Photographs by Phillips de Pury & Co.

PHOTOGRAPHS 16 APRIL 2010 N E W YO R K NY0 4 0 110

W W W. P H I L L I P S D E P U RY.C O M

PHOTOGRAPHS

APRIL

2 010

NEW YORK

PHOTOGRAPHS 16

APRIL

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NE W YO RK

LOTS 1- 3 4 9 Viewing Saturday 10 April 10am – 6pm Sunday 11 April 12pm – 6pm Front Cover Herb Ritts, Versace Dress, Back View, El Mirage, 1990, Lot 112 (detail) Inside Front Cover Edward Steichen, Wheelbarrow with Flower Pots, France, 1920, Lot 216 (detail) Title Page Diane Arbus, Identical Twins, Roselle, NJ, 1967, Lot 303 Inside Back Cover Nobuyoshi Araki, Untitled from Personal Sentimentalism in Photography, n.d., Lots 90 & 89 (details) Back Cover Ahmet Ertug, Teatro La Fenice, Venice, 2009, Lot 154 (detail)

Monday 12 April 10am – 6pm Tuesday 13 April 10am – 6pm Wednesday 14 April 10am – 6pm Thursday 15 April 10am – 6pm MORNING SESSION

10am

Lots 1-178

1 LILLIAN BASSMAN b. 1917 Blowing Kiss, Barbara Mullen, New York, circa 1958 Gelatin silver print, printed later. 19 3/8 x 18 5/8 in. (49.2 x 47.3 cm). Signed in pencil on the verso. Number 13 from an edition of 25.

Estimate $ 4 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Abrams, Lillian Bassman: Women, p. 127

2 LILLIAN BASSMAN b. 1917

3 LILLIAN BASSMAN b. 1917

Fantasy on the dance floor, Barbara Mullen, dress by Christian Dior, Paris, 1949

The Personal Touch, Evelyn Tripp, 1948

Gelatin silver print, printed later. 21 5/8 x 17 1/2 in. (54.9 x 44.5 cm). Signed in pencil

Gelatin silver print, printed later. 19 3/4 x 18 3/4 in. (50.2 x 47.6 cm). Signed in pencil

on the verso. Number 6 from an edition of 25.

on the verso. Number 5 from an edition of 25.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

PROVENANCE Acquired directly from the artist

LITERATURE Abrams, Lillian Bassman: Women, p. 47

LITERATURE Abrams, Lillian Bassman: Women, p. 190

4 HELMUT NEWTON 1920-2004 Fashion Study, Paris, 1975 Gelatin silver print. 17 1/4 x 11 7/8 in. (43.8 x 30.2 cm). Signed, titled, dated in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE French Vogue, December - January 1976, p. 170; Newton, World Without Men,

p. 39; Scalo, Helmut Newton: Pages from the Glossies: Facsimiles 1956-1998, p. 338; Taschen, Helmut Newton: Work, p. 27 there titled French Vogue, Paris

5 HELMUT NEWTON 1920-2004 Hilton Hotel, Paris, 1976 Gelatin silver print. 13 3/8 x 9 in. (34 x 22.9 cm). Signed, titled, dated in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE Newton, Sleepless Nights, p. 25

6 HELMUT NEWTON 1920-2004 Regine at Home, Paris, 1975 Gelatin silver print from Private Property, Suite III, printed 1984. 14 1/4 x 9 3/8 in. (36.2 x 23.8 cm). Signed, numbered 22 in pencil, copyright credit and portfolio stamps on the verso. Number 22 from an edition of 75.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Private Collection, London

7 HELMUT NEWTON 1920-2004 Portrait of Ernesto Esposito and Frederica della Volpe, Montecatini, Italy, 1989 Gelatin silver print. 19 1/8 x 19 in. (48.6 x 48.3 cm). Signed, titled, dated, numbered 4/10 in pencil, copyright credit and reproduction limitation stamps on the verso.

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

8 JOHN SWANNELL b. 1946

9 FRANK HORVAT b. 1928

Fine Lines, 1977

Shoe and Eiffel Tower, Paris, 1974

Platinum-palladium print, printed 2007. 19 7/8 x 15 in. (50.5 x 38.1 cm). Signed and numbered

Gelatin silver print, printed 2008. 10 7/8 x 15 7/8 in. (27.6 x 40.3 cm). Signed and numbered

11/25 in pencil in the margin; signed, titled, dated, numbered 11/25 in pencil and copyright

2/30 in ink in the margin; signed, titled and dated in pencil on the verso.

credit stamp on the verso.

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

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

10 NAN GOLDIN b. 1953

11 NAN GOLDIN b. 1953 Naomi in Booth, Profile Room, Other Side, Boston, 1973

Gelatin silver print, printed later. 19 x 12 5/8 in. (48.3 x 32.1 cm). Signed, titled, dated and

Gelatin silver print, printed later. 15 1/8 x 15 in. (38.4 x 38.1 cm). Signed, titled, dated and

numbered AP4 in pencil on the verso. One from an edition of 18 plus 5 artist’s proofs.

numbered AP2 in pencil on the verso. One from an edition of 18 plus 5 artist’s proofs.

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

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

LITERATURE Sussman, Nan Goldin: I’ll Be Your Mirror, p. 50

Lola modeling, Boston, 1973

12 JEAN-BAPTISTE MONDINO b. 1949 Sleeping Beauty, 2005 Color coupler print, Diasec mounted. 31 1/4 x 47 3/4 in. (79.4 x 121.3 cm). Signed, numbered 1/6 in ink on a label affixed to the reverse of the aluminum flush-mount.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE M+B, Los Angeles

13 TRACEY MOFFATT b. 1959

14 BETTINA RHEIMS b. 1952

Something more no. 8, 1989

Claudia VI, Paris, October, 1987

Dye destruction print. 38 x 49 1/2 in. (96.5 x 125.7 cm). Signed, dated and numbered 7/30

Gelatin silver print. 41 1/4 x 53 1/2 in. (104.8 x 135.9 cm). Signed, titled, dated and numbered

in ink on the verso.

I/III in ink on a label affixed to the reverse of the frame.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0

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

LITERATURE Cantz, Tracey Moffatt, p. 62; Fundació “la Caixa”, Tracey Moffatt, p. 36

15 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 1/5 and copyright in pencil on the verso. One from an edition of 20 plus 5 artistâ&#x20AC;&#x2122;s proofs.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Harrison, Appearances: Fashion Photography Since 1945, cover; Tucker, Louis

Faurer, p. 161

16 HELMUT NEWTON 1920-2004 Van Cleef & Arpels Diamond Bracelet X-Ray, Paris, 1979 Gelatin silver print. 15 5/8 x 11 in. (39.7 x 27.9 cm). Signed, titled, dated in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Private Collection, Germany

17 HELMUT NEWTON 1920-2004 Van Cleef & Arpels Diamond Necklace X-Ray, Paris, 1979 Gelatin silver print. 15 3/4 x 11 1/4 in. (40 x 28.6 cm). Signed, titled, dated in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Private Collection, Germany

18 HARRY CALLAHAN 1912-1999

19 TOM BARIL b. 1952

World Trade Center, 1974

Manhattan

Gelatin silver print. 8 5/8 x 8 3/4 in. (21.9 x 22.2 cm). Signed in pencil in the margin.

South Dennis: 21st Editions, 2004. Twelve photogravures. Varying sizes from 5 1/4 x 13 in. (13.3 x 33 cm) to 10 3/8 x 13 in. (26.4 x 33 cm). Each signed in pencil in the

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

margin. Numbered AP 2/3 in pencil on the title page. Colophon. Contained in a linen clamshell case. Accompanied by a short story by Ann Beattie. One from an edition

LITERATURE Szarkowski, Callahan, p. 178 there titled New York

of 75 plus 3 artist’s proofs.

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

Titles include: Chrysler Building at Night, Flatiron Building, Chrysler and Empire

State Buildings, Verrazano Bridge, Chrysler Building Through Window, Smoke Stacks Variation, Rockefeller Center, Chrysler Building from Madison Avenue, Brooklyn Bridge with Clamp, 59th Street Bridge, Met Life Building in Fog and World Trade Center

20 ANDRÉ KERTÉSZ 1894-1985

21 GEORGE TICE b. 1938

Untitled, 1975

White Castle, Route #1, Rahway, New Jersey, 1973

Gelatin silver print. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm). Signed and dated in pencil on the verso.

Gelatin silver print. 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm). Signed in pencil on the mount.

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

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Tice, Urban Landscapes: A New Jersey Portrait, cover

22 LEE FRIEDLANDER b. 1934

23 FRANK GOHLKE b. 1942

George Washington Bridge, New Jersey, 1973

Selected Images, 1973-1978

Gelatin silver print. 7 1/2 x 11 1/4 in. (19.1 x 28.6 cm). Signed, titled, dated in pencil, copyright

Four gelatin silver prints, one printed later. Varying sizes from 7 3/4 x 7 3/4 in. (19.7 x 19.7 cm)

credit reproduction limitation and date stamp on the verso.

to 14 1/2 x 17 7/8 in. (36.8 x 45.4 cm). Each signed, titled and dated in pencil on the verso.

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

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

LITERATURE Galassi, Friedlander, pl. 241

Titles include: Landscape, near Red Wing, Minn., 1973; Marsh fire, Bolivar Peninsula, Texas, 1978; Marsh fire 2, Bolivar Peninsula, Texas, 1978 and Grain Elevator, Stratford, Texas, 1973

24 JIM DOW b. 1942

25 VARIOUS PHOTOGRAPHERS

Hagan’s Dairy Bar, Bardstown, Kentucky, 1980

How you look at it

Color coupler print, printed 1989. 15 7/8 x 20 1/8 in. (40.3 x 51.1 cm). Signed, titled and dated

Hannover: Sprengel Museum Hannover, 2000. Five color coupler prints, two Fujicolor

in ink on the verso. One from an edition of 15.

Crystal Archive prints and one gelatin silver print. Varying sizes from 6 1/2 x 8 5/8 in. (16.5 x

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

21.9 cm) to 11 1/8 x 14 1/4 in. (28.3 x 36.2 cm) or the reverse. Seven signed, titled, dated and numbered 26/32 in ink or pencil on the verso; one print signed, dated and numbered 26/32 in pencil on the verso. Numbered 26/32 in an unidentified hand in ink on the Colophon.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, London

Photographs include: Thomas Ruff, Untitled, 1999; Thomas Struth, Shanxi Nan Lu, Shanghai, 1999; Andreas Gursky, Duisburg II, 1989; Stephen Shore, Winnipeg, Manitoba, 1974; Axel Hütte, Explorer Glacier III, Alaska, 1999; 25

Bernhard Fuchs, Wünschendorf, 1998; Rineke Dijkstra, Tiergarten, Berlin, Germany, July 4, 1999; Michael Schmidt, Untitled, 1998

26 JOEL STERNFELD b. 1944 McLean Virginia, December 4, 1978 Dye transfer print, printed 1985. 27 7/8 x 35 in. (70.8 x 88.9 cm). Signed, titled, dated, numbered 1/10 and inscribed in ink on the mount.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE D.A.P., American Prospects: Joel Sternfeld, pl. 30; Greenough, Snyder, Travis

and Westerbeck, On the Art of Fixing A Shadow, pl. 73; Times Books, American Prospects: Joe/ Sternfeld, cover and pl. 28

27 STEPHEN SHORE b. 1947 West Fourth Street, Little Rock, Arkansas, October 5, 1974 Color coupler print. 14 1/4 x 17 3/4 in. (36.2 x 45.1 cm). Signed, titled and dated in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Aperture, Stephen Shore: Uncommon Places, The Complete Works, p. 84

28 STEPHEN SHORE b. 1947 Twenty-First Street and Spruce Street, Philadelphia, Pennsylvania, June 21, 1974 Color coupler print. 14 x 17 3/4 in. (35.6 x 45.1 cm). Signed, titled and dated in ink on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Aperture, Stephen Shore: Uncommon Places, The Complete Works, p. 47

29 STEPHEN SHORE b. 1947 Beverly Boulevard and La Brea Avenue, Los Angeles, California, 1975 Fujicolor Crystal Archive print, printed later. 17 5/8 x 21 3/4 in. (44.8 x 55.2 cm). Signed, titled, dated and numbered 4/8 in ink on the verso.

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

30 JOEL STERNFELD b. 1944

31 JOEL STERNFELD b. 1944

Badwater Lake, Death Valley, California, Easter Sunday, March, 2005

After a Flash Flood, Rancho Mirage, California, July, 1979

Color coupler print. 42 1/2 x 52 in. (108 x 132.1 cm). Signed in ink, printed title,

Dye transfer print, printed 1982. 15 1/8 x 18 7/8 in. (38.4 x 47.9 cm). Signed, titled, dated

date and number 7/10 on a gallery label affixed to the reverse of the frame.

and numbered 4/50 in ink on the verso.

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

PROVENANCE Private Collection, California

LITERATURE D.A.P., American Prospects: Joel Sternfeld, pl. 5

32 KENNETH JOSEPHSON b. 1932

33 ROBERT ADAMS b. 1937

New York State, 1970; Washington, D.C., 1975; and Michigan, 1981

Coltin, California, 1982

Three gelatin silver prints. Each 7 7/8 x 12 in. (20 x 30.5 cm). Each signed, titled, dated

Gelatin silver print, printed 1989. 14 7/8 x 18 1/4 in. (37.8 x 46.4 cm). Signed, titled, dated,

and numbered in pencil on the verso. Each from an edition of 50.

numbered 3/30 in pencil and copyright credit stamp on the verso.

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

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

34 WILLIAM EGGLESTON b. 1939

35 WILLIAM EGGLESTON b. 1939

Untitled, 1972

Dye transfer print from 10.D.70, printed 1996. 18 x 12 1/2 in. (45.7 x 31.8 cm). Signed in ink in

Dye transfer print from 10.D.70, printed 1996. 17 5/8 x 12 5/8 in. (44.8 x 32.1 cm). Signed in

the margin; titled, dated, numbered 15/15 in an unidentified hand in pencil, copyright credit

ink in the margin; titled, dated, numbered 15/15 in an unidentified hand in pencil, copyright

reproduction limitation and edition stamp on the verso.

credit reproduction limitation and edition stamp on the verso.

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

36 WILLIAM EGGLESTON b. 1939 Untitled, circa 1965 Gelatin silver print. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and annotated â&#x20AC;&#x2DC;first and only printâ&#x20AC;&#x2122; in pencil on the verso.

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

37 WILLIAM EGGLESTON b. 1939 Untitled, circa 1965 Gelatin silver print. 5 x 7 1/4 in. (12.7 x 18.4 cm). Signed in ink in the margin.

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

38 LARRY CLARK b. 1943 Untitled from Tulsa, circa 1971 Gelatin silver print, printed later. 6 1/4 x 9 1/4 in. (15.9 x 23.5 cm). Signed and numbered 100/250 in pencil on the verso. Accompanied by limited edition book, Tulsa, signed and numbered 100/250 in ink on the title page.

Estimate $1, 0 0 0 -1, 5 0 0

39 GARY LEE BOAS b. 1951 Gary Lee Boas: Luxury Edition Portfolio Amsterdam: Reflex Editions, 2008. Ten Fujicolor prints. Each 12 x 12 in. (30.5 x 30.5 cm). Each signed and numbered 7/30 in ink in the margin. Contained in a linen clamshell case.

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

Subjects include: Aretha Franklin, Tina Turner, Jack Nicholson, John Lennon and Yoko Ono, Liza Minelli, Elizabeth Taylor, Al Pacino, Sophia Loren and Sylvestor Stallone

40 ANDY WARHOL 1928 â&#x20AC;&#x201C;1987 Untitled (Pillows), 1986 Four gelatin silver prints stitched together with thread. Each 10 3/8 x 14 in. (26.4 x 35.6 cm); 21 1/4 x 27 3/8 in. (54 x 69.5 cm) overall. Signed and dated in pencil on the verso.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Robert Miller Gallery, New York

41 ANDY WARHOL 1928 â&#x20AC;&#x201C;1987 Parking Lot Sign, circa 1976-1986 Four gelatin silver prints stitched together with thread. 10 1/2 x 13 5/8 in. (26.7 x 34.6 cm); 21 x 27 1/4 in. (53.3 x 69.2 cm) overall. Estate of Andy Warhol credit stamps on the verso.

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

ROBERT MAPPLETHORPE: PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

Lady Lisa Lyon, a series of portraits of the pioneering American bodybuilder,

While these characters certainly attest to Mapplethorpe’s interest in role-

began in 1980 as a joint collaboration between Robert Mapplethorpe and

playing and the transformation of identity, they are also a study of and

Lisa Lyon. Shortly after winning the First World Women’s Bodybuilding

homage to one woman, one body that has reached the level of ideal physical

Championship in 1979, Lyon retired from the sport, seeing herself more as a

perfection. Mapplethorpe highlights this so well when he deconstructs her

performance artist than an athlete, “a sculptor whose raw material was her

form to its individual parts such as her leg as seen in Lot 43.

own body” (Chatwin, p. 11). At the same time, Mapplethorpe was beginning to broaden his circle of subjects and, with Lyon, came a personality very

Just as Mapplethorpe’s photographs of sadomasochism gave mainstream

similar to his own; a person willing to transform herself in every way for her

attention to previously unseen aspects of the homosexual community,

art, just as Mapplethorpe transformed himself in his numerous self-portraits.

beyond Lyon herself, these images highlight the small community of female

But most importantly with Lyon came the ideal form that he was constantly

bodybuilders that in the 1980s seemed to many to exist somewhere in the

yearning to photograph and the opportunity to address themes of androgyny,

space between male and female. They present a female form unlike so

classicism, erotica and the exploration of American subculture.

many of the era; a classical form that, like Michelangelo’s figures, merges feminine curves with masculine musculature. A form that allowed Lyon

From the day they met to Mapplethorpe’s untimely death in 1989, their

and Mapplethorpe to together deconstruct the female stereotype all whilst

relationship transcended that of a photographer and his sitter. They were

‘glorifying the human body.’ (Chatwin, p. 14)

compatriots on a shared journey examining representations of women throughout the history of photography and the history of art all whilst

The following 8 lots continue our sale of Photographs from the Collection of

challenging their own fears and obstacles. Whereas Mapplethorpe’s oeuvre

Lisa Lyon.

is largely dominated by an emphasis on and examination of male anatomy, the one-hundred and twelve images that constitute Lady Lisa Lyon are unique in their exclusive focus on the female form. They depict Lyon as a range of characters in an array of poses from the statuesque nude (lot 45) to the choir singer (lot 49), the fashion model (lot 48) to the fortune teller (lot 47). Every detail of each character was carefully decided by Mapplethorpe and Lyon with only their imagination as a limit.

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

42 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. 26

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

43 ROBERT MAPPLETHORPE 1946-1989

∆

44 ROBERT MAPPLETHORPE 1946-1989

Lisa Lyon, 1982

Gelatin silver print. 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm). Signed, dated and numbered AP 1/2 in

Gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, dated and numbered AP 1/2

ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on

in ink in the margin; dated in ink and copyright credit reproduction limitation stamp on the

the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

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 Random House, Mapplethorpe, p. 149; St. Martin’s Press, Lady Lisa Lyon, p. 52;

LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 29

teNeues, Robert Mapplethorpe: Perfection in Form, p. 167

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

45 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print, flush-mounted. 16 x 15 1/4 in. (40.6 x 38.7 cm). Signed and numbered AP 1/2 in ink in the margin. One from an edition of 10 plus 2 artist’s proofs.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 74

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

46 ROBERT MAPPLETHORPE 1946-1989

∆

47 ROBERT MAPPLETHORPE 1946-1989

Lisa Lyon, 1982

Gelatin silver print. 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm). Signed, dated and numbered AP 1/2 in

Gelatin silver print. 15 1/8 x 15 1/4 in. (38.4 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

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

PROVENANCE Acquired directly from the artist

LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 122

LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 112

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON ∆

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

48 ROBERT MAPPLETHORPE 1946-1989

∆

49 ROBERT MAPPLETHORPE 1946-1989

Lisa Lyon, 1982

Gelatin silver print. 19 1/4 x 15 1/8 in. (48.9 x 38.4 cm). Signed and numbered AP 1/2 in ink

Gelatin silver print. 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm). Signed, dated and numbered AP 1/2 in

on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 103

PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady Lisa Lyon, p. 63

50 ANNIE LEIBOVITZ b. 1949

Meryl Streep, New York, 1981 Dye destruction print. 9 3/4 x 9 5/8 in. (24.8 x 24.4 cm). Signed, titled, dated and numbered 25/40 in ink in the margin.

Estimate $7, 0 0 0 - 9 , 0 0 0 LITERATURE Rolling Stone, 15 October 1981, cover

51 PATRICK DEMARCHELIER b. 1943 Johnny Depp, 1986 Platinum print, printed 1996. 16 x 16 in. (40.6 x 40.6 cm). Signed, dated and annotated ‘PP’ in pencil in the margin. One from an edition of 5 plus printer’s proof.

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

52 PATRICK DEMARCHELIER b. 1943

53 ANNIE LEIBOVITZ b. 1949

Madonna from Dick Tracy, Los Angeles, 1989

Miles Davis, 1989

Platinum print, printed 1996. 20 x 14 3/4 in. (50.8 x 37.5 cm). Signed, dated and annotated

Dye destruction print. 14 3/8 x 11 1/2 in. (36.5 x 29.2 cm). Signed, titled, dated and numbered

‘PP’ in pencil in the margin. One from an edition of 5 plus printer’s proof.

AP6 in ink the margin.

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

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

PROVENANCE Acquired directly from the artist

PROPERTY SOLD TO BENEFIT SRO HOUSING CORPORATION, LOS ANGELES

54 HERB RITTS 1952-2002 Carrie in Profile, Paradise Cove, 1988 Platinum print. 19 3/8 x 15 1/8 in. (49.2 x 38.4 cm). Blindstamp credit in the margin; signed, titled, dated and numbered 22/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE From the Herb Ritts Foundation; donated to SRO Housing Corporation,

Los Angeles

SRO Housing Corporation is a non-profit organization dedicated to improving the lives of homeless and low-income individuals in downtown Los Angeles. With an understanding that community support is necessary for overcoming unemployment and homelessness, SRO is committed to building communities that offer affordable housing while fostering career and social opportunity.

55 CINDY SHERMAN b. 1954 Untitled (Madonna), 1975 Gelatin silver print, printed 1997. 6 3/4 x 4 3/4 in. (17.1 x 12.1 cm). Signed and dated in pencil on the verso.

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

56 ANDY WARHOL 1928-1987 Jerry Hall, 1980 Polaroid print. 3 3/4 x 2 7/8 in. (9.5 x 7.3 cm). Estate of Andy Warhol credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE The Estate of Andy Warhol, New York

ACTUAL SIZE

57 HELMUT NEWTON 1920-2004

58 HELMUT NEWTON 1920-2004

Scene from a Pina Bausch Ballet, Wuppertal, 1983

In the Grunewald, 1979

Gelatin silver print. 14 7/8 x 22 3/8 in. (37.8 x 56.8 cm). Signed, titled, dated, numbered

Gelatin silver print from Private Property Suite II, printed 1984. 9 1/4 x 14 1/8 in.

3/10 in pencil, copyright credit and reproduction limitation stamps on the verso.

(23.5 x 35.9 cm). Signed, numbered 5 in pencil, copyright credit and portfolio stamps

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

on the verso. Number 5 from an edition of 75.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Kicken Gallery, Berlin LITERATURE Taschen, Helmut Newton: Work, pp. 234-235

PROVENANCE Private Collection, London

59 HELMUT NEWTON 1920-2004 Saddle II, Paris, 1976 Gelatin silver print, printed 1981. 28 1/2 x 41 1/2 in. (72.4 x 105.4 cm). Signed, titled, dated in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Transart Corporation, Beverly HIlls; Constantiner Collection, New York;

Galerie Andrea Caratsch, Z端rich; Galerie Wolfgang Roth & Partners Fine Art, Miami LITERATURE Vogue Hommes, 1976; Newton, Sleepless Nights, pp. 66-67

60 ROBERT MAPPLETHORPE 1946-1989 Embrace, 1982 Gelatin silver print. 19 1/4 x 15 1/8 in. (48.9 x 38.4 cm). Signed, dated in ink and copyright credit reproduction limitation stamp on the verso. Number 4 from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Kardon, Robert Mapplethorpe: The Perfect Moment, p. 59

61 ROBERT MAPPLETHORPE 1946-1989 Dan S., 1980 Gelatin silver print. 17 7/8 x 14 in. (45.4 x 35.6 cm). Signed in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 15 plus 3 artistâ&#x20AC;&#x2122;s proofs.

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

62 ROBERT MAPPLETHORPE 1946-1989 Lydia (Back), 1987 Gelatin silver print. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm). Signed, dated and numbered 2/10 in ink in the margin; signed in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount.

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

63 ROBERT MAPPLETHORPE 1946-1989 Ken Moody and Robert Sherman, 1984 Platinum print. 19 1/2 x 19 3/4 in. (49.5 x 50.2 cm). Signed, dated and numbered 2/3 in pencil in the margin. This work is in the artistâ&#x20AC;&#x2122;s original frame.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 EXHIBITED Robert Mapplethorpe: Portraits, Center for Creative Photography, Tucson,

11 July - 27 September 2009 LITERATURE teNeues, Mapplethorpe by Robert Mapplethorpe, cover; Kardon, Robert

Mapplethorpe: The Perfect Moment, p. 77; teNeues, Robert Mapplethorpe: Perfection in Form, p. 177

64 ROBERT MAPPLETHORPE 1946-1989 Apollo, 1988 Gelatin silver print. 19 1/8 x 19 1/4 in. (48.6 x 48.9 cm). Signed by Michael Ward Stout, Executor, in ink and Estate of Robert Mapplethorpe copyright credit stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artistâ&#x20AC;&#x2122;s proofs.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 LITERATURE Random House, Mapplethorpe, p. 295

65 JOEL-PETER WITKIN b. 1939

66 JOEL-PETER WITKIN b. 1939

Birth of Venus, NYC, 1982

Female King, New Mexico, 1997

Gelatin silver print. 14 5/8 x 14 3/4 in. (37.1 x 37.5 cm). Signed, titled ‘Botticelli’s Venus’,

Gelatin silver print. 16 5/8 x 14 7/8 in. (42.2 x 37.8 cm). Signed, titled, dated and numbered

dated and numbered 6/15 in pencil on the verso.

1/10 in pencil on the verso.

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

Estimate $1, 5 0 0 - 2 , 5 0 0

67 JOEL-PETER WITKIN b. 1939

68 JOEL-PETER WITKIN b. 1939

Penitente, New Mexico, 1982

The American Way, New Mexico, 1981

Gelatin silver print. 14 5/8 x 14 3/4 in. (37.1 x 37.5 cm). Signed, titled, dated and numbered

Gelatin silver print. 14 1/4 x 14 1/2 in. (36.2 x 36.8 cm). Signed, titled, dated and numbered

AP 1/4 in pencil on the verso. One from an edition of 15 plus 4 artist’s proofs.

4/15 in pencil on the verso.

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

Estimate $1, 5 0 0 - 2 , 5 0 0

LITERATURE Celant, Witkin, pl. 29

69 SALLY MANN b. 1951

70 SALLY MANN b. 1951

Untitled (Georgia) from Mother Land, 1996

Gelatin silver enlargement print toned with tea. 38 x 48 1/2 in. (96.5 x 123.2 cm). Signed,

Gelatin silver enlargement print toned with tea, printed 1997. 38 x 48 1/2 in. (96.5 x 123.2 cm).

dated and numbered 1/10 in pencil on the verso.

Signed, dated and numbered 3/10 in pencil on the verso.

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

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

PROVENANCE Edwynn Houk Gallery, New York

PROVENANCE Edwynn Houk Gallery, New York LITERATURE Bulfinch Press, Sally Mann: Mother Land, p. 31

71 SALLY MANN b. 1951 The Bent Ear, 1989 Gelatin silver print. 9 3/4 x 7 5/8 in. (24.8 x 19.4 cm). Signed, titled, dated and numbered 6/25 in pencil on the verso.

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

PROVENANCE Edwynn Houk Gallery, New York

72 SALLY MANN b. 1951 Jessie at Seven, 1988 Gelatin silver print. 19 x 23 1/8 in. (48.3 x 58.7 cm). Signed, titled, dated and numbered 3/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Edwynn Houk Gallery, New York

73 SALLY MANN b. 1951 Jessie at Nine, 1991 Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm). Signed, titled, dated and numbered 18/25 in pencil on the verso.

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

74 SALLY MANN b. 1951 Jessie at Eight, 1990 Gelatin silver print. 18 3/4 x 23 in. (47.6 x 58.4 cm). Signed, titled, dated and numbered 4/25 in pencil on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Edwynn Houk Gallery, New York

75 LAURIE SIMMONS b. 1949 Tourism, Barcelona, 1994 Dye destruction print. 39 x 27 in. (99.1 x 68.6 cm). Signed, titled, dated and annotated ‘AP’ in pencil on the reverse of the frame.

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

76 CINDY SHERMAN b. 1954 Untitled #187, 1989 Color coupler print. 71 1/2 x 47 1/2 in. (181.6 x 120.7 cm). Signed, dated and numbered 3/6 in ink on a label accompanying the work.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 LITERATURE Cruz and Smith, Cindy Sherman: Retrospective, pl. 112

Cindy Sherman’s Untitled #187, from the Disasters series, is emblematic of her work throughout the late 1980s, pushing boundaries of comfort both for the viewer and the artist. While her earlier works, including her seminal Untitled Film Stills, address female stereotypes in popular culture, her photographs throughout the 1980s show an evolution towards images that literally deconstruct the female form. Here, Sherman is indiscernible, using make-up and costume to morph herself into a hybrid creature that is at once human, doll and clown. The exaggerated breasts, a focus of fixation in contemporary society, are removed from any sexual context and reappropriated as the focal point of this monstrous creation.

77 GREGORY CREWDSON b. 1962 Untitled from Natural Wonders, 1993 Color coupler print. 25 5/8 x 27 5/8in. (65.1 x 70.2cm). Signed, dated and numbered 6/6 in ink in the margin.

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

78 GABRIEL OROZCO b. 1962 1, 2, 3, 4â&#x20AC;Ś, 1993 Dye destruction print. 12 3/8 x 18 5/8 in. (31.4 x 47.3 cm). Signed, titled, dated and numbered 20/25 in ink on the verso.

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

79 CHRIS JORDAN b. 1963 Circuit Boards #2, New Orleans, 2005 Color coupler print, Diasec mounted. 43 1/2 x 59 in. (110.5 x 149.9 cm). Signed, titled, dated and numbered 3/9 in ink on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the frame.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Yossi Milo Gallery, New York

80 PHILIP-LORCA DICORCIA b. 1951 Head #24, 2001 Fujicolor Crystal Archive print. 47 5/8 x 59 1/2 in. (121 x 151.1 cm). Signed in ink on a label affixed to the reverse of the acrylic flush-mount.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE (S + bp) SteidlBoxPacemacgill, Philip-Lorca diCorcia: Heads, n.p.

81 ANDRES SERRANO b. 1950 Interpretation of Dreams, 2001 Dye destruction print. 18 7/8 x 15 1/2 in. (47.9 x 39.4 cm). Signed, titled ‘The Other Christ’ and annotated ‘AP-Model’s print’ in pencil on the verso.

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

82 ANDREAS GURSKY b. 1955 Zürich Bankproject no. 8, 1997 Color coupler print, Diasec mounted. 45 x 36 in. (114.3 x 91.4 cm). Signed, titled, dated and numbered 5/6 in pencil on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York

83 CANDIDA HÖFER b. 1944 Kunsthalle Karlsruhe VII, 1999 Color coupler print. 46 3/8 x 46 3/8 in. (117.8 x 117.8 cm). Signed in ink on the reverse of the mount; printed title, date and number 1/6 on a label affixed to the reverse of the mount.

Estimate $ 9, 0 0 0 -12 , 0 0 0 PROVENANCE Tomasi Gallery, New York

84 HERB RITTS 1952-2002 Madonna I, San Pedro, 1990 Platinum print. 26 1/8 x 21 1/8 in. (66.4 x 53.7 cm). Signed, titled, dated and numbered 3/25 in pencil on the verso.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles EXHIBITED Herb Ritts: Work, Museum of Fine Arts, Boston, 22 October 1996 - 9 February 1997,

another example exhibited; Herb Ritts, Fondation Cartier pour lâ&#x20AC;&#x2122;art contemporain, Paris, 11 December 1999 - 12 March 2000, another example exhibited LITERATURE Bulfinch, Herb Ritts: Work, n.p.; Bulfinch Press, Notorious: Herb Ritts, n.p.; Fondation

Cartier pour lâ&#x20AC;&#x2122;art contemporain, Herb Ritts, n.p.; Stern, Herb Ritts (Stern Portfolio), cover

Another example of this print is in the collection of the Museum of Fine Arts, Boston

85 PATRICK DEMARCHELIER b. 1943 Nude, New York, 1995 Platinum print. 20 x 16 in. (50.8 x 40.6 cm). Signed and annotated ‘PP’ in pencil in the margin. One from an edition of 5 plus printer’s proof.

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

86 MARIO CRAVO NETO b. 1947 Luciana, 1994 Gelatin silver print. 18 1/4 x 18 in. (46.4 x 45.7 cm). Signed, dated and annotated ‘Ed. 2 AP’ in pencil in the margin; titled and dated in pencil on the verso. One from an edition of 25 plus artist’s proofs.

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

87 NOBUYOSHI ARAKI b. 1940 Tokyo Comedy, 1991 Gelatin silver print. 18 x 14 1/2 in. (45.7 x 36.8 cm). Signed in pencil on the verso.

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

88 ALBERT WATSON b. 1942 Kate Moss in Torn Veil, Marrakech, 1993

Archival pigment print, printed later. 96 x 72 in. (243.8 x 182.9 cm). Signed, titled, dated and numbered 2/5 in ink on a label accompanying the work.

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

NOBUYOSHI ARAKI

To publish this collection, I badly wanted to print them myself. I wanted to insert my personal feelings into the prints […] I randomly selected 201 photos from 50,000 cuts from over 5,000 Brownie films and placed them in chronological order, and then, it all came together in a sentimental way. Actually, this book was made to celebrate A’s 60th birthday, I wonder if the sentimental journey will go on afterwards. Noboyoshi Araki, Personal Sentimentalism in Photography, band translation

The following selection of works by Nobuyoshi Araki were published

is not literal but symbolic, as the images depict Araki’s proclaimed

in Personal Sentimentalism in Photography, a compilation celebrating

lifeline—beautiful women. As such, the images attest to the acceptance

the 60th birthday of the famed Japanese photographer. Renowned

of the harmonious concurrence of life and death within the same

for his continuous photographing of women in various states of

capsule, or in this case, the same frame. It is an acknowledgement that

dress and undress, Araki has stated, “Women have all the charms

one cannot exist without the other.

of life itself. They have all the essential attributes: beauty, ugliness, obscenity, purity…much more so than nature. In woman, there is sea

The duality of life and death, beginning and end, and elder and child is

and sky. In woman, there is the bud and the flower.” The reiteration of

further reflected in the selection of images: a woman riding the bicycle

complimentary pairs as a vital component in a woman’s being alludes to

down a small street (lot 89) versus one leisurely sprawled on a sofa (lot

Araki’s passion for equilibrium. That is, his need to maintain a constant

90); a seated woman fully clothed (lot 91) versus a supine woman in the

and circuitous flow permitting the co-existence of seemingly opposite

nude (lot 92); a woman comfortably tangled in covers (lot 93) versus one

ends, primarily in relation to nature, and subsequently, life.

perched on the edge of a mattress contemplating sleep (lot 94); dead flowers (lot 95) versus a pregnant woman (lot 96); a woman elegantly

In his native country of Japan, the 60th birthday—also known as

seated in the privacy of a home (lot 97) versus one standing by a busy

Kanreki— marks the end of one life cycle and the welcoming of the next.

road (lot 98). Therefore, each image supplants another in a spontaneous

The sexagenarian individual is treated as an infant would be—showered

and seemingly unplanned manner, presenting a scene that it trusts

with gifts; openly doted on; and dressed in red, the traditional color

another, at some point, to beautifully—and naturally, counterbalance.

for newborns. It is befitting, therefore, that the works presented are all

It is the very desire for cyclical continuation that will surely carry the

gelatin silver prints, of which Araki has said, “black and white photos

famed photographer’s legacy into the next life cycle.

represent death.” The death addressed in the photographs, of course,

89 NOBUYOSHI ARAKI b. 1940

90 NOBUYOSHI ARAKI b. 1940

Untitled from Personal Sentimentalism in Photography, n.d.

Gelatin silver print, printed by the artist in 2000. 12 3/4 x 10 3/8 in. (32.4 x 26.4 cm).

Gelatin silver print, printed by the artist in 2000. 12 1/2 x 10 3/8 in. (31.8 x 26.4 cm).

Signed in pencil, Taka Ishii Gallery credit and print date stamp on the verso.

Accompanied by a signed Certificate of Authenticity.

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

PROVENANCE From the artist; to Taka Ishii Gallery, Tokyo; to the present

Private Collection

LITERATURE Araki, Personal Sentimentalism in Photography, n.p.; Taschen, Araki, p. 189

LITERATURE Araki, Personal Sentimentalism in Photography, n.p.; Taschen, Araki, p. 188

91 NOBUYOSHI ARAKI b. 1940

92 NOBUYOSHI ARAKI b. 1940

Untitled from Personal Sentimentalism in Photography, n.d.

Gelatin silver print, printed by the artist in 2000. 10 5/8 x 12 3/4 in. (27 x 32.4 cm).

Gelatin silver print, printed by the artist in 2000. 10 1/2 x 12 5/8 in. (26.7 x 32.1 cm).

Signed in pencil, Taka Ishii Gallery credit and print date stamp on the verso.

Accompanied by a signed Certificate of Authenticity.

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

PROVENANCE From the artist; to Taka Ishii Gallery, Tokyo; to the present

Private Collection

LITERATURE Araki, Personal Sentimentalism in Photography, n.p

93 NOBUYOSHI ARAKI b. 1940

94 NOBUYOSHI ARAKI b. 1940

Untitled from Personal Sentimentalism in Photography, n.d.

Gelatin silver print, printed by the artist in 2000. 10 3/8 x 12 3/4 in. (26.4 x 32.4 cm).

Gelatin silver print, printed by the artist in 2000. 10 1/2 x 12 7/8 in. (26.7 x 32.7 cm).

Signed in pencil, Taka Ishii Gallery credit and print date stamp on the verso.

Accompanied by a signed Certificate of Authenticity.

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

PROVENANCE From the artist; to Taka Ishii Gallery, Tokyo; to the present

Private Collection

LITERATURE Araki, Personal Sentimentalism in Photography, n.p

95 NOBUYOSHI ARAKI b. 1940

96 NOBUYOSHI ARAKI b. 1940

Untitled from Personal Sentimentalism in Photography, n.d.

Gelatin silver print, printed by the artist in 2000. 10 5/8 x 12 7/8 in. (27 x 32.7 cm).

Gelatin silver print, printed by the artist in 2000. 10 1/2 x 12 3/4 in. (26.7 x 32.4 cm).

Signed in pencil, Taka Ishii Gallery credit and print date stamp on the verso.

Accompanied by a signed Certificate of Authenticity.

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

PROVENANCE From the artist; to Taka Ishii Gallery, Tokyo; to the present

Private Collection

LITERATURE Araki, Personal Sentimentalism in Photography, n.p

97 NOBUYOSHI ARAKI b. 1940

98 NOBUYOSHI ARAKI b. 1940

Untitled from Personal Sentimentalism in Photography, n.d.

Gelatin silver print, printed by the artist in 2000. 10 1/2 x 12 3/4 in. (26.7 x 32.4 cm).

Gelatin silver print, printed by the artist in 2000. 10 3/8 x 12 5/8 in. (26.4 x 32.1 cm).

Signed in pencil, Taka Ishii Gallery credit and print date stamp on the verso.

Accompanied by a signed Certificate of Authenticity.

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

PROVENANCE From the artist; to Taka Ishii Gallery, Tokyo; to the present

Private Collection

LITERATURE Araki, Personal Sentimentalism in Photography, n.p

This portfolio was published on the occasion of two concurrent exhibitions

99 HIROSHI SUGIMOTO b. 1948 Time Exposed

in 2002 at the Carnegie Museum of Art, Pittsburgh and the IBM Courtyard,

Kyoto: Kyoto Shoin Co., Ltd, 1991. Fifty-one off-set lithographs. Fifty prints: 9 1/2 x 12 1/4 in.

Tokyo. As such, in addition to the fifty seascapes, this portfolio includes an

(24.1 x 31.1 cm); one print: 2 x 15 1/8 in. (5.1 x 38.4 cm). Each with blindstamp title, date and

additional print showing an installation view of the IBM Courtyard.

number on the mount. Title page. Colophon. Contained in an aluminum folio case. One from an edition of 500.

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

100

101

100 HIROSHI SUGIMOTO b. 1948

101 TOSHIO SHIBATA b. 1949

Hall of Thirty Three Bays, 1995

Grand Coulee Dam, Douglas County, MA, 1996

Gelatin silver print. 16 3/4 x 21 1/4 in. (42.5 x 54 cm). Blindstamp credit in the margin;

Gelatin silver print. 30 7/8 x 39 3/8 in. (78.4 x 100 cm). Signed and numbered 5/10 in pencil

signed in pencil on the mount.

on labels affixed to the reverse of the mount.

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

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

LITERATURE Contemporary Arts Museum, Houston, Sugimoto, p. 60 for a variant

PROVENANCE Laurence Miller Gallery, New York

PROPERTY FROM A PRIVATE EUROPEAN COLLECTOR

102 HIROSHI SUGIMOTO b. 1948 Chapel of Notre Dame du Haut, 1998 Gelatin silver print, flush-mounted to the artist’s original construct. 59 x 47 in. (149.9 x 119.4 cm). Signed in pencil, printed title, date and number 2/5 on an artist’s label affixed to the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Sonnabend Gallery, New York LITERATURE D.A.P./Museum of Contemporary Art, Chicago, Hiroshi Sugimoto:

Architecture, n.p.

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 originated at the Museum of Contemporary Art in Tokyo in 1998. Since then, Sugimoto has continued to photograph icons of Modernist and contemporary architecture, including Le Corbusier’s Chapel of Notre Dame du Haut in Ronchamp, France, as seen in the present lot.

103

103 LUIS GONZALEZ PALMA b. 1957 Lugar Sin Reposo, 1991 Hand painted gelatin silver print with dried flower affixed to the mount in artistâ&#x20AC;&#x2122;s original frame. 32 x 46 in. (81.3 x 116.8 cm). Signed in ink on a label accompanying the work. One from an edition of 5.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Schneider Gallery, Chicago

104 VIK MUNIZ b. 1961 The White Shirt from Pictures of Wire, 1995 Gelatin silver print. 14 1/2 x 14 1/2 in. (36.8 x 36.8 cm). Signed, titled, dated and numbered AP 2/3 in pencil in the margin. One from an edition of 5 plus 3 artistâ&#x20AC;&#x2122;s proofs.

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

104

105

105 LORNA SIMPSON b. 1960 Shoe Lover 3, 1992 Polaroid triptych with two engraved Plexiglas plaques. Each 24 x 20 in. (61 x 50.8 cm). Number 3 from an edition of 4.

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0 PROVENANCE Rhona Hoffman Gallery, Chicago LITERATURE Phaidon, Lorna Simpson, p. 55

106

Lorna Simpson’s body of work is characterized by the weaving of text with image to create narratives that hinder viewers from concluding immediate associations regarding issues of race, identity and gender. In Shoe Lover 3, the viewer is presented with three distinct yet connected visuals. The left image, of a black shoebox with no logo, arguably alludes to the fusing of color and object into a single entity, raising questions of race and objectification, while the addition of the caption “female attraction” introduces gender as an additional constituent. The center image, of a woman’s back, is cropped at the neck and at the hands, thereby attempting to remove two distinct markers of identity and race. The right image of studded heels, a signifier of gender and femininity, is likewise challenged with the caption “attract females,” which imbues the image with a predatory and primal undertone. The presence of the three visuals within the same work, however, is not to reach a conclusive interpretation. Rather, it points at the futility in reaching a single, universal truth in addressing polemical issues concerned with the construction of identity.

106 ZOE LEONARD b. 1961 Dress + Suit (For Nancy), 1990 Gelatin silver print, printed 1995. 25 x 17 in. (63.5 x 43.2 cm). Signed, titled, dated and numbered 1/6 in pencil on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 PROVENANCE Tracey Williams Ltd., New York LITERATURE Steidl and Fotomuseum Winterthur, Zoe Leonard, p. 109

107 ALEX GUOFENG CAO b. 1969 Marilyn vs. JFK, 2009 Color coupler print. 108 x 72 in. (274.3 x 182.9 cm). Signed, dated and numbered AP 3/3 in ink on a Certificate of Authenticity affixed to the reverse of the flush-mount. One from an edition of 5 plus 3 artistâ&#x20AC;&#x2122;s proofs.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Acquired directly from the artist

108 ALBERT WATSON b. 1942 Christy Turlington, New York City, 1990 Toned gelatin silver print, printed later. 19 5/8 x 15 5/8 in. (49.8 x 39.7 cm). Signed, titled, dated and numbered 9/25 in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Crump, Albert Watson, pl. 73; Schirmer/Mosel, Albert Watson: The Vienna

Album, n.p.; Watson, Cyclops, n.p.

109

109 SANTE D’ORAZIO b. 1956 Eva Herzigova, Delano Hotel, Miami, 1996 Toned gelatin silver print. 9 x 7 1/8 in. (22.9 x 18.1 cm). Signed, titled, dated, annotated ‘unique vintage print’ in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the artist

110

110 ALBERT WATSON b. 1942 Naomi Campbell, Palm Springs, 1989 Toned gelatin silver print, printed later. 23 3/4 x 19 5/8 in. (60.3 x 49.8 cm). Signed, titled, dated and numbered 10/25 in pencil on the reverse of the mount.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Crump, Albert Watson, pl. 51; Schirmer/Mosel, Albert Watson: The Vienna

Album, n.p.; Watson, Cyclops, n.p.

111

111 ALBERT WATSON b. 1942 Gabrielle Reece, Piero Panchetti Blouse, Los Angeles, 1989 Gelatin silver print, printed later. 13 3/4 x 10 7/8 in. (34.9 x 27.6 cm). Signed, titled, dated and numbered 6/25 in pencil on the reverse of the mount.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Schirmer/Mosel, Albert Watson: The Vienna Album, n.p. for a variant; Watson,

Cyclops, n.p.

112 HERB RITTS 1952-2002 Versace Dress, Back View, El Mirage, 1990 Gelatin silver print. 22 3/8 x 18 5/8 in. (56.8 x 47.3 cm). Signed, titled, dated, numbered 9/25 in pencil and copyright credit stamp on the reverse of the mount.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles LITERATURE Bulfinch, Herb Ritts: Work, n.p.

113

114

113 HERB RITTS 1952-2002

114 HERB RITTS 1952-2002

Tony with Body Mask, Joshua Tree, 1985

Male Nude, Silverlake, backview, 1985

Toned gelatin silver print. 18 5/8 x 15 1/8 in. (47.3 x 38.4 cm). Blindstamp credit in the margin;

Toned gelatin silver print. 6 7/8 x 5 1/8 in. (17.5 x 13 cm). Blindstamp credit in the margin;

signed, titled, dated and numbered 9/25 in pencil on the verso.

signed, titled, dated and numbered 11/25 in pencil on the verso.

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

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

PROVENANCE Staley Wise Gallery, New York

LITERATURE Bulfinch, Herb Ritts: Work, n.p.; Twin Palms, Herb Ritts: Pictures, n.p.

LITERATURE Twin Palms, Herb Ritts: Pictures, n.p.

115

115 ADAM FUSS b. 1961 Untitled, 1995 Unique gelatin silver photogram diptych. Each 23 3/4 x 19 3/4 in. (60.3 x 50.2 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Paul Kasmin Gallery, New York (female panel); Cheim & Read, New York

(male panel) EXHIBITED Silhoutten und Cutouts, Lenbachaus, Munich, 3 February - 6 May 2001

(male panel) LITERATURE Lenbachaus, Schatten Risse, Silhouttens und Cutouts, p. 306 (male panel);

Arena Edition Publications, Adam Fuss, p. 10 (male panel)

116 LARRY SULTAN 1946-2009 Boxers, Mission Hills, 1999 Color coupler print. 40 x 50 in. (101.6 x 127 cm). Signed in ink, printed title, date and number 9/10 on a gallery label affixed to the reverse of the mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE Scalo, The Valley: Larry Sultan, p. 49

117

117 ABELARDO MORELL b. 1948 Camera obscura image of Brooklyn Bridge in bedroom, 1999 Gelatin silver print. 18 1/8 x 22 1/2 in. (46 x 57.2 cm). Signed, titled, dated and numbered 25/30 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Bulfinch, Camera Obscura: Photographs by Abelardo Morell, p. 47

118 ABELARDO MORELL b. 1948 Water Alphabet, 1998 Gelatin silver print. 18 x 22 1/2 in. (45.7 x 57.2 cm). Signed, titled, dated and numbered in pencil on the verso. One from an edition of 30.

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

119 ABELARDO MORELL b. 1948 Camera obscura image of Bostonâ&#x20AC;&#x2122;s Old Custom House in hotel room, 1999-2000 Gelatin silver print. 17 7/8 x 22 1/2 in. (45.4 x 57.2 cm). Signed, titled, dated and numbered 5/30 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Bulfinch, Camera Obscura: Photographs by Abelardo Morell, p. 29

119

118

120

120 VERA LUTTER b. 1960 156 Columbus Avenue, New York City, June 21, 1997 Camera obscura gelatin silver print, flush-mounted to canvas. 40 3/4 x 47 1/2 in. (103.5 x 120.7 cm).

122

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Fraenkel Gallery, San Francisco; Christie’s, New York, 10 May 2006, lot 615

121

121 OLA KOLEHMAINEN b. 1964

122 STÉPHANE COUTURIER b. 1957

Untitled (No. 10), 2005

Eole—Paris 10, 1996

Color coupler print, Diasec mounted. 71 x 97 1/2 in. (180.3 x 247.7 cm). Signed in ink, printed

Dye destruction print. 51 1/2 x 40 3/4 in. (130.8 x 103.5 cm). Signed, titled, dated

title, date and number 2/5 on a label accompanying the work. Accompanied by a Certificate

and numbered 3/3 in ink on the reverse of the mount.

of Authenticity from Galerie Anhava, Helsinki.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Laurence Miller Gallery, New York PROVENANCE Galerie Anhava, Helsinki

123

123 SHIRIN NESHAT b. 1957 Rebellious Silence from Woman of Allah, 1994 Color coupler print. 13 x 8 3/4 in. (33 x 22.2 cm). Signed, titled ‘Woman of Allah series’, dated and numbered 21/50 in ink on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Charta, Shirin Neshat, p. 82

124 LALLA ESSAYDI b. 1956 Converging Territories #10, 2003 Color coupler print, Diasec mounted. 26 7/8 x 34 1/2 in. (68.3 x 87.6 cm). Signed, titled and numbered 13/15 in ink on a label affixed to the reverse of the aluminum flush-mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Carlson, Lalla Essaydi: Converging Territories, p. 7; Noorderlicht Foundation,

NAZAR: Photographs from the Arab World, p. 28

124

125

125 BIEN-U BAE b. 1950 Sonamoo, 2004 Color coupler print. 31 1/8 x 64 3/8 in. (79.1 x 163.5 cm). Signed, dated and numbered 2/7 in pencil on the recto; signed, dated and numbered 2/7 in ink on the reverse of the frame.

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0

126

126 RONG RONG b. 1968 In the Great Wall, China, 2000 Color coupler triptych. Each 16 1/2 x 16 3/4 in. (41.9 x 42.5 cm). Each signed, titled, dated, numbered 5/12 and sequentially numbered 1-3 in pencil in the margin; each signed, titled, dated, numbered 5/12 and sequentially numbered 1-3 in pencil on the verso.

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

127

128

127 ZHANG HUAN b. 1965

128 ZHANG HUAN b. 1965

My Boston #2, 2005

My Boston #4, 2005

Color coupler print. 40 x 80 1/2 in. (101.6 x 204.5 cm). Signed, dated and numbered 7/8 in ink

Color coupler print. 40 x 80 1/2 in. (101.6 x 204.5 cm). Signed, dated and numbered AP 1/2

on a label accompanying the work.

in ink on a label accompanying the work. One from an edition of 8 plus 2 artistâ&#x20AC;&#x2122;s proofs.

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

129

129 HONG HAO b. 1965 My Things No. 3, 2001-2002 Color coupler print. 47 1/2 x 82 3/4 in. (120.7 x 210.2 cm). Signed, titled and dated in ink in the margin; signed, titled and dated in ink on the verso.

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

130

130 HAI BO b. 1962 Winter, 1999 Color coupler diptych. Each 23 x 15 1/2 in. (58.4 x 39.4 cm). Signed, titled, dated and numbered 17/18 in English and Chinese on the verso.

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

131

132

131 HUANG YAN b. 1966 Pork Landscape #1, 2000 Color coupler print. 31 1/2 x 41 in. (80 x 104.1 cm). Signed, titled in Chinese, dated and numbered 1/15 in pencil on the recto.

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

132 HONG HAO b. 1965 Mr. Gnoh, The Person Whom I Know Well No. 5, 1997-2001 Digital color coupler print. 27 x 21 3/4 in. (68.6 x 55.2 cm). Signed, titled, dated and numbered 8/15 in pencil on the verso.

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

133

134

133 EDWARD BURTYNSKY b. 1955

134 EDWARD BURTYNSKY b. 1955

Shipbreaking #31, Chittagong, Bangladesh, 2001

Shipbreaking #10, Chittagong, Bangladesh, 2000

Fujicolor Crystal Archive print. 34 x 27 in. (86.4 x 68.6 cm). Signed in ink, printed title,

Fujicolor Crystal Archive print. 17 3/4 x 22 in. (45.1 x 55.9 cm). Signed in ink, printed title,

date and number 7/10 on a label affixed to the reverse of the frame.

date and number 11/15 on a label affixed to the reverse of the frame.

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

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

PROVENANCE Robert Koch Gallery, San Francisco

LITERATURE Pauli, Manufactured Landscapes: The Photographs of Edward Burtynsky, pl. 61

LITERATURE Pauli, Manufactured Landscapes: The Photographs of Edward Burtynsky, pl. 60

135

135 EDWARD BURTYNSKY b. 1955

136 MITCH EPSTEIN b. 1952

Rock of Ages #23, Abandoned Section, Adam-Pirie Quarry, Barre, Vermont, 1991

Hoover Dam and Lake Mead, Nevada from American Power, 2007

Fujicolor Crystal Archive print. 40 x 50 in. (101.6 x 127 cm). Signed in ink, printed title,

Color coupler print. 47 1/4 x 55 1/2 in. (120 x 141 cm). Signed, titled, dated and numbered

date and number 2/5 on a label affixed to the reverse of the frame.

4/6 in ink on the reverse of the mount.

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

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

PROVENANCE Robert Koch Gallery, San Francisco

136

137 SEBASTIÃO SALGADO b. 1944 Dinka Cattle Camp of Amak, Southern Sudan, 2006 Gelatin silver print. 21 1/4 x 29 3/4 in. (54 x 75.6 cm). Signed, titled ‘Sud. Soudan’ and dated in pencil on the verso.

Estimate $ 9, 0 0 0 -12 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Sebastião Salgado: Africa, cover

138

000

139

138 SEBASTIÃO SALGADO b. 1944

139 SEBASTIÃO SALGADO b. 1944

Volcanic Eruption of Mt. Nyamuragira, Democratic Republic of the Congo from Genesis, 2004

Sea Lions at Puerto Egas in James Bay, The Galapagos from Genesis, 2004

Gelatin silver print. 14 3/4 x 20 in. (37.5 x 50.8 cm). Blindstamp credit in the margin; signed,

Gelatin silver print. 15 x 20 5/8 in. (38.1 x 52.4 cm). Blindstamp credit in the margin;

titled ‘Congo’ and dated in pencil on the verso.

signed, titled ‘Galapagos’ and dated in pencil on the verso.

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

PROVENANCE Acquired directly from the artist

Sebastião Salgado is largely recognized as a humanitarian as much as a photographer. His images, exemplary of his proclaimed “militant photography” style, are consistently devoted to universal issues that transcend temporality and immediacy, thereby granting accessibility to viewers across varying social, economic, political, cultural and ethnic backgrounds. In his series Genesis, Salgado turns his lens to remote parts of the world that have remained unmarred by the incursion of Mankind on the planet or toppled by the dizzying effects of globalization. The images seen in lots 138-139 and 175-177 depict geographic and cultural capsules of timeless and innocent beauty, instilling hope in the perseverance of traditions, customs, and as importantly, love of nature.

140 ELGER ESSER b. 1967 Port Du Pave, Frankreich, 2000 Color coupler print, Diasec mounted. 39 1/8 x 56 1/4 in. (99.4 x 142.9 cm). Signed in ink, printed title, date and number 2/5 on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the frame.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Sonnabend Gallery, New York LITERATURE Schirmer/Mosel, Elger Esser: Vedutas and Landscapes, p. 84

141 MASSIMO VITALI b. 1944 Cabo Frio Sorvetes #1691, 2003 Color coupler print, Diasec mounted. 65 1/2 x 74 1/4 in. (166.4 x 188.6 cm). Signed, titled, dated and numbered 4/6 in ink on a label affixed to the reverse of the flush-mount.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Steidl, Massimo Vitali: Landscapes with Figures, p. 207

142

142 MILES ALDRIDGE b. 1964 Le Manège Enchanté #4, 2007 Lambda print. 40 x 60 in. (101.6 x 152.4 cm). Signed in ink, printed title, date and number 2/3 on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 143 LITERATURE 7L/Steidl, Miles Aldridge: Pictures for Photographs, pl. 44

143 DAVID LACHAPELLE b. 1964 Amanda Lepore Breast-Feeding, 2003 Fujicolor Crystal Archive print. 59 3/4 x 49 1/2 in. (151.8 x 125.7 cm). Signed in ink, printed title, date and number 1/3 on an artist’s label affxied to the reverse of the acrylic flush-mount.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 EXHIBITED Jablonka Galerie, David LaChapelle: Heaven to Hell, 30 November 2006

- 3 February 2007; Wolfgang Roth & Partners Fine Art, David LaChapelle: Jesus is My Homeboy, 2 December 2008 - 10 January 2009 LITERATURE Taschen, David LaChapelle: Heaven to Hell, p. 67

144 DAVID LACHAPELLE b. 1964 Last Supper (Jesus is my Homeboy), New York, 2003 Color coupler print. 61 1/2 x 119 3/4 in. (156.2 x 304.2 cm). Signed in ink, printed title, date and number 5/5 on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the acrylic flush-mount.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, David LaChapelle: Heaven to Hell, pp. 340-341

145

145 GAVIN BOND b. 1970

146 MARK SELIGER b. 1959

Pom Poms, 2007

Gisele BĂźndchen, New York City, 2000

Digital color coupler print. 60 x 40 in. (152.4 x 101.6 cm). Signed and numbered AP 1/1

Digital color coupler print, printed later. 60 x 50 in. (152.4 x 127 cm). Signed, titled, dated,

in ink on a label accompanying the work. One from an edition of 1 plus 1 artistâ&#x20AC;&#x2122;s proof.

numbered 4/5 in ink and copyright credit reproduction limitation stamp on a label accompanying the work.

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

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

146

147

148 KIM JOON b. 1966

147 DAVID HILLIARD b. 1964 The Looker, 2005

Birdland—Donald Duck, 2008

Five color coupler prints. Each 40 x 32 in. (101.6 x 81.3 cm). Signed, titled, dated and

Digital color coupler print. 47 1/8 x 47 1/8 in. (119.7 x 119.7 cm). Signed, titled and numbered

numbered 5/5 on a gallery label accompanying the work. Each titled and sequentially

4/5 in ink on an artist’s label accompanying the work.

numbered 1/5-5/5 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Yancey Richardson Gallery, New York

148

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

149

149 THE ULTRAVELVET COLLECTION

150 CHEMA MADOZ b. 1958

Sex Sells from Panorama, 2009

Untitled, 2001

Digital color coupler print. 24 x 96 in. (61 x 243.8 cm). Signed and numbered 1/2 in ink

Toned gelatin silver print. 22 x 18 1/4 in. (55.9 x 46.4 cm). Signed, dated and numbered

on the recto.

in pencil on the verso. One from an edition of 15.

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

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

PROVENANCE Acquired directly from the artist

The Ultravelvet Collection is the creative brainchild of Los Angeles-based artists Eric Aston and Meredith Rose. Pairing the technology of pinhole cameras from the 1960’s with elements of contemporary graphic design, this collaborative duo creates photographs that bridge the gap between traditional photography and contemporary art.

150

151

151 KIM JOON b. 1966 Duet—Fowl, 2006 Digital color coupler print. 55 x 39 1/4 in. (139.7 x 99.7 cm). Signed, titled and numbered 5/5 in ink on an artist’s label accompanying the work.

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

152 VIK MUNIZ b. 1961 Venus and Cupid after Antonio Allegri Corregio from Pictures of Junk, 2006 Color coupler print. 86 x 70 1/4 in. (218.4 x 178.4 cm). Signed and dated in ink on a gallery label affixed to the reverse of the mount. Number 4 from an edition of 6.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Yancey Richardson Gallery, New York

153 VIK MUNIZ b. 1961 Orchestra from Pictures of Chocolate, 2001 Dye destruction print. 67 x 48 5/8 in. (170.2 x 123.5 cm). Signed in ink, printed title, date and number AP 3/3 on a gallery label affixed to the reverse of the aluminum flush-mount. One from an edition of 3 plus 3 artistâ&#x20AC;&#x2122;s proofs.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Galerie Xippas, Paris; to a Private Collection, Mexico City; to a Private

Collection, USA

154

155

154 AHMET ERTUG b. 1949

155 AHMET ERTUG b. 1949

Teatro La Fenice, Venice, 2009

Teatro del Liceu, Barcelona, 2009

Lightjet print. 71 x 88 in. (180.3 x 223.5 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

The Ahmet Ertug photographs offered in lots 154 and 155 will be published in his limited edition large format book titled Opera Houses of Europe, which will showcase 30 extraordinary opera houses. The artist’s edition of these images will also be exhibited in Paris, New York and Istanbul during 2010-2011.

156

156 DAVID LACHAPELLE b. 1964 Amanda as Liz in Purple, 2007 Color coupler print. 45 1/4 x 50 1/2 in. (114.9 x 128.3 cm). Signed in ink, printed title, date and number 1/3 on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Jablonka Galerie, Köln LITERATURE Taschen, David LaChapelle: Heaven to Hell, p. 64 for a variant

157

157 DAVID LACHAPELLE b. 1964 Sarah, Los Angeles, 2007 Digital color coupler print. 66 1/2 x 49 5/8 in. (168.9 x 126 cm). Signed in ink, printed title, date and number 2/3 on an artist’s label accompanying the work.

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

158

158 DAVID LACHAPELLE b. 1964 Uma Thurman with Lipstick, New York, 1997 Fujicolor Crystal Archive print. 23 1/2 x 17 5/8 in. (59.7 x 44.8 cm). Signed, titled, dated and numbered 6/10 in ink on the verso.

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

159 DAVID LACHAPELLE b. 1964 Addicted to Diamonds, 1997 Color coupler print, Diasec mounted. 66 1/8 x 48 in. (168 x 121.9 cm). Signed in ink, printed title, date and number 3/3 on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the frame.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York

160 ERWIN OLAF b. 1959 Troy from Grief, 2007 Lambda print. 39 3/8 x 70 in. (100 x 177.8 cm). Signed, titled, dated and numbered 2/10 in ink on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the frame.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Aperture, Erwin Olaf, pp. 92-93

161 ERWIN OLAF b. 1959 Rain Portfolio Amsterdam: Self-published, 2004. Six Lambda prints. Two prints 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm); four prints 8 1/2 x 12 1/8 in. (21.6 x 30.8 cm). Each signed and numbered 12/15 in ink on the verso; each signed and numbered 12/15 in pencil on the overmat. Contained in a decorative folio case with embossed credit, title and copyright symbol.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Reflex Gallery, Amsterdam LITERATURE Aperture, Erwin Olaf, pp. 2-3, 42-43, 58-59, 62-63, 64-65 & 68-69

Titles include: The Ice Cream Parlor, The Bedroom, The Boardroom, The Gym, The Hairdresserâ&#x20AC;&#x2122;s and The Dancing School

162

163

162 VIK MUNIZ b. 1961

163 YEONDOO JUNG b. 1969

Orphan Girl at the Cemetery, after Delacroix from Gordian Puzzles, 2008

Bewitched #10, New York, 2003

Digital color coupler print. 87 x 71 in. (221 x 180.3 cm). Signed, dated in ink, printed title,

Color coupler diptych. Each 58 3/4 x 47 in. (149.2 x 119.4 cm). Signed in ink, printed title,

date and number 4/6 on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the frame.

date and number 1/5 on a gallery label affixed to the reverse of one frame.

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

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Tina Kim Gallery, New York

164

164 BILL HENSON b. 1955

165

Untitled, 2000-2001 Color coupler print. 41 3/8 x 61 in. (105.1 x 154.9 cm). Signed, titled, dated and numbered 2/5 in ink in the margin.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Galerie Thierry Marlat, Paris LITERATURE Scalo, Bill Henson: Lux & Nox, cover and p. 106

165 WILLIAM WEGMAN b. 1943 Candid Candle, 1993 Fujicolor Crystal Archive print. 10 x 7 3/4 in. (25.4 x 19.7 cm). Signed, titled, dated and numbered in ink on the verso. One from an edition of 12.

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

166

167

166 JUSTINE KURLAND b. 1969 Jungle Gym, 2001 Color coupler print. 29 5/8 x 39 1/2 in. (75.2 x 100.3 cm). Signed in ink, printed title, date and number 5/8 on a gallery label affixed to the reverse of the frame.

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

167 VEE SPEERS b. 1962 Untitled #15 from The Birthday Party, 2007 Color coupler print, printed 2008. 35 5/8 x 28 5/8 in. (90.5 x 72.7 cm). Signed, titled, dated â&#x20AC;&#x2DC;2008â&#x20AC;&#x2122; and numbered 8/8 in ink on a gallery label affixed to the reverse of the flush-mount.

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

168 RUUD VAN EMPEL b. 1958 Worldâ&#x20AC;&#x201D;Box I, 2005 Seven dye destruction prints. Each 12 1/4 x 8 1/2 in. (31.1 x 21.6 cm) or the reverse. Each signed, titled, dated and numbered 4/15 in pencil on the verso. Signed, titled, dated and numbered 4/15 in pencil on the Colophon. Contained in a decorative leatherette clamshell case with embossed credit and title.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Flatland Gallery, Utrecht LITERATURE Klochko, Picturing Eden, cover and pls. 138, 143

Titles include: World 2, World 9, World 3, World 11, World 1, World 7 and World 8

169 RUUD VAN EMPEL b. 1958 Venus #3, 2007 Dye destruction print, Diasec mounted. 41 3/8 x 59 in. (105.1 x 149.9 cm). Signed, titled, dated and numbered 2/7 in ink on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Flatland Gallery, Utrecht

170 RUUD VAN EMPEL b. 1958 World—Box II, 2007 Seven dye destruction prints. Each 12 1/4 x 8 1/2 in. (31.1 x 21.6 cm). Each signed, titled, dated ‘2006’ and numbered 2/15 in pencil on the verso. Signed, titled, dated and numbered 2/15 in pencil on the Colophon. Contained in a decorative leatherette clamshell case with embossed credit and title.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Flatland Gallery, Utrecht

Titles include: World 22, World 20, World 13, World 14, World 19, World 21 and World 23

171

172

171 VIK MUNIZ b. 1961 Dürer’s Praying Hands from Equivalents, 1995 Platinum print. 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm). Signed, titled, dated and numbered in pencil in the margin. One from an edition of 10 plus 5 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Arena Editions, Vik Muniz: Seeing is Believing, p. 61

172 VIK MUNIZ b. 1961 Wanderer Above the Sea of Ashes, 1999 Dye destruction print. 39 1/4 x 29 1/2 in. (99.7 x 74.9 cm). Signed, titled, dated and numbered in ink on a gallery label affixed to the reverse of the mount. One from an edition of 10.

Estimate $10 , 0 0 0 -15 , 0 0 0 173

173 IZIMA KAORU b. 1954 Matsuda Jun wears Marni, 2000 Color coupler print, Diasec mounted. 39 3/8 x 49 5/8 in. (100 x 126 cm). Signed in ink, printed title, date and number 5/5 on an artist’s label affixed to the reverse of the aluminum flushmount.

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

174 VIK MUNIZ b. 1961 Hands from Pictures of Soil, 1997 Gelatin silver print. 23 3/8 x 19 5/8 in. (59.4 x 49.8 cm). Signed, titled, dated and numbered in pencil on the verso. One from an edition of 10.

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE Arena Editions, Vik Muniz: Seeing is Believing, p. 139

175

176

175 SEBASTIÃO SALGADO b. 1944 Blue footed Boobies (Sula nebouxi), Roca Vicente, Isabela Island, the Galapagos

176 SEBASTIÃO SALGADO b. 1944 Colony of Hundred Thousand Chinstrap Penguins, Bailey Head, Deception Island,

from Genesis, 2004

Antartica from Genesis, 2005

Gelatin silver print. 14 7/8 x 20 1/8 in. (37.5 x 51.1 cm). Blindstamp credit in the margin;

Gelatin silver print. 14 7/8 x 20 1/4 in. (37.8 x 51.4 cm). Blindstamp credit in the margin;

signed, titled ‘Galapagos’ and dated in pencil on the verso.

signed, titled ‘Anarctica’ and dated in pencil on the verso.

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

PROVENANCE Acquired directly from the artist

177

177 SEBASTIÃO SALGADO b. 1944

178 LYNN DAVIS b. 1945

Icebergs near Paulet Island, Situated East of the Antartica Peninsula from Genesis, 2005

Iceberg #5, Disko Bay, 1986

Gelatin silver print. 14 7/8 x 20 1/4 in. (37.8 x 51.4 cm). Blindstamp credit in the margin;

Gelatin silver print. 27 7/8 x 27 7/8 in. (70.8 x 70.8 cm). Signed, dated, numbered 7/10 in ink

signed, titled ‘Antartica’ and dated in pencil on the verso.

and credit reproduction limitation stamp on the reverse of the flush-mount.

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

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

PROVENANCE Acquired directly from the artist

178

AFTERNOON SESSION

2pm

Lots 179-349

WILLY RONIS: CAPTURING THE SPIRIT OF JOIE-DE-VIVRE

Perhaps we have an invincible resistance to believing in the past, in History,

being so seemingly close and so characteristically familiar, Ronis’s images

except, in the form of myth. The Photograph, for the first time, puts an end to

became tangible in literal and figurative ways alike. That is, the scenes

this resistance: henceforth the past is as certain as the present, what we see on

seem to be within reach as physical spaces as much as romanticized and

paper is as certain as what we touch.

endearing clichés, appearing immediately familiar without ever having been

Roland Barthes, Camera Lucida

personally experienced by the viewers. Put more simply, one could call it photographic déjà vu.

Celebrated for his classic black and white photographs of France, Willy Ronis’s images typify the exuberant vitality of French culture in the mid-

In some ways, it could be argued that in his search for the quintessentially

20th century. Like his contemporaries, Ronis documented the unexpected

French idiosyncrasies, Ronis was a reincarnation of Baudelaire’s 19th-

moments, where observation and chance resulted in snapshots that

century flâneur, the gentleman roaming the Parisian streets, absorbing the

highlight the understated elegance of everyday life.

understated appeal in ordinary settings. The flâneur would seldom interact with others, but was in a continuous search of the social settings that

Born in 1910 to a Parisian household, Ronis first gained exposure to

reflected the city’s demographic and spirit. In that regard, Ronis’s stumbling

photography as a young apprentice at his father’s portrait studio. In the

into casual scenes embodying the Parisian lifestyle is a direct continuation

1930’s, Ronis took on assignments as a photojournalist, pairing the technical

of the practice initiated almost a century earlier by the first wave of flâneurs,

skills he had learned at the studio with his ardent studying of the avant-garde

namely, August Renoire, Edouard Manet and Edgar Degas. It was not

styles showing in various galleries and bookshops across Paris. His works

gratuitous and selfish voyeurism, therefore, that propelled Ronis to record

were published in weekly publications, and soon Ronis was represented by

the city’s essential characters, but the wish to share and celebrate the love

Rapho agency, joining luminaries such as Brassaï and Robert Doisneau.

for the city.

Lauded for his work, Ronis was awarded the Prix Kodak in 1947. Shortly thereafter, from 1948-1950, Ronis became the first French photographer to

Throughout his career, Ronis went on to accumulate a myriad of accolades.

work for LIFE magazine, a period that he has once characterized as “the

Among his many awards are the Prix Nada in 1981; Commandeur de

Golden Age,” and which provided him with his first international platform.

l’Ordre des Arts et des Lettres in 1985; Chevalier de la Légion d’Honneur in 1989; an honorary Doctorate from the University of Warwick in 1998; and

The exposure to the international community grew significantly when

Commandeur of the Ordre National du Mérite in 2001. Most recently, Ronis

Edward Steichen, then Director of the Photographs Department at the

was honored for his lifetime achievement at the 5th Annual Lucie Awards in

Museum of Modern Art, invited Ronis in 1953 to participate in the MoMA

2007.

show Five French Photographers, along with Izis, Henri Cartier-Bresson, and Ronis’s two Rapho agency comrades— Brassaï and Doisneau. The same

On September 12th, 2009, Ronis passed away at the age of 99, bequeathing

year, Steichen also published a portfolio featuring Ronis’s work in US Camera

his archive to the French State, which has since designated Ronis as a

Annual. Moreover, so enthused was the famed American photographer and

National Artist. Major retrospectives and forthcoming books will be ensuring

curator by his French counterpart’s work, that in 1955 he included Ronis’s

his superb photographic legacy. It is also befitting that upon his passing,

Vincent aéromodéliste, Gordes (lot 183), in Family Of Man, undoubtedly one of

French President Nicolas Sarkozy labeled Ronis as “the poet of a simple

the most important photography exhibitions of the twentieth-century. Two

and joyous life.” Accordingly, it was a simple and joyous realist who created

years later, Ronis was awarded the Gold Medal at the Venice Biennale.

images that have long surpassed their materiality as photographs and morphed into timeless and majestic souvenirs of a bygone era.

Despite the heightened level of intimacy conveyed in the images such as Les adieux du permissionaire (lot 189), and Les amoureaux de la Bastille, Paris

The realists, of whom I am one […] do not take the photograph for a ‘copy’

(lot 190), Ronis often captured the fleeting moments from afar, thereby

of reality, but for an emanation of reality: a magic, not an art.

respecting his subjects’ privacy and ensuring that the spontaneous charm

Roland Barthes, Camera Lucida

would not be compromised or eclipsed by potential self-consciousness. For

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

179 WILLY RONIS 1910-2009 Le petit Parisien, 1952 Gelatin silver print, printed 2005. 13 1/4 x 10 1/4 in. (33.7 x 26 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Photo Poche, Willy Ronis, pl. 29; Taschen, Willy Ronis, p. 81

180

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

180 WILLY RONIS 1910-2009 Avenue Simon Bolívar, Paris, 1950 Gelatin silver print, printed 2004. 15 x 13 3/8 in. (38.1 x 34 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2004’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 19; Photo Poche, Willy Ronis,

pl. 17; Taschen, Willy Ronis, p. 49

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

181 WILLY RONIS 1910-2009 Le départ d’un morutier, Fécamp, 1949 Gelatin silver print, printed 2005. 15 5/8 x 13 1/4 in. (39.7 x 33.7 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

181

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 63

182

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

182 WILLY RONIS 1910-2009 Fondamente nuove, Venise, 1959 Gelatin silver print, printed 2006. 17 3/8 x 11 1/2 in. (44.1 x 29.2 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2006’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 99; Photo Poche, Willy Ronis,

pl. 45; Taschen, Willy Ronis, p. 157

183

184

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

183 WILLY RONIS 1910-2009 Vincent aéromodéliste, Gordes (Vaucluse), 1952 Gelatin silver print, printed 2007. 17 3/8 x 13 in. (44.1 x 33 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2007’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, cover and pl. 74; Photo Poche,

Willy Ronis, cover and pl. 31; Taschen, Willy Ronis, back cover and p. 114

185

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

184 WILLY RONIS 1910-2009 La péniche aux enfants, Paris, 1959 Gelatin silver print, printed 2005. 17 1/8 x 11 7/8 in. (43.5 x 30.2 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 98; Photo Poche, Willy Ronis,

pl. 43; Taschen, Willy Ronis, p. 69

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

185 WILLY RONIS 1910-2009 Quai Malaquai, 1953 Gelatin silver print, printed 2008. 17 5/8 x 13 5/8 in. (44.8 x 34.6 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2008’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

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

186

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

186 WILLY RONIS 1910-2009 Ménilmontaut (devant Chez Mestre), 1947 Gelatin silver print, printed 2001. 16 3/4 x 13 1/2 in. (42.5 x 34.3 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

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

187

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

187 WILLY RONIS 1910-2009 ‘Le Bidule’, rue de la Huchette, Paris, 1957 Gelatin silver print, printed 2001. 12 3/8 x 17 1/2 in. (31.4 x 44.5 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled ‘Café Le Bidule’, dated in pencil and copyright credit stamp on the verso.

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

188

PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, p. 54

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

188 WILLY RONIS 1910-2009 Les adieux du permissionnaire, 1963 Gelatin silver print, printed 2001. 13 1/2 x 9 1/2 in. (34.3 x 24.1 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 103; Photo Poche, Willy Ronis,

pl. 47; Taschen, Willy Ronis, p. 39

189

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

189 WILLY RONIS 1910-2009 Mon violon, Paris, 1936 Gelatin silver print, printed 2005. 17 1/4 x 13 in. (43.8 x 33 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled ‘117, Boulevard Richard-Lenoir’, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, p. 30

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

190 WILLY RONIS 1910-2009 Les amoureux de la Bastille, Paris, 1957 Gelatin silver print, printed 2008. 9 1/2 x 14 1/8 in. (24.1 x 35.9 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2008’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 93; Photo Poche, Willy Ronis,

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

191

192

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

191 WILLY RONIS 1910-2009 Nuit au chalet, 1935 Gelatin silver print, printed 2004. 12 x 17 3/8 in. (30.5 x 44.1 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2004’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 38; Taschen, Willy Ronis, p. 31

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

192 WILLY RONIS 1910-2009 Avenue Montaigne, 1948 Gelatin silver print, printed 1999. 15 1/8 x 13 3/8 in. (38.4 x 34 cm). Signed in ink in the margin; initialed, annotated ‘tirage 1999’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

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

193

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

193 WILLY RONIS 1910-2009 Place de la Concorde, Paris, 1952 Gelatin silver print, printed 2005. 13 1/8 x 17 1/8 in. (33.3 x 43.5 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

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

194

195

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

196

194 WILLY RONIS 1910-2009 Carrefour Sèvres Babylone, Paris, 1948 Gelatin silver print, printed 2008. 17 1/4 x 12 7/8 in. (43.8 x 32.7 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2008’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 56; Photo Poche, Willy Ronis,

pl. 15; Taschen, Willy Ronis, p. 53

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

195 WILLY RONIS 1910-2009 Deena de dos, Gordes, 1955 Gelatin silver print, printed 2004. 17 1/2 x 11 1/2 in. (44.5 x 29.2 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2004’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 85; Photo Poche, Willy Ronis, pl. 36

197

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

196 WILLY RONIS 1910-2009 Place Vendôme, Paris, 1947 Gelatin silver print, printed 2001. 16 3/4 x 12 3/4 in. (42.5 x 32.4 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled ‘Pluie, Place Vendôme’, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, pl. 52 there dated 1946; Taschen,

Willy Ronis, p. 62

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

197 WILLY RONIS 1910-2009 Rue Muller à Montmartre, Paris, 1934 Gelatin silver print, printed 2004. 17 1/4 x 12 1/8 in. (43.8 x 30.8 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2004’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Photo Poche, Willy Ronis, pl. 2; Taschen, Willy Ronis, p. 19

198

199

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

198 WILLY RONIS 1910-2009 Cave rue de la Huchette, Paris, 1957 Gelatin silver print, printed 2001. 12 3/4 x 17 1/2 in. (32.4 x 44.5 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled ‘Cave à St. Germain du Prés’, dated in pencil and copyright credit stamp on the verso.

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

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

199 WILLY RONIS 1910-2009 Skieurs à Megève, 1938 Gelatin silver print, printed 2006. 12 1/2 x 10 1/8 in. (31.8 x 25.7 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2006’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, p. 33

200

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

200 WILLY RONIS 1910-2009 Lac du Bois de Boulogne, Paris, 1954 Gelatin silver print, printed 2004. 12 5/8 x 17 3/8 in. (32.1 x 44.1 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2004’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, p. 94

201

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

201 WILLY RONIS 1910-2009 Marchands de frites, rue Rambuteau, Paris, 1946 Gelatin silver print, printed 2008. 16 5/8 x 13 1/4 in. (42.2 x 33.7 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2008’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, cover and p. 38

202

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

202 WILLY RONIS 1910-2009 Vigneron en gironde, 1945 Gelatin silver print, printed 2001. 17 3/8 x 13 3/8 in. (44.1 x 34 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2001’ in ink, titled, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Hamilton, Willy Ronis: Photographs 1926-1995, n.p.; Photo Poche, Willy Ronis,

pl. 7; Taschen, Willy Ronis, p. 117

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

203 WILLY RONIS 1910-2009 Partie de pétanque, Aubagne, 1947 Gelatin silver print, printed 2005. 13 1/2 x 17 1/2 in. (34.3 x 44.5 cm). Signed in ink in the margin; initialed, annotated ‘tirage 2005’ in ink, titled ‘Bouliste à Aubagne’, dated in pencil and copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Willy Ronis, p. 109

203

204

205

204 ROBERT DOISNEAU 1912-1994 Selected Images, 1944-1955 Five gelatin silver prints from Robert Doisneau Portfolio, printed 1979. Each approximately 9 1/2 x 11 1/2 in. (24.1 x 29.2 cm) or the reverse. Each signed in ink on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Hyperion Press Limited, New York

Titles include: La Stricte Intimité, 1945; Le Manege de Monsieur Barré, 1955; Les Concierges Rue du Dragon, 1946; La Musique des Puces, 1944 and L’Innocent, 1949

206

205 EUGÈNE ATGET 1857-1927 Fontaine, marche des Carmes, rude des Carmes: V Quartier de la Sorbonne, circa 1898 Albumen print. 8 5/8 x 6 7/8 in. (21.9 x 17.5 cm). Numbered in pencil on the verso.

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

206 EUGÈNE ATGET 1857-1927 Garden des Tuileries—Cassandre Implorant Minere by Rillet, 1907 Gold-toned printing-out print. 8 1/2 x 7 in. (21.6 x 17.8 cm). Titled ‘Garden des Tuileries’ in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Adams, Atget’s Gardens, pl. 60

207

208

207 ANDRÉ KERTÉSZ 1894-1985

208 ANDRÉ KERTÉSZ 1894-1985

Café Bertolo, 1927

Mondrian Studio, Paris, 1926

Gelatin silver print. 9 3/8 x 7 in. (23.8 x 17.8 cm). ‘75 Boul Montparnasse’ credit

Gelatin silver print, printed 1950s. 8 7/8 x 7 in. (22.5 x 17.8 cm). Titled, dated in pencil

and reproduction limitation stamps on the verso.

and credit stamp on the verso.

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

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

PROVENANCE Phillips de Pury & Company, New York, 25 April 2007, lot 173

LITERATURE Thames and Hudson, André Kertész: Of Paris and New York, p. 136

EXHIBITED André Kertész: Perception, Howard Greenberg Gallery, New York, 28 January -

5 March 2005 LITERATURE Paris Magazine, n. 7, March 1932

209

210

209 ANDRÉ KERTÉSZ 1894-1985

210 ANDRÉ KERTÉSZ 1894-1985

Chagall, Paris, 1933

Calder, Paris, 1929

Gelatin silver print, printed 1950s. 9 7/8 x 7 1/2 in. (25.1 x 19.1 cm). Titled, dated in ink

Gelatin silver print, printed circa 1963. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Titled, dated in pencil

and credit stamp on the verso.

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

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

211

211 HENRI CARTIER-BRESSON 1908-2004

212 ANDRÉ KERTÉSZ 1894-1985

Florence, 1933

Satiric Dancer, Paris, 1926

Gelatin silver print, printed later. 9 5/8 x 14 in. (24.4 x 35.6 cm). Signed in ink in the margin.

Gelatin silver print, printed later. 9 3/4 x 7 7/8 in. (24.8 x 20 cm). Signed, dated and inscribed in pencil on the verso.

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

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Galassi, Henri Cartier-Bresson: The Early Work, p. 98 LITERATURE Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 243; LIGHT

Gallery, LIGHT, p.49; National Gallery of Art, André Kertész, pl. 47; Thames and Hudson,

212

André Kertész: Of Paris and New York, p. 139

213 ANDRÉ KERTÉSZ 1894-1985 Lovers, Budapest, May 15, 1915 Gelatin silver print, printed later. 7 3/4 x 9 3/4 in. (19.7 x 24.8 cm). Signed and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Borhan, André Kertész: His Life and Work, p. 61; Ducrot, André Kertész: Sixty

Years of Photography, p. 35; Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 15; National Gallery of Art, André Kertész, pl. 39 there titled The Kiss

214 ANDRÉ KERTÉSZ 1894-1985 Chairs, The Medici Fountain, Paris, 1925 Gelatin silver print, printed later. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Harry N. Abrams, Inc., André Kertész: A Lifetime of Perception, p. 235; National

Gallery of Art, André Kertész, pl. 39; Thames and Hudson, André Kertész: Of Paris and New York, p. 134

214

213

ACTUAL SIZE

215 ANDRÉ KERTÉSZ 1894-1985 Paris, 1934 Gelatin silver print. 9 1/4 x 7 in. (23.5 x 17.8 cm). Signed and dated in pencil on the mount; ‘32 bis, Rue du Cotentin’ copyright credit stamp on the reverse of the mount.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Ehlers Caudill Gallery, Chicago

216 EDWARD STEICHEN 1879-1973 Wheelbarrow with Flower Pots, France, 1920 Palladium and ferroprussiate print. 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm). Titled, dated and annotated ‘palladium and ferroprussiate print’ in an unidentified hand in pencil on the verso.

Estimate $15 0 , 0 0 0 - 2 0 0 , 0 0 0 PROVENANCE From the Collection of Joanna Steichen; to the present Private Collection LITERATURE Doubleday, Steichen: A Life in Photography, pl. 67; Steichen, Steichen’s Legacy:

Photographs 1985-1973, pl. 144

The rare color process Edward Steichen used in Wheelbarrow with Flower Pots

The discovery of abstraction led to a period in the early 1920’s in which

reflects his continuous drive to experiment with different printing methods.

Steichen began to arrange everyday objects, and, using severe lens angles

The base for the image is a platinum print, or platinotype. The inertia of

and dramatic lighting, produced images that accentuated the objects’

platinum renders the end product permanent from an archival standpoint

structure, surface, texture, and silhouette instead of their intended function.

since the platinum is partially absorbed into the paper. Moreover, the

The resulting images were few in number, and their importance stems not

superior level of hand crafting skills necessitated by the process surpasses

only from their scarcity but also from their contribution to a movement that

that of any other printing method at the time the image was produced.

revolutionized the medium. Photographers such as Paul Outerbridge Jr.,

However, the platinotype is still limited in the feasible chromatic range,

Edward Weston, Tina Modotti, László Moholy-Nagy, André Kertész and

which prompted Steichen to conceive a means to add a richness, density

Paul Strand transformed the familiar and simple into a vision that resisted

and color without compromising the benefits of using the platinum process.

immediate interpretation. It symbolized a shift in perception and mentality

The platinotype, upon completion, was recoated with a ferroprussiate (also

that began spreading in ripple effects from one generation of photographers

known as a cyanotype or blueprint process) sensitizer in order to form a re-

to the next.

registered negative that was then reprinted. The final image benefits from the clarity and permanence of the platinum process, but with the heightened

Wheelbarrow with Flower Pots activates a dual consciousness—one that is

level of depth and realism proffered by the color re-processing. Only a

objectively representational as well as one that is subjectively interpretive.

handful of examples of this image made in this process are known to be in

Commenting on the double presence within the image, Carl Sandburg has

existence, including one at the Museum of Modern Art, New York; another in

noted that “one feels Steichen’s long thought and brooding over the fixity

the Joy of Giving Something Inc. collection; one in the collection of Joanna

of species of life forms.” It simultaneously depicts and connotes on an even

Steichen; and the present Private Collection.

keel, allowing viewers to relish in two different realms at the same time. Combined with its emphasis on tonality, color and clarity, it embodies the

In addition to the unique nature of the print, it is as vital to assess the

convergence of various pioneering achievements on both technical and

relevance and importance of the image. Steichen, at the onset of his career

cognitive levels, forming one of the most seminal benchmarks in Steichen’s

and in keeping with the many artists who had been dabbling in photography

legacy as much as the field of photography.

at the turn of the last century, was heavily influenced by Pictorialism, with its strong emphasis on figural subject matter and Impressionist feel. In the present image, however, despite the romanticized title, the end result is far more Formalist than Pictorialist, of which Steichen has said, “[It] was certainly as realistic a photograph as I had ever made. Yet, friends remarked that it made them think of one thing or another that had nothing to do with the wheelbarrow and the flower pots. […] I began to reason that, if it was possible to photograph objects in a way that makes them suggest something entirely different, perhaps it would be possible to give abstract meanings to very literal photographs.” As such, the work stands at a crux, symbolizing the point in Steichen’s career in which his creative endeavors splintered away from the status quo as he began discovering an alternate mode of photographing.

217

218

217 EDWARD STEICHEN 1879-1973 Rosa Covarrubias, circa 1923 Gelatin silver print. 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm). Credit stamp on the reverse of the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE From the Estate of Rosa Covarrubias LITERATURE Steichen, Steichenâ&#x20AC;&#x2122;s Legacy: Photographs, 1895-1973, pl. 76 for a variant;

Williams and Ober, Covarrubias, n.p.

Another example of this print is in the collection of the San Franciso Museum of Modern Art

218 ALFRED STIEGLITZ 1864-19446 Spring Showers, New York, 1900 Photogravure from Camerawork. 9 x 3 5/8 in. (22.9 x 9.2 cm).

219

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Bulfinch Press, Alfred Stieglitz, pl. 13; Dover Publications, Alfred Stieglitz,

Camera Work: A Pictorial Guide, p. 102

219 EDWARD S. CURTIS 1868-1952 Homeward, Puget Sound, 1898 Toned gelatin silver print. 7 7/8 x 8 7/8 in. (20 x 22.5 cm). Signed in the negative.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Curtis, Portraits from North American Indian Life, pl. 157

220 EDWARD STEICHEN 1879-1973 Triumph of the Egg, 1921 Two-color process palladium print. 9 1/2 x 7 5/8 in. (24.1 x 19.4 cm).

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE From the Collection of Joanna Steichen; to Howard Greenberg Gallery,

New York; to the present Private Collection, New York

Following an intense active duty in the First World War, Edward Steichen was consequentially left with the need to discover a new creative outlet as a means to reenergize his photographic drive. Ultimately, he chose to relinquish his former Pictorialist style for Modernism, favoring sleek lines and geometric abstraction over romantic landscapes and classical nudes. His images were created at the juncture of photography and science as his focus shifted to representing weight, dimensionality and proportion. As such, the process of experimenting became as important as the end product for the pioneering efforts involved in presenting the subject matter. In Triumph of the Egg, Steichen haphazardly assembled a group of seemingly unrelated objects—among them a bell jar, a disc, a harmonica, and, of course, an egg. The resulting composition is surprisingly—and triumphantly—abstract, as the objects transcend their own materiality by becoming successfully reduced to their basic constituents of tone, volume, and shape, marking an important turning point in the famed photographer’s career.

221

222

221 MANUEL ÁLVAREZ BRAVO 1902-2002

222 MANUEL ÁLVAREZ BRAVO 1902-2002

Las lavanderas sobreetendidas (The washerwomen implied), 1932

La buena fama durmiendo (The good reputation sleeping), 1939

Gelatin silver print. 9 1/2 x 6 7/8 in. (24.1 x 17.5 cm).

Gelatin silver print, printed circa 1980. 7 1/4 x 9 3/8 in. (18.4 x 23.8 cm). Signed and annotated ‘Mexico’ in pencil on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE From the Collection of Graciela Diaz de León, the daughter of the Mexican

engraver, Francisco Diaz de León

LITERATURE Aperture, Manuel Álvarez Bravo, p 77; Kismarick, Manuel Álvarez Bravo, p. 123;

LITERATURE Kismarick, Manuel Álvarez Bravo, p. 104

The J. Paul Getty Museum, In Focus: Manuel Álvarez Bravo, pl. 27; Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 48

223

224

223 EDWARD WESTON 1886-1958 Cypress, Point Lobos, 1929 Gelatin silver print. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed, dated and numbered 5-50 in pencil on the mount.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Andrew Smith Gallery, Santa Fe LITERATURE Conger, Edward Weston: Photographs from the Center for Creative Photography,

pl. 568; Stebbins, Quinn and Furth, Edward Weston: Photography and Modernism, pl. 45

224 EDWARD WESTON 1886-1958 Excusado, Mexico, 1926 Gelatin silver print, printed later by Cole Weston. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm). Signed 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, pl. 184; Mora, Edward Weston: Forms of Passion, p. 109

∆

225 EDWARD WESTON 1886-1958 Nude on Sand, Oceano, 1936 Gelatin silver print. 7 1/2 x 9 5/8 in. (19.1 x 24.4 cm). Initialed, titled, dated, annotated ‘228N 36’ in pencil and Beaumont and Nancy Newhall collection stamp on the verso. Accompanied by a signed Certificate of Provenance from Cole Weston.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE From the personal Collection of Cole Weston LITERATURE Conger, Edward Weston in Mexico, 1923-1926, n.p.; Harry N. Abrams Inc.,

Edward Weston: Forms of Passion, p. 218

226

226 EDWARD WESTON 1886-1958 Elbow, 1935 Gelatin silver print. 9 1/2 x 7 5/8 in. (24.1 x 19.4 cm). Signed, dated and numbered 12-40 in pencil on the mount.

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

227 PAUL OUTERBRIDGE JR. 1896-1958 Womanâ&#x20AC;&#x2122;s Handbag, 1924 Platinum print. 4 1/2 x 3 5/8 in. (11.4 x 9.2 cm). Signed and dated in pencil on the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Dines, Paul Outerbridge, A Singular Aesthetic: Photographs and Drawings,

1921-1941, pl. 194

227

228 MAN RAY 1890-1976 Meret Oppenheim, 1935 Gelatin silver print from solarized negative. 7 7/8 x 4 5/9 in. (20 x 11.6 cm). Signed in pencil on the mount; â&#x20AC;&#x2DC;81 bis, Rue Campagneâ&#x20AC;&#x2122; credit stamp on the reverse of the mount.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Gallery 292, New York LITERATURE Abrams, Man Ray, p. 56 for a variant; Dover, Photographs by Man Ray: 105

Works, 1920-1934, p. 46 for a variant

229

229 MAN RAY 1890-1976 Untitled, 1924 Gelatin silver print from 12 Rayographs 1921-1928, printed 1963. 10 7/8 x 8 3/8 in. (27.6 x 21.3 cm). Signed in pencil on the recto; credit reproduction stamp on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE From the Collection of Arnold Newman LITERATURE de l’Ecotais, Man Ray Rayographies, pl. 143; Taschen, Man Ray, p. 216

230

230 MAN RAY 1890-1976 Untitled, 1922 Gelatin silver print from 12 Rayographs, 1921-1928, printed 1963. 11 3/8 x 8 1/2 in. (28.9 x 21.6 cm). Signed in pencil on the recto; credit reproduction stamp on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE From the Collection of Arnold Newman LITERATURE de l’Ecotais, Man Ray Rayographies, pl. 48; Taschen, Man Ray, p. 198

231

231 MAN RAY 1890-1976 Enigma II, 1935 Gelatin silver print, printed 1975. 19 1/4 x 23 3/8 in. (48.9 x 59.4 cm). Initialed, numbered 23/23 in ink and credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Sotheby’s, Art Nouveau and Art Deco Featuring the Andy Warhol Collection,

New York, 23 April 1988 EXHIBITED Possession Obsession: Andy Warhol & Collecting, The Andy Warhol Museum,

Pittsburgh, 2 March - 19 May 2002 LITERATURE The Andy Warhol Museum, Possession Obsession: Andy Warhol & Collecting,

p. 156; Schwarz, Man Ray: The Rigour of Imagination, p. 273

232

232 JOSEF SUDEK 1896-1976 Mirror with Reflection from Labyrinths, 1948-1973 Gelatin silver print. 10 3/4 x 8 3/8 in. (27.3 x 21.3 cm).

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Christie’s, New York, 18 October 2006, lot 249

233

233 JOSEF SUDEK 1896-1976 From the Veteran’s Hospital, 1922-1927 Gelatin silver print. 3 1/2 x 3 3/8 in. (8.9 x 8.6 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Christie’s, New York, 4 October 2001, lot 210 LITERATURE Bullaty, Sudek, pl. 5; Fárova, Sudek, p. 27

234

234 ANDRE STEINER 1901-1978 Untitled (Plaster mask), 1932 Gelatin silver print, printed circa 1955. 9 1/2 x 7 1/8 in. (24.1 x 18.1 cm). Copyright credit stamp on the verso.

Estimate $ 8 0 0 -1, 2 0 0 PROVENANCE Howard Greenberg Gallery, New York

235 WERNER MANTZ 1901-1983 10 Photographien, 1927-1935 KĂśln: Galerie SchĂźrmann & Kicken, 1977. Ten gelatin silver prints, printed 1977. Varying sizes from 5 x 8 5/8 in. (12.7 x 21.9 cm) to 6 5/8 x 9 in. (16.8 x 22.9 cm) or the reverse. Each signed and dated in pencil on the mount. Each number 7 from an edition of 25.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0

236

237

236 WALKER EVANS 1903-1975 Circus Winter Quarters, 1941 Gelatin silver print. 8 3/4 x 6 5/8 in. (22.2 x 16.8 cm). Titled in pencil and credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 238

237 WALKER EVANS 1903-1975 Mule, Wagon and Two Men, Havana, 1933 Gelatin silver print. 7 3/8 x 10 in. (18.7 x 25.4 cm). Signed, titled â&#x20AC;&#x2DC;Cubaâ&#x20AC;&#x2122; in pencil and credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Keller, Walker Evans: The Getty Museum Collection, pl. 245; The J. Paul Getty

Museum, Walker Evans: Cuba, pl. 56

239

238 WALKER EVANS 1903-1975 Display Sign, Birmingham, Alabama, 1936 Gelatin silver print, printed later. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm). Signed in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Harper & Row, Walker Evans: First and Last, p. 92; Mora & Hill, Walker Evans:

The Hungry Eye, p. 312 there titled Furniture Store Sign near Birmingham, Alabama; The Metropolitan Museum of Art, Walker Evans, pl. 83

239 WALKER EVANS 1903-1975 Battlefield Monument, Vicksburg, Mississippi, March, 1936 Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm). Lunn Archive credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Da Capo Press, Walker Evans: Photographs for the Farm Security Administration

1935-1938, pl. 158

240

241

240 LOUIS FAURER 1916-2001 Market Street, Philadelphia, PA, 1940 Gelatin silver print. 9 3/4 x 6 3/8 in. (24.8 x 16.2 cm). Signed, titled and dated in pencil on the reverse of the mount.

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

241 WALKER EVANS 1903-1975 Penny Picture Display, Savannah, 1936 Gelatin silver print from Walker Evans: Selected Photographs, printed 1974. 12 7/8 x 10 3/8 in. (32.7 x 26.4 cm). Signed and numbered 69/75 in pencil on the mount.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Da Capo Press, Walker Evans: Photographs for the Farm Security Administration

1935-1938, pl. 229; Harper & Row, Walker Evans at Work, cover and p. 239 there dated 1935; Harper & Row, Walker Evans: First and Last, p. 127; Keller, Walker Evans: The Getty Museum Collection, pl. 517; The Metropolitan Museum of Art, Walker Evans, pl. 66; The Museum of Modern Art, Walker Evans: American Photographs, p. 3

242

242 FRED ZINNEMANN 1907-1997 Grand Central Station, New York, March 2, 1932 Gelatin silver print. 4 1/4 x 2 3/8 in. (10.8 x 6 cm). Dated by the artist and signed, annotated ‘The Estate of Fred Zinnemann’ by Tim Zinnemann, the photographer’s son, in pencil on the verso.

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

243

243 FRED ZINNEMANN 1907-1997 Pepsodent, Times Square, New York, November, 1931 Gelatin silver print. 4 1/4 x 7 1/8 in. (10.8 x 18.1 cm). Signed, titled ‘N.Y.’ and dated in pencil in the margin.

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

244

PROVENANCE Acquired directly from the artist

244 FRED ZINNEMANN 1907-1997 The Champ, Astor Theatre, Times Square, New York, November, 1931 Gelatin silver print. 2 3/8 x 4 1/8 in. (6 x 10.5 cm). Titled ‘Times Square’, dated by the artist and signed, annotated ‘The Estate of Fred Zinnemann’ by Tim Zinnemann, the photographer’s son, in pencil on the verso.

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

245

245 FRED ZINNEMANN 1907-1997 Brooklyn Bridge, New York, November, 1931 Gelatin silver print. 2 3/8 x 4 1/4 in. (6 x 10.8 cm). Titled, dated by the artist and signed, annotated ‘Estate of Fred Zinnemann’ by Tim Zinnemann, the photographer’s son, in pencil on the verso.

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

246

247

246 BERENICE ABBOTT 1898-1991 Treasury Building, New York, 1930s Gelatin silver print from New York Portfolio III, printed 1979. 19 3/8 x 15 1/2 in. (49.2 x 39.4 cm). Signed and numbered 14/60 in pencil on the mount; ‘Berenice Abbott’s New York’ credit reproduction limitation stamp on the reverse of the mount.

Estimate $1, 2 0 0 -1, 8 0 0 LITERATURE Commerce Graphics Limited, Inc., Berenice Abbott, n.p.

247 AARON SISKIND 1903-1991

248 ANDREAS FEININGER 1907-1999

Martha’s Vineyard (Seaweed) 2, 1944

Coney Island, July 4, 1949

Gelatin silver print. 6 1/2 x 4 5/8 in. (16.5 x 11.7 cm). Dated and annotated in pencil

Gelatin silver print, printed later. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm). Signed, dated in pencil

on the verso.

and credit stamp on the verso.

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

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

PROVENANCE Gallery 292, New York

LITERATURE Dover, Andreas Feininger: New York in the Forties, pp. 142-143

EXHIBITED Photographs by Aaron Siskind, George Eastman House, Rochester, 26 May - 21

May 1965 LITERATURE Chiarenza, Aaron Siskind: Pleasure and Terrors, p. 115; George Eastman House,

Aaron Siskind: Photographer, n.p.

248

(a)

249 LEWIS HINE 1874-1940 Selected Images from the National Child Labor Committee, 1909-1915 Ten gelatin silver prints. Each 4 5/8 x 6 5/8 in. (11.7 x 16.8 cm). Each with printed description and dates on labels affixed to the reverse of the frames.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Laurence Miller Gallery, New York

Lewis Hine’s interest in photographing people whose life teetered on the socio-economic margins began in 1901, when he became a teacher at the Ethical Culture School in New York under the leadership of Frank A. Manny, a vocal advocate for advanced teaching principles. Initially, Hine photographed subjects within the school walls. However, encouraged by Manny’s reiteration that photography was an educational tool, Hine soon began shooting immigrants in Ellis Island as a way of challenging his students’ discrimination against their foreign peers. The experience at Ellis Island was

Cities do not build themselves, machines cannot make machines, unless [at the] back of them all are the brains and toils of men. We call this the Machine Age. But the more machines we use the more do we need real men to make and direct them. Lewis Hine, Men at Work, 1932

a challenge for Hine himself, struggling to communicate with individuals who did not speak his language. Soon thereafter, in tandem with his occupation as teacher/photographer at the school, Hine pursued a Master’s degree in sociology. Following his tenure at the school and completion of higher education, Hine decided to fuse his skills together to pursue socially-oriented photography on a full-time scale. During that period, through his close friendships with the editors of the newly founded social weekly magazine, Charities and the Commons, (later renamed The Survey), Hine began travelling across the country to document working conditions for the National Child Labor Committee (NCLC.) Refuting claims that denied the existence of the dire working conditions, Hine produced over one-thousand photographs, which he likened to “detective work.”

(b)

(c)

(e)

(d)

(f)

(h)

(g)

(i)

Perhaps as a means of enhancing the impact of the images, Hine captioned each work, sometimes identifying the location, in others the individuals. Most commonly, though, were mentions of the children’s age—some as young as five, and the meager compensations—some as low as ten cents a day. Startling, too, are the conditions listed matter-of-factly: a five year old forced to carry fifteen pounds of cotton; a child with malaria forced into labor; a young girl barely aware of her own name; group pictures taken in stealth for

(j)

The following full or partial descriptions appear on the back of the individual frames: (a) Group of young workers in Merrimack Mill (not the youngest). December 1913. (b) Only 50% of the pupils are present at School #3, Dist. #3, Ft. Morgan, Colorado. October 1915. (c) Group of spinners in the Elk Cotton Mills. Youngest girl hardly know her name. Youngest boy runs two sides at ten cents each day, Fayetteville, Tennessee. November 1910.

fear of retaliating bosses.

(d) All these work in Peerless Cyuter Co. Had to get the photo while bosses were at dinner as they

As a self proclaimed “concerned photographer,” Hine took advantage of the

(e) This boy has worked in Payne Cotton Mill, Macon, GA, two sides, and earns 52 cents a day.

growing accessibility of print media to American homes in order to raise

January, 1909.

consciousness of all that transpired behind factory walls and industrial expansions. Hine’s images, taken in canneries, tobacco manufacturers,

refused to permit children in the photos. March, 1911.

(f) These are all workers in Richmond Hosiery. December 1910.

glassworks and spinning mills, demanded a closer inspection of the

(g) Rommel home, 430 N. Loomis St. Ft. Collins, CO. Home boarded up for six months this year

ethics and regulations that were breached to attain it. Following the wide

while family lived in the little shack down in 4040. October 1915.

dissemination of the images across the country, the NCLC successfully passed legislation in 1916, signed by President Woodrow Wilson, prohibiting child labor.

(h) Family of J. W. Lott at West. The father and three oldest children (two of them under legal age) work regularly in the Valley Cotton Mill. November 1913. (i) Workers in the Nokomis Cotton Mill, Lexington, N.C. The smallest boy said he was 11 years old and makes 50 cents a day. October 1912. (j) Part of a family of Louis Benken-Dorfer a Bohemian farmer who owns this farm of eighty. November 1913.

250 HELEN LEVITT 1914-2009 New York, circa 1940 Gelatin silver print, printed later. 11 1/8 x 7 7/8 in. (28.3 x 20 cm). Signed and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 6; Powerhouse

Books, Helen Levitt: Crosstown, p. 51

251

251 HELEN LEVITT 1914-2009 Greeting at the Window, circa 1940 Gelatin silver print. 4 5/8 x 3 in. (11.7 x 7.6 cm). Signed and dated in pencil on the verso.

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

252 HELEN LEVITT 1914-2009 New York, circa 1940 Gelatin silver print, printed later. 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm). Signed and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Powerhouse Books, Helen Levitt: Crosstown, p. 100; San Francisco Museum of

Art, Helen Levitt, p. 10

252

253 HELEN LEVITT 1914-2009 New York, circa 1940 Gelatin silver print, printed later. 7 3/8 x 10 3/4 in. (18.7 x 27.3 cm). Signed and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Laurence Miller Gallery, Helen Levitt: A Memorial Tribute, p. 6; Powerhouse

Books, Helen Levitt: Crosstown, p. 89

253

254 IRVING PENN 1917-2009 Cuzco Children, Peru, December, 1948 Gelatin silver print, printed 2002. 15 1/4 x 15 in. (38.7 x 38.1 cm). Signed, titled, dated in ink, copyright credit reproduction limitation and edition stamps on the reverse of the mount. One from an edition of 30.

the surfacing of a latent, private side. As such, the removal of the corner space bore implications that surpassed its own literalness. It was an opening in spatial and intellectual ways for Penn, since his subjects, for the first time were free to present themselves as they wished, and not in reaction to a given physical specificity.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Andrew Smith Gallery, Santa Fe

Penn’s Cuzco Children, depicting a brother and sister, is a humble and

LITERATURE Knopf, Irving Penn: Passage, p. 61 there titled Brother and Sister, Cuzco;

natural ode, but not to a different culture as much as the human self. The

Szarkowski, Irving Penn, pl. 59 there titled Mountain Children, Cuzco; Westerbeck, Irving Penn:

subjects, while barefoot and dressed in clothes that differed from those

A Career in Photography, pl. 37

The Cuzco portraits, taken while on assignment for Vogue in Peru in December of 1948, mark a pivotal point in Irving Penn’s career in both subject matter and style. Up until then, Penn’s portraits—from Elsa Schiaparelli to Georgia O’Keefe and George Grosz, were mostly shot while the subjects were left to interact with two large planks propped up in an acute angle at the studio. The extreme nature of the space engendered a variety of reactions by the subjects—from self-contained and shriveling, to self-assured and playful. The architectural confinement became a Rorschach test, revealing and absconding different facets of the subjects’ personalities. However, the Cuzco portraits were devoid of any such spatially confining props. Moreover, the anonymity of the subjects, as opposed to the celebrity status of the aforementioned famed figures, dismissed the inner-self/public-image dichotomy, thereby eliminating the need to present a prop that would provoke

of their Western counterparts, appear accessible and familiar. Gone is the erstwhile exoticization with which South American children had been traditionally photographed, namely, holding wild flowers, exotic fruit, and feral animals. The siblings are shown confidently leaning against a small side table for support; their hands are linked over the table, alluding to their codependence, as they confidently gaze back into the camera. It is not the look of pride nor shame that they give, but one of asserting presence. It is that very same quality that prompted Penn, upon his return from Peru, to take down the studio walls, and allow his subjects to simply be. From the New Guinea mud men and the Dahomey Children (lot 255), to Pablo Picasso and Willem De Kooning, all were given the opportunity to freely engage with the space around them and present themselves in a manner they felt reflected their essence most suitably.

255 IRVING PENN 1917-2009 Dahomey Children, 1967 Gelatin silver print. 13 3/4 x 13 5/8 in. (34.9 x 34.6 cm). Signed in ink and credit stamp on the reverse of the mount; copyright credit reproduction limitation and edition stamps on a label affixed to the reverse of the mount. One from an edition of 15.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE From the Studio of Irving Penn, New York LITERATURE Knopf, Irving Penn: Passage, p. 170

256 PETER BEARD b. 1938 Hunting Cheetahs on the Taru Desert, Kenya, 1960 Gelatin silver print with painting by Mathenge, Mwangi and Kivoi, in artistâ&#x20AC;&#x2122;s original frame, printed 1998. 19 1/4 x 23 in. (48.9 x 58.4 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto; The Time Is Always Now copyright credit reproduction limitation stamp on the reverse of the frame.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE The Time Is Always Now, New York LITERATURE Taschen, Peter Beard, pl. 268 for a variant

257 PETER BEARD b. 1938 Serengeti, 1963 Gelatin silver print with blood, glitter and affixed rag. 16 1/8 x 20 in. (41 x 50.8 cm). Signed, titled ‘From the End of Game’ and dated in ink on the recto; signed and annotated ‘an old print circa 1962-63’ in ink on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist

258

258 PETER BEARD b. 1938 Eyelids of morning, 1965 Gelatin silver print with blood, paint and glitter. 19 1/4 x 13 in. (48.9 x 33 cm). Initialed, titled, dated and extensively annotated in ink and paint on the recto; initialed and titled in ink on the verso.

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Acquired directly from the artist

259 PETER BEARD b. 1938 Francis Bacon on his roof at 80 Narrow Street, London, 1972 Gelatin silver print with ink, paint and affixed leaf, printed later. 16 x 19 7/8 in. (40.5 x 50.5 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE The Time is Always Now Gallery, New York LITERATURE Taschen, Peter Beard, pl. 239 for a variant

259

260

260 PETER BEARD b. 1938 Cow Elephant Herd at Buffalo Springs, June, 1960 Platinum print with snakeskin, printed 1998. 12 1/2 x 25 in. (31.8 x 63.5 cm). Signed, titled and dated in paint on the recto.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, London

261 PETER BEARD b. 1938 Karen Blixen in Rungstedland Denmark, 1961 Unique Polaroid print, printed 1990s. 28 1/4 x 22 in. (71.8 x 55.9 cm). Signed, titled, dated and annotated in paint on the recto.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, New York

261

262

262 RALPH EUGENE MEATYARD 1925-1972 Untitled (Motion-Sound), circa 1968-1972 Gelatin silver print. 7 3/8 x 7 1/4 in. (18.7 x 18.4 cm). Signed by Madelyn O. Meatyard in ink and Ralph Eugene Meatyard copyright credit stamp on the reverse of the mount.

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Gallery 292, New York LITERATURE Aperture, Ralph Eugene Meatyard: Emblems & Rites, p. 38; Photo Poche, Ralph

Eugene Meatyard, p. 44; Rizzoli, Ralph Eugene Meatyard: An American Visionary, p. 168

263 AARON SISKIND 1903-1991 Guadalajara, Mexico 21, 1961 Gelatin silver print. 15 1/4 x 19 1/4 in. (38.7 x 48.9 cm). Museum of Modern Art lending label affixed to the reverse of the mat board.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Gallery 292, New York LITERATURE Chiarenza, Aaron Siskind: Pleasures and Terrors, p. 158; George Eastman

House, Aaron Siskind: Photographer, n.p.; PowerHouse Books, Aaron Siskind 100, n.p.

263

264

264 RALPH EUGENE MEATYARD 1925-1972 Untitled (Cemetary Statue), circa 1959 Gelatin silver print. 8 1/4 x 7 in. (21 x 17.8 cm). Signed, annotated by Madelyn O. Meatyard in pencil, Ralph Eugene Meatyard copyright credit stamp on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Gallery 292, New York LITERATURE Aperture, Ralph Eugene Meatyard: Emblems & Rites, frontispiece; Rizzoli, Ralph

Eugene Meatyard: An American Visionary, p. 94

265 AARON SISKIND 1903-1991 Chicago 22, 1960 Gelatin silver print, printed later. 22 1/4 x 17 3/4 in. (56.5 x 45.1 cm). Signed, titled and dated in ink in the margin.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Powerhouse Books, Aaron Siskind 100, n.p.

265

266 JOSEF KOUDELKA b. 1938 Romania, 1968 Gelatin silver print, printed later. 13 3/4 x 21 1/4 in. (34.9 x 54 cm). Signed in ink in the margin.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Aperture, Koudelka, pl. 53

267

268

267 BILL BRANDT 1904-1983

268 BILL BRANDT 1904-1983

London, 1952

Untitled (Nude #15), circa 1957

Gelatin silver print, printed later. 13 3/8 x 11 1/2 in. (34 x 29.2 cm). Signed in ink on the mount.

Gelatin silver print. 9 x 7 3/4 in. (22.9 x 19.7 cm). Annotated â&#x20AC;&#x2DC;15â&#x20AC;&#x2122; in ink in the margin; credit stamp on the verso.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Aperture, Bill Brandt: Behind the Camera, Photographs 1928-1983, p. 99; Harry

N. Abrams, Inc., Brandt: The Photography of Bill Brandt, cover and pl. 242; Photo Poche, Bill Brandt, cover; Thames and Hudson, Bill Brandt: Photographs 1928-1983, p. 172

269

269 BILL BRANDT 1904-1983 Eaton Place, London, 1955 Gelatin silver print, printed 1970s. 13 5/8 x 11 3/8 in. (34.6 x 28.9 cm). Signed in ink in the margin; credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Da Capo, Bill Brandt: Shadow of Light, pl. 102; Harry N. Abrams, Inc., Brandt:

The Photography of Bill Brandt, pl. 81; Photo Poche, Bill Brandt, pl. 56

270

270 MARIO GIACOMELLI 1925-2000 Io non ho mani che mi accarezzino il volto, circa 1968 Gelatin silver print, printed later. 11 7/8 x 15 7/8 in. (30.2 x 40.3 cm). Signed in ink and title stamp on the verso.

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

271

271 ALLEN GINSBERG 1926-1997 Peter Orlovsky High on Peyote at Half Dome, Yosemite, 1956 Gelatin silver print. 4 x 2 3/4 in. (10.2 x 7 cm). Titled and dated in ink on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE The Allen Ginsberg Estate, New York

272 DUANE MICHALS b. 1932 Marcel Duchamp, 1964 Gelatin silver print, printed later. 9 7/8 x 6 1/2 in. (25.1 x 16.5 cm). Signed and numbered 6/25 in ink in the margin.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Bulfinch, The Essential Duane Michals, p. 191; Twelvetrees Press, Album:

The Portraits of Duane Michals 1958-1988

ACTUAL SIZE

The portraits by Duane Michals of renowned artists, from Joseph Cornell to Claes Oldenbburg, are concerned with the idiosyncrasies of each artist as a person as opposed to the mythical aura that otherwise surrounds them as public figures. In the current lot, French Dadaist Marcel Duchamp is seen perched on a window, seemingly caught off-guard, in a deep meditative state, with his interlocking hands casually resting on his lap. The annotation accompanying the work, “Marcel Duchamp lives behind my apartment on

272

tenth street when I lived on ninth street” further personalizes the famed artist. His seminal role in the art world is charmingly replaced by his role as a pensive and gentle-mannered neighbor.

273 YOUSUF KARSH 1908-2002 Georgia O’Keeffe, 1956 Gelatin silver print, printed later. 19 3/4 x 15 7/8 in. (50.2 x 40.3 cm). Signed in ink on the mount; credit stamp on the reverse of the mount.

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

273

274

275

274 HORST P. HORST 1906-1999

275 HORST P. HORST 1906-1999

Odalisque I, New York, 1943

Dali Costumes, Paris, 1939

Gelatin silver print, printed later. 22 x 17 7/8 in. (55.9 x 45.4 cm). Blindstamp credit in the

Gelatin silver print, printed later. 22 x 16 3/8 in. (55.9 x 41.6 cm). Blindstamp credit in the

margin; signed in pencil on the verso.

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

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

LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 53

PROVENANCE Private Collection, Europe LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 15

276 HORST P. HORST 1906-1999

277 HORST P. HORST 1906-1999

Lisa with Harp, Paris, 1939

Barefoot Beauty, New York, 1941

Gelatin silver print, printed later. 18 1/8 x 13 3/8 in. (46 x 34 cm). Signed in pencil on the recto.

Gelatin silver print, printed later. 17 7/8 x 14 in. (45.4 x 35.6 cm). Blindstamp credit in the margin; signed in pencil on the verso.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 30 there titled Nude, New York LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 79

276

277

278 IRVING PENN 1917-2009 Cocoa dress (Balenciaga), Lisa Fonssagrives-Penn, Paris, 1950 Platinum-palladium print, printed before 1980. 19 1/4 x 19 3/8 in. (48.9 x 49.2 cm). Signed, titled, dated, numbered 49/50 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

that rapidly expanded after the war, a period that became known as the Golden Age for fashion. By the end of the 1940’s, Lisa Fonssagrives, a Swedish-born New York-based model, had established herself as one of the most coveted models in the industry, possessing the quintessential aristocratic elegance favored by designers and photographers at the time.

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

Her self-effacing humility was captured when she was famously quoted

PROVENANCE Acquired directly from the artist

as saying, “It is always the dress, it is never, never the girl. I’m just a good

LITERATURE Greenough, Irving Penn: Platinum Prints, pl. 21; Knopf, Irving Penn: Passage,

clothes hanger.” Her marriage to Irving Penn, who had already established

p. 82; Seidner, Lisa Fonssagrives: Three Decades of Classic Fashion Photography, p. 147;

himself as one of the most popular photographers at the time, led to some of

Szarkowski, Irving Penn, pl. 47; Thames and Hudson, Balenciaga Paris, p. 73; Vogue Paris, 15 September 1950; Westerbeck, Irving Penn: A Career in Photography, p. 179

the most iconic images in the history of fashion photography. In Cocoa dress (Balenciaga), Fonssagrives’a statuesque figure is lightly

Advances in commercial printing prior to the Second World War allowed for photographic reproductions to replace illustrations in fashion publications, resulting in demand for beautiful, photogenic women to embody the couturier’s vision, thereby signaling the birth of fashion photography. Soon thereafter, models, or, to use the French-heavy industry’s term at the time, mannequins, became synonymous with the maisons de haute couture for which they were hired; namely, Denise Poiret for Paul Poiret, Natasha Paley

hunched forward, her right arm bent to not only support her chin but also subtly mirror the shape of the coat she is holding in her left arm. As opposed to his contemporaries, Balenciaga eschewed boning and heavy interfacing in his clothes in favor of accentuating volume, silhouette and understated simplicity, all of which Fonssagrives embodied in a seemingly effortless way under Penn’s direction. Penn understood that in a successful fashion photograph, the couture is not to be eclipsed by the charm of the model, nor

for Lucien Lelong and Muriel Maxwell for Chanel.

should the model disappear in the overwhelming presence of the garment.

Following the Second World War, however, a shift in aesthetics and

showcased the unique structure and silhouette of the clothes, Penn created

perception of the role of the model took place. While French models remained exclusively linked to their maison de haute couture, their American and British counterparts dominated the editorial and commercial markets

By collaborating with Fonssgrives on a pose that echoed, complemented and an image symbolizing one of the most illustrious periods in the history of fashion photography.

279 DR. DAIN L. TASKER 1872-1964 Philodendron #3, 1930s Gelatin silver print. 11 3/8 x 9 in. (28.9 x 22.9 cm). Signed and titled in pencil on the mount; signed and annotated ‘#3’ in pencil on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Howard Greenberg Gallery, New York LITERATURE Howard Greenberg Gallery, Dr. Dain L. Tasker, n.p.

280 IRVING PENN 1917-2009 Columbine/Aquilegia vulgaris: William Guiness, New York, 2006 Pigment print. 21 1/4 x 19 5/8 in. (54 x 49.8 cm). Signed, titled, dated in ink, copyright credit and edition stamps on the reverse of the flush-mount. One from an edition of 16.

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

281

281 RICHARD AVEDON 1923-2004 The Generals of the Daughters of the American Revolution, DAR Convention, Mayflower Hotel, Washington DC, October 15, 1963 Gelatin silver print, printed 1964. 15 3/4 x 19 5/8 in. (40 x 49.8 cm). Signed, numbered 23/25 in pencil, copyright credit reproduction limitation and title stamps on the verso.

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Random House, Richard Avedon: Evidence 1944-1994, p. 147

282

282 ARNOLD NEWMAN 1918-2006 Igor Stravinsky, New York, 1946 Gelatin silver print, printed later. 6 7/8 x 13 in. (17.5 x 33 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the verso.

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE LIGHT Gallery, LIGHT, p. 67

283

283 ORMOND GIGLI b. 1925 Models in Window, New York, 1960 Digital pigment print. 15 1/4 x 15 3/4 in. (38.7 x 40 cm). Signed, dated and numbered 17/100 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Sothebyâ&#x20AC;&#x2122;s, 17 October 2008, Lot 184 LITERATURE International Center of Photographs, Reflections in a Glass Eye: Works from

the International Center of Photography Collection, pl. 63

284 IRVING PENN 1917-2009 Crescent Bicorne Hat (Evelyn Tripp), New York, 1949 Selenium toned gelatin silver print, printed 1984. 15 7/8 x 14 3/8 in. (40.3 x 36.5 cm). Signed, titled, dated in ink, copyright credit reproduction limitation and editions stamps on the reverse of the mount. One from an edition of 10.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Knopf, Irving Penn: Passage, p. 76

285

285 HARRY CALLAHAN 1912-1999 Chicago (Trees in Snow), 1950 Gelatin silver print, printed 1970s. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed in pencil in the margin.

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE LIGHT Gallery, LIGHT, p. 67; National Gallery of Art, Washington, Harry

Callahan, p. 73; Szarkowski, Callahan, p. 63

286 ANSEL ADAMS 1902-1984 Trailside, Near Juneau, Alaska, 1947 Gelatin silver print, printed 1960s. 16 x 12 in. (40.6 x 30.5 cm). Signed in ink on the mount; titled in ink, dated in pencil in an unidentified hand and Carmel credit stamp on the reverse of the mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 53; Little, Brown &

Company, The Portfolios of Ansel Adams, pl. 10 there dated 1948; Szarkowski, Ansel Adams at 100, pl. 69

286

287

287 HARRY CALLAHAN 1912-1999 Camera Movement on Flashlight, 1946-1947 Gelatin silver print. 4 3/8 x 3 1/4 in. (11.1 x 8.3 cm). Signed in pencil on the reverse of the mount.

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

288

ACTUAL SIZE

288 HARRY CALLAHAN 1912-1999 Chicago, 1958 Gelatin silver print, printed 1970s. 5 1/4 x 7 7/8 in. (13.3 x 20 cm). Signed in pencil in the margin; signed and titled â&#x20AC;&#x2DC;Chicagoâ&#x20AC;&#x2122; in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE National Gallery of Art, Washington, Harry Callahan, p. 120; Szarkowski,

Callahan, p. 178

289

289 HARRY CALLAHAN 1912-1999 New York, circa 1945 Gelatin silver print, printed 1970s. 6 5/8 x 8 3/8 in. (16.8 x 21.3 cm). Signed in pencil in the margin; signed in pencil on the verso.

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

290

290 HARRY CALLAHAN 1912-1999 Aix-en-Provence, 1958 Gelatin silver print. 13 5/8 x 10 5/8 in. (34.6 x 27 cm). Signed in ink on the reverse of the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Aperture, Callahan, n.p.; Philadelphia Museum of Art, Elemental Landscapes:

Photographs by Harry Callahan, pl. 2

291

291 O. WINSTON LINK 1914-2001 NW1103, Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956 Gelatin silver print, printed 1983. 15 1/2 x 19 3/8 in. (39.4 x 49.2 cm). Signed, titled ‘NW1103’, dated ‘1983’ in pencil, copyright credit and reproduction limitation stamp on the verso.

Estimate $7, 0 0 0 - 9 , 0 0 0 LITERATURE Harry N. Abrams, Inc., Steam, Steel & Stars: America’s Last Steam Railroad,

backcover and pp. 124-125

292

292 O. WINSTON LINK 1914-2001 NW1345, Policeman Weldon Painter Patrols the Main Street of Stanley Virginia, 1957 Gelatin silver print, printed 1991. 15 1/2 x 19 3/8 in. (39.4 x 49.2 cm). Signed, titled ‘NW1345’ in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Harry N. Abrams, Inc., Steam, Steel & Stars: America’s Last Steam Railroad, n.p.

293

293 O. WINSTON LINK 1914-2001 NW1643, A Giant Oak Tree and the Westbound Birmingham Special at Max Meadows, 1957 Gelatin silver print, printed 1991. 15 3/8 x 19 3/8 in. (39.1 x 49.2 cm). Signed, titled ‘NW1643’ in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Harry N. Abrams, Inc., Steam, Steel & Stars: America’s Last Steam Railroad, n.p.

294

294 JOHN SZARKOWSKI 1925-2007 From Country Elevator, Red River Valley, MN, 1957 Gelatin silver print, printed later. 10 3/8 x 13 3/8 in. (26.4 x 34 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Bulfinch, John Szarkowski, pl. 36

296

295

295 JOHN SZARKOWSKI 1925-2007

296 W. EUGENE SMITH 1918-1978

Garrick (Schiller) Theater, Chicago, 1954

Pittsburgh (RR tracks), 1955-1956

Gelatin silver print, printed later. 13 x 10 1/2 in. (33 x 26.7 cm). Signed, titled and dated

Gelatin silver print, printed 1970s. 13 5/8 x 9 1/4 in. (34.6 x 23.5 cm). Annotated ‘Magnum’

in pencil on the verso.

in an unidentified hand in pencil and Estate credit stamp on the verso.

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the Estate of W. Eugene Smith

LITERATURE Bulfinch, John Szarkowski, pl. 26

LITERATURE Aperture, W. Eugene Smith: Master of the Photographic Essay, pl.154

298

297

297 WEEGEE (ARTHUR FELLIG) 1899-1968

298 LEONARD FREED 1929-2006

Twin Bed Distortion, circa 1950

Wall Street, New York City, 1956

Gelatin silver print. 8 3/4 x 7 5/8 in. (22.2 x 19.4 cm). Titled in orange crayon in the margin;

Gelatin silver print, printed later. 18 5/8 x 12 1/2 in. (47.3 x 31.8 cm). Signed in pencil, Magnum

‘Credit Photo by Weegee’ and ‘Photo-Representatives” stamp on the verso.

Estimate $1, 5 0 0 - 2 , 5 0 0

Estimate $ 4 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist

299 ROBERT FRANK b. 1924 Ben James, Welsh Miner, 1953 Gelatin silver print. 12 7/8 x 8 3/8 in. (32.7 x 21.3 cm). Signed in ink on the verso.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 EXHIBITED Robert Frank: London/Wales, Corcoran Gallery of Art, Washington, DC, 10 May -

14 July 2003

The photo essay on Ben James, which first appeared in U.S. Camera Annual in 1955, was shot over a number of weeks, during which Frank closely followed the miner and his family. Frank bypassed the common photojournalistic traps, namely, full-body posing, frontal gaze, and emphasis on settings to embellish the narrative. Instead, James occupies the frame nearly in its entirety, his elbows and a sliver of his helmet cropped off, giving

LITERATURE Brookman, Robert Frank, p. 95; Corcoran Gallery of Art, Robert Frank: London/

him a slightly monumental feel. He sits slightly tilted, smoking, looking

Wales, frontice piece and p. 95

outside of the frame, appearing caught mid-thought, which altogether lend him an air of privacy and dignity. Two strong hands dangle at each side,

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

confidently flanking his torso and subtly counterbalancing the soot-covered

a six-year journey, during which he travelled around the world, starting

face that would have been tempting bait for a merciful portrait by most other

in New York and ultimately landing in the United Kingdom. Despite his

photographers. But in Frank’s lens, James is not lauded as a martyr or a

upscale and privileged background, Frank travelled modestly, choosing to

symbol of poverty, but humanized to a point of accessibility.

experience each new place the locals did, avoiding tourist traps and cushy lodgings. Accordingly, Frank’s body of work from the time was concerned with capturing the people whose essence he felt personified the place most

I could have followed a livelier and perhaps more colourful Welsh miner but I’m

accurately, as was the case with Ben James.

happy I decided to portray Ben James. When I said farewell to him I realised that no future story on any Welsh miner will look as this one does.

James, at the time a 53-year old father of one, was a third-generation miner in Caerau, a mining village in Glamorgan, South Wales. In many ways, one could argue, James and Frank had much in common. Although the two came from opposite ends of the socio-economic spectrum, both were born into a marginal lifestyle and to a pre-determined fate.

Robert Frank, US Camera Annual, 1955

300

300 ROBERT FRANK b. 1924

301

Enlarged Contact Sheet from Bus Series, 1958 Gelatin silver print, printed 1970s. 15 1/2 x 19 in. (39.4 x 48.3 cm).

Estimate $ 9 , 0 0 0 -12 , 0 0 0 PROVENANCE Bruce Silverstein Gallery, New York

302

301 GARRY WINOGRAND 1928-1984

â&#x2C6;&#x2020;

302 GARRY WINOGRAND 1928-1984

Selected Images from Women Are Beautiful, 1965-1975

Centennial Ball, Metropolitan Museum, New York, 1969

Five gelatin silver prints, printed 1981. Each 8 3/4 x 13 in. (22.2 x 33 cm) or the reverse.

Gelatin silver print. 10 3/4 x 15 in. (27.3 x 38.1 cm). Signed in pencil on the verso.

Each signed and numbered 69/80 in pencil on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Szarkowski, Winogrand: Figments from the Real World, p. 104

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Pace/MacGill Gallery, New York LITERATURE LIGHT Gallery, LIGHT, p. 88; Papageorge, Garry Winogrand: Public Relations,

p. 68; Szarkowski, Winogrand: Figments from the Real World, p. 165

303 DIANE ARBUS 1923-1971 Identical Twins, Roselle, NJ, 1967 Gelatin silver print from A Box of Ten Photographs, printed later by Neil Selkirk. 14 3/4 x 15 in. (37.5 x 38.1 cm). Stamped ‘A Diane Arbus photograph’, signed, titled,

In her 1963 Guggenheim Fellowship proposal, American Rites, Manners and Customs, Diane Arbus stated that her interest lied in photographing “the considerable ceremonies of our present, […] I want to gather them, […]

dated, numbered 19/50 by Doon Arbus, Executor, in ink, credit reproduction limitation

because they will have been so beautiful.” The wish to preserve the moments

and portfolio stamps on the verso.

of understated existence continued for the rest of her brief if potent career,

Estimate $70 , 0 0 0 - 9 0 , 0 0 0

during which Arbus turned her attention to “things that nobody would see unless I photographed them,” as she stated in 1969. From dwarfs to giants,

PROVENANCE Howard Greenberg Gallery, New York

nudists to transvestites, and as we see in this image, twins, Arbus gravitated

LITERATURE Aperture, Diane Arbus, cover and n.p.; Arbus, Sussman, Phillips, Selkirk

towards people whose existence was a source of intrigue by society. Her

and Rosenheim, Diane Arbus: Revelations, pp. 182, 265 & 270-271

images of the aforementioned subjects are frontal and candid, removed from the critical context in which they had been presented heretofore. The identical twins, adorned in identical clothes, headbands, and hairdos, upon closer inspection begin diverging in personalities as differences in their facial expressions and gaze quietly surface. Their identical presentation is rendered heavy-handed and contrived as they morph into two distinct individuals. It is a powerful testament to Arbus’s gently subversive eye, seeking the normal in the marginalized, and highlighting the unnerving in mainstream.

304

304 DIANE ARBUS 1923-1971 A Young Girl at a Nudist Camp, PA, 1965 Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 1/4 in. (36.8 x 36.2 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 12/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 61

305 DIANE ARBUS 1923-1971 A Castle in Disneyland, CA, 1962 Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 3/4 in. (36.8 x 37.5 cm). Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 36/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Aperture, Diane Arbus, n.p.; Arbus, Sussman, Phillips, Selkirk and

Rosenheim, Diane Arbus: Revelations, pp. 288-289

305

306 DIANE ARBUS 1923-1971 Michael Pollard (Alternate with cigarette), N.Y.C., 1967 Gelatin silver print, printed by the artist. 10 1/4 x 10 in. (26 x 25.4 cm). Stamped ‘A Diane Arbus print’, signed by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations,

p. 187 for a variant

The variant of this image is reproduced in Diane Arbus: Revelations with a note stating “Actor Michael J. Pollard photographed for an article in Cheetah by Doon Arbus.” This same year, Pollard co-starred in Arthur Penn’s Bonnie and Clyde, winning critical acclaim for his role as C.W. Moss.

306

307

307 LEE FRIEDLANDER b. 1934 Nashville, Tennessee, 1963 Gelatin silver print, printed later. 18 3/8 x 12 1/4 in. (46.7 x 31.1 cm). Signed in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 PROVENANCE James Kelly Contemporary, Santa Fe LITERATURE Galassi, Friedlander, pl. 79

308

309

308 ALFRED WERTHEIMER b. 1930 The Kiss, 1956 Gelatin silver print, printed 2003. 6 5/8 x 9 7/8 in. (16.8 x 25.1 cm). Signed in ink in the margin; signed, titled, dated in pencil, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED Elvis at 21: Photographs by Alfred Wertheimer, The Grammy Museum, Los

Angeles, 8 January - 28 March 2010 and nine other venues on the Smithsonian Institution Traveling Exhibition Service, another example exhibited; Who Shot Rock & Roll: A Photographic History, 1955 - Present, Brooklyn Museum, New York, 30 October 2009 - 31 January 2010, another example exhibited LITERATURE Buckland, Who Shot Rock & Roll: A Photographic History, 1955 - Present, p. 43;

Wertheimer, Elvis 1956, pp. 50-51

309 ALFRED WERTHEIMER b. 1930 Hold Me Tight, 1956 Gelatin silver print, printed 2008. 12 1/4 x 8 1/4 in. (31.1 x 21 cm). Signed in ink in the margin; signed, titled, dated in pencil, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED Elvis at 21: Photographs by Alfred Wertheimer, The Grammy Museum, Los

titled In the Stairwell of the Mosque Theater, Richmond, Virginia; Wertheimer, Elvis 1956, p. 48

310

310 DENNIS STOCK 1928-2010

311

311 BURT GLINN 1925-2008

Audrey Hepburn while filming “Sabrina”, 1953

Andy Warhol with Edie Sedgwick and Chuck Wein, New York, 1965

Gelatin silver print, printed later. 18 7/8 x 12 7/8 in. (47.9 x 32.7 cm). Signed in pencil

Gelatin silver print, printed later. 22 3/4 x 15 in. (57.8 x 38.1 cm). Signed in pencil on the verso.

on the verso.

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Kennedy, “News Photos, On the Move, Make News,” The New York Times,

PROVENANCE Acquired directly from the artist

2 February 2010, C1; Weisman & Painter, Edie: Girl on Fire, n.p.

312 FLIP SCHULKE 1930-2008

313 RUTH ORKIN 1921-1985

Muhammad Ali boxing underwater, 1961

Woody Allen at the Met, 1963

Gelatin silver print, printed later. 18 3/4 x 12 5/8 in. (47.6 x 32.1 cm). Signed, annotated

Gelatin silver print. 13 1/4 x 10 in. (33.7 x 25.4 cm). Signed, titled, dated and annotated

‘printed from the original negative under the supervisions of Flip Schulke’ and copyright

‘assignment for Horizon mag- unpublished by them’ in pencil on the verso; signed, titled

in pencil on the verso.

and dated in pencil on the overmat.

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

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

PROVENANCE Acquired directly from the artist LITERATURE Schulke & Schudel, Muhammad Ali: The Birth of a Legend, cover

312

313

314

314 LEROY GRANNIS b. 1917

315 ERNST HAAS 1921-1986

Jackie Eberle, Waimea, 1964

The Rose, 1970

Color coupler print, printed 2005. 30 x 30 in. (76.2 x 76.2 cm). Signed, dated and numbered

Dye transfer print, printed 1999. 17 5/8 x 26 5/8 in. (44.8 x 67.6 cm). Signed, titled, dated,

9/9 in ink on a gallery label affixed to the reverse of the flush-mount.

numbered 24/50 by Alexander Haas, the photographerâ&#x20AC;&#x2122;s son, in pencil and Ernst Haas

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Taschen, Leroy Grannis: Surf Photography of the 1960s and 1970s, p. 216 PROVENANCE Acquired directly from the Estate of Ernst Haas LITERATURE Viking Press, Ernst Haas: The Creation, p. 43

315

316

316 ERNST HAAS 1921-1986 Tabago Wave, Caribbean Sea, 1968 Dye transfer print, printed 1999. 17 1/2 x 26 7/8 in. (44.5 x 68.3 cm). Signed, titled, dated, numbered 16/50 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the Estate of Ernst Haas LITERATURE Viking Press, Ernst Haas: The Creation, p. 19

317

317 ERNST HAAS 1921-1986 La Suerta De Capa, Pamplona, Spain, 1956 Dye transfer print, printed 1992. 11 7/8 x 17 5/8 in. (30.2 x 44.8 cm). Signed, titled, dated, numbered 4/50 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the Estate of Ernst Haas EXHIBITED Ernst Haas: Color Photography, Museum of Modern Art, New York, 1962, another

example exhibited LITERATURE Harry N. Abrams, Inc., Ernst Haas: Color Photography, p. 44; “Beauty in the

Brutal Art,” LIFE Magazine, 1957

318

318 ERNST HAAS 1921-1986 Utah, USA, 1952 Gelatin silver print, printed 1994. 11 3/8 x 16 7/8 in. (28.9 x 42.9 cm). Signed, titled, dated, numbered 29/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $1, 0 0 0 -1, 5 0 0 PROVENANCE Acquired directly from the Estate of Ernst Haas LITERATURE Haas & Hughes, Ernst Haas: Black and White, n.p.

319

319 ROBERT MAPPLETHORPE 1946-1989

320

Gladioli, 1979 Gelatin silver print, flush-mounted. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm). Signed and dated in pencil in the margin. One from an edition of 10 plus 2 artists proofs.

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

320 EIKOE HOSOE b. 1933 Two Male Nudes, circa 1973 Gelatin silver print. 7 1/8 x 10 3/4 in. (18.1 x 27.3 cm). Copyright credit stamp on the verso.

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

321 DAIDO MORIYAMA b. 1938 New York, 1971 Gelatin silver print, printed later. 10 5/8 x 15 7/8 in. (27 x 40.3 cm). Signed in pencil on the verso.

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

321

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

Phillips de Pury & Company is pleased to present this fourth installment of Japanese Modernist photographs from the Jacobson/Hashimoto Collection. Widely recognized as an expert in the field of American and European photography, Tom Jacobson is best known for his efforts championing the work of the long-forgotten French photographer Pierre Dubreuil. With a similar goal to discover the great photographers of the East, Jacobson turned his attention to Japanâ&#x20AC;&#x2122;s rich history of art photography in the pre-war era. 322

With a set of rare journals as his starting point, he and his assistant-turnedpartner Kaori Hashimoto embarked on a journey that took them throughout Japan where they researched photographers, often meeting directly with them or their families. Looking at established and unknown photographers alike, and driven by the strength of the images themselves, together they amassed a collection of prints demonstrating the breadth of Japanese modernist photographs. From still-lifes and nudes, to landscapes and city scenes, these photographs reflect the talent and vitality of a culture that would be so drastically altered by war in the coming years. The following 28 lots include works by Fusao Hori, Yoshiyuke Iwase, Koyo Okada, Ryukichi Shibuya, Shikanosuke Yagaki and Iwao Yamawaki, among others. Most of the works are believed to be unique and almost all were acquired directly from the artists or their families.

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

322 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Gelatin silver print, printed circa 1955. 8 7/78 x 11 in. (20.5 x 27.9 cm). Signed in ink on the

323

recto.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

323 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Gelatin silver print, printed circa 1955. 8 3/4 x 10 3/4 in. (22.2 x 27.3 cm). Blindstamp credit on the recto.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

324

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

324 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Gelatin silver print. 8 7/8 x 11 in. (22.5 x 27.9 cm). Signed in pencil on the overmat.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

325

326

327

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

325 RYUKICHI SHIBUYA 1904-1995 Woman with long pearls, circa 1936 Gelatin silver print. 8 1/2 x 6 in. (21.6 x 15.2 cm). Signed in pencil on the reverse of the mount.

Estimate $1, 0 0 0 - 2 , 0 0 0 PROVENANCE Acquired directly from the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

326 KATSUJI FUKUDA 1899-1991 My Yard, 1971 Gelatin silver print. 14 1/2 x 11 3/8 in. (36.8 x 28.9 cm). Signed, titled in pencil and date stamp on the verso.

Estimate $1, 0 0 0 - 2 , 0 0 0 PROVENANCE Acquired directly from the artist

328

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

327 KIYOHIKO KOMURA 1899-1969 Untitled, 1940s Gelatin silver print, printed circa 1955. 10 x 11 7/8 in. (25.4 x 30.2 cm). Signed in ink on the verso.

Estimate $1, 5 0 0 - 2 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

328 KIYOHIKO KOMURA 1899-1969 2 Abstract Forms, circa 1950 Gelatin silver print. 9 3/8 x 9 3/8 in. (23.8 x 23.8 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

329

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

329 SHIKANOSUKE YAGAKI 1897-1966 Blinds with Sunlight, 1930s Gelatin silver print. 9 1/4 x 10 5/8 in. (23.5 x 27 cm). Credit stamp on the verso.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

330 SHIKANOSUKE YAGAKI 1897-1966 Grasshopper on wall, 1930s Gelatin silver print. 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm). Credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

330

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

331 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Five gelatin silver prints. Varying sizes from 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) to 8 1/8 x 11 5/8 in. (20.6 x 29.5 cm) or the reverse. Two signed, titled in pencil and three with credit stamps on the verso.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

332

333

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

332 SHIKANOSUKE YAGAKI 1897-1966

333 SHIKANOSUKE YAGAKI 1897-1966

Banister Detail, 1930s

Jazz, 1930s

Gelatin silver print. 10 7/8 x 8 in. (27.6 x 20.3 cm). Credit stamp on the verso.

Gelatin silver print. 5 3/8 x 8 in. (13.7 x 20.3 cm). Credit stamp on the verso; signed and titled

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

in ink on a Kyoto Leica Club sticker affixed to the reverse of the mount.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

334 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Four gelatin silver prints. Varying sizes from 8 x 11 5/8 in. (20.3 x 29.5 cm) to 9 1/4 x 11 5/8 in. (23.5 x 29.5 cm) or the reverse. One signed, titled in pencil and three with credit stamps on the verso.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

335 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Four gelatin silver prints. Varying sizes from 8 3/4 x 9 1/4 (22.2 x 23.5 cm) to 10 3/8 x 13 7/8 in. (26.4 x 35.2 cm) or the reverse. One signed in pencil and three with credit stamps on the verso.

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

336

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

336 FUSAO HORI 1897-1982 Nails and record, 1930s Gelatin silver print. 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm). Signed and inscribed ‘this work is by my father Hori, Fusao’ by Shoichi Hori in pencil on the verso.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

337 FUSAO HORI 1897-1982 Portrait of a Woman, 1930s Gelatin silver print. 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm). Signed and inscribed ‘this work is by my father Hori, Fusao’ by Shoichi Hori in pencil on the verso.

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

337

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

338 WALTER PETERHANS 1897-1960 Gunta Stölzl, Wall-hanging Made With Cellophane, circa 1931 Gelatin silver print. 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm). Signed by Iwao Yamawaki in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE From the Collection of Iwao Yamanaki LITERATURE Könemann, Bauhaus, P. 476 for 2 variant

A variant of this photograph is reproduced in Konemann’s Bauhaus anthology where it is attributed to Walter Peterhans. The work itself is signed by Iwao Yamawaki and is presumed to have been in his personal collection.

338

339

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

339 YOSHIYUKI IWASE 1904-2001

340 YOSHIYUKI IWASE 1904-2001

Girl eating, circa 1950

Pre-war, circa 1930

Gelatin silver print. 10 1/8 x 9 3/4 in. (25.7 x 24.8 cm). Signed in pencil and credit stamp

Gelatin silver print. 11 x 6 1/4 in. (27.9 x 15.9 cm). Signed and titled in pencil on the reverse

on the verso.

of the mount.

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

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

PROVENANCE Acquired directly from the estate of the artist

PROVENANCE Acquired directly from the artist

340

341

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

341 YOSHIYUKI IWASE 1904-2001 Keeping Warm, circa 1950 Gelatin silver print. 9 x 11 1/4 in. (22.9 x 28.6 cm). Signed and titled in pencil on the verso.

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

342

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

342 YOSHIYUKI IWASE 1904-2001 Nude in Water, circa 1950 Gelatin silver print. 20 1/8 x 16 7/8 in. (51.1 x 42.9 cm). Signed in pencil on the verso.

Estimate $1, 0 0 0 -1, 5 0 0 PROVENANCE Acquired directly from the estate of the artist

343

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

343 MINAYOSHI TAKADA 1889-1982 Nude perched on ground, circa 1948 Gelatin silver print, printed circa 1955. 22 x 18 in. (55.9 x 45.7 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

344

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

344 MINAYOSHI TAKADA 1889-1982 Nude looking over shoulder, circa 1948 Gelatin silver print, printed circa 1955. 22 x 18 in. (55.9 x 45.7 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

345 MINAYOSHI TAKADA 1889-1982 Selected Images, circa 1948 Four gelatin silver prints, three printed circa 1955. Varying sizes from 8 1/2 x 10 5/8 in. (21.6 x 27 cm) to 10 x 12 in. (25.4 x 30.5 cm) or the reverse.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

346 RYUKICHI SHIBUYA 1904-1995 Cigarettes, Camera & Coffee; Two Women on Street; and Woman in Kimono, circa 1936 Three gelatin silver prints. (i)11 3/4 x 9 1/2 in. (29.8 x 24.1 cm), (ii)11 3/4 x 9 3/4 in. (29.8 x 24.8 cm), (iii)11 5/8 x 7 3/8 in. (29.5 x 18.7 cm). Each signed in pencil on the verso.

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

347

348

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

347 IWAO YAMAWAKI 1898-1987 Set of Bowls, 1930-1932 Gelatin silver print. 4 1/2 x 3 1/4 in. (11.4 x 8.3 cm). Signed in pencil on the verso.

Estimate $1, 2 0 0 -1, 8 0 0 PROVENANCE Acquired directly from the artist

349

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

348 IWAO YAMAWAKI 1898-1987 3 Boys in Play Yard, circa 1932 Gelatin silver print. 4 1/2 x 3 1/4 in. (11.4 x 8.3 cm). Credit stamp on the verso.

Estimate $1, 2 0 0 -1, 8 0 0 PROVENANCE Acquired directly from the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

349 IWAO YAMAWAKI 1898-1987 American Flag, 1930s Gelatin silver print. 8 7/8 x 6 5/8 in. (22.5 x 16.8 cm). Signed in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the artist

INDEX Abbott, B. 246 Adams, A. 286 Adams, R. 33 Aldridge, M. 142 Álvarez Bravo, M. 221, 222 Araki, N. 87, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98 Arbus, D. 303, 304, 305, 306 Atget, E. 205, 206 Avedon, R. 281 Davis, L. 178 Demarchelier, P. 51, 52, 85 Baril, T. 19

diCorcia, P-L. 80

Bassman, L. 1, 2, 3

Doisneau, R. 204

Beard, P. 256, 257, 258, 259, 260, 261

d’Orazio, S. 109

Bien-U, B. 125

Dow, J. 24

Boas, G.L. 39 Bond, G. 145 Brandt, B. 267, 268, 269

Eggleston, W. 34, 35, 36, 37

Burtynsky, E. 133, 134, 135

Epstein, M. 136 Ertug, A. 154, 155 Essaydi, L. 124

Callahan, H. 18, 285, 287, 288, 289, 290

Esser, E. 140

Cao, A.G. 107

Evans, W. 236, 237, 238, 239, 241

Cartier-Bresson, H. 211 Clark, L. 38 Couturier, S. 122

Faurer, L. 15, 240

Cravo Neto, M. 86

Feininger, A. 248

Crewdson, G. 77

Frank, R. 299, 300

Curtis, E.S. 219

Freed, L. 298 Friedlander, L. 22, 307 Fukuda, K. 326 Fuss, A. 115

Giacomelli, M. 270 Gigli, O. 283 Ginsberg, A. 271 Glinn, B. 311 Gohlke, F. 23 Goldin, N. 10, 11 González Palma, L. 103 Grannis, L. 314 Gursky, A. 82

Haas, E. 315, 316, 317, 318 Hai, B. 130 Henson, B. 164 Hilliard, D. 147 Hine, L. 249 Höfer, C. 83 Hong, H. 129, 132 Hori, F. 336, 337

Horst, H.P. 274, 275, 276, 277 Horvat, F. 9 Hosoe, E. 320 Huang, Y. 131

Shore, S. 27, 28, 29

Iwase, Y. 339, 340, 341, 342

Simmons, L. 75 Simpson, L. 105 Siskind, A. 247, 263, 265

Jordan, C. 79

Smith, W. E. 296

Josephson, K. 32 Michals, D. 272

Speers, V. 167

Moffatt, T. 13

Steichen, E. 216, 217, 220

Mondino, J-B. 12

Steiner, A. 234

Kaoru, I. 173

Morell, A. 117, 118, 119

Sternfeld, J. 26, 30, 31

Karsh, Y. 273

Moriyama, D. 321

Stieglitz, A. 218

KertĂŠsz, A. 20, 207, 208, 209, 210, 212, 213, 214, 215

Muniz, V. 104, 152, 153, 162, 171, 172, 174

Stock, D. 310

Jung, Y. 163

Sudek, J. 232, 233

Kim, J. 148, 151

Sugimoto, H. 99, 100, 102

Kolehmainen, O. 121 Komura, K. 327, 328

Neshat, S. 123

Sultan, L. 116

Koudelka, J. 266

Newman, A. 282

Swannell, J. 8

Kurland, J. 166

Newton, H. 4, 5, 6, 7, 16, 17, 57, 58, 59

Szarkowski, J. 294, 295

LaChapelle, D. 143, 144, 156, 157, 158, 159

Okada, K. 322, 323, 324

Takada, M. 343, 344, 345

Leibovitz, A. 50, 53

Olaf, E. 160, 161

Tasker, Dr. D.L. 279

Leonard, Z. 106

Orkin, R. 313

The Ultravelvet Collection 149

Levitt, H. 250, 251, 252, 253

Orozco, G. 78

Tice, G. 21

Link, O.W. 291, 292, 293

Outerbridge Jr., P. 227

Lutter, V. 120

van Empel, R. 168, 169, 170 Penn, I. 254, 255, 278, 280, 284

Various Photographers 25

Peterhans, W. 338

Vitali, M. 141

Mantz, W. 235

Rheims, B. 14

Warhol, A. 40, 41, 56

Mapplethorpe, R. 42, 43, 44, 45, 46, 47, 48, 49, 60, 61,

Ritts, H. 54, 84, 112, 113, 114

Watson, A. 88, 108, 110, 111

62, 63, 64, 319

Rong, R. 126

Weegee

Meatyard, R.E. 262, 264

Ronis, W. 179, 180, 181, 182, 183, 184, 185, 186, 187,

Wegman, W. 165

188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199,

Wertheimer, A. 308, 309

200, 201, 202, 203

Weston, E. 223, 224, 225, 226

Madoz, C. 150 Man Ray 228, 229, 230, 231 Mann, S. 69, 70, 71, 72, 73, 74

297

Winogrand, G. 301, 302 Witkin, J-P. 65, 66, 67, 68 Salgado, S. 137, 138, 139, 175, 176, 177 Schulke, F. 312 Seliger, M. 146

Yagaki, S. 329, 330, 331,

Serrano, A. 81

332, 333, 334, 335

Sherman, C. 55, 76

Yamawaki, I. 347, 348, 349

Shibata, T. 101 Shibuya, R. 325, 346 Zhang, H. 127, 128 Zinnemann, F. 242, 243, 244, 245

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

∆ Property In Which Phillips de Pury & Company Has An Ownership Interest

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

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

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

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

CONDITIONS OF SALE

•

No Reserve

•

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

Unless indicated by a

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

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

relationship among Phillips, the seller and the buyer and describe the terms upon which

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of

property is bought at auction. Please be advised that Phillips de Pury & Company generally

the low estimate and will not exceed the low pre-sale estimate.

, all lots in this catalogue are offered subject to a reserve. A reserve

acts as agent for the seller. 2 BIDDING IN THE SALE BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Bidding At Auction

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

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

the total purchase price at the following rates: 25% of the hammer price up to and including

sale in writing by absentee bid.

$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.

BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins.

1 PRIOR TO AUCTION

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Catalogue Subscriptions

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Pre-Sale Estimates

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

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

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registration desk.

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

Bidding By Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

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

not include the buyer’s premium or any applicable taxes.

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

Pre-Sale Estimates In Pounds Sterling And Euros

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Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

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of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

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

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

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

the exhibition history of the property and references to the work in art publications. While we

at the back of this catalogue. This service is free and confidential. Bids must be placed in the

are careful in the cataloguing process, provenance, exhibition and literature references may

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

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of previous owners. Please note that all dimensions of the property set forth in the catalogue

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entry are approximate.

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.

Condition Of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g.,

Employee Bidding

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procedures.

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

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

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

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

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

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800

(i.e. $4,200, 4,500, 4,800)

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available to

$10,000 to $20,000

by $1,000s

give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

Electrical And Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

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

Conditions of Sale

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

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

BRIC CONTEMPORARY ART PHOTOGRAPHS DESIGN EDITIONS FROM BRAZIL, RUSSIA, INDIA & CHINA

VIEWING AND AUCTIONS PHILLIPS de PURY & COMPANY AT THE SAATCHI GALLERY, DUKE OF YORK’S HQ, KING’S ROAD LONDON SW3 4SQ Viewing 19 – 22 April 2010 EVENING SALE 23 APRIL 2010 5PM

CHINA SALE 24 APRIL 2010 11AM

INDIA SALE 24 APRIL 2010 1PM

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BRAZIL SALE 24 APRIL 2010 5PM

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. 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. 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 an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five 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 certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate 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.

THE AFRICA AUCTION CONTEMPORARY ART AUCTIONS 15 MAY 2010 Viewing 8 – 15 May

PHOTOGRAPHS

DESIGN

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 themes@phillipsdepury.com Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com ERNST HAAS Elephants, Kenya, 1970 Estimate $6,000-8,000

EDITIONS

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

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

the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury

Warranty carefully

& Company reserves the right to require written confirmation of a successful bid from a

before bidding.

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

1 INTRODUCTION

recording of the conversation.

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

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

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

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

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

as amended by any addendum or announcement by the auctioneer prior to the auction.

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

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

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

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

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

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

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

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

where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT

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

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

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

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

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

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

procedures.

financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF THE AUCTION

•

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

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

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

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

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

each lot is offered subject to a reserve, which

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

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

on information provided to us by the seller, and Phillips de Pury & Company is not able to

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

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,

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

we shall exercise such reasonable care when making express statements in catalogue

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

descriptions or condition reports as is consistent with our role as auctioneer of lots in

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

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

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the

at the time any such express statement is made.

benefit 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,

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

estimates in pounds sterling or euros should be treated only as a guide.

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

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

the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

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

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

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

its description.

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,”

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

“returned to owner” or “bought-in.”

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

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

imperfections of a lot, but bidders should note that lots may have other faults not expressly

and Authorship Warranty as if sold in the auction.

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to

6 PURCHASE PRICE AND PAYMENT

convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

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

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

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

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable

the selling price or value of the lot and may be revised from time to time by Phillips de Pury

law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale

affiliated companies shall be liable for any difference between the pre-sale estimates for any

certificates from US dealers as proof of exemption from sales tax. All foreign buyers should

lot and the actual price achieved at auction or upon resale.

contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION

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

following the auction regardless of any intention to obtain an export or import license or other

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash,

information and references as required by Phillips de Pury & Company.

check drawn on a US bank or wire transfer, as follows:

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

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

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

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

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

weekday business hours.

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

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

provides to us acceptable government issued identification. Checks and banker’s drafts

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

possible price taking into account the reserve and other bidders. Any absentee bid must be

please send the check or banker’s draft to the attention of the Client Accounting Department

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is

received will take precedence.

written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

CONTEMPORARY ART AUCTIONS AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 8 â&#x20AC;&#x201C; 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 contemporary@phillipsdepury.com Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

JOHN BALDESSARI Noses & Ear, Etc. (Part Two): (Violet) Face and (Blue) Face with (Pink Noses) and Ears and Pistol, 2006 (detail) Estimate $250,000-350,000

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

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

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

Citibank

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

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

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

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

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

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

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

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

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

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

buyer’s property has been delivered to an affiliated company by way of pledge.

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 affiliated companies, including

10 RESCISSION BY PHILLIPS de PURY & COMPANY

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

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

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

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

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

foregoing conditions, and no later than five days after the conclusion of the auction, he or she

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

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

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

collection of purchased property.

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 &

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

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

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

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

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

carry back to our premises at 450 West 15th Street, New York, New York for collection within

as to whether a license is required to export a lot from the United States or to import it into

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

another country. Prospective buyers are advised that some countries prohibit the import

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

of property made of or incorporating plant or animal material, such as coral, crocodile,

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

subject to our usual exclusions for loss or damage to property.

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

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

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

12 CLIENT INFORMATION

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

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

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

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may

prior to release of a lot to the buyer or the buyer’s authorized representative.

use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express

8 FAILURE TO COLLECT PURCHASES

consent. If you would like further information on our policies on personal data or wish to make

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to

the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and

receive details of future events please call the above number.

pro rated 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

13 LIMITATION OF LIABILITY

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

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

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

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 notification of the buyer,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

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

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

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

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.

PHOTOGRAPHS AUCTION AUCTION 20 MAY 2010 4pm Viewing 13 – 20 May

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4018 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com

IRVING PENN Audrey Hepburn, Paris 1951, printed 1951 Estimate £25,000-35,000

AUTHORSHIP WARRANTY 14 COPYRIGHT

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

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

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 GENERAL

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

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

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

such time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives.

provide to us at the buyerâ&#x20AC;&#x2122;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

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

produced by the buyer and reserve the right to consult our own experts at our expense. If

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

refund to the buyer the reasonable costs charged by the experts commissioned by the buyer

Sale shall act as a waiver or release thereof in whole or in part.

and approved in advance by us.

16 LAW AND JURISDICTION

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

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

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

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

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

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 affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

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.

PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

GENERAL COUNSEL

MANAGING DIRECTORS

Patty Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843

SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

NEW YORK

Aileen Agopian, New York Director +1 212 940 1255

Sarah Mudge, Head of Part II +1 212 940 1259

Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

Jean-Michel Placent +1 212 940 1263

Rodman Primack +1 212 940 1256

Roxana Bruno +1 212 940 1229

Maria Bueno +1 212 940 1261

MODERN AND CONTEMPORARY EDITIONS

NEW YORK

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

PHOTOGRAPHS

NEW YORK Vanessa Kramer, New York Director +1 212 940 1243

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Sara Davidson +1 212 940 1262

Alexandra Leive +1 212 940 1252

Carol Ehlers, Consultant +1 212 940 1245

Peter Flores +1 212 940 1223

Sarah Krueger +1 212 940 1245

(Uli) Zhiheng Huang +1 212 940 1288

LONDON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Helen Hayman +44 20 7318 4092

Emma Lewis +44 20 7318 4092

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

George O’Dell +44 20 7318 4093

JEWELRY Nazgol Jahan, Worldwide Director +1 212 940 1283

Raphael Lepine +44 20 7318 4078

Tanya Tikhnenko +44 20 7318 4065

NEW YORK

Phillippa Willison +44 20 7318 4070

Carmela Manoli +1 212 940 1302

PARIS Edouard de Moussac + 33 1 42 78 67 77

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

GENEVA

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

NEW YORK Alex Heminway, New York Director +1 212 940 1269

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

Marcus Tremonto +1 212 940 1268

Alexandra Gilbert +1 212 940 1268

LONDON

Lane McLean +44 20 7318 4032

THEME SALES NEW YORK

Corey Barr, New York Manager +1 212 940 1234

Steve Agin, Consultant +1 908 475 1796

Anne Huntington +1 212 940 1210

Domenico Raimondo +44 20 7318 4016

Stephanie Max +1 212 940 1301

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

LONDON

PARIS

LONDON Tobias Sirtl, London Manager +44 20 7318 4095

Johanna Frydman +33 1 42 78 67 77

EDITORIAL Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

ART AND PRODUCTION Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

PRIVATE SALES NEW YORK Andrea Hill +1 212 940 1238

MARKETING NEW YORK Trish Walsh, Marketing Manager Gizelle Ferrer, Graphic Designer

SALE INFORMATION

AUCTION

CATALOGUES

Friday 16 April 2010 at 10am & 2pm

Leslie Pitts +1 212 940 1240 $60/£30 at the Gallery

VIEWING

catalogues@phillipsdepury.com

Saturday 10 April 10am – 6pm Sunday 11 April 12pm – 6pm

ABSENTEE AND TELEPHONE BIDS

Monday 12 April 10am – 6pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax

Tuesday 13 April 10am – 6pm

Maureen Morrison, Bid Clerk +1 212 940 1228

Wednesday 14 April 10am – 6pm

bids@phillipsdepury.com

Thursday 15 April 10am – 6pm CLIENT ACCOUNTING VIEWING & AUCTION LOCATION

Sylvia Leitao +1 212 940 1231

450 West 15 Street New York NY 10011

Buyers Accounts Nicole Rodriguez +1 212 940 1235

SALE DESIGNATION

Seller Accounts

In sending written bids or making enquiries please refer

Barbara Doupal +1 212 940 1232

to this sale as NY 040110 or Photographs.

Nadia Somwaru +1 212 940 1280

NEW YORK DIRECTOR

CLIENT SERVICES

Vanessa Kramer +1 212 940 1243

+1 212 940 1200

SPECIALIST

SHIPPING

Shlomi Rabi +1 212 940 1246

Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

JUNIOR SPECIALIST Caroline Shea +1 212 940 1247 SENIOR ADMINISTRATOR Sarah Krueger +1 212 940 1245 CONSULTANT Carol Ehlers +1 212 940 1245 PROPERTY MANAGER Don D’Aries +1 212 940 1363 PHOTOGRAPHY Kent Pell

Front Cover Herb Ritts, Versace Dress, Back View, El Mirage, 1990, Lot 112 (detail) Inside Front Cover Edward Steichen, Wheelbarrow with Flower Pots, France, 1920, Lot 216 (detail) Title Page Diane Arbus, Identical Twins, Roselle, NJ, 1967, Lot 303 Inside Back Cover Nobuyoshi Araki, Untitled from Personal Sentimentalism in Photography, n.d., Lots 90 & 89 (details) Back Cover Ahmet Ertug, Teatro La Fenice, Venice, 2009, Lot 154 (detail)

PHOTOGRAPHS 16 APRIL 2010 N E W YO R K NY0 4 0 110

W W W. P H I L L I P S D E P U RY.C O M

PHOTOGRAPHS

APRIL

2 010

NEW YORK