Photographs London, 2 November 2017
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11. Pablo Lรณpez Luz
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104.Adriana Jef Elrod 3. Lestido
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39. Anne Collier
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Photographs London, 2 November 2017, 2pm Auction and Viewing Location 30 Berkeley Square, London W1J 6EX
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Auction 2 November 2017 at 2pm
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Latin America
Phillips is proud to present another high-calibre selection of works by important Latin American artists. All of the featured works are fresh to the market, including a number of rare prints from the 1970s and 80s. Spanning nearly four decades of image-making, these works represent the widely diferent ways in which these photographers responded to the complexities of life in the region. Highlights range from Colombian artist Fernell Franco’s experimental photomontage from his frst series Prostitutas (lot 2) and Argentinian artist Adriana Lestido’s highly emotive portrait of an imprisoned woman (lot 3) to a provocative portrait of a transvestite prostitute by Chilean artist Paz Errázuriz (lot 1). Recent works include Mexican artist Pablo López Luz’s aerial image of Mexico City’s urban sprawl (lot 11). Both Errázuriz and López Luz are appearing at auction for the frst time. Decades of uncovering photographic work from this region culminated in two groundbreaking museum shows in 2013 to 2014: América Latina 1960-2013 at Fondation Cartier pour l’art contemporain, Paris and Museo Amparo, Mexico and Urbes Mutantes: Latin American Photography 1944-2013 at Museo de Arte del Banco de la República, Bogotá and the International Center of Photography, New York. Works by the Latin American artists featured in our selection reside in a number of public collections, including Fondation Cartier pour l’art contemporain, Paris and Tate Modern, London. We are excited to ofer collectors a unique opportunity to acquire these museum quality works as the Latin American photography market unfolds.
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2. Fernell Franco
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Property from a Private Collection, France
1. Paz Errázuriz
Chilean, b. 1944
Evelyn, Santiago from Adam’s Apple, 1988 Gelatin silver print. 14.5 x 20.7 cm (5 3/4 x 8 1/8 in.) Signed, dated, annotated in Spanish in pencil and printed credit label afxed to the verso. Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 Provenance Toluca Fine Art, Paris Literature P. Errázuriz, La Manzana De Adan: Adam’s Apple, Santiago: Zona Editoria, 1990, cover Paz Errazuriz : fotografia = photography, Santiago: Artes de Chile, 2004, p. 159 Paz Errazuriz, New York: Aperture, 2016, p. 179, Urbes Mutantes: Latin American Photography 1941-2012, Barcelona: RM Verlag, 2013, p. 367
Between 1982 and 1987, Paz Errázuriz collaborated with journalist Claudio Donoso on the series Adam’s Apple, documenting male sex workers and transvestites in brothels in Santiago and Talca. Through Errázuriz’s photographs and Donoso’s transcription of their stories, the life of this community and the ways in which these individuals maintained control of their bodies in the shadow of the Pinochet dictatorship were revealed. Evelyn, the subject of the present work, features prominently in the series. Museo Nacional Centro de Arte Reina Sofía in Madrid holds another early print of this image, and later prints reside in the collections of Museum of Modern Art, New York and Tate Modern, London.
Latin America
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Property from a Private Collection, France
2. Fernell Franco
Colombian, 1942-2006
Prostitutas, 1970-1972 Gelatin silver print. 16.7 x 21.5 cm (6 5/8 x 8 1/2 in.) Inventory number by Fundación Fernell Franco in ink on the verso. Estimate £7,000-9,000 $9,300-11,900 €7,900-10,200 Provenance Toluca Fine Art, Paris Exhibited Fernell Franco, Cali clair-obscur, Fondation Cartier pour l’art contemporain, Paris, 6 February - 5 June 2016; Centro de la Imagen, Mexico City, 27 July - 2 November 2016 For this lot
Fernell Franco’s frst major series Prostitutas (1970-72), comprised of 16 photographs of sex workers in brothels in Buenaventura, was frst exhibited in March 1972 in his home town of Cali at Casa Cultural Ciudad Solar. Inspired by cinema, Franco was interested in expressing a narrative in his photographs, which he ofen achieved through experimentation as seen in the present work. This photomontage was created by exposing and mirroring the negative in the enlarger multiple times while moving the sheet of photographic paper.
Literature F. Fernell, Fotografias, Bogota: Editografcas, 1983, n.p. Fernell Franco, Cali clair-obscur, Paris: Fondation Cartier pour l’art contemporain, 2016, p. 77 For this lot
Latin America
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Property from a Private Collection, France
3. Adriana Lestido
Argentinian, b. 1955
Property from a Private Collection, France
4. Graciela Iturbide
Mexican, b. 1942
Estela from Mujeres presas, 1991-1992 Gelatin silver print, printed 1997. 33 x 49.6 cm (12 7/8 x 19 1/2 in.) Signed, titled, dated and annotated in Spanish in pencil on the verso.
Novia Muerte, Chalma, Mexico, 1986 Gelatin silver print. 30.5 x 20.5 cm (12 x 8 1/8 in.) Signed, titled ‘La muerte, Chalma, Mexico’ and dated in pencil on the verso.
Estimate £4,000-6,000 $5,300-7,900 €4,500-6,800
Estimate £4,000-6,000 $5,300-7,900 €4,500-6,800
Provenance Toluca Fine Art, Paris
Provenance Toluca Fine Art, Paris
Exhibited América Latina 1960-2013, Fondation Cartier pour l’art contemporain, Paris, 19 November 2013 - 6 April 2014; Museo Amparo, Puebla, Mexico, 24 May - 29 September 2014 For another
Literature Graciela Iturbide: Images of the Spirit, New York: Aperture, 1996, frontispiece Graciela Iturbide, Madrid: Fundacion Mapfre, 2009, p. 161, pl. 114
Literature A. Lestido, Mujeres presas, Buenos Aires: Self-published, 2001, n.p. America Latina Photographies 1960-2013, Paris: Fondation Cartier pour l’art contemporain/Puebla: Museo Amparo, 2013, pp. 278-79
Fundación Mapfre, Madrid; Tate Modern, London; and Museum of Fine Arts, Houston hold later prints of this image.
Fondation Cartier pour l’art contemporain in Paris holds another early print of this image, which is smaller in size. Latin America
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Latin America
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Property from a Private Collection, France
5. Facundo de Zuviría
Argentinian, b. 1954
Property from a Private Collection, France
6. Vladimir Sersa
Venezuelian, b. 1946
La Tregua from Siesta Argentina, 2003 Gelatin silver print. 22 x 32.8 cm (8 5/8 x 12 7/8 in.) Signed, titled, dated and numbered 3/3 in pencil on the verso.
Letreros que se ven, circa 1979 Gelatin silver print. 26 x 20 cm (10 1/4 x 7 7/8 in.) Signed, dated and annotated in Spanish in pencil on the verso.
Estimate £2,500-3,500 $3,300-4,600 €2,800-4,000
Estimate £2,500-3,500 $3,300-4,600 €2,800-4,000 ♠
Provenance Toluca Fine Art, Paris
Provenance Toluca Fine Art, Paris
Literature F. de Zuviría, Siesta Argentina, Buenos Aires: Ediciones Lariviere, 2003, n.p.
Literature R. Montoya, Letreros que se ven: El Grupo fotografas de Ricardo Armas, Alexis Pérez Luna, Vladimir Sersa, Jorge Vall, Fermin Valladares, Carcas: Editorial Ateneo de Caracas, 1979, n.p. For this lot
Museo Nacional de Bellas Artes in Buenos Aires holds a later print of this image.
The print ofered here was used to illustrate this work in Vladimir Sersa’s book Letreros que se ven (1979). The sign in the image reads, ‘Young man if you are less honourable to your homeland by obeying its laws. Do not stay in this place where you can consume liquor.’
Latin America
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Latin America
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Latin America
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Property from a Private Collection, France
7. Gertjan Bartelsman
Dutch/Colombian, b. 1949
Property from a Private Collection, France
8. Sergio Trujillo
Colombian, b. 1947
No title (Men in bar), circa 1980 Gelatin silver print, printed 1981. 24 x 16 cm (9 1/2 x 6 1/4 in.) Signed, dated and annotated in Spanish in pencil on the verso.
Muros Colombianos, 1972-1979 Gelatin silver print. 16.5 x 24.3 cm (6 1/2 x 9 5/8 in.) Signed, titled, dated, annotated in Spanish and copyright stamp on the verso.
Estimate £2,500-3,500 $3,300-4,600 €2,800-4,000 ♠
Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700
Provenance Toluca Fine Art, Paris
Provenance Toluca Fine Art, Paris
Literature Hecho en Latinoamerica 2: Memorias, Mexico: Instituto Nacional de Bellas Artes, 1982, n.p.
Latin America
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Property from a Private Collection, Colombia
9. Jorge Ortiz
Colombian, b. 1948
Boquerón, 1979-1981 Two gelatin silver prints. 18.5 x 17.9 cm (7 1/4 x 7 in.); 15.7 x 15.5 cm (6 1/8 x 6 1/8 in.) Each signed and dated, one annotated in Spanish, all in ink on the verso. Estimate £4,000-6,000 $5,300-7,900 €4,500-6,800 ‡ Provenance Acquired directly from the artist Exhibited Jorge Ortiz: Retrospective Vision, Espacio El Dorado, Bogota, 12 December 2015 - 24 January 2016 For this lot
Property from a Private Collection, Colombia
10. Jorge Ortiz
Colombian, b. 1948
Cables, 1977 Four gelatin silver prints. Each approximately 19 x 19 cm (7 1/2 x 7 1/2 in.) Each signed and dated in ink on the verso. Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 ‡ Provenance Acquired directly from the artist Exhibited Jorge Ortiz: Retrospective Vision, Espacio El Dorado, Bogota, 12 December 2015 - 24 January 2016 For this lot
Latin America
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Ortiz is interested in documenting the formal elements he fnds in urban environments. In BoquerĂłn, shooting in fve-minute intervals, he systematically photographs the celestial changes in the horizon near MedellĂn, meticulously documenting the time and place between each shot and noting the diferences and similarities along the horizon line. In Cables, Ortiz continues with his visual analysis, but this time, he turns his camera up, shooting the lines of the power cables that crisscross above BogotĂĄ. Latin America
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Latin America
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‘If the frst impression is surprising, then there will be a second reading of the photograph. The second is the content, or the narrative behind an image.’ Pablo López Luz
11. Pablo López Luz
Mexican, b. 1979
Vista Aérea de la Ciudad de Mexico XIII from Terrazo, 2006 Archival pigment print, fush-mounted. Image/Sheet: 100 x 100 cm (39 3/8 x 39 3/8 in.) Frame: 108 x 108 cm (42 1/2 x 42 1/2 in.) Signed in ink, printed title, date and number AP 2 on an artist label afxed to the reverse of the frame. From the sold-out edition of 6 + 2 AP. Estimate £8,000-12,000 $10,600-15,900 €9,100-13,600 Provenance Toluca Fine Art, Paris, 2008 Exhibited Photography in Mexico: Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhause, San Francisco Museum of Modern Art, California, 10 March 8 July 2012 Alt + 1000 Festival de Photographie, Rossiniere, 13 July 22 September 2013 Panorámica Paisaje 1969 - 2013, Museo Palacio de Bellas Artes, Mexico City, 25 April - 7 July 2013 Expanded Geographies, Foto Festival 2015, Lianzhou, 21 November - 10 December 2015 Changing Circumstances, FotoFest 16th Biennial, Houston, 12 March - 24 April 2016 Pablo Lopez Luz: Views from the Expanded City, Botanique, Belgium, 22 June - 27 July 2016 For another Literature Pablo López Luz, Barcelona: RM Verlag, 2010. p. 36 W. E. Ewing, Landmark, the Fields of Landscape Photography, London: Thames & Hudson, 2014 p. 108 A. Fabry, Urbes Mutantes 1941-2012: Latin American Photography, Barcelona: RM/ Toluca Éditions, 2013, p. 17 C. De Jaeger and R. Van Gansbeke, Mexico Megalopolis: Picturing Mexico Today, Tielt: Lannoo, 2016, p. 102
The San Francisco Museum of Modern Art holds another print of this image. Latin America
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12. Graciela Sacco
Argentinian, b. 1956
M² Infnite: How much is a square meter of waiting?, 2009 Mixed media installation comprised of heliography on shoes and wood, transparent and two-way mirror Plexiglas, silver painted wood and one electric lamp with cable. 43 x 31.5 x 31.5 cm (16 7/8 x 12 3/8 x 12 3/8 in.) Signed in ink, printed title and date on a Certifcate of Authenticity accompanying the work. Estimate £7,000-9,000 $9,300-11,900 €7,900-10,100 † Literature Graciela Sacco: M² Volume 1, Rosario: Ediciones Castagnino, 2009, pp. 143-144
‘It is centred on movement, on displacements, including those made in order to reach that place that one thinks is his/her own. And it is that small place, that square meter that has generated a thousand migrant stories that populate the world in all directions. The images from this period were conceived as signs and metaphors of the man in transit.’ Graciela Sacco In the present work, Sacco uses a self-developed photographic process, which she calls ‘heliography’. This technique, involving light-sensitive chemicals, a handmade apparatus and sunlight, was applied to imprint the shoes and the wooden bottom of the cube with a gridded pattern, reminiscent of tiles. These are encased within a mirrored cube with metal sides and a light is afxed to the top. The installation is best viewed at eye level, in a darkened room with the overhanging light illuminating the shoes below. Looking into the box, the result is a captivating illusion of infnitely repeating shoes.
Detail of installation
Latin America
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Latin America
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Biographies Gertjan Bartelsman
Paz Errázuriz
Graciela Iturbide
Dutch/Colombian, b. 1949 Lot 7
Chilean, b. 1944 Lot 1
Mexican, b. 1942 Lot 4
Dutch-born photographer Gertjan Bartelsman has lived in Colombia since 1950. In the 1970s, he worked as a photographer in advertising and journalism before pursuing his own projects. Travelling around Colombia, Bartelsman photographed his subjects on buses and trains, in bars, cantinas and at work. The resulting images showcase his ability to capture intimate moments in urban life. Bartelsman has exhibited internationally, participating twice in the Venice Biennale.
Paz Errázuriz began taking photographs in the 1970s during the Pinochet dictatorship and continued documenting the social landscape of her native Chile in subsequent decades. She is known for her ability to capture the resoluteness of the regime’s marginalised victims in intimate portraits. Errázuriz was the frst Latin American woman photographer to be ofered a Guggenheim Fellowship in 1986 and was awarded the Prix Madame Figaro at the Rencontres d’Arles in 2017.
One of Mexico’s foremost living artists, Graciela Iturbide explores everyday life in Mexico through photography. She has repeatedly visited the Mexican town of Chalma, famous for its religious festivities, to document traditional rituals, ofen involving elements of death and the grotesque. Iturbide studied under Manuel Álvarez Bravo at the Centro Universitario de Estudios Cinematográfcos, part of the Universidad Nacional Autónoma de México, and later worked as his assistant. She received the Hasselblad Award in 2008 and has exhibited at the J. Paul Getty Museum, Los Angeles; Fundación Mapfre, Madrid; and Tate Modern, London.
Fernell Franco Facundo De Zuviría Argentinian, b. 1954 Lot 5
Facundo de Zuviría lives and works in Buenos Aires, exploring the urban landscape in his photographs. The series Siesta Argentina – created in the period following the Argentinian crisis at the end of 2001 – illustrates a city devoid of people and activities during midafernoon siesta. These images of storefronts in Buenos Aires draw attention to the difering patterns found on the building facades. De Zuviría has received multiple awards, including the prestigious Konex Award for his contributions to Argentinian visual arts in 1992 and again in 2012. His work has been exhibited at institutions worldwide, including the Fondation Cartier pour l’art contemporain, Paris and the International Center of Photography, New York.
Colombian, 1942-2006 Lot 2
Fernell Franco, one of Latin America’s preeminent photographers, was a leading fgure of the Cali Group (named afer the city where he lived most his life). He frst encountered the urban underbelly of Colombia as a teenager while working for a photographic studio as a bike messenger. He later pursued photography in the feld of journalism then advertising before turning to his frst series Prostitutas in 1970. Franco’s other projects include Interiores (1970s), Demoliciones (1970s-90s), Amarrados (1980-95), Billares (1985) and Retratos de ciudad (1990s). In 2016, a major retrospective of his work was shown at Fondation Cartier pour l’art contemporain in Paris and Centro de la Imagen in Mexico City.
Adriana Lestido Argentinian, b. 1955 Lot 3
While working as a photojournalist in the 1980s, Adriana Lestido became fascinated by the theme of emotional and afective ties. For the series Mujeres presas (1991-93), she captured intimate moments in her portraits of imprisoned women. In 1995, she was the frst Argentinian photographer to be awarded a Guggenheim Fellowship. Her work has been exhibited in many institutions worldwide, including Museo Nacional de Bellas Artes, Buenos Aires; Museum of Fine Arts, Houston; and Hasselblad Center, Gothenburg.
Latin America
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Pablo López Luz
Graciela Sacco
Sergio Trujillo
Mexican, b. 1979 Lot 11
Argentinian, b. 1956 Lot 12
Colombian, b. 1947 Lot 8
Pablo López Luz explores the relationship between humans and their environment in his landscapes with a focus on his home town of Mexico City. His experimentations with vantage points and framing challenge our way of engaging with a landscape. López Luz has exhibited at a number of institutions, including the International Center of Photography in New York and Fondation Cartier pour l’art contemporain in Paris and his work is held at San Francisco Museum of Modern Art and Museo de Arte Moderno, Mexico City.
Graciela Sacco addresses some of contemporary society’s biggest problems – famine, displacement, homelessness, violence and corruption – in her photographic, video and installation work. She has developed her own photographic technique, which she calls ‘heliography’, and experiments with various supports from paper and canvas to wood and rubber. Sacco represented Argentina at the 1996 Bienal de São Paulo and the 2001 Venice Biennale. She has exhibited at the Museum of Fine Art, Houston; Museo de Arte Moderno, Buenos Aires; and Maison de l’Amérique Latine, Paris.
Sergio Trujillo began working with photography in the 1960s. His series Muros Colombianos (1972-79) illustrates the beauty found in debris, capturing Colombian society through photographs of torn posters on walls in public places. Trujillo has made several flms and has taught photography, design and visual expression at the Universidad de Bogotá Jorge Tadeo Lozano. Since 1983, he has managed Sergio Trujillo Dávila y Cía, designing audiovisual programs in video and multi-image systems.
Jorge Ortiz Colombian, b. 1948 Lots 9 and 10
A pioneer of Colombian conceptual photography, Jorge Ortiz explores urban landscapes, ofen using light and time as his primary tools. In the 1970s, he began to experiment with light and developing processes, which resulted in his early black-and-white series Cables (1977) and Boquerón (1979-81). Ortiz’s work has been exhibited internationally, including Havana Biennial, Bienniale of Sydney and Museo de Arte Moderno de Bogotá.
Vladimir Sersa Venezuelan, b. 1946 Lot 6
Vladimir Sersa was part of the photography collective El Grupo, whose motto ‘we do not make pretty photos’ inspired work that combined criticism and humour. Sersa travelled extensively around Venezuela on documentary projects. For his series Letreros que se ven [Billboards on Display] (c. 1979), he photographed grafti, billboards and posters he found in working class Caracas. His book Letreros que se ven was published by Editorial Ateneo de Caracas in 1979.
Latin America
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13. Daido Moriyama
b. 1938
How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987 Gelatin silver print, printed later. Image: 98.5 x 68 cm (38 3/4 x 26 3/4 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 $9,300-11,900 €7,900-10,200 ‡ Provenance Private Collection, Switzerland Literature Daido Moriyama, London: Phaidon, 2001, cover and p. 111 Daido Moriyama: The Complete Works Vol.2 1974–1992, Hiroshima: Daiwa Radiator Factory, 2004, p. 407
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14. Nobuyoshi Araki
b. 1940
Tokyo Comedy, 1997 Gelatin silver print, fush-mounted, printed later. Image: 45 x 57.4 cm (17 3/4 x 22 5/8 in.) Frame: 54.4 x 66.8 cm (21 3/8 x 26 1/4 in.) Signed in ink on the recto. Estimate £20,000-30,000 $26,500-39,700 €22,600-34,000 ‡
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Provenance Acquired directly from the artist, 2008 Literature Araki by Araki, The Photographer’s Personal Selection, 1963-2002, Tokyo: Kodansha International, 2003, p. 356 Araki: Self, Life, Death, London: Phaidon, 2005, p. 650
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15. Nobuyoshi Araki
b. 1940
Colourscapes, 1991 Dye destruction print. Image/Sheet: 76 x 60.1 cm (29 7/8 x 23 5/8 in.) Frame: 77 x 61.1 cm (30 3/8 x 24 in.) Signed in ink on an artist label afxed to the reverse of the frame. Estimate £15,000-20,000 $19,900-26,500 €17,000-22,600
Literature Araki by Araki: The Photographer’s Personal Selection, 1963–2002, London: Kodansha International, 2003, p. 276 Nobuyoshi Araki: Self, Life, Death, London: Phaidon, 2005, p. 322 J. Sans, Araki, Cologne: Taschen, 2007, cover and p. 25
Provenance Galerie Bob van Orsouw, Zurich Phillips de Pury & Company, New York, Veronica’s Revenge, 8 November 2004, lot 109
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16. Nobuyoshi Araki
b. 1940
Colourscapes, 1991 Chromogenic print, printed later, fush-mounted. Image: 126.1 x 101 cm (49 5/8 x 39 3/4 in.) Frame: 143 x 115.3 cm (56 1/4 x 45 3/8 in.) Signed in ink in the margin; accompanied by a signed Certifcate of Authenticity. Estimate ÂŁ7,000-9,000 $9,300-11,900 â‚Ź7,900-10,200 Provenance Acquired directly from the artist, 2004
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17. Sohei Nishino
b. 1982
Shanghai from Diorama Map, 2004 Archival pigment print, fush-mounted. Image/Sheet: 135.2 x 153.4 cm (53 1/4 x 60 3/8 in.) Frame: 144.8 x 163.7 cm (57 x 64 1/2 in.) Signed in Japanese in ink, printed title, date and number 3/5 on an artist label afxed to the reverse of the frame. Estimate ÂŁ6,000-8,000 $7,900-10,600 â‚Ź6,800-9,100 Provenance Michael Hoppen Gallery, London
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18. Idris Khan
b. 1978
every...Nicholas Nixon’s Brown Sisters, 2004 Chromogenic print. 43.5 x 53.4 cm (17 1/8 x 21 in.) Signed, dated in ink, printed title and number 4/10 on an artist label afxed to the reverse of the frame. Estimate £10,000-15,000 $13,200-19,900 €11,300-17,000 ♠ Provenance The Photographers’ Gallery, London Literature Idris Khan every…, Dusseldorf: Kerber Verlag, 2008, pp. 20-21 Idris Khan, New York: Yvon Lambert, 2007, n.p.
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19. Nick Brandt
b. 1964
Lion Before Storm I, Maasai Mara, 2006 Archival pigment print. Image: 92 x 117 cm (36 1/4 x 46 1/8 in.) Frame: 135.7 x 159.7 cm (53 3/8 x 62 7/8 in.) Signed, dated and numbered 12/12 in pencil in the margin. Estimate £20,000-30,000 $26,500-39,700 €22,600-34,000 ♠ Provenance A. Galerie, Paris Literature N. Brandt, A Shadow Falls, New York: Abrams, 2009, p. 130 N. Brandt, On This Earth, A Shadow Falls, New York: Abrams, 2012, p. 112
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20. Peter Beard
b. 1938
Large tusker (c. 150 lbs per side), Tsavo North, near hunting block 33/ Ithumber Hill on the Athi-Tiva dry river, February, 1965 Gelatin silver print with watercolour paint and ink, executed later. Image: 38.1 x 56.6 cm (15 x 22 1/4 in.) Sheet: 50.5 x 60.3 cm (19 7/8 x 23 3/4 in.) Frame: 61.3 x 71.7 cm (24 1/8 x 28 1/4 in.) Signed, titled, dated and variously annotated in ink on the recto. Estimate £15,000-20,000 $19,900-26,500 €17,000-22,600 Provenance The Time is Always Now Gallery, New York Literature P. Beard, The End of the Game, Cologne: Taschen, 2008, n.p. P. Beard, Zara’s Tales from Hog Ranch: Perilous Escapades in Equatorial Africa, New York: Alfred A. Knopf, 2004, p. 159 For variants
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21. Joel Sternfeld
b. 1944
Looking Northwest from 29th Street, June, 2000 Chromogenic print, printed 2005, fush-mounted. Image/Sheet: 98.5 x 125.3 cm (38 3/4 x 49 3/8 in.) Frame: 102 x 129 cm (40 1/8 x 50 3/4 in.) Signed in ink, printed title, date and number 2/7 on a gallery label afxed to the reverse of the frame. Estimate ÂŁ10,000-15,000 $13,200-19,900 â‚Ź11,300-17,000 Provenance Luhring Augustine, New York Literature J. Sternfeld, Walking the High Line, Gottingen: Steidl, 2006, p. 10
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22. Alec Soth
b. 1969
Johnny Cash’s Boyhood Home, Dyess, Arkansas, 2002 Chromogenic print, fush-mounted. Image/Sheet: 80.7 x 100.6 cm (31 3/4 x 39 5/8 in.) Frame: 84.5 x 104.8 cm (33 1/4 x 41 1/4 in.) Signed, titled, dated and numbered 10/10 in ink on an artist label afxed to the reverse of the fush-mount. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ‡ Provenance Gagosian Gallery, New York, 2005
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23. Alec Soth
b. 1969
Helena, Arkansas, 2002 Chromogenic print, printed 2009, fush-mounted. Image/Sheet: 81.6 x 101.6 cm (32 1/8 x 40 in.) Frame: 84.2 x 104.1 cm (33 1/8 x 40 7/8 in.) Signed in ink, printed title, date and number AP2 on an artist label afxed to the reverse of the fush-mount. From an edition of 10 + 2 AP. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ‡ Provenance Private Collection, Switzerland
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‘I’ve never felt the need to enhance the world in my pictures, because the world is spectacular enough as it is.’ William Eggleston
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24. William Egleston
b. 1939
Untitled, 1965-1968 Pigment print, printed 2012, fush-mounted. Image: 80 x 121.9 cm (31 1/2 x 48 in.) Frame: 112.4 x 151.8 cm (44 1/4 x 59 3/4 in. ) Signed in ink by the artist, titled, dated, numbered 1/2 in pencil in an unidentifed hand, printed Eggleston Artistic Trust copyright credit reproduction limitation on a label afxed to the reverse of the fush-mount. Estimate £50,000-70,000 $66,300-92,900 €56,300-78,900 ‡ Provenance Gagosian Gallery, Los Angeles Literature William Eggleston: Los Alamos, Zurich: Scalo, 2003, p. 161 William Eggleston: Democratic Camera, Photographs and Video, 1961-2008, New York: Whitney Museum of American Art, 2008, pl. 44 Room Service: vom Hotel in der Kunst und Kunstlern im Hotel, Baden-Baden: Kunsthalle, 2014, p. 172, there titled, Untitled, (Motel Room with Fluorescents)
This intriguing image is from William Eggleston’s celebrated Los Alamos series. Named afer the nuclear testing site in New Mexico, Los Alamos consists of images taken between 1965-1974 across the southern United States, from New Orleans to Santa Monica. Eggleston’s observation of beauty captures unexpected moments in the everyday world surrounding him. In the present work, the contrast of the cold fuorescent light against the intense darkness of the motel room demonstrates Eggleston’s ability to create arresting compositions from unremarkable settings. This was one of 75 images, selected from over 2,000 negatives, that were published in the 2003 Los Alamos portfolio.
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25. Horst P. Horst
1906-1999
Mainbocher Corset, Paris, 1939 Platinum palladium print, printed later. 45.1 x 34 cm (17 3/4 x 13 3/8 in.) Signed in pencil in the margin; signed, titled, dated, numbered 8/50 and copyright notation in pencil on the verso. From an edition of 50 + 10 AP. Estimate £10,000-15,000 $13,200-19,900 €11,300-17,000 Provenance Hamiltons Gallery, London Literature M. Kazmaier, Horst: Sixty Years of Photography, London: Thames & Hudson, 1991, pl. 8
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26. William Klein
b. 1928
Smoke + Veil, Paris (Vogue), 1958 Gelatin silver print, printed 2014, fush-mounted. Image/Sheet: 104.3 x 76.9 cm (41 1/8 x 30 1/4 in.) Frame: 116 x 88 cm (45 5/8 x 34 5/8 in.) Signed, inscribed ink ink, printed title, date and number 26/30 on an artist label afxed to the reverse of the frame. From the sold-out edition of 30 oversized prints. Estimate £18,000-22,000 $23,800-29,100 €20,400-24,900 ♠ Provenance Acquired directly from the artist Literature William Klein: In & Out of Fashion, New York: Random House, 1994, cover, there titled Evelyn Tripp, Paris William Klein, Paris: Centre Georges-Pompidou, 2005, p. 83
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27. Ormond Gigli
b. 1925
Girls in the Windows, New York City, 1960 Chromogenic print, printed later. Image: 124.9 x 124.9 cm (49 1/8 x 49 1/8 in.) Frame: 150 x 150.1 cm (59 x 59 1/8 in.) Signed, titled, dated and numbered 18/75 in ink on the verso. Estimate £20,000-30,000 $26,500-39,700 €22,600-34,000 ‡ Literature Refections in a Glass Eye: Works from the International Center of Photography Collection, Boston: Little Brown & Co., 2000, pl. 63 P. Fetterman, Woman: A Celebration, San Francisco: Chronicle, 2003, pl. 48 O. Gigli, Girls in the Windows: And Other Stories, Brooklyn: powerHouse, 2013, cover and p. 23
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28. Robert Mapplethorpe
1946-1989
Lily, 1989 Dye transfer print, fush-mounted. 58.9 x 57 cm (23 1/4 x 22 1/2 in.) Signed, titled, dated, numbered 2/5 in ink and copyright credit reproduction limitation stamp on the reverse of the fush-mount. Estimate £12,000-18,000 $15,900-23,800 €13,600-20,400 ‡ Provenance Robert Miller Gallery, New York Private Collection, Tokyo, 2016 Literature Flowers/Mapplethorpe, Boston: Bulfnch, 1990, pl. 45, there titled Tiger Lily
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29. Irving Penn
1917-2009
Dior Fur Scarf (Jean Patchett), New York, 1950-1951 Selenium toned gelatin silver print, printed 1990. 38.5 x 38.8 cm (15 1/8 x 15 1/4 in.) Signed, initialled, titled, dated in ink, Condé Nast copyright credit reproduction limitation and edition stamps on the reverse of the mount. From an edition of 17. Estimate £25,000-35,000 $33,100-46,400 €28,300-39,600 Provenance Pace/MacGill Gallery, New York Private Collection, London, 2003 Literature I. Penn, Passage: A Work Record, New York: Knopf, 1991, p. 87
‘He was there to set the standard of excellence, to make that breath-taking image that stops you in your tracks.’ Anna Wintour
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‘…the reader will probably note my preference for fowers considerably after they have passed that point of perfection, when they have already begun spotting and browning and twisting on their back to the earth.’ Irving Penn
30. Irving Penn
1917-2009
Single Oriental Poppy, New York, 1968 Dye transfer print, printed 1989. Approximately 54.4 x 43.1 cm (21 3/8 x 16 7/8 in.) Signed, initialled, titled, dated in pencil, Condé Nast copyright credit (courtesy Vogue) reproduction limitation and edition stamps on the verso. From an edition of 18. Estimate £50,000-70,000 $66,200-92,700 €56,600-79,200 ‡ Provenance Pace/MacGill Gallery, New York Private Collection, Los Angeles Literature Flowers: Photographs by Irving Penn, New York: Harmony Books, 1980, p. 17 J. Szarkowski, Irving Penn, New York: Museum of Modern Art, 1984, pl. 131 I. Penn, Passage: A Work Record, New York: Knopf, 1991, p. 176 Irving Penn: Flowers, Hamiltons Gallery, London, 2015, pl. 20 Irving Penn: Centennial, New York: The Metropolitan Museum of Art, 2017, back cover and p. 311
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‘I see my work to some extent as portraits of spaces.’ Candida Höfer
31. Candida Höfer
b. 1944
Biblioteca UNED Madrid III, 2000 Chromogenic print, face-mounted to Plexiglas Image: 119.7 x 162.5 cm (47 1/8 x 63 7/8 in.) Frame: 154.6 x 196.5 cm (60 7/8 x 77 3/8 in.) Signed in ink, printed title, date and number AP 1 on an artist label afxed to the reverse of the frame. From an edition of 6 + 3 AP. Estimate £15,000-20,000 $19,900-26,500 €17,000-22,600 ♠ Provenance Acquired directly from the artist
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‘Irritation of the perception and awakening the fantasy or imagination of the beholder is my aim.’ Axel Hütte
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32. Axel Hütte
b. 1951
Kakadu National Park I, Australia, 1999 Chromogenic print, fush-mounted. Image: 106.4 x 210 cm (41 7/8 x 82 5/8 in.) Frame: 157 x 257 cm (61 3/4 x 101 1/8 in.) Signed, titled, dated and numbered 2/4 in ink on the reverse of the fush-mount. Estimate £10,000-15,000 $13,300-19,900 €11,300-16,900 ‡ ♠
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Provenance Galerie Max Hetzler, Berlin Literature A. Hütte, North/South, Munich: Schirmer/Mosel, 2006, p. 73
This poetic image of refections in water was taken by Axel Hütte during his travels across Europe, Australia and South America in the late 1990s. His methods of cropping and framing strip the image of any context, resulting in a landscape that appears both timeless and placeless.
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‘My images are not images of reality, but show a kind of second reality, the image of the image.’ Thomas Ruf
33. Thomas Ruf
b. 1958
Sterne 18h 22m/-60°, 1992 Chromogenic print, face-mounted. Image: 201.2 x 134 cm (79 1/4 x 52 3/4 in.) Frame: 258.9 x 186.5 cm (101 7/8 x 73 3/8 in.) Signed, titled, dated and numbered 1/2 in pencil on the verso. Estimate £30,000-50,000 $39,700-66,200 €34,000-56,600 ♠ Provenance Galerie Wilma Tolksdorf, Frankfurt Literature Thomas Ruf: 1979 to the present, Baden-Baden: Kunsthalle, 2001, p. 198
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In his Sterne series (1989 -1992), Thomas Ruf takes the objectivity of documentation in photography into a dialogue between reality and art. Using high-resolution negatives obtained from the archives of the European Southern Observatory, Ruf cropped, printed and repositioned the negatives of the night sky above Chile. In the present work, we experience the transformation from scientifc document to art, whereby a seemingly objective image is viewed as abstracted beauty. The work confronts us with our tendency to impose what we think we see. When we look at a star in the night sky, we are not seeing the actual star itself, but a trace of light travelling across time and space. And that too is what defnes a photograph – light traces on paper of something that no longer exists.
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‘I assemble the work to have control over the whole picture, because I want to re-create reality in a better way.’ Ruud van Empel
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34. Ruud van Empel
b. 1958
Theatre #7, 2012 Dye destruction print, face-mounted to Plexiglas and fush-mounted. 100 x 300 cm (39 3/8 x 118 1/8 in.) Signed, titled, dated and numbered 5/7 on an artist label afxed to the reverse of the fush-mount. Estimate £30,000-50,000 $39,700-66,200 €34,000-56,600 ♠ Provenance Flatland Gallery, Amsterdam
Ruud van Empel continues to explore themes of childhood and storytelling in his Theatre series (2010-13). Measuring three metres in length, the monumental scale of Theatre #7 transforms the space in which it is exhibited into a theatrical set. The blue colour spectrum evokes twilight and creates a scene that appears serene and eerie at the same time.
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‘The work is only fnished when there are no more distractions.’ Desiree Dolron
35. Desiree Dolron
b. 1963
Xteriors XII, 2001-2006 Chromogenic print, Diasec and fush-mounted. 173 x 119.3 cm (68 1/8 x 46 7/8 in.) Signed, titled, dated and numbered 7/8 in ink on the reverse of the fush-mount. Estimate £40,000-60,000 $53,000-79,500 €45,300-67,900 ♠ Provenance Galerie Gabriel Rolt, Amsterdam Literature Desiree Dolron: Exaltation, Gaze, Xteriors, Paris: Institut Néerlandais, 2006, p. 99
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‘Beauty is dangerous.’ Guido Mocafco
36. Guido Mocafco
b. 1962
Naja Melanoleuca from Serpens, 2003 Chromogenic print, printed 2007, fush-mounted. Image/Sheet: 118.6 x 153.2 cm (46 3/4 x 60 3/8 in.) Frame: 127.4 x 161.5 cm (50 1/8 x 63 5/8 in.) Signed, titled, dated, numbered AP1 in ink, printed copyright credit and notation ‘Unique in this format’ on an artist label afxed to the reverse of the fush-mount. Estimate £40,000-60,000 $53,000-79,500 €45,300-67,900 ♠ Provenance Hamiltons Gallery, London, 2007 Literature P. Remy, ed., Serpens: Guido Mocafco, Gottingen: Steidl, 2007, n.p.
Each image in the Serpens series was realised in an edition of 4 + 2 AP. The present work is one of a select number of images that were created as unique oversized AP prints. The four prints from the numbered edition, as well as one of the artist proofs remaining with the artist, are smaller in size, measuring 70 x 90 cm.
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42. Alex Prager
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ULTIMATE
ULTIMATE is a unique selection of photographs, available for sale only at Phillips. 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 do 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 piece is distinctive, the one thing they all have in common is that they are not available anywhere else. We are thrilled to present a curated selection of fve masterworks by internationally acclaimed women artists, including a unique oversized work by Helena Almeida, which was exhibited in two solo shows in 1996 and 2000 (lot 37), and a poignant work from Carrie Mae Weems’s seminal Kitchen Table Series, which has been in the same collection for over 20 years (lot 41). In an exciting collaboration with Calvin Klein to celebrate his forthcoming frst book, three defning photographs by Steven Meisel, David Sims and Bruce Weber are showcased (lots 48-50). Shot in the early 1990s, these works are being ofered for the frst time exclusively in ULTIMATE. Occupying both the commercial and art realms, they can be described as timeless, powerful, distinctive and intoxicating. A unique opportunity to acquire these exclusive works.
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‘My work is my body; my body is my work.’ Helena Almeida
37. Helena Almeida
Portuguese, b. 1934
Ponto de Fuga (Vanishing Point), 1982 Gelatin silver print, fush-mounted. Image/Sheet: 208.3 x 124.5 cm (82 x 49 in.) Frame: 214.6 x 133.4 cm (84 1/2 x 52 1/2 in.) Signed and dated in ink on the recto; signed, titled and dated in ink on the reverse of the frame. This work is unique. Estimate £60,000-80,000 $79,600-106,000 €67,600-90,100 ‡ ♠ Provenance Private Collection, Brazil Sotheby’s, New York, 1 April 2015, lot 168 Exhibited Helena Almeida: Variations and Fugue on a Body, Serralves Foundation, Porto, 23 November – 28 January, 1996 Helena Almeida, Centro Galego de Arte Contemporanea, Santiago de Compostela, 14 January – 19 March, 2000 Helena Almeida: Feet on the Ground, Head in the Sky, Centro Cultural de Belem, Lisbon, 19 March – 16 May, 2004 For this lot Literature Helena Almeida:Variations and Fugue on a Body, Porto: Serralves Foundation, 1995, p. 72 Helena Almeida, Santiago de Compostela: Centro Galego de Arte Contemporanea, 2000, p. 131 D. M. Sardo, Helena Almeida: Feet on the Ground, Head in the Sky, Lisbon: Centrol Cultural Belem, 2004, p. 99 A. Molina, Helena Almeida : aprender a ver = learning to see, Porto: Mimesis, 2005, cover, detail For this lot
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In a large black dress that engulfs her body, a woman appears to be hanging mid-air, grasping a long white scroll of paper, set against a black background. Denied insight into the staging of this image, we see her dangling in front of us, resisting gravity. The woman is Helena Almeida. This is not self-portraiture, but a composition on the body and how it inhabits space. Made in 1982, the same year that Almeida participated in the Venice Biennale for the frst time, Ponto de Fuga (Vanishing Point) is one of two works that share this title of which the variant was shown in Venice that summer. Since 1969, Almeida has produced photographs that are mainly in black and white. To create these painstakingly detailed works, she begins with preparatory drawings of choreography that she faithfully follows in the studio. She then flms herself, observing how her body moves and explores the space. Once perfected, her private performance is photographed by her husband Arthur Rosa. Refusing to be categorised, Almeida is not just photographer, painter, sculptor or performance artist, but all of these, treating herself as the canvas and using her body to paint and draw. She maintains that her body stands for all and any body, and is no longer her own. The present work was included in two major solo exhibitions at the Serralves Foundation in Porto (1996) and the Centro Galego de Arte Contemporánea in Santiago del Compostela (2000), the latter using this image for their exhibition posters. Almeida has recently been the subject of two museum shows in 2015-2017, Helena Almeida: Corpus Serralves Foundation, Porto, which travelled to Jeu de Paume, Paris and Wiels, Brussels, and Helena Almeida: Work is Never Finished at the Art Institute of Chicago, her frst in the United States. These highlighted not only Almeida’s international reach, but the signifcance of her work in the narrative of 20th century image-making.
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38
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39
‘This tension – between what is depicted and the nature of its depiction – is central to my approach.’ Anne Collier
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This oversized black-and-white photograph of a gigantic alligator skin purse with legs is undeniably Laurie Simmons. Walking Purse, 1988, created for her seminal series Walking and Lying Objects (1987-91), is one of only two instances where the object is worn by a real person. While this was her original intent for the series, she turned to using doll and mannequin legs out of necessity for the photographs that followed. The pair of legs we see here belong to her sister Bonnie who wore this human-size purse costume.
38. Laurie Simmons
American, b. 1949
Walking Purse, 1988 Gelatin silver print, face-mounted to Plexiglas. Image/Sheet: 213.4 x 121.9 cm (84 x 48 in.) Frame: 226.1 x 134.6 cm (89 x 53 in.) Signed, titled and dated in pencil on the verso. This work is number 5 from the sold out edition of 5 + 2 AP. This image exists only in this size and edition. Estimate £30,000-40,000 $39,800-53,100 €33,800-45,100 ‡ Provenance Thomas Ammann Fine Arts, Zurich Private Collection, USA Phillips de Pury & Company, New York, Contemporary Art Part II, 17 November 2006, lot 388 Phillips de Pury & Company, New York, Contemporary Art Part II, 14 November 2008, lot 300
In the case of Walking Purse, Simmons has chosen an object that is a trope of femininity, drawing our attention to the signifed role of women. An alligator skin purse references not only the cost of being a woman but also the infuence of advertising and consumerism. Stereotypes of a woman and her handbag also come to mind: how she never leaves the house without it and how men fnd mystique in what she carries inside it. Inspired by an image of a cookie or cracker box on a pair of woman’s legs that she saw while visiting the ventriloquist Doug Skinner, and an early television commercial of dancing cigarette packages, Simmons’ series of ‘woman-as-object’ – a purse, a camera, an apple, a house, a gun – questions gender roles and stereotypes in American culture. Simmons, along with Cindy Sherman, Louise Lawler and Richard Prince, among others, is part of a group of artists known as the ‘Pictures Generation’. Infuenced by the theories of Jean Baudrillard, Roland Barthes and Laura Mulvey, they used appropriated imagery to reveal underlying social constructions. Simmons has exhibited internationally, including the Walker Art Centre, Whitney Biennial and Gothenburg Museum of Art. Her work is found in the collections of the Museum of Modern Art in New York, National Gallery of Art in Washington, D.C. and Los Angeles County Museum of Art.
Exhibited Louise Lawler, Cindy Sherman, Laurie Simmons – Katseen kääntäjät/Re-turning the gaze, Kunsternes Hus, Oslo, Norway, 30 January – 7 March 1993; Nykytaiteen Museo, Helsinki, Finland, 26 March – 9 May 1993 For this lot A Forest of Signs: Art in the Crisis of Representation, The Gefen Contemporary at MOCA, Los Angeles, 7 May 1989 – 13 August 1989 For another Literature Louise Lawler, Cindy Sherman, Laurie Simmons: Katseen kääntäjät/Re-turning the gaze, Helsinki: Nykytaiteen Museo, 1993, p. 23 Laurie Simmons: The Music of Regret, Baltimore: Baltimore Museum of Art, 1997, p. 102
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Photographing found objects and appropriated imagery, Anne Collier questions the ways in which these images are presented and perceived, aiming to elicit ‘a sense of emotional or psychological uncertainty’ through her image-making process. In Eye (Enlargement of a Color Negative), 2007, she has photographed an open book, revealing a page with a full-bleed close up of a woman’s bright green eye with mascara painted eyelashes. She fattens the three-dimensional quality of the book by presenting it against a plain black background and cutting of the edge of the facing page. Eliminating many of the visual clues that identify what we are seeing, Collier’s approach to editing and framing is seemingly detached. This act of distancing herself, and in turn, the viewer from the physicality of existing objects creates a tension between what we see and how we perceive it.
39. Anne Collier
American, b. 1970
Eye (Enlargement of Color Negative), 2007 Chromogenic print, fush-mounted. Image: 119.4 x 133.4 cm (47 x 52 1/2 in.) Frame: 129.5 x 144.1 cm (51 x 56 3/4 in.) Signed in ink on an artist label accompanying the work. This work is number 1 from the sold-out edition of 5 + 2 AP. This image exists only in this size and edition. The Whitney Museum of American Art, New York holds another print of this image. Estimate £25,000-35,000 $33,200-46,400 €28,200-39,400 ‡ Provenance Anton Kern Gallery, New York, 2008 Exhibited Anne Collier, UK, Nottingham Contemporary, Nottingham, 22 January – 27 March 2011 Anne Collier, Museum of Contemporary Art Chicago, Chicago, 22 November 2014 – 8 March 2015; Aspen Art Museum, Aspen, 2 April – 15 July 2015; Art Gallery of Ontario, Toronto, 23 September 2015 – 10 January 2016 Collected by Thea Westreich Wagner and Ethan Wagner, The Whitney Museum of American Art, New York, 20 November 2015 – 6 March 2016 For another
Infuenced by the work of Cindy Sherman, Laurie Simmons and other ‘Pictures Generation’ artists, Collier questions and re-contextualises popular imagery and visual clichés as seen in the present work. Collier argues that in relation to photographic image making, the eye, a recurring motif in her work, ‘remains a compelling analogous image, simply because the camera approximates the mechanics of the eye and seeing to such an extraordinary degree.’ She challenges how photography structures our ways of seeing by drawing our attention to these mechanics. The title Eye (Enlargement of a Color Negative) connotes the darkroom processes, making us aware that we are looking at a photograph of a photograph. In this striking image of an eye, Collier transforms the object into the subject and asks us to join her in analysing the process of presentation and perception. Born in Los Angeles in 1970, Collier studied at the California Institute of the Arts (CalArts) and the University of California, Los Angeles (UCLA), working with leading West Coast artists John Baldessari and Christopher Williams, among others. In 2014-2015, the Museum of Contemporary Art, Chicago, held her frst major institutional exhibition, which included another print of this image. Her work is held in such prominent institutions as Tate Modern, London; San Francisco Museum of Modern Art; Los Angeles County Museum; and Solomon R. Guggenheim Museum, New York.
Literature M. Darling, ed., Anne Collier, Chicago: Museum of Contemporary Art, 2014, p. 76
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‘In holding a skull in my hands, I attempt to control my own destiny and at the same time liberate a fear of dying.’ Marina Abramović
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Pushing boundaries and challenging her own fear as well as that of the viewer, much of Marina Abramović’s work deals with the limitations of the body. In recent years, she has focused more on mortality. ‘When you get to my age,’ she says, ‘you know you have to confront death. I want to die without anger, without fear and consciously, and these three things are not easy.’ In the present work, she brings death to the forefront in her use of the skull. This work is related to a performance piece, Nude with Skeleton (2002). Lying on the foor with a skeleton draped over her, she breathes life into it, forcing the viewer to confront that inevitable end. ‘Being so close to your skeleton,’ she explains, ‘breathing through and looking at, confronting it – it’s the way to deal with the fear.’ In Self Portrait with Skull, 2004, Abramović stands naked, facing the camera directly; her hair is brushed over her face and she holds a skull at her stomach. Concealing her own face, the skull is what the viewer confronts. This pose is repeated the following year in her video installation Balkan Erotic Epic, which examined the connection between eroticism and spirituality in Serbian folklore.
40. Marina Abramović
Serbian, b. 1946
Self Portrait with Skull, 2004 Chromogenic print. Image/Sheet: 60.7 x 50.3 cm (23 7/8 x 19 3/4 in.) Frame: 80.4 x 69 cm (31 5/8 x 27 1/8 in.) Signed in ink, printed title and date on an artist label afxed to the reverse of the frame. This is a one of work outside the sold-out edition of 3 + 2 AP and is the same size as the prints from the edition.
In 1997, Abramović was awarded the Golden Lion at the Venice Biennale for the video installation and performance Balkan Baroque and her major 2010 retrospective, The Artist is Present, at the Museum of Modern Art, New York, garnered over 750,000 visitors. Her work resides in many institutional collections, including Solomon R. Guggenheim Museum, New York; Tate Modern, London; and Centre Georges Pompidou, Paris.
Estimate £10,000-15,000 $13,300-19,900 €11,300-16,900 ♠ Provenance KW Institute for Contemporary Art, Berlin Exhibited Marina Abramović – Entering the Other Side, Kistefos-Museet, Jevnaker, Norway, 25 May – 5 October 2015 For another
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Frist Center for the Visual Arts, Nashville, 21 September 2012 – 13 January 2013; Portland Art Museum, Portland, 2 February – 19 May 2013; Cleveland Museum of Art, Cleveland, 30 June – 29 September 2013; Cantor Center for Visual Arts, Stanford University, Stanford, 16 October 2013 – 5 January 2014; Guggenheim Museum, New York, 24 January – 14 May 2014 For another Literature B. Topping, ed., Carrie Mae Weems, Washington, D.C.: The National Museum of Women in the Arts, 1993, p. 79, pl. 31 K. E. Delmez, ed., Carrie Mae Weems: Three Decades of Photograph and Video, Nashville: Frist Center for the Visual Arts, 2012, pl. 6.16 Carrie Mae Weems: Kitchen Table Series, Bologna: Damiani, 2016, cover, detail and p. 52
41. Carrie Mae Weems
American, b. 1953
Untitled (Woman and daughter with makeup) from Kitchen Table Series, 1990 Gelatin silver print, mounted to board. Image: 68.5 x 68.5 cm (26 7/8 x 26 7/8 in.) Frame: 71.2 x 71 cm (28 x 27 7/8 in.) Signed, dated and numbered 3/5 in pencil on the reverse of the mount. This work is number 3 from the sold-out edition of 5 + 2 AP. This image exists only in this size and edition. The Art Institute of Chicago and the Hood Museum, Dartmouth College, hold other prints of this image. Estimate £25,000-35,000 $33,200-46,400 €28,200-39,400 ‡ Provenance P.P.O.W Gallery, New York, 1996 Exhibited Carrie Mae Weems, The National Museum of Women in the Arts, Washington D.C., 7 January – 21 March 1993; The Forum, St. Louis, Missouri, 9 April – 15 May 1993; San Francisco Museum of Modern Art, California, 9 June – 4 August 1993; Center for the Fine Arts, Miami, 28 August – 7 November 1993; California Afro-American Museum, Los Angeles, 8 December 1993 – 28 February 1994; Portland Art Museum, Oregon, 23 March – 22 May 1994; Walker Art Center, Minneapolis, 23 July – 2 October 1994; Institute of Contemporary Art, Philadelphia, 28 October 1994 – 8 January 1995; Contemporary Arts Center, Cincinnati, 3 February – 2 April 1995 Carrie Mae Weems: The Kitchen Table Series, Contemporary Arts Museum, Houston, 2 March – 28 April 1996 Carrie Mae Weems: Social Studies, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 20 May – 19 September 2010 Carrie Mae Weems: Kitchen Table Series, Art Institute of Chicago, Chicago, 17 May – 5 June 2011 Carrie Mae Weems: Three Decades of Photography and Video,
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A woman and daughter sit at the kitchen table. The woman looks into her vanity mirror as she applies lipstick; the daughter copies her mother’s pose with her own mirror and lipstick. Although they are not looking at each other, they are synchronised in a shared act. In this seemingly intimate moment between mother and daughter, the woman is, in efect, teaching her daughter the gestures of femininity. When Carrie Mae Weems’s seminal Kitchen Table Series was published for the frst time as a stand-alone book in 2016, decades afer the completion of the series, it was this poignant image Untitled (Woman and daughter with makeup) that was chosen for the front cover. In 1990, Kitchen Table Series was one of the frst photographic series to place an African-American woman as its protagonist. For this body of work, Weems photographed herself and others at the kitchen table in her own apartment in Northampton, Massachusetts. Contrary to autobiographical self-portraits, her intention was to use her own body to represent all women. ‘She’s a character,’ Weems explains, ‘I use my body as a stand-in, but I never think of it as being about me. Rather, the character helps to reveal something that is more complicated about the lives of women.’ The story of a woman’s relationship with her friends, her lover, her children and herself as told through Weems’s timeless black-and-white photographs is ‘universal at its core’ and is as current today as it was when she frst created them. For more than three decades, Weems has explored the complexities of the African-American experience through photography, video and performance. In 2013, Weems was awarded a MacArthur ‘Genius’ Grant, and her solo exhibition Carrie Mae Weems: Three Decades of Photography and Video (2014), was the frst retrospective of an African-American woman at the Solomon R. Guggenheim Museum. She has also exhibited at The Metropolitan Museum of Art, New York; Centro Andaluz de Arte Contemporáneo, Seville; and Contemporary Arts Museum, Houston. Her work is held in many prominent institutions, including Whitney Museum of American Art, New York; Tate Modern, London; and San Francisco Museum of Modern Art.
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‘Crowds have always been an interest of mine. It may look like a sea of people, but there are so many interesting stories, all colliding silently.’ Alex Prager
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42. Alex Prager
American, b. 1979
Crowd #3 (Pelican Beach), 2013 Archival pigment print, fush-mounted. Image/Sheet: 151 x 235.4 cm (59 1/2 x 92 5/8 in.) Frame: 156 x 240.4 cm (61 3/8 x 94 5/8 in.) Signed, titled, dated and numbered 4/6 on an artist label accompanying the work. This work is number 4 from the sold-out edition of 6 + 2 AP. This image exists only in this size and edition. Estimate £25,000-35,000 $33,200-46,400 €28,200-39,400 ‡ Exhibited Alex Prager: Face in the Crowd, Corcoran Gallery of Art, 23 November 2013 - 9 March 2014 Alex Prager: Face in the Crowd, Saint Louis Art Museum, 17 July - 1 November 2015 For another Literature A. Prager, Face in the Crowd, Washington, D.C.: Corcoran Gallery of Art, 2013, pp. 16-17
Created for her frst American museum show at the Corcoran Gallery of Art in 2013, Alex Prager’s Face in the Crowd series presents a manufactured reality flled with fctional characters, capturing the ambiguous experience of a crowded space. Photographing and flming simultaneously in four studios with several sets, including a beach, a street, an airport and a cinema, the scope of this project is greater than anything Prager has done to date. In the work ofered here, we are presented with a crowded beach scene. The beige ground is punctuated with bursts of colours that draw us to specifc individuals, inviting the viewer to wonder who they are and what happens next.
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43. Kourtney Roy
Canadian, b. 1981
California 4, 2015 Chromogenic print, fush-mounted. Image/Sheet: 80 x 120 cm (31 1/2 x 47 1/4 in.) Frame: 85 x 125 cm (33 1/2 x 49 1/4 in.) Signed, numbered AP1 in ink, printed title, date, number AP1 and copyright credit blindstamp on an artist label afxed to the reverse of the frame. This work is AP1 from the sold-out edition of 5 + 2 AP. This image is sold out in all sizes and editions. Estimate £10,000-15,000 $13,300-19,900 €11,300-16,900 Literature California: Kourtney Roy, Paris: Louis Vuitton, 2016, n.p., there captioned Barstow
Kourtney Roy created her series California in 2015 for Louis Vuitton’s Fashion Eye, a collection of books on travel destinations captured by fashion photographers. Drawn to places where nature and civilisation coexist in search of what she calls ‘a beautiful accident’, Roy imagines a parallel universe inhabited by the characters she herself portrays. Her vison of California is sleek yet ofbeat with an underlying dark humour as embodied in the present photograph, taken at a drive-in cinema in Barstow along Route 66. The large white rectangle of the blank cinema screen is ofset by the fgure of Roy in the foreground, slumped in a bright turquoise lawn chair with outstretched arms and legs, appearing to gaze up at the empty screen. Inspired by cinema and flm stills, Roy seamlessly blends the real with artifce to create her images, transporting the viewer to another place and time. Nominated for the Prix de L’Elysée by the Musée de l’Elysée, Lausanne in 2014, Roy has exhibited internationally and has been published widely. Her work is held in such prominent institutions as the Maison Européen de la Photographie, Paris and the Musée de l’Elysée, Lausanne. Roy lives and works in Paris.
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‘The world has a secret potential to transform itself into a flm set at every turn.’ Kourtney Roy
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44. Michael Reisch
German, b. 1964
Landscape 10/005, 2010 Chromogenic print, Diasec mounted. Image/Sheet: 180 x 246 cm (70 7/8 x 96 7/8 in.) Frame: 185 x 251.2 cm (72 7/8 x 98 7/8 in.) Signed, titled, dated and numbered 8/8 in ink on the reverse of the fush-mount. This work is number 8 from the sold-out edition of 8 + 2 AP. This image exists only in this size and edition. Estimate £20,000-30,000 $26,500-39,700 €22,600-34,000 ♠ Provenance SCHEUBLEIN + BAK, Zurich Exhibited Unbestimmheitsstellen – Zur Genese des fotografschen Bildes, Kunstraum Alexander Bürkle, Freiburg, 22 April – 23 September 2012 Michael Reisch: Selected Works, Museum Kurhaus, Kleve, 29 September – 24 November 2013 For another Literature H. Kunder et. al., Michael Reisch: Selected Works, Bielefeld: Kerber Verlag, 2013, pp. 16, 17 B. Stiegler, Photographische Portraits, Paderborn: Wilhelm Fink Verlag, 2015, pp. 196, 201, black-and-white variant
In Landscape 10/005, Michael Reisch presents the Matterhorn, instantly recognisable as an emblem of the Alps, as the archetypal mountain. Erasing all signs of social infrastructure such as alpine trails and huts, and rendering the sky as a white backdrop, Reisch isolates the mountain from its context. The resulting photograph looks real but feels not quite right. The ambiguity of scale and perspective achieved through his digital manipulations heightens the two-dimensionality of the image. In Reisch’s deconstructed reality, the formal elements – triangular shapes and symmetry – take centre stage. His formal approach to image-making creates a tension between real and artifcial, challenging us to see a landscape in a new way. A former student of Bernd Becher at the Kunstakademie Düsseldorf, Reisch has exhibited internationally and his work is held in many prominent collections, including Fotomuseum Winterthur, Switzerland; Los Angeles County Museum; and UBS Art Collection.
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45. John Stewart
British, 1919-2017
Muhammad Ali, “Fist & Arm”, Chicago, 1977 Gelatin silver print, printed 2008, fush-mounted. Image: 120 x 175 cm (47 1/4 x 68 7/8 in.) Frame: 129.5 x 184 cm (50 7/8 x 72 1/2 in.) Signed, dated and numbered 4/5 in pencil on a gallery label afxed to the reverse of the fush-mount. This work is number 4 from the sold-out edition of 5 + 1 AP. This image is sold out in all sizes and editions. Estimate £15,000-20,000 $19,900-26,500 €17,000-22,600 ♠ Provenance Acte 2 Galerie, Paris, 2008 Literature John Stewart, Paris: Verlhac Editions, 2008, cover, detail and pls. 149, 152-153
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Three mornings with Muhammad Ali By John Stewart
Two franchisers of Muhammad Ali came to see me. They had seen a show of my work in New York and had suggested to Ali he should have me photograph him. I was summoned to Chicago to meet ‘The Greatest’.
I pulled out portraits, all of them in black and white, printed by means of a 19th-century method where the photographs are ofen mistaken for charcoal drawings. ‘Those are great drawin’s.’
On a beautiful spring day in 1977, I ring the door at Ali’s mansion, situated at the edge of a mixed black-and-white neighborhood. A giant in a white robe and a yellow turban bids me to enter. I pass in front of a throng of men – standing, sitting on the foor or on the stairway, waiting for an audience. Afer half an hour alone in a vast cream and gold room, lined with armchairs, I am shown the way downstairs. I pass through a tall Chinese portico fanked on one side by a stufed lion and on the other by a tiger. In the exercise room beyond the portico, dressed in a blue sports outft, Ali is sitting on a low stool, wiping his face with a towel. I didn’t have to introduce myself. Ali had been told. He didn’t even look up. I carried a large portfolio, which I set down against a wall. ‘It’s Ramadan,’ Ali said. ‘I’m tired. And hungry.’ I explained why I was there. ‘Show me.’
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I explained they were in fact photographs. We worked steadily for three days, mornings only, in a flm studio I had rented. Ali always arrived on time, accompanied by friends, handlers and helpers. He was a real trouper and lent himself to all the demands, tricks and manipulations that a photographer pulls out of his bag. You had to be fast, however, because his attention span was very short – a matter of a minute, afer which he got bored and restless. The only instance Ali interfered was when the NBC television crew from New York arrived to record the sitting, and the producer tried to impose her directives. Ali warned her, ‘It’s John’s shoot. If you don’t behave yourself, you and your crew are out!’ The following day, we had lunch together. Not at home, but in a restaurant. When a couple of weeks later I returned to Chicago with the prints, he inscribed the one I liked best, of his arm extended and his beautiful fst with its wellshaped nails: ‘To John Stewart, Muhammad Ali, May 13-77 Love Always.’
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46. Danila Tkachenko
Russian, b. 1989
Restricted Areas, 2013-2015 Unique archival pigment triptych, each fush-mounted. Each image/sheet:72 x 90 cm (28 3/8 x 35 3/8 in.) Each frame: 77 x 95 cm (30 3/8 x 37 3/8 in.) Signed, dated in ink, printed title, date and number AP1 on a Certifcate of Authenticity accompanying the work. This work is unique. Each print is AP1 from the sold-out edition of 6 + 1 AP. Each image is sold out in all sizes and editions. Estimate £30,000-50,000 $39,800-66,300 €33,800-56,300 ‡ Exhibited Danila Tkachenko, Restricted Areas, Rencontres D’Arles, Chapelle Saint-Martin du Méjan, Arles, 4 July - 28 August 2016 Danila Tkachenko: Restricted Areas, Fotogalerie Friedrichshain, Berlin, 15 September - 29 October 2016 For another Literature D. Tkachenko, Restricted Areas, Stockport: Dewi Lewis Publishing, 2016, n.p.
‘What’s interesting for me is to witness what remains after the progress has ground to a halt.’
Over three winters between 2013 and 2015, Danila Tkachenko journeyed into the snowy depth of Russia, Bulgaria and Kazakhstan, covering more than 15,000 miles to photograph the remains of 33 abandoned Soviet projects. Restricted Areas takes its name from the ‘secret cities’ the USSR established for sensitive military projects. These ‘cities’ were top secret locations, closed to all outsiders and ofen not appearing in public records or on maps. Adopting a minimalist aesthetic and presenting these Cold War ruins against the bleak white backdrop of winter, Tkachenko creates surreal images lef over from another time and place. The present triptych presents three Soviet relics. On the lef is the only surviving prototype of the VVAT 14 airplane – an amphibian vehicle, designed in the 1970s, with vertical take-of, able to fy low over the sea and survey or attack US submarines. The futuristic architecture in the centre is the House-Monument of the Bulgarian Communist Party, constructed in the late 1970s to commemorate the accomplishments of Dimitar Blagoev, the founder of Bulgarian socialism. On the right is the world’s largest diesel submarine, a nuclear-powered ballistic missile submarine deployed by the Soviet Navy in the 1980s, now landlocked in the Samara region. Together, these three photographs capture the dramatic remains of a collapsed civilization.
Danila Tkachenko
Tkachenko is a visual artist working in the feld of documentary photography. In 2015, he was awarded Burn Magazine’s Emerging Photography Fund and was selected for Foam Talent for this body of work. He also received the European Publishers Award for Photography, which led to the series being exhibited at the Rencontres d’Arles in 2016. Other works from the series are in the collection of the San Francisco Museum of Modern Art and SpallArt.
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47. Michael Dweck
American, b. 1957
Triple Gidget from Sculptural Forms, 2015 Triptych comprised of three archival pigment prints on silk, polyurethane, resin, fbreglass. Accompanied by the artist’s aluminium wall-mounting brackets. Each: 197.6 x 53 cm (77 3/4 x 20 7/8 in.) Overall: 197.6 x 167.5 cm (77 3/4 x 65 7/8 in.) Signed, titled, dated and numbered 3/3 in paint on verso. This work is number 3 from the sold-out edition of 3 and exists only in this size and edition. Estimate £30,000-50,000 $39,700-66,200 €34,000-56,600 ‡
Suspended in the midnight waters of the Weeki Wachee River on Florida’s Gulf Coast, Michael Dweck’s titular ‘mermaid’ represents a connection to the past, and honours a long lineage of ‘river children’. Once underwater – where she can hold her breath for many minutes – her isolated glide into blackness is an absolute escape. In Sculptural Forms, Dweck transforms this fuidity into photographic sculptures. He frst prints his alluring mermaid with pigments on silk, places it on hand-shaped polyurethane foam then hand-coats it with fbreglass and layers of high-gloss resin. The resulting surfoardshaped sculpture seamlessly merges the subject and medium. Inspired by the Finish Fetish artists in 1960s LA, who used plastics and synthetic resins – materials used for surfoards and customised cars – in their art, Dweck comments, ‘This smooth fuid form becomes a vehicle that transports you to another place.’ Michael Dweck is an American visual artist and flmmaker best known for a series of narrative photographic projects that explore on-going struggles between identity and adaptation in endangered societal enclaves. Monographs include The End: Montauk, NY (2004), Mermaids (2008), and Habana Libre (2011). His current project, Blunderbust, explores all angles of a small-stakes Long Island racetrack via an ambitious mélange of photography, sculpture, installation, abstract painting, and a feature-length documentary.
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Published with three alternative covers by David Sims (top) Bruce Weber (middle) Bruce Weber (bottom) © CALVIN KLEIN by Calvin Klein, Rizzoli New York, 2017 © Bruce Weber
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Calvin Klein: In Conversation
We are honoured to collaborate with Calvin Klein to celebrate his rich legacy in conjunction with the release of his much anticipated frst book, published by Rizzoli. Together, we have selected three defning photographs to represent three seminal collaborations featured in his book: Steven Meisel’s CK One, New York City, 1994 for Calvin Klein Fragrance (lot 48); David Sims’s Kate, 1993 for Calvin Klein Underwear (lot 49); and Bruce Weber’s Carré Otis, San Francisco, CA, 1991 for Calvin Klein Jeans (lot 50). These images embody the Calvin Klein brand and its DNA – provocative, rebellious, minimalist, pure, modern – and defne an entire generation that experienced the consumer culture of the 1990s. This dedicated ofering stands as a testament to Klein’s revolutionary approach to fashion advertising and to the power of collaborative creativity. The three selected works are available for sale for the frst time and have been printed exclusively for ULTIMATE. We are excited to present collectors unparalleled access to exclusive photographs created by today’s leading image-makers in fashion who have defned and will continue to defne key moments in our social history.
Calvin Klein, Westkill Farm, New York, 2013 © Steven Klein
Phillips’ Yuka Yamaji and Calvin Klein discussed his forthcoming book, creating campaigns and his passion for photography.
The Book
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Yuka Yamaji: Your frst book is coming out this November. Why now?
YY: And how did you select the photographs to tell your story?
Calvin Klein: I’ve thought about it on and of for many years, but it was Anna Wintour and Kelly Klein, my exwife, who convinced me that I must do this. I speak at universities and realised most people I speak to know the name but don’t know exactly what I did. This book is a way to tell them. It’s really the story of my life.
CK: I went through over 40,000 images in my archives over the course of a year and edited them down. I sent them to Fabien Baron, the creative director I worked with for years. He said he saw diferent sides of me in the images – the minimalist and the rebellious side – and that’s how the images were fnally edited.
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Steven Meisel, CK One leafet, 1994 © Steven Meisel
Steven Meisel and CK One
David Sims and Kate Moss
YY: What was your vision for the CK One campaign?
YY: How did you discover David Sims and his photography?
CK: The initial vision was inspired by a famous 1969 photograph by Dick [Richard] Avedon, Andy Warhol and Members of the Factory. YY: And why did you turn to Steven Meisel to launch this fragrance? CK: I wanted to capture a liberal and rebellious attitude, featuring unique people, for our new anti-perfume. I knew Steven could do that.
CK: David had been working with Guido [Palau, hair stylist] and Melanie Ward [stylist] who I knew well. When I saw David’s work I felt he had an authentic point of view. YY: You few Sims, Ward and Kate Moss from London to New York for your 1993 Calvin Klein Underwear campaign. What were you expecting? CK: Because David’s images were so ofhandedly cool, I knew that together we could capture the look I envisioned.
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Working with Bruce Weber
Photography and Building a Brand
YY: Let’s turn to Bruce’s featured photograph of Carré Otis riding a motorcycle, shot for your 1991 Calvin Klein Jeans campaign. What was your vision for this campaign?
YY: You have created one of the world’s most recognisable brands. What role did photography and photographers play in building the Calvin Klein brand?
CK: I wanted to create an image which represented a genuine lifestyle.
CK: I’ve always had a passion for photography. When I was creating a product, it was knowing who the right photographer is, who the model is, and placing them in an environment to communicate my vision.
YY: So you felt Carré Otis embodied this? CK: We chose to shoot Carré because she was that strong and defant woman on the motorcycle. Matching the model with the mood is how you get to the truth in a photo.
David Sims, Calvin Klein Underwear advert, 1993 © David Sims
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YY: Lastly, what does photography mean to you? CK: Photography is a way to connect with people.
Bruce Weber, Calvin Klein Jeans advert, 1991 © Bruce Weber
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48
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48. Steven Meisel
American, b. 1954
CK One, New York City, 1994 Archival pigment print, printed 2017, fush-mounted. Image: 93 x 274.3 cm (36 3/ 5 x 108 in.) Frame: 103 x 284.4 cm (40 1/2 x 111 7/8 in.) Signed in ink, printed title, date and number 1/1 on an artist label and a Certifcate of Authenticity, both accompanying the work. This work is number 1 from the edition of 1 and is unique in this size. Estimate £60,000-80,000 $79,600-106,000 €67,600-90,100 ‡ Literature Calvin Klein, New York: Rizzoli, 2017, n.p., variant, to be published November 2017
This monumental black-and-white photograph by Steven Meisel was taken for the 1994 launch of Calvin Klein’s groundbreaking unisex fragrance CK One. Seared in our collective memory as one of the most seminal campaigns in advertising history, it represented a key moment in the public discourse around gender.
49. David Sims
British, b. 1966
Kate, 1993 Gelatin silver print, printed 2017, fush-mounted. Image: 152.4 x 114.3 cm (60 x 45 in.) Frame: 157.4 x 119.3 cm (61 3/4 x 46 7/8 in.) Signed, titled, dated and numbered 1/1 in ink on an artist label afxed to the reverse of the fush-mount. This work is number 1 from the edition of 1 and is unique in this size. Estimate £20,000-30,000 $26,500-39,800 €22,500-33,800 † Literature Calvin Klein, New York: Rizzoli, 2017, back cover and n.p., to be published November 2017
For David Sims, photographing Kate Moss in 1993 for Calvin Klein Underwear – soon afer her debut with the brand – marked his frst major commercial moment as a fashion photographer. This photograph, taken against a stark white background, encapsulates the minimalism of the 90s that defned Sims’s aesthetic. Sims captures the fresh-faced young model as she looks coyly back at the camera, an icon on the cusp.
Calvin Klein recalls his vision for the campaign: I wanted to reach cool men and women all over the world of every age and every expression. Our marketing pushed the boundaries with fercely unique people – men, women, gay and straight, some with shaved heads, tattoos and body piercing. It was an exciting, modern statement – and an instant global sensation.
Sims was acknowledged twice, in 1994 and 1996, at the Hyères International Festival of Fashion and Photography. He has exhibited in a number of institutions, including the National Portrait Gallery, London, and Hara Museum of Contemporary Art, Tokyo, and his work is held in the collections of the Victoria & Albert Museum and Tate Modern in London.
The casting process was overseen by Meisel who selected both models and real people based on their personalities as much as their looks. In the present photograph, we can spot young Kate Moss and Stella Tennant among this tribe. Meisel’s panoramic photograph has a cinematic quality and is comprised of four individual scenes. Through cropping and framing, Meisel has created an almost surreal composition whereby some body parts have been cut of or appear conjoined. A master storyteller, he perfectly captures the chemistry of the group and its personalities – we can just about hear their chatter and raised voices of heated conversations. In his representation of the ‘timeless seduction of youth’, Meisel has captured a moment that is emblematic of the 1990s yet feels modern and relevant today.
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50. Bruce Weber
American, b. 1946
Carré Otis, San Francisco, California, 1991 Gelatin silver print, printed 2017, fush-mounted. Image/Sheet: 178 x 128 cm (70 1/8 x 50 3/8 in.) Frame: 182.5 x 132.5 cm (71 7/8 x 52 1/8 in.) Signed in ink, printed title, date and number 1/1 on an artist label afxed to the reverse of the frame. This work is number 1 from the edition of 1 and is unique in this size. Estimate £40,000-60,000 $53,100-79,600 €45,100-67,600 ‡
Literature Calvin Klein, New York: Rizzoli, 2017, n.p., to be published November 2017
Bruce Weber’s striking photograph of Carré Otis riding a motorbike was taken for the 1991 Calvin Klein Jeans campaign. This unique oversized gelatin silver print was made exclusively for this auction. Here, Bruce shares his recollections on the making of this photograph. The Location ‘I really love San Francisco and the surrounding landscape. When I would visit, I loved hanging out in Jeanette Etheredge’s bar Tosca and people I met there would say, “You should do a campaign here.” So when the Calvin sitting came up, I thought it would be a good place to do those kinds of pictures.’ The Inspiration ‘My sister was a big part of the music world – she worked with David Bowie for years – and when I was just starting out, she would bring me backstage and on tours with her. I was lucky to meet and photograph lots of rock groups and I wanted with this campaign to put a little of that life into the pictures.’
Carré Otis and the Motorcycle ‘Carré [Otis] was still with Mickey Rourke at that time, who I really like. But she didn’t want to be in pictures with other guys and make him jealous. Of course this made things difcult. There was this young kid on the job, who was probably 15 at the time – I said, “What about him? He could be your baby brother.” But she said that would be even worse. So I decided to just do some things alone with her on the street for starters, and I knew she could ride a motorcycle. It was nothing more serious than that.’ The Shot ‘Carré was actually a really good motorcycle rider – otherwise I never would have taken the chance of having her ride this big bike on the streets of San Francisco. We kept the route she was on somewhat short – she wanted to go for a longer ride, but I knew better. Models on motorcycles tend to do a disappearing act. I took the photo from a van driving in front of her, which had the seats taken out and the doors tied open. It was just me and my assistant trying to hold steady on the foor in back.’
Working with Calvin Klein ‘I don’t think Calvin knew what to expect with this shoot – it got pretty crazy. At a certain point, he tried to start laying down rules, but I told him – “Why are we in San Francisco, a city where rules don’t really apply?”’
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51. Albert Watson
b. 1942
Kate Moss, Marrakech, 1993 Chromogenic print, printed 2007, fush-mounted. Image: 121 x 97 cm (47 5/8 x 38 1/4 in.) Frame: 152.5 x 122 cm (60 x 48 in.) Signed, titled, dated and numbered 3/10 in ink on an artist label accompanying the work. Estimate £12,000-18,000 $15,900-23,800 €13,600-20,400 ♠ Provenance Bonhams, London, Vision 21, 16 April 2008, lot 274 Literature Cyclops, Albert Watson, London: Pavilion Books, 1997, n.p. Albert Watson: The Vienna Album, Munich: Schirmer/Mosel, 2005, n.p. J. Crump, Albert Watson, London: Phaidon, 2007, cover and p. 87
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52. Albert Watson
b. 1942
Kate Moss, Marrakech, 1993 Chromogenic print, printed 2013, fush-mounted. Image/Sheet: 197.4 x 150 cm (77 3/4 x 59 in.) Frame: 208.8 x 168.4 cm (82 1/4 x 66 1/4 in.) Signed, titled, dated and numbered AP in ink on an artist label afxed to the reverse of the frame. From an edition of 5 + 1 AP. Estimate £30,000-40,000 $39,700-53,000 €34,000-45,300 ‡ ♠ Provenance Christie’s, London, Kate Moss From The Collection of Gert Elfering, 25 September 2013, lot 27 Christie’s, New York, 6 October 2015, lot 221 Literature Albert Watson: Cyclops, Boston: Little Brown & Co., 1994, n.p. J. Crump, Albert Watson, London: Phaidon, 2007, p. 87 Albert Watson: Contact, Barcelona: Galería Hartmann, 2008, n.p.
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53. Helmut Newton
1920-2004
Monte Carlo, 1997 Polaroid print. 9 x 7.4 cm (3 1/2 x 2 7/8 in.) Signed by the artist and numbered ‘165’ in an unidentifed hand in ink on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,600 Provenance Christie’s, London, 14 November 2006, lot 66 Literature Helmut Newton Polaroids, Cologne: Taschen, 2015, p. 191, variant pose
54. Herb Ritts
1952-2002
Wrestling Torsos, Hollywood, 1987 Platinum print. 44 x 38.3 cm (17 3/8 x 15 1/8 in.) Copyright credit blindstamp in the margin; signed, titled, dated and numbered 22/25 on the verso. Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 Provenance Hamiltons Gallery, London Literature P. Martineau, Herb Ritts, L.A. Style, Los Angeles: Getty, 2012, p. 125, pl. 86, variant
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55. Paolo Roversi
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b. 1947
56. Patrick Demarchelier
b. 1943
Natalia, Paris, Studio 9 rue Paul Fort, 2003 Platinum palladium print, mounted to board. 25.1 x 24.5 cm (9 7/8 x 9 5/8 in.) Copyright credit blindstamp in the margin; signed, titled, dated, numbered 1/17 and captioned ‘for Egoiste’ in pencil on an artist label accompanying the work.
Gisele, 1999 Gelatin silver print, fush-mounted to linen. 57.4 x 46.1 cm (22 5/8 x 18 1/8 in.) Signed, titled, dated, numbered 13/20 in pencil, copyright credit reproduction limitation, credit and edition stamps on the reverse of the fush-mount.
Estimate £7,000-9,000 $9,300-11,900 €7,900-10,100 ‡ ♠
Estimate £7,000-9,000 $9,300-11,900 €7,900-10,200 ‡ ♠
Provenance Private Collection, Switzerland
Provenance Private Collection, Switzerland
Literature P. Roversi, Studio, Göttingen: Steidl, 2005, n.p.
Literature Patrick Demarchelier, Göttingen: Steidl, 2009, n.p, there captioned Gisele Bündchen, Harper’s Bazaar, October, 1999
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57. Glen Luchford
b. 1968
Kate Moss, New York, for Harper’s Bazaar, 1994 Gelatin silver print, fush-mounted to paper. 66.2 x 49.3 cm (26 1/8 x 19 3/8 in.) Signed and numbered 9/30 in pencil on the verso. Estimate £6,000-8,000 $8,000-10,600 €6,800-9,000 ♠ Provenance A. Galerie, Paris Literature Kate Moss, Rizzoli, New York, 2012, pp. 354-355
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58. Peter Lindbergh
b. 1944
Helena Christensen, Italian Vogue, El Mirage, California, 1990 Platinum-palladium print, printed 2001. 20.6 x 30.3 cm (8 1/8 x 11 7/8 in.) Signed by the artist and numbered 8/10 in an unidentifed hand in pencil on the verso. Estimate £10,000-15,000 $13,200-19,900 €11,300-17,000 ‡ ♠ Provenance Private Collection, Switzerland Literature Peter Lindbergh: Images of Women, Munich: Schirmer/ Mosel, 1997, pp. 250-251 Unifed Message In Fashion: Photography meets Drawing, Göttingen: Steidl, 2002, n.p.
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59. Malick Sidibé
1936-2016
Nuit de Noël (Happy-Club), 1963 Gelatin silver print, printed 2003. 44.9 x 44.8 cm (17 5/8 x 17 5/8 in.) Signed twice, dated and titled in ink in the margin; dated, annotated ‘Paris’ by Philippe Salaün, printer, in pencil and printer’s stamp on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700
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60. Seydou Keïta
1921-2001
Untitled (Odalisque), 1956-1957 Gelatin silver print, printed 1999. 25.5 x 35.9 cm (10 x 14 1/8 in.) Signed and dated in ink in the margin; dated, annotated ‘Paris’ by Philippe Salaün, printer, in pencil and printer’s stamp on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700
61. Seydou Keïta
1921-2001
Untitled, 1952-1955 Gelatin silver print, printed 1996. 56.5 x 40 cm (22 1/4 x 15 3/4 in.) Signed twice and dated in ink in the margin. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700
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62. Manuel Álvarez Bravo
1902-2002
63. René Burri
1933-2014
La Buena Fama Durmiendo (The Good Reputation Sleeping), 1938 Gelatin silver print, printed later. 18.3 x 24.5 cm (7 1/4 x 9 5/8 in.) Signed and annotated ‘Mexico’ in pencil on the verso.
São Paulo, Brazil, 1960 Gelatin silver print, printed 2004. 29 x 43.3 cm (11 3/8 x 17 in.) Signed in ink in the margin; numbered 58/100 in ink on the verso.
Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 †
Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 ‡
Provenance Bert Hartkmap Collection, Amsterdam Private Collection, Amsterdam, 2014
Literature J. Lacouture et al., In Our Time: The World as Seen by Magnum Photographers, New York & London: Norton, 1989, pp. 196-197 René Burri Photographs, London: Phaidon, 2004, cover and pp. 192-193
Literature Manuel Alvarez Bravo: Photographs from the J. Paul Getty Museum, Los Angeles: Getty Museum, 2001, pl. 28 Manuel Alvarez Bravo: 100 Years, 100 Days, Madrid: Turner, 2001, pl. 48
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64. René Burri
1933-2014
In the Ministry of Health, Rio de Janeiro, Brazil, 1960 Gelatin silver print, printed 2001. 40.8 x 27.7 cm (16 1/8 x 10 7/8 in.) Signed, titled and dated in pencil on the verso. Estimate £4,000-6,000 $5,300-7,900 €4,500-6,800 ‡ Literature H-M, Koetzl, René Burri Photographs, London: Phaidon, 2004, p. 199
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65. Manuel Álvarez Bravo
1902-2002
Un Cuarto Para Las Doce (A Quarter Past Twelve), 1957 Gelatin silver print, printed later. 23.2 x 19.4 cm (9 1/8 x 7 5/8 in.) Signed and annotated ‘Mexico’ in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 ‡
66. René Burri
1933-2014
Leonforte, Sicily, Italy, 1956 Gelatin silver print, printed 2000. 41.2 x 27.4 cm (16 1/4 x 10 3/4 in.) Signed, titled and dated in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 ‡ Literature H-M, Koetzl, René Burri Photographs, London: Phaidon, 2004, p. 116
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67. Marc Riboud
1923-2016
Antiquary Windows, Beijing, China, 1965 Gelatin silver print, printed later. 34.4 x 52.7 cm (13 1/2 x 20 3/4 in.) Signed in pencil and credit stamp on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 ‡ ♠ Literature C. Capa, ed., Behind the Great Wall of China: Photographs from 1870 to the Present, New York: The Metropolitan Museum of Art, 1972, n.p. Marc Riboud: Photographs at Home and Abroad, New York: Harry N. Abrams, 1988, pl. 71 Marc Riboud in China: Forty Years of Photography, London: Thames & Hudson, 1997, pp. 20-21
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68. Henri Cartier-Bresson
1908-2004
Behind the Gare Saint-Lazare, Paris, 1932 Gelatin silver print, printed later. 35.5 x 24.9 cm (13 7/8 x 9 3/4 in.) Signed in ink and copyright credit blindstamp in the margin. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ♠ Provenance Acquired directly from the artist Literature J. Clair, Henri Cartier-Bresson: Europeans, London: Thames & Hudson, 1998, p. 23 P. Galassi et al., Henri Cartier-Bresson: The Man, the Image and the World, London: Thames & Hudson, 2003, pl. 45 C. Chéroux, Henri Cartier-Bresson, Here and Now, London: Thames & Hudson, 2014, pl. 63
69. Elliott Erwitt
b. 1928
Paris, 1989 Gelatin silver print, printed 2016. 64.4 x 96.4 cm (25 3/8 x 37 7/8 in.) Signed, titled and dated in pencil on the verso. Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 ‡ Provenance Acquired directly from the artist
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70. Henri Cartier-Bresson
1908-2004
Queen Charlotte’s Ball, London, 1959 Gelatin silver print, printed later. 44 x 29.7 cm (17 3/8 x 11 3/4 in.) Signed in ink and copyright credit blindstamp in the margin. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ♠ Literature Henri Cartier-Bresson: Europeans, London: Thames & Hudson, 1998, p. 217
71. Marc Riboud
1923-2016
The Painter of the Eifel Tower, Paris, France, 1953 Gelatin silver print, printed later. 51.9 x 34.2 cm (20 3/8 x 13 1/2 in.) Signed in pencil and credit stamp on the verso. Estimate £4,000-6,000 $5,300-7,900 €4,500-6,800 ‡ ♠ Literature Marc Riboud: Photographs at Home and Abroad, New York: Abrams, 1988, cover, detail
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72. William Klein
b. 1928
Hat + 5 Roses, Paris (Vogue), 1956 Gelatin silver print, printed later. 45.5 x 34.5 cm (17 7/8 x 13 5/8 in.) Signed, titled and dated in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 ‡ ♠ Literature William Klein: In & Out of Fashion, London: Random House, 1994, pp. 8-9
73. William Klein
b. 1928
Smoke + Veil, Paris (Vogue), 1958 Gelatin silver print, printed later. 45.4 x 32 cm (17 7/8 x 12 5/8 in.) Signed, titled and dated in pencil on the verso Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 ‡ ♠ Literature William Klein: In & Out of Fashion, New York: Random House, 1994, cover, there titled Evelyn Tripp, Paris
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74. Horst P. Horst
1906-1999
Barefoot Beauty, 1941 Platinum palladium print, printed later. 60 x 48.8 cm (23 5/8 x 19 1/4 in.) Signed in pencil in the margin; signed and numbered 1/10 in pencil on the verso. From an edition of 10 + 2 AP. Estimate ÂŁ8,000-12,000 $10,600-15,900 â‚Ź9,100-13,600 Provenance Hamiltons Gallery, London Literature M. Kazmaier, Horst: Sixty Years of Photography, London: Schirmer Art Books, 2001, pl. 7
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75. Joseph Szabo
b. 1944
Adrienne, 1976 Gelatin silver print. 25.4 x 25 cm (10 x 9 7/8 in.) Signed in ink, dated ‘1978’ in pencil, ‘46 Willis Ave.’ credit stamps on the verso. Estimate £3,500-4,500 $4,600-6,000 €3,900-5,100 Provenance Acquired directly from the artist Literature J. Szabo, Teenage, Los Angeles: Greybull, 2003, n.p.
76. Joseph Szabo
b. 1944
Priscilla, 1969 Gelatin silver print, printed 2000s. 31.1 x 45.8 cm (12 1/4 x 18 in.) Signed, titled and dated in pencil in the margin; signed, titled, dated and copyright credit in pencil on the verso. From an edition of 75 plus artist’s proofs. Estimate £1,500-2,500 $2,000-3,300 €1,700-2,800 Provenance Acquired directly from the artist Literature J. Szabo, Teenage, Los Angeles: Greybull, 2003, n.p.
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77. Sally Mann
b. 1951
Vinland, 1992 Gelatin silver print. 19.4 x 24.9 cm (7 5/8 x 9 3/4 in.) Inscribed and initialled in pencil on the verso. Estimate £7,000-9,000 $9,300-11,900 €7,900-10,100 ‡ Provenance Acquired directly from the artist
78. Louis Faurer
1916-2001
Viva, New York City, 1962 Gelatin silver print, printed 1991. 31.6 x 20.5 cm (12 1/2 x 8 1/8 in.) Signed, titled, dated, numbered 9/12 and copyright notation in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 Provenance Deborah Bell Photographs, New York Literature Louis Faurer, Gottingen: Steidl, 2016, cover
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79. Louis Faurer
1916-2001
Park Ave. Garage at Hotel Marguery, New York City, 1950 Gelatin silver print, printed 1980. 21.6 x 31.5 cm (8 1/2 x 12 3/8 in.) Signed, titled ‘Untitled, New York, New York’, dated and copyright notation in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 Provenance Deborah Bell Photographs, New York
80. Louis Faurer
1916-2001
Market Street, Philadelphia, 1937 Gelatin silver print, printed 1990. 33.2 x 22.1 cm (13 1/8 x 8 3/4 in.) Signed, titled, dated, numbered 9/18 and copyright notation in pencil on the verso. Estimate £3,000-5,000 $4,000-6,600 €3,400-5,700 Provenance Deborah Bell Photographs, New York
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81. Elliott Erwitt
b. 1928
California, 1955 Gelatin silver print, printed 2016. 63.2 x 96.2 cm (24 7/8 x 37 7/8 in.) Signed in ink, printed title and date on an artist label accompanying the work. Estimate £6,000-8,000 $8,000-10,600 €6,800-9,000 ‡ Provenance Acquired directly from the artist
This lot is to be sold with no reserve
82. William Klein
b. 1928
Selwyn, 42nd Street, New York, 1955 Gelatin silver print, printed later. 45.5 x 32.5 cm (17 7/8 x 12 3/4 in.) Signed, titled and dated ink pencil on the verso. Estimate £1,500-2,500 $2,000-3,300 €1,700-2,800 • ‡ ♠ Provenance Private Collection, Tokyo
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83. 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, November 14, 1966 Chromogenic print, printed later. 49.2 x 38 cm (19 3/8 x 14 7/8 in.) Signed and numbered 249/350 in ink in the margin. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ‡
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84. John Dominis
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1921-2013
85. William Claxton
1927-2008
Steve McQueen aims a pistol in his living room, California, 1963 Gelatin silver print, printed later, fush-mounted. 38 x 56 cm (14 7/8 x 22 in.) Copyright credit blindstamp in the margin; signed in ink on an artist label afxed to the reverse of the fush-mount.
Steve McQueen, Columbus, Texas, 1963 Gelatin silver print, printed 2006. 39 x 58.6 cm (15 3/8 x 23 1/8 in.) Signed, titled, dated, numbered 3/15 in pencil and copyright credit reproduction limitation stamp on the verso.
Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100
Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900
Provenance A. Galerie, Paris
Provenance Fahey Klein Gallery, Los Angeles
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86. Mona Kuhn
b. 1969
Fatale, 2006 Chromogenic print, fush-mounted. Image/Sheet: 51.4 x 51.7 cm (20 1/4 x 20 3/8 in.) Frame: 53.9 x 53.9 cm (21 1/4 x 21 1/4 in.) Signed, titled, dated, numbered 5/10 and copyright notation in pencil on the reverse of the fush-mount. Estimate ÂŁ4,000-6,000 $5,300-7,900 â‚Ź4,500-6,800 Provenance Jackson Fine Art, Atlanta, 2006 Literature M. Kuhn, Evidence, Gottingen: Steidl, 2007, p. 55
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87. Hannah Starkey
b. 1971
December, 2005 Chromogenic print, fush-mounted. Image/Sheet: 120.9 x 152.5 cm (47 5/8 x 60 in.) Frame: 121.4 x 15.9 cm (47 3/4 x 6 1/4 in.) Signed in ink, printed title, date and number 4/5 on an artist label afxed to the reverse of the frame. Estimate £2,500-3,500 $3,300-4,600 €2,800-4,000 ♠ Provenance Maureen Paley, London
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88. Bill Henson
b. 1955
Untitled (CB JPC SH121 N1A), 2002-2003 Chromogenic print, fush-mounted. Image: 153.5 x 103 cm (60 3/8 x 40 1/2 in.) Frame: 131 x 180.4 cm (51 5/8 x 71 in.) Signed, titled, dated and numbered AP in ink in the margin. From an edition of 5 + 2 AP. Estimate £8,000-12,000 $10,600-15,900 €9,100-13,600 Provenance Robert Miller Gallery, New York, 2009
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Citing the artful depiction of bloody crime scenes by Weegee and Enrique Metinides as inspiration, Alex Prager created highly saturated images of staged disasters – imbued with her signature blend of cinematic aesthetic and dark playfulness – for her series Compulsion. This body of work was frst shown in 2012 in concurrent exhibitions in London, New York and Los Angeles to great acclaim.
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89. Alex Prager
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b. 1979
90. Alex Prager
b. 1979
3:14pm, Pacifc Ocean, 2012 Archival pigment print, fush-mounted. Image/Sheet: 122.4 x 114.6 cm (48 1/4 x 45 1/8 in.) Frame: 124.8 x 117.2 cm (49 1/8 x 46 1/8 in.) Signed, titled, dated and numbered 9/9 in ink on an artist label afxed to the reverse of the frame. From an edition of 9 + 3 AP.
4:01 pm, Sun Valley, 2012 Archival pigment print, fush-mounted. Image/Sheet: 123 x 153 cm (48 3/8 x 60 1/4 in.) Frame: 125.5 x 156 cm (49 3/8 x 61 3/8 in.) Signed, titled, dated and numbered 7/9 in ink on an artist label afxed to the reverse of the frame. From an edition of 9 + 3 AP.
Estimate £8,000-12,000 $10,600-15,900 €9,100-13,600
Estimate £10,000-15,000 $13,200-19,900 €11,300-17,000 †
Provenance Michael Hoppen Gallery, London
Provenance Michael Hoppen Gallery, London
Literature A. Prager, Compulsion, London: Michael Hoppen, 2012, n.p.
Literature A. Prager, Compulsion, London: Michael Hoppen, 2012, n.p.
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91. Chris Killip
b. 1946
Crabs and People, Skinningrove, North Yorkshire, 1981 Gelatin silver print, printed 1985. 39.6 x 48.9 cm (15 5/8 x 19 1/4 in.) Signed and dated ‘85’ in pencil on the verso. Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ♠ Provenance Toluca Fine Art, Paris
Between 1973 and 1985 , Chris Killip documented the economic and social hardships of communities in North-East England that had sufered industrial decline. The resulting photographs were published in 1988 in his seminal book In Flagrante. The J. Paul Getty Museum holds prints of all 50 images that make up the book and the Museum of Fine Arts, Houston, holds a later print of the present image.
Literature C. Killip, In Flagrante, London: Secker & Warburg, 1988, pp. 48-49 G. Badger, Chris Killip, London: Phaidon, 2001, p. 65
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92. Sebastião Salgado
b. 1944
The Eastern Part of the Brooks Range, Arctic National Wildlife Refuge, Alaska, USA, 2009 Gelatin silver print, printed later. 75.2 x 54 cm (29 5/8 x 21 1/4 in.) Signed, dated and annotated ‘Alaska’ in pencil on the verso. Estimate £10,000-15,000 $13,200-19,900 €11,300-17,000 ♠ † Provenance NB Pictures, London Literature Sebastião Salgado, London: Beetles+Huxley, 2014, pl. 42 S. Salgado, Genesis, Cologne: Taschen, 2013, p. 323
93. Sebastião Salgado
b. 1944
Macaroni Penguins in Zavodovski Island, The Sandwich Islands, 2009 Gelatin silver print, printed later. 37.3 x 51.5 cm (14 5/8 x 20 1/4 in.) Copyright credit blindstamp in the margin; signed, dated and annotated ‘Sandwich Islands’ in pencil on the verso. Estimate £5,000-7,000 $6,600-9,300 €5,700-7,900 ‡ ♠ Literature Sebastião Salgado, London: Beetles+Huxley, 2014, cover, detail and pl. 34
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94. Martin Parr
b. 1952
Common Sense London: Self-Published, 1999. Portfolio containing 350 A3 laser copies (Xerox prints) on paper. Each approximately: 28.8 x 40.4 cm (11 3/8 x 15 7/8 in.) Signed, numbered 3/10 in ink on the colophon; each initialled in ink on the verso. Contained within a navy clamshell case with embossed title, date, and number 3/10. From an edition of 10 + 2 AP.
95. Martin Parr
b. 1952
Estimate £6,000-8,000 $7,900-10,600 €6,800-9,100 ♠
The Phone Book London: Rocket Gallery, 2002. Deluxe Edition. Twelve chormogenic prints. Each 25.8 x 17.7 cm (10 1/8 x 6 7/8 in.) or the reverse. Each signed and numbered 18/35 in ink on the verso, within individual card folios. Accompanied by a copy of The Phone Book 1998-2002 (Rocket Gallery, 2002), signed, dated and numbered 18/35 in ink on a label afxed to the inside back cover. Contained within a grey cardboard clamshell case, signed, numbered 18/35 in ink, printed title and date on a label afxed to the inside cover.
Provenance The Rocket Press, Oxford
Estimate £2,000-3,000 $2,600-4,000 €2,300-3,400 ♠
Literature M. Parr, Common Sense, Stockport: Dewi Lewis, 2003
Provenance 20.21 Galerie Edition Kunsthandel, Essen Literature M. Parr, The Phone Book: 1998-2002, London: Rocket Gallery, 2002, n.p.
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96. Peter Beard
b. 1938
Peter Beard New York: Taschen, 2006. Hardcover book contained within a maroon clamshell box, accompanied by a second Taschen volume and presented within a wooden box with wooden book stand. Book: 34.6 x 50.8 x 7.4 cm (13 5/8 x 20 x 2 7/8 in.) Stand: 25 x 54.3 x 7.4 cm (9 7/8 x 21 3/8 x 2 7/8 in.) Signed in ink and edition stamp on the title page. From an edition of 2500. Estimate ÂŁ2,000-3,000 $2,600-4,000 â‚Ź2,300-3,400 Provenance Acquired directly from the artist
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97. David LaChapelle
b. 1963
Amanda Lepore: Addicted to Diamonds, New York, 1997 Chromogenic print. 59.5 x 43.1 cm (23 3/8 x 16 7/8 in.) Signed, titled, dated and numbered 22/30 in ink on the verso. Estimate ÂŁ8,000-12,000 $10,600-15,900 â‚Ź9,100-13,600 Literature Hotel LaChapelle, London: Booth-Clibborn, 1999, p. 30 David LaChapelle, Florence: Giunti, 2007, p. 326, pl. 191
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Sale Information Photographs Sale Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction 2 November, 2017, 2pm Viewing 27 October – 2 November 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK040217 or Photographs Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Anne Flick +44 20 7901 7927 bidslondon@phillips.com
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Auctioneers Susanna Brockman Sarah Krueger Henry Highley Hugues Jofre Adam Clay Catalogues New York +1 212 940 1240 London +44 20 7901 7927 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 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Kyle Buchanan +44 20 7318 4081 Lewis Thomas +44 20 7901 7920 Rita Matos +44 20 7901 7906
Front cover Lot 48, Steven Meisel, CK One, New York City, 1994 (detail) © Steven Meisel Back cover Lot 37, Helena Almeida, Ponto de Fuga (Vanishing Point), 1982 (detail)
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Henri Cartier-Bresson: The Eye of the Century Personal Photographs from the Collection of Peter Fetterman
Auction December 2017, New York Enquiries +1 212 940 1245 photographs@phillips.com
Henri Cartier-Bresson Changing during the Christian Dior fashion show, Paris, circa 1947
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Sell with us Editions Evening & Day Sales London, 25 January 2018 Our January 2018 sales will mark a decade of groundbreaking Editions auctions at Phillips. Our sales have grown from strength to strength and in 2017 we sold 90% of all lots ofered, with our January (London) and April (New York) auctions achieving the highest totals to date. We look forward to another decade of success presenting museum-quality, original artist prints and multiples.
If you would like to sell a work of art through us in our upcoming auction, please contact: Robert Kennan, Head of Editions, Europe. Enquiries +44 207 318 4069 editionslondon@phillips.com
Louise Bourgeois Yes, 2004 Sof-ground etching with unique handcolouring in watercolour, gouache and ink, with additions in graphite and coloured pencils Estimate £10,000 – 15,000 © The Easton Foundation 2017
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Sell with us. New Now Auction London, 7 December, 2pm New Now showcases the best of what’s happening right now in contemporary art—all in one place. These diverse lots are equally seductive to savvy collectors and auction-curious newcomers. If you think our New Now sale might be the right ft for a work in your collection, get in touch. Enquiries Simon Tovey stovey@phillips.com
Shara Hughes Untitled 122 x 121.6 cm (48 x 47 7/8 in.) Executed in 2005. Estimate: £8,000 – 12,000
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41. Carrie Mae Weems
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Index Abramović, M. 40 Almeida, H. 37 Araki, N. 14, 15, 16 Bartelsman, G. 7 Beard, P. 20, 96 Brandt, N. 19 Bravo, M. Á. 62, 65 Burri, R. 63 , 64, 66 Cartier-Bresson, H. 68, 70 Claxton, W. 85 Collier, A. 39 de Zuviría, F. 5 Demarchelier, P. 56 Dolron, D. 35 Dominis, J. 84 Dweck, M. 47 Eggleston, W. 24 Errázuriz, P. 1 Erwitt, E. 69, 81 Faurer, L. 78, 79, 80 Franco, F. 2 Gigli, O. 27 Henson, B. 88 Hofer, C. 31 Horst, H. P. 25, 74 Hütte, A. 32
Keïta, S. 60, 61 Khan, I. 18 Killip, C. 91 Klein, W. 26, 72, 73, 82 Kuhn, M. 86 LaChapelle, D. 97 Leifer, N. 83 Lestido, A. 3 Lindbergh, P. 58 López Luz, P. 11 Luchford, G. 57 Mann, S. 77 Mapplethorpe, R. 28 Meisel, S. 48 Mocafco, G. 36 Moriyama, D. 13 Newton, H. 53 Nishino, S. 17
Sacco, G. 12 Salgado, S. 92, 93 Sersa, V. 6 Sidibé, M. 59 Simmons, L. 38 Sims, D. 49 Soth, A. 22, 23 Starkey, H. 87 Sternfeld, J. 21 Stewart, J. 45 Szabo, J. 75, 76 Tkachenko, D. 46 Trujillo, S. 8 van Empel, R. 34 Watson, A. 51, 52 Weber, B. 50 Weems, C. M. 41
Ortiz, J. 9, 10 Parr, M. 94, 95 Penn, I. 29, 30 Prager, A. 42, 89, 90 Reisch, M. 44 Riboud, M. 67, 71 Ritts, H. 54 Roversi, P. 55 Roy, K. 43 Ruf, T. 33
Iturbide, G. 4
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43.00.Kourtney Roy Xxxx xxx
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