈川三浦三崎 Miuramisaki, Kanagawa from 風姿花伝 Fūshi Kaden, 2 June 1975 Gelatin silver print. Image: 22 x 21.7 cm (8 5/8 x 8 1/2 in.) Sheet: 30.8 x 25.2 cm (12 1/8 x 9 7/8 in.) Credited in rōmaji with copyright symbol and numbered ‘19’ in pencil on the verso. As of this writing, this work is one of only five known early prints of this image. The others are held at the Museum of Fine Arts, Houston; National Museum of Modern Art, Tokyo; Yamaguchi Prefectural Art Museum and privately. SFMOMA holds a later print.

Exhibited The History of Japanese Photography, Museum of Fine Arts, Houston, 2 March April 27 2003; Cleveland Museum of Art, Cleveland, May 25 - July 27 2003, another Literature I. Suda, Fūshi Kaden, Tokyo: Asahi Sonorama, 1978, pl. 67 Eleven Photographers in Japan 1965-75, Yamaguchi: Yamaguchi Prefectural Art Museum, 1989, p. 116 A. Tucker et al., The History of Japanese Photography, Houston: Museum of Fine Arts, 2003, p. 258, pl. 178 I. Suda, 1975 Miuramisaki,Tokyo: Akio Nagasawa, 2012, n.p.

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ plus Buyers Premium and VAT*

In 1967, Issei Suda began his career as stage-photographer for the theatre troupe Tenjō Sajiki, founded by Japanese avant-garde luminary Shūji Terayama. From 1971 to 1977, Suda moved away from his commercial work and immersed himself in Fūshi Kaden, a personal project, for which he travelled throughout Japan and captured – within the square frame of his favoured 6x6 Hasselblad camera – what renowned curator Shōji Yamajishi referred to as ‘things that lie just below the surface of a modernized Japan, evoking nostalgia and a feeling for the past.’ Fūshi Kaden, translated as ‘transmission of the fower of acting style’, is taken from the 15th-century treatise from Zeami, Japanese philosopher and playwright, on the principles of classical Noh theatre. Suda responded to this text by seeking to reveal an underlying sense of mystery in his scenes of everyday life. This is most evident in the present photograph of a headless snake writhing upwards along a wooden wall of a shrine, which was taken by Suda moments afer he had encountered a couple of children teasing the snake and had set it free.

Suda’s seminal series Fūshi Kaden was serialised in Camera Mainichi in 1975-77, exhibited for the frst time at Nikon Salon in Tokyo and Osaka in 1977 and published as a book in 1978. In the following year, Suda was one of the 18 Japanese photographers selected for the exhibition Japan: A Self-Portrait, curated by Yamagishi and Cornell Capa and held at the International Center for Photography in New York. Suda has been the recipient of many Japanese awards, including the Domon Ken Award in 1997. His work has been widely exhibited since 1977, including his most recent museum retrospective at Tokyo’s Metropolitan Museum of Photography in 2013, and resides in many prominent institutions, including the National Museum of Modern Art, Tokyo; Museum of Fine Arts, Houston; SFMOMA and the J. Paul Getty Museum, which has the largest museum holding of his work.

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石内都 Ishiuchi Miyako Apartment, 1977–1978

Ishiuchi Miyako’s frst photobook Apartment, self-published in 1978, comprises photographs of old apartments – their exteriors, interiors and residents – in Tokyo and Yokohama. From 1977 to 1978, Ishiuchi studied these derelict post-war housings that were rapidly disappearing along with their communal way of life. Ishiuchi explains why she pointed her camera at this subject: Until we moved into the house my father built when I was 19 years old, my family of four lived in a six-tatami-mat sized apartment in Yokosuka. My father’s intention was to live there temporarily but it became longer. That experience was impactful. Apartments are temporary residences for most people; various people live there for a period and then leave. However, old apartments are alluring. There, I felt so many things left behind by humans. While shooting these old buildings, Ishiuchi was drawn to the traces left by generations of former residents and their untold stories, experiencing what she describes as ‘the amazing sensation of tapping into collective memory.’ Her emotionally charged photographs represent a poignant meditation on the intangible qualities of time, space and memory.

M. Ishiuchi, Apartment, Tokyo: Shashin Tsūshinsha, 1978, cover

Apartment #45 (lot 12), ofered here, is a bold composition in which the building nearly flls the entire frame. While the exterior is the focus of this haunting architectural portrait, which graced the front cover of Apartment, a resident in the intimate confnes of his room is the subject of Apartment #7 (lot 13). In this candid photograph, a young man smiles up at the camera as he lounges on his crumpled duvet, the wall behind him adorned with pin-ups; the largest one is of 1970s pop icon Momoe Yamaguchi, who, like Ishiuchi herself, grew up in the naval port city of Yokosuka. In 1979, Ishiuchi became the first female artist to receive the prestigious Kimura Ihei Award for her Apartment series, and the only woman to be included in the group exhibition Japan: A Self-Portrait, at the International Center of Photography, New York. Among her numerous awards, she became the frst Asian female artist to receive the Hasselblad Foundation International Award in Photography in 2014. She also represented Japan at the 2005 Venice Biennale and her work has been exhibited internationally, including recent museum retrospectives: Ishiuchi Miyako: Postwar Shadows at the J. Paul Getty Museum, Los Angeles (2015-16) and Ishiuchi Miyako: Grain and Image at the Yokohama Museum of Art (2017-18). Photographs from Apartment reside in the collections of major museums, including the J. Paul Getty Museum, Los Angeles; SFMOMA; Museum of Fine Arts, Houston; Hirshhorn Museum and Sculpture Garden, Washington, DC; and Tokyo Photographic Art Museum.

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Please note that the artist’s name appears in Japanese order with the surname before the forename.

12. Ishiuchi Miyako

13. Ishiuchi Miyako

Japanese, b. 1947

Apartment #45 東京蒲田 Kamata, Tokyo, 1977

Apartment #7 横浜泥亀 Deiki, Yokohama, 1977

Gelatin silver print. Image: 19.5 x 24.5 cm (7 5/8 x 9 5/8 in.) Sheet: 20.6 x 25.6 cm (8 1/8 x 10 1/8 in.) Signed in romaji, titled in English/J apanese and dated in ink on the verso; signed in Japanese, titled and dated in ink on a Certifcate of Authenticity accompanying the work.

Gelatin silver print. Image: 19.8 x 24.6 cm (7 3/4 x 9 5/8 in.) Sheet: 20.7 x 25.6 cm (8 1/8 x 10 1/8 in.) Signed in romaji, titled in English/ Japanese and dated in ink on the verso; signed in Japanese, titled and dated in ink on a Certifcate of Authenticity accompanying the work.

This work was selected for the current owner during a visit to Ishiuchi’s studio in 2009. At the time, it was confirmed that only one set of early prints from Apartment in this size exists. The Tokyo Photographic Art Museum holds another print of this image.

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ plus Buyers Premium and VAT*

Provenance Gallery Past Rays, Yokohama, 2009 Exhibited アパート Apartment, Ginza Nikon Salon, Tokyo, 4 - 9 July 1978, another Japan: A Self-Portrait, ICP, New York, April - May 1979, p. 90, another Apartment, 4th Kimura Ihei Award Exhibition, Ginza Nikon Salon, Tokyo, 29 May – 3 June 1979; Shinjuku Nikon Salon, Tokyo, 5 – 11 June 1979, another Ishiuchi Miyako: Hiroshima/Yokosuka, Meguro Museum of Art, Tokyo, 15 November 2008 - 11 January 2009, another Intractable and Untamed: Documentary Photography around 1979, Museum Ludwig, Cologne, 28 June - 05 October 2014, another The Origins of Japanese Contemporary Photography Ð Film grain as words, GoEun Museum of Photography, Busan, 9 June - 29 August 2018, another

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Literature M. Ishiuchi, Apartment, Tokyo: Shashin Tsūshinsha, 1978, cover and within Japan: A Self-Portrait, New York: ICP, 1979, p. 90

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ plus Buyers Premium and VAT*

Provenance Gallery Past Rays, Yokohama, 2009 Exhibited アパート Apartment, Ginza Nikon Salon, Tokyo, 4 - 9 July 1978, another Apartment, 4th Kimura Ihei Award Exhibition, Ginza Nikon Salon, Tokyo, 29 May – 3 June 1979; Shinjuku Nikon Salon, Tokyo, 5 – 11 June 1979, another Ishiuchi Miyako: Grain & Image, Yokohama Museum of Art, Yokohama, 9 December 2017 - 4 March 2018, another The Origins of Japanese Contemporary Photography Ð Film grain as words, GoEun Museum of Photography, Busan, 9 June - 29 August 2018, another Literature M. Ishiuchi, Apartment, Tokyo: Shashin Tsūshinsha, 1978, n.p. Ishiuchi Miyako: Grain & Image, Yokohama: Yokohama Museum of Art, 2017, p. 57

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Lot 12

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Lot 13

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14. Hans Bellmer

1902-1975

La Poupée, 1935-1936 Three gelatin silver prints. Each 5.7 x 5.7 cm (2 1/4 x 2 1/4 in.) Estimate £25,000-35,000 $32,700-45,800 €27,600-38,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Estate of the artist Ubu Gallery, New York, 2006 Literature Hans Bellmer: Photographe, Paris: Centre Georges Pompidou, 1983, pp. 72, 97, 100 T. Lichtenstein, Behind Closed Doors: The Art of Hans Bellmer, New York: ICP, 2001, pl. 48 Hans Bellmer: Petites Anatomies, Petites Images, New York: Ubu Gallery, 2006, pl. 8-9 Hans Bellmer, Louise Bourgeois Double Sexus, Berlin: Nationalgalerie, 2010, p. 136

The three images by Hans Bellmer, ofered here, were considered for inclusion in Les Jeux de la poupée (1949) but were never part of the final publication. They show his second doll series, crafted using ball joints for greater flexibility, which he shot from 1935 to 1938. These small contact prints were principally used as work prints and to make the interim volumes between Die Puppe (1934)/La Poupée (1936) and Les Jeux de la poupée; sometimes called La Poupée 2, these volumes without text of probably less than 10 copies were made in late 1936/early 1937 and were mostly given to friends. Early contact prints of La Poupée that are unbound and loose are extremely rare. Apart from three known examples per image, it is unlikely that many more exist.

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15. Bill Brandt

1904-1983

Nude, London, 1952 Gelatin silver print, printed 1970s. 50.4 x 40.3 cm (19 7/8 x 15 7/8 in.) Signed in white paint on the recto. Estimate £12,000-18,000 $15,700-23,600 €13,300-19,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Christie’s, New York, 31 March 2009, lot 29

16. Imogen Cunningham 1883-1976 Triangles, 1928 Gelatin silver print, mounted, printed later. 9.8 x 7.5 cm (3 7/8 x 2 7/8 in.) Signed, dated in pencil and Strathmore blindstamp on the mount; printed signature, title and date on the artist’s Green Street studio label afxed to the reverse of the mount. scan for more on this lot

Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

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17. Henri Cartier-Bresson 1908-2004 Siphnos, Greece, 1961 Gelatin silver print, printed later. 24.1 x 35.9 cm (9 1/2 x 14 1/8 in.) Signed in ink and copyright credit blindstamp in the margin. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Bonhams, New York, 19 May 2009, lot 79

18. Henri Cartier-Bresson 1908-2004 Behind the Gare Saint-Lazare, Paris, 1932 Gelatin silver print, printed later. 45.3 x 30.9 cm (17 7/8 x 12 1/8 in.) Signed in ink and copyright credit blindstamp in the margin. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Bonhams, New York, 19 May 2009, lot 77

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19. Henri Cartier-Bresson

20. Henri Cartier-Bresson

1908-2004

Alicante, Spain, 1933

Roman Amphitheater, Valencia, Spain, 1933

Gelatin silver print, printed later. 24.4 x 36.1 cm (9 5/8 x 14 1/4 in.) Signed in ink in the margin.

Gelatin silver print, printed later. 24.2 x 35.9 cm (9 1/2 x 14 1/8 in.) Signed in ink and copyright credit blindstamp in the margin.

Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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Lot 19

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Lot 20

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21. Henri Cartier-Bresson

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1908-2004 Marseille, France, 1932 Gelatin silver print, printed circa 1970. 36.1 x 24.1 cm (14 1/4 x 9 1/2 in.) Signed in ink in the margin. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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22. Henri Cartier-Bresson 1908-2004 Aquila degli Abruzzi, Italy, 1951 Gelatin silver print, printed later. 35.9 x 24 cm (14 1/8 x 9 1/2 in.) Signed in ink and copyright credit blindstamp in the margin; titled and dated in pencil on the verso.

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Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

While on assignment for publications such as Holiday and Harper’s Bazaar in the early 1950s, Henri Cartier-Bresson explored the cities, neighbourhoods and towns of Italy, unveiling the country’s unique charm to the magazines’ readerships. These trips revealed not only Italy’s natural landscape, but also its constructed social landscape; the resulting image epitomises Cartier-Bresson’s masterful ability to capture the serendipity of life’s everyday moments.

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*The amount of BuyerÕs Premium, VAT and, if applicable, ArtistÕs Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the BuyerÕs Guide online or in this catalogue. BuyerÕs Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the BuyerÕs Premium.

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23. Henri Cartier-Bresson 1908-2004 Madurai, India, 1947 Gelatin silver print, printed later. 36 x 24.4 cm (14 1/8 x 9 5/8 in.) Signed in ink and copyright credit blindstamp in the margin. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

24. Henri Cartier-Bresson 1908-2004 Construction of the Beijing University swimming pool by students, June 1958 Gelatin silver print. 20.3 x 31.3 cm (7 7/8 x 12 3/8 in.) Copyright credit reproduction limitation stamp on the verso. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Henri Cartier-Bresson travelled to China for LIFE magazine twice, in 1948 and 1958, each time deftly capturing with a humanist eye the country at a time of political and economic change. The work, on ofer here, is an early print from his second trip in 1958 during which he completed an extensive four-month, 7,000-mile tour of the country at the beginning of the communist campaign the ‘Great Leap Forward’. Based on the USSR’s Five-year Plans, this economic and social agenda included agricultural collectivisation and rapid industrialisation for its largely rural, agrarian population.

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25. Robert Capa

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1913-1954

Normandy, 1944 Gelatin silver print. 14 x 20.4 cm (5 1/ 2 x 8 in.) Credit stamp, ‘Life Photo by Robert Capa’ stamp and typed caption label on the verso. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ♠ plus Buyers Premium and VAT, ARR applies*

26. Philip Jones Griffiths

1936-2008

Since ancient times, the shield has presented a challenge…, 1973

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Gelatin silver print, printed 2001. 33.8 x 49.8 cm (13 1/4 x 19 5/8 in.) Signed in pencil on the verso. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

27. Werner Bischof

1916-1954

Men and women at the fair, Pisac, 1954 Gelatin silver print, printed later. 31 x 45.7 cm (12 1/4 x 17 7/8 in.) Signed by Marco Bischof, the artists’s son, in ink and copyright credit reproduction limitation Estate stamp on the verso. Estimate £1,500-2,500 $2,000-3,300 €1,700-2,800 ‡

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plus Buyers Premium and VAT*

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Lot 28 scan for more on lot 29

28. Josef Koudelka

b. 1938

Gypsy Musicians at Festival, 1966 Gelatin silver print, printed later. 34.8 x 54 cm (13 3/4 x 21 1/4 in.) Signed in pencil on the verso. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

29. Josef Koudelka

b. 1938

The Black Triangle, Czechoslovakia, 1991-1993 Gelatin silver print, printed later. 17.5 x 54 cm (6 7/8 x 21 1/4 in.) Signed in pencil on the verso. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Lot 29

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30. Fan Ho

1931-2016

Road Workers, 1954 Gelatin silver print. 8.9 x 50.1 cm (3 1/2 x 19 3/4 in.) Signed, titled, dated, annotated ‘“Honor Print Award,” Prague International Salon, Czechoslovakia, 1963’ in ink, credit stamp and ‘Concurso Internacional de Fotografía’ sticker on the verso. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ‡

Provenance Private Collection, California Chinese photographer Fan Ho’s experimentations with camera angles and cropping as well as his dramatic use of light and shadow resulted in highly stylised street scenes. Believed to be unique and appearing at auction for the frst time, the present work is an exceptional example of his compositional mastery and experimental vision.

plus Buyers Premium and VAT*

31. Robert Doisneau

1912-1994

Le baiser de l’Hôtel de Ville, March 1950 Gelatin silver print, printed later. 24.1 x 30.1 cm (9 1/2 x 11 7/8 in.) Signed in ink in the margin; initialled, titled and dated in ink on the verso. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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Lot 30

32. AndrŽ Villers

1930-2016

Picasso with the revolver and hat gifted by Gary Cooper, 1958 Archival pigment print, mounted, printed later. Image: 119.2 x 94 cm (46 7/8 x 37 in.) Frame: 146 x 117 cm (57 1/2 x 46 1/8 in.) Signed and numbered 7/7 in ink in the margin. Certifcate of authenticity accompanying the work. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ♠ plus Buyers Premium and VAT, ARR applies*

Before André Villers passed away in 2016, he selected four of his most quintessential Picasso images to be printed oversized in a limited edition of 7 + 1 AP.

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33. André Kertész

1894-1985

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Satiric Dancer, Paris, 1926 Gelatin silver print, printed later. 24.9 x 19.9 cm (9 3/4 x 7 7/8 in.) Signed, dated and annotated ‘Paris’ in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies* scan for more on lot 34

34. Marc Riboud

1923-2016

The Painter of the Eiffel Tower, Paris, France, 1953 Gelatin silver print, printed 2007. 27.4 x 18.3 cm (10 3/4 x 7 1/4 in.) Signed, dated and annotated ‘Paris’ in ink in the margin; credit stamp on the verso.

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Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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35. Irving Penn

1917-2009

Cretan Landscape, 1965 Platinum-palladium print, mounted, printed later. 39.4 x 56 cm (15 1/2 x 22 in.) Signed, initialled, titled, numbered 1/25 and annotated in pencil, typed title on the Condé Nast copyright credit reproduction limitation label afxed to the reverse of the mount. scan for more on lot 37

Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ plus Buyers Premium and VAT*

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36. Robert Mapplethorpe

1946-1989

Green Amaryllis from Flowers, 1987 Toned photogravure. 48.5 x 48.5 cm (19 1/8 x 19 1/8 in.) Signed, dated and numbered 11/25 in pencil in the margin. One from an edition of 25 + 5 APs. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 • plus Buyers Premium and VAT*

37. Robert Mapplethorpe 1946-1989 Hyacinth, 1987 Photogravure. 83 x 81.4 cm (32 5/8 x 32 in.) Signed, dated, annotated ‘Presentation Proof’ in pencil and Graphicstudio blindstamp in the margin. One from an edition of 30 + 11 APs. Estimate £15,000-20,000 $19,600-26,200 €16,600-22,100 ‡ plus Buyers Premium and VAT*

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The Robert Tibbles Collection: Young British Artists & More

38. Robert Mapplethorpe 1946-1989

Estimate £40,000-60,000 $52,300-78,500 €44,200-66,300 plus Buyers Premium and VAT*

Provenance Hamiltons Gallery, London

Hermes, 1988 Platinum print. 48.5 x 48 cm (19 1/8 x 18 7/8 in.) Signed, titled, numbered 3/5 and copyright credit by Michael Ward Stout, Executor of the Mapplethorpe Estate, in pencil on the verso.

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39. Irving Penn

1917-2009

Three Rissani Women with Bread, 1971 Platinum-palladium print, mounted, printed later. 55 x 49.7 cm (21 5/8 x 19 5/8 in.) Signed, titled, dated, numbered 24/32, annotated in pencil and Penn-Condé Nast copyright credit reproduction limitation and edition stamps on the reverse of the mount.

Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ plus Buyers Premium and VAT*

Provenance Bonhams, New York, 19 May 2009, lot 142

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40. Richard Avedon

1923-2004

Dovima with elephants, Evening dress by Dior, Cirque dÕHiver, Paris, August, 1955 Gelatin silver print, printed 1979. 25.4 x 19.8 cm (10 x 7 3/4 in.) Signed, numbered 2/100 in pencil, copyright credit reproduction limitation, edition, title and date stamps on the verso.

Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ plus Buyers Premium and VAT*

Provenance Private Collection, US Phillips, New York, 1 April 2009, lot 31

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41. Helmut Newton

1920-2004

Elsa Peretti as a Bunny, New York, 1975 Gelatin silver print. 58.9 x 39.5 cm (23 1/4 x 15 1/2 in.) Signed, titled, dated and numbered 4/10 in pencil on the verso. Estimate £40,000-60,000 $52,300-78,500 €44,200-66,300 ‡ plus Buyers Premium and VAT*

Provenance Camera Work, Berlin, 2001 Christie’s, New York, Icons of Glamour and Style: The Constantiner Collection, 16-17 December 2008, lot 217 Exhibited Pulp Art: Vamps, Villains and Victors from the Robert Lesser Collection, Brooklyn Museum of Art, 16 May - 31 August 2003, this lot

Helmut Newton’s 1975 photograph of Elsa Peretti dressed in a Playboy-associated ‘Bunny’ costume by Halston and posed in strong daylight against a backdrop of New York’s towering skyscrapers has been widely published, frst in 1976 in Vogue Paris and his frst book White Women. Peretti recalls the impromptu shoot: One morning, he said, ‘I want to do a picture of you.’ I didn’t know what to wear. I went to my closet and came out wearing this costume I’d worn to a party with Halston. Helmut was flabbergasted. He took me on the terrace and took the photo. It was 11 A.M. Newton’s eye for commanding sensuality, provocative scenarios and incongruous juxtapositions, as exemplifed here, revolutionised the conventions of fashion and glamour photography.

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Lot 42

‘Te snake wound up her body very slowly. Nobody was telling it what to do. I could hardly believe what I was seeing. When the snake got to her ear, he kissed her and put out his tongue. Ten the shoot was over and I was crying.’ Polly Mellen, Fashion Editor, American Vogue, 1979-1990

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42. Richard Avedon

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1923-2004

Nastassja Kinski and the Serpent, Los Angeles, California, June 14, 1981

43. Herb Ritts

1952-2002

Cindy Crawford, Costa Careyes, 1998

Gelatin silver print. 82.2 x 124.9 cm (32 3/8 x 49 1/8 in.) Signed, numbered 93/200 in pencil, copyright credit reproduction limitation, title, date and edition stamps on the verso.

Gelatin silver print, mounted. 35.4 x 47.6 cm (13 7/8 x 18 3/4 in.) Signed by the artist, titled, dated, numbered 14/25 and annotated by the Herb Ritts Studio in pencil on the reverse of the mount.

Estimate £50,000-70,000 $65,400-91,600 €55,300-77,400 ‡

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300

plus Buyers Premium and VAT*

Provenance Sotheby’s, New York, 9 October 2009, lot 213

Provenance Fahey Klein Gallery, Los Angeles, 2002

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Lot 43

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44. Horst P. Horst

1906-1999

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Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 45.6 x 34.7 cm (17 7/8 x 13 5/8 in.) Signature blindstamp in the margin; signed, titled ‘Corset’, dated and annotated in pencil on the verso. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ‡ plus Buyers Premium and VAT*

Provenance Sotheby’s, London, 13 May 2008, lot 142

45. Horst P. Horst

1906-1999

Round the Clock I, New York, 1987 Gelatin silver print, printed later. 43.7 x 36 cm (17 1/4 x 14 1/8 in.) Signature blindstamp on the recto; signed, titled and dated in pencil on the verso. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ plus Buyers Premium and VAT*

Provenance Swann Galleries, New York, 14 May 2009, lot 379

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46. David Sims

b. 1966

Kate Moss for Vogue Paris, September 2005 Archival pigment print, mounted. 137 x 111 cm (53 7/8 x 43 3/4 in.) Signed and numbered 1/5 in ink on an artist label afxed to the reverse of the frame. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ♠ † plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist, 2012

47. David Sims

b. 1966

Kate Moss for Vogue Paris, March 2004 Archival pigment print, mounted. 137 x 111 cm (53 7/8 x 43 3/4 in.) Signed and numbered 1/5 in ink on an artist label afxed to the reverse of the frame. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ♠ † plus Buyers Premium and VAT, ARR applies*

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Provenance Acquired directly from the artist, 2012

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Peter Lindbergh, whose career spanned more than four decades until his death in September 2019, is celebrated for his humanist approach to fashion photography, resulting in emotive portraits rendered in his preferred language of black and white: ‘The real world is in colour so if you use black and white, you take it out of the real world, out of the banal.’

48. Peter Lindbergh

1944-2019

Milla Jovovich, New York, 1996 Gelatin silver print. 50.3 x 33 cm (19 3/4 x 12 7/8 in.) Signed, titled, dated, numbered 2/25 in pencil, copyright credit and edition stamps on the verso. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gagosian Gallery, Paris

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49. Peter Lindbergh

1944-2019

Mathilde on Eiffel Tower, Rolling Stone, 1989 Gelatin silver print. 55.8 x 45.1 cm (21 7/8 x 17 3/4 in.) Signed, titled and dated in pencil on the verso. One from an edition of 25. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Stockholms Auktionsverk, Modern Art & Works of Art, 29 April 2009, lot 01069

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Mitch Epstein’s American Power series taken from 2003-08 explores energy – how it is created, utilised and its transformation on the American landscape. Epstein documented sites around the country, from the largest refneries and power plants to the afermath of Hurricane Katrina, culminating in the publication of his American Power book in 2009.

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50. Mitch Epstein

b. 1952

51. Mitch Epstein

b. 1952

BP Carson Refinery, California from American Power, 2007

Hoover Dam Bypass Project, Nevada from American Power, 2007

Chromogenic print, mounted. Image: 112.5 x 141.5 cm (44 1/4 x 55 3/4 in.) Frame: 116.5 x 145.9 cm (45 7/8 x 57 1/2 in.) Signed, titled, dated and numbered 4/6 in ink on the reverse of the mount.

Chromogenic print, mounted. Image: 113 x 142 cm (44 1/2 x 55 7/8 in.) Frame: 116.5 x 145.5 cm (45 7/8 x 57 1/4 in.) Signed, titled, dated and numbered 1/6 in ink on the reverse of the mount.

Estimate £15,000-25,000 $19,600-32,700 €16,600-27,600 ‡

Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡

plus Buyers Premium and VAT*

Provenance Sikkema Jenkins & Co., New York

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Lot 52

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Lot 53 *The amount of BuyerÕs Premium, VAT and, if applicable, ArtistÕs Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the BuyerÕs Guide online or in this catalogue. BuyerÕs Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the BuyerÕs Premium.

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52. Edward Burtynsky

53. Edward Burtynsky

b. 1955

54. Edward Burtynsky

b. 1955

Silver Lake Operations #2, Lake Lefroy, Western Australia, 2007

Silver Lake Operations #12, Lake Lefroy, Western Australia, 2007

Railcuts #1, C.N. Track, Skihist Provincial Park, British Columbia, 1985

Chromogenic print, mounted. Image: 121 x 151 cm (47 5/8 x 59 1/2 in.) Frame: 127 x 157 cm (50 x 61 3/4 in.) Signed in ink, printed title and date on an artist label afxed to the reverse of the mount. One from an edition of 6.

Chromogenic print, mounted. Image: 120.5 x 151 cm (47 1/2 x 59 1/2 in.) Frame: 124.5 x 154.7 cm (49 x 60 7/8 in.) Signed in ink, printed title and date on an artist label afxed to the reverse of the mount. One from an edition of 6.

Chromogenic print, mounted. Image: 68.7 x 86.6 cm (27 x 34 1/8 in.) Frame: 95.5 x 103.5 cm (375/8 x 403/ 4 in.) Signed in ink, printed title, date and number AP1 on an artist label afxed to the reverse of the mount. AP1 from an edition of 10 + 2 APs.

Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600

plus Buyers Premium and VAT*

Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 plus Buyers Premium and VAT*

Lot 54

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55. Axel HŸtte

b. 1951

Las Vegas, New York, New York, 2003 Duratrans and mirror. Image: 83 x 113.9 cm (32 5/8 x 44 7/8 in.) Frame: 114 x 144.2 cm (44 7/8 x 56 3/4 in.) Signed, titled, dated and numbered 1/4 in ink on the reverse of the frame. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*

56. Axel HŸtte

b. 1951

Los Angeles, Standard Hotel, 2005 Duratrans and mirror. Image: 118 x 176 cm (46 1/2 x 69 1/4 in.) Frame: 156.7 x 206.7 cm (61 3/4 x 81 3/8 in.) Signed, titled, dated and numbered 1/4 in ink on the reverse of the frame. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*

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57. Gregory Crewdson

b. 1962

Untitled, Summer (trouble with Harry’s) from Beneath the Roses, 2004 Chromogenic print, face-mounted and mounted. Image: 143 x 221 cm (56 1/4 x 87 in.) Frame: 163.2 x 242 cm (64 1/4 x 95 1/4 in.) Signed in ink, printed title, date and number AP1/2 on a gallery label afxed to the reverse of the mount.

‘You have an expectation, you have a dream of what your picture is going to be, and then something always necessarily goes wrong. When things go wrong in the right way, it adds a certain unexpected mystery to the picture and transforms your original expectation of things.’ Gregory Crewdson, Brief Encounters

Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ plus Buyers Premium and VAT*

Provenance Luhring Augustine, New York

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Begun in 1958, this intimate series of female impersonators mainly features members of the Jewel Box Revue, a touring company that performed in clubs throughout New York City. In the present works, the subjects are undressed backstage – at their most vulnerable as they transition from man to woman and back again – and are presented as refections in a mirror, surrounded by their personal efects. Arbus’s access to the performers’ dressing rooms, their private spaces and moments, demonstrates her ability to gain the trust of her chosen subjects.

58. Diane Arbus

1923-1971

Tattooed female impersonator applying make-up in a mirror, N.Y.C., 1959 Gelatin silver print, printed 1959-61. 23 x 15.4 cm (9 x 6 1/8 in.) Stamped ‘A Diane Arbus Print’, signed by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ plus Buyers Premium and VAT*

Provenance Fraenkel Gallery, San Francisco

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59. Diane Arbus

1923-1971

Blonde female impersonator framed in a mirror beneath a light bulb, N.Y.C., 1958 Gelatin silver print, printed 1958-60. 23 x 15.4 cm (9 x 6 1/8 in.) Stamped ‘A Diane Arbus Print’, signed by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ plus Buyers Premium and VAT*

Provenance Fraenkel Gallery, San Francisco

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60. Sally Mann

b. 1951

Untitled #13 from Deep South, 1998 Gelatin silver print, toned with tea, mounted. Image: 94.5 x 119 cm (37 1/4 x 46 7/8 in.) Frame: 109.5 x 134 cm (43 1/8 x 52 3/4 in.) Signed, titled, dated and numbered 5/10 in pencil on the reverse of the mount. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 plus Buyers Premium and VAT*

Provenance Acquired directly from the artist Edwynn Houk Gallery, New York Private Collection, Europe

61. Sally Mann

b. 1951

The Three Graces, 1994 Gelatin silver print. 19.8 x 24.5 cm (7 3/4 x 9 5/8 in.) Signed, titled, dated with copyright symbol, numbered 14/25, copyright notation and edition information in pencil on the verso. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Edwynn Houk Gallery, New York

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62. Anne Collier

b. 1970

Woman With A Camera (Polaroid), 2015 Chromogenic print, mounted. Image: 138.4 x 116 cm (54 1/2 x 45 5/8 in.) Frame: 151.5 x 129 cm (59 5/8 x 50 3/4 in.) Signed in ink, printed title, date and number 4/5 on an artist label afxed to the reverse of the frame. One from a soldout edition of 5 + 2 APs. Estimate £18,000-22,000 $23,600-28,800 €19,900-24,300 ‡

The featured work is part of Anne Collier’s ongoing Women With Cameras series, for which she sourced found objects – snapshots, magazines, postcards and movie stills dating from the 1970s into the early 2000s – from fea markets and eBay, photographed them from a distance against a neutral background and then printed her images as oversized prints. Her image-making process, combining still-life photography with use of appropriation, questions the ways in which these images are presented and perceived. Here, we are confronted with a photograph of a photograph of a woman in the act of photographing – a Polaroid print ejecting from her camera. Through her multi-layered imagery, Collier aims to elicit ‘a sense of emotional or psychological uncertainty’ in her exploration of the power dynamics of taking pictures.

plus Buyers Premium and VAT*

Provenance Anton Kern Gallery, New York

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63. Ayana V. Jackson

b. 1977

Cimarron from The Becoming Subject, 2015 Archival pigment print, mounted. 108 x 76.9 cm (42 1/2 x 30 1/4 in.) Signed in ink, printed title, date and number 2/6 on a Certifcate of Authenticity accompanying the work. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡

Provenance Gallery MOMO, Johannesburg

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‘And now I am having myself documented the way that I want to be seen so that made me think about becoming, the notion of becoming, and one of the questions around black people in Victorian dress, in Victorian times, is whether or not they are trying to be like the white people of the time. So my question is, what about the possibility that you simply want to wear the fashion of the times? Does it necessarily have to be in conversation with or in aspiration for?’ Ayana V. Jackson

plus Buyers Premium and VAT*

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64. Mary Sibande

b. 1982

They donÕt make them like they used to, 2008 Archival pigment print. 82.3 x 55.3 cm (32 3/8 x 21 3/4 in.) Signed, titled, dated and numbered 9/10 in pencil in the margin. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Gallery MOMO, Johannesburg

65. DesirŽe Dolron

b. 1963

Cerca Muralla from Te D’ Todos Mis Sue–os, 2002 Dye destruction print, face-mounted and mounted. 79.5 x 79.5 cm (31 1/4 x 31 1/4 in.) Signed, titled, dated and numbered 3/8 in ink on the reverse of the mount. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Michael Hoppen Gallery, London

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66. Pieter Hugo

b. 1976

Mallam Mantari Lamal with Mainasara, Nigeria from The Hyena and Other Men, 2005 Chromogenic print, mounted. Image: 152 x 152 cm (59 7/8 x 59 7/8 in.) Frame: 176 x 176 cm (69 1/4 x 69 1/4 in.) Signed, titled, dated and numbered 2/7 in ink on an artist label afxed to the reverse of the frame.

Estimate £25,000-35,000 $32,700-45,800 €27,600-38,700 ‡ plus Buyers Premium and VAT*

Provenance Yossi Milo Gallery, New York

For his seminal series The Hyena and Other Men, renowned South African photographer Pieter Hugo documented Nigeria’s ‘hyena men’, a group of travelling performers who work with hyenas, monkeys and snakes. The Metropolitan Museum of Art, New York, holds another print from this sold-out edition of 7 + 2 APs.

Literature P. Hugo, The Hyena & Other Men, Munich: Prestel, 2007, n.p. Pieter Hugo: This Must Be The Place, Munich: Prestel, 2012, p. 133

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67. Peter Beard

1938-2020

World-record cow elephant tusk (found in marsabit Kenya) with Magritte RammŽ – for ÒTuskÓ, 1976 Unique Polaroid print with ink and paint, executed later. Sheet: 87 x 55.5 cm (34 1/4 x 21 7/8 in.) Signed, titled, dated and annotated in ink on the recto. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 plus Buyers Premium and VAT*

Provenance Gert Elfering, 2006

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68. David Goldblatt

1930-2018

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Woman going to the trading store holding money under her blanket, near Flagstaff, Transkei, 1975 Gelatin silver print, printed later. 45.8 x 45.1 cm (18 x 17 3/4 in.) Signed, titled ‘Near Flagstaf, Transkei’ and dated in pencil on the verso. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 plus Buyers Premium and VAT*

69. David Goldblatt

1930-2018

Blanketed man at the trading store, Hobeni, Bomvanaland, Transkei, 1975 Gelatin silver print, printed later. 45.8 x 45.2 cm (18 x 17 3/4 in.) Signed, titled ‘Hobeni, Bomvanaland, Transkei’ and dated in pencil on the verso. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 plus Buyers Premium and VAT*

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70. David Goldblatt

1930-2018

Teekloof in the Steenkampsberge, Northern Cape, 2002 Archival pigment print, mounted. Image: 98.2 x 123.5 cm (38 5/8 x 48 5/8 in.) Frame: 111.5 x 135 cm (43 7/8 x 53 1/8 in.) Signed, dated and numbered 3/6 in pencil in the margin. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 plus Buyers Premium and VAT*

71. Peter Beard

1938-2020

Boran Woman, Marsabit Hospital, Kenya, 1962 Gelatin silver print with ink, executed later. 49 x 33.1 cm (19 1/4 x 13 in.) Signed, titled and dated in ink with partial handprint on the recto. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ plus Buyers Premium and VAT*

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72. Peter Beard

1938-2020

Maureen and a late-night feeder, 2:00 am, Hog Ranch, 1987 Gelatin silver print with paint, executed later. 31.6 x 46.8 cm (12 1/2 x 18 3/8 in.) Signed, titled, dated and annotated in ink on the recto.

Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡

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plus Buyers Premium and VAT*

Provenance Acquired directly from the artist Private Collection, US Phillips, New York, 14 November 2009, lot 18

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73. Peter Beard

1938-2020

Mick Jagger at Madison Square Garden (after Montauk Point), July 1972 Unique work, comprising gelatin silver print with ink, paint, blood and afxed gelatin silver prints, a Rolling Stones world tour VIP patch and a key, executed later. 58 x 39 cm (22 7/8 x 15 3/8 in.) Signed, titled, dated and extensively annotated in ink on the recto. Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ plus Buyers Premium and VAT*

Provenance The Time is Always Now, New York Gert Elfering Private Collection, US Phillips, New York, New York New York, 12 December 2009, lot 125

This unique work is a testament to the friendship between two legendary fgures – Peter Beard and Sir Mick Jagger – who frst met in 1972 when Beard was commissioned to photograph the Rolling Stones on their Exile on Main Street tour. The collaged elements include images from Montauk, related to the band, as well as from Africa, a Rolling Stones 94/95 Voodoo Lounge world tour VIP patch, dated 8/17 likely from the 1994 concert in Giants Stadium, and a mysterious key.

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74. Peter Beard

1938-2020

756 elephants / Tsavo at the Mkomazi Border 1976 for The End of the Game / Last word from Paradise / …Destroyed social units in misery-likes company formation; Suffering over population, stress, heart disease, constipation + MISMANAGEMENT / (35,000-40,000 would die in this wasteland), 1976 Toned gelatin silver print with ink, blood and afxed snake skin, executed later. Sheet: 79.4 x 105.4 cm (31 1/4 x 41 1/2 in.) Frame: 102 x 128 cm (40 1/8 x 50 3/8 in.) Signed, titled, dated and extensively annotated in ink and blood on the recto; exhibition stamp on the reverse of the frame.

Provenance The Time Is Always Now, New York Phillips, New York, 4 October 2011, lot 182 Exhibited Oltre la fne del Mondo, Palazzo Reale, Milan, 1997 Literature J. Bowermaster, The Adventures and MisAdventures of Peter Beard in Africa, Boston: Bulfnch, 1993, pp. 38-39 (variant) P. Beard, The End of the Game, Cologne: Taschen, 2008, wraparound cover (detail) Peter Beard, Cologne: Taschen, 2013, pl. 13 (variant)

Estimate £60,000-80,000 $78,500-105,000 €66,400-88,500 ‡ plus Buyers Premium and VAT*

To the left of the composition is a line from F. Scott Fitzgerald’s The Great Gatsby in Peter Beard’s distinctive handwriting: No-one dreamed that the game could ever be depleted by a few immigrants with maps and gunpowder. And yet, within a matter of years, this paradise would become a part of the modern world, a battlefeld desert littered with the carcasses of elephants beyond number as Fitzgerald wrote of another paradise: ‘For a transitory enchanted moment man must have held his breath, in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.’ 756 elephants presents the quintessential Peter Beard – visual poet, alchemist, prophet – and epitomises his unique aesthetic and socially conscious approach. Once described as ‘Odysseus with a camera’, he was a visionary ahead of his time whose powerful work continues to resonate long afer its creation.

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Photographs from the Marie & David

COOPER COLLECTION

As London’s most powerful lawyer, specialising in property and planning, David Cooper was the man behind the planning permissions granted for Battersea Power Station and Arsenal’s move from Highbury to the Emirates Stadium. In 2007, afer two decades as a partner at Gouldens law frm, he became independent, working with a very select circle of clients. A self-professed ‘mad art collector’, David’s passion for collecting developed alongside his professional career. The remarkable collection amassed by David and his wife Marie, also a solicitor, ranges from Pre-Raphaelite paintings and Rembrandt Bugatti bronzes to rare books, art glass, gentlemen’s canes, cars and photographs, highlights of which are ofered here. Spanning fve decades, the 12 featured lots represent seven female icons in flm, fashion and music – Brigitte Bardot, Marilyn Monroe, Raquel Welch, Audrey Hepburn, Faye Dunaway, Kate Moss and Amy Winehouse – as captured by seven photographers from the 20th and 21st century. Among them, Eve Arnold and Terry O’Neill are two photographers whom the Coopers had met and whose work they have collected in depth. Arnold’s black-and-white images of Marilyn taken during the flming of her last completed feature, The Misfits (1961), and a group of O’Neill’s most desirable photographs, including an oversized print of his then girlfriend Faye Dunaway by the Beverly Hills Hotel pool the day afer winning the Academy Award for Best Actress, are showcased in this ofering. Anchoring the collection are Richard Avedon’s 1959 portrait of Brigitte Bardot, a tour-de-force in its subtle perfection and radical composition, and Mario Testino’s larger-than-life portrait of Kate Moss in a unionfag jacket with her dress pulled up, taken in the period interior of the historical Master Shipwright’s House in Deptford, London. The seamless juxtaposition of the old and the new embodied in this iconic fashion image perfectly echoes the all-encompassing interests and passions refected in the Coopers’ collection, which is housed in their Belgravia residence. This ofering presents collectors a rare opportunity to acquire exemplary photographs by 20th and 21st century masters.

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M&D COOPER COLLECTION

75. Richard Avedon

1923-2004

Brigitte Bardot, hair by Alexandre, Paris, January 27, 1959 Gelatin silver print. 58.7 x 51 cm (23 1/8 x 20 1/8 in.) Signed and numbered 22/35 in ink in the margin; title, date and credit reproduction limitation stamps on the verso. Estimate £180,000-220,000 $236,000-288,000 €199,000-243,000 plus Buyers Premium and VAT*

Provenance Beetles+Huxley, London, 2005 Literature ‘Eyes on Paris and America’, HarperÕs Bazaar, March 1959 R. Avedon & T. Capote, Observations, New York: Simon & Schuster, 1959, p. 106 R. Avedon et al., Evidence, 1944-1994, New York: Random House, 1994, p. 20 Avedon Fashion: 1944-2000, New York: ICP and The Richard Avedon Foundation, 2000, p. 87 R. Avedon & A. Hollander, Woman in the mirror, New York: Abrams, 2005, n.p. R. Avedon & N. Stevens, Performance, New York: Abrams, 2008, p. 65 R. Avedon et al., Richard Avedon: Photographs 1946-2004, Ostfldern: Hatje Cantz, 2014, n.p. HarperÕs Bazaar Espa–a, July-August 2014, cover

The brilliance of Richard Avedon’s portraits lies in the effortless beauty and perfection of his prints. In 1959, his subject was the French bombshell Brigitte Bardot who catapulted into the public sphere in 1956 following the release of Et DieuÉ CrŽa la Femme (And God Created Woman). At the time this portrait was taken, Bardot was quickly escalating to a new peak with her career, while Avedon was about to reach a 15-year anniversary at HarperÕs Bazaar and in the process of creating his frst book, Observations, in which he would include the recently taken portrait of Bardot as one of his masterworks. With Bardot’s hair styled by the famed Alexandre de Paris (Louis Alexandre Raimon) whose roster of clients included Elizabeth Taylor, the Duchess of Windsor, and nearly every fashion house in Paris, this iconic photograph was shot in January for inclusion in HarperÕs BazaarÕs March issue, ‘Eyes on Paris and America’. Just as Avedon is known to capture the essence of his sitters in his portraits, Alexandre was quoted as saying, ‘[I aim] to recognise a woman’s personality and match her hair to it’. To further elevate the image and bring the portrait ‘into the open’, Avedon double-exposed Bardot’s famous mane, already styled in volumes by Alexandre, to create the appearance of sudden movement, framing Bardot’s delicate facial features in a cascade of swaying, rippling waves. To add further appeal, Avedon chose to photograph Bardot against a grey background, as opposed to his more heavily utilised white. On the selection of grey, Avedon once commented, ‘With the tonal background, you’re allowed the romance of a face coming out of the dark.’ Indeed, by using the grey background, which he also selected for the portrait of the American icon Marilyn Monroe in 1957, Avedon allows for an even more intimate reading of the image with a high contrast focused on Bardot’s most recognised features: the big hair, the luscious lips and the lined eyes with a seductive, commanding gaze. His tightly cropped and straight-on portrait makes visible the intensity of Bardot’s inner sensuality. The resulting masterful portrait of Bardot was featured as a full-page image in Avedon’s book Observations and has continued to be synonymous with the legacies of these two legends. As of this writing, the other prints from the edition are held in various collections, including MoMA, New York and the Center for Creative Photography, Tucson, and with the Richard Avedon Foundation.

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M&D COOPER COLLECTION

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M&D COOPER COLLECTION

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M&D COOPER COLLECTION

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76. Mario Testino

b. 1954

Exposed, Kate Moss, London, 2008 Chromogenic print, mounted. Image: 230 x 170 cm (90 1/2 x 66 7/8 in.) Frame: 245.5 x 185.5 cm (96 5/8 x 73 in.) Signed in ink, printed title, date, number 2/2 + 2 APs and copyright notation on an artist label afxed to the reverse of the mount. Signed Certifcate of Authenticity accompanying the work. One from a soldout edition of 2 + 2 APs.

Provenance Beetles+Huxley, London, 2016 Literature British Vogue, October 2008, p. 320 M. Testino, Kate Moss by Mario Testino, Cologne: Taschen, 2014, n.p. Vogue 100: A Century of Style, London: NPG, 2016, p. 260, titled Kate Moss at the Master Shipwright’s House, Deptford

Estimate £80,000-120,000 $105,000-157,000 €88,400-133,000 plus Buyers Premium and VAT*

‘Mario took me to a new level of glamour. I don’t think anybody had seen me as any kind of sexy model before he did. He was the one that transformed me. Before him I was just a grungy girl, but he saw me differently.’ Kate Moss

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77. Terry OÕNeill

1938-2019

Raquel Welch from ÔOne Million Years B.C.Õ, 1966 Gelatin silver print, printed later. 46 x 45.5 cm (18 1/8 x 17 7/8 in.) Signed by the artist and Raquel Welch and numbered 26/50 in ink in the margin. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ♠

78. Terry OÕNeill

1938-2019

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Faye Dunaway, Beverly Hills, 1977 Chromogenic print, printed later. Image: 142 x 142 cm (55 7/8 x 55 7/8 in.) Frame: 165.5 x 165.5 cm (65 1/8 x 65 1/8 in.) Signed and numbered 44/50 in ink in the margin. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 ♠ plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT, ARR applies*

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M&D COOPER COLLECTION

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79. Mario Sorrenti

b. 1971

Kate Moss for Calvin Klein Obsession campaign, 1993 Archival pigment print, printed later. 64.2 x 51 cm (25 1/4 x 20 1/8 in.) Signed and numbered 2/30 in pencil on the verso. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ♠ plus Buyers Premium and VAT, ARR applies*

80. Inez van Lamsweerde

and Vinoodh Matadin b. 1963 and b. 1961 Kate Moss for Vogue Paris, April 2008 Archival pigment print. 43.7 x 65.7 cm (17 1/4 x 25 7/8 in.) Signed and numbered 2/30 in pencil on the verso. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*

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M&D COOPER COLLECTION

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81. Terry O’Neill

1938-2019

Amy Winehouse, London, 2008 Gelatin silver print, printed later. Image: 138.5 x 114.5 cm (54 1/2 x 45 1/8 in.) Frame: 190.5 x 130.5 cm (75 x 51 3/8 in.) Signed and numbered 1/50 in ink in the margin. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*

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82. Terry O’Neill

1938-2019

Brigitte Bardot, Spain, 1971 Gelatin silver print, mounted, printed later. Image: 144 x 122 cm (56 3/4 x 48 in.) Frame: 162.5 x 131 cm (63 7/8 x 51 5/8 in.) Signed and numbered 14/50 in ink in the margin. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ♠ plus Buyers Premium and VAT, ARR applies*

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M&D COOPER COLLECTION

83. Terry OÕNeill

1938-2019

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Audrey Hepburn with Dove, St. Tropez, 1967 Gelatin silver print, mounted, printed later. Image: 94.5 x 61.7 cm (37 1/4 x 24 1/4 in.) Frame: 132 x 133 cm (51 7/8 x 52 3/8 in.) Signed and numbered 29/50 in ink in the margin. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ♠ plus Buyers Premium and VAT, ARR applies*

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84. Terry OÕNeill

1938-2019

Brigitte Bardot on the set of ‘Shalako’, Deauville, 1968 Gelatin silver print, printed later. 53.5 x 35.7 cm (21 1/8 x 14 in.) Signed and numbered 1/50 in ink in the margin. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*

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M&D COOPER COLLECTION

85. Eve Arnold

1912-2012

Marilyn Monroe at the gaming tables in Reno Nevada during filming of ‘The Misfits’, 1960 Gelatin silver print. 24 x 16.4 cm (9 1/2 x 6 1/2 in.) Signed, titled, dated in pencil and Magnum copyright credit reproduction limitation stamp on the verso. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 plus Buyers Premium and VAT*

86. Eve Arnold

1912-2012

Marilyn Monroe on the set of ‘The Misfits’, Nevada, 1960 Gelatin silver print, printed later. 29.1 x 42.6 cm (11 1/2 x 16 3/4 in.) Signed, numbered 69/99 in another hand in pencil on a gallery label accompanying the work. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

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87. Edward Weston

1886-1958

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Tina on the Azotea from Desnudos, 1923 Gelatin silver print, mounted, printed 1972 by Cole Weston. 18 x 24.1 cm (7 1/8 x 9 1/2 in.) Signed, titled ‘Nude, Mexico’, dated and negative number ‘67N’ by Cole Weston in pencil, credit stamp and Edward Weston ‘Desnudos’ portfolio label afxed to the reverse of the mount. Number 20 from an edition of 100. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

88. George Hoyningen-Huene 1900-1968 Georgia Graves, swimwear by Lelong, Paris, 1929 Gelatin silver print, printed later by Horst. P. Horst. 29.9 x 20.6 cm (11 3/4 x 8 1/8 in.) Hoyningen-Huene/Horst copyright credit blindstamp in the margin; signed, titled, dated, annotated ‘From the Collection of Horst’ with copyright symbol by Horst in pencil on the verso. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT* scan for more on this lot

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89. Herb Ritts

1952-2002

Female torso detail, Hollywood, 1989 Gelatin silver print. 48.7 x 38.6 cm (19 1/8 x 15 1/4 in.) Copyright credit blindstamp in the margin; signed, titled, dated and numbered 16/25 in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

90. Eikoh Hosoe

b. 1933

Embrace #60, 1970 scan for more on this lot

Gelatin silver print, printed later. 19.3 x 28.5 cm (7 5/8 x 11 1/4 in.) Signed in pencil in the margin; signed, titled and dated in pencil on the verso. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

91. Judy Dater

b. 1941

Imogen and Twinka at Yosemite, 1974

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Gelatin silver print, mounted, printed later. 24.4 x 19.2 cm (9 5/8 x 7 1/2 in.) Signed in pencil on the mount; titled and dated in pencil on the reverse of the mount. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

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92. Chris McCaw

b. 1971

Sunburned GSP #298 (SF/last day of Fall), 2008 Unique gelatin silver paper negative. 27 x 34.5 cm (10 5/8 x 13 5/8 in.) Signed, titled, dated and annotated in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

93. Ansel Adams

1902-1984

Moonrise from Glacier Point, Yosemite National Park, 1940s Gelatin silver print, printed 1975, mounted. 19.2 x 24.3 cm (7 1/2 x 9 5/8 in.) Initialled in pencil on the mount; signed, dated 6-15-75 and inscribed in ink and ‘Special Edition Photographs of Yosemite by Ansel Adams’ stamp on the verso. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

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94. Brett Weston

1911-1993

Mendenhall Glacier, 1973 Gelatin silver print, printed 1977, mounted. 27 x 31 cm (10 5/8 x 12 1/4 in.) Signed and numbered 6/100 in pencil on the mount. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT* scan for more on lot 93

95. Louis Stettner

1922-2016

Girl Playing in Circles, Penn Station, New York, 1958 scan for more on lot 94

Gelatin silver print, printed later. 44.7 x 30.1 cm (17 5/8 x 11 7/8 in.) Signed, titled ‘Penn Station’ and dated in pencil on the verso; signature blindstamp in the margin. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

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96. Louis Stettner

1922-2016

Brooklyn Promenade, 1954

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Gelatin silver print, printed circa 1980. 15.5 x 23.1 cm (6 1/8 x 9 1/8 in.) Signed and numbered 8/13 in pencil on the verso; signature blindstamp in the margin. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

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97. Doug Starn and Mike Starn b. 1961 and b. 1961 Structure of Thought #5, 2001

Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900

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MIS and Lysonic inkjet prints on Thai mulberry, gampi and tissue papers with wax, encaustic and varnish. Image: 59.7 x 70.2 cm (23 1/2 x 27 5/8 in.) Frame: 84 x 94 cm (33 1/8 x 37 in.) Signed, dated and numbered 5/5 in ink on the reverse of the frame.

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98. Koh Sang Woo

b. 1978

Pierrot Lion, 2019 Archival pigment print, mounted. Image: 150 x 150 cm (59 x 59 in.) Frame: 158 x 158 cm (62 1/4 x 62 1/4 in.) Signed, titled, dated and numbered AP1/2 on a Certifcate of Authenticity accompanying the work.

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Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ plus Buyers Premium and VAT* Please note that the artist’s name appears in Korean order with the surname before the forename.

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99. Ori Gersht

b. 1967

Untitled 12 from Blow Up, 2007 Chromogenic print, mounted. 100 x 100 cm (39 3/8 x 39 3/8 in.) Signed in ink on a Certifcate of Authenticity accompanying the work. Number 5 from a sold-out edition of 6.

Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ ♠

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100. Wolfgang Tillmans

b. 1968

Freischwimmer #66, 2004 Unique chromogenic print in artist’s frame. 30.7 x 40.6 cm (12 1/8 x 15 7/8 in.) Signed, titled, dated and annotated ‘unique’ in pencil on the verso; printed title, date and ‘unique’ on an artist label afxed to the reverse of frame.

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Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Maureen Paley, London

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101. Yves Marchand and

Romain Mefre

b. 1981 and b. 1987

Facade, Michigan Central Station, Detroit, USA from The Ruins of Detroit, 2007 Chromogenic print, mounted. Frame: 156 x 195 cm (61 3/8 x 76 3/4 in.) Image: 150 x 190 cm (59 x 74 3/4 in.) Signed in ink, printed title, date and number 5/6 + 2 APs on a gallery label afxed to the reverse of the mount. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Tristan Hoare Gallery, London

102. Sohei Nishino

b. 1982

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Diorama Map Istanbul, 2011 Archival pigment print, mounted. Image: 148.5 x 150 cm (58 1/2 x 59 in.) Frame: 157.5 x 159 cm (62 x 62 5/8 in.) Signed in Japanese in ink, printed title, date and number 4/5 + 2 APs on a Certifcate of Authenticity accompanying the work. Estimate £30,000-50,000 $39,300-65,400 €33,200-55,300 ‡ plus Buyers Premium and VAT*

Provenance Michael Hoppen Gallery, London

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103. Chuck Close

b. 1940

Kate Moss, 2003 Six archival pigment prints, comprising nine images, printed 2005. Varying sizes from 22.5 x 17.5 cm (87/8 x 67/8 in.) to 35.6 x 26.7 cm (14 x 101/2 in.) Each signed, dated and numbered 23/25 in pencil in the margin. Estimate £40,000-60,000 $52,300-78,500 €44,200-66,300 plus Buyers Premium and VAT*

Provenance Adamson Gallery, Washington, DC Phillips, New York, 9 April 2008, lot 384 Literature ‘The Kate Moss Portfolio’, W, September 2003, pp. 415-419, 421 Fashioning Fiction in Photography Since 1990, New York: MoMA, 2004, p.131

In 2003, Chuck Close created a series of daguerreotypes of fashion legend Kate Moss for W magazine’s September issue, featuring a 40-page portfolio of uniquely personal visions of Kate created by leading artists. Close recalls the session: She wore no makeup; she hadn’t combed her hair. My daguerreotypes are not flattering – any flaws on one’s complexion are exaggerated wildly – and I thought she might be upset. But she said, ‘I’ve had enough pretty pictures made of me.’ She understood what it is that I do, and she was perfectly willing to provide it. Presented nude and without makeup in tightly cropped, unforgiving detail, Close perfectly captures Kate’s human essence as well as her confdence as a perennial beauty icon.

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104. Martin Schoeller

b. 1968

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Angelina with Blood, 2003 Chromogenic print. 61 x 51 cm (24 x 20 1/8 in.) Signed, dated in ink, printed title, date and number 1/10 on an artist label accompanying the work. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ♠ plus Buyers Premium and VAT, ARR applies*

105. Wolfgang Tillmans

b. 1968

Liv Tyler, 1995 Chromogenic print. 40.7 x 27.1 cm (16 x 10 5/8 in.) Signed, titled, numbered 3/10 + 1 AP and annotated in ink on the verso.

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Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*

106. Anton Corbijn

b. 1955

Bono, Taxi Driver, Cabo San Luca, 1997 Chromogenic print, face-mounted and mounted. 122 x 186.3 cm (48 x 73 3/8 in.) Signed in ink, printed title, date and number 8/8 on gallery labels afxed to the reverse of the mount.

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Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*

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107. Neil Leifer

b. 1942

Aerial of Muhammad Ali victorious afer his round two knockdown of Cleveland Williams during the 1966 World Heavyweight Title fght at the Astrodome, Houston, Texas, 14 November 1966 Chromogenic print, printed later. 49.2 x 49 cm (19 3/8 x 19 1/4 in.) Signed and numbered 25/350 in ink in the margin; signed, inscribed in ink and Certifcate of Authenticity afxed on the reverse of the frame. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 plus Buyers Premium and VAT*

108. Tomas Hoepker

b. 1936

Muhammad Ali (The Fist), 1966 Gelatin silver print, printed later. 56 x 39.6 cm (22 x 15 5/8 in.) Signed, numbered 2/5 in ink and Magnum copyright credit stamp on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*

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24/08/20 10:25

ULTIMATE STEVEN KLEIN ULTIMATE STEVEN KLEIN premieres unique Polaroids, taken with a Polaroid camera or flm, by celebrated photographer Steven Klein. This curation of 24 lots showcases Klein’s distinctive vision that subverts our notions of glamour, fame, and beauty. The majority of works were created during editorial assignments for international publications such as W, American Vogue, Vogue Italia, L’Uomo Vogue and Interview. This exclusive selection presents Klein as a storyteller who creates narrative epics that transform our understanding of his subjects, which includes some of the biggest names in music, flm and fashion: Madonna, Prince, David Bowie, Brad Pitt, Angelia Jolie, Kate Moss, Naomi Campbell and Alexander McQueen. In addition, Klein has created a unique oversized diptych of his iconic ‘Good Kate, Bad Kate’ covers for the March 2012 issue of W magazine exclusively for ULTIMATE (lot 6). This dedicated ofering presents collectors an unparalleled access to Steven Klein’s unique photographs, which not only provide an intimate and insightful glimpse into his creative process but also capture defning moments in pop-culture history.

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ULTIMATE STEVEN KLEIN

STEVEN KLEIN: IN CONVERSATION

Steven Klein is one of the most innovative and provocative artists in photography and flm. A highly sought-afer fgure, he has landed coveted covers of top magazines such as Vogue and W with his riveting body of work being featured globally and has shot high-profle advertising campaigns for the likes of Alexander McQueen, Tom Ford and Dior. A visionary and creator, Klein has made unique contributions to the arts during his nearly four-decade career and continues to push the boundaries of visual language through his image-making. Klein trained as a painter at the Rhode Island School of Design and was a 2014 recipient of an Infnity Award from the International Center of Photography (ICP). His work has been exhibited worldwide, including Deitch Projects, Gagosian and the Guggenheim in New York and resides in a number of prominent museums, including New York’s ICP and London’s National Portrait Gallery and V&A.

Yuka Yamaji, Head of Photographs, Europe, and Steven Klein discuss his enduring relationship with Polaroids, documenting pop culture and how Madonna keeps him on his toes. Polaroids Then Yuka Yamaji: Take us back to the beginning of your relationship with instant photography. What is your earliest memory? Steven Klein: Growing up with family pictures and vacation pictures taken on an SX-70. Taking pictures, being able to see them and share them in a way that you could never do before because you would always have to send a roll of film out to be developed – it was the first way of sharing a picture with another person. And the idea of SX-70s being able to be developed outside in the sunlight was a magical experience as opposed to flm having to be developed in the dark. YY: When did you start taking Polaroids professionally and why? SK: When I started doing jobs, I used it as a tool for pre-visualisation to check lighting, sets, wardrobe and also movement. It was an integral tool at that time that I think all photographers used, including myself, to preview a picture before you took it – it was a way to secure yourself. Because the thing is, if something was wrong, it would take a day or two to get the flm back and then you’d have to reshoot.

Steven Klein Self Portrait

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ULTIMATE STEVEN KLEIN

YY: All of the Polaroids in our selection were shot on peel-apart flm. What was the reason behind that choice?

You now have digital screens but it doesn’t work in the same way because sharing a Polaroid with somebody was more personal.

SK: My frst Polaroid was a 4x5 that you could peel away and keep the negative to print from it. Each camera that I had – Hasselblad, Pentax, 35, 4x5 or 8x10 – used particular backs for peel-apart flm and the result was a one-to-one image of what was seen through the lens. The great thing about it was that you could use the same camera for Polaroids and analogue flm.

YY: Yes, a Polaroid is tactile and something they can hold in their hands to look at as opposed to an image on a large screen, so it’s a very diferent experience. You also created composites of two or three Polaroids. What led you to combine the prints?

YY: The majority of your Polaroids on ofer were created between 1998 and 2007 before you transitioned to digital photography and you used three diferent formats of Polaroid prints: Type 100, 4x5 and 8x10. How was that experience? SK: When people shoot with the same camera and the same lens, it’s like the same pair of eyes. For me, each one of those cameras have inherent types of eyes and it changes the way that the sitter reacts to you. For instance, if you have an 8x10 or a 4x5 camera, the sitter has more respect because the camera is bigger and they know they have to stand still for it in a certain way. Using these very cumbersome cameras outdoors is in fact much harder for both sitter and photographer. Each camera had its own Polaroid system and exploring these diferent cameras and formats worked for me for many years. YY: So if you were using a 4x5 with a Polaroid back for your test shots, you would then remove the back to shoot on flm? SK: Yes, but if I saw the picture right away, I would go right to film, and then do a Polaroid at the end to make sure I was satisfied with it. If you look at a lot of the images in our selection, you can see that the Polaroids are almost exact duplicates of the final outcome. YY: And would you show the Polaroids to the sitter? SK: Yes, it was a way for me to get the sitter excited and to show them the story as we built it. They would sometimes have suggestions – it opened the conversation.

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SK: It allowed me to create a wider scope – almost like my own vision. Shooting multiple components allowed me to be up close to my subject and still capture a wider perspective without using a wider lens. That’s an important aspect of my work because I never like to be too far away unless it’s intentional to be more voyeuristic. YY: The works created in the digital age were taken with a Polaroid camera – either a Big Shot or a 600SE – on Fuji instant flm. How did you come to take up instant photography again, this time using the Polaroid cameras? SK: For the shoot with Justin Bieber, I frst photographed him in a digital setup but he was not interested at all and the pictures weren’t good. And as soon as we closed of a little area and started shooting with a Polaroid Big Shot, he got very excited. Peeling the Polaroids apart and looking at them, Justin became part of the process. It allowed for a more intimate experience. For Italian Vogue, it was a special Polaroid issue that I did with Franca Sozzani. At the time, I was kind of exhausted with the screen, the digital, all the equipment and wanted to return to the Polaroid as it was organic. Luckily, we were able to get enough Polaroid flm and fash cubes to make it happen because they were difcult to get even then. YY: Shooting Polaroid versus shooting on film – what stood out for you? SK: I always liked Polaroids, and for me, the Polaroid colour was always better than film colour. I was notorious for driving my assistants crazy saying, ‘Oh please have the film match the Polaroid’ because the colour rendition of Polaroids was so special – the reds, the blues and the blacks.

24/08/20 10:26

ULTIMATE STEVEN KLEIN

Photographing Icons YY: Let’s turn to two of your long-term collaborators: Madonna and Brad Pitt. How would you describe your approach to photographing icons?

YY: This selection of Polaroids is a visual chronicle of popular culture. How would you describe your version of celebrity and pop culture as portrayed in your photographs?

SK: It’s a different approach completely from shooting fashion models because you only have a certain amount of time. I’ve always approached it in a narrative, art-based way. In terms of Madonna and Brad, we explored new ways of self-expression with every project.

SK: I always try to turn icons inside out and get a diferent take on them. Using pop culture is a way of implementing my part of the process of art. There’s a time in people’s career when they peak or there’s something interesting that they’re doing and I want to capture that. That’s the part of pop culture I think is important to document.

YY: Madonna is represented by three works – 2002 Madonna in a yogic pose, 2005 Madonna for her album Confessions on a Dance Floor and a 2016 cover for Vogue Italia. How do these three diferent portraits illustrate your enduring relationship working with her?

YY: Your use of masks, casts and projections as seen in some of your featured Polaroids invites the viewer to scratch beneath the surface to uncover a suggested narrative. Would you talk about these devices and their desired efect?

SK: We’ve done probably 50 or more shoots together. The first Polaroid in the selection comes from our very frst project together. I wanted to create a landscape where she was a performance artist and that picture was probably the second photograph I’ve ever taken of her and still one of my favourites. Confessions on a Dancefloor was a commissioned project that was based on revisiting Disco and 70s music. It was a diferent type of exploration because it served a purpose for a video installation, worldwide concerts as well as album art. For the last Polaroid, I wanted her to celebrate the last issue of Franca’s Italian Vogue wearing YSL and chose the Polaroid because we’d never done it before and I always like to excite her about what we do together. Madonna is a master of persona. I like capturing the newness of every project and every moment is a challenging one for me. Working with her has taught me to stay on my toes. YY: Brad Pitt is represented with four works – 1998 Fight Club Brad, a 2004 head cast, 2005 W story with Mr. and Mrs. Smith co-star Angelina Jolie and 2007 projected Brad in Prague. Which of these works most personally resonates with you? SK: The Fight Club shoot was a departure for me because I stepped into a more cinematic approach to image-making, thinking about a narrative rather than a single image. I used a 4x5 with Brad and one might think that a celebrity would not have the patience for it because you need to load each sheet of flm. I’ve found that actors have great focus for largeformat cameras as they’re used to big motion cameras.

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SK: I like my pictures to have a certain amount of ambiguity. Whether it’s a mask or a projected background that pretends to be a real background, I like the idea of a person looking at the pictures of Brad’s head cast and say, ‘Oh, that’s Brad.’ You don’t really know if it’s a cast or if it’s a projected background – a certain kind of trick is involved because photography is all about illusion. To sum up, these devices add to my bag of illusions and the way I transform and transcribe my sitters. Polaroids Now YY: In recent years, we have seen a revival of instant photography, driven by the appeal of analogue technology. What do you think is the allure of instant photography in the digital world? SK: I think people are attracted to Polaroids because it’s kind of a rebellion against digital. It’s important that people aren’t only looking at screens and the Polaroid somehow is a good way to seduce somebody into getting away from their iPhones. As a photographer, one needs to explore old mediums and the Polaroid can teach you, like it taught me, about colour and rendition of space. YY: Did you stop taking instant photographs when Fujiflm ended production of peel-apart flm in 2016? SK: Yes. YY: Did you stock up? SK: I did stock up as much as I could. YY: And did you put them in the fridge? SK: Yes. We had a big fridge full of it. I prefer the Fuji peel-apart flm so I bought that and the little fash cubes as much as possible.

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YY: Polaroid continues to make integral film, including SX-70 and 8x10, and One Instant, a next generation type 100 packfilm, is being hand-manufactured in Vienna, Austria. Do you think you will take up instant photography again as a medium of artistic expression? SK: If I fnd something that’s exciting and good, I’ll defnitely use it. It all depends on quality. I’m going to write down the name of the new peel-apart flm. YY: I’ll send you a link to their website. What place do your Polaroids hold within the wider body of your work? SK: They’re like my jewels in the vault [laughs]. I consider them my jewels – they’re very fragile, they’re very valuable, and they are… Shoot with Prince, Madison Square Garden, 2004

YY: One of a kind. SK: One of a kind and close to my heart. All the diferent aspects of the process – from my Polaroids to the fnal exhibition print – are important to me and I fnd them all equally inspiring and intriguing. I owe a lot of my career to Polaroid [laughs] and the making of Polaroids because they helped me to create. Without Polaroids, I wouldn’t have been able to have done so many of the works that I have now accomplished. YY: Lastly, what does photography mean to you? SK: It’s a visual way for me to communicate and tell a story based on the world that I’m living in. It allows me to reconfgure the world as a means of creating order for myself and inspiration for the viewers of my work.

Vogue Italia, February 2017

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W, July 2005

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109. Steven Klein

b. 1965

Madonna, Los Angeles from X-STaTIC PRO=CeSS, 30 July 2002 Unique colour Polaroid 4x5 print. Sheet 11.4 x 14 cm (4 1/2 x 5 1/2 in.) Signed in ink on the verso. This work is unique.

Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

Literature ‘Madonna Unbound’, W, April 2003, pp. 214-215

‘The frst of many collaborations with Madonna, which started in 2002. Seeing Madonna as a performance artist, I decided to create an environment where we could explore the process of an artist. During the shoot, I had many video cameras documenting each scene, which later turned into the opening piece of the Re-Invention tour with Madonna narrating Revelations from the Bible. It also evolved into a 2003 video exhibition at Deitch Projects in New York and a limited-edition book called X-STaTIC PRO=CeSS.’ Steven Klein, March 2020

Actual size

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110. Steven Klein

b. 1965

Madonna, Los Angeles, 11 August 2005 Unique colour Polaroid 8x10 print. Sheet 21.6 x 26.7 cm (8 1/2 x 10 1/2 in.) Signed in ink on the verso. This work is unique.

Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

Literature Confessions on a Dance Floor, Album, Warner Bros Records, 2005, cover (variant)

‘I was commissioned by Madonna to do the cover of her 2005 album Confessions on a Dance Floor. Since the frst project, we also flmed her in motion, which became a video piece for her tour that followed the release of her album. These shoots also defne and develop Madonna’s character for each album.’ Steven Klein, March 2020

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111. Steven Klein

b. 1965

Madonna, New York City, 17 December 2016 Unique composite of 3 Fujiflm FP-100C instant prints, taken with a Polaroid Big Shot. Overall sheet 20.4 x 11.4cm (8 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

Literature Vogue Italia, The Polaroid Issue, February 2017, cover (this lot) ‘I did an entire issue for Franca Sozzani [Editor-in-Chief 1988-2016] for Vogue Italia in 2016. In a digital age, I wanted to celebrate Polaroid as a medium. We fnished shooting in December, planning to continue shooting in January, however, Franca Sozanni passed away. This became her last issue. I am very honored to have had the training and opportunity to develop my vision through Vogue Italia for 20 years. It became the top-selling issue of all time for Vogue Italia.’ Steven Klein, March 2020

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112. Steven Klein

b. 1965

David Bowie, New York City, 6 June 2003 Unique colour Polaroid 8x10 print. Sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

Literature LÕUomo Vogue, September 2003, cover (variant) ‘David Bowie and I had many discussions, over the phone before we shot, about what kind of visuals we would create. He suggested to create a visual story based on Jean Genet’s Our Lady of the Flowers. All covers usually have a specifc fashion credit – this one was Prada. I was having a lot of trouble because the Prada suit did not seem to work in the picture. David made a very quick and clever suggestion and turned the jacket inside out, revealing the label on his front lef pocket. It was his way of saying, “they want to see a label, here it is.”’ Steven Klein, March 2020

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113. Steven Klein

b. 1965

Prince, New York City, 12 July 2004 Unique colour Polaroid Type 100 print. Sheet 8.9 x 11.4 cm (3 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

Literature L’Uomo Vogue, September 2004, cover (variant)

‘Prince was the frst celebrity I had ever photographed. I had previously shot him in Paisley Park in Minnesota. This time, he was performing at Madison Square Garden. I thought it was appropriate to shoot him in the underground parking lot leading to the Garden. The magazine had chosen Versace to make him a long coat in purple, however, I thought it was not right for the picture and convinced him just to wear his own clothes, which in the end created a truer representation.’ Steven Klein, March 2020

114. Steven Klein

b. 1965

Mick Jagger, New York City, 12 May 2005 Unique colour Polaroid 8x10 print. Sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

Literature B. Clinton et al., The Rolling Stones, Cologne: Taschen, 2015, p. 433 (variant)

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â&#x20AC;&#x2DC;I was commissioned to photograph the Rolling Stones. After the rest of the band left and Mick was packing up to leave, I went up to his dressing room and asked if I could photograph him shirtless without the band. He agreed and these became the definitive photographs of Mick.â&#x20AC;&#x2122; Steven Klein, March 2020

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‘It was interesting to see how subjects respond to a photographer’s camera. In this case, when I photographed Justin Bieber in Los Angeles, I set up a more formal digital set and quickly saw that he wasn’t responding. I decided to corner off a small area (4x4) and shot him with a Polaroid camera in a private space. He loved the magical process of making instant Polaroids.’ Steven Klein, March 2020

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115. Steven Klein

b. 1965

116. Steven Klein

b. 1965

Justin Bieber, Los Angeles, 4 June 2015

Brad Pitt, Los Angeles from Fight Club, 17 December 1998

Unique Fujiflm FP-100C instant print triptych, taken with a Polaroid Big Shot. Each sheet 11.4 x 8.9 cm (4 1/2 x 3 1/2 in.) Each signed in ink on the verso.

Unique colour Polaroid 4x5 print. Sheet 14 x 11.4 cm (5 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique.

This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡

plus Buyers Premium and VAT*

Literature ‘Brad Pitt Unleashed’, W, July 1999, p. 125 (variant)

Literature ‘Justin’, Interview, August 2015, pp. 57, 68 (this lot)

‘Brad called to tell me about this movie he was shooting and how excited he was about the costumes. He wanted to do a story based on the flm. I read the book, not seeing the movie, and created my own Fight Club. We used the original flm’s costumes, which were designed by Michael Kaplan. This was revolutionary for W magazine because it featured all 34 pages of costumes on a male actor in a women’s magazine. It also featured Brad’s bare buttocks in two of the inside photographs. When it came down to shooting the cover, the magazine wanted to put him in a buttoned-down shirt. In the end, we all decided that it was better to see his costume from the flm on the cover.’ Steven Klein, March 2020

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117. Steven Klein

b. 1965

Brad Pitt, New York City, 2 April 2004 Unique black & white Polaroid 8x10 print. Sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Signed in ink on the verso. This work is unique.

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

Literature ‘The New Hero’, L’Uomo Vogue, May/ June 2004, pp. 134-135 (variants) Stern Fotografie, Portfolio 44: Steven Klein, August 2006, cover (variant)

‘In 2004, Brad was shooting the flm Troy in Mexico. I wanted to celebrate him by doing an entire issue on Brad (52 pages), exploring him as an actor and a conceptual artist. For this image, we created a head cast of Brad and I did many photographic studies of it.’ Steven Klein, March 2020

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118. Steven Klein

b. 1965

Brad Pitt, Prague, 27 June 2007 Unique composite of 2 colour Polaroid 4x5 prints. Overall 11.4 x 18.4 cm (4 1/2 x 7 1/4 in.) Signed in ink on the verso. This work is unique.

Literature ‘Brad Pitt’, Details, October 2007, pp. 186-187 (variant) ‘Brad was shooting a movie in Prague. We found a historic soundstage and created multiple video installations using Brad as the subject.’ Steven Klein, March 2020

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

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119. Steven Klein

b. 1965

Brad Pitt & Angelina Jolie, Palm Springs from Case Study #13, 25 March 2005 Unique colour Polaroid Type 100 print. Sheet 8.9 x 11.4 cm (3 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

Literature ‘Domestic Bliss’, W, July 2005, pp. 78-79 (variant)

‘I went to visit Brad on the set while he was shooting Mr. and Mrs. Smith to discuss doing a story in regards to that movie. Brad wanted to create an idealistic view of an American family, such as what one would see in LIFE magazine. The setting was the 60s, right before the Kennedy assassination. This image depicts the conficts and tension of that era. This was the beginning of Brad and Angelina’s relationship – it was very controversial that they were play acting as a family with many children. And as always with Brad, there were no publicists or managers. It was very intimate and turned out to be a very prophetic shoot.’ Steven Klein, March 2020

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Actual size *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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120. Steven Klein

b. 1965

Angelina Jolie, Palm Springs from Case Study #13, 25 March 2005 Unique black & white Polaroid Type 100 print. Sheet 8.3 x 11.4 cm (3 1/4 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Literature ‘Domestic Bliss’, W, July 2005, pp. 120-121 (variant) ‘Based on Case Study being a physiological drama, sometimes black and white can be more defnite in describing a scene. Sometimes decor and textures can be distracting – this keeps the focus on Angelina and her action.’ Steven Klein, March 2020

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121. Steven Klein

b. 1965

Gwyneth Paltrow, Long Island, 13 July 2007 Unique colour Polaroid 4x5 print. Sheet 14 x 11.4 cm (5 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

122. Steven Klein

Literature ‘Goddess Gwyneth’, W, September 2007, p. 551 (variant)

b. 1965

Kate Moss, New York City, 8 May 2003 Unique colour Polaroid 8x10 print. Sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Signed in ink on the verso.

‘I frst met Gwyneth on my frst shoot for American Vogue, which got rejected. For this W shoot, she had just broken her knee and was on crutches at the time. Gwyneth never really enjoyed having her picture taken; therefore, I embraced her boredom and her nonchalance about it.’

This work is unique. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ plus Buyers Premium and VAT*

Steven Klein, March 2020

Literature W, September 2003, cover (variant)

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Lot 121 Actual size

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â&#x20AC;&#x2DC;Tis is a cover I was asked to shoot for a W issue where multiple artists created images of Kate Moss. I sometimes prefer to shoot one photograph, rather than several of the same subject. I wanted to tie her up but it was not allowed. So, I settled for a mask.â&#x20AC;&#x2122; Steven Klein, March 2020

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Lot 122

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123. Steven Klein

b. 1965

Gisele BŸndchen, West Palm Beach, 11 December 2000 Unique colour Polaroid 4x5 print. Sheet 14 x 11.4 cm (5 1/2 x 4 1/2 in.) Signed in ink on the verso.

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

Literature ‘Mighty Mighty’, American Vogue, March 2001, p. 445 (variant)

‘Since I spent a lot of time competing with my horses in West Palm Beach during the winter equestrian festival, Grace Coddington and I decided it would be a great landscape for a fashion story. Instead of Gisele being on a horse, I placed her on a truck that transports horses.’ Steven Klein, March 2020

This work is unique.

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124. Steven Klein

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡

b. 1965

Claudia Schiffer, Montclair, New Jersey, 10 December 1999

plus Buyers Premium and VAT*

Unique colour Polaroid 4x5 print. Sheet 14 x 11.4 cm (5 1/2 x 4 1/2 in.) Signed in ink on the verso.

Literature ‘Pushing Buttons’, Harper’s Bazaar, April 2000, pp. 232-233 (variant)

This work is unique.

‘Claudia Schifer was like a movie star. I decided to take an alternative route and put her in a suburban setting. At that time, I started to incorporate cinema lighting into my work to create a type of flm still. I tried to desexualize her image by putting her in normal situations with mundane clothes.’ Steven Klein, March 2020

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125. Steven Klein

b. 1965

Natalia Vodianova, New York City, 31 October 2002 Unique colour Polaroid 4x5 print. Sheet 14 x 11.4 cm (5 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Literature ‘In The Mood For Love’, American Vogue, February 2003, p. 213 (variant)

126. Steven Klein

b. 1965

White Woman, New York City, 5 November 2001 Unique colour Polaroid 8x10 print. Sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Signed in ink on the verso.

‘This was a shoot with Natalia Vodianova and her then husband Justin Portman. It was shot on Halloween and Natalia wanted to go to a Halloween party. In this domestic setting, we decided to paint her silver.’

This work is unique. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡

Steven Klein, March 2020

plus Buyers Premium and VAT*

Literature ‘Scratching the Surface’, American Vogue, January 2002, p. 111 (variant) P. Posnick, Stoppers: Photographs from My Life at Vogue, New York: Abrams, 2016, p. 55 (variant)

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‘Tis is the frst of many successful photographs I have done with Phyllis Posnick [Fashion Editor] for American Vogue. Tey are meant to illustrate written pieces; Anna Wintour gives me great freedom to illustrate them in unconventional manners. My agent at the time saw this image and said it would never run. He had never seen anything like this in American Vogue before. Tat was exactly why it ran – because it was so diferent.’ Steven Klein, March 2020

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127. Steven Klein

b. 1965

Naomi Campbell, London, 20 January 2007 Unique composite of 2 colour Polaroid Type 100 prints. Overall 8.9 x 15.9 cm (3 1/2 x 6 1/4 in.) Signed in ink on the verso. This work is unique.

Literature

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British GQ, March 2007, cover (variant) ‘This was shot at Claridge’s in London where I used to stay. It was very daring for the cover to have Naomi nude with her breasts showing but not so daring to leave in the gun.’ Steven Klein, March 2020

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ plus Buyers Premium and VAT*

Actual size *The amount of BuyerÕs Premium, VAT and, if applicable, ArtistÕs Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the BuyerÕs Guide online or in this catalogue. BuyerÕs Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the BuyerÕs Premium.

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128. Steven Klein

b. 1965

Naomi Campbell, London, 20 January 2007 Unique composite of 2 colour Polaroid Type 100 prints. Overall 8.9 x 16.5 cm (3 1/2 x 6 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡

Literature ‘Naomi’, British GQ, March 2007, pp. 242-243 (variant) ‘This was taken at the back kitchen in Claridge’s. It is the beginning of my fction narrative images. Fiction gives one the license to make up scenes and scenarios; it gives space for the viewer to interpret the scene.’ Steven Klein, March 2020

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129. Steven Klein

b. 1965

Nataša Vojnović, New York City, 18 December 2016 Unique composite of 2 Fujiflm FP-100C instant prints, taken with a Polaroid 600SE. Overall 8.9 x 12.7 cm (3 1/2 x 5 in.) Signed in ink on the verso. This work is unique. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡

Literature Vogue Italia, The Polaroid Issue, February 2017, n.p. (this lot)

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‘This was taken at 6 in the morning. I think powerful women and trucks are synonymous. I ofen work with costume designers – in this case Arianne Phillips – to style fashion images as they have a diferent point of view. Arianne and I have a long history of working together since X-STaTIC PRO=CeSS in 2002 with Madonna.’ Steven Klein, March 2020

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130. Steven Klein

b. 1965

Anna Ewers & Guinevere van Seenus, New York City, 18 December 2016 Unique Fujiflm FP-100C instant print, taken with a Polaroid 600SE. Sheet 8.9 x 11.4 cm (3 1/2 x 4 1/2 in.) Signed in ink on the verso. This work is unique. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Literature Vogue Italia, The Polaroid Issue, February 2017, n.p. (this lot) ‘This is one of the images from the Polaroid tribute issue I shot for Vogue Italia. These are two of my favorite models – Anna Ewers and Guinevere van Seenus. I prefer to work with the same models over the years as they are like actors who understand the pictures and my vision.’ Steven Klein, March 2020

plus Buyers Premium and VAT*

Actual size

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131. Steven Klein

b. 1965

Helmut Newton Crash Site, Los Angeles, 24 January 2004 Unique colour Polaroid 8x10 print. Sheet 21.6 cm x 26.7 (8 1/2 x 10 1/2 in.) Signed in ink on the verso. This work is unique.

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*

Exhibited Steven Klein: USAnatomy, Museu Brasileiro de Escultura, São Paulo, 15 July - 15 August, 2011, this lot

‘I was in LA working, staying at the Chateau [Marmont], when the unfortunate happened. Helmut crashed his car outside the Chateau. Before leaving on an early fight the next morning, I printed one of my favorite images of his and placed it at the spot of the crash. I contacted June [Newton] as I was doing a portfolio of great men for Vogue Paris and wanted to include this Polaroid; June thought it was bad taste and the image was never published.’ Steven Klein, March 2020

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132. Steven Klein

b. 1965

Alexander McQueen, New York City, 6 September 2002 Unique colour Polaroid 8x10 print diptych, the image transfer on the verso of the lef print. Each sheet 26.7 x 21.6 cm (10 1/2 x 8 1/2 in.) Each side signed in ink on the verso. This work is unique.

Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

Literature ‘Alexander McQueen’, American Vogue, April 2010, p. 251 (variant)

‘I was commissioned to shoot this portrait of Alexander for American Vogue. I expected him to come in wearing what he usually wore – a T-shirt or something more casual. I was surprised to see him in a formal suit. This picture did not run until afer he passed away in 2010. Afer looking at my 8x10 Polaroids, I discovered one Polaroid that was stuck to another; a haunting ghost image appeared on the back of the one that had adhered to the original. Plus, another image of Alexander on the other side.’ Steven Klein, March 2020

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133. Ikkō Narahara

1931-2020

Shadow of car driving through desert, Arizona from Where Time Has Vanished, 1971 Gelatin silver print, printed 1976. 26.5 x 30.9 cm (10 3/8 x 12 1/8 in.) Signed, annotated ‘AP’ by the artist, titled, dated and annotated by Keiko Narahara in pencil on the verso. Accompanied by a Certifcate of Authenticity and a letter, signed by Keiko Narahara. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ‡ plus Buyers Premium and VAT*

Provenance Gallery Past Rays, Yokohama, 2007

134. Daidō Moriyama

b. 1938

Untitled from Buenos Aires, 2005 Archival pigment print. Image: 103.2 x 146.3 cm (40 5/8 x 57 5/8 in.) Frame: 113 x 156 cm (44 1/2 x 61 3/8 in.) Signed in Japanese and rōmaji in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ plus Buyers Premium and VAT*

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scan for more on lot 133

135. Daidō Moriyama

b. 1938

How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. Image: 100.2 x 69 cm (39 1/2 x 27 1/8 in.) Frame: 119 x 88 cm (46 7/8 x 34 5/8 in.) Signed in Japanese and rōmaji in pencil on the verso. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 plus Buyers Premium and VAT*

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136. Nobuyoshi Araki

b. 1940

Photo-ManiacÕs Color Diary, 24 May 1992 Reversal-type chromogenic print. 65.2 x 90.3 cm (25 5/8 x 35 1/2 in.) Signed in ink on the verso. Estimate £6,000-8,000 $7,900-10,500 €6,600-8,800 plus Buyers Premium and VAT*

Lot 135

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Lot 136

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137. Nobuyoshi Araki

b. 1940

Estimate £12,000-18,000 $15,700-23,600 €13,300-19,900

Selected images from Kinkabu and Sensual Flowers, 1979-1997

plus Buyers Premium and VAT*

Six reversal-type chromogenic and four gelatin silver prints, printed later. Each approximately 50 x 60 cm (19 5/8 x 23 5/8 in.) Each signed in ink/pencil on the verso.

Provenance Photology, Milan Phillips, London, The Marino Golinelli Collection, 13 October 2007, lot 29

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138. David LaChapelle

b. 1963

Seismic Shift, 2012 Chromogenic print. Image: 60 x 151 cm (23 5/8 x 59 1/2 in.) Frame: 72.2 x 162.3 cm (28 3/8 x 63 7/8 in.) Signed in ink, printed title, date and number 3/7 on an artist label accompanying the work. Estimate £10,000-15,000 $13,100-19,600 €11,100-16,600 plus Buyers Premium and VAT*

Provenance Paul Kasmin Gallery, New York, 2012

139. David LaChapelle

b. 1963

Amanda as Marilyn (Red), 2007 Chromogenic print, mounted. Image: 134 x 126 cm (52 3/4 x 49 5/8 in.) Frame: 142 x 134 cm (55 7/8 x 52 3/4 in.) Signed in ink, printed title, date and number 3/3 on an artist label accompanying the work. Estimate £15,000-20,000 $19,600-26,200 €16,600-22,100 plus Buyers Premium and VAT*

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140. Hiroshi Sugimoto

b. 1948

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Tasman Sea, Marion Bay, 2017 Gelatin silver print, mounted. 42.5 x 54.4 cm (16 3/4 x 21 3/8 in.) Signed in pencil on the mount; blindstamp title, date and number ‘1/25, 607’ in the margin. Estimate £12,000-18,000 $15,700-23,600 €13,300-19,900 plus Buyers Premium and VAT*

141. Hiroshi Sugimoto

b. 1948

Tyrrhenian Sea, Priano, 1994 Gelatin silver print, mounted. 42 x 54.5 cm (16 1/2 x 21 1/2 in.) Signed in pencil on the mount; blindstamp title, date and number ‘2/25, 409’ in the margin. Estimate £12,000-18,000 $15,700-23,600 €13,300-19,900 plus Buyers Premium and VAT*

Provenance Sonnabend Gallery, New York Jack Tilton Gallery, New York, 1995

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142. Hiroshi Sugimoto

b. 1948

Time Exposed, 1991 Kyoto: Kyoto Shoin Co., Ltd, printed 1991. Fify-one ofset lithographs, each with blindstamp title, date and number on the mount. Title page. Colophon. Contained in an aluminium clamshell case. One from an edition of 500. Fify prints approximately 24 x 31 cm (9 1/2 x 12 1/4 in.). One print 5 x 38.2 cm (1 7/8 x 15 in.). Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 plus Buyers Premium and VAT*

Provenance Rodolphe Janssen, Brussels

143. Luigi Ghirri

1943-1992

Masone, Casa Benati, 1985 Chromogenic print. 36.1 x 40.4 cm (14 1/4 x 15 7/8 in.) Dated and annotated ‘Reggio E’ in pencil in the margin. Certifcate of Authenticity from Adele Ghirri accompanying the work. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ♠ plus Buyers Premium and VAT, ARR applies* scan for more on this lot

Provenance Galleria Documenta, Torino

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144. Luigi Ghirri

1943-1992

Amsterdam, MappaMondo from Still Life, 1981 Unique Polaroid print. Sheet: 55.7 x 80 cm (21 7/8 x 31 1/2 in.) Annotated in ink in the margin. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The Roberto Margini Collection

In 1980 and 1981, Ghirri was invited by Polaroid International, along with seven other photographers, to use the recently acquired 20x24 camera in their Amsterdam studio. While many props were made available, which the other participants used to create their Polaroids, Ghirri chose to bring suitcases flled with his own found objects. The resulting image ofered here – a complex composition of a crowd (mirrored and replicated multiple times to increase its expanse) superimposed with a ‘foating’ globe as a visual anchor – best represents Ghirri’s ability to create pictorial adventures for the eyes and the mind.

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145. Paolo Ventura

b. 1968

Bagno Autunnale #2 from Collage, 2017 Unique hand-painted photographic collage, mounted. 121.2 x 141.7 cm (47 3/4 x 55 3/4 in.) Titled, dated in blue pencil and credit stamp on the recto; signed, titled, dated in pencil and credit stamp on an artist label accompanying the work. Estimate £15,000-20,000 $19,600-26,200 €16,600-22,100 ♠

Provenance Acquired directly from the artist Paolo Ventura’s purposefully ambiguous work, ofered here, is a unique, large-scale composition from Collage (2017-19). Four photographed cut-outs of male fgures, taken by the artist, are collaged onto a two-dimensional seascape background, comprising methodically painted panels in watercolour shades of blue and pale grey. The fgures’ anonymity as they face away from the viewer and their lack of interaction add a feeling of unease to this fctional landscape.

plus Buyers Premium and VAT, ARR applies*

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146. Jeff Bark

b. 1963

scan for more on lot 146

Untitled (Dusk), 2006 Chromogenic print, face-mounted and mounted. 108.6 x 146.7 cm (42 3/4 x 57 3/4 in.) Signed, titled and numbered 5/8 in ink on an artist label afxed to the reverse of the frame. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

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147. Saul Leiter

1923-2013

Lingerie Shop, 1952 Chromogenic print, printed later. 33 x 22.3 cm (12 7/8 x 8 3/4 in.) Signed in ink and annotated in pencil on the verso. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT* scan for more on lot 149

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148. Robert Polidori

b. 1951

5417 Marigny Street, New Orleans, 2006 Chromogenic print, mounted. Image: 85 x 121.6 cm (33 1/2 x 47 7/8 in.) Frame: 104 x 139 cm (40 7/8 x 54 3/4 in.) Signed in ink, printed title, date and number 5/10 on a gallery label accompanying the work. Estimate £5,000-7,000 $6,500-9,200 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*

149. Abelardo Morell

b. 1948

The Metropolitan Opera: Romeo and Juliet Set, 2005 Gelatin silver print, mounted. Image: 81 x 101.4 cm (31 7/8 x 39 7/8 in.) Frame: 95.5 x 116.5 cm (37 5/8 x 45 7/8 in.) Signed, titled, dated and numbered 3/15 in ink in the margin. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

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150. Nick Brandt

b. 1964

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Elephant Five, Amboseli, 2008 Archival pigment print. 103.3 x 154 cm (40 5/8 x 60 5/8 in.) Signed, dated and numbered 6/8 in pencil in the margin. Estimate £20,000-30,000 $26,200-39,300 €22,100-33,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Young Gallery, Brussels, 2010

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151. Nick Brandt

b. 1964

Rhino on Lake, Lake Nakuru, 2007 Archival pigment print. 100.8 x 100.8 cm (39 5/8 x 39 5/8 in.) Signed, dated and numbered 5/15 in pencil in the margin. Estimate £8,000-12,000 $10,500-15,700 €8,800-13,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Young Gallery, Brussels, 2010

152. Nick Brandt

b. 1964

Gorilla Baring Teeth, Parc des Volcans, 2008 Archival pigment print. 110.4 x 93 cm (43 1/2 x 36 5/8 in.) Signed, dated and numbered 3/15 in pencil in the margin. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ scan for more on this lot

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plus Buyers Premium and VAT, ARR applies*

24/08/20 10:57

153. Nick Brandt

b. 1964

Elephants and Egrets after storm, Amboseli, 2007 Archival pigment print. 35.2 x 77 cm (13 7/8 x 30 3/8 in.) Signed, dated and numbered 18/25 in pencil in the margin. Estimate £2,500-3,500 $3,300-4,600 €2,800-3,900 ‡ ♠

154. Nick Brandt

b. 1964

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Lion with Monolith, Serengeti, 2008 Archival pigment print. 32.1 x 79 cm (12 5/8 x 31 1/8 in.) Signed, dated and numbered 14/25 in pencil in the margin. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT, ARR applies*

Lot 153

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Lot 154 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

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155. Nick Brandt

b. 1964

Portrait of Zebra Mother and Baby, Ngorongoro, 2005 Archival pigment print. 83.4 x 127.5 cm (32 7/8 x 50 1/4 in.) Signed, dated and numbered 2/12 in pencil in the margin. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

156. Nick Brandt

b. 1964

Elephants on Bleached Lake Bed, Amboseli, 2008 scan for more on this lot

Archival pigment print. 51.5 x 64.6 cm (20 1/4 x 25 3/8 in.) Signed, dated and numbered 12/25 in pencil in the margin. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

157. Sebastião Salgado

b. 1944

A Leopard in the Barab River Valley, Damaraland, Namibia, 2005

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Gelatin silver print, printed 2009. 37.2 x 51 cm (14 5/8 x 20 1/8 in.) Credit blindstamp in the margin; signed, titled ‘Namibia’ and dated in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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158. Sebastião Salgado

b. 1944

Reflect in Water, 2005 Gelatin silver print, printed 2009. 51 x 37.2 cm (20 1/8 x 14 5/8 in.) Credit blindstamp in the margin; signed, titled and dated in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

159. Sebastião Salgado

b. 1944

Ethiopian Refugees, 1984 Gelatin silver print, printed 2009. 33 x 51.5 cm (12 7/8 x 20 1/4 in.) Credit blindstamp in the margin; signed, titled ‘Ethiopie’ and dated in pencil on the verso. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Lot 158

160. Sebastião Salgado

b. 1944

Church Gate Station, Western Railroad Line, Bombay, India, 1995 Gelatin silver print, printed 2009. 54.1 x 81.1 cm (21 1/4 x 31 7/8 in.) Credit blindstamp in the margin; signed, titled ‘India’ and dated in pencil on the verso. Estimate £7,000-9,000 $9,200-11,800 €7,700-9,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Lot 159 *The amount of BuyerÕs Premium, VAT and, if applicable, ArtistÕs Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the BuyerÕs Guide online or in this catalogue. BuyerÕs Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the BuyerÕs Premium.

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Lot 160

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161. Sebasti‹o Salgado

b. 1944

Brasil, 1983 Gelatin silver print. 17.9 x 26.9 cm (7 x 10 5/8 in.) Credit blindstamp in the margin; signed, titled and dated in pencil on the verso.

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Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Lot 161

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To be sold with no reserve

162. Brett Weston

1911-1993

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Underwater Nude, 1981 Gelatin silver print, mounted. 35 x 24.7 cm (13 3/4 x 9 3/4 in.) Signed and numbered 21/100 in pencil on the mount. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 • ‡ plus Buyers Premium and VAT*

163. Lucien Clergue

1934-2014

Nu de l’été de la Garde Freinet, 1970 Gelatin silver print, mounted, printed 1971. 50.5 x 35 cm (19 7/8 x 13 3/4 in.) Signed and numbered 4/20 in ink/ pencil on the mount; signed, titled, dated, numbered 4/20, annotated in pencil and copyright credit stamp on the reverse of the mount.

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Estimate £1,000-2,000 $1,300-2,600 €1,100-2,200 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

164. Melvin Sokolsky

b. 1933

After Delvaux, Paris, 1963 Gelatin silver print, printed later. 34.3 x 35.1 cm (13 1/2 x 13 7/8 in.) Signed, titled, dated and numbered 10/25 in pencil on the verso. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 •

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plus Buyers Premium and VAT*

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To be sold with no reserve

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165. Inge Morath

1923-2002

Sleigh Horses, Moscow, 1965 Gelatin silver print, printed 1996. 22.3 x 33.1 cm (8 3/4 x 13 in.) Signed, titled, dated, annotated in ink/pencil and Magnum copyright credit label on the verso. Estimate £1,000-2,000 $1,300-2,600 €1,100-2,200 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

166. Inge Morath

1923-2002

St. Petersburg State Ballet, 1965

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Gelatin silver print, printed later. 23.6 x 34.1 cm (9 1/4 x 13 3/8 in.) Signed, titled ‘Saint Petersburg State Ballet School. Break in Rehearsal’, dated, annotated in pencil and Magnum copyright credit label on the verso. Estimate £1,000-2,000 $1,300-2,600 €1,100-2,200 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

167. Terry OÕNeill

1938-2019

David Bowie, Diamond Dogs, London, 1974 Gelatin silver print, printed later. 50.4 x 35.3 cm (19 7/8 x 13 7/8 in.) Signed and numbered 8/25 in ink in the margin. scan for more on this lot

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 • ♠ plus Buyers Premium and VAT, ARR applies*

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To be sold with no reserve

168. Vee Speers

scan for more on this lot

b. 1962

Untitled #21 from The Birthday Party, 2007 Chromogenic print, mounted. 119.6 x 95.9 cm (47 1/8 x 37 3/4 in.) Signed in ink, printed title, date and number 1/6 on a gallery label afxed to the reverse of the mount. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

169. Joakim Eskildsen

b. 1971

Krasnodar, Russland, 2004 Archival pigment print. 21.8 x 27.3 cm (8 5/8 x 10 3/4 in.) Signed, titled and numbered 186/280 in pencil on the verso.

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Estimate £500-700 $650-920 €550-770 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

170. Lalla Essaydi

b. 1956

Converging Territories #2, 2004 Chromogenic print, mounted. 90 x 72.4 cm (35 3/8 x 28 1/2 in.) Signed, titled, dated and numbered 8/15 in ink on an artist label afxed to the reverse of the mount.

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Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 • ‡ plus Buyers Premium and VAT*

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To be sold with no reserve

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171. Patrick Demarchelier

b. 1943

Janet Jackson, Miami, 1993 Gelatin silver print, mounted. 35.6 x 35.6 cm (14 x 14 in.) Signed, titled, dated, numbered 4/20 in pencil, copyright credit reproduction limitation, credit and edition stamps on the reverse of the mount. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 • ♠ plus Buyers Premium and VAT, ARR applies*

172. Michael Eastman

b. 1947

Isabella’s Two Chairs, 1999 scan for more on this lot

Chromogenic print, mounted. Image: 93 x 66 cm (36 5/8 x 25 7/8 in.) Frame: 116.8 x 96 cm (45 7/8 x 37 3/4 in.) Signed, titled, dated and numbered 10/15 in ink in the margin; signed, titled, dated and numbered 10/15 in ink on an artist label afxed to the reverse of the mount. Estimate £4,000-6,000 $5,200-7,900 €4,400-6,600 • ‡ plus Buyers Premium and VAT*

173. Bruce Davidson

b. 1933

Untitled, Subway, New York, 1980 Chromogenic print, printed 2005. 51.5 x 76.3 cm (20 1/4 x 30 in.) Signed, titled, dated in ink on an artist label accompanying the work. scan for more on this lot

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 • ‡ plus Buyers Premium and VAT*

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Sale Information Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction Friday, 25 September, 2pm Viewing 19–25 September Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK040120 or Photographs. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Sale Department Deputy Chairwoman, Americas, Worldwide Head of Photographs Vanessa Hallett vhallett@phillips.com Head of Photographs, Europe Yuka Yamaji yyamaji@phillips.com Head of Sale, Specialist Rachel Peart rpeart@phillips.com Cataloguer Clare Lamport clamport@phillips.com

Auctioneers Henry Highley, Principal Auctioneer Rebecca Tooby-Desmond Sarah Krueger Susanna Brockman Adam Clay Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086

Administrator Daisy de Montjoye ddemontjoye@phillips.com

Buyer Accounts Heather Welham +44 20 7901 2982

Property Manager Andy Clydesdale +44 20 7901 7924 aclydesdale@phillips.com

Seller Accounts Surbjit Kaur +44 20 7318 4072

Photographers Jean Bourbon Matt Kroenig Kent Pell Charlie Sheldon Alex Braun

Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Rita Matos +44 20 7901 7906 Lucia Nuñez +44 20 7901 7920 Creative Services Chris Ward, Creative Services Manager Grace Neighbour, Graphic Designer Steven Rubbins, Senior Graphic Designer

Front cover Lot 1, Zanele Muholi Zodwa, Paris from Somnyama Ngonyama, 2014 Back cover Lot 99, Ori Gersht Untitled 12 from Blow Up, 2007

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24/08/20 11:18

UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

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Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Ж Property Subject to US Import Tarifs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

Hammer Price

BuyerÕs Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

ArtistÕs Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000

Royalty Rate 4% 3%

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From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000

By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners and directors. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded.

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Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

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Important Notices After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. • Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/ refund any applicable VAT. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

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

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase

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VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyer’s premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyer’s premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyer’s premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme.

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In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made.

If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result, your form may include VAT incurred in a number of member states.

Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met:

Time limits for claiming VAT refunds

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT).

• If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. • If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk. You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020). Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded. Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission.

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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices, and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent

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appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lotÕs low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneerÕs reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ÔpassedÕ, ÔwithdrawnÕ, Ôreturned to ownerÕ or Ôbought-inÕ. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyerÕs premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ÔPurchase PriceÕ). The buyerÕs premium is 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 12.5% of the portion of the hammer price above £3,000,000. Phillips reserves the

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right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the ArtistÕs Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artistÕs collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artistÕs nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: ¥ For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). ¥ It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyerÕs unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property.

(b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyerÕs risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyerÕs risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Property will be collected by the buyer at the point it is released by Phillips in the sale location to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyerÕs authorized representative. 8 Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at PhillipsÕs reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies For Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at PhillipsÔs premises or elsewhere at the buyerÕs sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv)

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charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party.

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Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis of continent of origin and confirmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the item qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12. US Imports Customs Tariffs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips

does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. Export, Import, Sales and/or Use Taxes Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States. Please contact the department organising the auction for further details. 13 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii)

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Authorship Warranty accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

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(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 17 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

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

Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

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

Address

City

State/Country

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

Post Code Phone

Mobile

Fax

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

Phone number to call at the time of sale (for Phone Bidding only) 2.

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

Brief description

In Consecutive Order

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable)

• Company Purchases: If you are buying under a business entity, we require a copy of government-issued identifcation (such as the certifcate of incorporation) as well as proof of owners and directors to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

Title

• Private Purchases: Proof of identity in the form of government-issued identification and proof of address will be required.

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000 per calendar year), credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

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

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

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Photographs New York / 14 October

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Public Viewing 9–13 October 450 Park Avenue New York

László Moholy-Nagy Fotogramm, 1925–1928 Estimate $80,000–120,000 phillips.com

Enquiries photographs@phillips.com +1 212 940 1245

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Index Adams, A. 93

Ho, F. 30

Ohashi, E. 9

Araki, N. 136, 137

Hoepker, T. 108

O'Neill, T. 77, 78, 81-84, 167

Arbus, D. 58, 59

Horst, H. P. 44, 45

Arnold, E. 85, 86

Hosoe, E. 90

Penn, I. 35, 39

Avedon, R. 40, 42, 75

Hoyningen-Huene, G. 88

Polidori, R. 148

Hugo, P. 66 Banning, J. 2

HĂźtte, A. 55, 56

Beard, P. 67, 71-74

Riboud, M. 34 Ritts, H. 5, 43, 89

Bark, J. 146 Ishiushi, M. 12, 13

Salgado, S. 157-161

Bellmer, H. 14 Bischof, W. 27

Jackson, A. 63

Schoeller, M. 104

Brandt, B. 15

Jones Grifths, P. 26

Sibande, M. 64 Sims, D. 46, 47

Brandt, N. 150-156 KertĂŠsz, A. 33

Sokolsky, M. 164

Klein, S. 6, 109-132

Sorrenti, M. 79

Capa, R. 25

Koh, S. W. 98

Speers, V. 168

Cartier-Bresson, H. 17-24

Koudelka, J. 28, 29

Starn, D. & M. 97

Burtynsky, E. 52, 53, 54

Stettner, L. 95, 96

Clergue, L. 163 Close, C. 103

LaChapelle, D. 138, 139

Suda, I. 11

Collier, A. 62

Leifer, N. 107

Sugimoto, H. 140-142

Corbijn, A. 106

Leiter, S. 147

Crewdson, G. 57

Lindbergh, P. 48, 49

Testino, M. 76 Tillmans, W. 4, 100, 105

Cunningham, I. 16 Mann, S. 60, 61 Dater, J. 91

Mapplethorpe, R. 36, 37, 38

van Empel, R. 3

Davidson, B. 173

Marchand, Y. and Mefre, R. 101

van Lamsweerde, I. & Matadin, V. 80

Demarchelier, P. 171

McCaw, C. 92

Ventura, P. 145

Doisneau, R. 31

Means, A. 10

Villers, A. 32

Dolron, D. 65

Morath, I. 165, 166 Morell, A. 149

Weston, B. 94, 162

Eastman, M. 172

Moriyama, D. 134, 135

Weston, E. 87

Epstein, M. 50, 51

Muholi, Z. 1

Woudt, B. 7

Narahara, I. 133

Yoo, H. M. 8

Eskildsen, J. 169 Essaydi, L. 170

Newton, H. 41 Gersht, O. 99

Nishino, S. 102

Ghirri, L. 143, 144 Goldblatt, D. 68-70

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