Photographs Sale UK

photographs 20

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may

2 010

LONDON

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photogr aphs 2 0 may 2 0 10 5 pm LONDON

Lots 1 –12 8

Viewing Friday 14 May, 10am – 6pm Saturday 15 May, 10pm – 6pm Sunday 16 May, 12am – 6pm Monday 17 – Wednesday 19 May, 10am – 6pm Thursday 20 May, 10am – 2pm

Front cover Peter Lindbergh, Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990, Lot 24 (detail) Inside front cover Nobuyoshi Araki, Untitled, 1986, Lot 22 (detail) title page Irving Penn, Audrey Hepburn, 1951, Lot 32 (detail)

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1 SEBASTIÃO SALGADO b. 1944 Dinka Man at cattle camp of Kei, Southern Sudan, 2006 Gelatin silver print. 76.5 × 54 cm (30 1/8 × 21 1/4 in). Signed, titled ‘Sud-Soudan’ and dated in pencil on the verso.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡ Provenance Acquired directly from the artist literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 295

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3

2 SEBASTIÃO SALGADO b. 1944

3 SEBASTIÃO SALGADO b. 1944

Site of the now dried Lake Faguibine, Mali, Africa, 1985

The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu Refugees,

Gelatin silver print, printed 2007. 54 × 81.6 cm (21 × 32 1/8 in). Signed, titled ‘Mali’ and dated

Tanzania, 1994

in pencil on the verso.

Gelatin silver print, printed later. 53.3 × 81.3 cm (21 × 32 in). Signed, titled ‘Tanzania’ and dated in pencil on the verso.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡ Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡ Provenance Acquired directly from the artist literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 233

Provenance Acquired directly from the artist literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p.194

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4 JOSEF KOUDELKA b. 1938 England, Dog, 1976 Gelatin silver print, printed c. 1983. 36.2 × 54 cm (14 1/4 × 21 1/4 in). Signed in ink in the margin.

Estimate £9,000–12,000 $13,800–18,400 €10,300–13,800 ♠ Provenance Acquired directly from the artist literature Exiles: Photographs by Josef Koudelka, London: Thames and Hudson,

1997, pl. 26

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5 EVE ARNOLD b. 1913 Marilyn on the set of ‘The Misfits’, Nevada, 1960 Gelatin silver print, printed 2003. 29.2 × 43.2 cm (11 1/2 × 17 in). Signed in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 ‡ Provenance Acquired directly from the artist literature Magnum Cinema: Photographs from 50 Years of Movie-making, London:

Phaidon, 1995, p. 159; B. Lardinois, Eve Arnold’s People, London: Thames and Hudson, 2009, pp. 64–65

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6 ANDRÉ DE DIENES 1913–1985 Marilyn Monroe, 1949 Gelatin silver montage print. 28.6 × 22.2 cm (11 1/4 × 8 3/4 in). Credit stamp on the verso.

Estimate £1,200–1,800 $1,900–2,800 €1,400–2,000 Provenance Art Beaufort, Hamburg

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7 EVE ARNOLD b. 1913 Paul Newman at Lee Strasbourg’s studio, New York, 1955 Gelatin silver print, printed later. 32.7 × 48.3 cm (12 7/8 × 19 in). Signed in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,9000 ‡ Provenance Acquired directly from the artist literature B. Lardinois, Eve Arnold’s People, London: Thames and Hudson, 2009,

pp. 34–35

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8 JACQUES LOWE 1930 – 2001 John F. Kennedy at the Democratic National Convention, 1960 Gelatin silver print. 34.3 × 23.2 cm (13 1/2 × 9 1/8 in). Dated, annotated ‘Convention’ in ink and copyright credit stamp on the verso.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 Provenance Art Beaufort, Hamburg

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9 PETER BEARD b. 1938 Francis Bacon in his studio, 7 Reese Mews off the Old Brompton Road London (a painting later destroyed), 1972 Gelatin silver print with ink, printed later. 21 × 32.1 cm (8 1/4 × 12 5/8 in). Signed, dated, annotated and inscribed in ink in the margin. This work is believed to be unique.

Estimate £10,000–15,000 $15,400–23,000 €11,500–17,200 Provenance Private Collection, Germany literature Peter Beard, Vol. 1, Taschen, 2008, pl. 240

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10 PETER BEARD b. 1938

11 PETER BEARD b. 1938

Francis Bacon on his roof at 80 Narrow Street, London, 1972

Francis Bacon on his roof at 80 Narrow Street, London, 1972

Gelatin silver print, printed later. 32.7 × 21.6 cm (12 7/8 × 8 1/2 in). Signed, titled,

Gelatin silver contact sheet with ink, printed later. 50.5 × 40.6 cm (19 7/8 × 16 in).

dated and inscribed in ink in the margin.

Signed, titled, dated and extensively annotated in ink on the recto; The Time Is Always Now copyright credit stamp on the reverse of the frame.

Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200 Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200 Provenance Private Collection, Germany literature J. Bowermaster, The Adventures and Misadventures of Peter Beard in

Provenance The Time is Always Now Gallery, New York; Private Collection, Germany

Africa, 1994, p. 147

literature Peter Beard, Vol. 1, Taschen, 2008, pl. 244 (variant)

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13

12 DAVID MCCABE b. 1940

13 PETER BEARD b. 1938

Andy Warhol in his studio, New York, c. 1964

Andy Warhol at home with Skull, 1972

Gelatin silver print, printed later. 50.8 × 34.3 cm (20 × 13 1/2 in). Signed in ink in

Unique Polaroid print with blood. 14.4 × 10.5 cm (5 11/16 × 4 1/8 in). Signed and

the margin.

dated in ink on the recto; The Time Is Always Now copyright credit stamp on the reverse of the frame.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 Provenance Riflemaker, London Provenance Time is Always Now Gallery, New York; Art Beaufort, Hamburg

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14 TERRY O’NEILL b. 1938 Michael Caine and Bob Hoskins, Raymond’s Revue Bar, London, 1985 Lambda print, printed later and flush-mounted. 121.9 × 121.9 cm (48 × 48 in).

Signed in ink on the recto.

Estimate £3,000–4,000 $4,600–6,100 €3,500–4,600 ♠ Provenance Private Collection, London

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15 BRIAN DUFFY b. 1933 Paul McCartney at CTS Studios, 1966 Gelatin silver print. 34 × 22.5 cm (13 3/8 × 8 7/8 in). Signed in ink and blindstamp credit in the margin.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 ♠ Provenance Acquired directly from the artist

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16 CLAUDE GASSIAN b. 1949 David Bowie, Paris, 1976 Four gelatin silver prints, printed later. Each 39.7 × 60 cm (15 5/8 × 23 5/8 in). Each signed, titled, dated and numbered 3/5 in ink on the reverse of the flush-mount.

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900 Provenance Private Collection, Europe exhibited Paris, acte2galerie, Double Vie, 20 May–14 September 2002; Lyon, Musée d’Art

Contemporain de Lyon, Intersections, 5 June–3 August 2003 (each another example exhibited) literature Éditions de la Martinière, Claude Gassian Photographies 1970–2001, 2001, p. 94;

Exhibition catalogue, Intersections, Éditions Musée d’Art Contemporain de Lyon, 2003, p. 100

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17 RICHARD AVEDON 1923–2004 John Ford, Director, Bel Air, California, 11 April, 1972 Gelatin silver print. 19.1 × 18.4 cm (7 1/2 × 7 1/4 in). Signed, dated in ink and copyright credit label on the verso.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 Provenance Private Collection, Germany LITeraTUre Portraits: Richard Avedon, Farrar Straus & Giroux, 1976, n.p.; Richard

Avedon: Photographs 1946–2004, Louisiana Museum of Modern Art, 2007, n.p.

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18 INEZ VAN LAMSWEERDE & VINOODH MATADIN b. 1963 & b. 1961 Kate, 1999 Colour coupler print. 96.5 × 78.4 cm (38 × 30 7/8 in). Signed in ink by both artists on a label affixed to the reverse of the flush-mount. Number 2 from an edition of 10.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ Provenance Private Collection, Paris

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19 DAVID LACHAPELLE b. 1964 Cathedral, 2007 Digital colour coupler print. 61 × 81.3 cm (24 × 32 in). Signed in ink, printed title, date and number on an artist’s label affixed to the reverse of the flush-mount. One from an edition of 10.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 Provenance Guy Hepner Contemporary, LA LITeraTUre David LaChapelle: Stern Portfolio, vol. 51, teNeues, 2008, pp. 28–29;

S. Kessler, ‘David LaChapelle: Renaissance Man’, Whitewall, Issue 15, Fall 2009, p. 95

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20 DAVID LACHAPELLE b. 1964 Mr. David Martinez as Priest, 2007 Digital colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed in ink, printed title, date and number on an artist’s label affixed to the reverse of the flush-mount. One from an edition of 10.

Estimate £8,000–10,000 $12,300–15,400 €9,200–11,500 Provenance Guy Hepner Contemporary, LA

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21 BETTINA RHEIMS b. 1952 Madonna Blue Laying on a Blue Bed, New York, September, 1994 Colour coupler print, flush-mounted. 120 × 120 cm (47 1/4 × 47 1/4 in). Signed, titled, numbered 1/5 and annotated ‘Pourquoi M’as-tu Abandonne’ in ink on a label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate £10,000–15,000 $15,400–23,000 €11,500–17,200 ♠ Provenance Private Collection, Paris

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22 NOBUYOSHI ARAKI b. 1940 Untitled, 1986 Dye destruction print, printed 2003. 32.7 × 41.9 cm (12 7/8 × 16 1/2 in). Signed in ink on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡ Provenance Private Collection, Japan

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23 DAIDO MORIYAMA b. 1938 Eyeball, 1986 Gelatin silver print, printed 2005. 51.4 × 35.6 cm (20 1/4 × 14 in). Signed in English and Japanese in pencil on the verso.

Estimate £2,500–3,500 $3,800–5,400 €2,900–4,000 ‡ Provenance Private Collection, Japan LITeraTUre Daido Moriyama: Retrospective Since 1965, RM Verlag, 2007

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24 PETER LINDBERGH b. 1944 Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990 Gelatin silver print, printed 2002 and flush-mounted. 120 × 176.5 cm (47 1/4 × 69 1/2 in). Signed, titled, dated and numbered 2/3 in pencil on a label affixed to the reverse of the frame. Accompanied by a signed certificate of authenticity.

Estimate £30,000–40,000 $46,000–61,400 €34,400–45,800 Provenance Private Collection, Europe eXHIBITeD New York, The Aperture Foundation, The Idealizing Vision, 1991; Paris, Centre National de la Photographie, Vanities, 1993; Images of Women & Invasion, including: Hamburg,

Museum Fur Kunst und Gewerbe, 23 January–26 February 1998; Milan, Palazzo dell’Arte , 4 March–20 April 1998; Rome, Palazzo Delle Esposizione, 15 July–15 August 1998; Vienna, Kunsthaus Wien, 10 September 1998–15 January 1999; Moscow, Pushkin Museum, February–March 2002; Goslar, Mönchehaus Museum for Contemporary Art, 19 April–29 June 2008; Dusseldorf, Landesmuseum Kultur Forum, Photographs, 31 July–3 October 1999; Hamburg, Triennale of Photography, Archaeology of Elegance – 1980–2000: 20 Years of Fashion, 25 April–25 August 2002 (each another example exhibited) lITeraTure Peter Lindbergh Stories, Santa Fe: Arena Editions, 2002, n.p.

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25 LILLIAN BASSMAN b. 1917 Anne Saint-Marie, New York, Chanel Advertising, 1958 Gelatin silver print, printed later. 69.5 × 87 cm (27 3/8 × 34 1/4 in). Signed in pencil on the verso. Number 8 from an edition of 25.

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900 ‡ Provenance Acquired directly from the artist literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, cover

and pp. 102–03

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26 LILLIAN BASSMAN b. 1917 Blowing Kiss, Barbara Mullen, New York, c. 1958 Gelatin silver print, printed later. 50.2 × 47.6 cm (19 3/4 × 18 3/4 in). Signed in pencil on the verso. Number 6 from an edition of 25.

Estimate £3,000–4,000 $4,600–6,100 €3,500–4,600 ‡ Provenance Acquired directly from the artist literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, p. 126

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27 LILLIAN BASSMAN b. 1917 Margy Cato, Junior Bazaar, c. 1950s Gelatin silver print, printed later. 56.8 × 43.8 cm (22 3/8 × 17 1/4 in). Signed in pencil on the verso. Number 11 from an edition of 25.

Estimate £3,000–4,000 $4,600–6,100 €3,500–4,600 ‡ Provenance Acquired directly from the artist literature D. Solomon, Lillian Bassman: Women, Abrams: New York, 2009, p. 145

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28 HORST p. HORST 1906–1999 Birthday Gloves, New York, 1947 Gelatin silver print, printed later. 42.5 × 35.9 cm (16 3/4 × 14 1/8 in). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ‡ Provenance Acquired directly from the artist literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and

Hudson, 1991, pl. 57

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29 HORST p. HORST 1906 – 1999 Lisa with Turban, New York, 1940 Gelatin silver print, printed later. 45.7 × 36.2 cm (18 × 14 1/4 in). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ‡ Provenance Acquired directly from the artist literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and

Hudson, 1991, pl. 51

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30 HORST P. HORST 1906 – 1999 Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 45.2 × 34 cm (17 13/16 × 13 3/8 in). Signed in pencil on the verso.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 ‡ Provenance Acquired directly from the artist literature N. Hall-Duncan, The History of Fashion Photography, New York: Alpine

Book Co., 1979, p. 65; V. Lawford, Horst: His Work and His World, Harmondsworth: Viking, 1984, p. 184; Kazmaier, Horst: Sixty Years of Photography, London: Thames and Hudson, 1991, pl. 8

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31 GEORGE HOYNINGEN-HUENE 1900 – 1968 Divers, Horst and Model, Swimwear by A. J. Izod, 1930 Gelatin silver print, printed later by Horst P. Horst. 44 × 35.2 cm (17 5/16 × 13 7/8 in). Hoyningen-Huene / Horst copyright credit blindstamp in the margin; signed, titled, dated and annotated ‘from the collection of Horst’ by H. P. Horst in pencil on the verso.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 ‡ Provenance From the collection of Horst P. Horst literature Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs,

London, 2006, p. 117

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32 IRVING PENN 1917-2009 Audrey Hepburn, Paris, 1951 Gelatin silver print. 34.9 × 34 cm (13 3/4 × 13 3/8 in). Signed, dated in ink, titled in pencil, Condé Nast copyright credit reproduction limitation and edition stamps on the reverse of the mount. One from an edition of 6 silver prints.

Penn’s portrait of Audrey Hepburn was taken to mark her Broadway debut in Gigi and appeared in Vogue in the issue of November 1st 1951 (the play opened a week later). It was the magazine’s first published picture of the 22-year-old actress and dancer. Hepburn was fond of repeating that on arrival ‘the first two

Estimate £25,000–35,000 $38,400–53,800 €28,600–40,100 ‡

things I saw were the Statue of Liberty and Richard Avedon’. As it

Provenance Acquired directly from the artist

turned out, it was the other giant of magazine photography who

exhibited London, National Portrait Gallery, Irving Penn Portraits, 18 February–6

photographed her first. Penn had taken it in Paris earlier in the

June 2010 (another example exhibited)

year during a trip which also saw a sitting in her Palais-Royal

literature Vogue, November 1951; I. Penn, Moments Preserved: Eight Essays in

Photographs and Words, Simon & Schuster, 1960, p. 156

apartment with Gigi’s creator, the elderly novelist Colette. By this time, Penn had abandoned the two stylistic motifs that had marked out his studio portraiture almost as still life studies: firstly the positioning of the sitter on or against an unravelled length of dark carpet, and secondly the ‘corner portrait’, wherein sitters were required to arrange themselves – or in a few cases allow themselves to be arranged – in the apex of two perpendicular studio flats. In both cases Penn made either full-length studies or at least photographed his subjects from the waist up, observing their movement (or lack of it) within these unanticipated and restrictive spaces. By 1950, he had replaced these conceits with a closer scrutiny of the sitter’s face. The resulting portraits, of which this head and shoulders study is emblematic, were characterised by tight and unexpected close cropping, any trace of the studio now confined to a simple neutral backdrop (he had experimented with tight cropping-in on his first series of nudes in 1949). The interaction of photographer and sitter was, if still off-kilter, at least warmer – a concentration on gaze and expression rather than a cold-blooded observation of physical contortion.

(Robin Muir, April 2010)

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33 HENRI CARTIER-BRESSON 1908 – 2004 Easter Parade, Harlem, New York, 1947 Gelatin silver print, printed later. 35.6 × 24.1 cm (14 × 9 1/2 in). Signed in ink and blindstamp credit in the margin.

Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200 Provenance Acquired directly from the artist literature P. Galassi et al, Henri Cartier-Bresson: The man, the image and the

world, London: Thames and Hudson, 2003, p. 210

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34

35

34 HENRI CARTIER-BRESSON 1908 – 2004

35 LEE FRIEDLANDER b. 1934

Henri Matisse, Vence, France, 1944

Billie and De de Pierce, 1952

Gelatin silver print, printed later. 23.8 × 35.9 cm (9 3/8 × 14 1/8 in). Signed in ink

Gelatin silver print, printed later. 15.2 × 22.9 cm (6 × 9 in). Signed, titled in

and blindstamp credit in the margin.

pencil on the verso.

Estimate £8,000–10,000 $12,300–15,400 €9,200–11,500

Estimate £1,800–2,200 $2,800–3,400 €2,000–2,500

Provenance Acquired directly from the artist

Provenance Art Beaufort, Hamburg

literature Y. Bonnefoy, Henri Cartier-Bresson: Photographer, London: Thames

literature Friedlander, New York: Museum of Modern Art, 2005, p. 30

and Hudson, 1980 p. 126; Jean Lacouture et al., In Our Time: The World as Seen by Magnum Photographers, New York & London: Norton, 1989, pp. 372–73; Henri Cartier-Bresson Scrap Book, London: Thames and Hudson, 2006, p. 68

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36 NICK BRANDT b. 1966 Elephant Exodus, Amboseli, 2008 Archival pigment print. 60.3 × 166.1 cm (23 3/4 × 65 3/8 in). Signed, dated and numbered 2/15 in pencil in the margin.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠

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37 BRITTA JASCHINSKI b. 1965 Lone Lion, 2007 Gelatin silver print. 76.2 × 116.8 cm (30 × 46 in). Signed, dated and numbered in pencil on a label affixed to the reverse of the frame. One from an edition of 5 plus 1 artist’s proof.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 Provenance Acquired directly from the artist exhibited London, Natural History Museum, Wildlife Photographer of the Year

2009, 23 October 2009 – 11 April 2010 (another example exhibited) literature BBC Books, Wildlife Photographer of the Year: Portfolio 19, 2009, p. 54

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38 THOMAS JOSHUA COOPER b. 1946 A Premonitial Work, 2000 – 2001 Gelatin silver print. 35.9 × 57.8 cm (14 1/8 × 22 3/4 in). Signed, titled, dated, numbered 3/3 and annotated ‘Muskaget Sound and the North Atlantic Ocean Looking N., N.E. – yet again, towards the Old World From Sunset to Full Moonrise Wasque Point, Chappaquiddicte Island Martha’s Vineyard, Massachusetts U.S.A.’ in ink on a label affixed to the verso.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 Provenance Sean Kelly Gallery, New York

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39 RICHARD MISRACH b. 1949 Untitled, 2007 Archival pigment print. 41.6 × 50.8 cm (16 3/8 × 20 in). Signed, titled, dated and numbered 2/15 in ink in the margin. One from an edition of 15 plus artist’s proofs.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 ‡ Provenance Blind Spot Editions, New York

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40 LENI RIEFENSTAHL 1902–2003 Mask, 1975–6 Dye-transfer print, printed later. 57.5 × 42.9 cm (22 5/8 × 16 7/8 in). Initialled, annotated ‘AP’ in pencil and copyright credit stamp on the reverse of the mount. One from an edition of 15 plus artist’s proofs.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 Provenance Atlas Gallery, London

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41 BARTHÉLÉMY TOGUO b. 1967 Afrika Oil, 2005-8 Digital colour coupler print. 161.9 × 123.8 cm (63 3/4 × 48 3/4 in). Signed in ink,

Barthélémy Toguo works in sculpture, painting, video, installation and performance. He creates theatrically staged works fed by his

printed title, date and number on a label affixed to the reverse of the

fascination with the gap between West and ‘non-West’; his work

flush-mount. One from an edition of 3.

is politically charged and has the interest of human flux at its

Estimate £12,000–16,000 $18,500–24,600 €13,800–18,300 Provenance Private Collection, Europe

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core. The artist has founded Bandjoun Station, an arts and cultural centre in Cameroon, which is facilitated by local artists and intellectuals.

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42 RUUD VAN EMPEL b. 1958 Moon #4, 2007 Dye destruction print, flush-mounted. 83.8 × 59.7 cm (33 × 23 1/2 in). Signed, titled, dated and numbered 5/13 in ink on an artist’s label affixed to the reverse of the frame.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 ♠ Provenance Flatland Gallery, Netherlands literature Ruud van Empel: Photoworks 2006–2008, 2009, p. 47

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43 RUUD VAN EMPEL b. 1958 World #6, 2005 Dye destruction print, Diasec mounted. 105 cm × 150 cm (41 3/8 × 59 in).

Signed in pencil, printed title, date and number on a label affixed to the reverse of the flush-mount. One from an edition of 9.

Estimate £20,000–30,000 $30,700–46,100 €22,900–34,400 ♠ Provenance Stux Gallery, New York

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44 CHRISTOPHER BUCKLOW b. 1957 Tetrarch, 2.19 & 4.14 pm, 17th October, 2001 Unique dye destruction print, flush-mounted. 92.4 × 252.7 cm (36 3/8 × 99 1/2 in). Signed, titled and dated in pencil on the verso.

Estimate £8,000–12,000 $12,300–18,400 €9,200–13,800 Provenance Riflemaker, London

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45 MASSIMO VITALI b. 1944 Knokke Dyptich, 2002 Two colour coupler prints, each Diasec mounted. Each 149.2 × 120.7 cm (58 3/4 × 47 1/2 in). Signed, titled, dated and numbered in ink on a label affixed to the reverse of the flush-mount. One from an edition of 6.

Estimate £25,000–35,000 $38,400–53,800 €28,600–40,100 ♠ Provenance Private Collection, Europe

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46 EDWARD BURTYNSKY b. 1955 Shipbreaking #2, Chittagong, Bangladesh, 2000 Colour coupler print, printed 2001. 86.4 × 68.6 cm (34 × 27 in). Signed in ink, printed title, date and number 1/10 on a label affixed to the reverse of the mount.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 Provenance Acquired directly from the artist exhibited Washington DC, Corcoran Gallery of Art, Edward Burtynsky: Oil, 3

October – 13 December 2009 (another example exhibited) literature Manufactured Landscapes: The Photographs of Edward Burtynsky,

National Gallery of Canada, Ottawa & Yale University Press: London, 2003, p. 41; Edward Burtynsky: Oil, Steidl: Göttingen, 2009, p. 154

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47

48

47 PIETER HUGO b. 1976

48 PIETER HUGO b. 1976

Sam, Klein Karoo, 2003

Tem Vleksi, Cape Town, 2003

Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and

Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and

numbered 2/8 in pencil in the margin.

numbered 7/8 in pencil in the margin.

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Michael Stevenson Gallery, Cape Town

Provenance Michael Stevenson Gallery, Cape Town

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49 DESIREE DOLRON b. 1963 Xteriors IX, 2004 Colour coupler print, Diasec mounted. 170 × 125cm (67 × 49 1/4 in). Signed, titled, dated and numbered 6/8 in ink on the reverse of the flush-mount.

Accompanied by a signed certificate of authenticity.

Estimate £25,000–35,000 $38,400–53,800 €28,600–40,100 ♠ Provenance Galerie Gabriel Rolt, Amsterdam exhibited Hague, The Hague Museum of Photography, Desiree Dolron, 26

February – 8 May 2005 (another example exhibited) literature Exhibition catalogue, The Hague Museum of Photography, Desiree

Dolron, Hague, 2005, p. 101

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50 DESIREE DOLRON b. 1963 Xteriors X, 2005 Colour coupler print. 60 × 50 cm (23 5/8 × 19 11/16 in). Signed, titled, dated and numbered 5/6 in ink on the reverse of the flush-mount. Accompanied by a signed certificate of authenticity.

Estimate £18,000–22,000 $27,700–34,000 €20,600–25,000 ♠ Provenance Galerie Gabriel Rolt, Amsterdam

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51 SHIRIN NESHAT b. 1957 Untitled from the Rapture Series, 1999 Gelatin silver print, mounted. 112.4 × 168.6 cm (44 1/4 × 66 3/8 in). One from an edition of 5 plus 2 artist’s proofs.

Estimate £20,000–30,000 $30,700–46,100 €22,900–34,400 Provenance Private Collection, Europe literature G. Mackert, Shirin Neshat, Vienna, 2000, p. 74; Exhibition catalogue,

Castello di Rivoli, Shirin Neshat, Turin, 2002, p. 120

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52 AHMET ERTUG b. 1949 HAREM: Topkapi Palace, Istanbul, 1990 Lightjet print, printed later and flush-mounted. 228 × 180 cm (89 3/4 × 70 7/8 in). Signed in ink, printed title, date and number 1/5 on an artist’s label affixed to the reverse of the frame. One from an edition of 5 plus 1 artist’s proof.

Estimate £16,000–18,000 $24,600–27,700 €18,300–20,600 ‡ Provenance Acquired directly from the artist literature R. Bragner et al., Topkapi Palace of Felicity, Istanbul: Ertug & Kölük, 1990, p. 217

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53 ROBERT POLIDORI b. 1951 Salles du XVIIIeme, Chateau de Versailles, 2005 Fujicolor Crystal Archive print. 167.6 × 127 cm (66 × 50 in). Signed in ink, printed title, date and number on a label affixed to the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate £10,000–12,000 $15,400–18,400 €11,500–13,800 Provenance Flowers, London literature R. Polidori, Parcours Muséologique Revisité, Vol. 1, Steidl, 2009, p. 137

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Presented in this lot is the complete suite of Portfolio works by Robert Mapplethorpe, X, Y, Z, the story and sum of everything we expect from him as an artist. These portfolios were created to exist and be seen together.

X depicts part of Mapplethorpe’s own world. He was an active participant – the images reveal something that he was proud to belong to, and they have undisputed dignity. The subjects are posed neatly, bodies of iron that shine with elegance; the images beg the question, ‘Why shouldn’t we accept beauty in this?’, even if we don’t want to answer. Polarity is ever-present in Mapplethorpe’s works – so free and uninhibited yet contrived and austere – a gentleman and a promiscuous dandy with an attitude which goes beyond shame and punches straight to the heart, leaving an indelible imprint. No matter what the viscosity of the activity, there is still calm. The viewer is perhaps the only guilty party in presuming that the interactions are causing harm, when actually we are witnessing pleasure. A portrait of a tradesman by Irving Penn or a stoic depiction of a member of German society by August Sander can offer no more credence or respect.

Y concentrates solely on the flower. Mapplethorpe explores the form through manipulation of light and shadow – through experimentation and careful balance he stimulates the heartbeat of the inanimate blind or the still Gardenia. Nothing about these images could ever be confused with or described as a snapshot. The flowers are isolated like his other subjects, statuesque as any Greek marble, exalted on a platform, sometimes naked and at other times with props (reflecting his portrait style), elevating them above the mundane.

Z illustrates the link between sex and art which was purely and simply Mapplethorpe’s life. Again the stage is set, this time with his reference to the black male. The portraits among these works are representations of ‘fantastical chic’, figureheads of masculinity, the most majestic kings.

Nothing is plucked, startled, from the streets to unnerve us or jar our conscience – Mapplethorpe’s mainstream 1960s formalism is rock solid.

Unfortunately with works such as these he was – like a bird caught on the wire – wide open not only to critical acclaim, but also to criticism; his images push the boundaries of ‘modernity’ while their composition would fit nicely within the photographic conventions of the nineteenth century, a period that Mapplethorpe admired and collected.

54 ROBERT MAPPLETHORPE 1946–1989 X, Y and Z Portfolios Washington, D.C.: Harry Lunn; New York: Robert Miller; London: Robert Self.

X, 1977/1978. Thirteen selenium toned gelatin silver prints, mounted on black rag board. Each approximately 19.4 × 19.4 cm (7 5/8 × 7 5/8 in). Each signed, numbered 20/25 in pencil with a sequentially numbered blindstamp on the mount. Colophon numbered ‘20’ in ink, poem by Paul Schmidt, signed by Schmidt in ink, plate list and red paper interleaving. Contained in a gilt stamped black silk clamshell box. One from an edition of 25 plus 6 lettered artist’s proofs.

Y, 1977/1978. Thirteen selenium toned gelatin silver prints, printed 1978 and mounted on white rag board. Each approximately 19.4 × 19.4 cm (7 5/8 × 7 5/8 in). Each signed, numbered 24/25 in pencil with a sequentially numbered blindstamp on the mount.

Colophon signed, numbered ‘24’ in ink, poem by Patti Smith, plate list, and pink paper interleaving. Contained in a gilt stamped grey silk clamshell box. One from an edition of 25 plus 6 lettered artist’s proofs.

Z, 1979–1981. Thirteen selenium toned gelatin silver prints, printed 1981 and mounted on white rag board. Each approximately 19.1 × 19.1 cm (7 1/2 × 7 1/2 in). Each signed, numbered 23/25 in ink with a sequentially numbered blindstamp on the mount.

Colophon signed, dated ‘81’, numbered ‘23’ in ink, essay by Edmund White, plate list and stone paper interleaving. Contained in a gilt stamped brown silk clamshell box.

One from an edition of 25 plus 6 lettered artist’s proofs.

Estimate £60,000–80,000 $92,200–122,900 €68,700–91,600 ‡ PROvEnAncE Robert Miller Gallery, New York LiTERATuRE X: Mapplethorpe, London: Jonathan Cape, 1992, v.p.; Pictures: Robert

Mapplethorpe, New York: Arena Editions, 1999, n.p.; Y: Mapplethorpe Pistils, London: Jonathan Cape, 1996, v.p.; Mapplethorpe: The Complete Flowers, Düseldorf: teNeues, 2006, n.p.; Z: Robert Mapplethorpe, Black Book, Saint Martin’s Press, 1988, n.p.; Robert Mapplethorpe: Ten by Ten, München: Schirmer/Mosel, 1988, v.p.; Mapplethorpe, London: Jonathan Cape, 1992, v.p.

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55 ROBERT MAPPLETHORPE 1946–01989 Daisies, 1977 Gelatin silver diptych, printed c. 1988, in an artist’s frame. Each 35.6 × 35.2 cm (14 × 13 7/8 in). One from an edition of 3.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 Provenance Holly Solomon Gallery, New York; Robert Miller Gallery, New York; Baudoin

Lebon, Paris literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, pl. 23 (image ii)

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56 ROBERT MAPPLETHORPE 1946–1989 Roses, 1988 Gelatin silver print. 48.6 × 48.6 cm (19 1/8 × 19 1/8 in). Signed, dated 1989 in ink

by Michael Stout, Executor, titled, dated, numbered 5/10 in an unidentified hand in ink and Robert Mapplethorpe copyright credit stamp on the verso.

Estimate £10,000–15,000 $15,400–23,000 €11,500–17,200 Provenance Baudoin Lebon, Paris literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, n.p.

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57 IRVING PENN 1917 – 2009 Camel Pack (SM), Neg. XXXXII, 1975 Platinum-palladium print. 76 × 56.5 cm (29 5/8 × 22 1/8 in). Signed, titled, dated, numbered 20/68 in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate £12,000–18,000 $18,500–27,700 €13,800–20,600 Provenance Private Collection, Paris literature J. Szarkowski, Irving Penn, New York: The Museum of Modern Art,

1984, pl. 126; Exhibition catalogue, National Museum of Modern Art and the National Portrait Gallery, Irving Penn: Master Images, Washington and London, 1990, p. 64; Passage: A Work Record, New York: Alfred A. Knopf: Callaway, 1991, p. 219; Exhibition catalogue, Art Institute of Chicago, Irving Penn: A Career in Photography, Chicago, 1997, p. 20; Still Life by Irving Penn, London: Thames and Hudson, 2001, n.p.; Exhibition catalogue, National Gallery of Art, Irving Penn: Platinum Prints, Washington, 2005, pl. 70

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58 ANDRÉ KERTÉSZ 1894 – 1985 Untitled, 1979 Dye destruction print. 10.3 × 10.2 cm (4 1/16 × 4 in). Signed by the artist, dated, numbered 1/50 and annotated ‘Plate 23’ in an unidentified hand in pencil on the verso.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 Provenance Art Beaufort, Hamburg

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In the 1970s and 1980s Chris Killip photographed in the North East of England, documenting the social and political landscape of the time, and singling out subjects which have subsequently become symbolic of an era – the effects of de-industrialisation, the onset of Thatcherism, and the strength of human optimism in the face of hardship and adversity.

This youth’s tightly-wound body and his expression of frustration receive full aperture in Killip’s medium format composition. The camera becomes a microscope for a slice of life shown to us without sympathy for the discomfort of the witness; should we offer comfort to the subject, or stand for a moment in his abrasive world? It is a sensibility not dissimilar to that explored by the great Dave Heath in his photo essay A Dialogue of Solitude – the feeling that fellow man is disposable, a lack of empathy for other people considered to exist in parallel but not in tune with our own lives. The slogan ‘Our Green and Pleasant Land’ is deftly spat upon by Killip’s images, which favour the proud and the strong over the romantic.

This image, among others, culminated in Killip’s 1988 book In Flagrante, which has become one of the most sought after, admired and collected photo books of recent times. The photographs were also shown at London’s Serpentine Gallery in 1985 as part of the exhibition Another Country, alongside works by another notable photographer of Killip’s generation, Graham Smith.

Chris Killip was a founder member of the Side Gallery, Newcastle-uponTyne, in the early 1970s, and was Director there between 1977–79. He has received numerous awards, including the Henri Cartier-Bresson Award for the body of work In Flagrante, and has been the Professor of Visual and Environmental Studies at Harvard Unversity since 1994.

59 CHRIS KILLIP b. 1946 Youth on Wall, Yarrow, Tyneside, 1976 Gelatin silver print, printed 2007. 38.1 × 47 cm (15 × 18 1/2 in). Signed, titled and dated in pencil on the verso.

Estimate £2,000–2,500 $3,000–3,800 €2,300–2,900 ♠ Provenance Acquired directly from the artist exhibited London, Serpentine Gallery, Another Country: Photographs of the North East of

England by Chris Killip and Graham Smith, 31 August – 29 September 1985 (another example exhibited) literature J. Berger and S. Grant, In Flagrante, London: Secker & Warburg, 1988, pp. 10–11

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60

61

60 JOHN BULMER b. 1938

61 GRAHAM SMITH b. 1947

Graveyard, for TOWN Magazine, 1963

Who She Wanted and What She Got, South Bank, Middlesbrough, 1982

Gelatin silver print, printed later. 36.5 × 55.9 cm (14 3/8 × 22 in). Signed and

Gelatin silver print, printed 2008. 39.1 × 48.6 cm (15 3/8 × 19 1/8 in). Signed,

numbered 1/25 in ink in the margin.

titled, dated and extensively annotated in pencil on the verso.

Estimate £1,000–2,000 $1,500–3,000 €1,200–2,300 ♠

Estimate £1,800–2,200 $2,800–3,400 €2,000–2,500 ♠

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist exhibited London, Serpentine Gallery, Another Country: Photographs of the North

East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985 (another example exhibited)

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62 GRAHAM SMITH b. 1947 Friday Night, Backroom 4, The Commercial, South Bank, Middleborough, 1983 Gelatin silver print, printed 2008. 40.3 × 45.9 cm (15 7/8 × 18 1/16 in). Signed, titled, dated and extensively annotated in pencil on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,000–2,500 ♠ Provenance Acquired directly from the artist exhibited London, Serpentine Gallery, Another Country: Photographs of the North

East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985 (another example exhibited)

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In 2004, Neville spent a year as an artist in residence in Port Glasgow, the world centre for shipbuilding 50 years ago, now a town facing industrial and economic decline. His Port Glasgow Book Project was a revolutionary public artwork that sought to challenge notions of ownership, appropriation, dissemination, and political and social division. In particular, it looked at how class and social divide is reinforced through images. The concept was to produce and distribute a hardback book of ‘social documentary’ images, with high production values, that subverted conventional ways in which such books are disseminated as ‘art’, or ‘coffeetable’, and questioned the way in which social documentary photography sometimes depends on an inherent framework of exploitation. The book was uniquely delivered, free, to the 8,000 households in the Port by the members of the local Boys’ Football Club. It was not available anywhere else, commercially or otherwise. Once delivered, each recipient had singular ownership of the book, and could choose to cherish it as a social document, discard it, or even attempt to sell it on eBay.

Another example of this work is held in the collections of Martin Parr, The National Galleries of Scotland and The Arts Council of England.

63 MARK NEVILLE b. 1966 Betty at Port Glasgow Town Hall Christmas Party from The Port Glasgow Book Project, 2005 Colour coupler print, flush-mounted. 100.3 × 127 cm (39 1/2 × 50 in). Signed and dated in ink on a label affixed to the reverse of the frame. Number 4 from an edition of 5 plus 2 artist’s proofs. Accompanied by a signed certificate of authenticity, a copy of the commercially unavailable book Port Glasgow, and a portfolio of community response from Portonians relating to ‘The Port Glasgow Book Project’.

Estimate £8,000–12,000 $12,300–18,400 €9,200–13,800 Provenance Private Collection, Europe exhibited Oxford, Modern Art Oxford, Local Stories, 7 March – 30 April 2006;

Kilmarnock, Dick Institute, The Port Glasgow Book Project, 25 August – 21 October 2006; Parrworld, touring exhibition including: Haus Der Kunst, Munich, 7 May – 17 Aug 2008; Jeu de Paume, Paris, 30 June – 27 September 2009; Baltic Centre for Contemporary Art, Gateshead, 16 October 2009 – 17 January 2010 (each another example exhibited) literature M. Neville, Port Glasgow, 2005, cover

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64

65

64 BRYN CAMPBELL b. 1933

65 BRYN CAMPBELL b. 1933

Southend, 1972

Salford, 1974

Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated and

Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated in

copyright credit stamp on the verso.

pencil and copyright credit stamp on the verso.

Estimate £1,000–1,500 $1,500–2,300 €1,200–1,700

Estimate £1,000–1,500 $1,500–2,300 €1,200–1,700

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

literature Bryn Campbell: Reports and Rumours, Photographers Publications:

literature Bryn Campbell: Reports and Rumours, Photographers Publications:

Taiwan, 2001, n.p.

Taiwan, 2001, n.p.

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66 SOPHY RICKETT b. 1970 Vauxhall Bridge from Pissing Women, 1995 Gelatin silver print. 114.9 × 114.6 cm (45 1/4 × 45 1/8 in). Signed, titled, dated and numbered in pencil on the reverse of the frame. One from an edition of 5.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ♠ Provenance Private Collection, UK

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67

68

67 BRYN CAMPBELL b. 1933

68 COLIN JONES b. 1936

Rush Hour in fog, Bromley Station, c. 1959

Sunderland, 1963

Gelatin silver print. 23.8 × 29.5 cm (9 3/8 × 11 5/8 in). Signed, titled, dated in

Gelatin silver print. 27 × 38.4 cm (10 5/8 × 15 1/8 in). Signed, titled, dated and

pencil and copyright credit stamp on the verso.

annotated ‘vintage’ in pencil on the verso.

Estimate £1,500–2,000 $2,300–3,000 €1,700–2,300

Estimate £1,200–1,800 $1,900–2,800 €1,400–2,000

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

literature Bryn Campbell: Reports and Rumours, Photographers Publications:

Taiwan, 2001, n.p.

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69 BILL BRANDT 1904 – 1983 Housewife, Bethnal Green, 1937 Gelatin silver print, printed later. 34.6 × 29.2 cm (13 5/8 × 11 4/8 in). Signed in ink in the margin.

Estimate £3,000–4,000 $4,600–6,100 €3,500–4,600 ‡ Provenance Acquired directly from the artist literature Bill Brandt Photographs 1928–1983, London: Thames and Hudson,

1993, p. 68; Bill Brandt: The Photography of Bill Brandt, New York: Harry N. Abrams, 1999, pl. 29

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70 JINDRICH STREIT b. 1946 Polska, 1977 Gelatin silver print. 37.5 × 28.4 cm (14 3/4 × 11 3/16 in). Signed, titled and dated in pencil on the verso.

Estimate £1,000–2,000 $1,500–3,000 €1,200–2,300 ♠ Provenance Acquired directly from the artist

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71 HELEN LEVITT 1913 – 2009 New York, c. 1940 Gelatin silver print, printed later. 26 × 17.5 cm (10 1/4 × 6 7/8 in). Signed, dated and annotated ‘N.Y.’ in pencil on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡ Provenance Acquired directly from the artist literature Exhibition catalogue, San Francisco Museum of Modern Art, Helen

Levitt, San Francisco, 1991, p. 20; W. Evans, Helen Levitt – Monograph, New York: Powerhouse Books, 2008, p. 56

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72 NATHAN LERNER 1913 – 1997 City Light Box Study, New York, 1944 Gelatin silver print, printed c. 1980s. 33.3 × 23.5 cm (13 1/8 × 9 1/4 in).

Estimate £800–1,200 $1,200–1,800 €900–1,400 Provenance Art Beaufort, Hamburg literature Exhibition catalogue, Musée d’Art et d’Histoire du Judaisme, Nathan

Lerner: l’heritage du Bauhaus à Chicago, Paris, 2008, p. 69

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73 HELEN LEVITT 1913 – 2009 New York, c. 1940 Gelatin silver print, printed later. 18.6 × 27.9 cm (7 5/16 × 11 in). Signed, dated and annotated ‘N.Y.’ in pencil on verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡ Provenance Acquired directly from the artist literature W. Evans, Helen Levitt – Monograph, New York: Powerhouse Books, 2008, p. 144

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74 CHRISTOPHER WILLIAMS b. 1956 ECT (European Container Terminus B.V), 1991 Gelatin silver print. 26.7 × 34.1 cm (10 1/2 × 13 7/16 in). Signed, titled, dated and numbered 2/10 in pencil on the verso.

Estimate £2,500–3,500 $3,800–5,400 €2,900–4,000 Provenance Luhring Augustine Hetzler, Santa Monica

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75 ROBERT POLIDORI b. 1951 Ambassador Hotel Swimming Pool, Los Angeles, CA, from Southern California Project, 2005 Fujicolor Crystal Archive print. 102.9 × 146.7 cm (40 1/2 × 57 3/4 in). Signed in ink, printed title, date and number on a label affixed to the reverse of the flush-mount. One from an edition of 10.

Estimate £8,000–12,000 $12,300–18,400 €9,200–13,800 Provenance Private Collection

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76 JOEL STERNFELD b. 1944 McLean Virginia, December 4, 1978 Dye-transfer print, printed 1983. 38.1 × 49.5 cm (15 × 19 1/2 in). Signed, titled and dated in ink on the verso.

Estimate £12,000–18,000 $18,500–27,700 €13,800–20,600 ‡ Provenance Acquired directly from the artist literature S. Greenough et al., On the Art of Fixing a Shadow: One Hundred and

Fifty Years of Photography, 1989, pl. 373; Joel Sternfeld: American Prospects, Gottingen: Steidl, 2003, pl. 30

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77

78

77 WILLIAM EGGLESTON b. 1939

78 WILLIAM EGGLESTON b. 1939

Untitled (iron on washing machine) from Louisiana Project, 1980

Untitled (shovel), 1982

Dye-transfer print. 17 × 25.4 cm (6 11/16 × 10 in). Signed in ink, numbered 1/12

Colour coupler print. 25.6 × 37.9 cm (10 1/16 × 14 15/16 in). Signed, dated and

in an unidentified hand in pencil and edition stamp on the verso.

inscribed ‘for Elsie’ in ink on the verso.

Estimate £12,000–16,000 $18,500–24,600 €13,800–18,300

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000

Provenance Private Collection, Berlin

Provenance Acquired directly from the artist

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79

80

79 JOEL MEYEROWITZ b. 1938

80 JOEL MEYEROWITZ b. 1938

Porch, Providence, 1977

Province Town, 1977

Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,

Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,

dated ‘1979’ and numbered 18/75 in ink on the verso.

dated ‘1979’ and numbered 18/75 in ink on verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400

Provenance Art Beaufort, Hamburg

Provenance Art Beaufort, Hamburg

literature Exhibition catalogue, Museum of Fine Arts, Cape Light: Color

Photographs, Boston, 1978, pl. 3

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81 AUGUST SANDER 1876 – 1964 Loop at the Rhine near Boppard, 1936 Gelatin silver print, printed in 1974 by Günther Sander. 21.6 × 28.7 cm (8 1/2 × 11 5/16 in). Archive blindstamp on the recto; signed, numbered 35/75 in pencil by Günther Sander and Schirmer/Mosel stamp on the reverse of the mount.

Estimate £3,500–4,500 $5,400–6,900 €4,000–5,200 Provenance Art Beaufort, Hamburg

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82

83

82 BILL HENSON b. 1955

83 NAN GOLDIN b. 1953

Untitled #52, 1998/99

Stromboli at dawn, Italy, 1996

Colour coupler print, flush-mounted. 102.9 × 153.7 cm (40 1/2 × 60 1/2 in).

Dye destruction print. 65.4 × 99.1 cm (25 3/4 × 39 in). Signed, titled, dated and numbered

Signed, dated, numbered 3/5 and annotated ‘CLSH 370 N26’ in ink in the

in ink on the reverse of the flush-mount. One from an edition of 15.

margin.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 Provenance Yvon Lambert, Paris Provenance Roslyn Oxley9 Gallery, Sydney

literature Exhibition catalogue, Whitney Museum of America Art, Nan Goldin: I’ll be your

literature Mnemosyne: Photographic Works 1974–2004, Zurich: Scalo, 2005, p. 469

mirror, New York, 1996, p. 435; G. Costa, Nan Goldin, London: Phaidon, 2005, pl. 40

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84 TODD HIDO b. 1968 #2423-A from House Hunting, 1999 Colour coupler print. 60.6 × 50.8 cm (23 7/8 × 20 in). Signed, titled, dated and annotated ‘AP’ in pencil on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡ Provenance Acquired directly from the artist exhibited Kansas City, Kemper Museum of Contemporary Art, Todd Hido: Open

House, 12 April – 7 July 2002 (another example exhibited) literature G. Keizer, ‘Left Alone’, Mother Jones, November 2005, p. 68

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“When I did my first architectural series, in 1987–91, I chose the typical, undistinguished buildings my generation grew up surrounded by. I thought that high architecture might overshadow the image itself, that a Mies building would be too beautiful. I was worried that there would be too much Mies and too little Ruff. But after gaining experience making various series in the meantime, I thought I could transform even Mies architecture into a Ruff image.

When Julian [Heymen] proposed the project in 1999, I realised I was ready for Mies – that I could make his architecture look different from the way it had appeared in previous photographs.”

(Thomas Ruff, ‘A Thousand Words: Thomas Ruff talks about “l.m.v.d.r.” ’, Artforum, vol. XXXIX, no. 10, Summer 2001, p. 159)

85 THOMAS RUFF b. 1958 LMV 09 h.t.b. 03, 1999 Digital colour coupler print, Diasec mounted. 99.7 × 133 cm (39 1/4 × 52 3/8 in).

Signed, titled, dated and numbered in pencil on the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate £25,000–35,000 $38,400–53,800 €28,600–40,100 ♠ Provenance Galerie Nelson, Paris literature M. Winzen, Thomas Ruff: 1979 to the Present, Cologne, 2001, p. 242

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86 JULIUS SHULMAN 1910 – 2009 Case Study # 22, Los Angeles, Pierre Koenig, Architect, 1960 Gelatin silver print, printed later. 45.1 × 36.2 cm (17 3/4 × 14 1/4 in). Signed and annotated ‘#22 Stahl’ in pencil on the verso.

Estimate £1,000–2,000 $1,500–3,000 €1,200–2,300 Provenance Art Beaufort, Hamburg literature Exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia,

Colección Taschen, Madrid, 2004, p. 189; L. Nittive and L. Essling, Time & Place: Los Angeles 1957–1968, Göttingen: Steidl Verlag, 2008, p. 44

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87 HIROSHI SUGIMOTO b. 1948 South Bay Drive-In, San Diego, 1993 Gelatin silver print. 42.2 × 54 cm (16 5/8 × 21 1/4 in). Blindstamp title and number 7/25 735 in the margin; signed and numbered ‘735’ in pencil on the mount.

Estimate £15,000–20,000 $23,000–30,700 €17,200–22,900 Provenance Gallery Koyanagi, Tokyo. literature Hans Belting, Theaters: Hiroshi Sugimoto, New York, 2000, pp. 206–07

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The Utopian, illusion-inducing artificial gardens that Nicolas Faure has discovered along Switzerland’s highways can only be seen from a distance. They are invisible to those in passing vehicles because of the speed at which the vehicles are travelling. Nor do the gardens reveal themselves to pedestrians – the spaces are for the most part enclosed and in any case off-bounds. These ‘compensation zones’, created to diminish the effects of the wide-spread use of concrete, usually border on the highways directly. Faure’s photographs make it possible not only to see differently; they take a new look at landscape, showing a form of beauty in no way nostalgic and yet central to modern concerns, including ecological ones. His images also make it possible to understand the bond that man – or, more prosaically, the federal administration – has to nature, or at least to the idea of it.

(Exhibition catalogue, Nicolas Faure: Landscape A, Lausanne Musée de l’Elysée, 2005, p. 6)

Another example of this work is held in the collections of the Museum of Modern Art, New York, Musée de l’Elysée, Lausanne and Pictet Bank Collection

88 NICOLAS FAURE b. 1949 N° 160 – A, 1997 Lambda print, flush-mounted and printed later. 125 × 160 cm (49 1/4 × 63 in).

Signed, titled, dated and numbered 4/5 in ink on a label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 ‡ Provenance Acquired directly from the artist exhibited Lausanne, Musée de l’Elysée, Nicolas Faure: Landscape A, 17 November

2005 – 5 February 2006 (another example exhibited) literature Exhibition catalogue, Musée de l’Elysée, Nicolas Faure: Landscape A,

Lausanne, 2005, p. 57

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89 MICHAEL REISCH b. 1964 Landschaft, 7/018, 2009 Digital colour coupler print, Diasec mounted. 114 × 315 cm (44 7/8 × 124 in).

Signed, titled, dated and numbered 5/8 in ink on the reverse of the flushmount. One from an edition of 8 plus 2 artist’s proofs.

Estimate £10,000–15,000 $15,400–23,000 €11,500–17,200 Provenance Hengesbach Gallery, Berlin literature New Landscapes: Michael Reisch, Hatje Cantz Verlag, 2010, p. 39

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The German artist Michael Reisch studied under Bernd Becher at the Kunstakademie in Düsseldorf in the early 1990s.

Reisch’s imagination works within the photograph, processing a wide range of references, while at the same time creating overlaps between nature, sculpture, and architecture. Each work is a system whose visual effect depends, above all, on the way in which it differs from reality. Each photograph is a construction that blends photographic and sculptural modes of thinking within a model and through which the specific work of art also becomes evident as a photograph.

(Martin Hochleitner, Michael Reisch, Hatje Cantz, 2006, p. 13)

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90 NICOLAI HOWALT & TRINE SØNDERGAARD b. 1970 & b. 1972 Tree No. 2 from Tree Zone, 2007 Digital colour coupler print, flush-mounted. 92.1 × 69.9 cm (36 1/4 × 27 1/2 in).

Signed in ink on the reverse of the frame. Accompanied by a signed certificate of authenticity. Number 1 from an edition of 5 plus 2 artist’s proofs.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 ♠ Provenance Martin Asbaek Projects, Copenhagen literature Tree Zone: Howalt & Søndergaard, New York: Hassla Books, 2009

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91 BEATE GÜTSCHOW b. 1970 LS#13, 2001 Lambda print, printed 2002. 108 × 85.1 cm (42 1/2 × 33 1/2 in). Signed in ink, printed title, date and number 3/10 on a label affixed to the reverse of the flush-mount.

Estimate £3,500–4,500 $5,400–6,900 €4,000–5,200 ♠ Provenance Eric Franck Fine Art, London literature L. A. Martin, Beate Gütschow: LS/S, New York: Aperture, 2007, p. 14

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92 ERIC BAUDELAIRE b. 1973 Plantation from Imagined States, 2004 Colour coupler print, Diasec mounted. 104.9 × 134.9 cm (41 5/16 × 53 1/8 in).

Signed, titled, dated and numbered 1/5 in ink on the reverse of the flushmount.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 Provenance Galeria Juana De Aizpuru, Madrid

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93

94

93 JOEL TETTAMANTI b. 1977

94 HARRY CORY WRIGHT b. 1963

Untitled (Archive n° 6705) from ‘DAVOS’, Switzerland, 2006–09

Aonach Dubh, Glen Coe, Highland, 2006

Lambda print, flush-mounted. 121.9 × 154 cm (48 × 60 5/8 in). Signed in ink, printed title,

Colour coupler print, flush-mounted. 135 × 170 cm (53 1/8 × 67 in). Signed on a

date and number 1/3 on a label affixed to the reverse of the frame

label affixed to the reverse.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 ‡

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Acquired directly from the artist

Provenance Eleven Fine Art, London

literature N. Olonetzky, Joel Tettamanti: Davos, Zurich: Scheidegger & Spiess, 2009, n.p.

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95 DAVID PARKER b. 1949 Siren XXIII, 2005 Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink, printed title, date and number 2/10 on a label affixed to the reverse of the frame.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ Provenance Michael Hoppen Gallery, London

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96 DAVID PARKER b. 1949 Siren XXXV, 2005 Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink, printed title, date and number 2/10 on a label affixed to the reverse of the frame.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ Provenance Michael Hoppen Gallery, London

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97 ALBERTO GARCIA-ALIX b. 1956 El Brazo de Ana, 1992 Gelatin silver print. 51.4 × 45.1 cm (20 1/4 × 17 3/4 in). Copyright credit blindstamp in the margin; signed, titled, dated and numbered in pencil on the verso. One from an edition of 7.

Estimate £2,500–3,500 $3,800–5,400 €2,900–4,000 ♠ Provenance Private Collection, Europe

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98 NAN GOLDIN b. 1953 Yogo and C putting on make up, Second Tip, Bangkok, 1992 Dye destruction print. 65.4 × 97.5 cm (25 3/4 × 38 3/8 in). Signed, titled, dated and numbered 5/15 in ink on the verso.

Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200

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99 MICHEL JOURNIAC 1943 – 1995 Piège pour un travesti – Rita Hayworth – Constat n° 4, 1972 Unique tetraptych comprising of three black and white prints and a mirror with letter collage. Each 120 × 74.9 cm (47 1/4 × 29 1/2 in). Signed and dated in ink on the mirror. Credited, titled, dated and numbered ‘1–4’ sequentially in an unidentified hand in ink on a gallery label affixed to the reverse of each flush-mount.

Estimate £35,000–45,000 $53,800–69,100 €40,100–51,600 Provenance Private Collection, Europe literature Exhibition catalogue, Musée d’Art Moderne et Contemporain de

Strasbourg, Michael Journiac, Strasbourg, 2004, p. 131

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Michel Journiac invented a radically new way of making art, melding the anatomical with the sociological. Heralded by some as one of the most important of post-war artists, he dissected and projected the human condition by exploring themes such as femininity, death and the sacred. Once faced with AIDS, the subjects he concentrated on became more disturbing and related to his own suffering. After his death there was a renaissance of interest in his work, especially among younger artists. His work is represented both in private and important international institutional collections.

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100 HIROSHI SUGIMOTO b. 1948 Hall of Thirty-Three Bays, 1995 Gelatin silver print. 42.4 × 54.1 cm (16 11/16 × 21 5/16 in). Blindstamp number 6/25 017 in the margin; signed in pencil on the mount. One from an edition of 10.

Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200 Provenance Private Collection, London literature Exhibition catalogue, Hiroshi Sugimoto, Hatje Cantz, 2005, p. 165 (variant)

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101

102

101 KOHEI YOSHIYUKI b. 1946

102 NOBUYOSHI ARAKI b. 1940

Untitled, Plate 6 from The Park, 1971

Tokyo Cubes #16 and #17, 1994

Gelatin silver print, printed later. 31.3 × 46.5 cm (12 5/16 × 18 5/16 in).

Two gelatin silver prints. Each 24.8 × 24.8 cm (9 3/4 × 9 3/4 in). Each signed in

Signed in Japanese, numbered in ink and stamped on the verso. One from

pencil on the verso.

an edition of 10.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 Provenance White Cube, London Provenance Private Collection, Europe

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literature J. Sans, Araki, London: Taschen, 2007, p. 114 (Tokyo Cube #17)

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103 VALERIE BELIN b. 1964 Untitled (Nº 98121906), 1998 Gelatin silver print. 153 × 125 cm (60 1/4 × 49 1/4 in). Signed, dated in ink, printed title and number on a label affixed to the reverse of the flush-mount.

One from an edition of 2.

Estimate £7,000–9,000 $10,800–13,800 €8,000–10,300 ♠ Provenance Private Collection, Europe literature Valerie Belin, Göttingen: Steidl, 2007, n.p.

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104 VALERIE BELIN b. 1964 Untitled (Nº 93082604), 1993 Gelatin silver print. 118 × 80 cm (46 1/2 × 31 1/2 in). Signed, dated in ink, printed title and number on a label affixed to the reverse of the flush-mount. One from an edition of 2.

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900 ♠ Provenance Private Collection, Europe literature Valerie Belin, Göttingen: Steidl, 2007, n.p.

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105 NOBUYOSHI ARAKI b. 1940 Self-Portrait from Shikikei (Colourscapes), 1991 Dye destruction print, printed 2003. 41.3 × 32.7 cm (16 1/4 × 12 7/8 in). Signed in ink on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡ Provenance Private Collection, Japan literature Deja-vu, April 1991, cover; Araki, Shikikei, Magazine House, 1991, p. 46;

J. Sans, Araki, London: Taschen, 2007, p. 543

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106 PHILIP-LORCA DICORCIA b. 1951 Hannah, 2004 Fujicolor Crystal Archive print. 151.8 × 100.3 cm (59 3/4 × 39 1/2 in). Signed in ink, printed title, date and number on a label affixed to the reverse of the flush-mount. One from an edition of 8.

Estimate £12,000–16,000 $18,500–24,600 €13,800–18,300 Provenance Private Collection, Europe exhibited London, Gagosian Gallery, Philip-Lorca diCorcia, 9 February – 19 March 2005 (another example exhibited); New

York, Pace/MacGill Gallery, Philip-Lorca diCorcia: Lucky Thirteen, 8 September – 8 October 2005 (another example exhibited) literature Exhibition catalogue, Institute of Contemporary Art, Philip-Lorca diCorcia, Boston, 2007, p. 41

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107 VIK MUNIZ b. 1961 Viewing From Moon – Longitude: 23° 42'28" Latitude 0° 04'04" – 07/20/1969 – 10:56:43 UT (LOCAL) – Gaze: AZ: 272º 22.968' Alt: 90º 00' from Pictures of Air, 2001 Dye destruction print, flush-mounted. 162.6 × 121.9 cm (64 × 48 in). Signed in ink, printed title, date and number on a label affixed to the reverse of the frame. One from an edition of 10.

Estimate £8,000–12,000 $12,300–18,400 €9,200–13,800 ♠ Provenance Michael Hue-Williams Fine Art, London

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108 ERNST HAAS 1921-1986 Po Valley, 1970 Dye-transfer print, printed 1992. 50.8 × 76.2 cm (20 × 30 in). Signed, titled, dated, numbered 3/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700 ‡ Provenance Acquired directly from the Estate of Ernst Haas literature Harry N. Abrams, Inc., Ernst Haas: Color Photography, 1989, cover and

p. 44; R. L. Kirschenbaum, Ernst Haas, Tokyo: Pacific Press Services, 1993. pl. 28

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109 MICHAEL WOLF b. 1954 Industrial #2, 2005 Lambda print, printed later and flush-mounted. 121.9 × 157.5 cm (48 × 62 in).

Signed in ink, printed title, date and number AP1 on a label affixed to the reverse of the frame. One from an edition of 9 plus 2 artist’s proofs.

Estimate £10,000–15,000 $15,400–23,000 €11,500–17,200 ‡ Provenance Private Collection, Hong Kong literature Michael Wolf, Hong Kong: Outside, Asia One Books/ Peperoni Books,

2009, n.p.

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Photographer Michael Wolf has the eye of a minimalist painter, only his has

neighbours ad infinitum in a relentless but somehow reassuring urban rhythm.

the grit of city living in it – which makes his images all the more compelling.

By day, Wolf’s hulking, drab gray tower block makes us all the more attentive

In one Hong Kong cityscape, a strict modern facade with rectangular pale

to colourful details: a child’s red pyjamas hung out to dry, a blue plastic bag

yellow, peach and sky-blue balconies is irreverently interrupted by clothes

of groceries dangling perilously from a window handle. This is Hong Kong at

lines and mops left out to dry; it’s as though people had taken up residence in

its intimate best and anonymous worst, all in one photo – but it’s much more

a faded Mondrian painting. By night, Wolf captures light beaming blue, gold

than that, even. Wolf’s photos distill all of city life as we know it down to its

and green from apartment-block windows, gracing the concrete boxes with

oxymoronic essence: layer upon layer of existential ennui and pulsating vitality,

an unexpected cinematic grandeur worthy of great Hong Kong filmmaker

slabs of concrete and the signs of life that miraculously break through it. For

Wong Kar-Wai. Indoors, residents go about their business, watching TV,

better and for worse, there’s no denying: this is the life.

doing the dishes, apparently unaware that their actions are echoed by their

(Alison Bing, San Francisco Chronicle, January 2005)

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Frank Thiel has documented Berlin for more than a decade, photographing a city that seems constantly in flux, its centre unclear. In fact this ever-changing urban landscape suits the focus and interest of Thiel, who is concerned with the process of construction, the incomplete and the temporary. Although his chosen subject-matter is somewhat clinical the images are veiled with romanticism; ruined buildings and austere structures become reminiscent of abstract paintings, their muted colours seductive beyond the actual content.

Thiel has exhibited globally and his works are contained in the following collections among others: Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain; Museu National Centro de Arte Reina Sofia, Madrid, Spain; National Gallery of Canada, Ottawa, Canada; Fotomuseum Winterthur, Switzerland; and Moderna Museet, Stockholm, Sweden.

110 FRANK THIEL b. 1966 SK 76/ 2Mp (#02), 2000 Colour coupler print, printed 2001 and Diasec mounted. 196.9 × 146.7 cm (77 1/2 × 57 3/4 in). Signed, titled, dated and numbered 2/4 in pencil and ink on the verso and reverse of the frame.

Estimate £6,000–8,000 $9,200–12,300 €6,900–9,200 ♠ Provenance Sean Kelly Gallery, New York

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111 FRANK THIEL b. 1966 Stadt 5/23/C (Berlin), 2001 Colour coupler print, printed 2004 and Diasec mounted. 53 × 194.9 cm (20 7/8 × 76 3/4 in). Signed, titled, dated and numbered 2/4 in ink on the reverse of the frame.

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ Provenance Helga de Alvear, Madrid

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112 GREGORY CREWDSON b. 1962 Untitled (Penitent Girl) from Twilight, 2001–02 Digital colour coupler print. 122.2 × 153 cm (48 1/8 × 60 1/4 in). Signed in ink, printed title, date and number on a label affixed to the reverse of the flush-mount. One from an edition of 10.

Estimate £20,000–25,000 $30,700–38,400 €22,900–28,600 Provenance Private Collection, Europe exhibited London, Victoria and Albert Museum, Twilight: Photography in the Magic

Hour, October – 17 December 2006 (another example exhibited) literature Twilight: Photographs from Gregory Crewdson, New York: Harry N.

Abrams, 2002, pl. 20; Exhibition catalogue, Victoria and Albert Museum, Twilight: Photography in the Magic Hour, London, 2006, p. 61 and pl. 12

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113 ALEX PRAGER b. 1979 Rita from Week End, 2009 Digital colour coupler print. 61.3 × 81.9 cm (24 1/8 × 32 1/4 in). Signed, titled, dated and numbered 1/7 in ink on an artist’s label affixed to the reserve of the flush-mount.

Estimate £1,000–1,500 $1,500–2,300 €1,200–1,700 ‡ Provenance Yancey Richardson Gallery, New York

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114 LOUIS FAURER 1916 – 2001 NYC, 1973 Gelatin silver print, printed 1980. 24.8 × 16.5 cm (9 3/4 × 6 1/2 in). Signed, titled and dated in pencil on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 Provenance Art Beaufort, Hamburg

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115

116

115 RENÉ BURRI b. 1933

116 LOUIS STETTNER b. 1922

São Paulo, Brazil, 1960

Elbowing Out of Town Newstand, NYC, 1954

Gelatin silver print, printed 2000. 27.9 × 41.9 cm (11 × 16 1/2 in). Signed, titled

Gelatin silver print, printed later. 27.9 × 42.1 cm (11 × 16 9/16 in). Blindstamp

and dated in pencil on the verso.

credit in the margin; signed, titled and dated in pencil on verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 ‡

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum

literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,

Photographers, New York & London: Norton, 1989, pp. 196–97; Rene Burri Photographs,

2000, p. 57

London: Phaidon, 2004, pp. 192–93 and cover

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117

118

117 LOUIS STETTNER b. 1922

118 BURT GLINN 1925 – 2008

Aubervilliers, 1947

Ball for Debut of Lindy Guinness, Belvoir Castle, UK, 1959

Gelatin silver print, printed later. 42.2 × 33.3 cm (16 5/8 × 13 1/8 in). Signed,

Gelatin silver print, printed later. 56.5 × 38.1 cm (22 1/4 × 15 in). Initialled in

titled and dated in pencil on the verso.

pencil and credit stamp on the verso.

Estimate £1,500–2,500 $2,300–3,800 €1,700–2,900 ‡

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 ‡

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,

2000, p. 35

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119 IRVING PENN 1917 – 2009 Mrs. Amory Carhart, New York, 1947 Gelatin silver print. 25.4 × 20.6 cm (10 × 8 1/8 in). Credit, date and ‘Vogue Studios, New York City Proof’ stamps on the verso.

Estimate £4,000–5,000 $6,200–7,700 €4,600–5,700 Provenance Private Collection, Paris literature J. Szarkowski, Irving Penn, New York: Museum of Modern Art, 1984, pl. 39

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120 NORMAN PARKINSON 1913-1990 The Iron Road, November, 1947 Gelatin silver print, printed later. 25.4 × 22.9 cm (10 × 9 in). Signed in pencil in the margin; annotated ‘Wenda at the Station’ in an unidentified hand in pencil on the verso.

Estimate £2,000–3,000 $3,000–4,600 €2,300–3,400 Provenance Private Collection, Germany

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121 CORNELL CAPA 1918 – 2008 Bolshoi Ballet School, Moscow, 1958 Gelatin silver print, printed 2001. 43.2 × 29.8 cm (17 × 11 3/4 in). Signed, titled and dated in ink on a copyright credit label affixed to the verso.

Estimate £2,000–2,500 $3,000–3,800 €2,300–2,900 ‡ Provenance Acquired directly from the artist literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, p. 374

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122

123

122 HERBERT LIST 1903–1974

123 HENRI CARTIER-BRESSON 1908–2004

Ostee, 1931

Landscape, New Jersey, 1964

Gelatin silver print, printed later. 34 × 49.5 cm (13 3/8 × 19 1/2 in). Signed, titled,

Gelatin silver print, printed c. 1970s. 14.6 × 21.9 cm (5 3/4 × 8 5/8 in). Signed in

dated by Max Scheler, Executor in ink with Estate stamp on the verso.

ink in the margin; credit stamp on the verso.

Estimate £1,800–2,200 $2,800–3,400 €2,000–2,500

Estimate £5,000–7,000 $7,700–10,800 €5,700–8,000

Provenance Art Beaufort, Hamburg

Provenance Private Collection, Germany

literature M. Scheler and M. Harder, Herbert List: The Monograph, New York:

Monacelli, 2000, pp. 12–13 and 32

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0

124 FRITZ HENLE 1909 – 1993 Young Girl, Mexico, 1947 Gelatin silver print. 21 × 20.5 cm (8 1/4 × 8 1/16 in). Credit and date stamps on the verso.

Estimate £800–1,200 $1,200–1,800 €900–1,400 Provenance Art Beaufort, Hamburg

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In Today’s Life and War, Gohar Dashti presents ten photos depicting a complex relationship between the daily experiences and the internal psychic experiences of a young Iranian couple.

Her works initiate a multi-layered viewing process, beginning with a seemingly innocuous glimpse at the mundane activities of this couple and extending to the disconcerting realization of the presence of military tanks, bunkers and soldiers. According to Dashti, she depicts a “post-war couple” that is “symbolic of (her) generation” who are “entangled in the memories and realities of war as a background to their daily life.” Dashti’s particular body of work offers a unique voice from her contemporary experience and depicts how, in the context of Iranian artists, political and historical events create specific cultural memories that have specific generational significances while referencing a more general communal trauma that spans generations. For the post-war generation, the sense of mourning reflects the unrecoverable lost innocence and youth and addresses the high social price of war. In fact, what we are presented with is an articulate, reflective and profound statement that allows us to feel a sense of mourning and a sense of hope.

(Jolaine Frizzell, The Persistence of Trauma in Post-war Iran: Gohar Dashti and Today’s Life and War, 2009)

125 GOHAR DASHTI b. 1979 Untitled from Today’s Life and War, 2008 Inkjet print. 69.9 × 105.1 cm (27 1/2 × 41 3/8 in). Signed and numbered 7/7 in ink on the recto.

Estimate £4,000–6,000 $6,200–9,200 €4,600–6,900 Provenance Acquired directly from the artist

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PHOTO partTwo_65-137.indd 135

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126 ANDREAS MÜHE b. 1979 Unterm Baum, Angela Merkel, Berlin, 2008 Colour coupler print 60 × 80 cm (23 5/8 × 31 1/2 in). Number 5 from an edition of 5.

Estimate £3,000–4,000 $4,600–6,100 €3,500–4,600 ♠ Provenance Acquired directly from the artist

PHOTO 136-137_v1.indd 136

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127

000

128

127 CLARE RICHARDSON b. 1973

128 CLARE RICHARDSON b. 1973

Untitled III from Harlemville, 2000

Untitled II from Sylvan, 2002

Colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed and numbered on the verso.

Colour coupler print. 107.5 × 127 cm (42 5/16 × 50 in). Signed and numbered on

One from an edition of 6.

the verso. One from an edition of 6.

Estimate £1,800–2,200 $2,800–3,400 €2,000–2,500

Estimate £3,000–5,000 $4,600–7,700 €3,500–5,700

Provenance White Cube, London

Provenance White Cube, London

eXHIBITeD London, White Cube, Clare Richardson: Harlemville, 6 September–13 October

eXHIBITeD London, White Cube, Clare Richardson: Sylvan, 11 December 2003–17

2001; Dublin, Douglas Hyde Gallery, Clare Richardson: Harlemville, 24 February–18 April 2005

January 2004 (another example exhibited)

(each another example exhibited)

lITeraTure Clare Richardson: Beyond the Forest, Göttingen: SteidlMack, 2007, n.p.

lITeraTure Clare Richardson: Harlemville, Göttingen: SteidlMack, 2003, n.p.

PHOTO 136-137_v1.indd 137

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INDEX

Araki, N.

22, 102, 105

Arnold, E.

5, 7

Avedon, R.

17

Bassman, L.

25, 26, 27

Baudelaire, E. Beard, P. Belin, V.

92

9, 10, 11, 13 103, 104

Brandt, B.

69

Brandt, N.

36

Bucklow, C. Bulmer, J. Burri, R.

44

46

Campbell, B.

64, 65, 67

121

Cartier-Bresson, H. 38

Crewdson, G.

33, 34, 123

Haas, E.

108

Henle, F.

124

Henson, B. Hido, T.

Cory Wright, H.

94 112

125

de Dienes, A.

82

Duffy, B.

15

28, 29, 30

77, 78

52

Jaschinski, B. Jones, C.

Killip, C.

Faure, N.

88

Faurer, L.

114 35

Garcia-Alix, A.

Goldin, N.

97

16

118

19, 20

72

122

Lowe, J.

8

91

86

61, 62 76 116, 117

70

Sugimoto, H.

87, 100

Tettamanti, J.

93

Toguo, B.

110, 111 41

24

Mapplethorpe, R.

Vitali, M.

54, 55, 56

12

Meyerowitz, J. Misrach, R.

42, 43

van Lamsweerde, I. & Matadin, V.

79, 80

Wolf, M.

18

45

Williams, C.

McCabe, D.

74

109

Yoshiyuki, K.

101

39

Moriyama, D.

PHOTO Backmatter_138-149.indd 138

81

van Empel, R.

83, 98

Gütschow, B.

40

1, 2, 3

Sander, A.

Thiel, F.

71, 73

List, H.

Salgado, S.

Streit, J.

4

Lindbergh, P.

90

Stettner, L.

58

Lerner, N.

127, 128

66

Sternfeld, J.

59

Levitt, H.

Glinn, B.

37

LaChapelle, D.

Friedlander, L.

21

Smith, G.

99

Kertész, A.

89

Rheims, B.

Shulman, J,

68

Koudelka, J.

Gassian, C.

31

47, 48

Journiac, M.

Eggleston, W. Ertug, A.

106

49, 50

Reisch, M.

Ruff, T. 85

6

DiCorcia, P-L.

113

Riefenstahl, L.

Howalt, N. & Søndergaard, T. Hugo, P.

53, 75

Prager, A.

Rickett, S.

84

Horst, H. P.

120

32, 57, 119

Richardson, C.

Hoyningen-Huene, G.

Dolron, D.

95, 96

Polidori, R.

115

Dashti, G.

Parker, D. Penn, I.

60

Cooper, T. J.

14

Parkinson, N.

Burtynsky, E.

Capa, C.

O’Neill, T.

Mühe, A.

126

Muniz, V.

107

Neshat, S.

51

Neville, M.

63

23

16/04/10 19:57

GUIDE FOR PROSPECTIVE BUYERS BUYING aT aUCTION

Symbol Key

The following pages are designed to offer you information on how to buy at auction at

The following key explains the symbols you may see inside this catalogue.

Phillips de Pury & Company. Our staff will be happy to assist you.

O Guaranteed Property CONDITIONS OF SalE

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

third party. Phillips de Pury & Company and third parties providing or participating in a

relationship between Phillips de Pury & Company, the seller and the buyer and describe

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

the terms upon which property is bought at auction. Please be advised that Phillips de

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

Pury & Company generally acts as agent for the seller.

lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder.

BUYER’S PREmIUm Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

∆ Property in which Phillips de Pury & Company has an Ownership Interest

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

buyer as part of the total purchase price at the following rates: 25% of the hammer price up

part or has an economic interest in the lot equivalent to an ownership interest.

to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000, and 12% of the portion of the hammer price above £500,000.

•

No Reserve

•

Unless indicated by a , all lots in this catalogue are offered subject to a reserve.

VaT

A reserve is the confidential value established between Phillips de Pury & Company and

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

a percentage of the low estimate and will not exceed the low pre-sale estimate.

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

♠ Property Subject to the artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of 1 PRIOR TO aUCTION

the hammer price and payable as part of the purchase price as follows:

Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

Portion of the Hammer Price (in EUR)

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

From 0 to 50,000

4%

From 50,000.01 to 200,000

3%

Royalty Rate

Pre-Sale Estimates

From 200,000.01 to 350,000

1%

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

From 350,000.01 to 500,000

0.5%

and low estimate range should, in our opinion, offer a chance of success. However, many

Exceeding 500,000

0.25%

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

to contact us closer to the time of the auction as estimates can be subject to revision.

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

Pre-sale estimates do not include the buyer’s premium or VAT.

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

†, §, ‡, or Ω Property Subject to VaT

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

that at the time of catalogue production and not at the date of auction, you should treat

in this catalogue for additional information.

estimates in US dollars or euros as a guide only.

Catalogue Entries Phillips de Pury & Company may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and mechanical lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

PHOTO Backmatter_138-149.indd 139

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2 BIDDING IN ThE SalE

4 aFTER ThE aUCTION

Bidding at auction

Payment

Bids may be executed during the auction in person by paddle or by telephone or prior to

Buyers are required to pay for purchases immediately following the auction unless other

the sale in writing by absentee bid. Proof of identity in the form of government-issued

arrangements have been agreed with Phillips de Pury & Company in writing in advance of

identification will be required, as will an original signature. We may also require that

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

you furnish us with a bank reference.

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to

Credit Cards

allow sufficient time for us to process your information. All lots sold will be invoiced to

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

the name and address to which the paddle has been registered and invoices cannot be

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the

Collection

end of the auction, please return your paddle to the registration desk.

It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has

Bidding by Telephone

received full and cleared payment and we are not owed any other amount by the buyer.

If you cannot attend the auction, you may bid live on the telephone with one of our

After the auction, we will transfer all lots to our fine arts storage facility located at 110–112

multilingual staff members. This service must be arranged at least 24 hours in advance of

Morden Road, Mitcham, Surrey CR4 4XB and will so advise all buyers. Please contact the

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

Shipping Department at (tel) +44 20 7318 4081 or (fax) +44 20 7318 4038 to arrange collection

bids may be recorded. By bidding on the telephone, you consent to the recording of your

or to seek assistance with any shipping requirements. Please note that all buyers have 30

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium

days to collect their purchases, after which date Phillips de Pury & Company will levy for

and VAT, which we can execute on your behalf in the event we are unable to reach you

each uncollected lot an administrative fee of £25, a storage fee of £3 per day and a pro

by telephone.

rated insurance charge of 0.1% of the purchase price per month.

absentee Bids

loss or Damage

If you are unable to attend the auction and cannot participate by telephone, Phillips de

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage

Pury & Company will be happy to execute written bids on your behalf. A bidding form can

to lots for a maximum of five days following the auction.

be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

Transport and Shipping

lowest possible price taking into account the reserve and other bidders. Always indicate

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

carry only. We do not provide packing, handling or shipping services directly. However, we

accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

will coordinate with shipping agents instructed by you in order to facilitate the packing,

In the event of identical bids, the earliest bid received will take precedence.

handling and shipping of property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the

Export and Import licences

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

Before bidding for any property, prospective bidders are advised to make independent

the reserve when submitting their absentee bids and otherwise comply with our employee

enquiries as to whether a licence is required to export the property from the United

bidding procedures.

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The

Bidding Increments

denial of any required licence or permit or any delay in obtaining such documentation will

Bidding generally opens below the low estimate and advances in increments of up to 10%,

not justify the cancellation of the sale or any delay in making full payment for the lot.

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

UK£50 to UK£1,000 by UK£50s

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

UK£1,000 to UK£2,000 by UK£100s

require a licence or certificate prior to exportation and additional licences or certificates

UK£2,000 to UK£3,000 by UK£200s

upon importation to any country outside the European Union (EU). Please note that the

UK£3,000 to UK£5,000 by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)

ability to obtain an export licence or certificate does not ensure the ability to obtain an

UK£5,000 to UK£10,000 by UK£500s

import licence or certificate in another country, and vice versa. We suggest that

UK£10,000 to UK£20,000 by UK£1,000s

prospective bidders check with their own government regarding wildlife import

UK£20,000 to UK£30,000 by UK£2,000s

requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any

UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000

necessary export or import licences or certificates as well as any other required

UK£50,000 to UK£100,000 by UK£5,000s

documentation. The denial of any required licence or certificate or any delay in obtaining

UK£100,000 to UK£200,000 by UK£10,000s

such documentation will not justify the cancellation of the sale or any delay in making full

above UK£200,000

payment for the lot.

at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 ThE aUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

PHOTO Backmatter_138-149.indd 140

16/04/10 19:57

CONTEMPORARY ART aUCTIONS lONDON EVENING SalE 29 JUNE 2010 7pm DaY SalE Viewing 21 – 29 June

30 JUNE 2010 10am & 2pm

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com GIlBERT aND GEORGE Damned Buddleia, 1980 Estimate £150,000-200,000

PHOTO Backmatter_138-149.indd 141

16/04/10 19:57

VaT aND OThER TaX INFORmaTION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain

Where the buyer carries purchases from the EU personally or uses the services of a third

other potential tax implications of purchasing property at Phillips de Pury & Company.

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

This information is not intended to be complete. In all cases, the relevant tax legislation

refund it if the lot has been exported within the timelines specified below and either

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

of the following conditions are met:

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,

Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those

Phillips de Pury & Company is provided with appropriate documentary proof of

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

export from the EU within three months of the date of sale. Buyers carrying their

amending saleroom addendum).

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

1 PROPERTY wITh NO VaT SYmBOl Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

• For lots sold under temporary admission, Phillips de Pury & Company is provided

Margin Scheme, and VAT will not normally be charged on the hammer price.

with a copy of the correct paperwork duly completed and stamped by HM Revenue & Customs which shows the property has been exported from the EU via the UK

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

within 30 days of payment date. It is essential for shippers acting on behalf of

charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form

buyers to collect copies of original import papers from our Shipping Department.

part of the buyer’s premium on our invoice and will not be separately identified.

HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the

2 PROPERTY wITh a † SYmBOl

export documents do not exactly comply with governmental regulations. Property

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%

subject to temporary admission must be transferred to another customs procedure

on both the hammer price and buyer’s premium.

immediately if any restoration or repair work is to be carried out.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

Buyers carrying their own property must obtain hand-carry papers from the Shipping

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

Department, for which a charge of £20 will be made. The VAT refund will be processed

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips

registration number in the relevant Member State (non-UK) or the buyer’s business status

de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

or EU private residents unless the lot is subject to temporary admission and the property

not be provided then VAT will be charged on the buyer’s premium.

is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.

3 PROPERTY wITh a § SYmBOl Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

Buyers intending to export, repair, restore or alter lots under temporary admission should

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

notify the Shipping Department before collection. Failure to do so may result in the import

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

VAT becoming payable immediately and Phillips de Pury & Company being unable to

re-invoice the property under the normal VAT rules.

refund the VAT charged on deposit.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from

6 VaT REFUNDS FROm hm REVENUE & CUSTOmS

the EU. The property will be invoiced under the normal VAT rules. Although the hammer

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The

possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this

buyer’s premium will always bear VAT unless the buyer is a relevant business person in

manner are limited to businesses located outside the UK and may be considered for example

the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips

for Import VAT charged on the hammer price for lots sold under temporary admission.

de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such

All claims made by customers located in another member state to the UK will need to be

as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is

be charged on the buyer’s premium.

no longer in operation.

4 PROPERTY SOlD wITh a ‡ OR Ω SYmBOl

If you are located in an EU member state other than the UK you will now need to apply for a

These lots have been imported from outside the EU to be sold at auction under temporary

refund of UK VAT directly to your local tax authority. This is done via submission of an

admission. Property subject to temporary admission will be offered under the

electronically based claim form which should be accessed through the website of your

Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,

local tax authority. As a result, your form may include VAT incurred in a number of

marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%

member states. Furthermore, from 1 January 2010 you should only submit one form per

on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin

year, rather than submitting forms throughout the year.

Scheme should notify the Client Accounting Department before the sale.

Please note that the time limits by which you must make a claim have been extended.

Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

When making a claim for VAT incurred in another EU member state any claim will still be

business person in the EU (non-UK) or is a relevant business person in a non-EU country

made on a calendar year basis but must now be made no later than 30 September

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

following that calendar year. This effectively extends the time by which claims should be

Company receiving evidence of the buyer’s VAT registration number in the relevant

made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you

Member State (non-UK) or the buyer’s business status in a non-EU country such as the

should make a claim to your local tax authority no later than 30 September 2011). Once you

buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be

have submitted the electronic form to your local tax authority it is their responsibility to

charged on the buyer’s premium.

ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest

5 EXPORTS FROm ThE EUROPEaN UNION

on the unpaid amounts.

The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met:

If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (The rules for those located outside of the EU have not changed). Claim forms are

• The amount in lieu of VAT charged on the buyer’s premium for property sold

only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and

under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol);

follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle

• The VAT on the hammer price for property sold under the normal VAT rules

House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100

(i.e., with a † or a § symbol).

(fax) +44 2871 305101.

The following type of VaT may be cancelled or refunded by Phillips de Pury &

You should submit claims for VAT to HMRC no later than six months from the end of the

Company on exports made within 30 days of payment date if strict conditions are met:

12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a

Please note that refunds of VAT will only be made where VAT has been incurred for a business

Ω symbol) under the Auctioneer’s Margin Scheme.

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

In each of the above examples, where the appropriate conditions are satisfied, no VAT

7 SalES aND USE TaXES

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Buyers from outside the UK should note that local sales taxes or use taxes may

Company to export the property from the EU. If such instruction is received after payment,

become payable upon import of lots following purchase. Buyers should consult their

a refund of the VAT amount will be made.

own tax advisors.

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CONDITIONS OF SalE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

between bidders and buyers, on the one hand, and Phillips de Pury & Company and

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

sellers, on the other hand. All prospective buyers should read these Conditions of Sale

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

and Authorship Warranty carefully before bidding.

Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is

1 INTRODUCTION

accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

telephone, a bidder consents to the recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

accepts personal liability to pay the purchase price, as described more fully in Paragraph

in each case as amended by any addendum or announcement by the auctioneer prior to

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

the auction.

with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

By bidding at the auction, whether in person, through an agent, by written bid, by

Company and that we will only look to the principal for such payment.

telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our wilful misconduct.

2 PhIllIPS de PURY & COmPaNY aS aGENT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

the reserve when submitting their absentee bids and otherwise comply with our employee

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

bidding procedures.

beneficial or financial interest in a lot as a secured creditor or otherwise.

5 CONDUCT OF ThE aUCTION

•

3 CaTalOGUE DESCRIPTIONS aND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

such description is changed or supplemented, as provided in Paragraph 1 above) and in

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

, each lot is offered subject to a reserve,

the condition that they are in at the time of the sale on the following basis. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

lot for sale (including after the fall of the hammer) if he or she believes there may be error

dependent on information provided to us by the seller, and Phillips de Pury & Company is

or dispute and take such other action as he or she deems reasonably appropriate.

not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and

(c) The auctioneer will commence and advance the bidding at levels and in increments he

investigations to satisfy themselves as to the lots in which they may be interested.

or she considers appropriate. In order to protect the reserve on any lot, the auctioneer

Notwithstanding the foregoing, we shall exercise such reasonable care when making

may place one or more bids on behalf of the seller up to the reserve without indicating he

express statements in catalogue descriptions or condition reports as is consistent with

or she is doing so, either by placing consecutive bids or bids in response to other bidders.

our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.

opinions of relevant experts, in each case at the time any such express statement is made.

For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

Accordingly, estimates in US dollars or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

appropriate given the nature and value of the lot and the bidder’s own expertise) have fully

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

inspected the lot prior to bidding and have satisfied themselves as to both the condition of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

the lot and the accuracy of its description.

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

‘returned to owner’ or ‘bought-in’.

may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

particular imperfections of a lot, but bidders should note that lots may have other faults

Sale and Authorship Warranty as if sold in the auction.

not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as

6 PURChaSE PRICE aND PaYmENT

precise indications of size or to convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

estimate, whether written or oral, and information in any catalogue, condition or other

£25,000, 20% of the portion of the hammer price above £25,000 up to and including

report, commentary or valuation, is not a representation of fact but rather a statement of

£500,000 and 12% of the portion of the hammer price above £500,000.

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we

4 BIDDING aT aUCTION

undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

the Artist’s Resale Right are identified with the symbol ♠ next to the lot number.

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company.

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import licence or

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

other permit for such lot. Payments must be made by the invoiced party in pounds

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:

behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips de Pury &

(i) Phillips de Pury & Company will accept payment in cash provided that the total

Company. Bids must be placed in the currency of the sale. The bidder must clearly

amount paid in cash or cash equivalents does not exceed the local currency

indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and

equivalent of US$10,000.

value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and

an absentee bid at the lowest possible price taking into account the reserve and other

the buyer provides to us acceptable government-issued identification. Cheques

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

and banker’s drafts should be made payable to ‘PDEPL LTD’. If payment is sent by

event of identical bids, the earliest bid received will take precedence.

post, please send the cheque or banker’s draft to the attention of the Client

PHOTO Backmatter_138-149.indd 143

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Accounting Department at Howick Place, London SW1P 1BB and ensure that the

and instruct our affiliated companies to exercise a lien over any of the buyer’s property

sale number is written on the cheque. Cheques or banker’s drafts drawn by third

which is in their possession and, in each case, no earlier than 30 days from the date of

parties will not be accepted.

such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

sale proceeds of our standard vendor’s commission, all sale-related expenses and any

Bank transfer details are as follows:

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood

Bank of Scotland

that in the event such resale is for less than the original hammer price and buyer’s

Gordon Street

premium for that lot, the buyer will remain liable for the shortfall together with all costs

Glasgow

incurred in such resale; (vii) commence legal proceedings to recover the hammer price

G1 3RS

and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to

For the account of PDEPL LTD

commence legal proceedings to recover the amounts due and legal costs.

Sort code: 80-54-01 Account no.: 00440780

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

SWIFT BIC: BOFSGB21138

buyer’s property which is in our possession upon notification by any of our affiliated

IBAN: GB36BOFS 8054 0100 4407 80

companies that the buyer is in default of payment. Phillips de Pury & Company will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

Company, upon notification by any of our affiliated companies that the buyer is in default

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

delivered to an affiliated company by way of pledge.

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

unconditional obligation to pay the Purchase Price.

Company to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

7 COllECTION OF PROPERTY

Phillips de Pury & Company to hold the property on our behalf as security for the payment

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

of the Purchase Price and any other amount due and, no earlier than 30 days from the date

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

of written notice to the buyer, to sell the property in such manner and for such

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

consideration as can reasonably be obtained on a forced sale basis and to apply the

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated

other terms as we in our sole discretion shall require, including completing any anti-

companies after the deduction from sale proceeds of our standard vendor’s commission,

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

all sale-related expenses and any applicable taxes thereon.

all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact us at (tel) +44 207 318 4081 or (fax) +44 20 7318 4038 to

10 RESCISSION BY PhIllIPS de PURY & COmPaNY

arrange for collection of purchased property.

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the

(b) After the auction, we will transfer all lots to our fine arts storage facility located at

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

110–112 Morden Road, Mitcham, Surrey, CR4 4XB, and will so advise all buyers. Purchased

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection or (ii) five days after the auction, whichever is the earlier. Until risk passes,

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

Phillips de Pury & Company will compensate the buyer for any loss or damage to a

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

purchased lot up to a maximum of the Purchase Price paid, subject to our usual

& Company and the seller with respect to such rescinded sale.

exclusions for loss or damage to property.

11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

Before bidding for any property, prospective buyers are advised to make their own

purchased lots for hand carry only. We do not provide packing, handling, insurance or

enquiries as to whether a licence is required to export a lot from the United Kingdom or to

shipping services. We will coordinate with shipping agents instructed by the buyer,

import it into another country. Prospective buyers are advised that some countries

whether or not recommended by Phillips de Pury & Company, in order to facilitate the

prohibit the import of property made of or incorporating plant or animal material, such as

packing, handling, insurance and shipping of property bought at Phillips de Pury &

coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

we will not be liable for acts or omissions of third party packers or shippers.

of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply

(d) Phillips de Pury & Company will require presentation of government-issued

with these laws and to obtain any necessary export, import and endangered species

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

8 FaIlURE TO COllECT PURChaSES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days

12 DaTa PROTECTION

of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per

(a) In connection with the management and operation of our business and the marketing and

day and pro rated insurance charges of 0.1% of the Purchase Price per month on each

supply of auction related services, or as required by law, we may ask clients to provide

uncollected lot.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(b) If a purchased lot is paid for but not collected within six months of the auction, the

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not

by auction or private sale, with estimates and a reserve set at Phillips de Pury &

use or process sensitive information for any other purpose without the client’s express

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

consent. If you would like further information on our policies on personal data or wish to make

storage charges and any other outstanding costs and expenses owed by the buyer to

corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to

Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited

receive details of future events please call the above number.

unless collected by the buyer within two years of the original auction. (b) In order to fulfil the services clients have requested, Phillips de Pury & Company may 9 REmEDIES FOR NON-PaYmENT

disclose information to third parties such as shippers. Some countries do not offer

(a) Without prejudice to any rights the seller may have, if the buyer without prior

equivalent legal protection of personal information to that offered within the European

agreement fails to make payment of the Purchase Price for a lot in cleared funds within

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

five days of the auction, Phillips de Pury & Company may in our sole discretion exercise

respect the privacy and confidentiality of our clients’ information and provide the same

one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s

level of protection for client information as provided within the EU, whether or not they are

premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,

located in a country that offers equivalent legal protection of personal information. By

retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject

agreeing to these Conditions of Sale, clients agree to such disclosure.

future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase

13 lImITaTION OF lIaBIlITY

Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,

over any of the buyer’s property which is in the possession of Phillips de Pury & Company

our affiliated companies and the seller to the buyer in connection with the sale of a lot

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THE ITALIA AUCTION CONTEmPORaRY aRT PhOTOGRaPhS EDITIONS DESIGNS

aUCTION 30 JUNE 2010 Viewing 21 – 29 June

lONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com SalVaTORE SCaRPITTa Trapped-canvas, 1958 Estimate £250,000-350,000

PHOTO Backmatter_138-149.indd 145

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The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

GUIDE FOR PROSPECTIVE BUYERS

third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

BUYInG aT aUCTIOn

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

The following pages are designed to offer you information on how to buy at auction at

lot and may be allowed to net the financial remuneration against the final purchase price

Phillips de Pury & Company. Our staff will be happy to assist you.

if such party is the successful bidder.

COnDITIOnS OF SalE

∆ Property in which Phillips de Pury & Company has an Ownership Interest

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

part or has an economic interest in the lot equivalent to an ownership interest.

relationship between Phillips de Pury & Company, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

•

no Reserve

•

Unless indicated by a , all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips de Pury & Company and

BUYER’S PREmIUm

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

a percentage of the low estimate and will not exceed the low pre-sale estimate.

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up

♠ Property Subject to the artist’s Resale Right

to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of

including £500,000, and 12% of the portion of the hammer price above £500,000.

the hammer price and payable as part of the purchase price as follows:

VaT

Portion of the Hammer Price (in EUR)

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

From 0 to 50,000

4%

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

From 50,000.01 to 200,000

3%

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

From 200,000.01 to 350,000

1%

From 350,000.01 to 500,000

0.5%

Exceeding 500,000

0.25%

Royalty Rate

1 PRIOR TO aUCTIOn Catalogue Subscriptions

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

†, §, ‡, or Ω Property Subject to VaT

and low estimate range should, in our opinion, offer a chance of success. However, many

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’

in this catalogue for additional information.

appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision.

Pre-sale estimates do not include the buyer’s premium or VAT. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

Catalogue Entries Phillips de Pury & Company may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and mechanical lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

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PhIllIPS de PURY & COmPanY

Chairman

Directors

advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

InTERnaTIOnal SPECIalISTS

Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Katherine van Thillo, Consultant +32 475 687 011

Buenos aires

Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

london

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

los angeles milan moscow Shanghai/Beijing Singapore Zurich/Israel

Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

GEnERal COUnSEl

manaGInG DIRECTORS

Patty Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORlDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +41 22 906 80 00 fax +41 22 906 80 01

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SPECIalISTS anD DEPaRTmEnTS

COnTEmPORaRY aRT Michael McGinnis, Senior Director

+1 212 940 1254

and Worldwide Head, Contemporary Art LONDON Peter Sumner, Head of Sales, London

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4075

Leonie Moschner

+44 20 7318 4074

Ivgenia Naiman

+44 20 7318 4071

mODERn anD COnTEmPORaRY EDITIOnS NEW YORK Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

PhOTOGRaPhS LONDON Lou Proud

+44 20 7318 4018

Sebastien Montabonel

+44 20 7318 4025

Sarah Buchwald

+44 20 7318 4085

Catherine Higgs

+44 20 7318 4089

Alexandra Bibby

+44 20 7318 4087

George O’Dell

+44 20 7318 4093

Rita Almeida Freitas

+44 20 7318 4087

Raphael Lepine

+44 20 7318 4078

Helen Hayman

+44 20 7318 4092

Edward Tang

+44 20 7318 4024

Emma Lewis

+44 20 7318 4092

Tanya Tikhnenko

+44 20 7318 4065

Phillippa Willison

+44 20 7318 4070

NEW YORK Aileen Agopian, New York Director

+1 212 940 1255

Sarah Mudge, Head of Part II

+1 212 940 1259

NEW YORK Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Jeremy Goldsmith

+1 212 940 1253

Carol Ehlers, Consultant

+1 212 940 1245

Timothy Malyk

+1 212 940 1258

Sarah Krueger

+1 212 940 1245

Jean-Michel Placent

+1 212 940 1263

Rodman Primack

+1 212 940 1256

Roxana Bruno

+1 212 940 1229

Maria Bueno

+1 212 940 1261

Sara Davidson

+1 212 940 1262

Alexandra Leive

+1 212 940 1252

Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

JEWElRY Nazgol Jahan, Worldwide Director

+1 212 940 1283

NEW YORK Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

Heather Zises

+1 212 940 1290

PARIS Edouard de Moussac

+ 33 1 42 78 67 77

GENEVA Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 00

DESIGn Alexander Payne, Worldwide Director

+44 20 7318 4052

LONDON Lane McLean

+44 20 7318 4032

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

+44 20 7318 4021

NEW YORK Alex Heminway, New York Director

+1 212 940 1269

Marcus Tremonto

+1 212 940 1268

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Alexandra Gilbert

+1 212 940 1268

ThEmE SalES LONDON Tobias Sirtl, London Manager

+44 20 7318 4095

Henry Highley

+44 20 7318 4061

Arianna Jacobs

+44 20 7318 4054

Siobhan O’Connor

+44 20 7318 4040

NEW YORK Corey Barr, New York Manager

+1 212 940 1234

Steve Agin, Consultant

+1 908 475 1796

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301

PARIS Johanna Frydman

+33 1 42 78 67 77

PRIVaTE SalES NEW YORK Andrea Hill

aRT anD PRODUCTIOn Fiona Hayes, Art Director

+1 212 940 1238

maRKETInG NEW YORK Trish Walsh, Marketing Manager

LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager

PHOTO 146-148_v1.indd 148

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SalE InFORmaTIOn

aUCTIOn Thursday 20 May 2010, 5pm VIEWInG Friday 14 May, 10am – 6pm Saturday 15 May, 10am – 6pm Sunday 16 May, 12pm – 6pm Monday 17 May – Wednesday 19 May, 10am – 6pm Thursday 20 May, 10am – 2pm VIEWInG & aUCTIOn lOCaTIOn Howick Place, London SW1P 1BB WaREhOUSE & COllECTIOn lOCaTIOn 110–112 Morden Road, Mitcham, Surrey CR4 4XB SalE DESIGnaTIOn When sending in written bids or making enquiries, please refer to this sale as UK040110 or Photographs SPECIalISTS Lou Proud, Head of Sale, London +44 20 7318 4018 Sebastien Montabonel, London +44 20 7318 4025 CaTalOGUERS Alexandra Bibby, London +44 20 7318 4087 Rita Almeida Freitas, London +44 20 7318 4087 SalE aDmInISTRaTOR Emma Lewis, London +44 20 7318 4092 PROPERTY manaGER Ian Bell +44 20 7318 4098 CaTalOGUES catalogues@phillipsdepury.com

8

BUYERS aCCOUnTS KnIG

hTS

BRID

Elliott Depree +44 20 7318 4072

D A

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BUCKINGHAM PALACE GARDENS P

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BIRD

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ST. JAMES’S PARK HA

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TR IA S

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PL HOWICK

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VIC

AC E PA L M HA ING CK BU

Peter Hepplewhite

A

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Cláudia Gonçalves + 44 20 7318 4026

Byron Slater

GD

VICTORIA

Kate Spalding + 44 20 7318 4081

PhOTOGRaPhY

CK

6

Kathryn Walters +44 20 7318 4010 WaREhOUSE & ShIPPInG

M

OS GR

Charlotte Salisbury +44 20 7318 4010

E

ST. JAMES’S PARK

ClIEnT SERVICES Harmony Johnston +44 20 7318 4010

LL

GREEN PARK

CONSTITUTION HILL R O

MA

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GE

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SEllER aCCOUnTS

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HYDE PARK CORNER

bids@phillipsdepury.com

Carolyn Whitehead +44 20 7318 4020

IC

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Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035

2

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aBSEnTEE anD TElEPhOnE BIDS

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Catalogues £30/$60 at the Gallery

AM .J ST

GREEN PARK

Leslie Pitts +44 20 7318 4039 +1 212 940 1240

VA UX

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Back cover Desiree Dolron, Xteriors IX, 2004, Lot 49 Inside back cover Gregory Crewsdon, Untitled (Penitent Girl) from Twilight, 2001– 02, Lot 112

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w w w. p h i l l i p s d e p u ry.c o m

PHOTO cover_solo per MMS.indd 2

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