Photographs by Phillips de Pury & Co.

PHOTOGRAPHS 9

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05-03-11 09.33

PHOTOGR APHS 9

APRIL

2 0 11

11 AM & 2 PM

4 5 0 PARK AVENU E NE W YO RK

LOTS 1-2 61

VIEWING 450 Park Avenue New York 10022 Friday 1 April Ð Saturday 2 April, 10am Ð 6pm Sunday 3 April, 12pm Ð 6pm Monday 4 April Ð Friday 8 April, 10am Ð 6pm

MORNING SESSION

11am

Lots 1-133

Front Cover Desiree Dolron, Xteriors VI, 2003, lot 211 (detail) Inside Front Cover Gabriel Orozco, Pepsi Bottles, 1998, lot 74 (detail) Opposite Irving Penn, Red Apples, July 15, 1985, lot 44 (detail)

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1 RICHARD AVEDON 1923-2004 Sunny Harnett, model. Dress by GrĂ¨s. Casino, Le Touquet, Paris, August, 1954 Gelatin silver print from Avedon/Paris, printed 1978. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm). Signed, numbered in pencil, copyright credit reproduction limitation, portfolio, edition, title and date stamps on the verso. One from an edition of 75.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Avedon, Evidence, 1944-1994, p. 135; Harperâ&#x20AC;&#x2122;s Bazaar, September 1954; Harry

N. Abrams, Inc., Woman in the Mirror: Richard Avedon, p. 51; Harrison, Appearances: Fashion Photography Since 1945, p. 71; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 191; International Center of Photography and The Avedon Foundation, Avedon Fashion: 1944-2000, p. 123

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2 RICHARD AVEDON 1923-2004 ‘Homage to Munkacsi.’ Carmen, model. Coat by Cardin. Place François 1er, Paris, August, 1957 Gelatin silver print from Avedon/Paris, printed 1978. 17 5/8 x 14 1/8 in. (44.8 x 35.9 cm). Signed, numbered in pencil, copyright credit reproduction limitation, portfolio, edition, title and date stamps on the verso. One from an edition of 75.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Harry N. Abrams Inc., Richard Avedon: Woman in the Mirror, p. 63; Harper’s

Bazaar, September 1957 for a variant; International Center of Photography and The Avedon Foundation, Avedon Fashion: 1944-2000, p. 93

3 RICHARD AVEDON 1923-2004 Marlene Dietrich, Turban by Dior, The Ritz, Paris, August, 1955 Gelatin silver print from Avedon/Paris, printed 1978. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm). Signed, numbered in pencil, copyright credit reproduction limitation, portfolio, edition, title and date stamps on the verso. One from an edition of 75.

Estimate $10 , 0 0 0 -15 , 0 0 0

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4 HORST P. HORST 1906-1999 Mainbocher Corset, Paris, August 11, 1939 Platinum palladium print, printed 1985. 17 7/8 x 14 1/4 in. (44.9 x 36.2 cm). Signed in pencil on the recto; signed, inscribed in pencil, copyright credit and medium

in their historical references, while at the same time showcasing the clothes, or in the case of the present lot, the corset designed by Detolle for the fashion house Mainbocher.

stamps on the verso.

Of the photograph’s creation, Horst noted: “It was created by emotion… Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

It was the last photo I took in Paris before the war. I left the studio at 4.00

PROVENANCE Acquired directly from the artist

a.m., went back to the house, picked up my bags and caught the 7.00 a.m.

LITERATURE Angeletti and Oliva, In Vogue: The Illustrated History of the WorldÕs Most Famous

train to Le Havre to board the Normandie… The photograph is peculiar—

Fashion Magazine, p. 18; Devlin, Vogue Book of Fashion Photography, p. 46; Fraser, On The Edge:

for me. While I was taking it, I was thinking of all that I was leaving behind.”

Images from 100 Years of Vogue, p. 25; Hall-Duncan, The History of Fashion Photography, p. 65; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 192;

Mainbocher Corset, taken in 1939, is imbued with art historical references

Kazmaier, Horst: Sixty Years of Photography, pl. 8; Koetzle, Photo Icons: Volume 2, pp. 38 and

in the ﬁgure’s contrapposto, the gentle undulation of musculature, and the

43; Lawford, Horst: His Work and His World, p. 184; Lawford and Valentine, Horst 1930 - 1987,

chiaroscuro lighting. Horst’s retrospection, it appears, was on literal and

p. 28; American Vogue, 15 September 1939; French Vogue, December 1939

Horst P. Horst’s legacy is studded with innumerable images that have deﬁned the genre of fashion photography. In 1931, at the age of 25, Horst published his ﬁrst photograph in an assignment for French Vogue, which subsequently led to his regular contribution to British Vogue the following year. By using his unique eye and familiarity with architecture and art history, Horst meticulously staged images innovative in their appeal and informed

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intellectual levels alike. The images Round The Clock I, and II, (lots 17 and 18, respectively) were taken almost 50 years after the aforementioned image. Remarkably, despite the passage of time, Horst adhered to the same classical visual vocabulary he had relied on throughout his career. Commissioned by Round The Clock Hosiery, Horst produced images that are timeless in their appeal and exuberantly celebratory of the female form, beauty and allure.

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5 PATRICK DEMARCHELIER b. 1943

6 HORST P. HORST 1906-1999

Shalom Harlow, Paris, 1995

Coco Chanel, Paris, 1937

Platinum palladium print, printed 1996. 14 1/4 x 20 1/8 in. (36.2 x 51.1 cm). Signed,

Platinum palladium print, printed later. 9 1/8 x 8 7/8 in. (23.2 x 22.5 cm). Signed in pencil

dated Ô1996Õ and annotated ÔPPÕ in pencil in the margin. One from an edition of 5

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

plus printerÕs proof.

Estimate $7, 0 0 0 - 9, 0 0 0 Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist PROVENANCE Acquired directly from the artist

LITERATURE Koetzle, Photo Icons: Volume 2, p. 44; National Portrait Gallery, Horst Portraits:

60 Years of Style, pl. 32 there titled Gabrielle (Coco) Chanel, Paris

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7 ROBERT DOISNEAU 1912-1994 Le baiser de lÕH™tel de Ville, March, 1950 Gelatin silver print, printed later. 9 1/2 x 11 3/4 in. (24.1 x 29.8 cm). Signed in ink in the margin; initialed, titled and dated in ink on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE HackelBury Fine Art Ltd., London LITERATURE High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 102; Koetzle, Photo Icons: Volume 2, pp. 72-73; Life, 1950; Ollier, Doisneau: Paris, p. 395

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8 WILLY RONIS 1910-2009 Les amoureux de la Bastille, Paris, 1957 Gelatin silver print, printed 2003. 9 1/4 x 13 7/8 in. (23.5 x 35.2 cm). Signed in ink in the margin; initialed, annotated Ôtirage 2003Õ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 93; Photo Poche, Willy Ronis,

pl. 37; Taschen, Willy Ronis, p. 60

9 HENRI CARTIER-BRESSON 1908-2004 Times Square, New York City, 1959 Gelatin silver print, printed later. 13 7/8 x 9 3/8 in. (35.2 x 23.8 cm). Signed in ink and copyright credit blindstamp in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Phillips de Pury & Company, New York, 26 April 2006, lot 265

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10 LOUIS FAURER 1916-2001 Bowing for the Vogue Collection, Paris, 1972 Gelatin silver print, printed 1991. 18 1/4 x 14 in. (46.4 x 35.6 cm). Signed, titled, dated, numbered AP 3/5 and copyright in pencil on the verso. One from an edition of 20 plus 5 artistﾃ不 proofs.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Harrison, Appearances: Fashion Photography Since 1945, cover; Tucker,

Louis Faurer, p. 161

11 ORMOND GIGLI b. 1925 Girl in Light, New York City, 1967 Color coupler print, printed later. 17 1/2 x 16 in. (44.5 x 40.6 cm). Signed, titled, dated and numbered 1/10 in ink on the mount; signed, titled, dated and numbered 1/10 in ink on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

12 HELMUT NEWTON 1920-2004 Karl Lagerfeld, Paris, 1973 Gelatin silver print from Private Property, Suite I, printed 1983. 9 3/8 x 14 1/8 in. (23.8 x 35.9 cm). Signed, numbered 11, 12/75 in pencil and portfolio copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

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13 HELMUT NEWTON 1920-2004 Nude Descending Staircase, Nice, 1981 Gelatin silver print. 18 7/8 x 18 3/4 in. (47.9 x 47.6 cm). Signed, titled, dated and numbered 1/10 in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Galerie Rudolf Kicken, Berlin

14 HELMUT NEWTON 1920-2004 At Karl Lagerfeldﾃ不, Paris, 1974 Gelatin silver print, printed circa 1980. 8 1/8 x 12 1/4 in. (20.6 x 31.1 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

15 HELMUT NEWTON 1920-2004 David Hockney, Piscine Royale, Paris, 1975 Gelatin silver print from Private Property, Suite I, printed 1983. 14 1/8 x 9 3/8 in. (35.9 x 23.8 cm). Signed, numbered 14, 12/75 in pencil and portfolio copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

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16 ROBERT MAPPLETHORPE 1946-1989 Parrot Tulip in Black Vase, 1985 Gelatin silver print. 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm). Signed, dated by Michael Ward Stout, Executor, in ink, Robert Mapplethorpe copyright credit reproduction limitation and signature stamp on the reverse of the ďŹ&#x201A;ush-mount. One from an edition of 10.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Kardon, Robert Mapplethorpe: The Perfect Moment, p. 91

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17 HORST P. HORST 1906-1999 Round the Clock I, New York, 1987 Platinum palladium print, printed later. 9 1/8 x 7 1/2 in. (23.2 x 19.1 cm). Blindstamp signature in the margin; signed, titled and dated in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE High Museum of Art, Chorus of Light: Photographs from the Sir Elton

John Collection, p. 129; Kazmaier, Horst: Sixty Years of Photography, p. 195 there titled Advertisement for stockings, New York

18 HORST P. HORST 1906-1999 Round the Clock II, New York, 1987 Platinum palladium print, printed later. 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm). Blindstamp signature in the margin; signed, initialed, titled and dated in pencil on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist

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19 HENRI CARTIER-BRESSON 1908-2004 Brie, France, May, 1968 Gelatin silver print, printed 1970s. 9 1/2 x 14 1/4 in. (24.1 x 36.2 cm). Signed in ink in the margin.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Galassi, Henri Cartier-Bresson: The Modern Century, p. 146; High Museum of

Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 146; Mace and Orsenna, Henri Cartier-Bresson: City and Landscapes, cover and pl. 61; Montier, Henri Cartier-Bresson and the Artless Art, p. 285

20 HENRI CARTIER-BRESSON 1908-2004 Rue Mouffetard, Paris, 1954 Gelatin silver print, printed later. 14 1/4 x 9 1/2 in. (36.2 x 24.1 cm). Signed in ink and copyright credit blindstamp in the margin.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Cartier-Bresson, Henri Cartier-Bresson: Photographer, pl. 140; Galassi, Henri

Cartier-Bresson: The Man, the Image and the World, pl. 65; Galassi, Henri Cartier-Bresson: The Modern Century, pl. 65; Montier, Henri Cartier-Bresson and the Artless Art, p. 157

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21 HENRI CARTIER-BRESSON 1908-2004 Henri Matisse, Vence, France, 1944 Gelatin silver print, printed later. 9 1/2 x 14 1/8 in. (24.1 x 35.9 cm). Signed in ink and copyright credit blindstamp in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Bulfinch Press, T•te ˆ t•te: Portraits by Cartier-Bresson, pl. 23; Galassi,

Henri Cartier-Bresson: The Modern Century, p. 226; Montier, Henri Cartier-Bresson and the Artless Art, p. 279

22 WILLY RONIS 1910-2009 Le petit Parisien, 1952 Gelatin silver print, printed 2003. 12 3/4 x 10 1/8 in. (32.4 x 25.7 cm). Signed in ink in the margin; initialed, annotated Ôtirage 2003Õ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Photo Poche, Willy Ronis, pl. 29; Taschen, Willy Ronis, p. 81

23 WILLY RONIS 1910-2009 Le nu proven•al, Gordes, 1949 Gelatin silver print, printed 2003. 12 3/4 x 10 3/8 in. (32.4 x 26.4 cm). Signed in ink in the margin; initialed and annotated Ôtirage 2003Õ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Photo Poche, Willy Ronis, pl. 22; Taschen, Willy Ronis, p. 181

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24 ANDRƒ KERTƒSZ 1894-1985 Satiric Dancer, Paris, 1926 Gelatin silver print, printed later. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm). Signed, titled ÔParisÕ and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Bulfinch Press, On the Art of Fixing a Shadow: 150 Years of Photography, pl. 242;

Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 243; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 183; LIGHT Gallery, LIGHT, p. 49; National Gallery of Art, André Kertész, pl. 47; Thames and Hudson, André Kertész: Of Paris and New York, p. 139

25 GEORGE HOYNINGEN-HUENE 1900-1968 Eveningwear by Augustabernard, Paris, 1935 Platinum palladium print, printed later. 9 3/4 x 7 1/8 in. (24.8 x 18.1 cm). Hoyningen-Huene credit and Horst copyright credit blindstamps in the margin; signed by Horst P. Horst, titled, dated, annotated ÔFrom the Collection of HorstÕ and Ôonly 4 approved and signed platinum prints from this negativeÕ by Horst P. Horst in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE The Metropolitan Museum of Art, The Model as Muse: Embodying Fashion, p. 21

This print was photographed by Hoyningen-Huene, supervised and printed by Horst P. Horst.

26 ROBERT DOISNEAU 1912-1994 La Dame Indignée, Vitrine Galerie Romi, Paris, 1947 Gelatin silver print, printed 1970s. 12 x 15 1/4 in. (30.5 x 38.7 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Bruce Silverstein Gallery, New York; Private Collection; Phillips de Pury

& Company, New York, 26 April 2006, lot 64 LITERATURE Ollier, Doisneau: Paris, p. 493 there titled The front window of the Romi Gallery

at 21 Rue de Seine

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27 JEAN-PHILIPPE CHARBONNIER b. 1921 Bettina, la plus belle Vitrine, de Cleef et Arpels, Place Vendâ&#x201E;˘me, Paris, 1953 Gelatin silver print, printed 2001. 14 7/8 x 13 3/8 in. (37.8 x 34 cm). Signed, titled, dated and numbered 27/50 in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

28 WILLIAM KLEIN b. 1928 Hat + 5 Roses, Paris (Vogue), 1956 Gelatin silver print, printed later. 18 x 14 in. (45.7 x 35.6 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Staley+Wise Gallery, New York LITERATURE Harrison, Appearances: Fashion Photography Since 1945, p. 99; High Museum

of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 55; French Vogue, May 1956

29 LILLIAN BASSMAN b. 1917 Anne Saint-Marie, New York, Chanel Advertising, 1958 Gelatin silver print, printed later. 26 7/8 x 34 7/8 in. (68.3 x 88.6 cm). Signed in pencil on the verso. Number 2 from an edition of 25.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Solomon, Lillian Bassman: Women, cover (detail) and pp. 102-103

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30 GEORGE HOYNINGEN-HUENE 1900-1968 Divers, Horst with Model, Paris, 1930 Platinum palladium print, printed later. 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm). Hoyningen-Huene credit and Horst copyright credit blindstamps in the margin; signed, titled, dated, annotated ÔFrom the Collection of HorstÕ by Horst P. Horst in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hall-Duncan, The History of Fashion Photography, p. 61; Haworth-Booth, The

Folio Society Book of the 100 Greatest Photographs, p. 117; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 106

This print was photographed by Hoyningen-Huene, supervised and printed by Horst P. Horst.

31 BRASSAì 1899Ð1984 ÔPantalon TentationÕ en satin noir, gros ruches en ruban autour des jambs, Paris, 1932 Gelatin silver print. 5 2/3 x 4 1/3 in. (14.4 x 11 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Michael Hoppen Gallery, London

32 ANDRƒ KERTƒSZ 1894-1985 Melancholic tulip, 1939 Gelatin silver print, printed later. 13 3/4 x 10 in. (34.9 x 25.4 cm). Signed and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Borhan, AndrŽ KertŽsz: His Life and Work, p. 27; Ducrot, AndrŽ KertŽsz: Sixty

Years of Photography, p. 78; Greenough, Gurbo and Kennel, AndrŽ KertŽsz, pl. 80; Harry N. Abrams, Inc., AndrŽ KertŽsz: A Lifetime of Perception, p. 173; Thames and Hudson, AndrŽ KertŽsz: Of Paris and New York, p. 208

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33 ROBERT FRANK b. 1924 Paris New Year (Young Man with Tulip), 1949 Gelatin silver print, printed 1970s. 13 1/8 x 8 3/8 in. (33.3 x 21.3 cm). Signed, titled ‘Paris’ and dated ‘1950-51’ in ink in the margin.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York

didactic tour of Paris, but an intimate journal of impressions shared with his beloved wife. Paris New Year (Young Man with Tulip), was taken during that time. Following his endeavors on MaryÕs Book, Frank met Edward Steichen, by whom he was deeply influenced. At the time, Steichen as Director of

LITERATURE National Gallery of Art, Washington/Steidl, Looking In: Robert FrankÕs

Photography at the Museum of Modern Art, was deeply involved with The

The Americans, p. 103 there titled and dated Tulip/Paris, 1950; National Gallery of Art,

Family of Man exhibition, paying homage to universal commonalities over

Washington/Scalo, Black White and Things, pl. 21; Pantheon Books, Robert Frank: The Lines of

individual differences. The motive had a strong impact on Frank, who

My Hand, n.p. there titled January 1st

was encouraged to expose and infuse the “feel and atmosphere of his subjects” in his photographs. The result was Frank’s fourth book: Black Shortly after their marriage in 1949, Robert Frank and Mary Lockspeiser spent 10 months in Paris, during which the aspiring photographer documented everyday moments, people and scenes. Perhaps inspired by André Kertész’s book Day of Paris, 1945, which celebrated the charm in the small, unassuming post-World War II Parisian lifestyle, Frank assembled the preliminary layout for MaryÕs Book, an unpublished book comprised of 74 photographs reﬂective of their experience following their Parisian trends. The book is devoid of any stereotypically Parisian images as Frank turned his lens to commemorate understated moments that might have otherwise been overlooked. Namely, a lonesome streetlamp; cropped billboards; a blind street musician; and a substantial number of empty chairs strewn outdoors,

White and Things. The book discussed “somber people and black events, quiet people and peaceful places, and the things people have come in contact with.” In that regard, Frank, too, looked for overarching themes, although his message was free of the charged sentimentality and heavyhandedness that typified Steichen’s exhibition. The images chosen for the book had all been taken between 1947 and 1952. Paris New Year (Young Man with Tulip), was in the “Things” section alongside images of a statue, religious medals, Christ on a cross, a balloon from a Macy’s parade, and a doll in a plastic bag. In doing so, Frank commented on people’s faith—in love, religion, art and commerce. The image is subtle in its irony, gentle in its romance, and poignant in its message.

which attest to recent human activity. MaryÕs Book was not meant to be a

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34 MARIO GIACOMELLI 1925-2000 Untitled from Io non ho mani che mi accarezzino il volto (I have no hands that caress my face), circa 1958 Gelatin silver print, printed later. 15 7/8 x 11 3/4 in. (40.3 x 29.8 cm). Signed in ink and title stamp on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE High Museum of Art, Chorus of Light: Photographs from the Sir Elton John

Collection, p. 160; LIGHT Gallery, LIGHT, p. 91

35 WILLIAM KLEIN b. 1928 Simone and Coffee and Painting, Rome, 1962 Gelatin silver print, printed later. 40 x 30 in. (101.6 x 76.2 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York LITERATURE Hall-Duncan, The History of Fashion Photography, p. 177; Italian Vogue, 1960

36 ALFRED EISENSTAEDT 1898-1995 Lesson at La ScalaÕs Ballet School, Milan, Italy, 1934 Gelatin silver print, printed 1995. 12 x 17 3/8 in. (30.5 x 44.1 cm). Signed and numbered 56/250 in ink in the margin; credit, titled, dated and copyright Time Inc. in an unidentiﬁed hand in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

37 ALFRED EISENSTAEDT 1898-1995 Monks along the Arno River, Florence, 1935 Gelatin silver print, printed 1994. 13 3/8 x 17 5/8 in. (34 x 44.8 cm). Signed and numbered 49/250 in ink in the margin; credit, titled, dated and copyright Time Inc. in an unidentiﬁed hand in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Bulfinch Press, Eisenstaedt: Remembrances, 100th Anniversary Edition, title

page there titled Young monks hurrying along the River Arno toward the Ponte Vecchio, Florence

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38 HENRI CARTIER-BRESSON 1908-2004 Alberto Giacometti, 1961 Gelatin silver print, printed later. 17 1/2 x 11 3/4 in. (44.5 x 29.8 cm). Signed in ink and copyright credit blindstamp in the margin.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Galassi, Henri Cartier-Bresson: The Modern Century, pl. 59; Montier,

Henri Cartier-Bresson and the Artless Art, 1996, p. 73

39 IRVING PENN 1917-2009 Saint Laurent, Braque Inspired Fashion, Paris, 1988 Platinum palladium print, printed 1992-1993. 20 1/2 x 16 1/2 in. (52.1 x 41.9 cm). Signed, initialed, titled, dated, numbered 3/10 in pencil, CondĂŠ Nast copyright credit reproduction limitation, credit and edition stamps on the reverse of the ďŹ&#x201A;ush-mount.

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Knopf/Callaway, Irving Penn: Passage, p. 276 there titled Yves Saint Laurent

Fashion (Katoucha), Paris

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05-03-11 11.25

40 ANNIE LEIBOVITZ b. 1949

41 ANNIE LEIBOVITZ b. 1949

Keith Haring, New York, 1986

Alice in Wonderland for Vogue, Viktor and Rolf with Natalia, Paris, 2003

Dye destruction print, mounted. 11 1/4 x 13 7/8 in. (28.6 x 35.2 cm). Signed, titled, dated,

Dye destruction print. 15 x 22 5/8 in. (38.1 x 57.5 cm). Signed, titled, dated and numbered

numbered AP13 and inscribed in ink in the margin. One from an edition of 40 plus

in ink in the margin. One from an edition of 25.

artistﾃ不 proofs.

Estimate $10 , 0 0 0 -15 , 0 0 0

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE American Vogue, December 2003

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42 VIK MUNIZ b. 1961 Brushstroke I after Roy Lichtenstein from Pictures of Chocolate, 2002 Color coupler print. 47 1/2 x 61 1/2 in. (120.7 x 156.2 cm). Signed, dated in ink, printed title, date and number 3/3 on an artistâ&#x20AC;&#x2122;s label afďŹ xed to the reverse of the mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

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43 VIK MUNIZ b. 1961 Sunset after Emil Nolde from Pictures of Pigment, 2006 Color coupler print. 39 1/2 x 52 1/2 in. (100.3 x 133.4 cm). Signed, dated in ink, printed title, date and number AP2/4 on an artist’s label afﬁxed to the reverse of the mount. One from an edition of 6 plus 4 artist’s proofs.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Rena Bransten Gallery, San Francisco

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58164

44 IRVING PENN 1917-2009 Red Apples, July 15, 1985 Dye destruction print. 36 7/8 x 29 1/4 in. (93.7 x 74.3 cm). Signed, initialed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso. One from an edition of 17.

Irving Pennﾃ不 still-life and found object photographs are heralded for their unique arrangements and clarity. In Red Apples, Penn rejects traditional decorative tools and backgrounds that so often characterize still-life images, and instead is concerned with the placement of the fruit to create compositional conformity. Pushing the boundaries of contemporary

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

aesthetics, he offers an account of unaltered beauty and challenges the

PROVENANCE Pace/MacGill Gallery, New York

viewer to recognize his subject as such. Red Apples incorporates contemporary

LITERATURE Bulfinch Press, Still Life: Irving Penn Photographs 1938-2000, n.p;

elements with its sharp lighting, single-dimensionality, and grotesque subject-

Knopf/Callaway, Irving Penn: Passage: A Work Record, p. 254

matter while still paying homage to the traditional still-life genre.

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45 LILLIAN BASSMAN b. 1917 ÔBorn to Dance,Õ Margie Cato, dress by Emily Wilkins, New York, 1950 Gelatin silver print, printed later. 33 1/2 x 26 3/8 in. (85.1 x 67 cm). Signed in pencil on the verso. Number 3 from an edition of 25.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE HarperÕs Bazaar, November 1950 for a variant; Solomon, Lillian Bassman:

Women, p. 33

46 LILLIAN BASSMAN b. 1917 Woman on Fleche DÕOr, circa 1950 Gelatin silver print, printed later. 22 1/8 x 18 3/8 in. (56.2 x 46.7 cm). Signed in pencil on the verso. Number 3 from an edition of 25.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist

47 LILLIAN BASSMAN b. 1917 ÔTouch of Dew,Õ Lisa Fonssagrives, New York, HarperÕs Bazaar, May, 1961 Gelatin silver print, printed 2007. 14 1/2 x 22 1/8 in. (36.8 x 56.2 cm). Signed in pencil on the verso. Number 17 from an edition of 25.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE HarperÕs Bazaar, May 1961; Solomon, Lillian Bassman: Women, pp. 94-95

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48 IRVING PENN 1917-2009 Woman in Palace (Lisa Fonssagrives-Penn), Marrakech, Morocco, 1951 Selenium-toned gelatin silver print, printed 1992. 15 3/8 x 15 1/4 in. (39.1 x 38.7 cm). Signed, initialed, titled, dated in ink, Condé Nast copyright credit reproduction limitation, credit and edition stamps on the reverse of the mount. One from an edition of 40.

Unequivocally among the pillars of fashion photography, Irving Penn’s Woman in Moroccan Palace is a testament to a legacy that far exceeds the sum of its parts. Taken in 1951 for Vogue, the publication for whom Penn had been working since 1943 under Alexander Liberman’s mentorship, the photograph was initially published in an article titled ‘Moroccan Handbook,’

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0

which ran in the January 1952 issue. By then, the Swedish-born Lisa

LITERATURE Art Institute of Chicago, Irving Penn: A Career in Photography, pl. 24;

Fonssagrives-Penn’s popularity was at it’s height, having become the ﬁrst

Hall-Duncan, The History of Fashion Photography, p. 146; Smithsonian Institute, Irving Penn:

model to grace the cover of Time magazine in 1949. The photograph is among

Master Images, p. 42; Thames & Hudson, Lisa Fonssagrives: Three Decades of Classic Fashion

the very last Irving Penn would take outdoors, and aside from two additional

Photography, p.10; American Vogue, January 1952, pp. 132-133

Vogue covers, it was the last time a photograph of Lisa was taken for editorial. Irving Penn suffused the strengths of Modernist sensitivity—crisp lines, impeccable clarity, and rich tonality—with the sumptuous adoration of the subjects in Orientalist painting to pay homage to the woman whom he loved and the genre that he all but revolutionized.

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49 PIETER HUGO b. 1976 Dayaba Usman with the monkey Clear, Nigeria, 2005 Digital color coupler print. 59 1/2 x 59 1/2 in. (151.1 x 151.1 cm). Signed, titled, dated and numbered 1/7 in ink on a label afﬁxed to the reverse of the ﬂush-mount.

Peter Hugo’s The Hyena & Other Men series chronicles the lives of the Lagosbased Gadawan Kura, or the ‘Hyena Handlers’, a travelling group consisting of a family of entertainers with their hyenas, monkeys and rock pythons. The photographs reﬂect the artist’s fascination with the myths surrounding

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

the individuals and their wild animals. This series centers on the complex and somewhat paradoxical relationship that exists between animals and their keepers, at times affectionate and tender, and at other times ruthless and cruel. The works are not meant to be read as exotic mementos, but rather as genuine, intimate portraits. Hugo not only brings to light issues of codependence, submission and poverty but also of socio-economic strife that has become increasingly prevalent in Nigeria.

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50 PETER BEARD b. 1938 Tsavo North on the Athi Tiva, circa 150 lbs.-160 lbs. side Bull Elephant, February, 1965 Gelatin silver print with afﬁxed color coupler prints, printed later. 48 3/8 x 79 3/4 in. (122.9 x 202.6 cm). Signed, titled, dated and annotated in ink on the recto; The Time Is Always Now copyright credit stamp on the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE The Time is Always Now Gallery, New York; Sotheby’s, New York,

8 April 2008, lot 289

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51 PETER BEARD b. 1938 Hunting Cheetahs on the Taru desert, June, 1960 Gelatin silver print with afďŹ xed color coupler prints, ink, blood and collage, printed later. 19 3/4 x 23 3/4 in. (50.2 x 60.3 cm). Signed, titled and extensively annotated in ink, blood and paint on the recto; The Time is Always Now copyright credit stamp on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Taschen, Peter Beard, pl. 268 for a variant

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52 PETER BEARD b. 1938 Tsavo Natl. Park 1970s/ For the End of the Game/ Last word from Paradise, 1970s Gelatin silver print with afďŹ xed gelatin silver prints and ink, printed later. 13 x 19 1/4 in. (33 x 48.9 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Sothebyâ&#x20AC;&#x2122;s, New York, 17 October 2006, lot 236

53 PETER BEARD b. 1938 Elephant Reaching for the Last Branch on a Tree, Kenya, 1960 Gelatin silver print with ink and paint, printed later. 22 3/4 x 14 5/8 in. (57.8 x 37.1 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto; The Time is Always Now copyright credit stamp on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE The Time is Always Now Gallery, New York LITERATURE Taschen, Peter Beard, pl. 179 for a variant

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54 IRVING PENN 1917-2009 Gorilla (Male), 1986 Selenium-toned gelatin silver print. 23 1/4 x 19 3/4 in. (59.1 x 50.2 cm). Signed, initialed, titled in ink, copyright credit reproduction limitation, edition and ÔPhotographed at Narodni Museum Prague, CzechoslovakiaÕ stamps on the reverse of the mount. One from an edition of 14.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Knopf/Callaway, Irving Penn: Passage, p. 263 there titled Gorilla

Skull, Prague; Szarkowski, Irving Penn: Still Life, n.p. there titled Gorilla Skull (Gorilla Gorilla), Prague, June 16

55 JOEL-PETER WITKIN b. 1939

NegreÕs Fetishist, Paris, 1990 Gelatin silver print. 25 1/4 x 32 3/4 in. (64.1 x 83.2 cm). Signed, titled, dated, numbered 10/15 and copyright in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Celant, Joel-Peter Witkin, pl. 90

56 JOEL-PETER WITKIN b. 1939 Portrait of a Dwarf, Los Angeles, 1987 Gelatin silver print. 14 3/4 x 15 in. (37.5 x 38.1 cm). Signed, titled, dated, numbered 5/15 and copyright in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Celant, Joel-Peter Witkin, pl. 68

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57 RICHARD MISRACH b. 1949 Encrusted Tracks, Bonneville Salt Flats, 1992 Color coupler print, printed 1998. 27 3/4 x 34 3/4 in. (70.5 x 88.3 cm). Signed, titled, dated, numbered 7/7 and copyright in ink in the margin.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Jan Kesner Gallery, New York LITERATURE Wilkes Tucker, Crimes and Splendors: The Desert Cantos of Richard

Misrach, p. 152

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58 ANSEL ADAMS 1902-1984 Winter Sunrise, the Sierra Nevada from Lone Pine, California, 1944 Gelatin silver print, printed 1960s. 9 1/2 x 13 3/8 in. (24.1 x 34 cm). Signed in ink on the mount; credit stamp on the reverse of the mount.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 LITERATURE Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 38; Bulfinch Press,

On the Art of Fixing a Shadow: 150 Years of Photography, pl. 298; Szarkowski, Ansel Adams at 100, pl. 85

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59 EDWARD WESTON 1886-1958 Nude, New Mexico, 1937 Gelatin silver print. 7 3/8 x 9 1/2 in. (18.7 x 24.1 cm). Signed, dated and annotated ‘Nude in Old Adobe’ in pencil on the verso.

Nude, New Mexico was taken in 1937, the same year Edward Weston was awarded the ﬁrst of two consecutive Guggenheim Fellowships. The grant allowed Weston and his new wife, Charis, to embark on an extended trip across California. Already a favored subject in his nude images, including

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0

the Oceano series taken the year before, Charis continued to serve as muse.

PROVENANCE Pace Wildenstein MacGill, New York LITERATURE Aperture, Edward Weston: Fifty Years, p. 165; Conger, Edward Weston:

The image in the current lot is one in a series of images in which a supine

Photographs from the Collection of the Center for Creative Photography, fig. 1200 for variants;

and nude Charis is awakening, stretching and rolling over. While the level

Stebbins, WestonÕs Westons: Portraits & Nudes, fig. 20

of corporeal abstraction is still hinted—the arms are folded into each other and the legs are likewise interlocked and twisted—Weston did not crop out any limbs or reduce the image to a study of line and composition. Rather, Nude, New Mexico, is an emotional marveling by a man who had rediscovered love. “My work is never intellectual,” Weston stated in 1939. “I never make a negative unless moved by the subject.” This image, accordingly, is as much a testament to Weston’s Modernist style as it is to his joyous, newfound love.

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60 JOSEF SUDEK 1896-1976 Selected Images, circa 1925 Six gelatin silver prints, mounted. Varying dimensions from 7 3/4 x 7 3/8 in. (19.7 x 18.7 cm) to 8 1/4 x 10 3/8 in. (21 x 26.4 cm). Each signed in pencil and printed number 1, 3, 4, 6, 8 or 10 on the respective mounts.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Private Collection, Europe; Private Collection, Paris

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61 BILL BRANDT 1904-1983 A snicket, Ă&#x201D;Hail, Hell and HalifaxĂ&#x2022;, 1937 Gelatin silver print, printed 1970s. 13 3/8 x 11 3/8 in. (34 x 28.9 cm). Signed in ink in the margin; credit stamp on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Phillips de Pury and Company, London, 20 November 2007, lot 115 LITERATURE Aperture, Singular Images: Essays on Remarkable Photographs, p. 55 there titled

A Snicket, Halifax; Harry N. Abrams, Inc., Brandt: The Photography of Bill Brandt, pl. 85 there titled Halifax; Thames and Hudson, Bill Brandt: Photographs 1928-1983, p. 126

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62 BILL BRANDT 1904-1983 Late evening in the kitchen, 1930s Gelatin silver print, printed 1983. 11 3/4 x 10 3/8 in. (29.8 x 26.4 cm). Signed and numbered 10/25 in ink in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

63 BILL BRANDT 1904-1983 London, July, 1956 Gelatin silver print, printed later. 13 3/8 x 11 1/2 in. (34 x 29.2 cm). Signed in ink on the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Connolly and Haworth-Booth, Bill Brandt: Shadow of Light, p. 133

64 MAN RAY 1890-1976 San Sebasti窶｡n, 1926 Gelatin silver print, printed later. 8 7/8 x 11 1/8 in. (22.5 x 28.3 cm). Initialed and dated in ink on the recto; signed, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Sothebyﾃ不, New York, 7 February 1980, lot 764; Christieﾃ不, Los Angeles,

13 November 2001, lot 61

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65 MAN RAY 1890-1976 Selected Images, 1920s Seven gelatin silver prints, printed 1960s. Each approximately 11 3/8 x 8 3/8 in. (28.9 x 21.3 cm). One signed and annotated ÔRayographÕ, ÔReproductionÕ and ÔOriginalCollection J. Pelithory ParisÕ in ink on the verso; one signed, titled ÔRayographÕ and annotated ÔReproduction of OriginalÕ in ink on the verso; one signed, titled ÔRayographÕ, dated Ô1927Õ and annotated ÔReproduction of OriginalÕ in ink on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE From the artist; to Ed Willis Barnett, a close acquaintance of the artist LITERATURE Abbeville Press, Perpetual Motif: The Art of Man Ray, p. 248; Dover

Publications, Photographs by Man Ray: 105 Works, 1920-1934, pp. 85 and 91; de lÕEcotais, Man Ray: Rayographies, pls. 9, 64, 145 and 177; Heiting, Man Ray, p. 216; J. Paul Getty Museum, In Focus: Man Ray, pl. 16; Ludion Press, Man Ray, pl. 311; Schwarz, Man Ray: The Rigour of Imagination, pls. 196, 210 and 390

In 1922, Man Ray created Les Champs dŽlicieux: Album de photographies, a portfolio comprised of twelve gelatin silver prints (made from the original rayographs.) In the early 1960s, an exhibition of the original 1920s rayographs was on display in the city of Stuttgart. The exhibition, titled 12 Rayographs: 1921-1928, resulted in renewed commercial interest in Man RayÕs rayographs. Encouraged by the success of the exhibition, Man Ray collaborated with Schubert and Kapitzki, pub., Stuttgart, to assemble 12 Rayographs: 1921-1928, a second portfolio comprised of twelve gelatin silver prints. In tandem, Man Ray compiled a maquette for a book that was intended to feature 50 of his rayographs. While the book was never realized, the portfolio, however, was. The photographs offered in the current lot may have been experimental prints for the unrealized book or possibly the second portfolio.

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66 HENRI CARTIER-BRESSON 1908-2004

67 HELENA ALMEIDA b. 1934

Calle Cuauhtemoctzin, Mexico City, 1934

Work-32 (Entrado 1), 1977

Gelatin silver print, printed 1980s. 11 3/4 x 17 5/8 in. (29.8 x 44.8 cm). Signed in ink

Two gelatin silver prints. Each 15 3/8 x 10 1/2 in. (39.1 x 26.7 cm). Each signed, dated and

and copyright credit blindstamp in the margin.

numbered 1/5 in ink on the reverse of the ﬂush-mounts. One signed and dated in ink on the recto; titled on the reverse of the ﬂush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Bloomsbury, London, 22 May 2008, lot 162 LITERATURE Bulfinch Press, T•te ˆ T•te: Portraits by Henri Cartier-Bresson, pl. 30; Fuentes,

Henri Cartier-Bresson: Mexican Notebooks, p. 73; Galassi, Henri Cartier-Bresson: The Early Work, cover and p. 130; Galassi, Henri Cartier-Bresson: The Modern Century, p. 99; Harry N. Abrams, Inc., The New Vision: Photography between the World Wars, pl. 41; Montier, Henri CartierBresson and the Artless Art, pl. 13

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68 MANUEL çLVAREZ BRAVO 1902-2002 Pepenador, 1930s Gelatin silver print. 9 5/8 x 7 7/8 in. (24.4 x 20 cm). Signed in pencil on the mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Formerly from the family of Fernando Gamboa; Sotheby’s, New York,

17 April 2002, lot 136; Phillips de Pury & Company, New York, 19 October 2006, lot 93

This print is originally from the collection of Fernando Gamboa (1906-1990), one of the most inﬂuential Mexican art historians of the twentieth century. He was the director of the Sala Nacional de Bellas Artes and Mexico’s Museo de Art Moderno in Chapultepec. Gambo’s active career as an educator, art critic and diplomat helped shape the direction of Mexican art and culture.

69 MANUEL çLVAREZ BRAVO 1902-2002 Los Agachados (the crouched ones), 1934 Gelatin silver print, printed 1971. 7 3/8 x 9 1/4 in. (18.7 x 23.5 cm). Signed, titled and extensively annotated in pencil on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Kismaric, Manuel çlvarez Bravo, p. 78; Museum of Photographic Arts,

Revelaciones: Manuel çlvarez Bravo, p. 59; Turner Publicaciones, Manuel çlvarez Bravo: 100 Years, 100 Days, pl. 33

70 MANUEL çLVAREZ BRAVO 1902-2002 La Tolteca, 1931 Gelatin silver print, printed later. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE RoseGallery, Santa Monica LITERATURE Kismaric, Manuel çlvarez Bravo, p. 50; Museum of Photographic Arts,

Revelaciones: Manuel çlvarez Bravo, pl. 16; Turner Publicaciones, Manuel çlvarez Bravo: 100 Years, 100 Days, pl. 19

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71 LUIS GONZçLEZ PALMA b. 1957

72 HIROSHI SUGIMOTO b. 1948

La imagen del mundo (Image of the World), 1998

Egerstrom house, Luis Barrag‡n, 2002

Hand-painted gelatin silver collage. 23 1/4 x 77 3/4 in. (59.1 x 197.5 cm). Signed, titled,

Gelatin silver print. 18 1/2 x 23 in. (47 x 58.4 cm). Blindstamp number 5/25 979 in the margin;

dated and numbered 9/10 in pencil on the verso.

signed in pencil on the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Sonnabend Gallery, New York; Private Collection, New York

LITERATURE Arena Editions, Luis Gonz‡lez Palma: Poems of Sorrow, pp. 70-71

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73 CINTHYA SOTO b. 1969 CafŽ HB, 2005 Twenty-eight color coupler prints. Each 29 1/2 x 29 1/2 in. (74.9 x 74.9 cm), overall 128 x 224 in. (325.1 x 569 cm). One signed, titled, dated and numbered 1/5 in ink on the reverse of the ﬂush-mount; each titled in ink on the reverse of the ﬂush-mount.

Costa-Rican photographer Cinthya Soto deconstructs the manner in which photographs have been traditionally taken and read. By creating large-scale works of common interiors that range from private residences to fruit shops, and, as can be seen in the current lot, cafés, Soto presents murals of familiar and pleasantly inviting scenes. However, the grid presentation fragments

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Karpio + Facchini Gallery, Miami

the smoothness with which the works are experienced. Moreover, a closer inspection reveals multiple angles and repetition within, engendering a sense of dissonance. Upon learning of the rapid disappearance of many of the spaces depicted, Soto’s works become elegiac mementos of a vanishing sense of cultural familiarity. Cinthya Soto’s work has been exhibited at the Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica, 2002; Casa América, Madrid, Spain, 2004; Karpio + Facchini Gallery, Miami Basel, 2005 and the Venice Biennial, 52nd International Art Exhibition, 2007, where she represented Costa Rica in the Italo-Latino Americano Pavilion. In 2010, Soto was a recipient of the Artistic Creation Projects award at the Musée du Quai Branly, Paris.

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05-03-11 10.00

74 GABRIEL OROZCO b. 1962 Pepsi Bottles, 1998 Dye destruction print. 12 3/8 x 18 3/4 in. (31.4 x 47.6 cm). Signed, titled, dated and numbered 2/5 in pencil on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Marian Goodman Gallery, New York

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05-03-11 10.00

75 ADAM FUSS b. 1961 Untitled, 1988 Dye destruction photogram. 41 x 39 1/2 in. (104.1 x 100.3 cm). Signed and dated in ink on the reverse of the frame.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Robert Miller Gallery, New York EXHIBITED A New Reality: Black-and-White Photography in Contemporary Art: Jane Voorhees

Zimmerli Art Museum, Rutgers, The State University of New Jersey, 1 September - 18 November 2007; Center for the Arts-Stedman Art Gallery, Rutgers, The State University of New Jersey, 20 December 2007 - 23 February 2008 and Thomas J. Walsh Art Gallery, Fairfield University, Connecticut, 19 September - 7 December 2008 LITERATURE Rutgers, The State University of New Jersey, A New Reality: Black and White

Photography in Contemporary Art, p. 32

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76 MICHAEL DWECK b. 1957 Sonya, Poles, Montauk, NY, 2002 Gelatin silver print. 54 x 43 in. (137.2 x 109.2 cm). Signed, titled, dated and annotated ‘AP’ in ink on the reverse of the ﬂush-mount. One from an edition of 5 plus artist’s proofs.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Dweck, The End: Montauk, N.Y., cover

77 MASSIMO VITALI b. 1944 Nice, Negresco (#2239), 2005 Color coupler print, Diasec mounted. 47 1/2 x 61 1/2 in. (120.7 x 156.2 cm). Signed in ink on a gallery label accompanying the work. Number 3 from an edition of 6.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Galerie Ernst Hilger, Vienna; Private Collection, New York

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05-03-11 10.00

78 HERB RITTS 1952-2002 Floating Torso, St. BarthŽlemy, 1987 Gelatin silver print. 22 1/8 x 18 3/4 in. (56.2 x 47.6 cm). Copyright credit blindstamp in the margin; signed, titled, dated and numbered 16/25 in pencil on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Bulfinch Press, Herb Ritts: Work, n.p.; Fondation Cartier pour l’art

contemporain, Herb Ritts, n.p.; Twin Palms Publishers, Herb Ritts: Pictures, n.p.

Only 22 prints from the proposed edition of 25 were realized, and of those, only 18 were signed by the artist. Another print from this edition is in the permanent collection of the Museum of Fine Arts, Boston.

79 MASSIMO VITALI b. 1944 Bari 4 (#1878), 2003 Color coupler print, Diasec mounted. 24 3/4 x 33 in. (62.9 x 83.8 cm). Signed, titled, dated and numbered 15/35 in ink on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, Germany

80 HERB RITTS 1952-2002 Neith with Tumbleweed, Paradise Cove, 1986 Toned gelatin silver print. 18 5/8 x 15 1/8 in. (47.3 x 38.4 cm). Copyright credit blindstamp in the margin; signed, titled, dated and numbered 21/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Bulfinch Press, Herb Ritts: Work, n.p.; Fondation Cartier pour l’art

contemporain, Herb Ritts, n.p.; Twin Palms Publishers, Herb Ritts: Pictures, n.p.

Only 24 prints from the proposed edition of 25 plus 3 artist’s proofs were realized.

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05-03-11 10.13

81 MASSIMO VITALI b. 1944 Cabo Frio (#1704), 2003 Color coupler print, Diasec mounted. 59 x 75 in. (149.9 x 190.5 cm). Signed, titled, dated and numbered 5/6 in ink on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0

82 VIK MUNIZ b. 1961

83 VIK MUNIZ b. 1961

12,000 Yards (Lac d’Annecy) from Pictures of Thread, 1995

Montagne Saint-Victoire, seen from Montbriand, After Cézanne from Pictures of Pigment, 2006

Gelatin silver print. 17 1/2 x 21 7/8 in. (44.5 x 55.6 cm). Signed, titled, dated and numbered

Color coupler print. 19 3/4 x 24 in. (50.2 x 61 cm). Signed, dated in ink, printed title, date and

in pencil in the margin. One from an edition of 5.

number on an artist’s label afﬁxed to the reverse of the frame. One from an edition of 50.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

EXHIBITED Vik Muniz Reparte: The Atlanta College of Art, Atlanta, 25 January - 11 March

LITERATURE Capivara Editora, Vik Muniz, Obra Completa 1987-2009, p. 602

2001; Henry Art Gallery, University of Washington, Seattle, 4 October - 16 December 2001; CU Art Gallery, University of Colorado, Boulder, 17 January - 23 March 2002

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84 ROBERT POLIDORI b. 1951 Vestibule, (73) AMI.01.009 Salles Empire, Aile du Midi- R.d.C, Versailles, 1986 Fujicolor Crystal Archive print, printed later. 34 x 43 in. (86.4 x 109.2 cm). Signed in ink, printed title, date and number 1/10 on a gallery label afﬁxed to the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Edwynn Houk Gallery, New York LITERATURE Place des Victoires, Versailles, p. 289

85 ROBERT POLIDORI b. 1951 Salle Les Campagnes Militaires et Le Décor des Résidences Royale, Foreground, Escalier Questel, Background, (93) ANR.02.011, Salles du XVII, ANR.02.012, Aile Du Nord – 1er Etage, Versailles, 2008 Fujicolor Crystal Archive print. 43 x 34 1/2 in. (109.2 x 87.6 cm). Signed in ink, printed title, date and number 1/10 on a gallery label afﬁxed to the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Edwynn Houk Gallery, New York LITERATURE Steidl, Robert Polidori: Parcours Muséologique Revisité, Vol. I, p. 150

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86 CANDIDA H…FER b. 1944 Playfair Library Hall, The University of Edinburgh, II, 1998 Color coupler print, printed 1999. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm). Signed and dated in ink on the reverse of the ﬂush-mount. Number 3 from an edition of 6.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Patrick de Brock Gallery, Knokke; Phillips de Pury & Company, New York,

16 October 2008, lot 224 LITERATURE Hatje Cantz Publishers, XL Photography: Art Collection Neue Bšrse, p. 113

87 JULIUS SHULMAN 1910-2009 Case study house no. 22, Los Angeles, CA, Pierre Koenig, architect, 1960 Gelatin silver print, printed later. 14 7/8 x 12 in. (37.8 x 30.5 cm). Signed in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Jackson Fine Art, Atlanta

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88 SANTE DÕORAZIO b. 1956 Pam Anderson: Proﬁle #3, Hollywood, 2000 Digital color coupler print, Diasec mounted. 47 x 38 1/4 in. (119.4 x 97.2 cm). Signed in ink and copyright credit reproduction limitation stamp on a label afﬁxed to the reverse of the frame. Number 1 from an edition of 5.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

89 MARTIN SCHOELLER b. 1968 Angelina Jolie, 2004 Digital color coupler print, printed 2006. 18 3/4 x 15 in. (47.6 x 38.1 cm). Signed, dated ‘2006’ in ink, printed title, date and number 7/10 on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Hasted Hunt, New York

90 MARTIN SCHOELLER b. 1968 Jack Nicholson, 2002 Digital color coupler print, printed 2006. 18 3/4 x 15 in. (47.6 x 38.1 cm). Signed, dated ‘2006’ in ink, printed title, date and number 10/10 on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Hasted Hunt, New York

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91 ROBERT MAPPLETHORPE 1946-1989 Flowers in a Vase, 1985 Dye transfer print, printed 1988. 18 3/4 x 18 3/8 in. (47.6 x 46.7 cm). Signed, dated and numbered 7/7 in ink in the margin; signed, titled, dated, numbered 7/7 in ink and copyright credit reproduction limitation stamp on the reverse of the ďŹ&#x201A;ush-mount.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 EXHIBITED Robert Mapplethorpe: The Perfect Moment: ICA, University of Pennsylvania,

Philadelphia, 9 December 1988 - 29 January 1989; Museum of Contemporary Art, Chicago, 25 February - 4 April 1989; Corcoran Gallery of Art, Washington D.C., 1 July - 3 Sepetember 1989; Wadsworth Atheneum, Hartford, 8 October - 24 December 1989; University Art Museum, Berkeley, 17 January - 18 March 1990 and Institute of Contemporary Art, Boston, 14 June - 31 August 1990 LITERATURE Kardon, Robert Mapplethorpe: The Perfect Moment, p. 88; High Museum of Art,

Chorus of Light: Photographs from the Sir Elton John Collection, p. 125 for a color variant

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92 ROBERT MAPPLETHORPE 1946-1989 Flag, 1987 Gelatin silver print, ﬂush-mounted. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm). Signed, dated and inscribed ‘For Lloyd’ in ink in the margin.

In the late 1970s, Robert Mapplethorpe was photographing some of the most iconic and controversial images of his career from Jim and Tom, Sausalito, 1977 to Self-Portrait, 1978. It is no wonder then, that his American Flag, 1979 would be similarly provocative, documenting a raised tattered ﬂag, an act,

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 PROVENANCE Acquired directly from the artist

which, while not illegal, was certain to incite debate. When Mapplethorpe returned to the subject eight years later, just two years before his death, his approach was noticeably more ambiguous. As we see in the present lot, while his interest in classical iconography remained, gone from Flag, 1987 was the controversial undertone that the world had come to expect of him. Instead, Mapplethorpe’s tone was that of a quiet self-reﬂection, motivated by the artist’s solemn awareness of his own imminent mortality. One cannot help but wonder if with Flag, 1987, Mapplethorpe ﬁnally created an image universal in its appeal. While the prints from the edition of 10 have a horizontal orientation, this variant from outside the edition is alternatively cropped in a square format.

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93 RICHARD AVEDON 1923-2004 Bob Dylan, Singer, 132nd Street and FDR Drive, November 4, 1963 Gelatin silver print, printed 1965. 10 x 7 7/8 in. (25.4 x 20 cm). Signed, numbered in pencil, copyright credit reproduction limitation, title and date stamps on the verso. One from an edition of 25.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 LITERATURE Louisiana Museum of Modern Art, Richard Avedon Photographs 1946-2004,

p. 23; Shanahan, Richard Avedon: Evidence 1944-1994, p. 147; Stevens, Richard Avedon: The Sixties, p. 26

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94 IRVING PENN 1917-2009 Miles Davis hand and trumpet, New York, July 1, 1986 Selenium-toned gelatin silver print, printed 1998. 10 x 10 1/2 in. (25.4 x 26.7 cm). Signed, initialed, titled, dated in pencil, copyright credit reproduction limitation and edition stamps on the verso. One from an edition of 9.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York

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95 ANNIE LEIBOVITZ b. 1949 The Rolling Stones, New York, 1985 Dye destruction print. 6 1/4 x 7 3/8 in. (15.9 x 18.7 cm). Signed, titled, dated and numbered 25/40 in ink in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

96 ARNOLD NEWMAN 1918-2006 Igor Stravinsky, New York City, 1946 Gelatin silver print, printed later. 10 3/8 x 19 5/8 in. (26.4 x 49.8 cm). Signed, titled, dated and annotated ÔArtistÕs ProofÕ in pencil on the mount; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, p. 151;

High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 180; LIGHT Gallery, LIGHT, p. 97

97 EDWARD WESTON 1886-1958

98 EDWARD WESTON 1886-1958

Igor Stravinsky, 1935

Gelatin silver print. 4 1/2 x 3 5/8 in. (11.4 x 9.2 cm). Initialed ÔEWÕ and dated Ô36Õ in pencil on

Gelatin silver print. 4 1/2 x 3 1/2 in. (11.4 x 8.9 cm). Initialed ÔEWÕ and dated Ô36Õ in pencil

the mount.

on the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0

Estimate $7, 0 0 0 - 9, 0 0 0

PROVENANCE Joseph Bellows Gallery, La Jolla

EXHIBITED Nancy Newhall: A Literacy of Images, Museum of Photographic Arts, San Diego,

LITERATURE Conger, Edward Weston: Photographs, fig. 864, 865; Lowe and Thompson,

20 September 2008 - 25 January 2009

Edward Weston: Life Work, pl. 84; Stebbins, Weston’s Westons: Portraits and Nudes, pl. 28;

LITERATURE Conger, Edward Weston: Photographs, fig. 864, 865; Lowe and Thompson,

for all, a variant from the same sitting

Edward Weston: Life Work, pl. 84; Stebbins, Weston’s Westons: Portraits and Nudes, pl. 28; for all, a variant from the same sitting

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99 HIROSHI SUGIMOTO b. 1948 Casa Batll—, Anton’ Gaud’, 1998 Gelatin silver print, ﬂush-mounted. 58 3/4 x 47 in. (149.2 x 119.4 cm). Signed in ink, printed title, date and number 2/5 on an artist’s label afﬁxed to the reverse of the frame.

Hiroshi Sugimoto’s Architecture series began in 1997 as a commission from the Museum of Contemporary Art, Chicago for their traveling exhibition At the End of the Century: One Hundred Years of Architecture, which opened at the Museum of Contemporary Art in Tokyo in 1998. Since then, Sugimoto has

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Sonnabend Gallery, New York; Private Collection, New York LITERATURE Kunsthaus Bregenz, Hiroshi Sugimoto: Architecture of Time, n.p.

continued to photograph icons of modernist and contemporary architecture including Casa Batll—, Anton’ Gaud’, as seen in the present lot, as well as Egerstrom house, Luis Barrag‡n (lot 72). The buildings are intentionally depicted out of focus, for the blurry image whittles them down to their bare essentials—a vague shape comprised of sketchy lines that Sugimoto imagines the buildings to have originated as in the mind of the architect. By doing so, Sugimoto’s architectural series is a conceptual visualization of preexistence, consisting of a minimal inclusion of form, light and space.

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100 EUGENE VON BRUENCHENHEIN 1910-1983 Selected Images, 1940s Three gelatin silver prints. Varying dimensions from 8 7/8 x 6 3/4 in. (22.5 x 17.1 cm) to 9 7/8 x 8 1/2 in. (25.1 x 21.6 cm).

Von Bruenchenhein’s images belong to the complex history of set-up photography that gained critical mass in the early 1980s. Like a proto-Cindy Sherman, Marie assumes female, Hollywood-related roles. She serves as chaste pinup girl, Tahitian princess (or tourist), would-be starlet, Breck Girl, young

Estimate $ 5 , 0 0 0 -7, 0 0 0

Madonna (although they had no children) and much more.

PROVENANCE Private Collection, Chicago

Roberta Smith, ÒMeager Means, Rich Imagination,Ó The New York Times, [Eugene Von Bruenchenhein’s] real artistic blossoming seems to have been

4 November 2010

inspired by Marie, whom he met in 1939, when she was 19 and he was 29, and married four years later. Over the next decade or so he took thousands of photographs of her in various states of undress, often wearing clunky heels, garters, scarves, and draped with pearls or flowers. When she dons dresses, they are floral prints. She is almost always seen against one of three or four floral

The exhibition, Eugene Von Bruenchenhein: Freelance Artist / Poet and Sculptor / Innovator / Arrow maker and / Plant man / Bone constructor / Photographer and Architect / Philosopher will be on view at the American Folk Art Museum in New York through 9 October 2011.

backdrops, seated on small patterned rugs. Despite frequently bared breasts and thighs, the photos feel remarkably innocent.

101

101 RUTH BERNHARD 1905-2006 In the Box (Horizontal), 1962 Gelatin silver print, printed later. 11 1/2 x 20 1/4 in. (29.2 x 51.4 cm). Signed in pencil in the margin; signed, titled and dated in pencil on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Chronicle Books, Ruth Bernhard: The Eternal Body, back cover and pl. 19;

Mitchell, Ruth Bernhard: Between Art & Life, p. 104

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102

102 RUTH BERNHARD 1905-2006

103

Perspective II, 1967 Gelatin silver print, printed later. 7 7/8 x 13 3/8 in. (20 x 34 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Chronicle Books, Ruth Bernhard: The Eternal Body, cover and pl. 26; Fetterman,

Woman: A Celebration, pl. 9; Mitchell, Ruth Bernhard: Between Art & Life, p. 89

103 RUTH BERNHARD 1905-2006 Draped Torso, 1962 Gelatin silver print, printed later. 13 1/2 x 8 1/2 in. (34.3 x 21.6 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Chronicle Books, Ruth Bernhard: The Eternal Body, pl. 17; Mitchell, Ruth

Bernhard: Between Art & Life, p. 85

104

104 RUTH BERNHARD 1905-2006 Classic Torso with Hands, 1952 Gelatin silver print, printed later. 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Mitchell, Ruth Bernhard: Between Art & Life, p. 100

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105

105 ANSEL ADAMS 1902-1984 The White Church, Hornitos, California, 1946 Gelatin silver print from Portfolio One: Twelve Photographic Prints, printed 1948. 9 1/4 x 7 1/4 in. (23.5 x 18.4 cm). Signed by the artist and numbered 7 in an unidentiﬁed hand in pencil on the mount; portfolio credit reproduction limitation stamp on the reverse of the mount. Number 17 from an edition of 75.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE The Ansel Adams Gallery, California LITERATURE Little, Brown & Company, The Portfolios of Ansel Adams, Portfolio I, pl. 7;

MFA Publications, Ansel Adams, pl. 96 there titled Church and Fence, Hornitos, California

106 ANSEL ADAMS 1902-1984 The Black Sun, Tungsten Hills, Owens Valley, California, 1939 Gelatin silver print from Portfolio V, printed 1970. 13 5/8 x 18 3/8 in. (34.6 x 46.7 cm). Signed and numbered ‘V-7- 27/110’ in pencil on the mount; titled, dated, numbered 7 in ink and portfolio credit reproduction limitation stamp on the reverse of the mount. Number 27 from an edition of 110.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Sotheby’s, New York, 3 October 2001, lot 9 LITERATURE Little, Brown & Company, The Portfolios of Ansel Adams, Portfolio V, pl. 7

106

107

107 EDWARD WESTON 1886-1958 Pepper No. 35, 1930 Gelatin silver print, printed later by Cole Weston. 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm). Signed, titled, dated in pencil by Cole Weston and Edward Weston credit stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Conger, Edward Weston: Photographs from the Collection of the Center for

Creative Photography, fig. 610; Camera Pictorialists of Los Angeles, The Pictorialist, 1931, pl. 40

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108 IRVING PENN 1917-2009 Blast Furnace Tender, New York, 1951 Platinum palladium print, printed 1967. 16 3/4 x 12 3/4 in. (42.5 x 32.4 cm). Signed, titled, dated, numbered 4/6 in pencil, CondĹ˝ Nast copyright credit and edition stamps on the verso.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Pace/MacGill Gallery, New York LITERATURE The J. Paul Getty Museum, Irving Penn: Small Trades, pl. 93

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109 ROBERT FRANK b. 1924 Fourth of July– Jay, New York, 1955 Gelatin silver print, printed 1970s. 12 1/2 x 8 in. (31.8 x 20.3 cm). Signed and titled ‘YAJ, N.Y.’ [sic] in ink in the margin.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 LITERATURE Bulfinch Press, On the Art of Fixing a Shadow: 150 Years of Photography, pp. 345

and 356; National Gallery of Art, Washington/Steidl, Looking In: Robert Frank’s The Americans, p. 231 there dated 1954; National Gallery of Art, Washington, Robert Frank: Moving Out, p. 183; Scalo, The Americans, pl. 17

After leaving his native Switzerland in 1947, Robert Frank embarked on a

The American ﬂag is featured in four photographs within The Americans:

world-wide tour that took him to Cuba, Panama, Bolivia, Peru, New York,

Parade– Hoboken, New Jersey, 1955; Navy Recruiting Station, Post Ofﬁce–

France, England, Switzerland, Italy and Wales. At the end of his travels, Frank

Butte, Montana, 1956; Bar– Detroit, 1955; and Fourth of July– Jay, New York,

chose to return to New York in a concentrated effort to establish himself as a

1954. While at ﬁrst glance, the ﬂag in Fourth of July appears to be prominent

photographer. His wish was to expose “the kind of civilization born here and

in its central occupation of the scene, a closer inspection subverts

spreading elsewhere,” as he expressed in his application to the Guggenheim

said perception. Evidence of haphazard restoration abounds, from the

Fellowship, which he was granted in 1955. Over a period of 9 months, 30 states,

mismatched patches to the extensive stitches across the stripes, collectively

767 rolls of ﬁlm, more than a thousand work prints, and 10,000 miles, Frank

turning the ﬂag to a worn, scarred drape. Moreover, a gaping tear along the

lifted a myriad of social rocks off the manicured American lawn to reveal the

lower edge speaks of the ﬂag’s unraveling on literal and ﬁgurative levels

underlying characters, hierarchies and imbalances that had been shoved away

alike. Its cropping at the top reﬂects the waning respect with which it has

from plain sight by mainstream media. Throughout his travels, Frank enjoyed

come to be treated. Of signiﬁcance, also, is the ﬂag being see-through, a

a dual advantage: a foreigner with detached observation as well as an insider

ghost of sorts, standing motionless over the scene unfolding in front of the

with genuine love for his newfound home. The ambiguity precluded his works

viewers. Despite, or perhaps because of his foreign origin, Frank neatly

from becoming self-righteous critiques or sentimental odes. The result was

captured the country’s shifting attitude towards patriotism, and expressed

Frank’s most iconic photographic compilation, The Americans.

his nostalgia for a bygone era.

First published in 1958 in France and then in 1959 in the United States, The Americans undertook the signifiers of the American quintessence and turned them on their head—a Hollywood starlet seems lost and dazed at a premiere; a lone cowboy leans against a trash can by the side of the road; the romanticized trolley ride in New Orleans reveals the segregated socioracial strata; and, as seen in the current lot—the American flag, grandiose in scale but lacking the presence on the day assigned to commemorate its significance.

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110

111

110 DENNIS HOPPER 1936-2010 Selma, Alabama (Full Employment), 1965 Gelatin silver print, printed later. 15 7/8 x 23 7/8 in. (40.3 x 60.6 cm). Signed, dated and numbered 10/15 in pencil on the verso; dated and numbered 10/15 in pencil on the reverse of the backing board.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

111 DENNIS HOPPER 1936-2010 Torn Poster (Elect), 1965 Gelatin silver print, printed later. 23 7/8 x 15 7/8 in. (60.6 x 40.3 cm). Signed, dated and numbered 15/15 in pencil on the verso; dated and numbered 10/15 in pencil on the reverse of the backing board.

112

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

112 ALFRED EISENSTAEDT 1898-1995 President John F. Kennedy in the Oval Ofﬁce, 1961 Gelatin silver print, printed 1995. 17 3/8 x 13 3/4 in. (44.1 x 34.9 cm). Signed and numbered 115/250 in ink in the margin; credit, titled, dated and copyright Time Inc. in an unidentiﬁed hand in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

113

113 ALEX GUOFENG CAO b. 1969 Jackie vs. JFK II, 2010 Color coupler print, Diasec mounted. 60 x 40 in. (154.2 x 101.6 cm). Signed, numbered 10/10 in ink, printed title and date on a Certificate of Authenticity affixed to the reverse of the flush-mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist

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114

114 VIK MUNIZ b. 1961 Lincoln after Brady from Pictures of Ink, 2000

115

Dye destruction print. 37 1/4 x 29 1/2 in. (94.6 x 74.9 cm). Signed, titled, dated and numbered 3/5 in ink on a gallery label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Sikkema Jenkins & Co., New York EXHIBITED Contemporary Art Gallery, Nassau County Museum of Art,

Roslyn Harbor, 19 February - 14 May 2006

Matthew Brady, best known for his documentary photographs of the American Civil War, is widely regarded as the grand patriarch of photojournalism. The image above appears to be modeled after Brady’s portrait session with President Abraham Lincoln on February 9, 1864.

115 MARTIN SCHOELLER b. 1968 Bill Clinton, 2000 Digital color coupler print, printed 2006. 18 3/4 x 15 in. (47.6 x 38.1 cm). Signed, dated ‘2006’ in ink, printed title, date and number 1/10 on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Hasted Hunt, New York

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116

117

116 HARRY CALLAHAN 1912-1999 Bob Fine, 1952 Gelatin silver print, printed later. 9 7/8 x 8 1/8 in. (25.1 x 20.6 cm). Signed in stylus on the recto.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Greenough, Harry Callahan, p. 11

117 HARRY CALLAHAN 1912-1999 Eleanor, California, 1947 Gelatin silver print, printed later. 4 5/8 x 3 3/8 in. (11.7 x 8.6 cm). Signed in stylus in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Cox, Harry Callahan: Eleanor, pl. 10; Greenough, Harry Callahan, p. 81; LIGHT

Gallery, LIGHT, p. 21; Szarkowski, Callahan, cover and p. 57

(actual size)

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118

118 BRETT WESTON Alcoa Building, San Francisco, 1976 Gelatin silver print, printed later. 13 1/3 x 10 1/2 in. (33.8 x 26.7 cm). Signed and dated in pencil on the mount; numbered 6 in pencil and portfolio stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Aperture, Brett Weston, p. 65

119

119 BRETT WESTON 1911-1993 Headstone and Lichen, Japan, 1970 Gelatin silver print. 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm). Signed and dated in pencil on the mount; signed and inscribed to Merle Armitage and rededicated by Armitage to the sculptor Napolitano, all of Carmel, CA, in ink on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

120 RAY K. METZKER b. 1931 Kayak, Frankfurt, 1961 Photogravure, printed 1995. 12 3/4 x 19 1/4 in. (32.4 x 48.9 cm). Signed, dated Ă&#x201D;1995Ă&#x2022; and numbered 17/40 in pencil in the margin.

Estimate $1, 8 0 0 - 2 , 2 0 0 PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Tucker, Unknown Territory: Photographs by Ray K. Metzker, n.p.

120

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121

121 EDWARD WESTON 1886 -1958 Old Adobe, Carmel Valley, 1934 Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed and numbered 1/50 in pencil on the mount; titled in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Scheinbaum & Russek Ltd., Santa Fe

122

122 EDWARD WESTON 1886-1958 16M Plasterworks, Los Angeles, 1925 Gelatin silver print, printed later by Cole Weston. 7 3/8 x 9 1/8 in. (18.7 x 23.2 cm). Signed by Cole Weston in pencil and Edward Weston credit stamp on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE The Weston Gallery, Inc., Carmel LITERATURE Newhall, Supreme Instants: The Photography of Edward Weston, p. 188; Mora,

Edward Weston: Forms of Passion, p. 105

123

123 EDWARD WESTON 1886 -1958 Church Door, Hornitos, 1940 Gelatin silver print, printed later by Cole Weston. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm). Signed by Cole Weston in pencil and Edward Weston credit stamp on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE The Weston Gallery, Inc., Carmel LITERATURE Newhall, Supreme Instants: The Photography of Edward Weston, p. 187

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124

124 HARRY CALLAHAN 1912-1999 Wells Street, Chicago, 1949 Gelatin silver print, printed circa 1970. 6 3/8 x 6 3/4 in. (16.2 x 17.1 cm). Signed in pencil on the mount.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Greenough, Harry Callahan, p. 47; Szarkowski, Callahan, p. 81

125

125 HARRY CALLAHAN 1912-1999 Chicago, circa 1949 Gelatin silver print, printed later. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed in stylus in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Szarkowski, Callahan, p. 79

126

126 HARRY CALLAHAN 1912-1999 Rome, Italy, 1968 Gelatin silver print. 6 7/8 x 6 7/8 in. (17.5 x 17.5 cm). Signed in pencil on the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist

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127

127 ROBERT ADAMS b. 1937 Denver, Colorado, 1973 Gelatin silver print, printed circa 1977. 6 x 7 1/2 in. (15.2 x 19.1 cm). Signed, initialed and dated in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Fraenkel Gallery, San Francisco LITERATURE Adams, What We Bought: The New World: Scenes from the Denver Metropolitan

Area, pl. 140

128

128 ROBERT ADAMS b. 1937 Alameda Avenue, Denver, 1974 Gelatin silver print. 5 7/8 x 6 in. (14.9 x 15.2 cm). Signed and titled ÔNew West #80Õ in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 LITERATURE Szarkowski, The New West, p. 80

129

129 ROBERT ADAMS b. 1937 Colorado Springs, Colorado, 1968 Gelatin silver print. 5 3/4 x 5 7/8 in. (14.6 x 14.9 cm). Signed, titled and dated in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Fraenkel Gallery, San Francisco

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130

130 HENRY WESSEL b. 1942

131 ROBERT ADAMS b. 1937

Walapai, Arizona, 1971

Tree, Colorado Prairie, 1984

Gelatin silver print, printed circa 1994. 10 3/8 x 15 1/2 in. (26.4 x 39.4 cm). Signed, titled

Gelatin silver print, printed 1986. 8 1/8 x 10 in. (20.6 x 25.4 cm). Signed, titled, dated in pencil

and dated in pencil on the verso.

and copyright credit stamp on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE Gallery Luisotti, Santa Monica

PROVENANCE Fraenkel Gallery, San Francisco

LITERATURE Zander, Henry Wessel, pl. 4

EXHIBITED A New Reality: Black-and-White Photography in Contemporary Art: Jane Voorhees

131

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132

132 KENNETH JOSEPHSON b. 1932

133 WILLIAM EGGLESTON b. 1939

Postcard visit, Buffalo, 1970; New York State, 1970

White Ceiling Fan, Washington, D.C. (In the Home of William Christenberry), 1990

Two gelatin silver prints, one with afﬁxed postcard collage. (i) 4 x 6 1/4 in.

Dye transfer print. 4 1/4 x 6 1/8 in. (10.8 x 15.6 cm). Initialed in the margin; signed and

(10.2 x 15.9 cm); (ii) 8 x 12 in. (20.3 x 30.5 cm). (i) Numbered 3/30 in pencil on the mount;

numbered 4/5 in ink on the verso. One from an edition of ﬁve artist’s proofs.

signed, titled, numbered 3/30 in pencil and credit stamp on the reverse of the mount. (ii) Signed, titled and numbered 25/50 in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE From the artist; to Donna Leatherman, LLC, New York LITERATURE Green, American Photography: A Critical History, 1945 to the Present, p. 150

133

(actual size)

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AFTERNOON SESSION 2pm Lots 134-261

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134 BERENICE ABBOTT 1898-1991 New York at Night, 1932 Gelatin silver print, printed 1980s. 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm). Signed in pencil on the mount, credit stamp on the reverse of the mount.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Commerce Graphics, Ltd., Berenice Abbott, frontispiece there titled Nightview,

New York; Photo Poche, Berenice Abbott, pl. 20; Steidl, Berenice Abbott: Volume II, cover, frontispiece and p.35; Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, p. 125; The New York Public Library, Berenice Abbott: A Modern Vision, pl. 9 there titled New York at Night. Empire State Building, 350 Fifth Avenue, West Side, 34th and 35th Streets (General View North), Manhattan

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135 HELEN LEVITT 1913-2009 Selected Images, circa 1940 Nine gelatin silver prints, two printed 1960s. Each approximately 2 1/2 x 3 1/2 in. (6.4 x 8.9 cm) or the reverse. Seven variously signed, initialed, titled, dated and two initialed, all in pencil on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Laurence Miller Gallery, New York LITERATURE Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 44

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136

136 HELEN LEVITT 1913-2009

137 HELEN LEVITT 1913-2009

N.Y.C., 1940

Gelatin silver print, printed later. 8 3/8 x 12 1/8 in. (21.3 x 30.8 cm). Signed, titled and dated

Gelatin silver print, printed later. 11 3/8 x 7 7/8 in. (28.9 x 20 cm). Signed, titled and dated

in pencil on the verso

in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

LITERATURE Harry N. Abrams, Inc., The New Vision: Photography between the World Wars, pl.

PROVENANCE Peter Fetterman Gallery, Santa Monica

28, there titled Three kids on a stoop; Phillips and Hambourg, Helen Levitt, pl. 8; PowerHouse,

LITERATURE Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 6; PowerHouse

Helen Levitt: Crosstown, p. 81; Szarkowski, Looking at Photographs: 100 Pictures from the

Books, Helen Levitt: Crosstown, p. 51

Collection of the Museum of Modern Art, p. 139

138

137

138 HELEN LEVITT 1913-2009

139

139 WALKER EVANS 1903-1975

N.Y.C., 1940

Hightstown, N.J., 1963

Gelatin silver print, printed later. 12 1/2 x 8 1/2 in. (31.8 x 21.6 cm). Signed, titled and dated

Gelatin silver print. 8 1/8 x 5 1/2 in. (20.6 x 13.8 cm). Titled, dated in an unidentiďŹ ed hand

in pencil on the verso.

in pencil, credit and Lunn Archive stamps on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

PROVENANCE Peter Fetterman Gallery, Santa Monica

PROVENANCE William L. Schaeffer Photographic Works of Art, Connecticut

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140

140 EDOUARD BOUBAT 1923-1999 Selected Images from Edouard Boubat Portfolio, 1947-1980 Paris: Hyperion Press, 1981. Fourteen gelatin silver prints. Each approximately 9 3/8 x 14 in. (23.8 x 35.6 cm) or the reverse. Each with HP blindstamp in the margin; signed in pencil on the verso; sequential blindstamp number on the inside of the mat. Number 8 from an

Titles include: Lella, Bretagne, 1948; Enfants dans la premiere neige, Paris, 1955; Petite ﬁlle aux feuilles mortes, Paris, 1947; Torse, Paris, 1980; Fête des morts, Mexique, 1980; Foins, Cahors, 1959; Femmes aux ﬂeurs, Portugal, 1958; Hermanos Gonzalez, Espagne, 1956; Rue de Grenade, Espagne, 1954; Place

edition of 100 plus VII artistÕs proofs. Introduction by Robert Doisneau. Plate list numbered

Saint-Suplice, Paris, 1947; Hommage au Douanier Rousseau, Paris, 1980; Fleurs

8 in ink. Colophon. Enclosed in a linen clamshell case.

des champs, Forêt de Fontainebleau, 1980; Place des Vosges, Paris, 1979; Champ

Estimate $12 , 0 0 0 -18 , 0 0 0

de lin, Normandie, 1978

PROVENANCE Phillips de Pury & Company, New York, 31 January 2008, lot 144 LITERATURE Boubat & Anhoury, Edouard Boubat: The Monograph, n.p. for several images;

142

Fetterman, Woman: A Celebration, pl. 35

141

141 RUTH ORKIN 1921-1985

142 EVELYN HOFER b. 1937

Dark Skies over 5th avenue, 1981

Coney Island, NY, 1965

Color coupler print. 12 1/4 x 18 3/8 in. (31.1 x 46.7 cm). Signed, titled and dated in ink in the

Dye transfer print, printed 1977. 13 1/2 x 10 3/8 in. (34.3 x 26.4 cm). Signed, titled, dated

margin; signed, titled, dated and copyright in ink on the verso.

and numbered 2/10 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE RoseGallery, Santa Monica LITERATURE Pritchett, New York Proclaimed, frontispiece

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143

143 O. WINSTON LINK 1914-2001

144 O. WINSTON LINK 1914-2001

NW1103, Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956

NW1635, Birmingham Special at Rural Retreat, Virginia, 1957

Gelatin silver print, printed 1983. 15 1/2 x 19 3/8 in. (39.4 x 49.2 cm). Signed, titled ÔNW 1103Õ,

Gelatin silver print, printed 1983. 15 1/2 x 19 3/8 in. (39.4 x 49.2 cm). Signed, titled ÔNW 1635Õ,

dated Ô11-83Õ in pencil, copyright credit and reproduction limitation stamps on the verso.

dated Ô7-83Õ in pencil, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE The PhotographersÕ Gallery, London

LITERATURE Harry N. Abrams, Inc., An American Century of Photography: The Hallmark

LITERATURE Harry N. Abrams Inc., Steam, Steel & Stars: AmericaÕs Last Steam Railroad,

Photographic Collection, p. 367; Harry N. Abrams, Inc., Steam, Steel & Stars: AmericaÕs Last

pp. 86-87

Steam Railroad, back cover and pp. 124-125; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 104

144

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145 ROBERT FRANK b. 1924 Cafe-Beaufort, South Carolina, 1955 Gelatin silver print, printed 1960s, ﬂush-mounted. 12 1/2 x 18 3/4 in. (31.8 x 47.6 cm). Signed, titled ‘South Carolina’ and dated in ink on the recto.

In his introduction to Robert Frank’s seminal book, The Americans, Jack Kerouac wrote, “…he will definitely be hailed as a great artist in his field. After seeing these pictures you end up finally not knowing any more whether a jukebox is sadder than a coffin. That’s because he’s always taking pictures

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Pace/MacGill Gallery, New York

of jukeboxes and cofﬁns—and intermediary mysteries…” As one of the keenest observers of the discrepancies underlying the social, cultural,

LITERATURE Green, American Photography: A Critical History, 1945 to the Present, p. 90;

political, economic, and perhaps most notably—racial relations, Robert

National Gallery of Art, Washington/Steidl, Looking In: Robert FrankÕs The Americans, p. 236;

Frank’s compilation of 83 images in The Americans collectively expose a

Scalo, The Americans, pl. 22

narrative that had been considered taboo and outright invisible. In CafŽ-Beaufort, South Carolina, a jukebox, an emblem of American leisurely pastime and 50’s Pop culture, is propped in a stark setting, alooﬂy towering on the far left side of the scene. An unattended African American baby aimlessly crawls nearby. The image reminds viewers of the racial dynamics that still typiﬁed the country at the time, where African Americans’ access to the world of entertainment was still severely limited. That the subject is a baby hints at the intergenerational legacy of the unbalanced dynamic and captures Frank’s astute social awareness.

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146

146 LEE FRIEDLANDER b. 1934 New York City, 1966 Gelatin silver print, printed later. 8 1/2 x 12 7/8 in. (21.6 x 32.7 cm). Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York LITERATURE Galassi, Friedlander, pl. 120; Harry N. Abrams, Inc., Lee Friedlander: Like a One-

Eyed Cat, Photographs 1956-1987, pl. 20; Weski and Liesbrock, How You Look at It: Photographs of the 20th Century, p. 427

147

147 ANDY WARHOL 1928-1987 Flea Market, circa 1986 Unique gelatin silver print. 7 7/8 x 10 in. (20 x 25.4 cm). Andy Warhol Estate stamps on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

148 LOUIS FAURER 1916-2001 Park Ave. Garage at Hotel Marguery, New York City, 1950 Gelatin silver print, printed 1990. 12 x 16 1/2 in. (30.5 x 41.9 cm). Signed, titled, dated, numbered 17/18 and copyright in pencil on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Wilkes-Tucker, Louis Faurer, p. 133

148

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149 ROBERT FRANK b. 1924 From the Bus, New York, 1958 Gelatin silver print, printed 1970s. 9 1/8 x 13 3/4 in. (23.2 x 34.9 cm). Signed and titled in ink on the recto; credited in ink, titled, numbered 47 in an unidentiﬁed hand in pencil, Robert Frank Archive and copyright stamps on the verso.

Whenever I look at these pictures I think that I ought to be able to say something about the way it felt when I took them and how I took them (with a Leica) and why I like them. The Bus carries me thru the City, I look out the window, I look at the people on the street, the Sun and the Trafﬁc Lights. It has to do with desperation and endurance- I have always felt that about living in New York. Compassion and

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

probably some understanding for New York’s Concrete and its people, walking… waiting…standing up…holding hands…the summer of 1958. The gray around the picture to heighten the feeling of seeing from the inside to the outside. I like to see them one after another. It’s a ride bye and not a ﬂashy backy. Robert Frank, National Gallery of Art, Robert Frank: Moving Out, p. 204

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150 DIANE ARBUS 1923-1971 A Jewish giant at home with his parents in the Bronx, N.Y., 1970 Gelatin silver print from A box of ten photographs, printed later by Neil Selkirk. 15 x 15 in. (38.1 x 38.1 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered

New Yorker writer Joseph Mitchell, himself renowned for his interest in social anomalies. It was he who taught Arbus how to socialize and gain the trust of people whose existence was otherwise dismissed or ridiculed by

37/50 by Doon Arbus, Executor, in ink, copyright credit, reproduction limitation and

mainstream. In the early 1960s, Arbus met a number of individuals whom she

portfolio stamps on the verso.

included in her later works, including Eddie Carmel, The Jewish Giant.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

Billed as the Tallest Man on Earth by the Ringling Brothers Circus, the 8’9” 34

PROVENANCE The Looking Glass Gallery, Michigan

year-old man was photographed with his parents by Arbus in 1970. By then,

LITERATURE Aperture, Diane Arbus, n.p., Arbus, Sussman, Phillips, Selkirk

Arbus had won two Guggenheim fellowships, which she used to explore “the

and Rosenheim, Diane Arbus: Revelations, pp. 300-301 and p. 209 (contact sheet)

considerable ceremonies of our present because we tend while living here and now to perceive only what is random and barren and formless about it…

In 1960, Diane Arbus ﬁrst watched Tod Browning’s 1932 movie Freaks, which

These are our symptoms and our monuments. I want simply to save them,

featured an array of marginalized social oddballs, from midgets to a bearded

for what is ceremonious and curious and commonplace will be legendary.”

lady. The same year, Marvin Israel, who became her lover and mentor,

Despite the emphasis on the size discrepancy between Eddie Carmel and

introduced her to the work of German photographer August Sander, typiﬁed

his parents, the photograph is a loving family portrait—even if awkwardly

by its blunt portrayal of the German social strata post-World War I. Both

so, humanized by the eye of a photographer who had dedicated her life to

exposures stirred Arbus as she began searching for subjects to photograph

capturing the undetected and overlooked.

in carnivals along the Eastern seaboard. Shortly thereafter, Arbus met The

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151

151 DIANE ARBUS 1923-1971 A family one evening in a nudist camp, PA, 1965 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm). Stamped ÔA Diane Arbus photographÕ, signed, titled, dated, numbered 27/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Fraenkel Gallery, San Francisco LITERATURE Aperture, Diane Arbus, n.p.; Aperture, Diane Arbus: Magazine Work, p. 68;

Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 295; Weski and Liesbrock, How You Look at It: Photographs of the 20th Century, p. 294

152

152 DIANE ARBUS 1923-1971 Lady in a rooming house parlor, Albion, NY, 1963 Gelatin silver print, printed later by Neil Selkirk. 15 x 14 3/4 in. (38.1 x 37.5 cm). Stamped ÔA Diane Arbus photographÕ, signed, titled, dated, numbered 11/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Aperture, Diane Arbus, n.p.; Arbus, Sussman, Phillips, Selkirk and

Rosenheim, Diane Arbus: Revelations, p. 106

153

153 DIANE ARBUS 1923-1971 Untitled I, 1970-71 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 1/2 in. (37.5 x 36.8 cm). Stamped ÔA Diane Arbus photographÕ, signed, titled, dated, numbered 50/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Robert Miller Gallery, New York; to the present Private Collection,

South Africa LITERATURE Aperture, Diane Arbus: Untitled, n.p.

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154 ROBERT FRANK b. 1924 Assembly line Ð Detroit, 1955 Gelatin silver print, printed 1977. 8 3/4 x 13 1/8 in. (22.2 x 33.3 cm). Signed and dated ‘1977’ in ink in the margin; titled, numbered 217, annotated ‘Americans 50’ in an unidentiﬁed hand in pencil and Robert Frank Archive stamp on the verso.

visit to the Ford Motor Company River Rouge plant, Frank wrote: “Ford is an absolutely fantastic place. Every factory is really the same but this one is God’s factory and if there is such a thing—I am sure that the devil gave him a helping hand to build up what is called Ford’s River Rouge Plant. But all the cars come out at one end… At the other end, the beginning of the

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

Plant, ships bring Iron-ore and from then on the whole car is built.” (Tucker

PROVENANCE Lunn Gallery, Washington; Private Collection, California; Deborah Bell

and Brookman, Robert Frank: New York to Nova Scotia, Museum of Fine Arts,

Photographs, New York

Houston, p. 22.) It is not surprising, therefore, that after Los Angeles, Detroit

LITERATURE National Gallery of Art, Washington/Steidl, Looking In: Robert FrankÕs

is the most prominently featured city in The Americans.

The Americans, p. 270; Scalo, The Americans, pl. 50

Assembly Line Ð Detroit strikes a careful balance between awe and critique. Shortly before embarking on his Guggenheim Fellowship-sponsored travels

The ﬁgures’ blurry portrayal alludes to the heightened sense of rapid

across the continental United States, Robert Frank visited Detroit, by

motion, bustling activity, strong discipline and swelling productivity. While

then the ﬁfth-largest city in the United States. With Ford Motor Company

the sense of individuality is compromised for the greater collective, Frank

the city’s largest employer, Detroit became the center for automobile

captured the quintessentially American success aura that characterized

production and a beacon for commercial and cultural productivity. Of his

Detroit in the 1950s.

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155 ROBERT FRANK b. 1924 Hotel Lobby, Miami Beach, 1955 Gelatin silver print, printed 1970s. 11 5/8 x 8 in. (29.5 x 20.3 cm). Signed, titled and dated Ô1970sÕ in ink in the margin.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York LITERATURE National Gallery of Art, Washington/Steidl, Looking In: Robert FrankÕs

The Americans, p. 239; Scalo, The Americans, pl. 25

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156

157

156 SALLY MANN b. 1951

157 SALLY MANN b. 1951

Sorry Game from Immediate Family, 1989

Listening to Madonna by the Tadpole Jar from Immediate Family, 1990

Gelatin silver print. 19 1/2 x 23 3/8 in. (49.5 x 59.4 cm). Signed, titled, dated, numbered

Gelatin silver print. 18 3/4 x 23 in. (47.6 x 58.4 cm). Signed, titled, dated, numbered and

6/25 and copyright in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE View Camera, ‘Sally Mann – The Power of Everyday Life’, March/April 1992,

p. 31; Blind Spot, ‘Sally Mann’, 1993, n.p.

158

159

158 SALLY MANN b. 1951

159 JOCK STURGES b. 1947

Untitled from Virginia, 1996

Nikki, Montalivet, France, 1998

Toned gelatin silver enlargement print. 30 5/8 x 38 3/4 in. (77.8 x 98.4 cm). Signed, dated,

Gelatin silver print. 14 3/4 x 18 3/4 in. (37.5 x 47.6 cm). Signed, titled, dated and numbered

numbered 2/10 and copyright in pencil on the reverse of the ﬂush-mount.

1/40 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Edwynn Houk Gallery, New York LITERATURE Bulfinch Press, Sally Mann: Deep South, p. 41

PHOTO_NY_APR11_lots_V2_74-111.indd 88

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160

160 SEYDOU KEìTA 1923-2001 A working man and his adorable twins, 1950s Gelatin silver print, printed 1998 by Philippe Salaun. 22 x 15 1/2 in. (55.9 x 39.4 cm). Signed twice, dated ‘1998’, annotated ‘52 A56’ in ink in the margin; signed, annotated ‘Paris 1998’ by Philippe Salaun in pencil and printer’s stamp on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Scalo, Seydou Ke•ta, p. 52

161

161 VIK MUNIZ b. 1961 Youth (Gaspar) from Pictures of Soil, 1998 Gelatin silver print. 23 1/4 x 18 7/8 in. (59.1 x 47.9 cm). Signed, titled, dated and numbered in pencil on the reverse of the ﬂush-mount. One from an edition of 10.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Arena Editions, Vik Muniz: Seeing is Believing, p. 135

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162

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

162 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 108

163

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

163 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 36

164

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

164 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 35; teNeues, Mapplethorpe: Perfection

in Form, p. 92

PHOTO_NY_APR11_lots_V2_74-111.indd 90

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165

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

165 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 19 1/8 x 15 1/4 in. (48.6 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink and copyright credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 101

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

166 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 65

166

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167

167 ALBERT WATSON b. 1942 Kate Moss, Marrakech, 1993 Gelatin silver print, printed later. 76 1/2 x 58 1/2 in. (194.3 x 148.6 cm). Signed and numbered 2/5 in ink on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Crump, Albert Watson, p. 87; Schirmer/Mosel, Albert Watson: The Vienna

Album, n.p.

168

168 ADAM FUSS b. 1961 Woman weeping from My Ghost, 1999 Gelatin silver photogram, mounted. 38 5/8 x 29 1/4 in. (98.1 x 74.3 cm).

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Sothebyâ&#x20AC;&#x2122;s, London, 16 May 2006, lot 100 LITERATURE Fuss, My Ghost, n.p. for a variant; Kellein, Adam Fuss, pl. 89 for a variant

PHOTO_NY_APR11_lots_V2_74-111.indd 92

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169

170

169 NAN GOLDIN b. 1953

170 NAN GOLDIN b. 1953

The Hug, New York City, 1980

Patrick and Teri on their wedding night, NYC, 1987

Dye destruction print. 23 1/2 x 15 3/8 in. (59.7 x 39.1 cm). Signed, titled, dated and numbered

Dye destruction print. 20 x 13 in. (50.8 x 33 cm). Signed, titled, dated and numbered AP2 on

14/25 in ink on the verso.

the verso. One from an edition of 25 plus artist’s proofs.

Estimate $7, 0 0 0 - 9 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

LITERATURE Aperture, Singular Images: Essays on Remarkable Photographs, cover and

PROVENANCE Private Collection, New York

p. 87; Aperture, Nan Goldin: The Ballad of Sexual Dependency, back cover and p. 129; Korinsha

EXHIBITED Nan Goldin: I’ll be your Mirror, The Whitney Museum of American Art, New York,

Press, Nan Goldin: Couples and Loneliness, p. 18; Sussman and Armstrong, Nan Goldin: I’ll Be

3 October 1996 - 5 January 1997

Your Mirror, New York, p. 127

LITERATURE Sussman and Armstrong, Nan Goldin: I’ll Be Your Mirror, p. 225

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171 CINDY SHERMAN b. 1954 Untitled #278, 1993 Color coupler print. 71 x 47 1/4 in. (180.3 x 120 cm). Signed, dated and numbered 2/6 in ink on the reverse of the frame.

Estimate $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0 PROVENANCE Metro Pictures, New York LITERATURE Durand, Regis & Flammarion, Cindy Sherman, pp. 169, 252; Jeu de

Paume, Cindy Sherman, n.p.

Cindy Sherman’s Untitled #278 is a culmination of four successive oeuvres in

Untitled #278 was created in 1993, ten years after Sherman’s work on the

which the renowned photographer challenges and debunks the constructs

series Fashion (1983), from which it draws the most inspiration. The original

of female identity and its network of associations. In her ﬁrst lauded body of

purpose of Fashion was commercial, as Sherman had been commissioned

work, Untitled Film Stills (1977-1980), Sherman positioned herself after roles

to create a number of ads for designer and retailer Dianne Benson.

culled from B-movies, horror ﬂicks and ﬁlm noir. By referencing seemingly

Eschewing the glamorized and hyper-celebratory depictions of women in

familiar female protagonists, Sherman drew attention to repeated patterns

fashion magazines, Sherman opted to highlight the antithetical: her subjects

in female depiction. The characters allocated to women, her photographs

appeared itchingly uncomfortable in their clothes; their facial expressions

collectively imply, had become nothing more than “prepackaged identities”

were that of rage, depression, discomposure; their bodies ﬂuctuated

(Taylor, Rosalind Krauss, Art & Text, p. 33) created by male ﬁlmmakers and

between ostentatious awkwardness and angry rebellion. In her notes for the

marketed to male viewers. It is beﬁtting, therefore, that for her next body of

photo shoot, Sherman noted that she wanted her ﬁgures:

work, Sherman looked to another source of male-oriented entertainment in which female depiction was tightly controlled, men’s magazines.

“…End of night - ...Fat Person…Shooting up, snorting coke (But clothes perfect looking)…Contorted poses – as in exercizing view through arms,

By playing the role of photographer and centerfold in Centerfolds (1981),

legs, twisted…—Bleeding, dying, etc…Skin colors: green, gold, silver,

Sherman granted herself the autonomy notably absent from the women

Black, Gray…hairy hands, Afro? hairy chest, arms…stupid looking

depicted in men’s magazines. Her alleged vulnerability, innocence and

model-types (but ethnic-dirty.)”

potential victimhood became clichés of femininity. Up until then, for the producer of the female archetype—be it forlorn lover, naïf hitchhiker,

Sherman further noted that her intention was to “Attack clothes, Ugly person

damsel-in-distress, small town girl in the city, etc.—the nominal task had

(face/body) vs. fashionable clothes.” The ﬂipping from ﬂattery to attack

been to create universally accepted parameters within which women were

reﬂected Sherman’s relationship not with the clothes in which her characters

recognized, classiﬁed and accordingly treated. However, for the decipherer

were dressed, but the ideology to which they were inextricably linked.

of the female archetype, a role which Sherman occupied to its fullest extent, the primary responsibility was to reveal the artiﬁciality underlying

Untitled #278 deftly references all of the aforementioned series in its

archetypes.

continued exposure and deconstruction of female identity. In keeping true to her 1983 Fashion notes, Sherman’s body is contorted as though different

Following the latter series, Sherman continued her deconstruction of

limbs had been pulled, twisted, broken and tugged to match a predetermined

female archetypes with History Paintings (1989-1990). Sherman recreated

vision of beauty. Her knees are bloodied, her ankles are wounded and her

iconic works of art, all by the hand of men, and thence assumed both the

legs are semi-splayed—she is the quintessential fashion victim. The gold

traditionally male active role of the artist and the historically female passive

lamé dress does not complement her ﬁgure as its tight bunching along her

role of the sitter. Through the heavy-handed reliance on prosthetics,

chest and midsection evoke notions of bondage and suffocation. Sherman’s

especially the paragon of female form and fertility—breasts, Sherman

heavy kabuki-style makeup, combined with the heavy wig, the hair sticks,

teetered between theatrical playfulness and audacious critique. That the

the Oriental rug, the Chinese market-ﬁnd umbrella and the chintzy interiors

works portray Sherman inevitably classiﬁes them as self-portraits; but being

all refer to the exaggeratedly constructed nature of the mise-en-scene. In

under the guise of (real and imagined) women of a different culture, era and

revealing the scene’s mismatching elements, like forced-together jigsaw

class, collapses the scaffolding of verity and authenticity upholding said

puzzle pieces, Sherman masterfully and unabashedly reveals her awareness

category. A true self, Sherman appears to say, is an invented one.

of the empty shell comprising archetypes—and in full control doing so.

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172 MARILYN MINTER b. 1948 Cyclone, 2006 Color coupler print. 39 3/4 x 25 3/4 in. (101 x 65.4 cm). Signed in ink on a gallery label afďŹ xed to the reverse of the frame. Number 3 from an edition of 5.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Salon 94, New York

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173 PETER LINDBERGH b. 1944 Kate Moss, HarperÕs Bazaar US, Long Island, NY, USA, 1994 Gelatin silver print, printed later. 58 x 46 in. (147.3 x 116.8 cm). Signed, titled, dated and numbered 3/3 in pencil on the verso.

As one of the fashion industry’s strongest pillars, Peter Lindbergh’s oeuvre is masterful for its seemingly effortlessness and simpliﬁed aesthetic. Launching the supermodels boom that characterized the 1980s and 1990s, Lindbergh eschewed the heavy styling and excessive visual opulence

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 LITERATURE American HarperÕs Bazaar, ‘A Star is Born’, December 1994; Schirmer Mosel,

Peter Lindbergh: Images of Women, p. 13; The Metropolitan Museum of Art, The Model as Muse:

that typiﬁed the era. Instead, his subjects were consistently depicted with minimal makeup and modest hairstyles, conveying looseness, conﬁdence and a joyful naturalness.

Embodying Fashion, back cover and p. 190

In Kate Moss, HarperÕs Bazaar US, Long Island, NY, USA, 1994, and Estelle Lefebure, Karen Alexander, Rachel Williams, Linda Evangelista, Tatjana Patitz, Christy Turlington, Vogue US, Santa Monica, CA, USA,1988 (lot 174), the models appear candid and relaxed. None are striking contorted poses or dramatic expressions, allowing their essence as everyday women and conﬁdence as icons of beauty to seamlessly merge under Lindbergh’s masterful lens.

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174 PETER LINDBERGH b. 1944 Estelle Lefebure, Karen Alexander, Rachel Williams, Linda Evangelista, Tatjana Patitz, Christy Turlington, Vogue US, Santa Monica, CA, USA, 1988 Gelatin silver print, printed later. 19 x 29 1/2 in. (48.3 x 74.9 cm). Signed, titled, dated and numbered 25/25 in pencil on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE American Vogue, ÔAnother Kind of BeautyÕ, August 1988; Arena Editions,

Peter Lindbergh: Stories, n.p.; Fraser, On the Edge: Images from 100 Years of Vogue, n.p.

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175 PATRICK DEMARCHELIER b. 1943 Princess Diana, London, 1990 Platinum palladium print. 19 3/4 x 14 in. (50.2 x 35.6 cm). Signed and annotated ÔPPÕ in pencil in the margin. One from an edition of 25 plus printerÕs proof.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE People Weekly, 15 September 1997, cover

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176

177

176 SEBASTIÌO SALGADO b. 1944 Iceberg Between the Paulet Islands and the Shetland Islands, Antarctica, 2005 Gelatin silver print. 21 1/4 x 30 1/8 in. (54 x 76.5 cm). Signed, titled ÔAntarticaÕ [sic] and dated in pencil on the verso.

Estimate $12 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist

177 SEBASTIÌO SALGADO b. 1944 Chinstrap Penguins (Pygoscelis Antarctica), Deception Island, Antarctica, 2005 Gelatin silver print. 29 3/4 x 21 3/8 in. (75.6 x 54.3 cm). Signed, titled ÔAntarticaÕ [sic] and dated in pencil on the verso.

Estimate $12 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist

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178

178 SEBASTIÌO SALGADO b. 1944

179 SEBASTIÌO SALGADO b. 1944

Sahara, Algeria, 2009

Churchgate Station, Bombay, India, 1995

Gelatin silver print. 21 1/4 x 29 1/2 in. (54 x 74.9 cm). Signed, titled ÔAlgeriaÕ and dated

Gelatin silver print, printed later. 13 3/4 x 20 1/4 in. (34.9 x 51.4 cm). Copyright credit

in pencil on the verso.

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

Estimate $12 , 0 0 0 -15 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Peter Fetterman Gallery, Santa Monica LITERATURE Aperture, Sebasti‹o Salgado: Migrations: Humanity in Transition, p. 419

179

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180 EDWARD BURTYNSKY b. 1955 Manufacturing # 10 a & b, Cankun Factory, Xiamen City, China, 2005 Digital color coupler diptych. Each 39 1/2 x 49 1/2 in. (100.3 x 125.7 cm); overall 42 x 104 in. (106.7 x 264.2 cm). Each signed in ink, printed title, date and number on labels afﬁxed to the reverse of the mounts. One from an edition of 9.

When Edward Burtynsky turned his attention to China in 2000, it seemed a natural continuation of the photographs he had been creating for over twenty years. Universally termed “industrial landscapes,” his images focus on the environmental and cultural impact of Man-made technologies. As we see in the present lot, Burtynsky unearths a beauty in his subjects, striking a

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 LITERATURE Steidl, Burtynsky: China, pp. 100-101

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nuanced balance between the harsh objectivity of the works’ documentarian context and the ﬁnesse of contemporary art photography.

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181

181 EDWARD BURTYNSKY b. 1955

182 EDWARD BURTYNSKY b. 1955

Rock of Ages #2, Granite Quarries, Beebe Quebec, 1991

Shipbreaking #23, Chittagong, Bangladesh, 2000

Color coupler print, printed 2000. 26 1/4 x 33 3/8 in. (66.7 x 84.8 cm). Signed in ink, printed

Color coupler print, printed 2003. 17 x 21 3/4 in. (43.2 x 55.2 cm). Signed in ink, printed title,

title, date and number 10/10 on an artist’s label afﬁxed to the reverse of the mount.

date and number 13/15 on a label afﬁxed to the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Paul Kuhn Gallery, Calgary

182

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183 SHIRIN NESHAT b. 1957 Women in a Line from Rapture, 1999 Color coupler print. 38 1/2 x 60 in. (97.8 x 152.4 cm). Signed in ink, printed title, date and number 5/5 on a gallery label afďŹ xed to the backing board.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Patrick Painter Gallery, Santa Monica

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184

184 LALLA ESSAYDI b. 1956 Converging Territories # 7, 2003 Color coupler print, Diasec mounted. 36 1/2 x 29 in. (92.7 x 73.7 cm). Signed, titled, dated and numbered 7/15 in ink on an artist’s label afﬁxed to the reverse of the aluminum ﬂush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0

185 LALLA ESSAYDI b. 1956 Converging Territories # 5, 2003 Color coupler print, Diasec mounted. 36 1/2 x 29 in. (92.7 x 73.7 cm). Signed, titled, dated and numbered 8/15 in ink on an artist’s label afﬁxed to the reverse of the aluminum ﬂush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0

186

185

187

186 VARIOUS PHOTOGRAPHERS The MOCA Photography Portfolio Los Angeles: Muse [X] Editions, 1999. Ten Fujicolor Crystal Archive prints. Varying dimensions from 9 x 13 3/4 in. (22.9 x 34.9 cm) to 15 5/8 x 19 3/8 in. (39.7 x 49.2 cm) or the reverse. Each variously signed, dated and numbered in ink on the verso. Number 54 from the edition of 250. Colophon. Enclosed in a lucite case.

Estimate $10 , 0 0 0 -15 , 0 0 0

Artists Include: Shirin Neshat (illustrated), Cindy Bernard, Keith Boadwee, Donigan Cumming, Renée Green, Lyle Ashton Harris, Susan Jennings, Martin Kersels, Gail LeBoff and Bruce and Norman Yonemoto.

187 SHIRIN NESHAT b. 1957 Untitled (Hands), 2005 Digital inkjet print. 17 1/2 x 11 3/4 in. (44.5 x 29.8 cm). Signed and numbered 51/100 in pencil in the margin.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

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188

188 ZHANG HUAN b. 1965 My Boston, 2005 Color coupler print, mounted. 39 1/2 x 80 in. (100.3 x 203.2 cm). Signed, titled in Chinese and numbered 1/8 in ink on a label afďŹ xed to the reverse of the frame.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist

189

189 RONG RONG b. 1968 Beijing #1, 2000 Four hand-tinted gelatin silver prints. Each 16 x 16 in. (40.6 x 40.6 cm). Each signed, titled, dated, numbered 9/20 and sequentially numbered 1-4 in pencil in the margin; three signed, each titled, dated and sequentially numbered 1-4 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist

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190

190 QIU ZHIJIE b. 1969 Depth in the Reality Shadow, 2005 Color coupler print. 47 x 47 in. (119.4 x 119.4 cm). Signed in English, Chinese and numbered 3/8 in ink on the recto.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist

191

191 STEVE MCCURRY b. 1950 Afghan Girl, Pakistan, 1985 Dye destruction print, printed 2006. 37 x 24 1/2 in. (94 x 62.2 cm). Signed and numbered 12/30 in ink in the margin; dated Ă&#x201D;02.06.06Ă&#x2022;, numbered 12/30 in ink and studio credit stamp on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0

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192

193 DOUG & MIKE STARN b. 1961

192 NICK BRANDT b. 1966 Elephant Ghost World, Amboseli, 2005

Structure of Thought #5, 2001

Archival pigment print. 30 1/2 x 46 in. (77.5 x 116.8 cm). Signed, dated and numbered

Archival inkjet prints with wax, encaustic and varnish. 23 x 27 1/4 in. (58.4 x 69.2 cm).

4/12 in pencil in the margin.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist

193

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194 ANDREW LEVITAS b. 1977 Wildebeest Stampede, 2007 Metalwork™ photograph. 47 x 71 in. (119.4 x 180.3 cm). Signed and numbered 3/10 in ink on the reverse of the ﬂush-mount.

Using a unique process called Metalwork™ photography, Andrew Levitas transfers his photographs into transparencies that are then melted onto hand-detailed metal sheets. The result is an illuminating and reﬂective surface, which gives movement and life to the image of the stampede

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

depicted in this lot.

PROVENANCE Acquired directly from the artist

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195 DAVID HOCKNEY b. 1937 Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb. 21st, 1983 Photographic collage, in the artist’s original frame. 40 x 62 1/2 in. (101.6 x 158.8 cm). Signed, titled, numbered 14 in ink on the mount. Number 14 from an edition of 20.

4 x 5 in. photographs provides the geometric aesthetic of Cubism, while Hockney’s layering of image upon image provides the ﬂuidity and three dimensional space that was at the heart of Picasso’s work. But beyond this, as the artist himself noted in an interview with Lawrence Weschler, what

Estimate $ 3 5 , 0 0 0 - 5 5 , 0 0 0 LITERATURE Arts Council of Great Britain, HockneyÕs Photographs, p. 28; Knopf,

interested Hockney most was the way these photocollages present the world in a manner much closer to the complex way in which we see and interpret

Camera Works: David Hockney, pl. 104; Nishimura Gallery, David Hockney: New Work

our surroundings: “I realized that this sort of picture came closer to how we

with a Camera, pl. 11

actually see, which is to say, not all-at-once but rather in discreet, separate glimpses which we then build up into our continuous experience of the world.” (Knopf, Camera Works: David Hockney, p. 11)

By the late 1960s, David Hockney had firmly established his reputation as a leading figure in the Contemporary Art world. With a California backdrop, his portraits of friends and lovers came to define West-Coast American painting, and while photography had always played an integral role in this work as source material, it was not until the 1970s that Hockney began experimenting with the photograph itself as a work of art. His earliest photo-based works, or “joiners,” were grids of photographs that together comprised the singular image that he intended. In 1982 he created his first photocollage.

In Walking in the Zen Garden at the Ryoanji Temple Kyoto, Feb. 21st, 1983, all of Hockney’s ideas and intentions for his photocollages come to fruition, with each of the approximate 130 photographs serving as a brushstroke on this alternate canvas. Individually, they are abstracted, revealing only a portion of the scene; but together they create a cohesive atmospheric sense of space that conveys not only the image but the experience of Hockney’s journey through the garden. From the details of Hockney’s footsteps that border the bottom edge to the sculptural surface of the isolated rocks in the

Combining various vantage points, Hockney’s photocollages depict comprehensive scenes that transcend the traditional limits of photography and representational art. Both visually and conceptually, they reference

distance and the delicate play of light and shadow, Hockney’s photocollage demonstrates a continuation of the artistic interest seen throughout his paintings.

Pablo Picasso and his strong inﬂuence on Hockney: the repetition of the

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196 ELGER ESSER b. 1967 Doubt, Frankreich, 1999 Color coupler print, Diasec mounted. 58 1/2 x 78 1/2 in. (148.6 x 199.4 cm); overall 73 1/2 x 96 1/4 in. (186.7 x 244.5 cm). Signed in ink, printed title, date and number 4/5 on an artist’s label afﬁxed to the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Christie’s, London, 24 June 2005, lot 256 LITERATURE Schirmer/Mosel, Elger Esser: Vedutas and Landscapes, pp. 80-81

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197 NOBUYOSHI ARAKI b. 1940 Kaori Love, 2007 Two gelatin silver prints with acrylic paint, unique. Each 21 x 15 1/2 in. (53.3 x 39.4 cm); overall 21 3/4 x 35 3/4 in. (55.2 x 90.8 cm). Signed in ink on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Araki, Kaori Love, Tokyo: Eyesencia, pp. 2-3

In the Kaori Love series, the model, who is a choreographer in real life, has modeled for Araki on a number of occasions. This unique piece is one of 20 different works from the series.

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198

198 NOBUYOSHI ARAKI b. 1940 Colourscapes, 1991/2006 Color coupler print. 36 1/4 x 29 in. (92.1 x 73.7 cm). Signed in ink on the verso. Accompanied by a Certiﬁcate of Authenticity signed in ink by the artist.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Araki, Colourscapes, Tokyo: Magazine House, p. 15; Araki, The Works of

Nobuyoshi Araki, Vol. 11: In Ruin, Tokyo: Heibonsha, p. 101

199 DAIDO MORIYAMA b. 1938 Untitled from Zoku Nippon Gekijo Shashincho (Japan, a Photo Theater II), 1978 Gelatin silver print. 15 3/4 x 12 3/4 in. (40 x 32.4 cm). Signed and dated in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0

199

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200

201

200 DAIDO MORIYAMA b. 1938 How to Create a Beautiful Picture 11, A Woman’s Room, 1987 Gelatin silver print. 7 3/8 x 11 in. (18.7 x 27.9 cm). Numbered 7 in ink in the margin; signed in English and Japanese in pencil on the verso. Accompanied by a signed certiﬁcate of authenticity.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

201 DAIDO MORIYAMA b. 1938 How to Create a Beautiful Picture 11, A Woman’s Room, 1987 Gelatin silver print. 10 7/8 x 7 3/8 in. (27.6 x 18.7 cm). Numbered 3 in ink in the margin; signed in English and Japanese in pencil on the verso. Accompanied by a signed certiﬁcate of authenticity.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

202

202 NOBUYOSHI ARAKI b. 1940 Untitled from Bondages, 1998 Gelatin silver print. 28 1/2 x 36 1/2 in. (72.4 x 92.7 cm). Signed in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Gallery Jablonka, Cologne LITERATURE Photology, Nobuyoshi Araki: Tokyo Nostalgia, p. 75

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203

204

203 HIROSHI SUGIMOTO b. 1948

204 HIROSHI SUGIMOTO b. 1948

Draken, Gšteberg, 2001

Stanford Theater, Stanford, 1992

Gelatin silver print. 16 5/8 x 21 1/4 in. (42.2 x 54 cm). Blindstamp title, date and number

Gelatin silver print. 16 1/2 x 21 1/4 in. (41.9 x 54 cm). Blindstamp title, date and number

5/25 273 in the margin; signed in pencil on the mount.

18/25 242 in the margin; signed in pencil on the mount.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Alan Koppel Gallery, Chicago

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205 HIROSHI SUGIMOTO b. 1948 Gulf of Bothnia, Hornslandet, 1996 Gelatin silver print. 16 1/2 x 21 1/4 in. (42 x 54 cm). Blindstamp title, date and number 7/25 438 in the margin; signed in pencil on the mount.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Sonnabend Gallery, New York

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206 FLORIAN MAIER-AICHEN b. 1973 Untitled, 2005 Color coupler print, Diasec mounted. 69 x 89 1/2 in. (175.3 x 227.3 cm). Signed and numbered 6/6 in ink on the reverse of the frame.

In his massive-scale vistas, Florian Maier-Aichen appropriates and adds a contemporary approach to the Romantic period’s philosophy of the Sublime. In contrast with discussion of the Beautiful, discourse surrounding the Sublime was distinguished by its dual invocation of horror

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE 303 Gallery, New York; Private Collection, New York LITERATURE Museum of Contemporary Art, Los Angeles, Florian Maier-Aichen, p. 14

and delight, at once appearing as menacing, ominous and terrifying as inspiring, humbling and invigorating. Emphasis was on the tremendous, overpowering effect of nature, and the diminishing proportion of Mankind by comparison. Mt. Williamson, the second highest mountain in California, is shown triumphantly hovering over the subdued urban grid sprawled at its feet, its electric blue aura emitting a sci-ﬁ glow across the sky, evoking a mesmerizing sense of awe in grandeur, timelessness and near-miraculous appearance.

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207

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208

207 ANDRES SERRANO b. 1950 Piss Christ from Immersions, 1987 Dye destruction print. 23 1/4 x 15 3/4 in. (59.1 x 40 cm). Titled, dated in an unidentiﬁed hand in pencil on a label afﬁxed to the reverse of the mount.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE White Columns Benefit Auction, New York, 1987 LITERATURE Brian Wallis, Andres Serrano: Body and Soul, n.p.

From religious iconography to the Ku Klux Klan, Andres Serrano has always embraced controversial subjects in an effort to explore his own relationship with the complex ideologies of contemporary culture. In his Immersions series, created between 1985 and 1990, Serrano submerged small plastic figures of, among other things, the Pope (lot 208), a classical bust (lot 209) and, most notoriously, the Crucifix (lot 207), in a vat of his own bodily fluids, which he then photographed. Serrano’s work constantly pushes the boundaries of taste and acceptability, forcing viewers to confront images that are at once discomforting yet visually engaging.

209

208 ANDRES SERRANO b. 1950 White Pope from Immersions, 1990 Dye destruction print. 59 1/2 x 39 1/2 in. (151.1 x 100.3 cm). Signed, titled and numbered 3/4 in pencil on the verso.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

209 ANDRES SERRANO b. 1950 DanteÕs Inferno from Immersions, 1990 Dye destruction print. 39 1/2 x 27 in. (100.3 x 68.6 cm). Signed, titled ‘Dante’ and numbered 8/10 in pencil on the verso.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Paula Cooper Gallery, New York

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210 SAM TAYLOR-WOOD b. 1967 Soliloquy VIII, 2000 Two color coupler prints. (i) 71 1/4 x 98 1/2 in. (181 x 250.2 cm). (ii) 13 5/8 x 98 1/2 in. (34.6 x 250.2 cm). Signed, titled, dated and numbered 2/6 in ink on a label afﬁxed to the reverse of the frame.

Sam Taylor-Wood’s photographs are renowned for merging the natural with the artificial, fiction with nonfiction, and illusion with reality. They challenge the notion that photographic processes are chronological sequences of events. At first glance, the panoramic images seem to depict a cohesive narrative, but upon closer inspection the viewer becomes confronted

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE White Cube, London

by a trajectory of haphazardly arranged moments that deny the viewer a linear narrative. The title of the present lot, Soliloquy, refers to a famous Shakespearian literary device in which a character’s inner dialogue is shared with the audience. In this regard, the print is expectedly uncensored and raw, depicting a fragmented sequence with multiple points of reference.

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211 DESIREE DOLRON b. 1963 Xteriors VI, 2003 Color coupler print, Diasec mounted. 33 1/4 x 31 in. (84.5 x 78.7 cm). Signed, titled, dated and numbered 3/8 in ink on the reverse of the ﬂush-mount.

notably in the sense of mystery imbued in its portraiture and its reliance on atmospheric lighting. Using the tools of contemporary technology, Dolron created a body of work that is both reﬂective of past traditions and innovative in its production. Set in an 18th century mansion in Utrecht, the

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Michael Hoppen Gallery, London LITERATURE Institute Néerlandais, Desiree Dolron: Exaltation, Gaze, Xterior, p. 107

photographs that comprise Xteriors are digital constructions taken from a variety of sources. As we see in both Xteriors VI and Xteriors XI, (lot 216), her use of digital manipulation is extensive yet subtle; obvious yet indiscernible. Manipulating faces, details and, most apparently, the dramatic lighting,

As a contemporary Dutch photographer, Desiree Dolron’s series, Xteriors

Dolron uses photography as a means of realizing her vision and, in doing

visually references the long and lush history of Flemish painting, most

so, intertwines the histories of painting and photography to create a striking tableau, defying the boundaries of both mediums.

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213

214

212 EIKOH HOSOE b. 1933 Embrace # 60, 1970 Gelatin silver print, printed later. 14 x 20 3/4 in. (35.6 x 52.7 cm). Signed in ink in the margin; signed in English and Japanese, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE LIGHT Gallery, LIGHT, p. 43

213 MELANIE SCHIFF b. 1977 Natalie I, 2008 Archival inkjet print. 47 1/2 x 39 5/8 in. (120.7 x 100.6 cm). Signed in ink on the reverse of the frame. Number 1 from an edition of 5.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Kavi Gupta Gallery, Chicago

215

214 IZIMA KAORU b. 1954 Hasegawa Kyoto wears Yves Saint Laurent Rive Gauche, 2003 Color coupler print, ﬂush-mounted. 39 1/2 x 31 in. (100.3 x 78.7 cm). Signed in ink, printed title, date and number 1/5 on an artist’s label accompanying the work.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

215 MONA KUHN b. 1969 Merle, 2003 Color coupler print. 29 7/8 x 29 7/8 in. (75.9 x 75.9 cm). Signed, titled, dated, numbered 4/8 and copyright in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Steidl, Mona Kuhn Photographs, cover and p. 79

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216 DESIREE DOLRON b. 1963 Xteriors XI, 2001-2002 Color coupler print, Diasec mounted. 39 1/2 x 29 in. (100.3 x 73.7 cm). Signed, titled, dated and numbered 2/8 in ink on the reverse of the ﬂush-mount.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Michael Hoppen Gallery, London LITERATURE Institute Néerlandais, Desiree Dolron: Exaltation, Gaze, Xterior, p. 109

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217

PROPERTY FROM THE PAUL TOMLINSON COLLECTION, DALLAS

217 LYNN DAVIS b. 1944 Cappadocia, Turkey, 1995 Selenium-toned gelatin silver enlargement print, printed 1996. 27 7/8 x 27 7/8 in. (70.8 x 70.8 cm). Signed, dated, numbered 2/10 in ink and credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Arena Editions, Lynn Davis: Monument, n.p.

218

PROPERTY FROM THE PAUL TOMLINSON COLLECTION, DALLAS

218 LYNN DAVIS b. 1944 Temple, Palmyra, Syria, 1995 Selenium-toned gelatin silver enlargement print, printed 1996. 27 7/8 x 27 3/4 in. (70.8 x 70.5 cm). Signed, dated, numbered 4/10 in ink and credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Arena Editions, Lynn Davis: Monument, n.p.

219

PROPERTY FROM THE PAUL TOMLINSON COLLECTION, DALLAS

219 LYNN DAVIS b. 1944 Old Kingdom, Egypt, 1989 Selenium-toned gelatin silver enlargement print, printed 1990. 28 x 27 7/8 in. (71.1 x 70.8 cm). Signed, dated, annotated ‘AP’ in ink and credit reproduction limitation stamp on the reverse of the ﬂush-mount. One from an edition of 10 plus artist’s proof.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist

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220 ADI NES b. 1966 Untitled from The Soldiers, 1999 Dye destruction print, mounted. 29 1/4 x 29 1/4 in. (74.3 x 74.3 cm). Signed in ink, printed title, date and number 5/6 on a Certiﬁcate of Authenticity accompanying the work.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Jack Shainman Gallery, New York

Israeli photographer Adi Nes confronts diminishing nationalistic ideals by referencing iconic journalistic portrayals of military accomplishments. In the current lot, Nes references Denis Simon’s Life magazine cover from June 13, 1967. In doing so, however, Nes glamorizes the military milestone and turns it into a hyperbolized and theatrical version of reality. The splashy, hyper-dramatized scene appears to be more concerned with vacuous selfconsciousness and feigned emotions than a true celebration of a battle won.

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221 BARRY FRYDLENDER b. 1954 Friday, 2002 Color coupler print, flush-mounted, printed later. 16.5 x 74 in. (41.9 x 188 cm). Signed in ink on a label affixed to the reverse of the flush-mount. Number 3 from an edition of 5.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Andrea Meislin Gallery, New York EXHIBITED Art of the State: Contemporary Photography and Video from Israel, Joods Historisch

Museum, Amsterdam, 27 June- 30 November 2008; Barry Frydlender: Down Here, Tel Aviv Museum of Art, Tel Aviv, 2007; Barry Frydlender: Place and Time, The Museum of Modern Art, New York, 17 May- 3 September 2007; Barry Frydlender: The Fourth Dimensions, Andrea Meislin Gallery, New York, 9 September- 23 October 2004; Hugging and Wrestling: Contemporary Israeli Photography and Video, Museum of Contemporary Art, Cleveland, 12 September 2009- 10 January 2010; for all, another example exhibited LITERATURE Tel Aviv Museum of Art, Barry Frydlender: Down Here, pp. 179-180; The

Museum of Modern Art, Barry Frydlender: Place and Time, pl. 1; The New Yorker, 4 June 2007, pp. 24-25

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Barry Frydlender’s panoramic vistas of everyday life evoke an ambiguous reaction that swerves between comfortable cognizance and confounding alienation. Each work is comprised of a surfeit of images that had been individually shot over a period of months and then meticulously collated to present an alternate view of a familiar scene. In doing so, Frydlender diffuses the differentiating parameters between painting and photography, and his final images, as a social narrative, resonate greater with the Social Realism movement in their poignant reverence of the quotidian and the commoners, than with the objective documentarian approach historically ascribed to photography. Nonetheless, working in a Post Modern context, Frydlender’s vistas, like Friday, disclose their constructed nature with a number of clues: shadows are eliminated; multiple perspectives crowd the same image; and the same figure appears multiple times. The image appears to hint that even an allegedly natural and objective scene such as that of a leisurely afternoon may be the product of artifice and carefully guided manipulation.

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223

222

224

222 MATTHEW PILLSBURY b. 1973 Crystal Palace, Hunterien Museum, London, 2007 Archival inkjet print. 42 1/2 x 53 1/2 in. (108 x 135.9 cm). Signed, titled, dated and numbered 3/3 in ink in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Bonni Benrubi Gallery, New York

223 ELISA SIGHICELLI b. 1968 Foyer, 2003 Partially backlit color coupler print on lightbox. 47 1/2 x 47 1/2 in. (120.7 x 120.7 cm). Signed, titled, dated and numbered 2/3 in ink on the reverse of the lightbox.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

224 MATTHEW PILLSBURY b. 1973

PROVENANCE Cohan Leslie and Browne, New York

Tanya & Sartaj Gill, CSI Miami, 2002 Archival inkjet print. 31 x 39 in. (78.7 x 99.1 cm). Signed, titled, dated and numbered 4/10 in ink in the margin.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

225

PROVENANCE Bonni Benrubi Gallery, New York EXHIBITED A New Reality: Black-and-White Photography in Contemporary Art: Jane

Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 1 September - 18 November 2007; Center for the Arts-Stedman Art Gallery, Rutgers, The State University of New Jersey, 20 December 2007- 23 February 2008 and Thomas J. Walsh Art Gallery, Fairfield University, Connecticut, September 19 - December 7, 2008 LITERATURE Actes Sud/Fondation HSBC pour la Photographie, Matthew Pillsbury:

Time Frame, p. 15

225 GREGORY CREWDSON b. 1962 Production Still (Clover Street # 1), 2003 Digital color coupler print. 12 x 16 in. (30.5 x 40.6 cm). Signed and dated in ink in the margin. Number 14 from an edition of 20.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Luhring Augustine Gallery, New York; Private Collection, New York

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226 DAVID LACHAPELLE b. 1964 Statue, Los Angeles, 2007 Color coupler print, ﬂush-mounted. 95 3/4 x 71 1/2 in. (243.2 x 181.6 cm). Signed in ink, printed title, date and number on a label accompanying the work. One from an edition of 5.

In his Deluge series from 2007, David LaChapelle abandons the Pop culture references that had come to deﬁne his work and replaces them with art historical allusions that speak to the excess of contemporary society. Based on the Biblical narrative of Noah’s Ark, LaChapelle models the series after

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Private Collection, Italy

Michaelangelo’s interpretation of the story that he painted on the ceiling of the Sistine Chapel. In Statue, Los Angeles, LaChapelle partially submerges

LITERATURE Guinti, David LaChapelle, Florence, p. 126; Mercurio and Torres, David

a classical sculpture amidst rising waters within a dilapidated museum,

LaChapelle: At Fort Belvedere, cover

supposing a time when tradition falls victim to the changing world around it.

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228

227 SANTE DÕORAZIO b. 1956 Christy Turlington, Panoramic View Hotel, Montauk, 1993 Gelatin silver print. 19 1/4 x 23 1/4 in. (48.9 x 59.1 cm). Signed, titled, dated, numbered 7/25 in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

228 SANTE DÕORAZIO b. 1956 Christie [sic] Turlington and Kara Young, The Panoramic View, Montauk, New York, 1993 Gelatin silver print. 14 3/4 x 22 1/8 in. (37.5 x 56.2 cm). Signed, titled, dated and numbered 7/25 in pencil and copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist

229

229 SANTE DÕORAZIO b. 1956 Cindy Crawford, Malibu, California, 1995 Gelatin silver print. 14 7/8 x 22 3/8 in. (37.8 x 56.8 cm). Signed, titled, dated and numbered 6/25 in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist

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230 GAVIN BOND b. 1970 Legs from Backstage: Volume I, 2008 Color coupler print, Diasec mounted. 95 x 71 in. (241.3 x 180.3 cm). Signed in ink, printed title, date and number 1/1 on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist

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231

232

232 MARYLIN MINTER b. 1948 Chewing Green, 2008 Color coupler print, Diasec mounted. 30 x 44 1/2 in. (76.2 x 113 cm). Signed in ink, printed title, date and number 3/5 on a gallery label afﬁxed to the reverse of the frame.

Estimate $ 9, 0 0 0 -12 , 0 0 0

231 GAVIN BOND b. 1970

234

Untitled (6) from Backstage Volume III, 2009 Color coupler print, Diasec mounted. 59 1/2 x 44 5/8 in. (151.1 x 113.3 cm). Signed in ink, printed, title and number AP1 on a label accompanying the work. One from an edition of 1 plus artist’s proofs.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Guy Hepner, Hollywood

233

233 THE ULTRAVELVET COLLECTION

234 KIM JOON b. 1966

Cash Chameleon from The Colour of Money, 2009

Duet-pig, 2006

Digital color coupler print, Diasec mounted. 31 x 72 in. (78.7 x 182.9 cm). Signed in ink,

Color coupler print, Diasec mounted. 55 x 39 1/8 in. (139.7 x 99.4 cm). Signed, titled and

printed title and number 3/3 on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

numbered 3/5 in ink on an artist’s label afﬁxed to the reverse of the ﬂush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Acquired directly from the artist

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235 GAVIN BOND b. 1970 Backstage: Volume III, 2009 Twelve digital color coupler prints. Each 26 x 22 in. (66 x 55.9 cm) or the reverse. Each signed in ink, printed title and number 2/10 on twelve labels accompanying the works. Accompanied by a signed CertiďŹ cate of Authenticity and a leather clamshell box.

Estimate $10 , 0 0 0 -15 , 0 0 0

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236 ANDRES SERRANO b. 1950 Native American (Jack Ruinmaker), 1996 Dye destruction print. 59 7/8 x 49 in. (152.1 x 124.5 cm). Signed, titled and numbered 3/3 in pencilÂ on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, Paris

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237 CANDIDA H…FER b. 1944 Real Gabinete Português de Leitura Rio de Janerio II, 2005 Color coupler print. 70 x 55 1/4 in. (177.8 x 140.3 cm). Signed in ink, printed title, date and number 5/6 on an artist’s label afﬁxed to the reverse of the mount.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Sonnabend Gallery, New York

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238

238 CANDIDA H…FER b. 1944 Liebieghaus, Frankfurt I, 1987 Color coupler print. 20 1/2 x 14 1/8 in. (52.1 x 35.9 cm). Signed, titled, dated and numbered 6/6 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Sotheby’s, Olympia, 18 October 2006, lot 711

239 CANDIDA H…FER b. 1944 Vorarlberger Landesbibliothek, Bregenz I, 1999 Color coupler print. 23 1/2 x 23 31/2 in. (59.7 x 59.7) Signed and dated in ink on the reverse of the ﬂush-mount. Number 3 from an edition of 6.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Patrick de Brock Gallery, Knokke; Phillips de Pury & Company, New York,

16 October 2008, lot 153 LITERATURE Hatje Cantz Publishers, XL Photography: Art Collection Neue Börse, p. 113

239

240

240 CANDIDA H…FER b. 1944 Schindler House, Los Angeles I, 2000 Color coupler print, Diasec mounted. 53 3/8 x 47 1/4 in. (135.6 x 120 cm). Printed title, date and number on a gallery label afﬁxed to the reverse of the mount. One from an edition of 6.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Karyn Lovegrove Gallery, Los Angeles; Private Collection, New York

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241 LOUISE LAWLER b. 1947 Grieving Mothers (Attachment), 2005 Dye destruction print. 41 x 46 in. (104.1 x 116.8 cm). Signed, dated and numbered 2/5 in ink on the reverse of the ďŹ&#x201A;ush-mount.

Renowned for her photographs of artworks, Louise Lawler challenges the associations regarding authorship and prestige. In this body of work, her photographs offer renderings of antiquities housed in reputable international museums. This current lot depicts a cast reproduction of the wings of The

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Metro Pictures, New York

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Winged Victory of Samothrace, the original of which is among the most revered archeological treasures at the MusĂŠe du Louvre in Paris.

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242

242 FRANK THIEL b. 1966

243 AXEL H†TTE b. 1951

City 2/60 (Berlin), 2002

Rotterdam, Netherlands, 2001

Color coupler print, Diasec mounted. 56 3/4 x 78 3/4 in. (144.1 x 200 cm). Signed, titled, dated

Duratrans print. 46 x 58 1/2 in. (116.8 x 148.6 cm). Signed, titled and numbered 2/4 in ink

‘2003’ and numbered 1/4 in ink on the reverse of the mount.

on the reverse of the frame.

Estimate $10 , 0 0 0 -15 , 0 0 0

Estimate $7, 0 0 0 - 9, 0 0 0

PROVENANCE Galerie Krinzinger, Vienna

PROVENANCE Galerie Max Hetzler, Berlin

243

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244

ø b. 1949 244 AHMET ERTUG

ø b. 1949 245 AHMET ERTUG

The Annex of the Library of Senate, Paris, France, 2009

Hall of Mirrors, Royal du Ch‰teau du Versailles, 2010

Lightjet print, ﬂush-mounted. 70 3/4 x 87 3/8 in. (179.7 x 221.9 cm). Signed in ink, printed title,

date and number 1/3 on an artist’s label afﬁxed to the reverse of the frame.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE Acquired directly from the artist

¯ Temples of Knowledge: Libraries of the Western World, pl. 21 LITERATURE Ertug,

¯ Palaces of Music: Opera Houses of Europe, pl. 26 LITERATURE Ertug,

245

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246

246 ROBERT HEINECKEN 1931-2006

247 JOHN BALDESSARI b. 1931

In deference to the practitioners: Krims, Locks, Samaras and Sicilia, 1978

The Intersection Series: Clarinetist and Owls, 2001

Triptych with four unique Polaroid SX-70 prints on three mounts. Each Polaroid print

Inkjet print. 11 3/4 x 11 1/4 in. (29.8 x 28.6 cm). Signed and numbered 4/7 in pencil in the

3 1/8 x 3 1/8 in. (7.9 x 7.9 cm); each sheet 16 x 15 3/4 in. (40.6 x 40 cm). Each sheet signed

margin.

and numbered 48/50 in pencil on the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Marian Goodman Gallery, New York EXHIBITED A New Reality: Black and White Photography in Contemporary Art: Jane Voorhees

Zimmerli Art Museum, Rutgers, The State University of New Jersey, 1 September - 18 November 2007; Center for the Arts-Stedman Art Gallery, Rutgers, The State University of New Jersey, 20 December 2007- 23 February 2008 and Thomas J. Walsh Art Gallery, Fairfield University, Connecticut, 19 September - 7 December 2008 LITERATURE Coplan Horowitz, John Baldessari: A Catalogue RaisonnŽ of Prints and Multiples,

1971-2007, pl. 117; Rutgers, The State University of New Jersey, A New Reality: Black and White Photography in Contemporary Art, p. 17

247

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248 RICHARD PRINCE b. 1949 Untitled (Palms and decals), 1987-1990 Ektacolor print. 85 1/2 x 45 1/2 in. (217.2 x 115.6 cm). One from an edition of 2.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

In 1984, Richard Prince introduced a new type of format derived from a technique of grouping slides into a single internegative. These sequences of images within a single frame convey the notion that meaning is derived through inter-relatedness. While the majority of this body of work documents culturally marginalized social groups, others, such as the current lot, are

PROVENANCE Christie’s, New York, 5 October 2005, lot 70

purely ﬁgurative and explore the relationship between organic forms among various appropriated imagery. Untitled (Palms and decals) brings into question the issue of authorship, especially with regard to how a work’s interpretation is altered upon appropriation, which has been integral to Prince’s work.

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249

249 HAROLD EUGENE EDGERTON 1903-1990 Milk Drop Coronet, 1957 Gelatin silver print, printed later. 18 1/8 x 14 3/8 in. (46 x 36.5 cm). Signed and titled in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Museum of Photographic Arts, San Diego

250 MARTIN PARR b. 1952 Common Sense (dog with bow & sunglasses), 1998 Color coupler print. 41 x 62 in. (104.1 x 157.5 cm). Signed, numbered 7/10 in ink, printed title, date and number on a gallery label afﬁxed to the reverse of the backing board.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Studio Trisonio, Naples LITERATURE Tate Publishing, Cruel and Tender: The Real in the Twentieth-Century

Photograph, p. 253

250

251

252

251 MARTIN PARR b. 1952

252 CINDY SHERMAN b. 1954

Benidorm/ Common Sense (womanÕs hand with cigarette), 1997-1998

Doctor and Nurse, 1980-1987

Color coupler print. 41 x 62 in. (104.1 x 157.5 cm). Signed, numbered 1/4 in ink, printed title,

Gelatin silver diptych. Each 7 1/2 x 5 1/2 in. (19.1 x 14 cm); overall 10 x 16 in. (25.4 x 40.6 cm).

date and number on a gallery label afﬁxed to the reverse of the backing board.

Each signed, dated and numbered 54/125 in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Studio Trisonio, Naples LITERATURE Tate Publishing, Cruel and Tender: The Real in the Twentieth-Century

Photograph, p. 250

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253

253 VEE SPEERS b. 1962 Untitled #16 from The Birthday Party, 2008 Dye destruction print. 35 3/8 x 28 3/8 in. (89.9 x 72.1 cm). Signed in ink, printed title, date and number 5/8 on a gallery label afﬁxed to the reverse of the ﬂush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Jackson Fine Art, Atlanta

254

254 YEONDOO JUNG b. 1969 Afternoon Nap from Wonderland, 2004 Color coupler print. 49 x 39 in. (124.5 x 99.1 cm). Signed in ink, printed title, date and number AP 1/2 on a label accompanying the work. One from an edition of 5 plus artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Tina Kim Gallery, New York; Private Collection, New York

In the Wonderland series, Yeondoo Jung draws playful inspiration from children’s drawings, meticulously recreating the childhood fantasies into reality. The present lot will be accompanied by a copy of the child’s drawing on which the work was based.

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255

255 DAVID LEVINTHAL b. 1949 Untitled and Untitled from the Barbie Millicent Roberts: An Original, 1998 Two unique Polaroid prints. (i) 27 1/2 x 20 3/4 in. (69.9 x 52.7 cm); (ii) 28 1/2 x 21 7/8 in. (72.4 x 55.6 cm). Each signed, dated, annotated ‘AP’ and numbered AP 98, AP 97, respectively, in ink in the margin.

Estimate $ 5 , 0 0 0 -7, 0 0 0

256

PROVENANCE Acquired directly from the artist LITERATURE Levinthal & Steele, Barbie Millicent Roberts: An Original, pp. 21 and 65

256 ANDREA ROBBINS AND MAX BECHER b. 1963 and b. 1964 Figures (1977/1997) Lando Calrissian, 2002 Archival inkjet print, ﬂush-mounted. 18 x 23 1/4 in. (45.7 x 59.1 cm). Signed on the verso. One from an edition of 5.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Sonnabend Gallery, New York; Private Collection, New York

257

257 LAURIE SIMMONS b. 1949 The Music of Regret VI, 1994 Gelatin silver print, mounted. 19 1/4 x 19 in. (48.9 x 48.3 cm). Printed title, date and number 2/5 on a gallery label afﬁxed to the reverse of the frame.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Metro Pictures, New York EXHIBITED A New Reality: Black and White Photography in Contemporary Art: Jane Voorhees

Zimmerli Art Museum, Rutgers, The State University of New Jersey, 1 September - 18 November 2007, Center for the Arts-Stedman Art Gallery, Rutgers, The State University of New Jersey, 20 December 2007 - 23 February 2008 and Thomas J. Walsh Art Gallery, Fairfield University, Connecticut, 19 September - 7 December 2008 LITERATURE Rutgers, The State University of New Jersey, A New Reality: Black and White

Photography in Contemporary Art, p. 55

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258

258 LORETTA LUX b. 1969

259 VIK MUNIZ b. 1961

The Red Ball 1, 2000

Pillows I (After D타rer), 1999

Dye destruction print. 9 x 9 in. (22.9 x 22.9 cm). Signed, titled, dated and numbered 20/20 in

Gelatin silver print. 18 3/4 x 22 1/2 in. (47.6 x 57.2 cm). Signed, dated and numbered 6/10 in

pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

LITERATURE Aperture, Loretta Lux, p. 21

259

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260

260 SANDY SKOGLUND b. 1946

261 SANDY SKOGLUND b. 1946

Revenge of the Goldﬁsh, 1980

The Green House, 1990

Dye destruction print. 27 1/2 x 35 5/8 in. (69.9 x 90.5 cm). Signed, titled, dated, numbered

Dye destruction print. 46 1/2 x 59 in. (118.1 x 149.9 cm). Signed, titled, dated and numbered

20/30 and copyright credit in pencil on the verso.

25/30 in ink on the recto.

Estimate $12 , 0 0 0 -18 , 0 0 0

Estimate $7, 0 0 0 - 9, 0 0 0

PROVENANCE Grapestake Gallery, San Francisco

PROVENANCE Janet Borden Inc., New York

LITERATURE Koetzle, Photo Icons: Volume 2, pp. 152-153; Smith College Museum of Art,

LITERATURE Koetzle, Photo Icons: Volume 2, p. 156 for preliminaries and p. 157; Smith

Sandy Skoglund: Reality Under Siege, pl. 43

College Museum of Art, Sandy Skoglund: Reality Under Siege, pl. 37

261

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INDEX

Abbott, B. 134 Adams, A. 58, 105, 106 Adams, R. 127-129, 131 Almeida, H. 67 çlvarez Bravo, M. 68-70 Araki, N. 197, 198, 202 Arbus, D. 150-153 Avedon, R. 1-3, 93 Baldessari, J. 247 Bassman, L. 29, 45-47

Parr, M. 250, 251

Beard, P. 50-53

Penn, I. 39, 44, 48, 54, 94, 108

Bernhard, R. 101-104

Pillsbury, M. 222, 224

Bond, G. 230, 231, 235

Polidori, R. 84, 85

Boubat, E. 140

Prince, R. 248

Brandt, B. 61-63 Brandt, N. 192

Qui, Z. 190

Brassa• 31

Heinecken, R. 246

Burtynsky, E. 180-182

Hockney, D. 195

Callahan, H. 116, 117, 124-126

Hofer, E. 142

Cartier-Bresson, H. 9, 19-21, 38, 66

Hopper, D. 110, 111

Charbonnier, J.P. 27

Horst, H.P. 4, 6, 17, 18

Crewdson, G. 225

Hosoe, E. 212

Davis, L. 217-219

Hugo, P. 49

Demarchelier, P. 5, 175

HŸtte, A. 243

Schoeller, M. 89, 90, 115

Dolron, D. 211, 216

Joon, K. 234

Sherman, C. 171, 252

DÕOrazio, S. 88, 227-229

Josephson, K. 132

Shulman, J. 87

Kaoru, I. 214

Simmons, L. 257

Hšfer, C. 86, 237-240

Hoyningen-Huene, G. 25, 30

Doisneau, R. 7, 26

Dweck, M. 76

Ritts, H. 78, 80 Robbins, A. & Becher, M. 256 Rong, R. 189 Ronis, W. 8, 22, 23 Salgado, S. 176-179 Schiff, M. 213 Serrano, A. 207-209, 236

Sighicelli, E. 223 Skoglund, S. 260, 261

Edgerton, H.E. 249

Ke•ta, S. 160

Eggleston, W. 133

KertŽsz, A. 24, 32

Eisenstaedt, A. 36, 37, 112

Klein, W. 28, 35

ø A. 244, 245 Ertug,

Kuhn, M. 215

Starn, D & M. 193

Esser, E. 196

LaChapelle, D. 226

Sudek, J. 60

Evans, W. 139

Lawler, L. 241

Essaydi, L. 184, 185

Leibovitz, A. 40, 41, 95 Faurer, L. 10, 148

Levinthal, D. 255

Frank, R. 33, 109, 145, 149, 154, 155

Levitas, A. 194

Friedlander, L. 146

Levitt, H. 135-138

Frydlender, B. 221

Lindbergh, P. 173, 174

Fuss, A. 75, 168

Link, O. W. 143, 144 Lux, L. 258

Giacomelli, M. 34 Gigli, O. 11

Maier-Aichen, F. 206

Goldin, N. 169, 170

Man Ray 64, 65

Gonz‡lez Palma, L. 71

Mann, S. 156-158

Guofeng Cao, A. 113

Mapplethorpe, R. 16, 91, 92, 162-166 McCurry, S. 191

Soto, C. 73 Speers, V. 253 Sturges, J. 159 Sugimoto, H. 72, 99, 203-205 Taylor-Wood, S. 210 The Ultravelvet Collection 233 Thiel, F. 242 Various Photographers 186 Vitali, M. 77, 79, 81 Von Bruenchenhein, E. 100 Warhol, A. 147 Watson, A. 167 Wessel, H. 130 Weston, B. 118, 119

Metzker, R.K. 120

Weston, E. 59, 97, 98, 107, 121-123

Minter, M. 172, 232

Witkin, J-P. 55, 56

Misrach, R. 57 Moriyama, D. 199-201

Yeondoo, J. 254

Muniz, V. 42, 43, 82, 83, 114, 161, 259 Zhang, H. 188 Nes, A. 220 Neshat, S. 183, 187 Newman, A. 96 Newton, H. 12-15 Orkin, R. 141 Orozco, G. 74

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

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.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, 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.

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 veri•ed and approved by a quali•ed electrician.

BUYERÕS PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. 1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” 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 any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling 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 pounds sterling or euros as a guide only. Catalogue Entries Phillips 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 signi•cant 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.

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Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property 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 third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may bene•t •nancially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the •nancial remuneration received in connection with the guarantee against the •nal purchase price if such party is the successful bidder. In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price has been fully •nanced by third parties. ∆ Property in Which Phillips de Pury & Company Has an Ownership

Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the con•dential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

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2 BIDDING IN THE SALE Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identi•cation will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow suf•cient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your

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behalf. A bidding form can be found at the back of this catalogue. This service is free and con•dential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our af•liated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s 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 bene•ciary 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.

Collection 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 received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of •ve days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States 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 licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certi•cate prior to exportation and additional licenses or certi•cates upon importation to any foreign country. Please note that the ability to obtain an export license or certi•cate does not ensure the ability to obtain an import license or certi•cate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certi•cates as well as any other required documentation. The denial of any required license or certi•cate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US 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 US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, bene•cial or •nancial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by 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 appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satis•ed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identi•cation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips 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 Phillips de Pury & Company

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in our absolute discretion. Neither Phillips de Pury & Company nor any of our af•liated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company reserves the right to require written con•rmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identi•ed third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (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 undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our af•liated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the con•dential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars.

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PHOTOGRAPHS AUCTION 19 MAY 2011 5PM LONDON Viewing 14 – 19 May

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4092 | photographslondon@phillipsdepury.com Catalogues +44 20 7318 4039 | +1 212 940 1240 PHILLIPSDEPURY.COM DAN HOLDSWORTH Blackout 08, 2010 Estimate £9,000–11,000

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For the bene•t of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reﬂect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certi•cates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identi•cation. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identi•cation has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

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7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our af•liated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satis•ed such other terms as we in our sole discretion shall require, including completing any anti-money laundering or antiterrorism •nancing checks. As soon as a buyer has satis•ed all of the foregoing conditions, and no later than •ve days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) •ve days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identi•cation prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our af•liated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within •ve days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to noti•cation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our af•liated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30

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PART I CONTEMPORARY ART AUCTION 12 MAY 2011 450 PARK AVENUE Viewing 30 April - 11 May

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM RICHARD PRINCE Crashed ÒWayward Nurse,Ó 2006-10 (detail) Estimate $4,000,000-6,000,000

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days from the date of 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 af•liated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (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 that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our af•liated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our af•liated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our af•liated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our af•liated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our af•liated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an af•liated company by way of pledge. 10 RESCISSION BY PHILLIPS de PURY & COMPANY 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 seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license 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. 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is de•ned by law as “sensitive,” they agree that Phillips de Pury & Company and our af•liated companies may use it for the above purposes. Phillips de Pury & Company and our af•liated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events

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please call the above number. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our af•liated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our af•liated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our af•liated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our af•liated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and •tness for purpose, are speci•cally excluded by Phillips de Pury & Company, our af•liated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our af•liated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our af•liated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number speci•ed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address noti•ed by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conﬂicts of law rules.

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PART II CONTEMPORARY ART AUCTION 13 MAY 2011 450 PARK AVENUE Viewing 30 April - 12 May 2011 450 West 15 Street

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM JOHN WESLEY Three Sunbathers, 1982 (detail) Estimate $250,000-350,000

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(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of •ve years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, bene•ciaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (de•ned as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conﬂict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scienti•c methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has noti•ed Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our af•liated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our af•liated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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EVENING

EDITIONS AUCTION 21 APRIL 2011 450 PARK AVENUE Viewing 12 Ă? 21 April

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1220 | editions@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM JOHN BALDESSARI Object (with Flaw) (H. 40), 1988 Lithograph on three sheets and one sheet of Plexiglas from the edition of 35 overall approx: 101 1/2 x 56 in. (257.8 x 142.2 cm) Estimate $20,000-30,000

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PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Sean Cleary

Maria Bell

Finn Dombernowsky

Janna Bullock

Patricia G. Hambrecht

Lisa Eisner

Alexander Payne

Lapo Elkann

Olivier Vrankenne

Ben Elliot

Chief Executive Officer Bernd Runge

Lady Elena Foster H.I.H. Francesca von Habsburg 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 68 70 11

Buenos Aires & London 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 17 289 736 11

Los Angeles Milan Moscow

Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

GENERAL COUNSEL

MANAGING DIRECTORS

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 Park Avenue, New York, NY 10022, USA

6, avenue Franklin D. Roosevelt, 75008 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1300 fax +1 212 940 1230

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

NEW YORK

BERLIN

MOSCOW

450 West 15 Street, New York, NY 10011, USA

Auguststrasse 19, 10117 Berlin, Germany

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +1 212 940 1200 fax +1 212 924 5403

tel +49 30 8800 1842 fax +49 30 8800 1843

tel +7 495 225 88 22 fax +7 495 225 88 87

LONDON Howick Place, London SW1P 1BB, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

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BRIC

BRAZIL RUSSIA INDIA CHINA AUCTIONS APRIL 2011 LONDON Evening 14 April Day 15 April Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 207 318 4054 Catalogues +44 20 7318 4039 / +1 212 940 1240

PHILLIPSDEPURY.COM HƒLIO OITICICA Relevo Espacial, 1959, constructed 1991 Estimate £300,000Ð400,000

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SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art

NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259

Roxana Bruno Jeremy Goldsmith Timothy Malyk Jean-Michel Placent

+1 212 940 1229 +1 212 940 1253 +1 212 940 1258 +1 212 940 1263

Peter Flores Alexandra Leive Winnie Scheuer Alyse Serrell Amanda Stoffel Roxanne Tahbaz

+1 212 940 1223 +1 212 940 1252 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 940 1292

LONDON Peter Sumner, Head of Sales, London +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093

PHOTOGRAPHS

Vanessa Kramer, Worldwide Director +1 212 940 1243 NEW YORK

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Deniz Atac +1 212 940 1245

Carol Ehlers, Consultant +1 212 940 1245

Sarah Krueger +1 212 940 1225

LONDON

Lou Proud, Head of Photographs, London +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4062

Emma Lewis +44 20 7318 4092

BERLIN

Judith Hess Matt Langton Raphael Lepine Ivgenia Naiman

+44 20 7318 4075 +44 20 7318 4074 +44 20 7318 4078 +44 20 7318 4071

Paul de Bono Catherine Higgs Helen Rohwedder Charlotte Salisbury Henry Highly

+44 20 7318 4070 +44 20 7318 4089 +44 20 7318 4042 +44 20 7318 4070 +44 20 7318 4010

Carmela Manoli +1 212 940 1302

PARIS Edouard de Moussac + 33 1 42 78 67 77

Sharla Phernetton +1 212 940 1365

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

Christina Scheublein +49 30 886 250 57

JEWELS Nazgol Jahan, Worldwide Director +1 212 940 1283 NEW YORK

LONDON Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064

Rose Curran +44 20 7318 4010

Lane McLean +44 20 7318 4032

Henry Allsopp, International Head +44 20 7318 4060

NEW YORK Alex Heminway, New York Director +1 212 940 1269

Marcus Tremonto +1 212 940 1268 Meaghan Roddy +1 212 940 1266

Allison Condo +1 212 940 1268 Alexandra Gilbert +1 212 940 1268

THEME SALES

NEW YORK

Corey Barr +1 212 940 1239

LONDON Marine Hartogs +44 20 7318 4021 Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027

Steve Agin, Consultant +1 908 475 1796

Stephanie Max +1 212 940 1301

Marcus McDonald +44 20 7318 4095 Megan McGee +44 20 7318 4021

LONDON

Arianna Jacobs +44 20 7318 4054

PARIS Johanna Frydman +33 1 42 78 67 77

Lisa de Simone +44 20 7318 4090

BERLIN Christina Scheublein +49 30 886 250 57

Henry Highley +44 20 7318 4061

Siobhan O’Connor +44 20 7318 4040

Anna Ho +44 20 7318 4044

PRIVATE SALES

MODERN AND CONTEMPORARY EDITIONS NEW YORK Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Kelly Troester, Worldwide Co-Director +1 212 940 1221

Joy Deibert +1 212 940 1333 Jannah Greenblatt +1 212 940 1332

ART AND PRODUCTION Mike McClafferty, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Steven Mosier, Graphic Designer Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager

OFFICE OF THE CHAIRMAN

Anna Furney, New York +1 212 940 1238

Harmony Johnston, London +44 20 7318 4099

MARKETING NEW YORK Trish Walsh, Marketing Manager Anne Huntington, Communications Manager LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications Assistant

LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director

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SALE INFORMATION

AUCTION

CATALOGUES

450 PARK AVENUE NEW YORK 10022

Leslie Pitts +1 212 940 1240

Saturday 9 April 2011, 11am & 2pm

$35/€25/£22 at the gallery catalogues@phillipsdepury.com

VIEWING 450 PARK AVENUE NEW YORK 10022

ABSENTEE AND TELEPHONE BIDS

Friday 1 April – Saturday 2 April, 10am – 6pm

Main +1 212 940 1228 fax +1 212 924 1749 bids@phillipsdepury.com

Sunday 3 April, 12pm – 6pm

Rebecca Lynn, Manager +1 212 940 1216

Monday 4 April – Friday 8 April, 10am – 6pm

Maureen Morrison, Bid Clerk +1 212 940 1215 Marissa Piedra, Bid Clerk +1 212 940 1304

SALE DESIGNATION In sending in written bids or making enquiries please

CLIENT ACCOUNTING

refer to this sale as NY040111 or Photographs.

Sylvia Leitao +1 212 940 1231 Buyers Accounts

WORLDWIDE DIRECTOR

Nicole Rodriguez +1 212 940 1235

Vanessa Kramer +1 212 940 1243

Seller Accounts Barbara Doupal +1 212 940 1232

SPECIALISTS Shlomi Rabi +1 212 940 1246

CLIENT SERVICES

Caroline Shea +1 212 940 1247

450 Park Avenue +1 212 940 1300 450 West 15 Street +1 212 940 1200

CATALOGUER Sarah Krueger +1 212 940 1225

SHIPPING Beth Petriello +1 212 940 1373

ADMINISTRATOR

Jennifer Brennan +1 212 940 1372

Deniz Atac +1 212 940 1245 CONSULTANT Carol Ehlers +1 212 940 1245 PROPERTY MANAGER Randy Costanza +1 212 940 1367 PHOTOGRAPHY Kent Pell

Inside Back Cover David Hockney, Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb. 21st, 1983, lot 195 Back Cover Marilyn Minter, Cyclone, 2006, lot 172 (detail)

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P H I L L I PS D E P U RY.C O M

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