Photography April 1, 2009 New York

P H OTO G R A P H S 1

APRIL

2009

N E W YO R K

P H OTO G R A P H S 1

APRIL

2009

N E W YO R K

10am Morning Session Lots 1- 160 2pm Afternoon Session Lots 161- 280

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HENRI CARTIER-BRESSON 1908-2004

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HENRI CARTIER-BRESSON 1908-2004

Brie, France, 1968

Refugee Camp, Kurukshetra, Punjab, 1947

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

Gelatin silver print, printed later. 11 3/4 x 17 1/2 in. (29.8 x 44.5 cm). Signed in ink

and blindstamp credit in the margin.

and blindstamp credit in the margin.

Estimate $7,000-9,000

Estimate $4,000-6,000

LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 282; Bulfinch

LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 199

Press, Henri Cartier-Bresson: City and Landscapes, cover & p. 61

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HENRI CARTIER-BRESSON 1908-2004 Amedhabad, India, 1966

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HENRI CARTIER-BRESSON 1908-2004 Island of Siphnos, Greece, 1961

Gelatin silver print, printed later. 9 1/2 x 14 1/4 in. (24.1 x 36.2 cm). Signed in ink

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

in the margin.

and blindstamp credit in the margin.

Estimate $3,000-5,000

Estimate $7,000-9,000

PROVENANCE Acquired directly from the artist

LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 48; Bulfinch

LITERATURE Bulfinch Press, Henri Cartier-Bresson: City and Landscapes, pl. 79

Press, Henri Cartier-Bresson: City and Landscapes, pl. 84

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HENRI CARTIER-BRESSON 1908-2004 Rue Mouffetard, Paris, 1954 Gelatin silver print, printed later. 17 5/8 x 11 7/8 in. (44.8 x 30.2 cm). Signed in ink and blindstamp credit in the margin.

Estimate $10,000-15,000 PROVENANCE Acquired directly from the artist LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 150

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MANUEL ÁLVAREZ BRAVO 1902-2002 Selected Images, 1930-1950 Four gelatin silver prints and one platinum print, printed later. Varying sizes from 4 3/4 x 6 1/8 in. (12.1 x 15.6 cm) to 10 3/8 x 13 1/4 in. (26.4 x 33.7 cm) or the reverse.

Each signed and annotated ‘Mexico’ in pencil in the margin, on the verso or on the mount.

Estimate $7,000-9,000 LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days,

pl. 10, 41, 63 & 68; Kismaric, Manuel Álvarez Bravo, pp. 114, 183 & 196; Aperture, Manuel Álvarez Bravo, pp. 36 & 44

Titles include: La Visita, 1935; Magueyes Heridos, 1950; Retrato Ausente, 1945; Little Horse on Ice-Cream Cart, 1930; Ensayo Para la Camara Bien Afocada, 1943

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MANUEL ÁLVAREZ BRAVO 1902-2002 Selected Images, 1927-1947

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MANUEL ÁLVAREZ BRAVO

1902-2002

Selected Images, 1925-1972

Five gelatin silver prints and one platinum print, printed later. Varying sizes from

Four gelatin silver prints, three printed later. Varying sizes from 6 3/4 x 9 3/8 in.

6 3/4 x 9 1/2 in. (17.1 x 24.1 cm) to 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) or the reverse.

(17.1 x 23.8 cm) to 7 1/8 x 9 1/2 in. (18.1 x 24.1 cm) or the reverse. Each signed

Each signed, one numbered 37/75 and three annotated ‘Mexico‘ in pencil in the

and annotated ‘Mexico’ in pencil on the verso or on the mount.

margin, on the verso or on the mount.

Estimate $7,000- 9,000 Estimate $12,000-18,000 LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days,

pl. 4, 17 & 23; Kismaric, Manuel Álvarez Bravo, pp. 52 & 110

pl. 16, 57 & 65; Kismaric, Manuel Álvarez Bravo, pp. 47, 87, 92, 126, 184 & 185; The University of New Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 3, 23, 26, 33; Aperture, Manuel Álvarez Bravo, pp. 29, 39 & 62

Titles include: Ventana al Coro, Tepoztlán, 1932; La Trilla, 1930-32; Corona de Espinas, Oaxaca, 1925; Siembra de Magueyes, 1972

Titles include: El Umbral, 1947; Sed Pública, 1934; Niño Orinando, 1927; Trampa Puesta, 1930; Señales y Pronósticos Número 3, 1938; Un Poco Alegre y Graciosa, 1942

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ANSEL ADAMS 1902-1984 Ice on Ellery Lake, Sierra Nevada, California, circa 1959 Gelatin silver print from Yosemite and the Range of Light, printed 1979. 13 x 18 3/4 in.

(33 x 47.6 cm). Signed and numbered 22/50 in pencil on the mount; portfolio credit label on the reverse of the mount.

Estimate $6,000-8,000 PROVENANCE Sotheby’s, New York, 17 April 2002, lot 4

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ANSEL ADAMS 1902-1984

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Half Dome, Thunder Cloud, circa 1956

Sierra Nevada, Winter Evening, from the Owens Valley, California, 1962

Gelatin silver print from Portfolio Three, printed 1960. 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm).

Gelatin silver print from Portfolio Four, printed 1963. 11 1/2 x 9 in. (29.2 x 22.9 cm).

Signed in ink on the mount; numbered ‘print no. 16 of set no. 164’ in an

Signed in ink on the mount; numbered 177 in an unidentified hand in ink

unidentified hand in ink and portfolio credit reproduction limitation stamp

and credit reproduction limitation on a portfolio label affixed to the reverse

on the reverse of the mount.

of the mount.

Estimate $5,000-7,000

Estimate $3,000-5,000

LITERATURE Szarkowski, The Portfolios of Ansel Adams, pl. III/16

LITERATURE Szarkowski, The Portfolios of Ansel Adams, pl. IV/15

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ANSEL ADAMS 1902-1984

ANSEL ADAMS 1902-1984 Oak Tree, Snow Storm, Yosemite National Park, California, 1948 Gelatin silver print, printed 1960s. 9 1/2 x 7 5/8 in. (24.1 x 19.4 cm). Signed in ink on the mount; titled, numbered 193 in an unidentified hand in ink and ‘Special Edition of Fine Prints Photographs of Yosemite by Ansel Adams’ credit stamp on the reverse of the mount.

Estimate $5,000-7,000 LITERATURE Szarkowski, Ansel Adams at 100, pl. 53; Szarkowski, The Portfolios

of Ansel Adams, pl. 9; Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 45

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ANSEL ADAMS 1902-1984 Sequoia Roots, Mariposa Grove, Yosemite National Park, California, circa 1950

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ANSEL ADAMS 1902-1984 White Gravestone, Laurel Hill Cemetary, San Francisco, California, 1933

Gelatin silver print from Portfolio Four, printed 1963. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm).

Gelatin silver print, printed 1970s. 13 3/8 x 9 3/4 in. (34 x 24.8 cm). Signed in pencil

Signed in ink on the mount; numbered 177 in an unidentified hand in ink and

on the mount; titled, dated in an unidentified hand in ink and Carmel credit

credit reproduction limitation on a portfolio label affixed to the reverse of the

stamp on the reverse of the mount.

mount.

Estimate $2,500-3,500 Estimate $4,000-6,000 LITERATURE Adams, Ansel Adams: A Monograph, pl. 25; Alinder & Stillman, LITERATURE Szarkowski, The Portfolios of Ansel Adams, pl. IV/2

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ANSEL ADAMS 1902-1984 Grass and Rain, Glacier Bay National Monument, Alaska, 1948 Gelatin silver print, printed 1970s. 9 1/4 x 13 1/4 in. (23.5 x 33.7 cm). Signed in pencil on the mount; titled, dated in an unidentified hand in ink and Carmel credit stamp on the reverse of the mount.

Estimate $3,000-5,000 PROVENANCE Christie’s East, New York, 4 April 2000, lot 222

Ansel Adams: Letters and Images 1916-1984, p. 85

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BRETT WESTON 1911-1993 Holland Canal, 1971 Gelatin silver print, printed later. 19 x 15 1/8 in. (48.3 x 38.4 cm). Signed and dated in pencil on the mount.

Estimate $10,000-15,000 LITERATURE Aperture Foundation, Brett Weston: Photographs from Five Decades,

pl. 44

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HARRY CALLAHAN 1912-1999 New Hampshire, 1961 Gelatin silver print. 4 3/4 x 8 1/2 in. (12.1 x 21.6 cm). Signed in pencil in the margin; titled and dated in pencil on the verso.

Estimate $10,000-15,000 PROVENANCE Private Collection, California

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HARRY CALLAHAN 1912-1999 Untitled, 1965 Gelatin silver print, printed before 1973. 7 1/4 x 7 1/4 in. (18.4 x 18.4 cm).

Signed in pencil in the margin.

Estimate $3,000-5,000 PROVENANCE Light Gallery, New York

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HARRY CALLAHAN 1912-1999 Eleanor and Barbara, 1953 Gelatin silver print, printed 1970s. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Signed in stylus in the margin.

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Estimate $4,000-6,000 PROVENANCE From the artist; to the present Private Collection

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HARRY CALLAHAN 1912-1999 Untitled, 1965

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HARRY CALLAHAN 1912-1999 Horseneck Beach, Mass., 1973

Gelatin silver print, printed before 1973. 7 1/4 x 7 1/4 in. (18.4 x 18.4 cm).

Gelatin silver print. 9 1/2 x 9 3/4 in. (24.1 x 24.8 cm). Signed in pencil in the

Signed in pencil in the margin.

margin; titled and dated in an unidentified hand in pencil on the verso.

Estimate $3,000-5,000

Estimate $3,000-5,000

PROVENANCE Light Gallery, New York

PROVENANCE From the artist; to the present Private Collection LITERATURE Callaway Editions, Water’s Edge, pl. 11

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WILLIAM KLEIN b. 1928 Pachinko doorman, Tokyo, 1961 Gelatin silver print, printed 1980s. 11 3/4 x 17 7/8 in. (29.8 x 45.4 cm). Signed, titled and dated in pencil on the verso.

Estimate $2,000-3,000

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RUTH ORKIN 1921-1985

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LEON LEVINSTEIN 1913-1988

White Trees, 1974

Couple, Lower East Side, NYC, circa 1970

Color coupler print. 13 1/2 x 9 1/8 in. (34.3 x 23.2 cm). Signed, titled, dated

Gelatin silver print. 13 1/4 x 10 1/8 in. (33.7 x 25.7 cm). Credit stamp on the verso.

and copyright in ink on the verso.

Estimate $2,000-3,000 Estimate $2,000-3,000 PROVENANCE Ruth Orkin Photo Archive, New York

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ALFRED EISENSTAEDT 1898-1995 Children at a Puppet Theatre, Paris, 1963 Gelatin silver print, printed 1990. 13 7/8 x 20 7/8 in. (35.2 x 53 cm). Signed and numbered 32/250 in ink in the margin; titled, dated and copyright Time Warner Inc. in an unidentified hand in pencil on the verso.

Estimate $30,000-40,000 LITERATURE Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-Portrait, p. 105;

Eisenstaedt, Eisenstaedt: Remembrences, pp. 114-115; Hollander, Reflections in a Glass Eye: Works from the International Center of Photography, p. 15; Lacayo & Russell, Eyewitness: 150 Years of Photojournalism, p. 153; Loengard, LIFE Faces, pp. 12-13

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CORNELL CAPA 1918-2008 JFK and Jackie, New York, 1960

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Gelatin silver print, printed later. 11 1/8 x 16 3/4 in. (28.3 x 42.5 cm). Signed, titled

GARRY WINOGRAND 1928-1984 Centennial Ball, 1969 Gelatin silver print. 10 3/4 x 15 in. (27.3 x 38.1 cm). Signed in pencil on the verso.

and dated in ink on a copyright credit label affixed to the verso.

Estimate $2,500-3,500 Estimate $3,000-5,000 PROVENANCE Pace/MacGill Gallery, New York LITERATURE Papageorge, Garry Winogrand: Public Relations, p. 68; Szarkowski,

PROVENANCE Acquired directly from the artist

Winogrand: Figments from the Real World, p. 165

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ELLIOTT ERWITT b. 1928

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USA, 1962 Gelatin silver print, printed later. 11 7/8 x 17 3/4 in. (30.2 x 45.1 cm). Signed in ink in the margin; signed, titled and dated in pencil on the verso.

Estimate $1,500-2,500 PROVANCE From the collection of the artist LITERATURE Phaidon, Elliot Erwitt: Snaps, p. 75

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MORRIS ENGEL 1918-2005 Park Avenue, New York City, 1938 Gelatin silver print, printed later. 12 7/8 x 10 in. (32.7 x 25.4 cm). Signed in ink in the margin; signed, titled and dated in pencil on the verso.

Estimate $1,800-2,200 PROVENANCE Ruth Orkin Photo Archive, New York LITERATURE Engel, Morris Engel: Early Work, p. 16

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BURT GLINN 1925-2008 Andy Warhol with Edie Sedgwick and Chuck Wein, New York, 1965 Gelatin silver print, printed later. 22 3/8 x 15 in. (56.8 x 38.1 cm). Signed in pencil on the verso.

Estimate $5,000-7,000 PROVENANCE Acquired directly from the artist

Please note that prints in this size are extremely rare

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RICHARD AVEDON 1924-2004

LITERATURE Avedon and Brodkey, Avedon Photographs, 1847-1977, pl. 159 and

Dovima wtih Elephants, Evening dress by Dior, Cirque de hiver, Paris, 1955

back cover; Bailey and Harrison, Shots of Style: Great Fashion Photographs, cat.

Gelatin silver print, printed 1979. 9 7/8 x 7 3/4 in. (25.1 x 19.7 cm). Signed,

no. 7; Fraenkel Gallery, Richard Avedon: Made in France, n.p.; Hall-Duncan, The

numbered 2/100 in pencil, copyright credit reproduction limitation, edition,

History of Fashion Photography, p. 137; Harper’s Bazaar, American Edition,

title and date stamps on the verso.

September 1955, p. 215; Harrison, Appearances: Fashion Photography since 1945, p. 73; Shanahan, Evidence, 1944-1994: Richard Avedon, p. 53; Mazzola, 125 Great

Estimate $25,000-35,000

Moments of Harper’s Bazaar, pl. 3

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GUY BOURDIN 1928-1991 Model with Camel, 1950s Gelatin silver print. 12 x 9 1/2 in. (30.5 x 24.1 cm). Signed in ink by Samuel Bourdin and Guy Bourdin Estate stamp on the reverse of the mount.

Estimate $10,000-15,000 LITERATURE Bulfinch, Exhibit A: Guy Bourdin, pl. 77

Only two prints of this image are known to exist.

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HELENA ALMEIDA b. 1934 Sente-me (Feel Me), 1977 Gelatin silver tetraptych with drawing and horsehair. Each 15 1/2 x 19 1/8 in.

(39.4 x 48.6 cm). One signed and dated in ink on the recto; each sequentially numbered 1-4, three annotated ‘No. 40’ in ink and each with copyright credit stamps on the reverse of the flush-mount.

Estimate $18,000-22,000

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HELENA ALMEIDA b. 1934 Dessin HabitĂŠ (Inhabited Drawing), 1977 Gelatin silver print with drawing and horsehair. 13 x 19 1/8 in. (33 x 48.6 cm).

Signed and dated in ink on the recto; signed, titled, dated and numbered 1/3 in ink on the reverse of the flush-mount.

Estimate $10,000-15,000

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AARON SISKIND 1903-1991 Selected Images, 1939-1988 Seven gelatin silver prints, six printed later. Varying sizes from 10 3/4 x 18 in.

(27.3 x 45.7 cm) to 13 1/2 x 16 in. (34.3 x 40.6 cm) or the reverse. Each signed in pencil on the verso; four titled and dated in pencil on the verso.

Estimate $7,000-9,000 LITERATURE Phaidon, Aaron Siskind, p. 55 for a variant

Titles include: SW2, 1943; VII4, 1980; Westport 87, 1988; M.V.4, 1950; M.V., 1939; Cusco, 1975; Untitled, 1947

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FRANK GOHLKE b. 1942 Selected Images, 1975-1983 Seven gelatin silver prints, printed later. Varying sizes from 5 7/8 x 18 in.

(14.9 x 45.7 cm) to 14 x 18 in. (35.6 x 45.7 cm) or the reverse. Each signed in pencil on the verso; variously titled, dated and numbered of 30 in ink or pencil in the margin or on the verso. Each from an edition of 30.

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Estimate $7,000-9,000

Titles include: Tarnowski Building- Duluth, Minnesota, 1977; Aerial view: Cows, tracks, furrows- vicinity of Tulsa, Oklahoma, 1981; Hazenear Lebec, California, 1979; Landscape near Stillwater, Minnesota, 1975; Aerial view: Blowdown and new growth near Norway Pass, 9 miles NE of Mt. St. Helen’s, Washington, 1983; Heat and shade- 3200 block of Milby Avenue, Wichita Falls, Texas, 1980; Looking west across landslide- debris flow directly in front of Mt. St. Helen’s crater- from ridge approximately 3.5 miles NE of center, 1981

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FRANK GOHLKE b. 1942 Differential pumice deposits in Clearwater Creed Valley, grapes growing through pumice, 9.5 miles NE of Mt. St. Helens, Wash., 1981; Midway Area from Kasota Ave.—Minneapolis, Minn., 1977; and Roadside park—Oak Hill, Texas, 1978 Three gelatin silver prints. (i) 14 1/4 x 17 5/8 in. (36.2 x 44.8 cm) (ii) 13 7/8 x 13 7/8 in.

(35.2 x 35.2 cm) (iii) 14 1/4 x 17 5/8 in. (36.2 x 44.8 cm). Each signed, variously signed, titled and dated in ink or pencil in the margin or on the verso. Each from an edition of 30.

Estimate $4,000-6,000

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ROBERT ADAMS b. 1937 On Signal Hill, overlooking Long Beach, California, 1983 Gelatin silver print, printed 1998. 11 1/4 x 9 in. (28.6 x 22.9 cm). Signed, titled and dated ‘1998’ in pencil on the verso.

Estimate $5,000-7,000

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ROBERT ADAMS b. 1937 Curtis Street, Denver, 1968-1971 Gelatin silver print, printed 1974. 6 x 5 5/8 in. (15.2 x 14.3 cm). Signed, titled, dated in pencil and copyright credit stamp on mat board affixed to the reverse of the frame.

Estimate $4,000-6,000 LITERATURE Aperture Foundation, The New West: Landscapes Along the Colorado

Front Range, p. 79

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MANUEL ÁLVAREZ BRAVO 1902-2002

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ENRIQUE METINIDES b. 1934

Ventana a los magueyes (window to the agaves), Mexico, 1974

Untitled (Intento suicida desde el Torea, Ciudad de Mexico), 1971

Gelatin silver print. 6 3/4 x 9 in. (17.1 x 22.9 cm). Signed and annotated ‘Mexico’

Four gelatin silver prints, printed later. Each 13 3/4 x 20 1/2 in. (34.9 x 52.1 cm).

in pencil on the verso.

Each signed in ink on the verso. Each number 4 from an edition of 15.

Estimate $3,000-5,000

Estimate $7,000-9,000

LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 92

PROVENANCE Anton Kern Gallery, New York

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SEBASTIÄO SALGADO b. 1944 Churchgate Station, Bombay, India, 1995 Gelatin silver print. 21 3/8 x 31 1/2 in. (54.3 x 80 cm). Signed, titled ‘India’ and dated in pencil on the verso.

Estimate $8,000-12,000 PROVENANCE Yancey Richardson Gallery, New York

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STEPHEN SHORE b. 1947

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Church Street and Second Street, Easton, Pennsylvania, June 20, 1974

STEPHEN SHORE b. 1947 Untitled, 1976

Color coupler print. 14 3/8 x 18 1/8 in. (36.5 x 46 cm). Signed, titled and dated

Color coupler print. 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm). Signed and numbered 18/50

in ink on the verso.

in ink on the verso.

Estimate $4,000-6,000

Estimate $2,500-3,500

LITERATURE Aperture, Stephen Shore: Uncommon Places, The Complete Works, p. 45

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STEPHEN SHORE b. 1947 Victoria Avenue and Alberta Street, Regina, Saskatchewan, August 17, 1974 Fujicolor Crystal Archive print, printed later. 6 3/4 x 8 5/8 in. (17.1 x 21.9 cm).

Signed and numbered 20/50 in ink on the verso.

Estimate $2,000-3,000 LITERATURE Aperture, Stephen Shore: Uncommon Places, The Complete Works, p. 76

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WILLIAM EGGLESTON b. 1939 Candelabra, Mississippi, 1970s Dye transfer print. 12 x 17 5/8 in. (30.5 x 44.8 cm). Signed in pencil on the verso.

Estimate $3,000-5,000 LITERATURE Christie’s, New York, 25 April 1989, Lot 629

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WILLIAM EGGLESTON b. 1939 Untitled, circa 1970 Dye transfer print from Dust Bells Volume I, printed 2004. 12 x 17 7/8 in.

(30.5 x 45.4 cm). Signed in ink in the margin; dated, numbered 2/15 in an unidentified hand in ink, copyright credit reproduction limitation and edition stamps on the verso.

Estimate $15,000-20,000 PROVENANCE From the collection of the artist

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LEE FRIEDLANDER b. 1943 Peter Exline, Spokane, Washington, 1970 Gelatin silver print. 7 1/2 x 11 1/4 in. (19.1 x 28.6 cm). Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $3,000-5,000 LITERATURE Galassi, Friedlander, pp. 21-24

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YOUSUF KARSH 1908-2002

fact, to return. Refusing to perform in any country that recognized

Pablo Casals, 1954

Spain, he made one exception in 1961, performing for President and

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; titled in pencil and credit stamp on the reverse of the mount.

Mrs. John F. Kennedy and their guests at a State dinner for Governor Luis Muñoz Marin of Puerto Rico at the White House. Although he

Estimate $7,000-9,000 PROVENANCE Acquired from the artist’s studio

admired President Kennedy, he declined to stay for the dinner as to not give the impression of compromising his stand against the Fascist regime. This iconic portrait by Karsh was taken in 1954 at

The Spanish Catalan cellist Pablo Casals (1876-1973) was one of the world’s greatest and best known musicians and human rights activists of the 20th century. In 1899, he played for Queen Victoria at London’s Crystal Palace and, in 1904, he played at the White House for President Theodore Roosevelt. A vocal supporter of the Spanish Republic, Casals went into exile after Generalissimo Francisco Franco took over the country in 1939. Casals was never, in

the Abbey de St. Michel de Cuxa in the French Midi-Pyrenees is where Casals founded a music festival that continues to this day.

“I have never photographed anyone, before or since, with his back turned to the camera, but it seemed to me just right…the bare room conveys the loneliness of the artist, at the pinnacle of his art and also the loneliness of exile,” Karsh later commented.

´

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LEE FRIEDLANDER b. 1943 Jazz and Blues Portfolio New York: produced for Q.E.D. Editions, 1983. Seven dye transfer prints. Varying sizes from 11 x 10 7/8 in. (27.9 x 27.6 cm) to 14 1/4 x 9 3/8 in. (36.2 x 23.8 cm). Each signed and one dated by the artist, each titled, numbered AP1 in pencil in an unidentified hand and six with copyright credit date stamps on the verso.

Numbered AP1 in ink on the colophon. One from a limited edition of 50 plus 7 artist’s proofs. 25 sets are represented as the portfolio Jazz and Blues. Contained in a linen folio case.

Estimate $40,000-60,000 LITERATURE Galassi, Friedlander, pp. 21-24

Sitters are Aretha Franklin, Ray Charles, Robert Pete Williams, Joe Turner, John Coltrane, Miles Davis and Milt Jackson.

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DIANE ARBUS 1923-1971 Mexican dwarf in his hotel room, N.Y.C., 1970 Gelatin silver print, printed 1974 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 49/50

by Doon Arbus, Executor, in ink, copyright credit, reproduction limitation and edition stamps on the verso.

Estimate $25,000-35,000 LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

Revelations, p. 66; Aperture, Diane Arbus, n.p.

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DIANE ARBUS 1923-1971

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DIANE ARBUS 1923-1971

Two Ladies at the Automat, N.Y.C., 1966

Blonde girl with shiny lipstick, N.Y.C., 1967

Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 1/2 in. (36.8 x 36.8 cm).

Gelatin silver print, printed later by Neil Selkirk. 14 1/8 x 14 3/8 in. (35.9 x 36.5 cm).

Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 67/75

Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 26/75

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

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

stamps on the verso.

stamps on the verso.

Estimate $15,000-20,000

Estimate $10,000-15,000

LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

PROVENANCE Robert Miller Gallery, New York

Revelations, p. 94

LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

Revelations, p. 77; Aperture, Diane Arbus, n.p.

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DIANE ARBUS 1923-1971 Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967 Gelatin silver print, printed 1974 by Neil Selkirk. 14 5/8 x 14 3/8 in. (37.1 x 36.5 cm).

Stamped ‘A Diane Arbus photograph,’ signed, titled, dated, numbered 49/50

by Doon Arbus, Executor, in ink, copyright credit, reproduction limitation and edition stamps on the verso.

Estimate $25,000-35,000 LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

Revelations, p. 87; Aperture, Diane Arbus, n.p.

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LARRY CLARK b. 1943 Tulsa Portfolio New York: RFG Publishing, Inc., 1980. Fifty gelatin silver prints. Each approximately 8 x 11 7/8 in. (20.3 x 30.2 cm) or the reverse. Each signed and numbered sequentially 1-50 in pencil on the verso. Numbered 41 in ink on the colophon.

One from an edition of 100 numbered copies plus 15 artist’s proofs. Contained in a linen slipcase.

Estimate $40,000-60,000 PROVENANCE From Robert Freidus; to the present Private Collection, California LITERATURE Clark, Tulsa, pp. 1-56

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PROPERTY OF A PRIVATE COLLECTOR, NEW YORK

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LARRY CLARK b. 1943 Selected Images from Teenage Lust, 1983 Six gelatin silver prints. Each approximately 8 x 12 in. (20.3 x 30.5 cm) or the reverse. Each signed and numbered 8/100 in pencil on the verso; one titled in pencil on the verso.

Estimate $10,000-15,000 LITERATURE Clark, Teenage Lust, cover & n.p.

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HELMUT NEWTON 1920-2004 Gunilla Bergstrรถm, Paris, 1976 Gelatin silver print from Private Property Suite III, printed 1984. 14 1/4 x 9 1/2 in.

(36.2 x 24.1 cm). Signed in pencil, numbered 3 in ink and portfolio copyright credit stamp on the verso. Number 3 from an edition of 75.

Estimate $5,000-7,000 LITERATURE Heiting, Helmut Newton: Work, p. 123

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HELMUT NEWTON 1920-2004 Roselyn behind fence, Arcangues, France, 1975 Gelatin silver print, printed later. 14 1/4 x 9 1/2 in. (36.2 x 24.1 cm). Signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $4,000-6,000

59

RUTH BERNHARD 1905-2006 Skull and Rosary, 1945 Gelatin silver print, printed later. 13 1/2 x 9 3/4 in. (34.3 x 24.8 cm). Signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $4,000-6,000 PROVENANCE G. Gibson Gallery, Seattle

60

60

RUTH BERNHARD 1905-2006

61

RUTH BERNHARD 1905-2006

In the Box- Horizontal, 1962

At the Pool, 1951; Perspective #1, 1967; and Draped Torso, 1962

Gelatin silver print, printed later. 7 5/8 x 13 1/2 in. (19.4 x 34.3 cm). Signed in

Three gelatin silver prints, from The Eternal Body Portfolio, printed 1976.

pencil on the mount; signed, titled, dated, inscribed in pencil and copyright

(i) 9 3/4 x 6 7/8 in. (24.8 x 17.5 cm) (ii) 7 5/8 x 9 3/4 in. (19.4 x 24.8 cm)

credit stamp on the reverse of the mount.

(iii) 9 5/8 x 6 1/4 in. (24.4 x 15.9 cm). Each signed and numbered 7/15 in pencil on the mount.

Estimate $15,000-20,000 Estimate $12,000-18,000 LITERATURE Mitchell, Ruth Bernhard: The Eternal Body: A Collection of Fifty

Nudes, cover & pl. 19; Mitchell, Ruth Bernhard: Between Art and Life, p. 104

61

62

PETER BEARD b. 1938 Darajana Roping from the Hunting Blocks 28 + 29, 1964-1965 Gelatin silver print with ink, blood and affixed reptile skin, printed later.

32 1/4 x 45 1/2 in. (81.9 x 115.6 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto; The Time is Always Now copyright credit on a label affixed to the reverse of the frame.

Estimate $20,000-30,000

63

64

63

PETER BEARD b. 1938 Magritte Rammé in the basement of the Natural History Museum, London, 1976 Gelatin silver diptych, printed later. Each 22 1/2 x 15 1/2 in. (57.2 x 39.4 cm); 22 1/2 x 33 3/4 in. (57.2 x 85.7 cm) overall. Signed, titled, dated and extensively annotated in paint on the recto; The Time is Always Now copyright credit and Centre National de la Photographie, Paris stamps on the reverse of the frame.

Estimate $10,000-15,000 PROVENANCE The Time is Always Now Gallery, New York

65

64

PETER BEARD b. 1938 Ferguson’s Gulf, Lake Rudolf, 1966 Gelatin silver print, mounted, printed later. 8 1/8 x 12 1/4 in. (20.6 x 31.1 cm).

Signed, titled and dated in ink on the recto.

Estimate $5,000-7,000 LITERATURE Bowermaster, The Adventures and Misadventures of Peter Beard in

Africa, p. 43

65

PETER BEARD b. 1938 MRI—IRM, 1996 Iris print with margin painting by Mwangi and Kivoi. 34 1/8 x 25 1/4 in. (86.7 x 64.1 cm). Signed, titled, dated and extensively annotated in ink and paint on the recto; signed, dated ‘1998’ and annotated in pencil in the margin; The Time is Always Now copyright credit on a label affixed to the reverse of the frame.

Number 18 from an edition of 25.

Estimate $8,000-12,000

67

66

66

HERB RITTS 1952-2002 Cordula, Hollywood, 1989

HERB RITTS 1952-2002 Lara, Puerto Vallarta, 1984

Gold toned gelatin silver print. 19 3/8 x 15 1/2 in. (49.2 x 39.4 cm). Signed, titled,

Gelatin silver print. 18 7/8 x 15 1/4 in. (47.9 x 38.7 cm). Copyright credit blindstamp

dated, numbered 8/25 and inscribed in ink on the verso.

in the margin; signed, titled, dated and numbered 23/25 in pencil on the verso.

Estimate $7,000-9,000

Estimate $8,000-12,000

PROVENANCE Fahey/Klein Gallery, Los Angeles

PROVENANCE Fahey/Klein Gallery, Los Angeles

Only 11 prints from the proposed edition of 25 plus 3 artist’s proofs were realized.

68

68

67

GUY BOURDIN 1928-1991 Charles Jourdan, Spring, 1979 Fujiflex Crystal Archive print, printed later. 12 7/8 x 19 3/8 in. (32.7 x 49.2 cm).

Signed, numbered 11/18 in ink by Samuel Bourdin and Guy Bourdin Estate stamp on a label affixed to the reverse of the flush-mount.

Estimate $8,000-12,000 LITERATURE Bulfinch, Exhibit A: Guy Bourdin, pl. 57

69

TIMOTHY GREENFIELD-SANDERS b. 1952 Jenna Jameson (Clothed/Nude), 2003 Color coupler diptych. Each 52 1/4 x 42 3/4 in. (132.7 x 106 cm). Each signed, titled, dated, numbered AP1 and annotated ‘A’ and ‘B’ respectively in pencil in the margin. One from an edition of 3 with artist’s proof.

Estimate $30,000-40,000 PROVENANCE Berman/Turner Projects, Santa Monica; to the present

Private Collection LITERATURE Greenfield-Sanders & Vidal, XXX: 30 Porn Star Portraits,

cover & pp. 36-37

PROPERTY FROM THE COLLECTION OF DIANNE BENSON

70

CINDY SHERMAN b. 1954 Untitled #122, 1983 Color coupler print. 35 1/4 x 21 3/8 in. (89.5 x 54.3 cm). Signed, dated and numbered 11/18 in pencil on the verso.

Estimate $80,000-100,000 PROVENANCE Metro Pictures, New York LITERATURE Felix and Schwander, Cindy Sherman: Photographic Work 1975-1995,

pl. 53; Interview Magazine, 1983; Pantheon, Cindy Sherman, pl. 81; Rizzoli, Cindy Sherman 1975-1993, p. 114; Thames and Hudson, Cindy Sherman Retrospective, pl. 90

In 1983, fashion designer and retailer Dianne Benson commissioned

As indicated in her notes reproduced below, (fig. 1), Sherman’s goal

Cindy Sherman to create a series of advertisements for her store,

for this project was to create a series of images that, while using the

Dianne B., that appeared in several issues of Interview magazine.

means of fashion photography, stand in total contrast to it. Playing

Untitled #122 features a gender blending Jean-Paul Gaultier design

against the stereotypes of idealized beauty, unattainable perfection

from his Spring 1982 collection.

and excessive self-confidence that had become and continue to be

At the time, Sherman was best known for her iconic body of work,

Sherman as little more than a body on which to drape the designer

Untitled Film Stills 1977-1980, a group of sixty-nine black and white

clothing. If the job of the model is to sell the clothing and, by

photographs depicting the photographer in a range of roles that

extension, an image of herself, Sherman fails miserably as such.

typical of fashion photography, these images lack glamour and cast

explored femininity in the post-war era. But by the early 1980s,

As evident in Untitled #122, there is a disjuncture between the

Sherman began to take her work in a different direction. Still

clothes and the model that makes the image unsettling and far

interested in representations of women in contemporary culture, her

from convincing as a fashion photograph. But, of course, this was

new work, the 1981 series Centerfolds, was characterized by large,

Sherman’s exact intention. In one of her comments below, she

color images that looked to men’s magazines, rather than film, for

writes “ugly girls playing dress-up w/ ‘Mom’s’ clothing” which is the

their visual vocabulary. In these nearly life-size photographs,

impression one gets when looking at this work. The clothing appears

Sherman is cast as the manifestation of masculine desire be it as

matronly, not because of its design but rather because of Sherman’s

the seductress or the innocent victim waiting to be rescued. After

slouched pose and awkward body language; her clenched fists and

appropriating the imagery of these men’s magazines, it seems a

facial expression are reminiscent of a child being forced to wear

natural progression for Sherman to then shift her focus towards the

something against her will. Sherman has here peeled back the

representation of women in women’s magazines via the premise of

glossy veneer of fashion photography to reveal the contradictions of

fashion photography. In this regard, it appears that Benson’s

an industry that simultaneously ‘celebrates beauty while making

commission in 1983 was serendipitous.

women prisoners of it.’ (Sherman, Art in America, June 1997).

Figure 1: Thames & Hudson, Cindy Sherman Retrospective, pp. 118 –119

72

71

71

HERB RITTS 1952-2002

72

Cindy Crawford, Costa Careyes, 1998

HERB RITTS 1952-2002 Naomi Campbell, Face in Hand, Hollywood, 1990

Gelatin silver print. 13 7/8 x 18 3/4 in. (35.2 x 47.6 cm). Signed, titled, dated,

Gelatin silver print. 18 1/4 x 14 1/4 in. (46.4 x 36.2 cm). Blindstamp credit in the

numbered 21/25 by Mark McKenna, Chairman, Herb Ritts Foundation, in pencil

margin; signed, titled, dated and numbered 15/25 in pencil on the verso.

and copyright credit stamp on the reverse of the flush-mount.

Estimate $5,000-7,000 Estimate $8,000-12,000 Literature Bulfinch Press, Notorious: Herb Ritts, n.p.

Literature Thames & Hudson, Herb Ritts, n.p.

73

73

74

HERB RITTS 1952-2002

74

ROBERT MAPPLETHORPE 1946-1989

Stephanie with Barbeque, El Mirage, 1991

Lily, 1988

Toned gelatin silver print. 22 1/2 x 18 3/4 in. (57.2 x 47.6 cm). Blindstamp credit in

Photogravure from Photogravure Still Life Portfolio. 19 x 19 in. (48.3 x 48.3 cm).

the margin; signed, titled, dated and numbered 10/25 in pencil on the verso.

Signed, dated and numbered 11/25 in pencil in the margin.

Estimate $5,000-7,000

Estimate $3,000-5,000

Provenance Allene Lapides Gallery, Sante Fe

Literature Holborn and Levas, Mapplethorpe Pistils, folio cover and p. 155

Literature Bulfinch, Herb Ritts Work, n.p.

Only 9 prints from the proposed edition of 25 plus 3 artist’s proofs were realized. These prints number 5 through 13.

76 75

75

BRUCE WEBER b. 1946

77

Zor and Zor’s Back, 1982 Gelatin silver diptych. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Each signed, titled, dated, annotated ‘Honolulu’ and inscribed in pencil on the verso.

Estimate $800-1,200

76

BRUCE WEBER b. 1946 Matt, Marine from Mideast, 1983 Gelatin silver print. 13 1/2 x 10 3/8 in. (34.3 x 26.4 cm). Signed, titled, dated, numbered 1/15, annotated ‘Honolu’ and inscribed in pencil on the verso.

Estimate $600-800

77

ROBERT MAPPLETHORPE 1946-1989 Marcus Leatherdale, 1978 Gelatin silver print. 14 x 13 7/8 in. (35.6 x 35.2 cm). Signed, dated and numbered 3/10 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount.

Estimate $7,000-9,000

78

78

JOHN COPLANS 1920-2003 Self Portrait (Feet, 8 Panels, No. 1), 1989 Eight gelatin silver prints. Each 8 1/2 x 6 5/8 in. (21.6 x 16.8 cm); 17 1/2 x 27 3/4 in.

(44.5 x 70.5 cm) overall. Signed and dated in pencil on the mount; titled, dated and numbered AP in pencil on the reverse of the mount.

Estimate $3,000-5,000 Provenance Acquired directly from the artist

79

80

79

CINDY SHERMAN b. 1954 Lucille Ball, 1975

80

RICHARD AVEDON 1924-2004 Groucho Marx, comedian, Beverly Hills, April 9, 1972

Fujicolor Crystal Archive print, printed 2001. 10 x 8 in. (25.4 x 20.3 cm). Signed

Gelatin silver print. 16 3/8 x 15 5/8 in. (41.6 x 39.7 cm). Signed, numbered 11/50

and dated in ink on the verso.

in ink, copyright credit reproduction limitation, edition, title and date stamps on the verso.

Estimate $3,000-5,000 Estimate $7,000-9,000 Provenance Gagosian, LA Literature Abrams, Richard Avedon Portraits, n.p.

81

81

DUANE MICHALS b. 1932

82

The Most Beautiful Part of A Man’s Body, 1986 Gelatin silver print with ink. 10 1/2 x 13 1/2 in. (26.7 x 34.3 cm). Signed, titled, numbered 20/25 and annotated in ink in the margin.

Estimate $4,000-6,000 Provenance Hamilton’s Gallery, London Literature Bulfinch, The Essential Duane Michals, p. 156

82

FLIP SCHULKE 1930-2008 Muhammad Ali boxing underwater, 1961 Gelatin silver print, printed later. 19 7/8 x 13 1/4 in. (50.5 x 33.7 cm). Signed and annotated ‘this print was made from the original 35mm negative under my supervision’ in pencil on the verso.

Estimate $4,000-6,000 Provenance Acquired directly from the artist Literature Schulke & Schudel, Muhammad Ali: The Birth of a Legend, cover

83

∆ 83

ROBERT MAPPLETHORPE 1946-1989 Laurie Anderson, 1987 Gelatin silver print. 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm). Signed by Michael Ward Stout, Executor, Estate of Robert Mapplethorpe, in ink and copyright credit reproduction limitation stamp on the reverse of the mount. Number 2 from an edition of 10.

Estimate $1,200-1,800 Literature Kardon, Robert Mapplethorpe: The Perfect Moment, p. 13

84

84

FELIX GONZALEZ-TORRES 1957-1996 Untitled, 1994 Color coupler print. 4 x 6 in. (10.2 x 15.2 cm). Signed, dated and numbered AP 2/5 in ink on the verso. One from an edition of 25 plus artist’s proofs.

Estimate $3,000-5,000 Literature D. Elger, Felix Gonzalez-Torres, Catalogue RaisonnĂŠ, p. 130

85

85

VARIOUS PHOTOGRAPHERS Printed Matter Portfolio II: Landscapes New York: Printed Matter, Inc., 1996-1998. Four color coupler prints, three dye destruction prints, one Fujicolor Crystal Archive print, one gelatin silver print and one gelatin silver film negative. Varying sizes from 3 1/2 x 5 in. (8.9 x 12.7 cm) to 19 x 23 in. (48.3 x 58.4 cm) or the reverse. Nine prints signed, variously titled, dated and numbered 2/25 in pencil or ink in the margin or on the verso.

Estimate $15,000-25,000

Photographers include Cady Noland, Roni Horn, Rodney Graham, Gregory Crewdson, Stan Douglas, Barbara Ess, Dan Graham, Gabriel Orozco, Beverly Semmes and Christopher Williams.

87

86

∆ 86

ANDRES SERRANO

87

b. 1950

JOHN J. PRIOLA b. 1960

Klansmen, Knighthawk of Georgia V, 1990

Dish, 1995

Dye destruction print. 30 x 24 in. (76.2 x 61 cm). Signed and numbered 2/50

Gelatin silver print. 16 5/8 x 13 5/8 in. (42.2 x 34.6 cm). Signed in pencil

in pencil on the verso.

and copyright credit stamp on the verso. Number 9 from an edition of 9.

Estimate $2,000-3,000

Estimate $2,000-3,000 Provenance From the Collection of the Artist

88

88

JOHN DIVOLA b. 1949 N34° 14.246’ W116° 09.877’ from Isolated Houses, 1995 Color coupler print. 19 x 19 in. (48.3 x 48.3 cm). Signed, dated and copyright in ink on the verso. One from an edition of 8 plus artist’s proofs.

Estimate $2,000-3,000 Provenance From the Collection of Artist

89

89

RACHEL HARRISON b. 1966 Orlando Shuttle, 1995 Color coupler diptych. Each 4 x 12 1/2 in. (10.2 x 31.8 cm) overall. These prints are unique.

Estimate $5,000-7,000 Provenance White Columns Annual Benefit and Charity Auction, 16 March 1996

90

90

JAMES WELLING b. 1951 Two Tile Photographs, 1985 Gelatin silver diptych, mounted. Each 9 7/8 x 8 in. (25.1 x 20.3 cm). Signed, titled and dated in ink on the reverse of the frame.

Estimate $4,000-6,000

91

92

91

JACK PIERSON b. 1960 Hollywood, Florida, 1999 Unique digital pigment print collage. 19 3/4 x 19 1/8 in. (50.2 x 48.6 cm). Signed, titled and dated in ink on the verso.

Estimate $4,000-6,000 Provenance Cheim & Read Gallery, New York; Phillips de Pury & Company,

14 November 2000, lot 104

92

UTA BARTH b. 1958 Untitled #16, 1991-1992 Color coupler print. 10 x 10 1/8 in. (25.4 x 25.7 cm). Signed, titled, dated, annotated AP, inscribed and copyright in ink on the verso.

Estimate $3,000-5,000 Provenance Directly from the artist

This print is unique in this size.

93

JACK PIERSON b. 1960 Untitled, 1999 Unique digital pigment print collage. 13 7/8 x 11 in. (35.2 x 27.9 cm). Signed and dated in ink on the verso.

Estimate $3,000-5,000

93

94

HIROSHI SUGIMOTO b. 1948 Metropolitan Orpheum, Los Angeles, 1993 Gelatin silver print. 16 5/8 x 21 3/8 in. (42.2 x 54.3 cm). Blindstamp title and number 5/25 247 in the margin; signed in pencil on the mount.

Estimate $20,000-30,000

95

96

95

HIROSHI SUGIMOTO b. 1948 Hall of Thirty-Three Bays, 1995

96

HIROSHI SUGIMOTO b. 1948 Vermont Drive-In, South Bay, 1993

Gelatin silver print. 16 3/4 x 21 3/8 in. (42.5 x 54.3 cm). Blindstamp number 6/25 032

Gelatin silver print. 16 5/8 x 21 3/8 in. (42.2 x 54.3 cm). Blindstamp title, date and

in the margin; signed in pencil on the mount.

number 1/25 706 in the margin; signed in pencil on the mount.

Estimate $10,000-15,000

Estimate $18,000-22,000

Literature Hambourg, Sugimoto, p. 53

97

98

97

NAN GOLDIN b. 1953 Ulrika, Stockholm, 1984 Dye destruction print, printed 1998. 26 3/4 x 39 1/4 in. (67.9 x 99.7 cm). Signed, titled, dated ‘1998’ and numbered AP3 in ink on the reverse of the mount. One from an edition of 25 with artist’s proofs.

Estimate $4,000-6,000

99

98

NAN GOLDIN b. 1953 Taboo (Stephen) + Misty (Scott) on the street, NYC, 1991 Dye destruction print. 15 3/8 x 23 5/8 in. (39.1 x 60 cm). Signed, titled, dated and numbered 1/25 in ink on the verso.

Estimate $3,000-5,000

99

WOLFGANG TILLMANS b. 1968 Kasper König’s Bookshelf, 1995 Color coupler print. 12 x 16 in. (30.5 x 40.6 cm) overall. Signed, titled, dated, numbered and annotated ‘Wolfgang Tillmans, Kasper König’s Bookshelf, ph 8/95, 4/10 +1, prWT 11/95’ in ink on the verso. Number 4 from an edition of 10 plus 1 artist’s proof.

Estimate $3,000-5,000 Provenance Private Collection, Dussledorf; Sotheby’s, London, 28 June 2001, lot 106 Literature Kunstmuseum, Wolfgang Tillmans: Form When I’m Weak I’m Strong,

p. 105

100

100

WOLFGANG TILLMANS b. 1968 Adam, 1991; and Suzanne, Eyes, 1993 Two color coupler prints. Each 16 x 12 in. (40.6 x 30.5 cm) overall. Each signed, titled, dated, numbered, annotated ‘Wolfgang Tillmans, Adam, ph Dec. 91, prWT Apr. 94, 9/10 +1’ and ‘Wolfgang Tillmans, Suzanne, eyes, ph Mar. 93, prWT Sep. 93, 3/10 + 1’ respectively, in ink on the verso. Each from an edition of 10 plus 1 artist’s proof.

Estimate $3,000-5,000 Provenance ArsFutura Galerie, Zürich; Sotheby’s, London, 28 June 2001, lot 141

Please note these are two individual works being sold as a group.

101

NICHOLAS NIXON b. 1947 Clementine and Sam, Cambridge, 1990; Clementine and Bebe, Cambridge, 1990; and Clementine, Cambridge, 1989 Three gelatin silver prints. Each approximately 8 x 10 in. (20.3 x 25.4 cm). Each signed, titled, dated, numbered 10/50, 7/50 and 7/50, respectively, in pencil on the verso.

Estimate $4,000-6,000 Provenance Zabriskie Gallery, New York

102

102

SALLY MANN b. 1951 Jessie at 12, 1994 Gelatin silver diptych. 18 1/2 x 22 7/8 in. (47 x 58.1 cm). Each signed, titled, dated, numbered 17/25 and annotated ‘before’ or ‘after’ in pencil on the verso.

Estimate $15,000-20,000 Provenance Edwynn Houk Gallery, New York

103

104

103

SALLY MANN b. 1951

104

SALLY MANN b. 1951

Vinland, 1992

Comforting Virginia, 1991

Gelatin silver print. 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm). Signed, titled, dated and

Gelatin silver print. 19 x 23 1/4 in. (48.3 x 59.1 cm). Signed, titled, dated and

numbered 8/25 in pencil on the verso.

numbered 4/25 in pencil on the verso.

Estimate $8,000-12,000

Estimate $6,000-8,000

Provenance Edwynn Houk Gallery, New York

Provenance Edwynn Houk Gallery, New York

105

105

SALLY MANN b. 1951 Rupture, 1994 Gelatin silver print. 18 3/4 x 22 3/4 in. (47.6 x 57.8 cm). Signed, titled, dated and numbered 5/25 in pencil on the verso.

Estimate $6,000-8,000 Provenance Edwynn Houk Gallery, New York

106

106

SALLY MANN b. 1951 Eyeless in Cal Alto, 1993 Gelatin silver print. 7 3/4 x 9 5/8 in. (19.7 x 24.4 cm). Signed, titled, dated and numbered 4/25 in pencil on the verso.

Estimate $4,000-6,000 Provenance Edwynn Houk Gallery, New York

107

107

SALLY MANN b. 1951 Emmet’s Bloody Nose, 1985 Gelatin silver print. 19 5/8 x 23 5/8 in. (49.8 x 60 cm). Signed, titled, dated and numbered 4/25 in pencil on the verso.

Estimate $7,000-9,000 Literature Aperture, Immediate Family: Sally Mann, n.p.

108

SALLY MANN b. 1951 Untitled, 1996 Gelatin silver enlargement print toned with tea. 47 x 38 in. (119.4 x 96.5 cm).

Signed, dated, numbered 2/10 and copyright in pencil on the verso.

Estimate $12,000-18,000 Provenance Gagosian Gallery, Beverly Hills

109

ANDRES SERRANO b. 1950

effect of racial tension in America. Outside of this context, however,

Klansman (Imperial Wizard), 1990

Klansman fuelled the controversy that has long surrounded

Dye destruction print. 59 1/4 x 49 in. (150.5 x 124.5 cm). Signed, titled and annotated AP in pencil on the reverse of the mount. One from an edition of 4 plus artist’s proofs.

Serrano’s work with viewers and critics, alike, questioning his motivation for photographing such a controversial sect within American culture. Beyond his consistent interest in representing

Estimate $30,000-40,000 Provenance Directly from the artist

marginalized factions of society as well as his fascination with Catholic iconography (the Klan’s robe is clearly emblematic of Catholic ritual), the Klansman series forces viewers to address the

In 1990, Andres Serrano premiered two bodies of work that focused

tension between the social implication of the subject and the

on the notion of the social outcast: Klansman, which depicted

aesthetic appeal of the photograph itself. It is a tension that is never

current members of the Ku Klux Klan and Nomads, which depicted

resolved thus giving the work a timeless relevance; it never

mostly African-American homeless people. Juxtaposed with each

becomes dull because its very presence shifts our internal balance

other, these works became powerful symbols of the cause and

constantly forcing each of us to reconsider our own morality.

110

110

BRIAN MCKEE b. 1977 Uzbekistan #12, 2003 Color coupler print. 49 1/2 x 63 1/2 in. (125.7 x 161.3 cm). Signed, dated, numbered 2/5 in ink and printed title on a label affixed to the reverse of the aluminum flush-mount.

Estimate $5,000-7,000

111

111

CHRISTOPHER WILLIAMS b. 1956 Model: 1964 Renault Dauphine—Four, R-1095, 2000 Gelatin silver print. 10 1/2 x 13 3/8 in. (26.7 x 34 cm). Signed, titled, dated and numbered 9/10 in pencil on the verso.

Estimate $4,000-6,000

112

112

CHRISTO b. 1935 Empaquetage—Galleria Nazionale d’Arte Moderna Roma, Italy (Project for the National Gallery of Modern Art, Rome), 1967 Gelatin silver print. 5 3/4 x 12 in. (14.6 x 30.5 cm). Signed, titled and dated

by Christo and Ugo Mulas, photographer, in pencil on the verso.

Estimate $7,000-9,000

113

114

113

HIROSHI SUGIMOTO b. 1948 AEG Turbine Factory, 2000-2001

114

MATTHEW PILLSBURY b. 1973 Sartaj Grill, Saturday, September 6th, 10:45-11:45 pm, 2003

Gelatin silver print. 18 1/2 x 23 in. (47 x 58.4 cm). Blindstamp number 4/25 947

Gelatin silver print, printed 2004. 31 1/2 x 39 1/4 in. (80 x 99.7 cm). Signed, titled,

in the margin; signed in pencil on the mount.

dated and numbered 6/10 in pencil in the margin.

Estimate $12,000-18,000

Estimate $4,000-6,000

Provenance Sonnabend Gallery, New York

Provenance Bonni Benrubi Gallery, New York

115

GAVIN BOND b. 1970 Backstage: Volume II, 2008 Twelve digital color coupler prints. Each 26 x 22 in. (66 x 55.9 cm) or the reverse.

Each signed in ink on twelve labels accompanying the works. Each number 10 from an edition of 10. Accompanied by a signed Certificate of Authenticity.

Estimate $10,000-15,000

Titles include: Adriana Winking; 3 of a Kind; Fly Away; Allessandra Dancing; Line Up; Derierre; Queen of Hearts; Reflections; Final Touches; Contemplation; Adriana with Boa; Scarlett

116

DAVID DREBIN b. 1970 Movie Star, 2004 Digital color coupler print. 48 x 60 in. (121.9 x 152.4 cm). Signed in ink, printed title, date and number 5/7 on a label accompanying the work.

Estimate $5,000-7,000 Literature Daab Books, David Drebin: Love & Other Stories, cover

117

NOBUYOSHI ARAKI b. 1940 Personal Sentimentalism in Photography, 2000 Gelatin silver print, mounted, printed 2008. 49 x 40 in. (124.5 x 101.6 cm). Signed in pencil on the verso. Accompanied by a signed Certificate of Authenticity.

Estimate $10,000-15,000 Provenance Yoshii Gallery, New York; to the present Private Collection exhibited Nobuyoshi Araki: Kinbaku, Jablonka Galerie, Berlin, 2 May – June 2008 Literature Araki, Personal Sentimentalism in Photography, p. 282; Taschen,

Araki, p. 184

Please note this work is no longer available on the retail market.

118

118

NOBUYOSHI ARAKI b. 1940 67 Shooting Back, 2007 Dye destruction print, mounted. 49 1/2 x 39 3/8 in. (125.7 x 100 cm). Signed in ink on the verso. Accompanied by a signed Certificate of Authenticity.

Estimate $10,000-15,000 Provenance Yoshii Gallery, New York; to the present Private Collection Literature Araki, 6x7 Hangeki, p. 127

Please note this work is no longer available on the retail market.

119

NOBUYOSHI ARAKI b. 1940 Kaori Love, 2007 Unique gelatin silver diptych with acrylic paint. 35 3/4 x 21 3/4 in. (90.8 x 55.2 cm) overall. Signed in ink on the reverse of the aluminum flush-mount. Accompanied by a signed Certificate of Authenticity.

Estimate $9,000-12,000 Provenance Yoshii Gallery, New York; to the present Private Collection Literature Araki, Kaori Love, pp. 8-9

119

120

DAVID LACHAPELLE b. 1964 Amanda as Liz in Orange, New York, 2007 Digital color coupler print, Diasec mounted. 53 x 50 in. (134.6 x 127 cm). Signed in ink, printed title, date and number 3/3 on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $20,000-30,000 Provenance Private Collection, USA

121

DAVID LACHAPELLE b. 1964 Jesus is my homeboy: Last Supper, 2003 Color coupler print. 29 x 39 5/8 in. (73.7 x 100.6 cm). Signed in ink, printed title, date and number AP4 on an artist's label affixed to the reverse of the aluminum flush-mount. One from an edition of 7 plus 4 artist's proofs.

Estimate $20,000-30,000 Literature Taschen, David LaChapelle: Heaven to Hell, pp. 340-341

122

122

VIK MUNIZ b. 1961 Viewing from Chernobyl, Ukraine—Longitude: 30° 15’00” Latitude: 59° 17’00”— 4/26/1986—1:24 PM(LOCAL)—Gaze: AZ: 266° 42.919’ Alt: 90° 0.000’ from Pictures of Air, 2001 Dye destruction print. 62 1/4 x 47 5/8 in. (158.1 x 121 cm). Signed, dated in ink, printed title, date and number 5/10 on a gallery label affixed to the reverse of the frame.

Estimate $10,000-15,000 Literature Celant., Vik Muniz/ Ernesto Neto, n.p.

123

ROBERT PARKEHARRISON b. 1968 Cloud Catcher, 2000 Gelatin silver print with acrylic paint, gels and varnishes, flush-mounted to artist’s wooden frame. 40 1/2 x 54 in. (102.9 x 137.2 cm). Signed, titled, dated and numbered 3/4 in pencil on a label affixed to the reverse of the frame.

Estimate $8,000-12,000 Provenance Bonni Benrubi Gallery, New York

123

124

124

ADI NES b. 1965

125

SHAI KREMER b. 1974

Untitled from the Soliders series, 1995

View of a minefield, abandoned Syrian base, Golan Heights, 2007

Color coupler print. 56 3/4 x 56 3/4 in. (144.1 x 144.1 cm). Number 2 from an edition

Color coupler print. 30 x 40 in. (76.2 x 101.6 cm). Signed in ink, printed title, date

of 3. Accompanied by a signed Certificate of Authenticity.

and annotation ‘AP’ on a gallery label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate $12,000-18,000 Estimate $4,000-6,000 Provenance Dvir Gallery, Tel Aviv Literature Dewi Lewis Publishing, Infected Landscape: Israel, Broken Promised

Land: Photographs by Shai Kremer, p. 109

125

126

ROBERT PARKEHARRISON b. 1968 Skyscrapers, 2000 Gelatin silver print with acrylic paint, gels and varnishes, flush-mounted to artist’s wooden frame. 41 x 53 in. (104.1 x 134.6 cm). Signed, titled, dated and numbered 1/4 in pencil on a label affixed to the reverse of the frame.

Estimate $8,000-12,000 Provenance Bonni Benrubi Gallery, New York

127

128

127

CARRIE MAE WEEMS b. 1953 You Became Mammie, Mama, Mother, Then, Yes, Confidant-Ha / Descending the Throne You Became Foot Soldier & Cook from From Here I Saw What Happened and I Cried, 1995 Two color coupler prints with sandblasted text on glass. Each 23 7/8 x 19 7/8 in.

(60.6 x 50.5 cm). Each signed, dated and numbered 3/10 in pencil on the reverse of the flush-mount.

Estimate $10,000-15,000 Provenance P•P•O•W, New York

128

GAO BROTHERS (ZHEN GAO & QIANG GAO) b. 1956 & 1962 High Place, 2004 Color coupler print. 94 1/2 x 23 3/8 in. (240 x 59.4 cm). Signed, titled, dated and numbered 2/10 in ink in the margin.

Estimate $8,000-12,000 Provenance Acquired directly from the artists

129

129

ANDREW MOORE b. 1957 Gran Treatro, Garcia Lorca, Havana, Cuba, 1998 Fujicolor Crystal Archive print, printed 2007. 31 7/8 x 25 5/8 in. (81 x 65.1 cm).

Signed, titled, dated and numbered AP 1/2 in ink on the reverse of the flushmount. One from an edition of 10 plus 2 artist's proofs.

Estimate $7,000-9,000 Provenance Yancey Richardson Gallery, New York

130

ANDREW MOORE b. 1957 Fishing Village, White Sea, 2002 Color coupler print, printed 2007. 57 1/8 x 44 1/2 in. (145.1 x 113 cm). Signed, titled, dated and numbered 5/5 in ink on the reverse of the mount.

Estimate $8,000-12,000 Provenance Yancey Richardson Gallery, New York

130

131

132

131

CANDIDA HÖFER b. 1944

∆ 132

Bibliothèque Nationale de France, Paris III, 1998

CANDIDA HÖFER

b. 1944

Kunsthaus Bregenz VI, 1999

Color coupler print. 23 x 17 1/2 in. (58.4 x 44.5 cm). Signed in ink, printed title,

Color coupler print. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm). Signed, titled, dated

date and number EDA II on a label affixed to the reverse of the flush-mount.

and numbered 3/6 in ink on the reverse of the flush-mount.

Estimate $8,000-10,000

Estimate $8,000-12,000

Literature Abrams, Photography Transformed, p. 236

Provenance Patrick de Brock Gallery, Knokke

133

133

THOMAS STRUTH b. 1954 Old Main Street in the Evening, Yamaguchi, 1991 Fujicolor Crystal Archive print. 16 x 22 3/4 in. (40.6 x 57.8 cm). Signed, titled in German, dated, numbered 4/10 and annotated in pencil on the verso.

Estimate $8,000-10,000 Provenance Galerie Max Hetzler, Berlin

134

YINKA SHONIBARE b. 1943 Un Ballo in Maschera I (A Masked Ball) (video still), 2004 Giclee print. 20 x 30 in. (50.8 x 76.2 cm). Credit, title and date engraved on a plaque affixed to the artist’s original frame. One from an edition of 10.

Estimate $15,000-20,000

135

136

135

PHILIP-LORCA DICORCIA b. 1951

136

SANTE D’ORAZIO b. 1956

W, September 2000, #2 from Stranger in Paradise, 2000

Pamela Anderson, Hollywood, 2000

Fujicolor Crystal Archive print. 48 x 59 1/2 in. (121.9 x 151.1 cm). Signed in ink

Gelatin silver print. 20 x 16 in. (50.8 x 40.6 cm). Signed, titled, dated, numbered

on the verso. One from an edition of 15.

AP, annotated in pencil and copyright credit reproduction limitation stamp on the verso.

Estimate $18,000-22,000 Estimate $8,000-12,000

This print is unique in this size.

137

137

THOMAS RUFF b. 1958 Substrat 5 II, 2002 Inkjet print, Diasec mounted. 54 1/4 x 134 in. (137.8 x 340.4 cm). Signed, titled, dated and numbered 2/3 in pencil on the reverse of the frame.

Estimate $60,000-80,000 Provenance Gallerie Nelson, Paris

138

RICHARD PRINCE b. 1949 It’s a free concert from now on, 2004 Fujicolor Crystal Archive print. 29 7/8 x 33 3/8 in. (75.9 x 84.8 cm). Signed, dated and numbered 23/66 in ink on the verso.

Estimate $3,000-5,000

Woodstock 1969. I took this picture Friday evening around seven thirty. I had just turned nineteen. It was the only picture I took that weekend. I had gone to Woodstock with only one exposure in my camera. I thought I could buy film in the nearest town. Not knowing what I was getting into, I thought I could get out of it. You know, “come and go.” “Coming” was hard enough (it took six hours to travel the last twenty miles), and “leaving” was impossible. Anyway, realizing I was there to stay, I decided not to save my only exposure but rather get rid of it as fast as I could. So I just stood up, whirled around and (click) took it.

Richard Prince

138

139

MARILYN MINTER b. 1948 Gasp, 2004 Color coupler print. 26 1/8 x 39 3/4 in. (66.4 x 101 cm). Signed in ink, printed title, date and number AP1 on a gallery label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate $8,000-12,000 Provenance Gavlak Projects, West Palm Beach

140

ERWIN OLAF b. 1959 Troy from Grief, 2007 Lamda print. 52 1/2 x 39 in. (133.4 x 99.1 cm). Signed, titled, dated and numbered 2/10 in ink on a label affixed to the reverse of the frame.

Estimate $18,000-22,000 Literature Aperture, Erwin Olaf, 2008, p. 85

141

142

141

ERWIN OLAF b. 1959

142

ERWIN OLAF b. 1959

Royal Blood, Marie Antoinette +1793, 2000

Paradise Portraits, 2001

Color coupler print, Diasec mounted. 29 1/4 x 29 1/4 in. (74.3 x 74.3 cm). Signed,

Eight color coupler prints, Diasec mounted with Paradise Portraits book.

titled, dated and numbered 2/7 in ink on the reverse of the aluminum flush-mount.

Each 7 x 5 1/4 in. (17.8 x 13.3 cm). Each signed, dated and numbered 23/60 in ink on the reverse of the aluminum flush-mount. Contained in a linen

Estimate $8,000-12,000

clamshell case.

Literature Erwin Olaf, Erwin Olaf: Silver, p. 30

Estimate $2,000-3,000 Literature Erwin Olaf, Erwin Olaf: Silver, pp. 178-203

143

144

143

144

NOBUYOSHI ARAKI b. 1940

NOBUYOSHI ARAKI b. 1940

67 Shooting Back, 2007-2008

Taba Niki, 2003

Color coupler print. 29 3/8 x 39 3/8 in. (74.6 x 100 cm). Signed in ink on the reverse

Gelatin silver print. 18 1/2 x 14 7/8 in. (47 x 37.8 cm). Signed in pencil on the verso.

of the flush-mount.

Estimate $3,500-4,500 Estimate $6,000-8,000

145

146

145

ELLEN VON UNWERTH b. 1954

146

KIM JOON

Rosie, Paris, 2005

Tattooress—man, 2005

Color coupler print. 19 x 14 1/4 in. (48.3 x 36.2 cm). Signed, dated, numbered 1/15

Color coupler print. 39 3/8 x 39 3/8 in. (100 x 100 cm). Signed, titled and numbered

and annotated in ink on the verso.

8/8 in ink on an artist's label accompanying the work.

Estimate $1,500-2,500

Estimate $6,000-8,000

Provenance Staley + Wise Gallery, New York

147

147

KIM JOON b. 1966 Birdland—Swarovski, 2008 Color coupler print, Diasec mounted. 35 x 35 in. (88.9 x 88.9 cm). Signed, titled and numbered 8/10 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $6,000-8,000 Provenance From the artist; to the present Private Collection, New York

148

∆ 148 LARRY SULTAN

b. 1946

Chandler Boulevard, 2000 Color coupler print, printed 2002. 37 3/4 x 47 1/2 in. (95.9 x 120.7 cm). Signed in ink, printed title, date, number 4/10 and copyright credit on gallery labels affixed to the reverse of the frame.

Estimate $6,000-8,000 Provenance Galerie Thomas Zander, Köln Literature Scalo, Larry Sultan: The Valley, p. 81

149

149

ALEC SOTH b. 1969 Crystal, Easter, New Orleans, LA, 2004 Color coupler print. 32 1/2 x 41 1/2 in. (82.6 x 105.4 cm). Signed, titled, dated and numbered 2/10 in ink on a label affixed to the reverse of the mount.

Estimate $3,000-5,000

150

RINEKE DIJKSTRA b. 1959 Zilvitis, Lithuania, July 28, 2000 Color coupler print, printed 2004. 54 x 43 in. (137.2 x 109.2 cm). Signed, dated ‘May 17, 2004’ in ink, printed title, date and number 8/10 on a label affixed to the reverse of the frame.

Estimate $15,000-20,000 Provenance Marian Goodman Gallery, New York Literature Stahel and Visser, Rineke Dijkstra: Portaits, pl. 101

151

151

LORETTA LUX b. 1968 Maria 1 and Maria 2, 2001

152

NIKKI S. LEE b. 1970 Young Japanese in East Village Project (6), 1997

Two dye destruction prints. Each 9 x 9 in. (22.9 x 22.9 cm). Each signed, titled,

Fujiflex Crystal Archive print. 15 7/8 x 23 5/8 in. (40.3 x 60 cm). Signed, titled,

dated and numbered 14/20 in pencil on the verso.

dated and numbered 2/5 in pencil on the verso.

Estimate $15,000-20,000

Estimate $2,500-3,500

Provenance Yossi Milo Gallery, New York Literature Aperture, Loretta Lux, pp. 43 & 45

152

153

153

LORETTA LUX b. 1968

154

ESKO MANNIKKO b. 1959

The Irish Girls, 2005

Untitled from Harmony Sisters, 2005

Dye destruction print. 9 x 9 7/8 in. (22.9 x 25.1 cm). Signed, titled, dated and

Color coupler print. 27 5/8 x 41 1/2 in. (70.2 x 105.4 cm). Signed, titled and

numbered 16/20 in pencil on the verso.

numbered 2/20 in ink on the reverse of the artist’s frame.

Estimate $7,000-9,000

Estimate $5,000-7,000

Provenance Yossi Milo Gallery, New York

Provenance Yancey Richardson Gallery, New York

154

155

155

SANDY SKOGLUND b. 1946

156

Radioactive Cats, 1980

WILLIAM WEGMAN b. 1943 Paw Fey, 1992

Dye destruction print. 26 1/8 x 33 in. (66.4 x 83.8 cm). Signed, titled, dated and

Unique Polaroid print. 26 x 21 3/8 in. (66 x 54.3 cm). Signed, titled and dated in ink

numbered III/V in pencil on the verso. One from an edition of 20 plus V artist's

in the margin.

proofs.

Estimate $3,000-5,000 Estimate $12,000-18,000 Provenance Acquired directly from the artist Provenance Acquired directly from the artist Literature Smith College Museum of Art/Harry N. Abrams Inc., Sandy

Skoglund: Reality Under Siege: A Retrospective, p. 10

157

WILLIAM WEGMAN b. 1943 Rangeley, Maine, October, 1981 Dye transfer print. 19 1/2 x 19 in. (49.5 x 48.3 cm). Signed, titled, dated and

156

numbered 73/75 in ink on the recto.

Estimate $2,000-3,000

157

158

PETER BEARD b. 1938 Ele and Kilimanjaro, 1984 Gelatin silver print with ink, paint and affixed objects, printed 2005.

14 1/2 x 19 3/4 in. (36.8 x 50.2 cm). Signed, titled, dated and extensively annotated in ink on the recto; signed in ink and copyright credit reproduction limitation stamp on the verso.

Estimate $20,000-30,000 Provenance Michael Hoppen Gallery, London

159

ELGER ESSER b. 1967 Bréhémont, Frankreich, 2004 Color coupler print. 54 x 72 in. (137.2 x 182.9 cm). Signed in ink, printed title, date and number 1/7 on an artist’s label affixed to the reverse of the frame.

Estimate $25,000-35,000 Provenance Sonnabend Gallery, New York

160

EDWARD BURTYNSKY b. 1955 Three Gorges Dam Project, Wushan #11, Yangtze River, China, 2002 Color coupler print. 40 x 50 in. (101.6 x 127 cm). Signed in ink, printed title, date and number 3/5 on a label affixed to the reverse of the mount.

Estimate $8,000-12,000 Provenance Charles Cowles Gallery, New York; to the present Private

Collection, New York

2pm Afternoon Session Lots 161- 280

robert MaPPLethorPe: PhotograPhs froM the coLLection of Lisa Lyon

ROBERT MAPPLETHORPE’S LADY Robert Mapplethorpe died 20 years ago this year at the age of 43.

The Lady project began in 1980. Shortly after winning the First

In the years since his death his stature has shifted from that of the

World Women’s Bodybuilding Championship in 1979, Lyon retired

enfant terrible and provocateur of the 1980s culture wars to one of

from the sport, seeing herself more as a performance artist than

the masters of late 20th century photography. Indeed, his entire

an athlete. Lyon speaks of the shared sensibility she had with

body of work can be seen as a culminating moment at the end of

Mapplethorpe as a friend and collaborator; she was willing to

the chemical era of photography as the digital revolution in the

transform herself in every way for the project—a methodology

medium began. Mapplethorpe remains technically ensconced in

Mapplethorpe would continue to employ in subsequent series and

photography’s history but due to his choice of subjects and singular

bodies of work. In Lady, they followed an artistic journey centered

vision he remains prescient of things to come—and still highly

around the examination and manipulation of historic iconography

influential.

as well as mythic stereotypes using their shared fears and obstacles. The one-hundred and twelve images that constitute Lady

Exhibitions the world over in both museums and galleries have

Lisa Lyon serve as a manner of aesthetic cornucopia where Lyon’s

focused on various aspects of his visionary work in portraiture,

characters range from the seductive nude emerging from the forest

landscape and still life as well as his earlier multi-media and

to the fashionista in couture clothing.

sculptural work. Well-known artists such as David Hockney, Catherine Opie and Cindy Sherman have guest-curated exhibitions

Today, when body manipulation, decoration, and embellishment

of Mapplethorpe from their own distinct artistic points of view

have entered the mainstream of our culture it is important to

allowing a fresh look at his diverse career and colorful life. It has

remember the taboos and prejudices that Mapplethorpe’s Lady

been almost thirty years since he began one of his most important

series confronted and explored. Highly influential when first

collaborations with his friend, the American female body builder

produced they have now entered into our collective artistic heritage

Lisa Lyon. The more than 100 photographs they created together are

as new generations of artists, photographers and performers

an important cornerstone of his reputation and means, with our

continue to expand the limits and possibilities of human experience.

eyes today, of witnessing the fine tuning of his artistic and aesthetic process that would go on to inform his subsequent mature work up until his death.

Lady Lisa Lyon, as the book documenting this series is titled, found Mapplethorpe and Lyon (who had become friends in the late 1970s) investigating the different societal models of women in the history of art while also addressing notions of androgyny and sexual roleplaying—themes that Mapplethorpe would continue to turn to repeatedly throughout his career. Since the 1970s, Mapplethorpe had focused on blurring the boundaries of pornography and fine art photography, acknowledging the territory’s predecessor’s such as George Platt Lynes, who had similarly remained on the fringe in artistic propriety and skirted more overt expressions of homosexual subculture. Mapplethorpe also documented a volatile social, cultural and sexual revolution that revealed a world via photography of the outskirts of more bohemian creative enclaves of the day.

His close personal friendships with personality’s such as punk rock performer and poet Patti Smith and the eminent curator and collector Sam Wagstaff put him in the center of a creative world in New York that did much to catapult him to fame—and notoriety.

161

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

161

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print, flush-mounted. 15 1/4 x 15 1/4 in. (38.7 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 $15,000-25,000 Provenance Acquired directly from the artist Literature Holborn, Mapplethorpe, p. 139; St. Martin’s Press, Lady: Lisa Lyon,

cover & p. 85

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

162

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm). 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 $4,000-6,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 24

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

163

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

Estimate $10,000-15,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 61

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

164

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

Estimate $6,000-8,000 Provenance Acquired directly from the artist Literature Holborn, Mapplethorpe, p. 145; St. Martin’s Press, Lady: Lisa Lyon, p. 38

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

165

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print. 19 1/8 x 15 1/4 in. (48.6 x 38.7 cm). Signed and numbered AP 1/2 in ink on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $5,000-7,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 41

162

163

164

165

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

166

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

Estimate $4,000-6,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 30

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

167

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 19 1/8 x 15 1/4 in. (48.6 x 38.7 cm). Signed, dated 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 $4,000-6,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 124

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

168

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 14 3/4 x 15 1/4 in. (37.5 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $5,000-7,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 93

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

169

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 $6,000-8,000 Provenance Acquired directly from the artist Literature Holborn, Mapplethorpe, p. 146; St. Martin’s Press, Lady: Lisa Lyon, p. 50

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

170

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print, flush-mounted. 14 x 14 in. (35.6 x 35.6 cm). Signed and numbered AP 1/2 in ink in the margin. One from an edition of 15 plus 2 artist’s proofs.

Estimate $4,000-6,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 22

166

167

168

169

170

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

171

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm). 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 $6,000-8,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 127

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

172

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print, flush-mounted. 15 1/4 x 15 1/4 in. (38.7 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 $4,000-6,000 Provenance Acquired directly from the artist Literature St. Martin’s Press, Lady: Lisa Lyon, p. 111

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON o

173

ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Four gelatin silver prints. Each approximately 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm).

Three signed, dated and numbered AP 1/2 in ink in the margin; one signed and numbered AP 1/2 in ink in the margin; each signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. Each from an edition of 10 plus 2 artist’s proofs.

Estimate $10,000-15,000 Provenance Acquired directly from the artist Literature Holborn, Mapplethorpe, p. 142 for a variant; St. Martin’s Press,

Lady: Lisa Lyon, pp. 86-89

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ProPerty froM the coLLection of anabeL & e.J. gonZaLeZ

A PERSONAL STATEMENT To collect is to rescue things, valuable things, from neglect, from

To date we have assembled over 300 photographs in the collection.

oblivion, or simply for the ignoble destiny of being in someone else’s

These photographs have immeasurably changed my eye towards

collection rather than one’s own.

what I thought important in photography. It has given me freedom.

Susan Sontag, The Volcano Lover

We have collected without any agenda, no themes, it is a way of seeing. It is an emotional adventure. It is a passion. We have

I began collecting at a young age. I first collected postal stamps,

collected what we like and is attractive to us: beauty, emotions,

sea shells and elephant figurines. When I was fourteen, my father

mystery, water, light and darkness…layered work that rewards

took me out of school for one year and sent me to London to study

closer study and prolonged viewing.

English. This opened up a window to the wider world of art and culture.

For the past eight years, we have been living in Barcelona. In 2006, I was invited to the ARCO art fair in Madrid to participate in a

After my husband and I married, we moved to live in the United

round table on “Collecting Photography,” along with the Brazilian

States for several years. In 1985, we moved to England and began

collector Mr. Joaquim Paiva and Mrs. Agnès de Gouvion Saint-Cyr,

collecting in a range of categories from Bedouin jewelry to other

Curator, Department of Photography, Ministry of Culture, Paris-

diverse objects such as chess games and Russian folk art.

France. In 2007, I participated in PhotoEspaña’s 10 year Anniversary.

I was invited by Christian Caujolle, Galerie VU, Paris-France to

This collection of photographs came together over 15 years ago.

“Encuentros” a series of conferences around the subject of “Digital

I see it as a natural shift from the experience of collecting and

Changes and Creative Processes” where I joined a panel that

buying all those objects of art as I always felt attracted to the

included Hans-Michael Koetzle, historian, curator and journalist

medium of photography. It started with photography books which,

and the independent curator Kissok Eom.

first, were a learning tool and later on, a way to document the photographs in the collection. I developed a profound respect for

The sixty seven pieces that will be offered in the following lots are

the classic masters such as Edward Weston, Paul Strand, Alfred

a good representation of the spirit of the collection as a whole. The

Stieglitz, Henri Cartier-Bresson and Dorothea Lange. I read about

collection’s exposure ranges from Lucien Clergue’s powerful

their lives and work and made a wish list hoping some day, we could

portrait of his long time friend Picasso à la Cigarrete, Cannes 1956,

assemble a photography collection of our own.

to Edouard Boubat’s: Le Paravent, Paris 1976 or Inde, Madras, 1971; from Flor Garduño’s personal and artistic journey in La Mujer que

In forming the collection we first focused on these Master

Sueña, 1991, and Vestido Elegante, Mexico 1997 to Carla van de

photographers and when we came back to live in the U.S. in 1989

Putelaar’s images reminiscent of Johannes Vermeer’s paintings.

we started to focus on American photographers. This gave the

They all have significant voices. These photographs have inspired

collection a strong structural base which has moved through the

us and we are touched by every one of them.

years towards a more contemporary focus and international perspective. We don’t believe in a frontier in photography collecting.

We hope these works will find their way into the lives of individuals

We believe in the artists.

and collectors who share our passion; a passion for the history and future of photography.

We live today in the context of what I call “open photography,” the entire creative processes and styles have been reinvigorated by the

Anabel Suero de Gonzalez

present generation of photographers. Nevertheless, its imagery and

February 2009

expression still often resemble traditional photography.

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

174

DUANE MICHALS b. 1932 Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 Sequence of six gelatin silver prints with ink. Each approximately 12 7/8 x 15 3/8 in.

(32.7 x 39.1 cm). The first titled, the last signed, numbered 15/25, five sequentially numbered 2-6 and three annotated in ink in the margin.

Estimate $9,000-12,000 Provenance Max Estrella Galeria, Madrid

175

176

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

175

ANDRÉ KERTÉSZ 1894-1985

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

176

BERENICE ABBOTT 1898-1991

Circus, Budapest, 1920

El Station Interior, 6th and 9th Avenue lines, Downtown Side, Columbus Avenue

Gelatin silver print, printed 1980. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm). Signed in pencil

and 72nd Street, Manhattan February 6, 1936

on the verso.

Gelatin silver print, printed 1997. 7 3/8 x 9 3/8 in. (18.7 x 23.8 cm). Numbered 85/100 in an unidentified hand in ink and ‘Special Edition Printed for Mother

Estimate $3,000-5,000

Jones’ stamp on the verso.

Provenance Hyperion Press Limited, New York

Estimate $1,200-1,800

Literature Ducrot, André Kertész: Sixty Years of Photography, cover & p. 33;

Borhan, André Kertész: His Life and Work, p. 81

Provenance Mother Jones International Fund for Documentary Photography,

San Francisco Literature Yochelson, Berenice Abbott: Changing New York, pl. 6; O’Neal,

Berenice Abbott: American Photographer, p. 140

177

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

177

MANUEL ÁLVAREZ BRAVO 1902-2002 Frida Kahlo en el estudio de Manuel Álvarez Bravo (Frida Kahlo in Manuel Álvarez Bravo’s studio), Mexico, 1930s Gelatin silver print, printed 1995. 9 5/8 x 7 1/4 in. (24.4 x 18.4 cm). Signed and annotated ‘Mexico’ in pencil on the verso.

Estimate $6,000-8,000 Provenance A Gallery for Fine Photography, New Orleans Literature Kismaric, Manuel Álvarez Bravo, p. 133; The University of New

Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 38

178

179

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

178

TINA MODOTTI 1896-1942

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

179

MANUEL ÁLVAREZ BRAVO 1902-2002

Woman with Flag, Mexico City, 1928

Retrato de lo Eterno (Portrait of the Eternal), Mexico, 1935

Platinum-palladium print, printed 1992. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm). Signed

Gelatin silver print, printed 1970s. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed and

and annotated by Ava Vargas, printer, in pencil on the verso.

annotated ‘Mexico’ in pencil on the verso.

Estimate $1,000-2,000

Estimate $4,000-6,000

Provenance Throckmorton Fine Art, Inc., New York

Provenance Christie’s East, New York, 8 October 1999, lot 73

Literature Lowe, Tina Modotti Photographs, p. 90; Hooks, Tina Modotti, p. 35;

Literature Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl.

Hooks, Tina Modotti: Radical Photographer, p. 154

42; Kismaric, Manuel Álvarez Bravo, p. 95; The University of New Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 4

181

180

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

180

JACQUES HENRI LARTIGUE 1894-1986

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

181

Solange David, Paris, December, 1929

JOAN COLOM 1879-1969 Gente de la Calle, 1960; and Gente de la Calle, 1960

Gelatin silver print, printed later. 9 5/8 x 13 3/8 in. (24.4 x 34 cm). Signed in ink and

Two gelatin silver prints, printed 2006. (i) 12 7/8 x 11 3/8 in. (32.7 x 28.9 cm) (ii) 13

blindstamp credit in the margin.

7/8 x 11 3/8 in. (35.2 x 28.9 cm). Each signed and dated in pencil on the verso.

Estimate $3,000-5,000

Estimate $800-1,200

Provenance Hyperion Press Limited, New York

Provenance Acquired directly from the artist Literature Lunwerg Editores, Joan Colom: Fotografies de Barcelona, 1958-1964,

cover & p. 71

182

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

182

HERBERT LIST 1903-1974 Goldfishglass, Santorini, 1937 Gelatin silver print, printed 2000. 12 1/2 x 10 3/8 in. (31.8 x 26.4 cm). Signed, titled, dated by Max Scheler, Executor, in ink and Herbert List Estate stamp on the verso.

Estimate $1,000-2,000 Provenance Stephen Bulger Gallery, Toronto Literature Scheler & Harder, Herbert List: The Monograph, p. 65

183

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

183

ERNST HAAS 1921-1986 Homecoming Prisoner, Vienna, 1946-1948 Gelatin silver print, printed 1994. 12 x 8 5/8 in. (30.5 x 21.9 cm). Signed, titled, dated, numbered 68/100 by Alexander Haas in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $800-1,200 Provenance Mother Jones International Fund for Documentary Photography,

San Francisco

184

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

184

ROBERT DOISNEAU 1912-1994 Le Manège de Monsieur Barré, 1955 Gelatin silver print, printed later. 11 3/4 x 9 1/2 in. (29.8 x 24.1 cm). Signed in ink in the margin; titled and dated in ink on the verso.

Estimate $4,000-6,000 Provenance Sotheby’s, London, 15 November 2005, lot 48

185

186

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

185

BARBARA MORGAN 1900-1992 Martha Graham—El Penitente—(Solo—Eric Hawkins as El Flagellante), 1940

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

186

BARBARA MORGAN 1900-1992 Martha Graham—Letter to the World (kick), 1940

Gelatin silver print, printed 1972. 9 1/2 x 7 3/4 in. (24.1 x 19.7 cm). Signed, titled

Gelatin silver print, printed 1986. 9 3/8 x 12 3/4 in. (23.8 x 32.4 cm). Signed and

and dated in pencil on the mount; signed, titled, dated in ink, copyright credit

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

and reproduction limitation stamps on the reverse of the mount.

Estimate $2,000-3,000 Estimate $1,200-1,800 Provenance Swann Auction Galleries, New York, 7 October 1999, lot 427 Provenance Swann Auction Galleries, New York, 21 October 2002, lot 212

187

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

187

HENRI CARTIER-BRESSON 1908-2004

188

Henri Matisse, Vence, France, 1944 Gelatin silver print, printed later. 9 1/2 x 14 1/4 in. (24.1 x 36.2 cm). Signed in ink in the margin.

Estimate $5,000-7,000 Provenance Swann Auction Galleries, New York, 27 April 1999, lot 217 Literature Montier, Henri Cartier-Bresson and the Artless Art, pl. 277; Bulfinch

Press, Tête à Tête, pl. 23

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

188

LUCIEN CLERGUE b. 1934 Picasso à la Cigarette, Cannes, 1956 Gelatin silver print, printed 1998. 12 3/8 x 10 3/8 in. (31.4 x 26.4 cm). Signed in ink in the margin; signed, titled, dated and numbered 8/9 in ink on the verso.

Estimate $1,000-1,500 Provenance John Stevenson Gallery, New York Literature Louis Stern Fine Arts, Lucien Clergue: Fifty Years of Photography,

pl. 11

189

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

189

PHILIPPE HALSMAN 1906-1979 Dali’s Mustache, 1953 Gelatin silver print. 13 5/8 x 10 5/8 in. (34.6 x 27 cm). Signed, dated ‘1954’ in pencil, copyright credit and reproduction limitation stamps on the verso.

Estimate $2,000-4,000 Provenance Swann Auction Galleries, New York, 26 May 2005, lot 499 Literature Bello & Bello, Philippe Halsman: A Retrospective, p. 51

190

191

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

190

RUTH BERNHARD 1905-2006

191

Draped torso with hands, 1962

EIKOH HOSOE b. 1933 Kamaitachi #8, 1965

Gelatin silver print, printed later. 12 3/8 x 9 1/2 in. (31.4 x 24.1 cm). Signed in

Gelatin silver print, printed 1997. 7 7/8 x 5 3/8 in. (20 x 13.7 cm). Initialed and dated

pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on

in ink in the margin; signed, dated and annotated ‘For Aperture’ in pencil on the

the verso.

verso.

Estimate $7,000-9,000

Estimate $1,500-2,500

Provenance J.J. Brookings Gallery, San Francisco

Provenance Swann Auction Galleries, New York, 9 December 2003, lot 493

192

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

192

PAUL CAPONIGRO b. 1932 Redding Woods, Connecticut, 1968 Gelatin silver print, printed later. 14 3/8 x 19 1/2 in. (36.5 x 49.5 cm). Signed, titled and dated in pencil on the mount; signed in pencil on the overmat.

Estimate $2,000-3,000 Provenance Christie’s East, New York, 9 June 1999, lot 50

193

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

193

PETER BEARD b. 1938 Agnes of El Molo Bay, Loingalani, Kenya N.F.D., 1968 Gelatin silver print with ink and paint, printed later. 12 7/8 x 8 3/8 in.

(32.7 x 21.3 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 $4,000-6,000 Provenance The Time is Always Now Gallery, New York

195

194

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

194

KISHIN SHINOYAMA b. 1940 Nu Twins, Valléede la Mort, USA, 1969 Gelatin silver print. 8 x 12 in. (20.3 x 30.5 cm). Signed in pencil on the verso.

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

195

ÉDOUARD BOUBAT 1923-1999 Le Paravent, Paris, 1976; and Inde, Madras, 1971 Two gelatin silver prints, one printed later. (i) 12 5/8 x 9 1/2 in. (32.1 x 24.1 cm) (ii) 14 1/4 x 9 1/2 in. (36.2 x 24.1 cm). One signed in ink in the margin; both signed,

Estimate $3,000-5,000

titled and dated in ink, pencil, respectively, on the verso.

Provenance Galerie VU, Paris

Estimate $1,500-2,500 Provenance Kowasa Gallery, Barcelona; Swann Auction Galleries, New York,

13 December 2005, lot 528 Literature Boubat, Édouard Boubat: The Monograph, pp. 237 & 268

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

196

FRANCESCA WOODMAN 1958-1981 House #3, Providence, Rhode Island, 1976; On Being an Angel #1, Providence, Rhode Island, 1977 and Self-Deceit #1, Rome, Italy, 1978 Three gelatin silver prints, printed 1997. (i) 6 3/8 x 6 3/8 in. (16.2 x 16.2 cm) (ii) 5 1/8 x 5 1/8 in. (13 x 13 cm) (iii) 3 1/4 x 3 3/8 in. (8.3 x 8.6 cm). Each annotated Betty and George Woodman, Executors, numbered 19/40, 20/40 and 1/40 respectively, in pencil and Estate PE/FW credit stamp on the verso; one titled and dated in an unidentified hand in pencil on the verso.

Estimate $7,000-9,000 Provenance Bernard Toale Gallery, Boston; Marian Goodman Gallery, Paris Literature Townsend, Francesca Woodman, pp. 107, 124 & 156

197

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

197

KENRO IZU b. 1949 Still Life #546, 1995 Platinum-palladium print, printed 1998. 13 1/4 x 15 1/2 in. (33.7 x 39.4 cm). Signed and dated ‘1998’ in pencil on the recto; numbered 14/30 in pencil in the margin; signed, titled, dated, numbered 14/30 in ink and copyright credit stamp on the reverse of the mount.

Estimate $700-900 Provenance Howard Greenberg Gallery, New York

198

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

198

CINDY SHERMAN b. 1954 Untitled (Madonna), 1975 Gelatin silver print, printed 1997. 7 x 5 1/8 in. (17.8 x 13 cm). Signed and dated in ink on the verso.

Estimate $1,200-1,800 Provenance Metro Pictures, New York

199

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

199

HERB RITTS 1952-2002 Madonna IV, San Pedro, 1990 Platinum print. 13 1/2 x 9 3/8 in. (34.3 x 23.8 cm). Signed, titled, dated and numbered 1/25 in pencil on the verso.

Estimate $4,000-6,000 Provenance Fahey/Klein Gallery, Los Angeles Literature Bulfinch Press, Herb Ritts: Work, n.p.; Thames & Hudson, Herb

Ritts, n.p.; Bulfinch Press, Notorious: Herb Ritts, n.p.

200

201

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONAZALEZ

200

FLOR GARDUÑO b. 1957 Vestido Elegante, 1997; and La mujer que Sueña, Mexico, 1991 Two gelatin silver prints, one printed 1996. (i) 17 1/4 x 13 1/2 in. (43.8 x 34.3 cm) (ii) 8 5/8 x 12 1/2 in. (21.9 x 31.8 cm). One print with Certificate of Authenticy from Galeria Visor, Valencia and one print signed, titled, dated and annotated in pencil

202

on the verso.

Estimate $2,000-3,000 Provenance (i) Galeria Visor, Valencia (ii) Throckmorton Fine Art Inc., New York

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

201

GRACIELA ITURBIDE b. 1942 Heroes de la patria (national heroes), Cuetzalan, Puebla, 1993 Gelatin silver print. 12 7/8 x 8 1/2 in. (32.7 x 21.6 cm). Signed in ink in the margin.

Estimate $1,000-1,500 Provenance Swann Auction Galleries, 9 December 2003, lot 503

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

202

MARIO CRAVO NETO b. 1947 Nina, 1980 Gelatin silver print. 11 3/8 x 11 3/8 in. (28.9 x 28.9 cm). Signed, titled and dated in pencil in the margin.

Estimate $800-1,200 203

Provenance Sotheby’s, Amsterdam, 21 March 2006, lot 122

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

203

SEBASTIÄO SALGADO b. 1944 Ethiopie, 1984 Gelatin silver print. 11 5/8 x 17 3/8 in. (29.5 x 44.1 cm). Blindstamp credit in the margin; signed, titled and dated in pencil on the verso.

Estimate $1,200-1,800 Provenance Swann Auction Galleries, New York, 27 April 1999, lot 438

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

204

SHIRIN NESHAT b. 1957 I am It’s Secret, 1993 Fujicolor Crystal Archive print. 18 7/8 x 12 1/2 in. (47.9 x 31.8 cm). Signed, titled and dated in ink on the verso.

Estimate $10,000-15,000 Provenance Christie’s, New York, 14 September 2006, lot 242

205

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

205

LAURA MCPHEE b. 1958 3 Portals, 16th Century Terracotta Temple, Attpur, West Bengal, India, 1998

207

Color coupler print. 39 3/4 x 37 5/8 in. (101 x 95.6 cm). Signed, titled, dated and numbered 1/5 in ink on the reverse of the mount.

Estimate $2,000-4,000 Provenance Bonni Benrubi Gallery, New York

206

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

206

CÉLINE VAN BALEN b. 1965 Untitled, Amsterdam, 1998

207

ALVIN BOOTH b. 1959 Untitled #960576, 1994

Color coupler print. 13 3/8 x 10 7/8 in. (34 x 27.6 cm). Signed, titled, dated and

Toned and bleached gelatin silver print. 13 x 10 1/8 in. (33 x 25.7 cm). Signed,

numbered 7/10 in ink on a label affixed to the reverse of the aluminum flush-

dated and numbered 8/15 in pencil in the margin; titled in pencil on the reverse

mount.

of the mount.

Estimate $3,000-5,000

Estimate $800-1,200

Provenance Van Zoetendaal Photography, Amsterdam

Provenance Robert Klein Gallery, Boston

208

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

208

LUIS GONZÁLEZ PALMA b. 1957 La Mirada Critica (The Critical Gaze), 1998 Hand-painted gelatin silver print from Poems of Sorrow with limited edition book.

9 x 9 in. (22.9 x 22.9 cm). Signed and numbered 15/100 in pencil on the verso.

Accompanied by limited edition book, Luis González Palma: Poems of Sorrow, signed and numbered 15/100 in ink on the title page.

Estimate $1,200-1,800 Provenance Photo-Eye Gallery, Sante Fe Literature Arena Editions, Luis González Palma: Poems of Sorrow, p. 97

209

210

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

209

ALBERTO GARCIA-ALIX b. 1956 Autorretrato (mano tatuada), 2000

210

ALBERTO GARCIA-ALIX b. 1956 Autorretrato, 1995

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

Selenium toned gelatin silver print, treated with tea. 17 1/2 x 17 3/8 in.

signed, titled ‘Autorretrato.Nada,’ dated and numbered 8/12 in pencil on the verso.

(44.5 x 44.1 cm). Signed, titled, dated and numbered 5/7 in pencil in the margin.

Estimate $2,500-3,500

Estimate $5,000-7,000

Provenance Galeria H20, Barcelona

Provenance Galeria H20, Barcelona

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

211

SALLY MANN b. 1951 Dog Scratches, 1991 Gelatin silver contact print. 8 x 10 in. (20.3 x 25.4 cm). Signed, titled, dated and numbered 19/25 in pencil on the verso.

Estimate $8,000-12,000 PROVENANCE Edwynn Houk Gallery, New York

212

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

212

TOMIO SEIKE b. 1943 Zoe, 1983; and Nude, Untitled #5, 1995 Two gelatin silver prints, one toned and one printed 2001. (i) 6 3/8 x 9 3/8 in.

(16.2 x 23.8 cm) (ii) 4 x 5 7/8 in. (10.2 x 14.9 cm). Each signed, titled, dated, numbered 11/20, 16/30, respectively, in pencil, copyright credit and edition stamp on the verso.

Estimate $2,000-4,000 PROVENANCE Howard Greenberg Gallery, New York LITERATURE Blitz International Co., Tomio Seike: Zoe, pl. 14

213

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

213

CARLA VAN DE PUTTELAAR b. 1967 Selected Images, 1996-2005 One gelatin silver print, one color coupler print and two Fujicolor Crystal Archive prints. Varying sizes from 6 1/4 x 4 7/8 in. (15.9 x 12.4 cm) to 14 1/4 x 11 3/4 in.

(36.2 x 29.8 cm). Two with blindstamp credit in the margin; each signed, dated and numbered of 15 in ink or pencil on the verso; two signed, dated, numbered of 15 in pencil and one with blindstamp credit on the reverse of the backing board.

Estimate $5,000-7,000 PROVENANCE Van Zoetendaal Photography, Amsterdam

214

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

214

SARAH MOON b. 1940 La Statue, 1995 Toned gelatin silver print. 16 1/2 x 13 5/8 in. (41.9 x 34.6 cm). Blindstamp credit in the margin; signed, titled and numbered 4/20 in pencil on the verso.

Estimate $2,000-4,000 PROVENANCE Bonhams & Butterfields, San Francisco, 25 October 2006, lot 685

215

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

215

MICHAEL KENNA b. 1953

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

216

Wind-Swept Beach, Calais, France, 1999

KEITH CARTER b. 1948 Raven, 1996

Sepia toned gelatin silver print, printed 2000. 7 3/4 x 7 3/4 in. (19.7 x 19.7 cm).

Toned gelatin silver print. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm). Signed, titled, dated

Signed, dated and numbered 38/45 in pencil on the mount; signed, titled, dated

and numbered 41/50 in pencil on the verso.

in pencil, copyright credit and edition stamp on the reverse of the mount.

Estimate $800-1,200 Estimate $1,800-2,200 PROVENANCE Photo-Eye Gallery, Sante Fe PROVENANCE Bonhams & Butterfields, San Francisco, 25 October 2006, lot 607

216

217

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

217

JOHN DUGDALE b. 1960

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

218

JOCK STURGES b. 1947

Turbulent Dream, NYC, 1998

Nikki, Montalivet, France, 1998

Platinum-palladium print. 8 3/4 x 6 3/4 in. (22.2 x 17.1 cm). Signed and numbered

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

13/50 in pencil in the margin. Accompanied by a poem by John Wood, Editor,

and numbered 1/40 in pencil on the verso.

21st Editions.

Estimate $800-1,200 Estimate $1,500-2,000 PROVENANCE Archival Editions Limited Inc., Miami PROVENANCE 21st Editions, Brewster

218

219

220

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

219

TOM BARIL b. 1952

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

220

Sunflower, 1999

ROBERT & SHANA PARKEHARRISON b. 1968 & b. 1964 The Source, 2005

Gum bichromate over platinum-palladium print with limited edition book.

Photogravure. 22 7/8 x 18 5/8 in. (58.1 x 47.3 cm). Initialed, titled, dated

11 3/8 x 8 7/8 in. (28.9 x 22.5 cm). Signed and numbered 98/100 in pencil on the

and numbered 31/40 in pencil on the embossed mount.

verso. Accompanied by limited edition book, Botanica, signed and numbered 98/100 in ink on the title page.

Estimate $1,200-1,800

Estimate $800-1,200

PROVENANCE Bonni Benrubi Gallery, New York

PROVENANCE Arena Editions, Santa Fe

221

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

221

JERRY UELSMANN b. 1934 Shaman’s Study, 1997 Gelatin silver print. 10 1/4 x 13 1/4 in. (26 x 33.7 cm). Signed, titled, dated in ink and copyright credit stamp on the verso; initialed, titled and dated in pencil on the overmat; signed, titled, dated in ink and copyright credit stamp on the reverse of the mat.

Estimate $700-900 PROVENANCE Griner Waters Gallery, Lakeland

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

222

TOM BARIL b. 1952 Chrysler Building at Night, 1997 Platinum-palladium print. 12 x 9 1/2 in. (30.5 x 24.1 cm). Signed, dated and numbered 15/50 in pencil in the margin. Accompanied by a poem by John Wood, Editor, 21st Editions.

Estimate $2,000-3,000 PROVENANCE 21st Editions, Brewster

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

223

KYUNGWOO CHUN b. 1969 Light Calligraphy #1, 2004 Color coupler print. 38 7/8 x 50 1/2 in. (98.7 x 128.3 cm). Signed in ink, printed title, date and number 2/3 on an artist’s label affixed to the reverse of the mount.

Estimate $5,000-7,000 PROVENANCE Acquired directly from the artist

224

225

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

PROPERTY FROM THE COLLECTION OF ANABEL & E.J. GONZALEZ

224

SHADI GHADIRIAN b. 1974 Untitled from Qajar, 2005

225

SHADI GHADIRIAN b. 1974 Untitled from Qajar, 2005

Digital color coupler print. 17 3/8 x 11 5/8 in. (44.1 x 29.5 cm). Signed

Digital color coupler print. 17 3/8 x 11 5/8 in. (44.1 x 29.5 cm). Signed

and numbered 4/15 in ink on the verso.

and numbered 7/15 in ink on the verso.

Estimate $2,000-3,000

Estimate $2,000-3,000

PROVENANCE Silk Road Gallery, Tehran

PROVENANCE Silk Road Gallery, Tehran

226

226

SEYDOU KEÏTA 1923-2001 Two great ladies, 1958 Gelatin silver print, printed 2001 by Philippe Salaun. 22 1/8 x 15 1/2 in.

(56.2 x 39.4 cm). Signed, titled and dated in ink in the margin; signed, dated, annotated ‘Paris’ by Philippe Salaun in pencil and ‘Tirage par Philippe Salaun’ stamp on the verso.

Estimate $5,000-7,000 PROVENANCE Danziger Projects, New York LITERATURE Magnin, Seydou Keïta, p. 20

227

227

SEYDOU KEÏTA 1923-2001 Girl with purse, 1950s Gelatin silver print, printed 1997 by Philippe Salaun. 21 3/4 x 15 1/2 in. (55.2 x 39.4 cm).

Signed and dated ‘1997’ in ink in the margin; signed by Philippe Salaun in pencil on the verso.

Estimate $6,000-8,000 LITERATURE Magnin, Seydou Keïta, pl. 241

228

228

IRVING PENN b. 1917 Cuzco Family, Peru, Christmas, 1948 Platinum-palladium print, printed 1989. 11 3/4 x 11 1/4 in. (29.8 x 28.6 cm). Signed, titled, dated in pencil, numbered 10/10 in ink and copyright credit reproduction limitation stamp on the reverse of the aluminum flush-mount.

Estimate $18,000-22,000 LITERATURE Knopf, Irving Penn: Passage, p. 62

229

230

229

IWASE YOSHIYUKI 1904-2001 Seaweed Harvest, 1956 Gelatin silver print. 17 5/8 x 21 3/8 in. (44.8 x 54.3 cm). Credit stamp on the verso.

Estimate $6,000-8,000 PROVENANCE Acquired directly from the Iwase Family

230

LUCIEN CLERGUE b. 1934 Selected Images, 1955-2005 Seven gelatin silver prints, printed 2006. Each approximately 9 1/2 x 13 7/8 in.

(24.1 x 35.2 cm) or the reverse. Each signed in pencil on the verso; each titled and dated with copyright credit in ink on the verso.

Estimate $5,000-7,000 LITERATURE Louis Stern Fine Arts, Lucien Clergue: Fifty Years of Photography,

pl. 30

231

231

GENE FENN 1911-2001 Nude Study, 1953 Gelatin silver print. 9 3/8 x 6 in. (23.8 x 15.2 cm). Signed, dated in pencil and credit stamp on the verso.

Estimate $1,000-1,500

232

232

CORNELL CAPA 1918-2008 Bolshoi Ballet School, Moscow, 1958 Gelatin silver print, printed later. 20 5/8 x 14 1/4 in. (52.4 x 36.2 cm). Signed in pencil on the verso; signed, titled and dated in ink on a copyright credit label affixed to the verso.

Estimate $4,000-6,000 PROVENANCE Acquired directly from the artist

233

233

PHILIPPE HALSMAN 1906-1979 Model, Paris, Publicité Pour Cheveux (Advertisement for hair), 1939 Gelatin silver print. 11 5/8 x 9 1/2 in. (29.5 x 24.1 cm). Signed and titled ‘Publicité pour Cheveux’ in ink on the mount; signed, titled ‘Model,’ dated in pencil and copyright credit stamp on the reverse of the mount.

Estimate $800-1,200

234

234

PAUL HEISMANN b. 1912 Solarized Nude, 1940s Gelatin silver print. 13 1/4 x 11 in. (33.7 x 27.9 cm). Credit stamp on the verso.

Estimate $800-1,200

235

VICTOR OBSATZ b. 1925

In March 1953, the Greenwich Village photographer and book dealer

Portrait of Marcel Duchamp, 1953

Michael Freilich asked 27 year-old Victor Obsatz to photograph

Gelatin silver print, printed later. 13 5/8 x 10 1/2 in. (34.6 x 26.7 cm). Signed, titled and dated in ink on the verso.

Marcel Duchamp in his apartment on West 14th Street. The resulting photograph, a double exposure, became one of the most

Estimate $1,800-2,200

popular and sought after portraits of the influential artist.

LITERATURE Fundación Proa & Museu de Arte Moderna de São Paolo, Brasil,

Marcel Duchamp, cover & p. 74; Gervais, André, C’est Marcel Duchamp dans la fantaisie heureuse de l’histoire, p. 372; Moeller Fine Art, Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, flyleaf; Naumann, Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, p. 202; Lebel, Marcel Duchamp, front cover, back cover, fig. 44 & p. 63

236

NO LOT

237

237

RUTH ORKIN 1921-1985

238

RUTH ORKIN 1921-1985

Marian Anderson and Leonard Bernstein at Lewisohn Stadium, 1940s

Messenger girl at empty soundstage…MGM Studios, 1948; and World’s largest

Gelatin silver print, printed later. 9 x 12 3/4 in. (22.9 x 32.4 cm). Signed, titled

soundstage, MGM, 1948

and dated in ink in the margin; signed, titled ‘Lewisohn Stadium Concert’s

Two gelatin silver prints. Each approximately 9 7/8 x 6 3/4 in. (25.1 x 17.1 cm).

rehearsal w. N.Y. Phil. Marian Anderson & Leonard Bernstein,’ dated and

Each signed, titled, dated and annotated ‘Vee Carson, messenger girl’ in pencil

copyright in pencil on the verso.

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

Estimate $3,000-5,000

Estimate $3,000-5,000

PROVENANCE Ruth Orkin Photo Archive, New York

PROVENANCE Ruth Orkin Photo Archive, New York

238

239

RUTH ORKIN 1921-1985 Einstein at Princeton luncheon, 1953 Gelatin silver print, printed later. 18 x 14 1/4 in. (45.7 x 36.2 cm). Signed, titled and dated in ink in the margin; signed, titled, dated and copyright in pencil on the verso.

Estimate $4,000-6,000 PROVENANCE Ruth Orkin Photo Archive, New York

240

241

240

PHILIPPE HALSMAN 1906-1979 Dali & Rhinoceros, 1960; Dali’s Mustache, 1959 and Dali’s Mustache, 1954 Three gelatin silver prints, printed 1981. (i) 12 7/8 x 7 3/4 in. (32.7 x 19.7 cm) (ii) 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm) (iii) 10 x 13 in. (25.4 x 33 cm). Each numbered 152/250, 124/250 and 152/250, respectively, in an unidentified hand in pencil and copyright credit stamps on the verso.

Estimate $5,000-7,000 LITERATURE Bello & Bello, Philippe Halsman: A Retrospective, pp. 56-57

241

PHILIPPE HALSMAN 1906-1979 Marilyn Jumping, 1959; and Marilyn Life Cover Portrait, 1952 Two gelatin silver prints, printed 1981. (i) 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm) (ii) 11 1/8 x 8 1/2 in. (28.3 x 21.6 cm). Each numbered 22/250 in ink and copyright credit stamps on the verso.

Estimate $3,000-5,000 LITERATURE Bello & Bello, Philippe Halsman: A Retrospective, pp. 130 & 135

for variants

242

242

JEAN-PHILIPPE CHARBONNIER b. 1921 Bettina, la Plus Belle Vitrine, Place Vend么me, Paris, 1953 Gelatin silver print, printed 2002. 14 3/8 x 13 3/8 in. (36.5 x 34 cm). Signed, titled, dated and numbered 39/50 in pencil on the verso.

Estimate $3,000-5,000 PROVENANCE Acquired directly from the artist

243

243

ALLAN GRANT 1919-2008 Audrey Hepburn & Grace Kelly backstage at the 28th Annual Academy Awards, Hollywood, CA, 1956 Gelatin silver print, printed 2007. 17 x 13 in. (43.2 x 33 cm). Signed by the artist, titled, dated and copyright Time Inc. in an unidentified hand in pencil on the verso.

Estimate $5,000-7,000 PROVENANCE Acquired directly from the artist

Please note that prints in this size are extremely rare

244

GARRY WINOGRAND 1928-1984 Marilyn Monroe, 1954 Gelatin silver print, printed later. 10 5/8 x 15 3/4 in. (27 x 40 cm). Signed in pencil on the verso.

Estimate $5,000-7,000 PROVENANCE G. Ray Hawkins Gallery, Santa Monica

244

245

RICHARD AVEDON 1924-2004 Avedon/Paris, 1947-1957 New York: Metropolitan Museum of Art, 1978. Eleven gelatin silver prints. Each approximately 14 1/8 x 17 5/8 in. (35.9 x 44.8 cm) or the reverse. Each signed, numbered 10/75 in pencil, copyright credit reproduction limitation, edition, title and date stamps on the verso. Colophon signed and numbered 10/75 in pencil.

Title page. Accompanied by a catalogue with introduction by Rosamond Bernier.

Contained in a linen clamshell case.

Estimate $100,000-200,000 PROVENANCE Acquired directly from the artist LITERATURE Fraenkel Gallery, Richard Avedon: Made in France, n.p.; Shananan,

Evidence 1944-1994: Richard Avedon, pp. 38, 48, 50-51, 129 & 135

Titles include: Dorian Leigh, evening dress by Piguet, Helena

Richard Avedon’s fashion work for Harper’s Bazaar during the 1940s

Rubenstein apartment, Ile St. Louis, Paris, 1949; Renée, “The Look of

and 1950s still stands as a rich testament to mid-20th century

Dior,” Place de la Concorde, Paris, 1947; Marlene Dietrich, turban by

glamour and style. Strongly influenced by the magazine’s legendary

Dior, The Ritz, Paris, 1955; Sunny Harnett, evening dress by Grés,

art director Alexey Brodovitch, by 1957 Avedon himself had come

Casino, Le Touquet, Paris, 1954; Suzy Parker wearing Lanvin-Castillo

to personify the ideal fashion photographer and soared as the model

at Café des Beaux-Arts, 1956; Homage to Munkacsi, Carmen, coat by

for, and creative consultant to, Stanley Donen’s film Funny Face

Cardin, Place François-Premier, Paris, 1957; Dorian Leigh, coat by

starring Audrey Hepburn—with none other than Fred Astaire playing

Dior, Paris, 1949; Elise Daniels, hat by Paulette, Pré-Catalan, Paris,

lensmen Dick Avery—star photographer for Quality magazine.

1948; Dorian Leigh, Schiaparelli rhinestones, Pré-Catalan, Paris, 1949; Elise Daniels with street performers, suit by Balenciaga, Paris,

In 1978, when this portfolio was introduced, the world it conjured

1948; Suzy Parker with Robin Tattersall, evening dress by Griffe,

had long vanished as long hair, denim and other essentials of 70s

Moulin Rouge, 1957.

“bohemian chic” had replaced the ultra feminine in fashion for the feminist. As a record though, it lives on in several levels. Most of the great models of the era: Suzy Parker and her sister Dorian Leigh, Carmen Dell’Orefice, Reneé, Elise Daniels and Sunny Harnett model the latest mode by the era’s pre-eminent Paris couture designers such as Balenciaga, Griffe, Cardin, Lanvin-

Castillo, Dior, and Grés. For the extra star power we have a

Avedon/Paris 1947-1957 is a venerable time capsule of the

turbaned Marlene Dietrich lighting a cigarette—that essential

photographer’s fashion work when he “first got the art of it,”

accessory of mid-century élan.

documenting he claimed “the last time it wasn’t commercially

Avedon benefitted early on from the increasing ease of trans-

of “the art” Avedon had processed during his first 10 years as a

atlantic travel—what was once six days by ocean liner to get to

major fashion photographer. Homage to Munkacsi showing Carmen

driven.” Two iconic images in the portfolio attest to just how much

Paris was now a matter of hours by airplane. He forged a new

jumping off the corner at Place François-Premier with umbrella in

direction for “location” photography as many of the works in

hand is an elegant salute to 1930s action photography (although

this portfolio were “staged” at real places in Paris: the Café des

Avedon had faster film than Munkacsi had to work with). The

Beaux-Arts on the rue Bonaparte, the Moulin Rouge, the place de

second, of Elisa Daniels with street performers, is a clear homage

la Concorde and the Casino at Le Touquet—all helping to reaffirm

to Henri Cartier-Bresson. The others—pure Avedon.

the return of Parisian glamour after the war. It is no wonder why Hollywood went to Paris so much during this era with, in addition

While Avedon moved on to major bodies of portraiture and

to Funny Face, films set there such as Gigi, An American in Paris

documentary photography in the ensuing decades, this valuable

and Sabrina. Even Lucille Ball was seduced, staging one of her

portfolio underscores what the New York Times headline boldly

most memorable “I Love Lucy” episodes in the world of Parisian

stated on its front page upon Avedon’s death. He was simply

Haute Couture.

“the eye of fashion.”

246

LOUISE DAHL-WOLFE 1895-1989 Rubber bathing suit, California, 1940 Gelatin silver print, printed later. 11 7/8 x 9 3/4 in. (30.2 x 24.8 cm). Signed in pencil on the verso.

Estimate $7,000-9,000 LITERATURE Abrams, Louise Dahl-Wolfe, n.p.; Harper’s Bazaar, American

Edition, January 1940

247

247

HORST P. HORST 1906-1999 New American Foot, 1948 Platinum-palladium print, printed later. 23 1/4 x 19 1/8 in. (59.1 x 48.6 cm). Signed in pencil in the margin; signed by the artist, titled, dated, numbered 14/25 and copyright credit in an unidentified hand in pencil on the verso.

Estimate $6,000-8,000 LITERATURE Abrams, Louise Dahl-Wolfe, n.p., Harper’s Bazaar, American

Edition, January 1940

248

248

HORST P. HORST 1906-1999 ‘I love you’—Lisa Fonssagrives with hat by Balenciaga and gloves

by Boucheron, Paris, 1938 Platinum-palladium print, printed later. 19 x 14 1/2 in. (48.3 x 36.8 cm). Signed in pencil in the margin; signed and numbered 7/25 in pencil on the verso.

Estimate $4,000-6,000 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 13

249

249

HORST P. HORST 1906-1999 Gloves, New York, 1947 Platinum-palladium print, printed later. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed in pencil in the margin; copyright credit stamp on the verso.

Estimate $2,000-3,000 LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 57

250

251

252

250

HORST P. HORST 1906-1999 V.O.G.U.E., (Lisa Fonssagrives-Penn), New York, 1940 Gelatin silver print, printed later. 12 x 9 in. (30.5 x 22.9 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $3,000-5,000 PROVENANCE Acquired directly from the artist

251

RICHARD AVEDON 1924-2004 Dorian Leigh, Schiaparelli rhinestones, Pre-Catelan, Paris, August 2, 1949 Gelatin silver print from Avedon/Paris, printed 1978. 14 1/4 x 17 7/8 in.

(36.2 x 45.4 cm). Signed, numbered 28/75 in pencil, copyright credit reproduction limitation, edition, title and date stamps on the verso.

Estimate $4,000-6,000 LITERATURE Shanahan, Evidence 1944-1994: Richard Avedon, p. 38

253

252

HORST P. HORST 1906-1999 Evening gown by Alix, Paris, 1938 Gelatin silver print, printed later. 10 7/8 x 8 1/8 in. (27.6 x 20.6 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $3,000-5,000 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 21; National

Portrait Gallery, Horst Portraits: 60 Years of Style, pl. 46 there titled LUD, Paris

253

HORST P. HORST 1906-1999 ‘White Sleeve’ Fashion Shot with Doris Zelensky, Paris, 1936 Gelatin silver print, printed later. 12 x 9 in. (30.5 x 22.9 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $3,000-5,000 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 14

ACTUAL SIZE

254

HORST P. HORST 1906-1999 Electric Beauty, Paris, 1939 Platinum-palladium print, printed 1980s. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed in pencil in the margin.

Estimate $15,000-25,000 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 44

255

255

EDWARD WESTON 1886-1958 Tina on the Azotea, 1923 Gelatin silver print, printed later by Cole Weston. 7 x 9 1/4 in. (17.8 x 23.5 cm).

Signed, titled ‘Nude,’ dated in pencil by Cole Weston and Edward Weston credit stamp on the reverse of the mount.

Estimate $5,000-7,000 LITERATURE Aperture, Edward Weston: Fifty Years, p. 107 there dated 1924;

Conger, Edward Weston: Photographs, fig. 111; Mara, Edward Weston: Forms of Passion, p. 85

256

256

EDWARD WESTON 1886-1958 Nude, New Mexico, 1937 Gelatin silver print, printed later by Cole Weston. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm).

Signed, titled, dated in pencil by Cole Weston and Edward Weston credit stamp on the reverse of the mount.

Estimate $5,000-7,000

257

257

EDWARD WESTON 1886-1958 Charis, Santa Monica, 1936 Gelatin silver print, printed later by Cole Weston. 9 1/4 x 7 1/2 in. (23.5 x 19.1 cm).

Signed, titled ‘Nude,’ dated in pencil by Cole Weston and Edward Weston credit stamp on the reverse of the mount.

Estimate $5,000-7,000 LITERATURE Conger, Edward Weston: Photographs, fig. 968; Mara, Edward

Weston: Forms of Passion, cover & p. 223

258

258

MARGARET BOURKE-WHITE 1904-1971 Mountain Peaks and Cloud Study; Mountain View, San Fernando Mountains;

259

EDWARD WESTON 1886-1958 Nude, New Mexico, 1937

and Sierra Madre Mountains, 1930s

Gelatin silver print, printed later by Cole Weston. 7 3/8 x 9 3/8 in. (18.7 x 23.8 cm).

Three gelatin silver prints. Each 3 x 4 in. (7.6 x 10.2 cm). Each with credit stamp

Signed, titled, dated in pencil by Cole Weston and Edward Weston credit stamp

and various printing annotations on the verso.

on the reverse of the mount.

Estimate $3,000-5,000

Estimate $5,000-7,000 LITERATURE Aperture, Edward Weston: Fifty Years, p. 165

259

260

HENRI CARTIER-BRESSON 1908-2004 Hyères, France, 1932 Gelatin silver print, printed later. 9 1/2 x 14 1/8 in. (24.1 x 35.9 cm). Signed in ink and blindstamp credit in the margin.

Estimate $7,000-9,000 LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 77; Galassi,

Henri Cartier-Bresson: The Early Work, p. 100

261

262

261

HENRI CARTIER-BRESSON 1908-2004 Mississippi, 1947

262

HENRI CARTIER-BRESSON 1908-2004 Brussels, 1932

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

Gelatin silver print, printed later. 9 1/2 x 14 in. (24.1 x 35.6 cm). Signed in ink

and blindstamp credit in the margin.

in the margin.

Estimate $3,000-5,000

Estimate $5,000-7,000

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist LITERATURE Montier, Henri Cartier-Bresson and the Artless Art, pl. 41; Galassi,

Henri Cartier-Bresson: The Early Work, p. 73

263

263

WALKER EVANS 1903-1975 Joe’s Auto Graveyard, Pennsylvania, 1936 Gelatin silver print, printed later. 4 3/4 x 6 3/4 in. (12.1 x 17.1 cm).

Estimate $3,000-5,000 PROVENANCE Christie’s, New York, Photographs from the Isadore and Kelly

Friedman Collection, 7 September 2007, lot 373 LITERATURE Abrams, Walker Evans: The Hungry Eye, p. 192; De Capao Press,

Walker Evans: Photographs for the Farm Security Administration, 1935-1938, pl. 50 for a variant; Harper & Row, Walker Evans: First and Last, p. 102; Harper & Row, Walker Evans at Work, p. 12 for a variant; The Metropolitan Museum of Art, Walker Evans, pl. 55 for a variant

264

264

WALKER EVANS 1903-1975 Main Street of County Seat, Alabama, 1936 Gelatin silver print, printed later. 7 3/4 x 9 3/4 in. (19.7 x 24.8 cm). Lunn Archive credit stamp on the verso.

Estimate $3,000-5,000 PROVENANCE Christie’s, New York, Photographs from the Isadore and Kelly

Friedman Collection, 7 September 2007, lot 59 LITERATURE Abrams, Walker Evans: The Hungry Eye, p. 216; De Capao Press,

Walker Evans: Photographs for the Farm Security Administration, 1935-1938, pl. 233; The Metropolitan Museum of Art, Walker Evans, pl. 109

265

HELEN LEVITT b. 1914 N.Y.C., circa 1920s Gelatin silver print, printed later. 2 3/8 x 3 5/8 in. (6 x 9.2 cm). Signed in pencil on the verso.

Estimate $3,000-5,000 PROVENANCE G. Gibson Gallery, Seattle

265

266

ACTUAL SIZE

266

IOSEF BERMAN 1892-1941 Untitled (Street Scene), circa 1930 Gelatin silver print. 6 3/4 x 4 7/8 in. (17.1 x 12.4 cm). Credit stamp on the verso.

Estimate $1,000-1,500 PROVENANCE Acquired from the losef Berman family

As a press photographer between the World Wars, Iosef Berman captured the citizens of his native Romania in their everyday lives.

Though working in a time of great struggle and hardships in the capital city of Bucharest, his photographs always attempt to celebrate the vitality and diversity of the Romanian people.

267

267

ALFRED EISENSTAEDT 1898-1995 Teenage Boy and Girl Prepare to Throw Javelin, 1931 Gelatin silver print. 6 7/8 x 9 1/2 in. (17.5 x 24.1 cm). Credit stamp on the verso.

Estimate $1,800-2,200 268

268

BILL BRANDT 1904-1983 Young Housewife, Bethnal Green, London, 1937 Gelatin silver print, printed later. 13 1/2 x 11 1/2 in. (34.3 x 29.2 cm). Signed in ink on the mount; titled in an unidentified hand in pencil on the reverse of the mount.

Estimate $3,000-5,000 LITERATURE Harry N. Abrams, Inc., Bill Brandt: The Photography of Bill Brandt,

pl. 29 there titled East End; Thames & Hudson, Bill Brandt: Photographs 1928-1983, p. 68 there titled East End morning, September

269

269

WEEGEE (ARTHUR FELLIG) 1899-1968 Dressing room behind the circus ring, Ringling Brothers and Barnum & Bailey Circus, 1944 Gelatin silver print, printed circa 1950. 12 1/4 x 10 5/8 in. (31.1 x 27 cm). ‘Weegee the Famous’ and ‘Photo-Representatives’ credit stamps on the verso.

Estimate $2,000-3,000 LITERATURE Stettner, Weegee, pp. 180-181 for a variant

270

ACTUAL SIZE

270

∆ 271

ANDRÉ KERTÉSZ 1894-1985 Melancholic Tulip, Paris, 1939

LÁSZLÓ MOHOLY-NAGY 1895-1946 Photogram, circa 1926

Gelatin silver contact portfolio print from André Kertész, printed 1981. 4 1/4 x 3 in.

Gelatin silver print. 9 1/2 x 8 1/4 in. (24.1 x 21 cm). Annotated ‘Best Greetings,

(10.8 x 7.6 cm). Signed in pencil on the mount. One from an edition of 50 plus 10

Sibyl and László Moholy-Nagy’ in ink on the verso.

artist’s proofs.

Estimate $10,000-15,000 Estimate $5,000-7,000 PROVENANCE Myron Kozman; UBU Gallery, New York LITERATURE Ducrot, André Kertész: Sixty Years of Photography, p. 78

271

LITERATURE Corbeau & Renard, La trajectorie du regard, 2006, p. 93

ACTUAL SIZE

272

ALEXANDER RODCHENKO 1891-1956 Poet Vladimir Mayakovsky, 1924 Gelatin silver print. 6 3/4 x 4 5/8 in. (17.1 x 11.7 cm). Credited in pencil on the verso.

Estimate $12,000-18,000 LITERATURE Kรถneman, Rodchenko: Photography 1924-1954, p. 74

273

273

GEORGE PLATT LYNES 1907-1955 Monroe Wheeler, 1937 Gelatin silver print. 9 x 7 1/2 in. (22.9 x 19.1 cm). Credit stamp on the verso.

Estimate $1,500-2,500

274

ANDREAS FEININGER 1907-1999 Untitled from Stockholm Series, 1936 Gelatin silver print. 9 1/4 x 6 3/4 in. (23.5 x 17.1 cm). Signed, dated in pencil and credit stamp on the verso.

Estimate $2,500-3,500 PROVENANCE Bonni Benrubi Gallery, New York

274

275

LAURA ALBIN-GUILLOT 1879-1962 Nude, 1930s Gelatin silver print, printed later. 11 5/8 x 6 1/4 in. (29.5 x 15.9 cm). Signed in ink on the recto; credit stamp on the verso.

Estimate $1,200-1,800

276

RUTH HALLENSLEBEN 1898-1977 Industrial Image #18; and Industrial Image #21, 1930s Two gelatin silver prints, printed later. (i) 5 1/4 x 4 1/8 in. (13.3 x 10.5 cm) (ii) 4 7/8 x 3 3/8 in. (12.4 x 8.6 cm). Each annotated 18 and 21, respectively, in pencil on the mount.

Estimate $1,200-1,800

275

276

277

278

277

JACQUES HENRI LARTIGUE 1894-1986 Zissou and Madeleine Thibault, Rouzat, 1911 Gelatin silver print, printed later. 9 x 13 3/4 in. (22.9 x 34.9 cm). Signed in ink and blindstamp credit in the margin.

279

Estimate $1,800-2,200 PROVENANCE Sotheby’s, New York, 24 October 2002, lot 146

278

JACQUES HENRI LARTIGUE 1894-1986 Carriage Day at the Races, Auteuil, Paris, 1911 Gelatin silver portfolio print, printed 1972. 6 5/8 x 9 in. (16.8 x 22.9 cm). Signed in ink on the mount. Number 27 from an edition of 50.

Estimate $1,800-2,200 LITERATURE Bulfinch Press, Jacques Henri Lartigue, Photographer, p. 33; Moore,

Jacques Henri Lartigue: The Invention of an Artist, pl. 58 there titled and dated Day of the Drag Races at Auteuil, 1910; Benteli Verlag Bern, Jacques Henri Lartigue Album, p. 29

280

279

BRASSAÏ 1899-1984 Conchita with sailors, Place d’Italie, Paris, 1932 Gelatin silver print, printed later. 8 1/4 x 12 in. (21 x 30.5 cm). Signed and numbered 8/40 in red ink in the margin; titled, dated, numbered 8/40 in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $4,000-6,000 PROVENANCE Sotheby’s, New York, 24 October 2002, lot 148 LITERATURE Thames & Hudson, Brassaï: The Secret Paris of the 30s, n.p. for

a variant; The Museum of Fine Arts, Houston, Brassaï: The Eye of Paris, pl. 35

280

ANDRÉ KERTÉSZ 1894-1985 Satiric Dancer, 1926 Gelatin silver contact portfolio print from André Kertész, printed 1981.

3 7/8 x 3 1/8 in. (9.8 x 7.9 cm). Signed in pencil on the mount. Number 28 from an edition of 50.

Estimate $5,000-7,000 LITERATURE Borhan, André Kertész: His Life and Work, p. 145; National Gallery

of Art, André Kertész, pl. 47; Thames & Hudson, André Kertész: Of Paris and New York, p. 139; Ducrot, André Kertész: Sixty Years of Photography, cover & p. 70

ACTUAL SIZE

INDEX Abbott, B. 176 Adams,A. 9-15 Adams, R. 38, 39 Albin-Guillot, L. 275 Almeida, H. 33, 34 Álvarez Bravo, M. 6-8, 40, 177, 179 Haas, E. 183

Araki, N. 117-119, 143, 144

Hallensleben, R. 276

Arbus, D. 51-54

Halsman, P. 189, 233, 240, 241

Avedon, R. 31, 80, 245, 251

Harrison, R. 89 Heismann, P. 234

Baril,T. 219, 222

Höfer, C. 131, 132

Barth, U. 92 Beard, P. 62-65, 158, 193 Berman, I. 266 Bernhard, R. 59-61, 190 Bond, G. 115 Booth,A. 207 Boubat, É. 195 Bourdin, G. 32, 68 Bourke-White, M. 258

Horst, H.P. 247-250, 252-254 Dahl-Wolfe, L. 246

Dijkstra, R. 150 Divola, J. 88 Doisneau, R. 184

Burtynsky, E. 160

Drebin, D. 116 Dugdale, J. 217

Capa, C. 26, 232 Caponigro, P. 192

Eisenstaedt,A. 25, 267

Erwitt, E. 28

Charbonnier, J-P. 242 Christo 112

Evans,W. 263, 264

Clergue, L. 188, 230 Colom, J. 181 Coplans, J. 78 Cravo Neto, M. 202

Karsh,Y. 49 Keïta, S. 226, 227

Kertész,A. 175, 270, 280 Kim-Joon 146, 147 Klein,W. 22 Kremer, S. 125

LaChapelle, D. 120, 121 Lartigue, J.H. 180, 277, 278

Feininger,A. 274 Fenn, G. 231 Friedlander, L. 48, 50

Chun, K. 223 Clark, L. 55, 56

Izu, K. 197

Esser, E. 159

Carter, K. 216 Cartier-Bresson, H. 1-5, 187, 260-262

Iwase,Y. 229

Kenna, M. 215 Eggleston,W. 46, 47

Engel, M. 29 Callahan, H. 17-21

Iturbide, G. 201

D’Orazio, S. 136

Brandt, B. 268 Brassaï 279

Hosoe, E. 191

DiCorcia, P-L. 135

Lee, N.S. 152 Levinstein, L. 24 Levitt, H. 265 List, H. 182

Gao Brothers 128 Garcia-Alix,A. 209, 210 Garduño, F. 200 Ghadirian, S. 224, 225 Glinn, B. 30 Gohlke, F. 36, 37 Goldin, N. 97, 98 González Palma, L. 208 Gonzalez-Torres, F. 84 Grant,A. 243 Greenfield-Sanders,T. 69

Lux, L. 151, 153

Mann, S. 102-108, 211 Mannikko, E. 154 Mapplethorpe, R. 74, 77, 83, 161-173 McKee, B. 110 McPhee, L. 205 Metinides, E. 41 Michals, D. 81, 174 Minter, M. 139 Modotti,T. 178

Ritts, H. 66, 67, 71-73, 199 Rodchenko,A. 272 Ruff,T. 137

Moholy-Nagy, L. 271 Moon, S. 214 Moore,A. 129, 130 Morgan, B. 185, 186 Muniz,V. 122

Salgado, S. 42, 203 Schulke, F. 82 Seike,T. 212 Serrano,A. 86, 109 Sherman, C. 70, 79, 198

Nes,A. 124 Neshat, S. 204 Newton, H. 57, 58 Nixon, N. 101

Shinoyama, K. 194 Shonibare,Y. 134 Shore, S. 43-45 Siskind,A. 35 Skoglund, S. 155

Obsatz,V. 235 Olaf, E. 140-142 Orkin, R. 23, 237-239

Soth,A. 149 Struth,T. 133 Sturges, J. 218 Sugimoto, H. 94-96, 113

ParkeHarrison, R. 123, 126

Sultan, L. 148

ParkeHarrison, R. & S. 220 Penn, I. 228

Tillmans,W. 99, 100

Pierson, J. 91, 93 Pillsbury, M. 114

Uelsmann, J. 221

Platt Lynes, G. 273 Prince, R. 138 Priola, J.J. 87

Van Balen, C. 206 Van de Puttelaar, C. 213 Various Photographers 85 Von Unwerth, E. 145

Weber, B. 75, 76 Weegee 269 Weems, C.M. 127 Wegman,W. 156, 157 Welling, J. 90 Weston, B. 16 Weston, E. 255-257, 259 Williams, C. 111 Winogrand, G. 27, 244 Woodman, F. 196.

GUIDE FOR PROSPECTIVE BUYERS Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

Buyer’s Premium Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold.The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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

O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price.The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold.The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low presale estimate.

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2 Bidding in the Sale 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success.

However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

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

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports.

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

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

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

Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members.This service must be arranged at least 24 hours in advance of the sale.Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.This service is free and confidential.

Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

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

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

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

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

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 US$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. We will levy removal, interest, storage and handling charges on uncollected lots.

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.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

2 Phillips de Pury & Company as Agent Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a)The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot.

Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee

Bid Form,” a copy of which is inserted in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale.The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is inserted in this catalogue or otherwise available from Phillips de Pury & Company. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c)The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d)The sale will be conducted in US dollars and payment is due in US dollars. For the 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, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (e) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (f) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”).The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

SATU RDAY@PHILLIPS Contemporary & Urban Art

AUCTION

25 APRIL 2009 Noon

Photographs

Design

NEW YORK

Viewing 21 – 25 April

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1210 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LARRY SULTAN Pool Calabasas (from The Valley), 2002 Estimate $4,000-6,000

Toy Art

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000.

Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street,Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d)Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate 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.

7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks.

As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York.

All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and 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 authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion.The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (a) 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; (b) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (c) reject future bids from the buyer or render such bids subject to payment of a deposit; (d) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (e) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company, within 14 days of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company; (f) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (g) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (h) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs.

10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us.

As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may 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 consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 Law and Jurisdiction (a)The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot.This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d)The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid.This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law.This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

AUCTION

1 6 MAY 2 0 0 9 3 pm

LONDON

Viewing 9 – 16 May

P H OTO G R A P H S

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4092 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com

NICK KNIGHT Devon Aoki in Alexander McQueen for Visionaire, 1997 Estimate £10,000-15,000

SALE INFORMATION

PHOTOGRAPHS

Auction

Worldwide Director

Wednesday 1 April 2009 at 10am & 2pm

Charlie Scheips +1 212 940 1244

Viewing

Specialists

Tuesday 24 March, 10am - 5pm

Vanessa Kramer Head of Sale New York +1 212 940 1243

Wednesday 25 March, 10am - 5pm

Kelly Padden London +44 20 7318 4018

Thursday 26 March, 10am - 5pm Friday 27 March, 10am - 5pm

Junior Specialist

Saturday 28 March, 10am - 5pm

Caroline Shea New York +1 212 940 1247

Sunday 29 March, 12pm - 5pm Monday 30 March, 10am - 5pm

Cataloguer

Tuesday 31 March, 10am - 5pm

Ben Adams London +44 20 7318 4077

Viewing & Auction Location

Senior Administrator

450 West 15 Street New York NY 10011

Sarah Krueger New York +1 212 940 1245

Sale Designation

Administrators

In sending written bids or making inquiries please refer

Alexandra Bibby London +44 20 7318 4087

to this sale as NY040109 or Photographs.

Helen Hayman London +44 20 7318 4092

Catalogues $60 at the Gallery / ÂŁ30

Property Manager Don D’Aries New York +1 212 940 1363

Catalogue Subscriptions Allyson Melchor +1 212 940 1240 +44 20 7318 4039

Shipping

catalogues@phillipsdepury.com

Beth Petriello New York +1 212 940 1373

Absentee and Telephone Bids

Photography Kent Pell

Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax Front Cover David Drebin, Movie Star, 2004, lot 116 (detail) Client Accounting

Inside Front Cover Yinka Shonibare, Un Ballo in Maschera I (A Masked Ball)

Sylvia Leitao +1 212 940 1231

(video still), 2004, lot 134 (detail)

Barbara Doupal +1 212 940 1232

Inside Back Cover William Eggleston, Untitled, circa 1970, lot 47 (detail)

Nicole Rodriguez +1 212 940 1235

Back Cover Cindy Sherman, Untitled #122, 1983, lot 70 (detail)

Client Services +1 212 940 1200

E-mail Addresses All Phillips de Pury & Company e-mails are first initial and

Principal Auctioneer

last name @phillipsdepury.com (i.e., cscheips@phillipsdepury.com)

Simon de Pury 0874341

www.phillipsdepury.com

Auctioneers

Please refer to the Guide for Prospective Buyers, Conditions of Sale and Authorship Warranty which appear in the preceding pages.

Aileen Agopian 1199037 Christina L. Floyd 1238278 Sarah Mudge 1301805

AUCTION

2 JUNE 2009 2pm

NEW YORK

Viewing 26 May – 1 June

MODERN & CONTEMPORARY EDITIONS

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LUCIAN FREUD After Chardin (Small Plate), 2000 Etching, from the edition of 80.

Estimate $5,000-7,000

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Modern and Contemporary Editions

Michael McGinnis Worldwide Director +44 20 7318 4091

Kelly Troester Worldwide Co-Director +1 212 940 1221

Aileen Agopian Director New York +1 212 940 1255

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jean-Michel Placent New York +1 212 940 1263

Jannah Greenblatt New York +1 212 940 1332

Christina Floyd New York +1 212 940 1340

Joy Deibert New York +1 212 940 1333

Timothy Malyk Head of Under the Influence New York +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250

Saturday @ Phillips

Veronica Collins New York +1 212 940 1252

Tobias Sirtl Director +44 20 7318 4095

Sarah Mudge Head of Part II New York +1 212 940 1259

Alex W. Smith New York +1 212 940 1276

Roxana Bruno New York +1 212 940 1229

Anne Huntington New York +1 212 940 1210

Sara Davidson New York +1 212 940 1262

Arianna Jacobs London + 44 20 7318 4054

Derrick Mead New York +1 212 940 1272

George O’Dell London +44 20 7318 4040

Maria Bueno New York +1 212 940 1261

Steve Agin (Consultant) +1 908 475 1796

Peter Flores New York +1 212 940 1223

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

(Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballve New York +1 212 940 1303

Chairman London

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Rodman Primack London +44 20 7318 4017

Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 207 318 4064

Managing Directors

SilkeTaprogge London +44 20 7318 4012

Finn Dombernowsky London +44 20 7318 4034

Ivgenia Naiman London +44 20 7318 4071

Charlie Horne New York +1 212 940 1292

Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093

Business Development

Catherine Higgs London +44 20 7318 4089

Gerard A. Goodrow Cologne +49 1577 134 9517

Raphael Lepine London +44 20 7318 4078

Alexander Gilkes New York +1 212 940 1398

TanyaTikhnenko London +44 20 7318 4065 Sarah Buchwald London +44 20 7318 4085

Executive Assistant to Simon de Pury

Phillippa Willison London +44 20 7318 4070

Helen Rohwedder London +44 20 7318 4042

Jewelry

Private Sales

Nazgol Jahan Worldwide Director +1 212 940 1283

Christina Scheublein New York +1 212 940 1248

Carolin Goetze Geneva +41 22 906 80 00 Carmela Manoli New York +1 212 940 1302

Press and Public Relations

Heather Zises New York +1 212 940 1290

Ariel Childs Head London +44 20 7318 4028

Lane Mclean London +44 20 7318 4032

Johanna Frydman London +44 20 7318 4024

Veronica Lota Geneva +41 22 906 80 05

Dena Ryness London +44 20 7318 4096

Contemporary Jewelry

Marcel Krenz Cologne +44 221 6777 0746

Cécile Demtchenko Paris +33 1 42 78 67 77

Alia Varsano Worldwide Director +1 212 940 1293 Rachel Mattes New York +1 212 940 1285

Exhibitions London +44 20 7318 4023 New York +1 212 940 1301

Photographs Charlie Scheips Worldwide Director +1 212 940 1244

International Specialists and Representatives

Vanessa Kramer New York +1 212 940 1243

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Caroline Shea New York +1 212 940 1247

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Sarah Krueger New York +1 212 940 1245

Leonie Moschner Paris +33 6 85 53 92 03

Kelly Padden London +44 20 7318 4018

Tamara Corm Paris & London +33 6 75 07 04 71

Ben Adams London +44 20 7318 4077

Ivgenia Naiman London +44 20 7318 4071

Alexandra Bibby London +44 20 7318 4087

Brooke de Ocampo London +44 777 551 7060

Helen Hayman London +44 20 7318 4092

Silke Lemmes Cologne +49 2216 777 0746

Design

Eugenia Bertele Milan +39 02 3651 9342

Laura Garbarino Milan +39 339 478 9671

Alexander Payne Worldwide Director +44 20 7318 4052

Maura Marvão Portugal +351 917 564 427

Marcus Tremonto New York +1 212 940 1268

Florence Uchida New York +1 917 902 2714

Alex Heminway New York +1 212 940 1269

Nadia Breuer Sopher New York & Australia +1 917 319 4741

Tara DeWitt New York +1 212 940 1265

Mimi Won Techentin Los Angeles +1 310 600 9192

Meaghan Roddy New York +1 212 940 1266

Maya McLaughlin Los Angeles +1 323 791 1771

Stephanie Abraitis New York +1 212 940 1268

Tatiana Beliaeva Moscow +7 985 969 9292

Ben Williams London +44 20 7318 4027

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Domenico Raimondo London +44 20 7318 4016

Lulu Al-Sabah Dubai +44 77 9518 8878

Ellen Stelter London +44 20 7318 4021

Samia Saleh Dubai +971 4 347 9090

Marcus McDonald London +44 20 7318 4014

Lydia Limmerick Dubai +44 79 2048 1110

PHILLIPS de PURY & COMPANY

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Partners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Diego McDonald

Princess Gloria von Thurn und Taxis

Alexander Payne

Jean Michel Wilmotte

Rodman Primack

Anita Zabludowicz

Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

BERLIN

450 West 15 Street New York NY 10011 USA

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax

LONDON Howick Place London SW1P 1BB United Kingdom +44 20 7318 4010 +44 20 7318 4011 fax

COLOGNE St. Apern Str. 17-21 50667 Cologne Germany Marcel Krenz +49 221 6777 0746 +49 221 6777 07469 fax

PARIS 28, rue Michel Le Comte 75003 Paris France CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

GENEVA 23, quai des Bergues 1201 Geneva Switzerland Carolin Goetze +41 22 906 80 00 +41 22 906 80 01 fax

MUNICH Maximiliansplatz 12a 80333 Munich Germany Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

DUBAI Dubai International Financial Centre Level 12 The Gate Office #25 PO Box 506780 Dubai United Arab Emerites +9 714 365 02 10 +9 714 365 02 13 fax

P H OTO G R A P H S 1

APRIL

2009

N E W YO R K