Photographs New York

PHOTOGRAPHS 14 NOVEMBER

2009

PHOTOGRAPHS

N EW YOR K

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

14

NOVEMBER

2009

NEW YORK

NY0 4 02 0 9

Front Cover Miles Aldridge, Like a Painting #3, 2005, Lot 87 Courtesy of Galerie Alex Daniels – Reflex Amsterdam and Miles Aldridge Inside Front Cover Mark Seliger, Mod Fashion, 2006, Lot 98

Thomas Ruff, Nude ev19, 2006, Lot 93

PHOTOGRAPHS 14

NOVEMB ER

2009

10 a m & 1p m

NE W YO RK

LOTS 1-2 9 5 Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm

ROBERT MAPPLETHORPE: PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

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

While these characters certainly attest to Mapplethorpe’s interest in

female bodybuilder, began in 1980 as a joint collaboration between

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

Robert Mapplethorpe and Lisa Lyon. Shortly after winning the First

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

World Women’s Bodybuilding Championship in 1979, Lyon retired

ideal physical perfection. Mapplethorpe highlights this through the

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

deconstruction of her form to its individual parts such as her legs in

athlete, “a sculptor whose raw material was her own body” (Chatwin,

Lot 1 or her torso as seen in Lot 9.

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

Just as Mapplethorpe’s photographs of sadomasochism gave

to his own: a person willing to transform herself in every way for

mainstream attention to previously unseen aspects of the

her art, just as Mapplethorpe transformed himself in his numerous

homosexual community, beyond Lyon herself, these images shed

self-portraits. But most importantly with Lyon came the ideal form

light on the small community of female bodybuilders that in the 1980s

that he was constantly yearning to photograph and the opportunity to

seemed, to many, to exist somewhere in the space between male

address themes of androgyny, classicism, erotica and the exploration

and female. They present a female form unlike so many of the era;

of American subculture.

a classical form that, like Michelangelo’s figures, merges feminine curves with masculine musculature. A form that allowed Lyon and

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

Mapplethorpe to jointly challenge the female stereotype whilst

their relationship transcended that of a photographer and his

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

sitter. They were compatriots on a shared journey examining representations of women throughout the history of photography

The following 12 lots continue our sale of Photographs from the

and the history of art whilst challenging their own fears and

Collection of Lisa Lyon.

obstacles. Whereas Mapplethorpe’s oeuvre is largely dominated by an emphasis on, and examination of male anatomy, the one-hundred and twelve images that constitute Lady Lisa Lyon are unique in their exclusive focus on the female form. They depict Lyon as a range of characters in an array of poses, from the seductress on her knees to the fashionista in couture clothing. Every detail of each character was carefully decided by Mapplethorpe and Lyon with only their imagination as a limit.

1

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

1 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print. 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; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 75

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

2 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print, flush-mounted. 15 1/8 x 15 1/4 in. (38.4 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 $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 45

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

3 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 5/8 x 15 1/4 in. (39.7 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 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Holborn, Mapplethorpe, p. 141; St. Martin’s Press,

Lady: Lisa Lyon, p. 80

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

4 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Gelatin silver print. 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 57

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

5 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1980 Gelatin silver print. 13 7/8 x 14 in. (35.2 x 35.6 cm). Signed 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 15 plus 2 artist’s proofs.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 20

2

3

4

5

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

6 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 11 7/8 x 9 in. (30.2 x 22.9 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 128

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

7 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print, flush-mounted. 15 1/8 x 15 1/4 in. (38.4 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 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 107

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

8 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 91

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

9 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Signed and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Holborn, Mapplethorpe, p. 51; St. Martin’s Press, Lady:

Lisa Lyon, p. 51

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

10 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm). Signed, dated and numbered AP 1/2 in ink in the margin; signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 34

6

7

8

9

10

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

11 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1982 Gelatin silver print. 15 1/8 x 19 1/8 in. (38.4 x 48.6 cm). Signed, dated in ink and copyright credit reproduction limitation stamp on the reverse of the flush-mount.

AP 1 from an edition of 10 plus 2 artist’s proofs.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, pp. 32-33

PHOTOGRAPHS FROM THE COLLECTION OF LISA LYON

O

12 ROBERT MAPPLETHORPE 1946-1989 Lisa Lyon, 1981 Two gelatin silver prints, flush-mounted. Each approximately 15 1/4 x 15 1/4 in.

(38.7 x 38.7 cm). Each signed and numbered AP 1/2 in ink in the margin. Each from an edition of 10 plus 2 artist’s proofs.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE St. Martin’s Press, Lady: Lisa Lyon, p. 44

11

12

13

14

13 HERB RITTS 1952-2002

14 SHEILA METZNER b. 1939

Cordula, Hollywood, 1989

Joko, Passion, 1987

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

Unique Fresson print. 16 3/8 x 24 5/8 in. (41.6 x 62.5 cm). Initialed in pencil and

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

blindstamp credit in the margin; signed, dated and annotated ‘One of a kind’ in pencil on the verso.

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Fahey/Klein Gallery, Los Angeles PROVENANCE From the artist; to a Private Collection, New York; to the present

Private Collection, New Mexico

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

15 16

15 HORST P. HORST 1906-1999

16 PETER BEARD b. 1938

Round the Clock I, New York, 1987

Lolindo Lion Charge, 1964

Gelatin silver print, printed later. 11 1/4 x 9 1/4 in. (28.6 x 23.5 cm). Blindstamp

Gelatin silver print with ink, paint and drawing by the artist’s daughter, printed

credit in the margin; signed in pencil on the verso.

later. 7 7/8 x 10 in. (20 x 25.4 cm). Signed, titled, dated and annotated in ink and

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE High Museum of Art, Chorus of Light: Photographs from the Sir

paint in the margins; extensively inscribed in ink and The Time is Always Now copyright credit stamp on the reverse of the frame.

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

Elton John Collection, p. 129; Kazmaier, Horst: Sixty Years of Photography, p. 195,

LITERATURE Bowermaster, The Adventures and Misadventures of Peter Beard in

there titled Advertisement for stockings, New York

Africa, p. 57; Taschen, Peter Beard, pl. 202 for a variant

17 RICHARD AVEDON 1924-2004 Nastassja Kinski and the Serpent, 14 June, 1981 Gelatin silver print. 32 1/8 x 48 3/4 in. (81.6 x 123.8 cm). Signed and numbered 80/200 in pencil on the verso.

Estimate $ 3 5 , 0 0 0 - 5 5 , 0 0 0 PROVENANCE Christie’s, New York, 12 February 2003, lot 45; Phillips de Pury &

Company, New York, 17 October 2007, lot 92 LITERATURE Shanahan, Richard Avedon: Evidence 1944-1994, p. 162; Fraser, On the

Edge: Images from 100 Years of Vogue, pp: 232-233

Only 100 prints from the proposed edition of 200 were realized.

18 PETER BEARD b. 1938 Maureen and Late-Night Feeder, Hog Ranch, 1987 Gelatin silver print with paint, printed later. 12 3/4 x 18 3/4 in. (32.4 x 47.6 cm).

Signed, titled, dated and annotated in paint on the recto.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Taschen, Peter Beard, pl. 228 for a variant

20 19

19 PETER BEARD b. 1938

2 0 PETER BEARD b. 1938

Tsavo Before the Die-Off, Tsavo North, 1965

Antelopes, 1984

Gelatin silver print with ink, paint and an affixed gelatin silver print, printed later.

Gelatin silver print with paint, printed later. 11 x 14 in. (27.9 x 35.6 cm). Signed,

15 1/4 x 22 1/2 in. (38.7 x 57.2 cm). Signed, titled, dated and extensively annotated

dated and extensively annotated in paint in the margins.

in ink and paint on the recto.

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

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York PROVENANCE Acquired directly from the artist LITERATURE Taschen, Peter Beard, pl. 177 for a variant

21

21 PETER BEARD b. 1938 Lolindo Lion Charge, 1964 Gelatin silver print with ink and paint, printed later. 16 x 20 in. (40.6 x 50.8 cm).

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

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Bowermaster, The Adventures and Misadventures of Peter Beard in

Africa, p. 57; Taschen, Peter Beard, pl. 202 for a variant

2 2 JOEL-PETER WITKIN b. 1939 Art Deco Lamp, New Mexico, 1986 Gelatin silver print. 14 5/8 x 14 5/8 in. (37.1 x 37.1 cm). Signed, titled, dated and numbered 11/15 in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Scalo, Joel-Peter Witkin, pl. 56

23

24

2 3 JOEL-PETER WITKIN b. 1939

24 JOEL-PETER WITKIN b. 1939

Elizabeth D, New York City, 1973

Bacchus Amelus, New Mexico, 1986

Gelatin silver print. 6 3/4 x 6 1/2 in. (17.1 x 16.5 cm). Signed, titled, dated and

Gelatin silver print. 14 1/2 x 14 3/4 in. (36.8 x 37.5 cm). Signed, titled and numbered

numbered 15/15 in pencil on the verso.

5/15 in pencil on the verso.

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

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Scalo, Joel-Peter Witkin, pl. 59

25

26

25 JOEL-PETER WITKIN b. 1939

2 6 JOEL-PETER WITKIN b. 1939

John Kane, San Francisco, 1984

Lisa Lyon as Hercules, N.Y.C., 1983

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

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

numbered 1/15 in pencil on the verso.

numbered 7/15 in pencil on the verso.

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

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

LITERATURE Scalo, Joel-Peter Witkin, pl. 43

27 PHILIP-LORCA DICORCIA b. 1951 Madras, 1988 Color coupler print. 15 x 22 1/4 in. (38.1 x 56.5 cm). Signed in ink on the verso.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Monica de Cardenas Galleria, Milan LITERATURE Galassi, Philip-Lorca diCorcia, p. 28; Liotta, Philip-Lorca diCorcia,

p. 28; Smith, “Wandering in a Forest of Poses”, The New York Times, 2 September 2005

2 8 CHUCK CLOSE b. 1940 Roy (Lichtenstein), 1993 Unique Polaroid print. 26 1/4 x 21 in. (66.7 x 53.3 cm). Signed, titled ‘Roy’ and dated in ink in the margin.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Pace/MacGill Gallery, New York

29

2 9 EMMET GOWIN b. 1941 Effluent Holding Pond, Chemopetrol Mine, Bohemia, Czech Republic, 1992 Gelatin silver print, printed 1994. 9 1/2 x 9 1/2 in. (24.1 x 24.1 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Reynolds, Emmet Gowin: Changing the Earth, p. 81

30

3 0 EMMET GOWIN b. 1941 Pivet Irrigation near the One Hundred Circle Farm and the McNary Dam on the Columbia River, Washington, 1991 Gelatin silver print, printed 1993. 9 3/4 x 9 5/8 in. (24.8 x 24.4 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Reynolds, Emmet Gowin: Changing the Earth, p. 33

31

31 EMMET GOWIN b. 1941 Grain field cleared by burning, Sacramento River Estuary, California, 1992 Gelatin silver print. 9 5/8 x 9 3/4 in. (24.4 x 24.8 cm). Signed, titled and dated in pencil on the verso.

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

32

33

34

3 2 SALLY MANN b. 1951

At Warm Springs, 1991 Gelatin silver print. 23 1/8 x 19 1/8 in. (58.7 x 48.6 cm). Signed, titled, dated and numbered 12/25 in pencil on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Houk Friedman Gallery, New York LITERATURE High Museum of Art, Chorus of Light: Photographs from the

Sir Elton John Collection, p. 200

3 3 SALLY MANN b. 1951

The Virtuous Girl, 1994 Gelatin silver contact print. 7 7/8 x 9 7/8 in. (20 x 25.1 cm). Signed, titled, dated and numbered 5/25 in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Houk Friedman Gallery, New York

35

3 4 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 and numbered 2/10 in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Gagosian Gallery, Beverly Hills

3 5 RODNEY GRAHAM b. 1949 Stanley Park Cedar, 1991 Gelatin silver print. 19 5/8 x 15 3/8 in. (49.8 x 39.1 cm). Signed and annotated ‘AP’ in pencil on the reverse of the flush-mount. One from an edition of 3 plus artist’s proofs.

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

3 6 YASUMASA MORIMURA b. 1951 Vermeer Study (A Great Story out of the Corner of a Small Room), 2004 Kyoto: Benrido Collotype Company, 2004. 12-color collotype print. 15 3/8 x 13 in. (39.1 x 33 cm). Signed, dated, numbered 9/15 in ink and credit stamp in the margin. Colophon. Contained in a linen clamshell case.

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

38

37

37 YASUMASA MORIMURA b. 1951 After Brigitte Bardot (Bathtub), 1996 Gelatin silver print. 11 3/4 x 17 1/2 in. (29.8 x 44.5 cm). Signed, dated and numbered 4/10 in pencil on the verso.

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

3 8 YASUMASA MORIMURA b. 1951

39

Singer 3, 1994 Unique Polaroid print. 4 5/8 x 3 1/2 in. (11.7 x 8.9 cm). Signed in ink in the margin.

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

40

3 9 YASUMASA MORIMURA b. 1951 M’s Hideout 1, 1997 Unique Polaroid print. 4 5/8 x 3 1/2 in. (11.7 x 8.9 cm). Signed in ink in the margin.

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

4 0 YASUMASA MORIMURA b. 1951 Shape of the Night 3, 1997 Unique Polaroid print. 4 5/8 x 3 1/2 in. (11.7 x 8.9 cm). Signed in ink in the margin.

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

41

42

43

41 PATRICK DEMARCHELIER b. 1943 Christy, New York, 1986 Gelatin silver print. 18 1/4 x 18 5/8 in. (46.4 x 47.3 cm). Signed, titled, dated, numbered 3/20 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the flush-mount.

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

42 PATRICK DEMARCHELIER b. 1943 Azzedine AlaĂŻa & Yasmeen, 1991 Gelatin silver print. 17 1/2 x 14 1/4 in. (44.5 x 36.2 cm). Signed, titled, dated and numbered 4/20 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the flush-mount.

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

44

4 3 PATRICK DEMARCHELIER b. 1943 Shalom, Venice, 1993 Gelatin silver print. 17 5/8 x 12 7/8 in. (44.8 x 32.7 cm). Signed, titled, dated, numbered 3/20 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the flush-mount.

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

4 4 PATRICK DEMARCHELIER b. 1943 Yasmeen, St. BarthĂŠlemy, West Indies, 1995 Gelatin silver print. 21 1/2 x 15 5/8 in. (54.6 x 39.7 cm). Signed, titled, dated, numbered 3/20 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the flush-mount.

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

45

46

4 5 PATRICK DEMARCHELIER b. 1943 Christy Turlington, New York, 1990 Platinum-palladium print, printed 1996. 20 1/4 x 16 3/8 in. (51.4 x 41.6 cm). Signed, dated ‘1996’ and annotated ‘PP’ in pencil in the margin. One from an edition of 25 plus printer’s proof.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Acquired directly from the artist

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

4 6 JAMES GALANOS b. 1924 Untitled, 2006 Giclee print. 20 x 30 in. (50.8 x 76.2 cm). Signed, dated and numbered 1/9 in ink on the verso.

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

James Galanos is a world renowned California-based fashion designer celebrated for his elegant lines reminiscent of French

47

haute couture, and best known for the embroidered lace gown worn

by Nancy Reagan to her husband’s inaugural ball in 1981. After retiring from fashion in 1998, Galanos turned his attention to abstract photography. With simple subjects such as fabric or ribbon, Galanos creates images based on the same tenents of form and color used throughout his career as a designer.

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

47 JAMES GALANOS b. 1924 Untitled, 2006 Giclee print. 20 x 30 in. (50.8 x 76.2 cm). Signed, dated and numbered 1/9 in ink on the verso.

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

48

4 8 NAN GOLDIN b. 1953 James at Jean Colonna fitting, Paris, 1995 Dye destruction print. 19 x 13 7/8 in. (48.3 x 35.2 cm). Signed, titled, dated and numbered 9/10 in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York

49

49 NAN GOLDIN b. 1953 James backstage at the Ghost show, Paris, 1995 Dye destruction print. 19 5/8 x 13 7/8 in. (49.8 x 35.2 cm). Signed, titled, dated and numbered 9/10 in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York

5 0 NAN GOLDIN b. 1953 James on stage at the Richard Tyler show, NYC, 1995 Dye destruction print. 13 3/4 x 20 in. (34.9 x 50.8 cm). Signed, titled, dated and numbered 9/10 in ink on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York

50

51

52

51 NOBUYOSHI ARAKI b. 1940

52 NOBUYOSHI ARAKI b. 1940

Untitled, 1990s

Untitled, 1990s

Dye destruction print. 23 3/8 x 18 3/4 in. (59.4 x 47.6 cm). Signed in ink on

Dye destruction print. 23 1/8 x 18 3/4 in. (58.7 x 47.6 cm). Signed in ink on the verso.

the verso.

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

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE White Cube, London PROVENANCE White Cube, London

53

54

5 3 NOBUYOSHI ARAKI b. 1940

5 4 NOBUYOSHI ARAKI b. 1940

Untitled, 1997

Untitled, 1994

Dye destruction print. 18 1/4 x 23 in. (46.4 x 58.4 cm). Signed in pencil on

Dye destruction print. 18 1/4 x 23 in. (46.4 x 58.4 cm). Signed in pencil on

the verso.

the verso.

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

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

LITERATURE Taschen, Araki, p. 257

LITERATURE Taschen, Araki, pp. 132-133

PROVENANCE White Cube, London

PROVENANCE White Cube, London

5 5 LUIS GONZÁLEZ PALMA b. 1957 El Angel, 1991 Gelatin silver print with applied oil paint. 36 x 36 in. (91.4 x 91.4 cm). Signed, titled and dated in pencil on the verso. Designated ‘Museum Shows AP2’ from an edition of 5 plus 2 artist’s proofs.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Schneider Gallery, Chicago; Phillips de Pury & Company,

25 April 2007, lot 359 LITERATURE High Museum of Art, Chorus of Light: Photographs from the

Sir Elton John Collection, p. 51

In the early to mid 1990s, Luis González Palma created two sets of exhibition prints to travel throughout Europe and the Americas. After the prints had been exhibited in various venues over several years, he retired the pieces and created a new traveling set of exhibition prints. Palma retained the Americas set for his private collection and the European set, in which El Angel was included, was sold with the designation ‘Museum Shows AP2’.

56

5 6 ANDRES SERRANO b. 1950 Johnny from Nomads, 1990 Dye destruction print. 59 1/2 x 49 in. (151.1 x 124.5 cm). Signed in ink, printed title, date and number 3/4 on labels affixed to the reverse of the frame.

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Acquired directly from the artist

57

57 ANDRES SERRANO b. 1950 Mary from Nomads, 1990 Dye destruction print. 59 1/2 x 49 in. (151.1 x 124.5 cm). Signed in ink, printed title, date and number 2/4 on labels affixed to the reverse of the frame.

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Acquired directly from the artist

5 8 SEBASTIÄO SALGADO b. 1944 Iceberg between Paulet Islands & the Shetlands Islands, Antarctica from Genesis, 2005 Gelatin silver print. 21 1/2 x 29 3/4 in. (54.6 x 75.6 cm). Signed, titled ‘Antartica’ [sic] and dated in pencil on the verso.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the artist

Sebastiäo Salgado’s photographs, be it of countryside migrants living in major cities or gold miners in Brazil’s Serra Pelada, are known for their humanitarian touch. In his more recent work, however, the famed Brazilian photographer has shifted the spotlight from social systems to ecosystems whilst maintaining his signature sensible style. The natural subjects depicted in the images are spots Salgado believes to have eluded the adverse effects of globalization, and as such function as reminders of a purer, cleaner world, one that has remained untouched by the passing of time and the intervention of Mankind. The Antarctica images are portraits of Nature at its finest, invoking reverence, humility and inspiration in the viewers. A tireless advocate for the environment, Salgado spends up to months at a time inhabiting the places he photographs. Each image is imbued with the unshakeable patience and majestic sensitivity that have come to typify his work.

5 9 SEBASTIÄO SALGADO b. 1944 Chinstrap Penguins (Pygoscelis Antarctica), Deception Island, Antarctica from Genesis, 2005 Gelatin silver print. 29 3/4 x 21 1/2 in. (75.6 x 54.6 cm). Signed, titled ‘Antarctica’ and dated in pencil on the verso.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the artist

60

61

6 0 SIMEN JOHAN b. 1973

61 ROBERT AND SHANA PARKEHARRISON b. 1968 & b. 1964

Untitled #133 (Moose) from Until the Kingdom Comes, 2006

The Scribe, 2006

Color coupler print, Diasec mounted. 63 7/8 x 80 3/4 in. (162.2 x 205.1 cm). Signed,

Color coupler print with varnish. 63 7/8 x 80 3/4 in. (162.2 x 205.1 cm). Signed by

titled, dated and numbered 5/5 in ink on the reverse of the flush-mount.

both artists, titled, dated and numbered 2/4 in pencil on a label affixed to the

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

reverse of the aluminum flush-mount.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Yossi Milo Gallery, New York PROVENANCE Jack Shainman Gallery, New York

6 2 ANDREW MOORE b. 1957 Four Trees, Ferrapontou, Russia, 2004 Fujicolor Crystal Archive print. 26 1/2 x 34 in. (67.3 x 86.4 cm). Signed, titled, dated and numbered 8/10 in ink on the reverse of the acrylic flush-mount.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Yancey Richardson Gallery, New York

6 3 GREGORY CREWDSON b. 1962 Untitled (Snowy Valley), Winter, 2006 Archival pigment print. 56 3/4 x 87 3/4 in. (144.1 x 222.9 cm). Signed in ink, printed title, date and number 6/6 on a label affixed to the reverse of the mount.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Gagosian Gallery, Los Angeles; to the present Private Collection,

New York

64

6 4 ANASTASIA KHOROSHILOVA b. 1978

Baltiysk #8, 2005 Color coupler print, flush-mounted. 39 1/2 x 31 1/2 in. (100.3 x 80 cm). Signed, titled, dated and numbered 3/6 in ink on a label accompanying the work.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Galerie Ernst Hilger, Vienna

6 5 YEONDOO JUNG b. 1969 Location #26, 2008 Color coupler print. 47 1/4 x 60 1/4 in. (120 x 153 cm). Signed in ink, printed title, date and number 3/5 on gallery labels affixed to the reverse of the frame.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Tina Kim Gallery, New York

65

66

6 6 ANNIKA LARSSON b. 1972 Untitled (polisi), 2002 Dye destruction print. 29 x 39 in. (73.7 x 99.1 cm). Signed in ink, printed title, date and number 3/3 on gallery labels affixed to the reverse of the aluminum flushmount.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE AndrĂŠhn-Schiptjenko, Stockholm

67 NO LOT

6 8 SANDY SKOGLUND b. 1946 Gathering Paradise, 1991 Dye destruction print, flush-mounted. 47 x 60 1/4 in. (119.4 x 153 cm). Signed, titled, dated and numbered 24/30 in ink on the recto.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, Amsterdam LITERATURE Morton, Sandy Skoglund: Reality Under Siege, p. 67

69

6 9 TINA BARNEY b. 1945

70

The Schoolgirls from The Europeans, 2001 Color coupler print, printed 2006. 31 1/2 x 40 in. (80 x 101.6 cm). Signed, dated ‘2006’ and numbered 1/5 in ink on the recto.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Janet Borden Gallery, New York; to the present Private Collection,

New York LITERATURE Steidl, Tina Barney: The Europeans, p. 67

70 WILLIAM WEGMAN b. 1943 Contemplating the Bust of Man Ray, 1978 Gelatin silver print. 7 1/4 x 7 in. (18.4 x 17.8 cm). Signed, dated and numbered AP 3/5 in pencil on the verso. One from an edition of 20 plus 5 artist’s proofs.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Wegman, William Wegman: Photographic Works 1969-1976, p. 200

71

71 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 3/12 in ink on the verso. One from an edition of 25 plus 12 artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE D. Elger, Felix Gonzalez-Torres, Catalogue Raisonné, p. 130

72

72 DESIREE DOLRON b. 1963 Roy and Sellien, 2003 Dye destruction print. 15 7/8 x 23 5/8 in. (40.3 x 60 cm). Signed, dated and numbered 2/8 in ink on the reverse of the frame; signed, dated and numbered 2/8 in ink on a label accompanying the work.

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

73 ERWIN OLAF b. 1959 The Classroom from Hope, 2005 Lambda print, Diasec mounted. 47 3/8 x 66 3/4 in. (120.3 x 169.5 cm). Signed, titled, dated and numbered 6/10 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Reflex Gallery, Amsterdam LITERATURE Aperture, Erwin Olaf, pp. 20-21

74 ERWIN OLAF b. 1959 The Boxing School from Hope, 2005 Lambda print, Diasec mounted. 27 5/8 x 39 1/4 in. (70.2 x 99.7 cm). Signed, titled, dated and numbered 10/12 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 LITERATURE Aperture, Erwin Olaf, pp. 46-47

75 HIROSHI SUGIMOTO b. 1948 Austrian Post Office Savings Bank, 2001 Gelatin silver print, flush-mounted. 58 3/4 x 47 in. (149.2 x 119.4 cm). Signed in ink, printed title, date and number 2/5 on an artist’s label affixed to the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Gallery Koyanagi, Tokyo; to the present Private Collection,

New York LITERATURE de Michelis, Fitzpatrick, Bonami, Sugimoto & Yau, Sugimoto:

Architecture, pp. 30-31

76

76 ERWIN WURM b. 1954 Indoor Sculpture from CC-Graz (Man in carpet), 2001 Color coupler print, printed 2003. 39 x 46 3/4 in. (99.1 x 118.7 cm). Signed, titled, dated and numbered 2/5 in ink on a label affixed to the reverse of the frame.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE art:concept, Paris

77

7 7 Gﾃ傍Z DIERGARTEN b. 1972 Gouville 49, 2002 Color coupler print, Diasec mounted. 39 x 39 1/4 in. (99.1 x 99.7 cm). Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Kicken Gallery, Berlin

78 SCOTT PETERMAN b. 1968 Ecatepec, 2006 Color coupler print, Diasec mounted. 47 x 61 in. (119.4 x 154.9 cm). Signed and numbered 3/5 in ink on a label affixed to the reverse of the frame.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Higher Pictures, New York EXHIBITED Global Cities, Tate Modern, London, 20 June- 27 August 2007, another

example of this print exhibited

78

79

80

79 LORETTA LUX b. 1969

8 0 LORETTA LUX b. 1969

Study of a Girl 2, 2002

Troll 3, 2000

Dye destruction print. 9 x 9 in. (22.9 x 22.9 cm). Signed, dated and numbered 2/20

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

in pencil on the verso.

numbered 14/20 in pencil on the verso.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0

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

PROVENANCE Galerie f5, 6, Munich

PROVENANCE Torch Gallery, Amsterdam

LITERATURE Aperture, Loretta Lux, p. 59

LITERATURE Aperture, Loretta Lux, p. 19

81

81 RUUD VAN EMPEL b. 1958 Moon #2, 2005 Dye destruction print, Diasec mounted. 33 x 23 1/2 in. (83.8 x 59.7 cm). Signed, titled, dated and numbered 8/12 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

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

8 2 RUUD VAN EMPEL b. 1958 World #20, 2006 Dye destruction print, Diasec mounted. 33 x 23 3/8 in. (83.8 x 59.4 cm). Signed, titled, dated and numbered 1/13 in ink on an artist’s label affixed to the reverse of the aluminum flush-mount.

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

83

8 3 VEE SPEERS b. 1962

8 4 ANDREW MOORE b. 1957

Untitled #15 from The Birthday Party, 2007

Restoration Studio, Russia, 2002

Color coupler print, Diasec and flush-mounted. 47 1/4 x 37 3/4 in. (120 x 95.9 cm).

Fujicolor Crystal Archive print. 36 1/4 x 47 3/8 in. (92.1 x 120.3 cm). Signed in ink,

Signed in ink, printed title, date and number 5/6 on a gallery label accompanying

printed title, date and number 1/5 on a gallery label accompanying the work.

the work.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Yancey Richardson Gallery, New York PROVENANCE Galerie Anita Beckers, Frankfurt

84

85

8 5 SARAH MOON b. 1940 Mode #2 (Yohji Yamamoto), 1999 Pigment transfer print. 24 x 18 in. (61 x 45.7 cm). Blindstamp credit in the margin; signed, titled ‘Fashion 2’, dated and numbered 5/15 in pencil on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

86

8 6 FIROOZ ZAHEDI b. 1949 Uma Thurman/ Pulp Fiction, 1994 Color coupler print, printed 2008. 39 x 30 3/4 in. (99.1 x 78.1 cm). Signed and numbered 2/30 in ink in the margin.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, Los Angeles

87

87 MILES ALDRIDGE b. 1964 Like a Painting #3, 2005 Lambda print, Diasec mounted. 60 x 45 in. (152.4 x 114.3 cm). Signed in ink, printed title, date and number 1/3 on an artist’s label affixed to the reverse of the aluminum flush-mount.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 LITERATURE Vogue Italia, February 2005

8 8 BIEN-U BAE b. 1950 Sonamoo, 1986 Color coupler print, Diasec mounted. 78 7/8 x 63 in. (200.3 x 160 cm). Signed in ink, printed title, date and number 4/5 on an artist’s label affixed to the reverse of the frame.

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

88

90

89

8 9 NOBUYOSHI ARAKI b. 1940

9 0 ADAM FUSS b. 1961

Kaori, 2004

Woman Weeping from My Ghost, 1999

Dye destruction print. 30 x 23 1/2 in. (76.2 x 59.7 cm). Signed in ink on the verso.

Unique gelatin silver photogram, mounted. 38 3/8 x 29 1/8 in. (97.5 x 74 cm).

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

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Sotheby’s, London, 16 May 2006, lot 100 LITERATURE Fuss, My Ghost, n.p. for a variant; Kellein, Adam Fuss, pl. 89 for a

variant

92

91

91 DAIDO MORIYAMA b. 1938

9 2 SANTE D’ORAZIO b. 1956

How to Create a Beautiful Picture 6: Tights in Shimotakaido, 1987

Momento XVIII, 2008

Gelatin silver print. 13 1/8 x 8 7/8 in. (33.3 x 22.5 cm). Signed in pencil on the verso.

Gelatin silver print. 47 1/4 x 33 1/2 in. (120 x 85 cm). Signed in ink on an artist’s

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Taka Ishii Gallery, Tokyo

label affixed to the reverse of the aluminum flush-mount. Number 2 from an edition of 5.

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

9 3 THOMAS RUFF b. 1958 Nude ev19, 2006 Color coupler print, Diasec mounted. 56 x 36 in. (142.2 x 91.4 cm). Signed, titled, dated and numbered 4/5 in pencil on the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Johnen Galerie, Berlin

9 4 MICHAEL WOLF b. 1954 Architecture of Density #39, 2005 Lambda print, Diasec mounted. 48 x 72 in. (121.9 x 182.9 cm). Signed in ink, printed title, date and number 9/9 on a label accompanying the work.

Estimate $ 1 5 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Fifty One Fine Art Photography, Antwerp

95

96

9 5 AHMET ERTUG b. 1949

9 6 AHMET ERTUG b. 1949

Salle Labrouste, Bibliothèque Nationale de France, Paris, 2008

The Library of Trinity College, “The Long Room,” Dublin, 2008

Light Jet print. 86 7/8 x 70 7/8 in. (220.7 x 180 cm). Signed, dated and numbered 1/5

Light Jet print. 70 7/8 x 86 7/8 in. (180 x 220.7 cm). Signed, dated and numbered 1/5

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

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

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

EXHIBITED Temples du savoir, Bibliothèque Nationale de France,

EXHIBITED Temples du savoir, Bibliothèque Nationale de France,

12 May- 12 July 2009

12 May-12 July 2009

LITERATURE Ertug, Temples of Knowledge: Libraries of the Western World, pl. 13

LITERATURE Ertug, Temples of Knowledge: Libraries of the Western World, pl. 92

97 IDRIS KHAN b. 1978 Mozart‌. Requiem (Venice 2005), 2006 Color coupler print, flush-mounted. 95 5/8 x 69 1/2 in. (242.9 x 176.5 cm). Signed, dated and numbered 3/6 in ink on the reverse of the frame.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Victoria Miro, London

98

9 8 MARK SELIGER b. 1959

9 9 GAVIN BOND b. 1970

Mod Fashion, 2006

Redemption, 2008

Digital color coupler print. 30 x 40 in. (76.2 x 101.6 cm). Signed, dated and

Color coupler print. 60 x 40 in. (152.4 x 101.6 cm). Signed and numbered 1/2 in ink

numbered 2/10 in ink on a label accompanying the work.

on a label accompanying the work.

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

99

100

10 0 GAVIN BOND b. 1970 Ménage à trois, Platinum Series, 2009 Digital color coupler print. 60 x 40 in. (152.4 x 101.6 cm). Signed and numbered 1/1 in ink on a label accompanying the work.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Acquired directly from the artist

101 MARIO TESTINO b. 1954 Kate with cigarette, London, 2006 Gelatin silver print, mounted, printed 2008. 48 1/2 x 73 1/4 in. (186 x 123.5 cm).

Signed and dated ‘2008’ in ink on a gallery label affixed to the reverse of the frame. Number 1 from an edition of 3.

Estimate $ 2 8 , 0 0 0 - 3 2 , 0 0 0

101

103

102

10 2 KIM JOON b. 1966

10 3 JACK PIERSON b. 1960

Blue Fish 2, 2008

Hell, 1997

Color coupler print. 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm). Signed, titled and

Color coupler print, flush-mounted. 19 3/4 x 15 7/8 in. (50.2 x 40.3 cm). Signed,

numbered 1/5 in ink on an artist’s label accompanying the work.

titled, dated and annotated ‘AP’ in ink on the verso. One from an edition of 3 plus

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

artist’s proofs.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York PROVENANCE Barbara Mathes Gallery, New York

104

10 4 PIPILOTTI RIST b. 1962 How Many Steps, 2002 Duraflex diptych, Diasec mounted. Each 10 1/2 x 13 3/4 in. (26.7 x 34.9 cm). Signed in ink, printed title, date and number 13/25 on a gallery label affixed to the reverse of the aluminum flush-mount.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Galerie Hauser & Wirth, Zürich

10 5 THOMAS RUFF b. 1958 Nude ox03, 2006 Color coupler print, Diasec mounted. 59 3/8 x 39 1/2 in. (150.8 x 100.3 cm).

Signed, titled, dated and numbered 2/5 in pencil on the reverse of the frame.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Johnen Galerie, Berlin

106

10 6 MASSIMO VITALI b. 1944

107 MASSIMO VITALI b. 1944

Atlantic Birds Grande, 2006

Polyptych in 8 parts: Knokke, 2002

Color coupler print, Diasec mounted. 59 x 77 in. (149.9 x 195.6 cm). Signed, titled

Eight offset lithographs from A Portfolio of Landscapes with Figures. Each 34 x 27

‘Atlantic Beach Birds’, dated and numbered 1/6 in ink on a label affixed to the

5/8 in. (86.4 x 70.2 cm). Each numbered sequentially 39-46 in an unidentified hand

reverse of the acrylic flush-mount.

in ink with credit and edition stamps on the verso. Each number 105 from an

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

edition of 120.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE M+B Gallery, Los Angeles

107

10 8 EDWARD BURTYNSKY b. 1955 Shipbreaking #28, Chittagong, Bangladesh, 2001 Color coupler print. 40 1/8 x 50 1/8 in. (101.9 x 127.3 cm). Signed in ink, printed title, date and number AP1 on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Robert Koch Gallery, San Francisco

10 9 ALEC SOTH b. 1969 Patrick, Palm Sunday, Baton Rouge, Louisiana, 2002 Color coupler print, printed 2006. 49 1/2 x 39 1/2 in. (125.7 x 100.3 cm). Signed, titled, dated ‘2006’ and numbered AP 1/2 in ink on a label affixed to the reverse of the aluminum flush-mount. One from an edition of 5 plus 2 artist’s proofs.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Weinstein Gallery, Minneapolis LITERATURE Klochko, Picturing Eden, p. 77; Steidl, Sleeping by the Mississippi:

Photographs by Alec Soth, pl. 41

110

111

110 DAVID HILLIARD b. 1964 Rising, 1998 Color coupler tetraptych, Diasec and flush-mounted. Each 15 x 18 5/8 in. (38.1 x 47.3 cm). Signed in ink, printed title, date and number 7/10 on a gallery label accompanying the work.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Bernard Toale Gallery, Boston

111 ALEC SOTH b. 1969 Cadillac Motel, 2005 Color coupler print, printed 2006. 30 x 24 in. (76.2 x 61 cm). Signed in ink, printed title, date ‘2006’ and number 10/10 on a gallery label affixed to the reverse of the aluminum flush-mount.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Weinstein Gallery, Minneapolis LITERATURE Steidl, Alec Soth: Niagara, p. 81

112

113

112 LIU REN b. 1980

113 LIU REN b. 1980

Someday, Somewhere 04, 2005

Someday, Somewhere 01, 2005

Fujicolor Crystal Archive print. 35 x 32 in. (88.9 x 81.3 cm). Signed, titled in

Fujicolor Crystal Archive print. 24 3/4 x 35 3/8 in. (62.9 x 89.9 cm). Signed, titled in

Chinese, dated, numbered 2/6 and annotated ‘04’ in ink in the margin.

Chinese, dated, numbered 1/6 and annotated ‘01’ in ink on the recto.

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

114

114 HONG HAO b. 1965 My Things No. 2, 2001-2002 Color coupler print. 47 3/8 x 82 5/8 in. (120.3 x 209.9 cm). Signed, titled and dated in ink in the margin.

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

115 116

115 THOMAS STRUTH b. 1954 Shanxi Nan Lu 2, Shanghai, 1996 Light Jet print, printed 2005. 15 x 19 in. (38.1 x 48.3 cm). Signed, titled, dated and

117

numbered 1/10 in pencil on the verso.

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

116 ZHANG DALI b. 1963 Demolition- Forbidden City, 1998 Color coupler print, mounted. 35 x 23 1/2 in. (88.9 x 59.7 cm). Signed, dated and numbered 2/10 in pencil in the margin.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE CourtYard Gallery, Beijing

118

117 LIU ZHENG b. 1969 Xinjiang Girl Working in a Textile Factory, Hetian, Xinjiang Province, 1996 Gelatin silver print, printed 2004. 14 3/4 x 14 5/8 in. (37.5 x 37.1 cm). Signed, dated ‘2004’ and numbered 2/20 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE CourtYard Gallery, Beijing LITERATURE Zheng and Phillips, Liu Zheng: The Chinese, n.p.

118 LIU ZHENG b. 1969 Convicts Fetching Water, Baoding, Hebei Province, 1995 Gelatin silver print, printed 2004. 14 3/4 x 14 5/8 in. (37.5 x 37.1 cm). Signed, dated ‘2004’ and numbered 3/20 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE CourtYard Gallery, Beijing LITERATURE Zheng and Phillips, Liu Zheng: The Chinese, cover

119 EDWARD BURTYNSKY b. 1955 Old Factories #1, Fushun Aluminum Smelter, Fushun City, Liaoning Province, China, 2005 Color coupler print. 47 3/4 x 59 1/2 in. (121.3 x 151.1 cm). Signed in ink, printed title, date and number 2/6 on a label affixed to the reverse of the flush-mount.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Nicholas Metivier Gallery, Toronto LITERATURE Steidl, Edward Burtynsky: China, p. 49

120

12 0 EDWARD BURTYNSKY b. 1955

121 VIRGINIA BEAHAN & LAURA MCPHEE b. 1946 & b. 1958

Oil Refineries #22, Saint John, New Brunswick, 1999

The Blue Lagoon, Svartsengi Geothermal Pumping Station, Iceland, 1988

Digital color coupler print. 15 x 12 in. (38.1 x 30.5 cm). Signed in ink, printed title,

Color coupler print. 29 1/4 x 37 in. (74.3 x 94 cm). Signed by both artists, titled and

date and number 5/15 on a label accompanying the work.

dated in ink in the margin. One from an edition of 20 plus artist’s proofs.

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

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

LITERATURE Pauli, Manufactured Landscapes: The Photographs of Edward

LITERATURE Aperture, No Ordinary Land: Encounters in a Changing Environment,

Burtynsky, p. 131

Photographs by Virginia Beahan & Laura McPhee, cover

121

122

123

12 2 SEBASTIÄO SALGADO b. 1944 Church Gate Station, Western Railroad Line, Bombay, India, 1995 Gelatin silver print, printed later. 13 5/8 x 20 1/2 in. (34.6 x 52.1 cm). Blindstamp credit in the margin; signed, titled ‘India’ and dated in pencil on the verso.

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

12 3 DODO JIN MING b. 1955 Free Element Plate XXXII, 2002 Gelatin silver print. 31 1/2 x 34 3/4 in. (80 x 88.3 cm). Signed, titled, dated and numbered 2/10 in pencil in the margin.

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

124

124 SEBASTIÄO SALGADO b. 1944 Serra Pelada gold mine, Brazil, 1986 Gelatin silver print, printed later. 20 1/2 x 13 1/2 in. (52.1 x 34.3 cm). Blindstamp credit in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 - 6 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York LITERATURE Haworth-Booth, The Folio Society Book of the 100 Greatest

Photographs, p. 201

125

126

125 ABELARDO MORELL b. 1948

12 6 SOPHIE CALLE b. 1953

Camera obscura image of the Brooklyn Bridge in bedroom, 1999

Les Tombes- Mother/Father, 1990

Gelatin silver print, flush-mounted. 31 1/2 x 40 in. (80 x 101.6 cm). Signed, titled

Gelatin silver diptych. Each 22 x 14 3/8 in. (55.9 x 36.5 cm). Credited, titled, dated,

and dated in ink in the margin. Number 11 from an edition of 15.

numbered 5/7 and annotated 1/2, 2/2 respectively, in an unidentified hand in

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

pencil on a gallery label affixed to the reverse of each aluminum flush-mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Danziger Projects, New York

128

127

127 JEFF BARK b. 1963

12 8 BIANCA BRUNNER b. 1974

Plug, 2005

Limbo 5, 2004

Digital color coupler print. 43 x 57 in. (109.2 x 144.8 cm). Signed, titled and

Color coupler print. 41 3/8 x 50 1/4 in. (105.1 x 127.6 cm). Signed in ink, printed title,

numbered 1/8 in ink on an artist’s label accompanying the work.

date and number 4/5 on a label accompanying the work.

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

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

PROVENANCE Michael Hoppen Gallery, London

PROVENANCE Michael Hoppen Gallery, London

129

12 9 KATY GRANNAN b. 1969 Middleton, WI, 2000 Color coupler print. 44 1/2 x 35 in. (113 x 88.9 cm). Signed in ink, printed title, date and number 2/6 on gallery labels accompanying the work.

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

130

13 0 SIMEN JOHAN b. 1973 Untitled #106, 2002 Color coupler print. 43 5/8 x 43 5/8 in. (110.8 x 110.8 cm). Signed, titled, dated and numbered 5/8 in ink on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Yossi Milo Gallery, New York

131

Photographers include Vik Muniz, Candida Hรถfer, Naomi Fisher,

131 VARIOUS PHOTOGRAPHERS Photobox 01

Isaac Julien, Nikki S. Lee, Malerie Marder, Zwelethu Mthethwa,

New York: New Museum of Contemporary Art, 2001. Five color coupler prints,

Catherine Opie and Miguel Rio Branco

three Fujicolor Crystal Archive prints and one dye destruction print. Varying sizes from 12 7/8 x 19 in. (32.7 x 48.3 cm) to 19 5/8 x 24 in. (49.8 x 61 cm) or the reverse.

Each variously signed, titled, dated and numbered 26/40 in ink on the verso, Certificate of Authenticity or on a label accompanying the work. Contained in a linen clamshell case.

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

132

13 2 THOMAS RUFF b. 1958 Selected Portraits, 1984-1985 Four color coupler prints. Each approximately 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm). Each signed and dated in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Winzen, Thomas Ruff, n.p.

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13 3 LAURIE SIMMONS b. 1949 Tourism, Barcelona, 1994 Dye destruction print. 27 x 39 in. (68.6 x 99.1 cm). Signed, titled, dated and annotated ‘AP’ in pencil on the reverse of the frame.

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

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13 4 TRACEY MOFFATT b. 1959 Something More # 1, 1989 Dye destruction print, mounted. 37 1/2 x 49 1/2 in. (95.3 x 125.7 cm). Printed title, date and number AP on a gallery label affixed to the reverse of the frame.

One from an edition of 30 plus artist’s proofs.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York LITERATURE Cantz, Tracey Moffatt, p. 55; Fundació “La Caixa” el Centre National

de la Photographie, Tracey Moffatt, cover and p. 32; Grosenick and Riemschneider, Art at the Turn of the Millennium, p. 394; High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 198; Martin, “Tracey Moffatt’s Austrailia”, Parkett, No. 53, p. 23; Reinhardt, Berg and Tolnay, Tracey Moffatt: Laudanum, p.10

135 136

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13 5 BILL JACOBSON b. 1955

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13 6 NAN GOLDIN b. 1953

Interim Portrait #245, 1994

French Chris at Drive-in, New Jersey, 1979

Gelatin silver print. 37 5/8 x 29 5/8 in. (95.6 x 75.2 cm). Signed, titled, dated and

Dye destruction print. 26 1/2 x 39 in. (67.3 x 99.1 cm). Signed, titled, dated and

annotated ‘edition of 5’ in pencil on the reverse of the mount.

numbered 21/25 in ink on the reverse of the flush-mount.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Fraenkel Gallery, San Francisco LITERATURE Armstrong, Nan Goldin: A Double Life, pl. 78; Armstrong and

Sussman, Nan Goldin: I’ll be Your Mirror, pp. 116-117; Korinsha Press, Nan Goldin: Couples and Loneliness, p. 13

137

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

137 LAURIE SIMMONS b. 1949 Jane, 1988 Dye destruction print. 25 x 34 in. (63.5 x 86.4 cm). Printed title and date on a gallery label affixed to the reverse of the frame. One from an edition of 5.

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

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

138

13 8 WOLFGANG TILLMANS b. 1968 Moby, Lying, 1993 Color coupler print. 12 x 16 in. (30.5 x 40.6 cm) overall. Signed, titled, dated, numbered and annotated ‘Wolfgang Tillmans, Moby, Lying, ph. 1.7.93, prWT July 93, 3/10 + 1’ in ink on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Andrea Rosen Gallery, New York LITERATURE Taschen, Wolfgang Tillmans, n.p.

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13 9 WOLFGANG TILLMANS b. 1968 Andy on Baker Street, 1993 Color coupler print. 20 x 24 in. (50.8 x 61 cm) overall. Signed, titled, dated, numbered and annotated ‘Wolfgang Tillmans, Andy on Baker Street, ph.

Sept. 93, prWT Oct. 93, 1/3 + 1’ in ink on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Andrea Rosen Gallery, New York

139

LITERATURE Phaidon, Wolfgang Tillmans, p. 59; Taschen, Wolfgang Tillmans, n.p.

140

141

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

14 0 WOLFGANG TILLMANS b. 1968 Chris Cunningham, 1998 Color coupler print. 16 x 12 in. (40.6 x 30.5 cm) overall. Signed, titled, dated, numbered and annotated ‘Wolfgang Tillmans, Chris Cunningham, ph 8/98, prWT 9/98, 3/10 + 1’ in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Andrea Rosen Gallery, New York LITERATURE Phaidon, Wolfgang Tillmans, p. 123

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

141 WOLFGANG TILLMANS b. 1968 Paul, Nude, Golfball, 1994 Color coupler print. 16 x 12 in. (40.6 x 30.5 cm) overall. Signed, titled, dated, numbered and annotated ‘Wolfgang Tillmans, Paul, Nude, Golfball, ph 10/94, prWT 7/96, 3/10 + 1’ in ink on the verso.

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

142

143

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

142 ANDREAS GURSKY b. 1955

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

14 3 CANDIDA HÖFER b. 1944

Zürich Bankproject no. 8, 1997

Kunsthalle Karlsruhe VII, 1999

Color coupler print, Diasec mounted. 45 x 36 in. (114.3 x 91.4 cm). Signed, titled,

Color coupler print. 46 3/8 x 46 3/8 in. (117.8 x 117.8 cm). Signed in ink on the

dated and numbered 5/6 in pencil on the verso.

reverse of the mount; printed title, date and number 1/6 on a label affixed to the

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

reverse of the mount.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York PROVENANCE Tomasi Gallery, New York

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

14 4 HIROSHI SUGIMOTO b. 1948 Salvador Dali, 1999 Gelatin silver print, flush-mounted. 58 1/2 x 47 in. (148.6 x 119.4 cm). Signed in ink, printed title, date and number 2/5 on an artist’s label affixed to the reverse of the frame.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Sonnabend Gallery, New York LITERATURE Guggenheim Museum, Sugimoto Portraits, p. 39

ALBERT WATSON: AN ALTERNATE ANGLE

You have many subjects…They must feel confident with you—like you’re

and pensive gaze that she holds, speak of the fondness that grew

holding them tightly in front of you with an invisible hand.

between Watson and Moss, gently highlighting a side of Moss’

Albert Watson, Photo District News, June 2004

personality of which the public was likely unaware. Watson was disinterested in following the visual trajectory of Moss’ portrayal by

To label Albert Watson a photographer is reductive. In fact,

the media and opted for a more solemn, intimate and affectionate

assigning a label of any sort would be futile, for Watson, as reflected

depiction that is as unique of his eye as it is of the model. It is not

by the immense body of work spanning over three decades,

surprising, therefore, that Moss herself has singled out the image as

eludes categorization. His images, at once comfortingly familiar

one of her favorite photographs of herself.

and seductively foreign, eschew formulaic interpretations without compromising the unique, idiosyncratic mark of their creator. By

Watson’s ability to introduce an alternative portrait of his subjects

occupying the sliver of space between categories, they are permitted

can be also be seen in the series titled Shot in Vegas, 2001-2005. In

to ubiquitously pertain to several realms with ease and élan. His

lieu of presenting the predictable scenes of seductive showgirls

landscapes are often as emotive as his portraits; his nudes can be as

in ostentatious costumes, grandiose lobbies with trompe l’oeil

structural as his architectural details; his megastar celebrities may

murals or a sparkling row of casino strips, Watson freely address all

appear as approachable as an intimate friend.

three subjects in his typically understated approach. In Breaunna, Las Vegas Hilton, 2001, (Lot 149) and Breaunna in Cat Mask, Las

In his first celebrity shoot—Alfred Hitchcock for Harper Bazaar, 1973,

Vegas Hilton, 2001, (Lot 147) Watson presents the dominatrix and

(Lot 150) gone are the director’s iconic if at times clichéd silhouette,

stripper in awkward physical poses that speak of timidity and self-

together with the stern three-quarter profile and the chiaroscuro

consciousness. She is more vulnerable than she is sensual, and

close-up. The challenge for Watson was not to refute Hitchcock’s

despite her full nudity, viewers become more drawn to Breaunna’s

more familiar images as much as to explore a formerly obfuscated

mental state above all (Crump, Albert Watson, pl. 104). Similarly, in

aspect within his sitter’s personality. The resulting image—a

Jellyfish Tank, Mandalay Bay Hotel, Las Vegas, 2001, (Lot 154) Watson

revering homage with an undeniably playful undertone, is refreshing.

avoids the visual baits commonly found in hotel lobbies by focusing on a fish tank. The nearly abstract image of fluorescent discs could

The Hitchcock shot was the first in what became a roughly twenty-

perhaps count as one of the most unconventional depictions of a

year dedication to celebrity culture, where iconic stars, from

Vegas hotel lobby in recent memory. It is also in 15 North, Exit 25, Las

Christy Turlington (Lot 146) to Mike Tyson (Lot 148), were portrayed

Vegas, 2001 (Lot 153) that Watson turns the focus to the colorful dusk

in a manner that was anomalous to the norm without appearing

sky as a romantic if bittersweet ode to the much overlooked source of

rebellious of the public’s expectation. The portraits are as much

inspiration—nature, in a city where artificiality reigns supreme.

about the rapport between the photographer and subject as they are about the sitters. In Michael Jackson, New York, 1998, (Lot 155) for

After shooting 250 covers for Vogue worldwide, dozens of museum

example, viewers see the pop icon refracted again and again within

posters, countless campaigns for some of the largest couture

a grid that captures his vitality and versatility. While Jackson’s face

houses, over 500 commercials and endless album covers, as well

is hardly visible, this piece could undoubtedly be considered one of

as winning a multitude of awards—including a Grammy, Watson

his strongest portraits, and a testament to the thrilling spectacle that

continues to work tirelessly, exhibiting no signs of slowing down.

Watson was fortunate to behold, record and share with the public.

Yet, regardless of the role that he chooses to adopt: photographer,

Likewise, in Alan Shepard’s Lunar Suit, Apollo 14, NASA, 1990, (Lot 151)

designer, commentator, photojournalist, documentarian, or friend, it

Watson further challenges the field of portraiture by producing an

is that of the explorer that the man chosen by Photo District News as

image that defies conventionality. The suit becomes a symbol for the

one of the 20 most influential photographers of all times appears to

life-form that once inhabited it, and as such acts as a surrogate for

discuss most readily:

the legacy and grandeur of the famed astronaut.

But I’m also still learning, and I think we always are. It’s a bit of a cliché, In his arguably most iconic image, Kate Moss, Marrakech,

but it’s true. You’re always still exploring things.

Morocco, 1993, (Lot 145) the model is devoid of the heavy styling or accentuation of the model’s then-widely discussed waifish look.

The powers of having an invisible hand, it appears, are likewise

The elegance and simplicity of Moss’ body, combined with the soft

understated.

145

14 5 ALBERT WATSON b. 1942 Kate Moss, Marrakech, Morocco, 1993 Archival pigment print, printed later. 30 x 24 in. (76.2 x 61 cm) overall. Signed, titled, dated and annotated ‘AP’ in ink on the reverse of the aluminum flushmount. One from an edition of 25 plus artist’s proofs.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, p. 87; Schirmer/Mosel, Albert Watson:

The Vienna Album, n.p.; Sony, Frozen: A Retrospective by Albert Watson, pl. 83

14 6 ALBERT WATSON b. 1942 Christy Turlington, New York City, 1990 Archival pigment print, printed later. 24 x 20 in. (61 x 50.8 cm) overall. Signed, titled, dated and numbered 23/25 in ink on the reverse of the aluminum flushmount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, p. 73; Schirmer/Mosel, Albert Watson:

The Vienna Album, n.p.

146

147

147 ALBERT WATSON b. 1942

14 8 ALBERT WATSON b. 1942

Breaunna in Cat Mask, Las Vegas Hilton, 2001

Mike Tyson, Catskills, New York, 1986

Archival pigment print, printed later. 56 x 42 in. (142.2 x 106.7 cm) overall.

Archival pigment print, printed later. 30 x 24 in. (76.2 x 61 cm) overall. Signed,

Signed, titled, dated and numbered 8/10 in ink on the reverse of the aluminum

titled, dated and numbered 21/25 in ink on the reverse of the aluminum flush-

flush-mount.

mount.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

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

PROVENANCE Private Collection, New York

PROVENANCE Private Collection, New York

LITERATURE Schirmer/Mosel, Albert Watson: The Vienna Album, n.p.; Sony,

LITERATURE Crump, Albert Watson, backcover and p. 41; Schirmer/Mosel, Albert

Frozen: A Retrospective by Albert Watson, pl. 67

Watson: The Vienna Album, n.p.

148

149 ALBERT WATSON b. 1942 Breaunna, Las Vegas Hilton, 2001 Color coupler print, printed later. 40 x 88 in. (101.6 x 223.5 cm) overall.

Signed, titled, dated and numbered 5/5 in ink on the reverse of the aluminum flush-mount.

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, pp. 104-105; Schirmer/Mosel, Albert Watson:

The Vienna Album, n.p.

150

151

15 0 ALBERT WATSON b. 1942 Alfred Hitchcock, Los Angeles, 1973 Archival pigment print, printed later. 24 x 20 in. (61 x 50.8 cm) overall. Signed, titled, dated and numbered 3/25 in ink on the reverse of the aluminum flushmount.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 152 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, p. 23; Schirmer/Mosel, Albert Watson: The

Vienna Album, n.p.; Sony, Frozen: A Retrospective by Albert Watson, pl. 60

151 ALBERT WATSON b. 1942 Alan Shepard’s Lunar Suit, Apollo 14, NASA, 1990 Color coupler print, printed later. 96 x 72 in. (243.8 x 182.9 cm) overall.

Signed, titled, dated and numbered 5/5 in ink on the reverse of the aluminum flush-mount.

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, p. 66; Schirmer/Mosel, Albert Watson: The

Vienna Album, n.p.

152 ALBERT WATSON b. 1942 Monkey with Gun, New York City, 1992 Archival pigment print, printed later. 30 x 24 in. (76.2 x 61 cm) overall. Signed, titled, dated and numbered 22/25 ink on the reverse of the aluminum flush-mount.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Schirmer/Mosel, Albert Watson: The Vienna Album, n.p.; Sony,

Frozen: A Retrospective by Albert Watson, pl. 82

15 3 ALBERT WATSON b. 1942 15 North, Exit 25, Las Vegas, 2001 Color coupler print, printed later. 57 x 114 in. (144.8 x 289.6 cm) overall.

Signed, titled, dated and numbered 4/5 in ink on the reverse of the aluminum flush-mount.

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Schirmer/Mosel, Albert Watson, pl. 29; Schirmer/Mosel, Albert

Watson: The Vienna Album, n.p.; Sony, Frozen: A Retrospective by Albert Watson, pl. 33

15 4 ALBERT WATSON b. 1942 Jellyfish Tank, Mandalay Bay, Las Vegas, 2001 Color coupler triptych, Diasec mounted, printed later. Each 60 x 50 in.

(152.4 x 127 cm). Each signed, titled, dated and numbered 4/5 in ink on the reverse of the aluminum flush-mount.

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Private Collection, New York LITERATURE Crump, Albert Watson, pp. 108-109; Schirmer/Mosel, Albert Watson:

The Vienna Album, n.p.; Sony, Frozen: A Retrospective by Albert Watson, pl. 68

15 5 ALBERT WATSON b. 1942 Michael Jackson, New York City, 1998 Color coupler print, printed later. 96 x 58 in. (243.8 x 147.3 cm) overall.

Signed, titled, dated and numbered 2/5 in ink on the reverse of the aluminum flush-mount.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Private Collection, New York

End of Session

1pm Afternoon Session Lots 156-295

15 6 GEORGE TICE b. 1938 Petit’s Mobil Station, Cherry Hill, New Jersey, 1974 Selenium toned gelatin silver print, printed 2001. 15 1/4 x 19 1/8 in. (38.7 x 48.6 cm).

Signed in pencil on the mount.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE W.W. Norton & Co, George Tice: Urban Landscapes, cover

157

158

157 GEORGE TICE b. 1938

15 8 GEORGE TICE b. 1938

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

Strand Theater, Keyport, New Jersey, 1973

Selenium toned gelatin silver print, printed 2002. 15 1/4 x 19 1/8 in. (38.7 x 48.6 cm).

Selenium toned gelatin silver print, printed 1990. 15 3/8 x 19 in. (39.1 x 48.3 cm).

Signed in pencil on the mount.

Signed in pencil on the mount.

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

LITERATURE Tice, Urban Landscapes: A New Jersey Portrait, cover

159

160

15 9 GEORGE TICE b. 1938

16 0 GEORGE TICE b. 1938

Telephone Booth, 3 a.m., Rahway, New Jersey, 1974

Wall Street, New York, 1987

Selenium toned gelatin silver print, printed 2000. 19 3/8 x 15 1/8 in. (49.2 x 38.4 cm).

Selenium toned gelatin silver print, printed 2001. 19 3/8 x 13 in. (49.2 x 33 cm).

Signed in pencil on the mount.

Signed in pencil on the mount.

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

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

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

162

161

163

164

161 ROBERT MAPPLETHORPE 1946-1989 Marcus Leatherdale, 1978 Gelatin silver print, flush-mounted. 18 x 13 7/8 in. (45.7 x 35.2 cm). Signed, dated and inscribed ‘For Marcus’ in pencil in the margin.

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

16 2 ROBERT MAPPLETHORPE 1946-1989 Tyrone, 1987 Gelatin silver print. 5 x 7 in. (12.7 x 17.8 cm). Signed in pencil and printed ‘Just to thank you’ on the mount.

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

16 3 EIKOH HOSOE b. 1933 Embrace #60, 1971 Gelatin silver print, printed later. 8 1/8 x 12 in. (20.6 x 30.5 cm). Signed in pencil in the margin; signed, titled and dated in pencil on the verso.

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

16 4 HELMUT NEWTON 1920-2004 David Bowie, Monte-Carlo, 1982 Gelatin silver print. 8 x 6 in. (20.3 x 15.2 cm). Signed, titled, dated and inscribed in ink in the margin.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

166

165

16 5 HELMUT NEWTON 1929-2004 At Karl Lagerfeld’s, Paris, 1974 Gelatin silver print. 8 1/8 x 12 3/8 in. (20.6 x 31.4 cm). Signed, titled and dated in pencil on the verso.

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

16 6 HIRO b. 1930 Barbara Carrera in Brigance, East Hampton, New York, 1970 Gelatin silver print, printed later. 18 3/4 x 13 in. (47.6 x 33 cm). Signed, numbered 6/15 in pencil, title, date and copyright credit reproduction limitation stamps on the reverse of the flush-mount.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Christie’s, New York, 3 October 1996, lot 416

167 CINDY SHERMAN b. 1954 Untitled, 1976 Gelatin silver print, printed 2005. 7 3/8 x 5 in. (18.7 x 12.7 cm). Signed, dated and numbered 6/20 in pencil on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Barbara Krakow Gallery, Boston

167

168

16 8 HELENA ALMEIDA b. 1934 Work- 32 (Entrada 1), 1977 Gelatin silver print. 15 1/2 x 10 5/8 in. (39.4 x 27 cm). Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mount.

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

169

16 9 HELENA ALMEIDA b. 1934 Work- 32 (Entrada 1), 1977 Gelatin silver print. 15 1/2 x 10 5/8 in. (39.4 x 27 cm). Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mount.

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

170 HELENA ALMEIDA b. 1934 Work- 33, 1978 Six gelatin silver prints with ink and horsehair. Each 19 3/8 x 15 1/4 in.

(49.2 x 38.7 cm). One signed and dated in ink on the recto; each signed, titled, dated, numbered 2/3 and sequentially numbered 1-6 in ink on the reverse of the flush-mount.

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

172 171

171 LARRY CLARK b. 1943 Vinnie from Teenage Lust, 1979 Gelatin silver print, printed later. 12 5/8 x 8 1/2 in. (32.1 x 21.6 cm). Signed, titled, dated and numbered 5/25 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 173

172 LARRY CLARK b. 1943 Selected Images, 1970s Three gelatin silver prints. Varying sizes from 5 1/2 x 8 3/8 in. (14 x 21.3 cm) to 8 1/8 x 12 3/8 in. (20.6 x 31.4 cm) or the reverse. Each signed in ink or pencil in the margin or on the verso; one print dated and annotated in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Clark, Tulsa, n.p.

174

173 LARRY CLARK b. 1943 Untitled from Tulsa, 1971 Gelatin silver print. 8 1/4 x 12 1/2 in. (21 x 31.8 cm). Signed in pencil on the verso.

Estimate $ 8 0 0 -1, 2 0 0 LITERATURE Clark, Tulsa, n.p.

174 LARRY CLARK b. 1943 Skateboard, 1992 Wood skateboard with black and white photo silkscreened on bottom, Venture Trucks, New School ‘Scum-sucking Doorknobs’ 45 mm wheels and black grip tape. 8 1/2 x 31 3/4 in. (21.6 x 80.6 cm). Signed, dated and numbered 7/8 in ink on the front Venture truck.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York EXHIBITED Larry Clark, International Center of Photography, New York,

11 March-5 June 2005

175

175 LARRY CLARK b. 1943

176

ChloĂŤ, 1993 Color coupler diptych. Each 18 x 12 in. (45.7 x 30.5 cm). Each signed, titled and numbered 1/1 in ink on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York

176 MARK COHEN b. 1943 Philadelphia, 1999 Gelatin silver print. 11 3/4 x 17 5/8 in. (29.8 x 44.8 cm). Signed, titled, dated and numbered 1/10 in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Bruce Silverstein Gallery, New York

177

17 7 ZOE LEONARD b. 1961 Untitled (bathroom graffiti); Two Toilets; Untitled (bathroom graffiti), 1994 Three platinum-palladium prints, printed 1997. Each approximately 4 x 6 in.

(10.2 x 15.2 cm). Each signed and two annotated in pencil on the verso. Each a printer’s proof from an edition of 5.

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

178

179

178 MITCH EPSTEIN b. 1952

179 STEPHEN SHORE b. 1947

West Side Highway, New York City, 1977

6th Street and Throckmorton Street, Fort Worth, Texas, June 13, 1976

Color coupler print, printed later. 13 1/8 x 19 in. (33.3 x 48.3 cm). Signed, titled,

Color coupler print. 14 x 17 3/4 in. (35.6 x 45.1 cm). Signed, titled and dated in ink

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

on the verso.

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

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

PROVENANCE From the artist; to the present Private Collection, New York

LITERATURE Aperture, Stephen Shore: Uncommon Places, The Complete Works,

p. 125

180

181

18 0 BERND & HILLA BECHER 1931-2007 & b. 1934

181 THOMAS STRUTH b. 1954

Wassert端rme, 1979-1989

58th Street at 7th Avenue, New York, 1978

Gelatin silver print. 23 x 18 1/2 in. (58.4 x 47 cm). Signed in pencil on the verso.

Gelatin silver print. 14 1/4 x 20 in. (36.2 x 50.8 cm). Signed in pencil, printed title,

One from an edition of 5.

date and number 2/10 on a label affixed to the reverse of the frame.

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Marian Goodman Gallery, New York; to the present Private

Collection, New York

182

183

18 2 WILLIAM EGGLESTON b. 1939 Untitled, Louisiana, 1980 Color coupler print, printed 1981. 8 x 12 in. (20.3 x 30.5 cm). Signed in ink on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Phillips de Pury & Company, New York, Property from the Collection

of Jay and Laura Crouse, 7 October 2005, lot 321 LITERATURE Hasselblad Center, William Eggleston, n.p.; Thames & Hudson,

William Eggleston, pp. 93-94

18 3 WILLIAM EGGLESTON b. 1939 Untitled, Tennessee, 1985 Color coupler print. 7 1/4 x 11 in. (18.4 x 27.9 cm). Signed in ink in the margin.

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

184

LITERATURE Eggleston, The Democratic Forest, p. 91 for a variant; Thames &

Hudson, William Eggleston, pl. 50 for a variant; Whitney Museum of Art, William Eggleston: Democratic Camera, Photographs and Video, 1961-2008, pl. 110 for a variant

18 4 WILLIAM EGGLESTON b. 1939 Oil Rigs (Doberman), circa 1985 Color coupler print. 7 1/4 x 11 in. (18.4 x 27.9 cm). Signed in ink in the margin.

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

185

18 5 WILLIAM EGGLESTON b. 1939 Untitled, circa 1980 Color coupler print. 19 3/4 x 29 1/2 in. (50.2 x 74.9 cm). Signed in ink on the recto.

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

186 187

18 6 WILLIAM EGGLESTON b. 1939

187 WILLIAM EGGLESTON b. 1939

Untitled, circa 1970

Untitled, circa 1970

Dye transfer print from Los Alamos , printed 2001. 17 5/8 x 12 in. (44.8 x 30.5 cm).

Dye transfer print from Dust Bells Volume I, printed 2004. 11 7/8 x 17 7/8 in.

Signed in ink in the margin; numbered 5/7 in an unidentified hand in ink,

(30.2 x 45.4 cm). Signed in ink in the margin; dated, numbered 5/15 in an

copyright credit reproduction limitation and edition stamps on the verso.

unidentified hand in ink, copyright credit reproduction limitation and edition stamps on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 LITERATURE Scalo, William Eggleston: Los Alamos, p. 25

189

188

18 8 WILLIAM EGGLESTON b. 1939

18 9 WILLIAM EGGLESTON b. 1939

Untitled, circa 1970

Untitled, circa 1973

Dye transfer print from Dust Bells Volume I, printed 2004. 11 7/8 x 17 7/8 in.

Dye transfer print from Dust Bells Volume I, printed 2004. 11 7/8 x 17 7/8 in.

(30.2 x 45.4 cm). Signed in ink in the margin; dated, numbered 5/15 in an

(30.2 x 45.4 cm). Signed in ink in the margin; dated, numbered 5/15 in an

unidentified hand in ink, copyright credit reproduction limitation and edition

unidentified hand in ink, copyright credit reproduction limitation and edition

stamps on the verso.

stamps on the verso.

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

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

19 0 JOEL STERNFELD b. 1944 McLean Virginia, December 4, 1978 Dye transfer print, printed 1985. 15 1/8 x 19 1/2 in. (38.4 x 49.5 cm). Signed, titled and dated in ink on the verso.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE D.A.P., Joel Sternfeld: American Prospects, pl. 30; Greenough,

Snyder, Travis and Westerbeck, On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, pl. 373

191

192

191 WILLIAM EGGLESTON b. 1939 Memphis, Tennessee, 1970 Dye transfer print from Dust Bells Volume II, printed 2004. 12 x 17 7/8 in. (30.5 x 45.4 cm). Signed in ink in the margin; dated, numbered 7/15 in an unidentified hand in ink, copyright credit reproduction limitation and edition stamps on the verso.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection, New York

19 2 BORIS MIKHAILOV b. 1938 Susie & others, USSR, circa 1970 Color coupler print. 39 1/2 x 27 in. (100.3 x 68.6 cm). Numbered 3/7 in ink on the reverse of the frame. Accompanied by a Certificate of Authenticity.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Suzanne Tarasiève Gallery, Paris

193

19 3 ANA MENDIETA 1948-1985 Silueta Works in Iowa, 1976-1980 Color coupler print. 13 1/4 x 20 in. (33.7 x 50.8 cm). Credit stamp on the verso; printed title, date and number 11/20 on a label affixed to the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Galerie LeLong, New York

19 4 WILLIAM EGGLESTON b. 1939 Cadillac Portfolio New York: Cheim & Read, 1999. Thirteen color coupler prints. Each 23 x 23 in. (58.4 x 58.4 cm). Signed and numbered 12 in pencil on the colophon.

Each with portfolio copyright credit reproduction limitation stamp on the reverse of the flush-mount. One from an edition of 15 plus six artist’s proofs. Colophon.

Contained in a leatherette clamshell case.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Cheim & Read, New York LITERATURE Twin Palm Publishers, William Eggleston: 2 1/4, n.p., each illustrated

195

196

197

19 5 FLIP SCHULKE 1930-2008 Muhammad Ali boxing underwater, 1961 Gelatin silver print, printed later. 18 7/8 x 12 5/8 in. (47.9 x 32.1 cm). Signed, annotated ‘printed from the original negative under the supervision of F. Schulke’ and copyright in pencil on the verso.

198

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Schulke & Schudel, Muhammad Ali: The Birth of a Legend, cover

19 6 NEIL LEIFER b. 1938 Muhammad Ali vs. Sonny Liston, St. Dominick’s Arena, Lewiston, Maine, May 25, 1965 Color coupler print, printed 2008. 19 1/2 x 19 1/2 in. (49.5 x 49.5 cm). Signed and numbered 250/350 in ink in the margin. Signed, dated ‘2008’ and numbered 250/350 in ink on a Certificate of Authenticity accompanying the work.

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

197 FLIP SCHULKE 1930-2008 Muhammad Ali Training, Fifth Street Gym, Miami Beach, 1963 Gelatin silver print, printed later. 19 x 13 in. (48.3 x 33 cm). Signed, annotated ‘This print was made from original 35mm, b/w negative, under my supervision’ and copyright in pencil on the verso.

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

199

19 8 FLIP SCHULKE 1930-2008 Dr. Martin Luther King Jr. after the ‘I Have a Dream’ speech, 1963 Gelatin silver print, printed later. 8 1/2 x 13 in. (21.6 x 33 cm). Signed in ink in the margin; signed and copyright in ink on the verso.

Estimate $ 1, 5 0 0 - 2 , 5 0 0 LITERATURE Schulke, He Had A Dream: Martin Luther King, Jr. and the Civil Rights

Movement, cover and p. 87

19 9 GARRY WINOGRAND 1928-1984 John F. Kennedy, Democratic National Convention, 1960 Gelatin silver print, printed later. 9 x 6 1/8 in. (22.9 x 15.6 cm). Numbered 7/100 in an unidentified hand in pencil and ‘Posthumous print from the Estate of Garry Winogrand to benefit Photographers + Friends United Against AIDS’ copyright credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Szarkowski, Winogrand: Figments from the Real World, p. 33

200

201

2 0 0 RICHARD AVEDON 1924-2004 Cyd Charisse, Evening Dress by Macrini, New York Studio, June, 1961 Gelatin silver print, printed 1981. 17 1/2 x 23 7/8 in. (44.5 x 60.6 cm). Signed, numbered 38/50 in ink, copyright credit reproduction limitation, edition, title and date stamps on the verso.

202

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Pace/MacGill Gallery, New York; to the present Private Collection,

New York LITERATURE Shanahan, Richard Avedon: Evidence, 1944-1994, p. 142

2 01 BURT GLINN 1925-2008 Andy Warhol with Edie Sedgwick and Chuck Wein, New York, 1965 Gelatin silver print, printed later. 18 7/8 x 12 1/2 in. (47.9 x 31.8 cm). Signed in pencil on the verso.

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

203

2 0 2 JERRY SCHATZBERG b. 1927 Super Star, Edie Sedgwick, 1966 Gelatin silver print, printed later. 14 5/8 x 14 3/4 in. (37.1 x 37.5 cm). Signed and numbered 11/30 in ink in the margin.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the artist

2 0 3 RUTH ORKIN 1921-1985 Woody Allen at the Metropolitan Museum of Art, New York, 1963 Gelatin silver print, printed later. 12 1/2 x 9 in. (31.8 x 22.9 cm). Signed, titled and dated in ink in the margin; signed, titled and dated in pencil on the verso.

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

204

205

2 0 4 DIANE ARBUS 1923-1971

2 0 5 DIANE ARBUS 1923-1971

A castle in Disneyland, Cal., 1962

Untitled (4), 1970-71

Gelatin silver print, printed later by Neil Selkirk. 14 1/2 x 14 3/4 in. (36.8 x 37.5 cm).

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

Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 35/75 by

Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 36/75 by

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

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

on the verso.

on the verso.

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

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

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

LITERATURE Aperture, Diane Arbus: Untitled, n.p.; Aperture, Diane Arbus, n.p.;

Rosenheim, Diane Arbus: Revelations, pp. 288-289

Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus: Revelations, p. 277

207

206

2 0 6 DIANE ARBUS 1923-1971 Anderson Hays Cooper, NYC, 1967 Gelatin silver print, printed 1988 by Neil Selkirk. 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm).

Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 23/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

Revelations, p. 69 there titled and dated A very young baby, N.Y.C., 1968

2 07 DIANE ARBUS 1923-1971 Tokyo Rose, 1969 Gelatin silver print, printed 1985 by Neil Selkirk. 14 3/8 x 14 1/2 in. (36.5 x 36.8 cm).

Stamped ‘A Diane Arbus photograph’, signed, titled, numbered 2/75 by Doon Arbus, Executor, in ink, copyright credit and reproduction limitation stamps on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Aperture, Diane Arbus: Magazine Work, p. 120

2 0 8 DIANE ARBUS 1923-1971 The Junior Interstate Ballroom Dance Champions, Yonkers, New York, 1952 Gelatin silver print, printed later by Neil Selkirk. 14 3/4 x 14 5/8 in. (37.5 x 37.1 cm).

Stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered 43/75 by Doon Arbus, Exectuor, in ink, copyright credit and reproduction limitation stamp on the verso.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 LITERATURE Arbus, Sussman, Phillips, Selkirk and Rosenheim, Diane Arbus:

Revelations, p. 40; Aperture, Diane Arbus, n.p.

2 0 9 LEE FRIEDLANDER b. 1934 Jazz & Blues Portfolio Hamburg: 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 x 9 3/8 in. (35.6 x 23.8 cm). Each signed and one dated by the artist, each titled, numbered 8/50 in an unidentified hand in pencil and six with copyright credit date stamps on the verso. Numbered 8 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE Galassi, Friedlander, pp. 21-24

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

210 DENNIS HOPPER b. 1936 Double Standard, 1961 Gelatin silver print. 16 1/8 x 23 7/8 in. (41 x 60.6 cm). Signed and numbered 11/15 in pencil on the verso.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Phillips de Pury & Company, New York, 17 October 2007, lot 106 LITERATURE Hopper, “Standard Bullshit” Parkett, No. 18, p. 49; Francis, Les

Années Pop 1956-1968, pl. 62.83

Dennis Hopper’s interest in art began as an adolescent, after his family moved to Kansas City, Missouri, where he attended Saturday art classes at the Kansas City Art Institute under the tutelage of Thomas Hart Benton. Arguably, it was the celebrated Regionalist’s work that inspired Hopper to turn his lens to the American social landscape. Hopper’s photographic oeuvre from the 1960s preceded his iconic “Easy Rider” movie from 1969, and could in many forms be regarded as having laid out the visual foundations for the movie.

Organic, witty, playful, and candidly untamed, Hopper’s body of work, including Double Standard, not only provides a glimpse into a bygone era, but also a peek into one of the most innovative minds that came to define it.

Hopper’s photography has been exhibited in the Museum of Modern Art, NY; the Center for Photographic Art, CA; the Centre Georges Pompidou, France; Moscow House of Photography, Russia; and Musée de l’Elysée, Switzerland, among others.

211 VARIOUS PHOTOGRAPHERS Magnum Photographs. Selection Esther Woerdehoff Paris: Galerie Esther Woerdehoff, 2007. Nine gelatin silver prints, five color coupler prints and one Fujicolor Crystal Archive print. Varying sizes from 4 5/8

Works include Thomas Dworzak, Grozny, Russia, 2002; Constantine Manos, Louisiana, New Orleans, 1982; Ferdinando Scianna, Nanà in bed, Almeria, Spain, 1987; Marc Riboud, Outside the Pentagon during

x 14 1/4 in. (11.7 x 36.2 cm) to 10 3/8 x 15 1/2 in. (26.4 x 39.4 cm) or the reverse.

the anti-Vietnam march, Virginia, Arlington, 1967; Werner Bischof, Meiji

Each variously signed, titled, dated, numbered 6/7 in ink or pencil and stamped

temple, Tokyo, 1951; Larry Towell, Children in Gaza, 1993; Gueorgui

in the margin or on the verso. Each number 6 from an edition of 7. Colophon.

Pinkhassov, The new Metro, Tokyo, 1996; René Burri, Ministry of

Accompanied by an explanatory sheet and title list. Contained in a linen clamshell case.

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

Health, Rio de Janeiro, 1960; Abbas, Mujahib guards the road to Kabul, 1992; Hiroji Kubota, Yangshuo, Guangxi, China, 1980; Chris SteelePerkins, London zoo, London, 1974; Dennis Stock, James Dean in New York City, 1955; Steve McCurry, Afghan Girl at Nasir Bagh refugee camp, Pakistan, 1984; Susan Meiselas, New York City, Pandora’s Box, 1995; and Elliott Erwitt, Detroit Potwups, USA, 1962

212

212 ERNST HAAS 1921-1986 Bronco Rider, California, 1957 Dye transfer print, printed 1992. 26 3/4 x 17 5/8 in. (67.9 x 44.8 cm). Signed, titled, dated, numbered 4/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the Estate of Ernst Haas

213 ERNST HAAS 1921-1986 Salzburg, Austria, 1945 Gelatin silver print, printed 1992. 14 x 13 in. (35.6 x 33 cm). Signed, titled, dated, numbered 24/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso.

Estimate $ 1, 0 0 0 -1, 5 0 0 PROVENANCE Acquired directly from the Estate of Ernst Haas

213

214

214 HENRI CARTIER-BRESSON 1908-2004 L’Aquila degli Abruzzi, Italy, 1951 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm). Signed in ink and blindstamp credit in the margin.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Bulfinch, Henri Cartier-Bresson: City and Landscapes, pl. 93; Montier,

Henri Cartier-Bresson and the Artless Art, pl. 244, there dated 1952; Newhall, The History of Photography, p. 230

215

215 HENRI CARTIER-BRESSON 1908-2004 View from the towers of Notre-Dame, Paris, France, 1953 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm). Signed in ink and blindstamp credit in the margin.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Bulfinch, Henri Cartier-Bresson: City and Landscapes, pl. 63

216 HENRI CARTIER-BRESSON 1908-2004 Reception’s training school, Hamburg, Federal Republic of Germany, 1952 Gelatin silver print, printed later. 14 x 9 3/8 in. (35.6 x 23.8 cm). Signed in ink and blindstamp credit in the margin.

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

217

217 ROBERT FRANK b. 1924

218 ROBERT FRANK b. 1924

Paris, 1949

Andrea, 1955

Gelatin silver print, printed later. 8 3/4 x 13 3/8 in. (22.2 x 34 cm). Signed, titled

Gelatin silver print, printed later. 8 x 11 3/4 in. (20.3 x 29.8 cm). Signed, titled and

and dated in ink in the margin; copyright credit stamp on the verso.

dated in ink in the margin; copyright credit stamp on the verso.

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

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

218

219 220

219 IRVING PENN b. 1917

2 2 0 IRVING PENN b. 1917

Man in a Black Mask, Cuzco, Peru, 1948

George Jean Nathan and H.L. Mencken, New York, 1947

Gelatin silver print, printed 1949. 7 5/8 x 7 1/2 in. (19.4 x 19.1 cm). Signed, titled,

Platinum-palladium print, printed 1969. 21 7/8 x 18 in. (55.6 x 45.7 cm). Signed,

dated, annotated ‘print made 1949’ in ink, copyright credit reproduction limitation

dated ‘1969’, numbered 13/17 in pencil and edition stamp on the reverse of the

and edition stamps on the reverse of the mount. One from an edition of 20.

aluminum flush-mount; Conde-Nast copyright credit reproduction limitation

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

label affixed to the reverse of the aluminum flush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Penn, Moments Preserved, p. 97; Penn, Worlds in a Small Room, p. 15 LITERATURE Knopf, Irving Penn: Passage, p. 28; Penn, Moments Preserved,

p. 135; Szarkowski, Irving Penn, pl. 7; Westerbeck, Irving Penn: A Career in Photography, p. 141

221

2 21 IRVING PENN b. 1917 John Marin, New York 1948 Platinum-palladium print, printed 1977. 21 3/8 x 15 5/8 in. (54.3 x 39.7 cm). Signed, titled, dated, number 20/40 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Greenough, Irving Penn Platinum Prints, pl. 3; Knopf, Irving Penn:

Passage, p. 28, there dated 1947; Szarkowski, Irving Penn, pl. 14, there dated 1947

2 2 2 IRVING PENN b. 1917 Two Guedras, Morocco, 1971 Platinum-palladium print, printed 1978. 21 x 17 in. (53.3 x 43.2 cm). Signed, titled, dated, numbered 36/40 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Marlborough Gallery, New York LITERATURE Knopf, Irving Penn: Passage, p. 199; Szarkowski, Irving Penn, pl. 94

223

2 2 3 BRUCE DAVIDSON b. 1933 East 100th Street, New York City, 1966-1968 Gelatin silver print, printed later. 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm). Signed in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Thames & Hudson, Bruce Davidson, pl. 51

224

2 24 BRUCE DAVIDSON b. 1933 East 100th Street, New York City, 1966 Gelatin silver print, printed later. 12 3/8 x 9 7/8 in. (31.4 x 25.1 cm). Signed in pencil on the verso.

Estimate $ 1, 5 0 0 - 2 , 5 0 0 LITERATURE Thames & Hudson, Bruce Davidson, pl. 41

2 25 WEEGEE (ARTHUR FELLIG) 1899-1968 Equestrian, 1956 Gelatin silver print. 4 3/4 x 6 5/8 in. (12.1 x 16.8 cm). Annotated in an unidentified hand in pencil and ‘Photo by Weegee from the collection of Suzanne & Hugh Johnston’ stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE From the Suzanne and Hugh Johnston Weegee Collection,

New Jersey; Phillips de Pury & Company, New York, 18 October 2003, lot 248

225

226

227

228

2 2 6 PETER KEETMAN 1916-2005 Schraubenpumpe, 1960 Gelatin silver print. 19 7/8 x 13 in. (50.5 x 33 cm). Signed, titled, dated in pencil and credit stamp on the verso.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE From the artist; to a Private Collection, Hamburg LITERATURE Keetman, Fotoform, p. 66; Sachsse & Heiting, Peter Keetman-

Bewegung und Struktur, p. 81

2 27 AARON SISKIND 1903-1991 Westport 10, 1988 Oversized gelatin silver print, printed 1990. 37 1/2 x 37 1/2 in. (95.3 x 95.3 cm).

Signed and dated ‘1990’ in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 229

2 2 8 AARON SISKIND 1903-1991 Selected Images, 1944-1988 Five gelatin silver prints, printed later. Varying sizes from 10 7/8 x 17 7/8 in.

(27.6 x 45.4 cm) to 13 7/8 x 17 7/8 in. (35.2 x 45.4 cm) or the reverse. Each signed in pencil on the verso; two titled and dated in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Phaidon, Aaron Siskind 55, n.p.; Powerhouse Books, Aaron Siskind

100, n.p.

Titles include: Gloucester 16a, 1944; M.V. 4, 1950; VII4, 1980; Westport 87, 1988; Untitled, 1947 2 2 9 WALKER EVANS 1903-1975 Head of Antelope, French Sudan Bambara, 1935 Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm). Lunn Archive credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Phillips de Pury & Company, New York, 26 April 2006, lot 213

230

231

2 3 0 HORST P. HORST 1906-1999 Mainbocher Corset, Paris, 1939 Gelatin silver print, printed later. 11 7/8 x 8 7/8 in. (30.2 x 22.5 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE From the Estate of Horst P. Horst; to the present Private

Collection, New York LITERATURE High Museum of Art, Chorus of Light: Photographs from the Sir Elton

John Collection, p. 192; Kazmaier, Horst: Sixty Years of Photography, pl. 8

2 31 HORST P. HORST 1906-1999

232

Nina de Voogh, New York, 1951 Gelatin silver print, printed later. 11 1/4 x 9 1/8 in. (28.6 x 23.2 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 106

2 3 2 HORST P. HORST 1906-1999 Coco Chanel, Paris, 1937 Gelatin silver print, printed later. 11 1/2 x 9 in. (29.2 x 22.9 cm). Blindstamp credit in the margin; signed in pencil on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 2

233

2 3 3 FRANK HORVAT b. 1928 Givenchy Hat C, 1958 Gelatin silver print, printed 2007. 9 1/2 x 14 3/8 in. (24.1 x 36.5 cm). Signed and numbered 13/30 in ink in the margin; signed, titled, dated and annotated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE From the artist; to the present Private Collection, New York

2 3 4 ANSEL ADAMS 1902-1984 The Grand Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942 Gelatin silver print, printed 1970s. 15 1/2 x 19 in. (39.4 x 48.3 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0 LITERATURE Adams, Ansel Adams: 400 Photographs, p. 205; Adams and Newhall,

This is the American Earth, p. 15; Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 35; Turnage, Ansel Adams: Our National Parks, cover and p. 31

236 235

2 3 5 ANSEL ADAMS 1902-1984

2 3 6 ANSEL ADAMS 1902-1984

Oak Tree, Snow Storm, Yosemite National Park, California, 1948

Storm Surf, Timber Cove, California, 1960

Gelatin silver print, printed 1960s. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed in ink on

Gelatin silver print, printed 1960s. 15 x 19 3/8 in. (38.1 x 49.2 cm). Signed in ink on

the mount; titled, numbered 99 in an unidentified hand in ink and ‘Special Edition

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

of Fine Prints Photographs of Yosemite by Ansel Adams’ credit stamp on the

reverse of the mount.

reverse of the mount.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Szarkowski, The Portfolios of Ansel Adams, pl. 13 for a variant LITERATURE Alinder & Szarkowski, Ansel Adams: Classic Images, pl. 45;

Szarkowski, Ansel Adams at 100, pl. 53; Szarkowski, The Portfolios of Ansel Adams, pl. 9

237

2 37 ANSEL ADAMS 1902-1984

238

2 3 8 ANSEL ADAMS 1902-1984

Moon and Half Dome, Yosemite, National Park, California, 1960

Fern Spring, Dusk, Yosemite Valley, California, circa 1961

Gelatin silver print, printed circa 1970. 9 3/4 x 7 1/4 in. (24.8 x 18.4 cm). Signed in

Gelatin silver print, printed 1974. 12 1/4 x 9 in. (31.1 x 22.9 cm). Signed in pencil on

ink on the mount; titled, numbered 691 in an unidentified hand in ink and ‘Special

the mount; numbered 5 in an unidentified hand in ink on an Ansel Adams: Images

Edition of Fine Prints Photographs of Yosemite by Ansel Adams’ credit stamp

label affixed to the reverse of the mount.

on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Alinder & Szarkowski, Ansel Adams: Classic Images, cover and pl. 74

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

2 3 9 ANSEL ADAMS 1902-1984 Clearing Winter Storm, Yosemite National Park, California, 1944 Gelatin silver print, printed 1960s. 15 3/8 x 18 3/4 in. (39.1 x 47.6 cm). Signed in ink on the mount; titled ‘Yosemite National Park’, dated in an unidentified hand in pencil and Carmel credit stamp on the reverse of the mount.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 LITERATURE Adams, Ansel Adams: 400 Photographs, p. 123; Adams and Newhall,

This is the American Earth, pp. 84-85; Alinder and Szarkowski, Ansel Adams: Classic Images, pl. 46; Szarkowski, The Portfolios of Ansel Adams, pl. 9; Szarkowski, Ansel Adams at 100, pl. 89; MFA Publications, Ansel Adams, p. 90

240

241

24 0 EDWARD WESTON 1886-1958

241 GEORGE HOYNINGEN-HUENE 1900-1968

Charis, Santa Monica, 1936

Divers, Horst and model, Swimwear by A.J. Izod, 1930

Gelatin silver print, printed later by Cole Weston. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm).

Gelatin silver print, printed later by Horst P. Horst. 9 1/2 x 7 3/8 in. (24.1 x 18.7

Signed, titled ‘Nude’, dated in pencil by Cole Weston and Edward Weston credit

cm). Signed, annotated ‘from the collection of Horst’ by Horst in pencil and

stamp on the reverse of the mount.

Hoyningen-Huene/ Horst copyright credit stamp on the verso.

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

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

PROVENANCE Private Collection, New York

PROVENANCE Hamiltons Gallery, London

LITERATURE Conger, Edward Weston: Photographs, fig. 968; High Museum of Art,

LITERATURE Haworth-Booth, The Folio Society Book of the 100 Greatest

Chorus of Light: Photographs from the Sir Elton John Collection, p. 118; Mara, Edward

Photographs, p. 117; High Museum of Art, Chorus of Light: Photographs from the Sir

Weston, Forms of Passion, cover and p. 223

Elton John Collection, p. 106; Vogue, “Modern Mariners Put out to Sea”, 1930

242

243

242 HORST P. HORST 1906-1999

24 3 HORST P. HORST 1906-1999

Hands, New York, 1941

N.Y. Still Life I, 1946

Gelatin silver print, printed later. 17 7/8 x 12 3/4 in. (45.4 x 32.4 cm). Signed

Gelatin silver print, printed later. 13 7/8 x 17 7/8 in. (35.2 x 45.4 cm). Signed

in pencil on the verso.

in pencil on the verso.

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

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

LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 49

PROVENANCE Acquired directly from the artist

24 4 EDWARD WESTON 1886-1958 Nude, 1927

Nude, 1927, a close-up of dancer Bertha Wardell’s knees, is arguably

Gelatin silver print. 6 1/2 x 9 1/4 in. (16.5 x 23.5 cm). Signed, dated and annotated

Weston’s first successful study in corporeal abstraction. The echoing

‘Glendale’ in pencil on the verso.

of the soft curves, the folding of the legs, the bulging of the knees and

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

the deep crevices formed by the pressing of the leg’s upper and lower

PROVENANCE Private Collection, New York LITERATURE Aperture, Edward Weston: Nudes, p. 51; High Museum of Art,

portions create a nautical composition that is unmistakably reminiscent of his friend Henrietta Shore’s shell paintings. Of the image, Weston

Chorus of Light: Photographs from the Sir Elton John Collection, p. 121; Mora,

has said: “I saw the repeated curve of thigh and calf,—the shin bone,

Edward Weston: Forms of Passion, p. 149; Stebbins, Edward Weston: Photography

knee and thigh lines forming shapes not unlike great sea shells,—the

and Modernism, pl. 31

calf curved across the upper leg, the shell’s opening.” Unlike his previous nudes, which focused on abstracting the specifically feminine features

Upon Edward Weston’s return to California from Mexico in November of 1926, he met a different artistic milieu than the one he had left behind—and strongly rejected—a few years before.

The new zeitgeist, comprised of different artists, sculptors, photographers, collectors, critics and curators lent way to a forum that embraced the foundations of Modernism and encouraged abstraction. The setting could not have been more apt for Weston, who had begun experimenting with abstraction earlier in Mexico, as seen in his still-life compositions and the pear-shaped nudes of Anita Brenner.

of his sitters’ bodies, the resulting image, is remarkably devoid of sexual connotations, despite its indication of the physical proximity between Weston and his nude model. The fragmentation turns the detail of the human body into a still-life and a meditative study in form. The Modernist purity of the line trumps subjectivity, producing an image that is magnificent in its simplicity and pivotal in Weston’s oeuvre.

Other examples of this print are in the collection of the Metropolitan Museum of Art, New York; the Lane Collection, Museum of Fine Arts, Boston; and the Sir Elton John Collection.

245

24 5 BERENICE ABBOTT 1898-1991

246

24 6 BERENICE ABBOTT 1898-1991

Salmagundi Club, 47 Fifth Avenue, Manhattan, 1937

James Joyce, Paris, 1928

Gelatin silver print. 9 3/4 x 7 7/8 in. (24.8 x 20 cm). Titled, dated by a Federal Arts

Gelatin silver print, printed later. 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm). Signed in

Project employee in pencil and Changing New York credit stamp on the verso.

pencil and credit stamp on the verso.

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

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE O’Neal, Berenice Abbott: American Photographer, p. 44; Photo Poche

LITERATURE Yochelson, Berenice Abbott: Changing New York, pl. 35

Press, Berenice Abbott, pl. 23; Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, p. 98

248 247

247 MAX YAVNO 1911-1985

24 8 O. WINSTON LINK 1914-2001

Muscle Beach, 1947

Boaz Pusher Siding, East of Roanoke, Vinton, Virginia, Norfolk Division,

Gelatin silver print, printed later. 7 3/4 x 13 3/8 in. (19.7 x 34 cm). Signed in pencil

September, 1958

on the mount.

Gelatin silver print. 14 3/4 x 19 1/4 in. (37.5 x 48.9 cm). Signed in ink, titled, dated in

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Fels, Watkins to Weston: 101 Years of California Photography 1849-1950,

p. 175; Sinsheimer, An Eclectic Focus: Photographs from the Vernon Collection, p. 125

pencil and copyright credit reproduction limitation stamps on the reverse of the flush-mount.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Sotheby’s, New York, 16 October 2004, lot 140 LITERATURE Garver, The Last Steam Railroad in America, p. 65

249 BERENICE ABBOTT 1898-1991 Blossom Restaurant, 103 Bowery, Lower East Side, New York, 1935 Gelatin silver print from New York I, printed 1976. 10 1/2 x 13 3/8 in. (26.7 x 34 cm).

Signed in pencil on the mount; numbered ‘39’ in an unidentified hand in ink on an artist’s label affixed to the reverse of the mount. One from an edition of 50.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Dover Publications, New York in the Thirties: As Photographed by

Berenice Abbott, pl. 31; Yochelson, Berenice Abbott: Changing New York, pl. 33

25 0 PABLO PICASSO 1881-1973

250

Untitled, circa 1953 Gelatin silver print. 5 x 3 in. (12.7 x 7.6 cm). Signed in ink on the recto.

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Swann Galleries, New York, 18 May 2006, lot 174

As one of the most prolific and important artists of the 20th century, Pablo Picasso continuously excelled in challenging norms, reconfiguring conventions, and introducing revolutionary ideas.

From clay to bronze, from paintings to collages, and from etchings to photographs, Picasso was tireless in his insistence to not merely push boundaries but to eradicate them altogether, blurring the lines between one medium and the next, calling into question the rigidity of categories and the flexibility of parameters.

Picasso’s initial delving into the field of photography began as early as 1901 and lasted through 1916. However, it was not until after the Second World War that the artist, by then already renowned for his work, revisited the medium, albeit with a greater degree of experimentation. The way he had painted on newspaper ads and adhered cut-outs on canvas, Picasso began cutting, puncturing, slicing, carving, painting and, as we see in the present lot, engraving celluloid negatives before printing them. By working the negatives the way he would a block of wood, copper plate or a sheet of paper, Picasso created a new category for the field of photography to permeate, encouraging future generations of artists to challenge and expand on the field.

ACTUAL SIZE

251

251 HORST P. HORST 1906-1999 Carl Erickson drawing Gertrude Stein and Horst, Paris, 1946 Platinum-palladium print, printed later. 8 x 7 1/2 in. (20.3 x 19.1 cm). Signed in pencil in the margin; signed in pencil on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Kazmaier, Horst: Sixty Years of Photography, pl. 82

252

253

254

252 IMOGEN CUNNINGHAM 1883-1976 Frida Kahlo Rivera, San Fransisco, 1930 Gelatin silver print, printed 1960s. 11 1/2 x 9 3/8 in. (29.2 x 23.8 cm). Signed in pencil on the mount; printed title and date on a credit label affixed to the reverse of the mount.

Estimate $ 1 5 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Throckmorton Fine Art, Inc., New York LITERATURE Dater, Imogen Cunningham: A Portrait, pl. 18 there dated 1937

25 3 ARNOLD NEWMAN 1918-2006 Georgia O’Keeffe, Ghost Ranch, New Mexico, 1968 Gelatin silver print, printed later. 13 x 8 3/4 in. (33 x 22.2 cm). Signed, titled, dated and inscribed in pencil in the margin; dated in pencil and copyright credit reproduction limitation stamp on the verso.

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

25 4 YOUSUF KARSH 1908-2002 Georgia O’Keeffe, 1956 Gelatin silver print, printed later. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm). Signed in ink on the mount; titled, dated in pencil and credit stamp on the reverse of the mount.

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

25 5 ARNOLD NEWMAN 1918-2006 Max Ernst, New York City, 1942 Gelatin silver print, printed later. 18 1/2 x 14 1/4 in. (47 x 36.2 cm). Signed, titled and dated in pencil in the margin; copyright credit reproduction limitation stamp on the reverse of the mount.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Newhall, The History of Photography, p. 267

255

25 6 LEE MILLER 1907-1977 Object by Joseph Cornell, 1933

Outerbridge, and counted Alfred Stieglitz as a member of its editorial

Gelatin silver print, mounted. 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm). Signed in pencil

board. It was not long before Miller’s work was featured in the blue-

on the recto; signed, dated and inscribed ‘for Julien, In deepest appreciation,

chip Julien Levy Gallery, joining the ranks of André Kertész, Ilse Bing,

Joseph Cornell, Nov. 1933’ by Joseph Cornell in ink and Lee Miller credit stamp

László Moholy-Nagy, her old master Man Ray, and Joseph Cornell, to

on the verso.

name but a few.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 LITERATURE Haworth-Booth, The Art of Lee Miller, pl. 85; Penrose, The Lives of

Cornell, famous for his boxes and collages, was among the most

Lee Miller, p. 54

salient artists at Julien Levy, and his show preceded Miller’s at the gallery. Miller was drawn to Cornell for his talent and association with Surrealism, and it is clear from works that each produced of the other

Lee Miller, a world-class beauty whose legendary looks graced the

that the interest was mutual. Cornell’s boxes, despite their intimate

pages of Vogue on both sides of the Atlantic, at one point admitted

scale, were powerful in their juxtaposing of seemingly disparate

that she would “rather take a picture than be one,” and rightfully so.

objects into beautifully coherent compositions that spoke of human

In November of 1932, after returning to New York from a three-year

desire, harbored secrets, faded dreams, and undying wishes. The

stay in Paris during which she became involved with the Surrealists

recluse artist was known for his obsession with famous beautiful

and in particular, Man Ray, Miller set up Lee Miller Studios on 48th

women and young pretty girls. Often creating boxes celebrating

street. Despite the initial hardships, the studio flourished, and

the beauty of his subjects of desire, Cornell, at times, even gave his

Miller’s clients included Elizabeth Arden, Helena Rubinstein, Camay,

creations away to those with whom he was besotted. While it is not

Saks Fifth Avenue, Warner Brothers, and in an ironic twist, Vogue.

known whether Cornell gifted Miller with such a box, it is known that he had presented her with the bell jar seen in the image. Object by

Additionally, Miller contributed to the New York journal Creative Art,

Joseph Cornell functions as a testament to the unlikely bond between

which featured works by some of the most renowned photographers

the glamorous photographer and the timid artist, and the important

of the day, including Edward Steichen, Charles Sheeler, and Paul

contribution by each to the cultural dialogue of the time.

257

258

257 HANS BELLMER 1902-1975

25 8 HANS BELLMER 1902-1975

Les Jeux de la Poupée VII, 1939

Les Jeux de la Poupée IV, 1939

Hand colored gelatin silver print, printed 1949. 5 1/2 x 5 1/2 in. (14 x 14 cm).

Hand colored gelatin silver print, printed 1949. 5 1/2 x 5 3/8 in. (14 x 13.7 cm).

Annotated ‘55’ in pencil on the mount; with printed text by Paul Éluard: ‘La nuit

Annotated ‘43’ in pencil on the mount; with printed text by Paul Éluard:

rayonne à sa manière, des yeux au coeur. La nuit annule le sensible, le seul

‘Gonflant ses joues, gourmande, avalant une fleur, odorante peau intérieure.

espace pur’ on the reverse of the mount. One from an edition of 142.

Bouche forcément rose, même au fronton de la forêt toute noire’ on the reverse of

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

the mount. One from an edition of 142.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE The Mayor Gallery, London LITERATURE Corbeau & Renard, La trajectoire du regard, p. 43; Obliques, Bellmer,

p. 101; Taylor, Hans Bellmer: The Anatomy of Anxiety, pl. 4.12

PROVENANCE The Mayor Gallery, London LITERATURE Glenn, Double Vision, n.p.; Rosenblum, World History of Photography,

p. 433

259

25 9 BRASSAÏ 1899-1984 La Cabane Cubaine, Montmartre, circa 1932 Gelatin silver print, printed circa 1955. 9 3/8 x 10 7/8 in. (23.8 x 27.6 cm). Signed in pencil and credit stamps on the verso.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Phillips de Pury & Company, New York, 26 April 2006, lot 127 LITERATURE Thames & Hudson, Brassaï: The Secret Paris of the 30’s, n.p.

2 6 0 ROBERT RAUSCHENBERG 1925-2008 Cy (Twombly) + Relics- Rome #5, 1952 Gelatin silver print, printed later. 15 x 15 in. (38.1 x 38.1 cm). Signed, titled and dated in ink in the margin.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 LITERATURE Rauschenberg, Rauschenberg Photographs, p. 20

260

261

2 61 ALEXANDER RODCHENKO 1891-1956 ‘Dynamo’ Water Stadium. Motor boat ‘DM-1’ built by students in the wood and metal factory of Vkhutein, 1929 Gelatin silver print. 8 3/4 x 11 5/8 in. (22.2 x 29.5 cm). Annotated ‘Two Moscowsfinal version’ in Russian and printer notations in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Christie’s, New York, 17 February 2004, lot 307 LITERATURE Tupitsyn, Aleksandr Rodchenko: The New Moscow, p. 74

262

263

2 6 2 BILL BRANDT 1904-1983

2 6 3 BILL BRANDT 1904-1983

East Durham coal-miner just home from the pit, 1930s

Misty Evening in Sheffield, 1930s

Gelatin silver print, printed later. 13 1/8 x 11 3/8 in. (33.3 x 28.9 cm). Signed in ink

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.

on the mount.

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

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

LITERATURE Da Capo, Bill Brandt: Shadow of Light, p. 37

PROVENANCE From Harry Lunn; to the present Private Collection,

Washington, D.C. LITERATURE Da Capo, Bill Brandt: Shadow of Light, p. 48

264

265

2 6 4 BILL BRANDT 1904-1983

2 6 5 BILL BRANDT 1904-1983

East Sussex Coast, 1957

Camden Hill, London, 1949

Gelatin silver print, printed later. 13 7/8 x 11 1/2 in. (35.2 x 29.2 cm). Signed in ink in

Gelatin silver print, printed later. 13 1/2 x 11 1/2 in. (34.3 x 29.2 cm). Signed in ink

the margin.

on the mount.

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

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

PROVENANCE Phillips de Pury & Company, New York, 27 April 2005, lot 179

PROVENANCE From Harry Lunn; to the present Private Collection,

LITERATURE Jeffrey, Bill Brandt: Photographs 1928-1983, p. 175

Washington, D.C. LITERATURE Aperture, Bill Brandt: Behind the Camera, p. 67; Harry N. Abrams,

Inc., Brandt: The Photographs of Bill Brandt, pl. 221

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

Phillips de Pury & Company is pleased to present this third

families. Looking at established and unknown photographers, alike,

installment of Japanese modernist photographs from the Jacobson/

and driven by the strength of the images themselves, together they

Hashimoto Collection.

amassed a collection of prints demonstrating the breadth of Japanese modernist photographs. From still-lifes and nudes to landscapes

Widely recognized as an expert in the field of American and European

and city scenes, these photographs reflect the talent and vitality of a

photography, Tom Jacobson is best known for his efforts championing

culture that would be so drastically altered by war in the coming years.

the work of the long-forgotten French photographer Pierre Dubreuil.

With a similar goal to discover the great photographers of the

The following 30 lots are the first works from this collection to be

East, Jacobson turned his attention to Japan’s rich history of art

offered in our New York venue and offer a strong representation

photography in the pre-war era. With a set of rare journals as his

of the collection as a whole with seminal works by Koyo Okada,

starting point, he and his assistant-turned-partner Kaori Hashimoto

Minayoshi Takada, Shikanosuke Yagaki and Iwao Yamawaki, amongst

embarked on a journey that took them throughout Japan where they

others. Most of the works are believed to be unique and almost all

researched photographers, often meeting directly with them or their

were acquired directly from the artists or their families.

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 6 6 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Four gelatin silver prints, printed circa 1955. Each 9 x 11 in. (22.9 x 27.9 cm).

Each signed in Japanese in ink on the recto.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 67 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Hand colored gelatin silver print. 17 7/8 x 22 in. (45.4 x 55.9 cm). Signed in Japanese in ink on the recto.

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

268

269

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 6 8 KOYO OKADA 1895-1972

O

2 6 9 KOYO OKADA 1895-1972

Mount Fuji, circa 1950

Mount Fuji, circa 1950

Gelatin silver print, printed circa 1955. 18 x 22 in. (45.7 x 55.9 cm). Signed in

Gelatin silver print. 19 x 22 in. (48.3 x 55.9 cm).

Japanese in ink on the recto.

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

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

270

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

270 KOYO OKADA 1895-1972 Mount Fuji, circa 1950 Gelatin silver print, printed circa 1955. 18 x 22 in. (45.7 x 55.9 cm). Signed in Japanese in ink on the recto.

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

271

272

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

271 KIYOHIKO KOMURA 1899-1969

O

272 KIYOHIKO KOMURA 1899-1969

Woman in front door, 1940s

Rainy day ‘Albert’, 1940s

Gelatin silver print, printed circa 1955. 11 7/8 x 9 7/8 in. (30.2 x 25.1 cm).

Gelatin silver print, printed circa 1955. 9 7/8 x 12 in. (25.1 x 30.5 cm). Signed and

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

titled in Japanese in ink on the verso.

Estimate $ 1, 5 0 0 - 2 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist PROVENANCE Acquired directly from the estate of the artist

273

274

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

273 KAMETARO KAWASAKI 1902-1990

O

274 SADAYUKI IWASE b. 1904

Fresh Air, circa 1930

Street scene during war, 1940s

Gelatin silver print, printed circa 1955. 9 5/8 x 6 3/8 in. (24.4 x 16.2 cm). Signed in

Gelatin silver print, printed circa 1955. 12 x 10 in. (30.5 x 25.4 cm). Signed in pencil

pencil, titled in ink in an unidentified hand and The Camera Pictorialists of Japan

on the verso.

label on the verso.

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

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

275

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

275 TOCHIRO SUHARA 1905-1996 Guitars, circa 1950 Hand colored gelatin silver print. 20 x 14 7/8 in. (50.8 x 37.8 cm). Signed in Japanese in pencil on the verso.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

276 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Five gelatin silver prints. Each approximately 10 5/8 x 8 in. (27 x 20.3 cm). One print signed, two titled in Japanese in pencil and four with credit stamp on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

27 7 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Five gelatin silver prints. Varying sizes from 7 1/2 x 10 3/8 in. (19.1 x 26.4 cm) to 10 x 12 in. (25.4 x 30.5 cm) or the reverse. One print signed, titled in Japanese in pencil and four with credit stamp on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

278 SHIKANOSUKE YAGAKI 1897-1966 Selected Images, 1930s Five gelatin silver prints. Varying sizes from 6 1/4 x 4 5/8 in. (15.9 x 11.7 cm) to 11 3/8 x 8 in. (28.9 x 20.3 cm) or the reverse. One print signed, two titled in Japanese in pencil and three with credit stamps on the verso.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

279 O

279 SHIKANOSUKE YAGAKI 1897-1966 Interior Shadows, 1930s Gelatin silver print. 11 3/8 x 9 3/8 in. (28.9 x 23.8 cm). Signed in Japanese in pencil on the verso.

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 0 SHIKANOSUKE YAGAKI 1897-1966 Bottle and glass, 1930s Gelatin silver print. 5 1/2 x 6 5/8 in. (14 x 16.8 cm). Credit stamp on the verso.

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

281 280

282

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 81 MINAYOSHI TAKADA 1889-1982 Nude torso in shadow, circa 1948 Gelatin silver print, printed circa 1955. 21 1/2 x 18 in. (54.6 x 45.7 cm). Estate stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 2 MINAYOSHI TAKADA 1889-1982 Nude with parasol, circa 1948 Gelatin silver print, printed circa 1955. 20 5/8 x 16 5/8 in. (52.4 x 42.2 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

283

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 3 MINAYOSHI TAKADA 1889-1982 Nude on beach, circa 1948 Gelatin silver print, printed circa 1955. 17 1/8 x 22 in. (43.5 x 55.9 cm). Estate stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the estate of the artist

284

285

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 4 MINAYOSHI TAKADA 1889-1982

O

2 8 5 MINAYOSHI TAKADA 1889-1982

Nude on rocks, circa 1948

Double exposure- nude and leaves, circa 1948

Gelatin silver print, printed circa 1955. 22 x 18 in. (55.9 x 45.7 cm).

Gelatin silver print, printed circa 1955. 17 7/8 x 22 in. (45.4 x 55.9 cm).

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

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

PROVENANCE Acquired directly from the estate of the artist

PROVENANCE Acquired directly from the estate of the artist

286

287

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 6 SHIKANOSUKE YAGAKI 1897-1966

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 87 SHIKANOSUKE YAGAKI 1897-1966

Hair ornament, 1930s

Bamboo curtain, 1930

Gelatin silver print. 8 1/8 x 11 1/8 in. (20.6 x 28.3 cm). Credit stamp on the verso.

Gelatin silver print. 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm). Signed and titled in Japanese in pencil on the verso.

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

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

288

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 8 IWAO YAMAWAKI 1898-1987 Trees from below, 1930s Gelatin silver print, printed circa 1955. 3 1/8 x 4 3/8 in. (7.9 x 11.1 cm).

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

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 8 9 IWAO YAMAWAKI 1898-1987 On the street, Germany, 1930s Gelatin silver print. 5 3/4 x 8 in. (14.6 x 20.3 cm). Signed in pencil on the verso.

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

291

290

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 9 0 IWAO YAMAWAKI 1898-1987

O

2 91 IWAO YAMAWAKI 1898-1987

Bauhaus textiles machine, 1930s

Van Nelle Factory, Rotterdam, Netherlands, 1930-1932

Gelatin silver print. 8 x 10 1/4 in. (20.3 x 26 cm).

Gelatin silver print. 4 1/4 x 3 1/8 in. (10.8 x 7.9 cm). Credit stamp on the verso.

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

Estimate $ 1, 2 0 0 -1, 8 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

292

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 9 2 IWAO YAMAWAKI 1898-1987 Chairs, 1930s Gelatin silver print. 3 1/4 x 4 1/2 in. (8.3 x 11.4 cm). Credit stamp on the verso.

Estimate $ 1, 2 0 0 -1, 8 0 0 PROVENANCE Acquired directly from the artist

293

294

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 9 3 IWAO YAMAWAKI 1898-1987

O

2 9 4 IWAO YAMAWAKI 1898-1987

Tea-glass design by Josef Albers, 1933

Cafeteria after lunch, Bauhaus, Dessau, 1932

Gelatin silver print. 6 3/4 x 9 in. (17.1 x 22.9 cm). Signed in pencil on the verso.

Gelatin silver print, printed circa 1955. 4 5/8 x 6 5/8 in. (11.7 x 16.8 cm). Signed in

Estimate $ 1, 2 0 0 -1, 8 0 0

ink, titled in Japanese in pencil and credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE Steidl, Iwao Yamawaki, pl. 60 for a variant

PROVENANCE Acquired directly from the artist LITERATURE Steidl, Iwao Yamawaki, pl. 46

In addition to photographing the modernist buildings of the Bauhaus, Iwao Yamawaki was himself a collector of modernist design.

The Tea Glass with Saucer and Stirrer depicted here was designed by Josef Albers in 1924 while he was a student at the Bauhaus and was part of Yamawaki’s personal collection.

PROPERTY FROM THE JACOBSON/HASHIMOTO COLLECTION O

2 9 5 IWAO YAMAWAKI 1898-1987 Bauhaus, 1930-1932 Gelatin silver print, printed circa 1955. 7 x 4 7/8 in. (17.8 x 12.4 cm). Signed in ink and credit stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Acquired directly from the artist

295

INDEX

Abbott, B. 24 5, 24 6, 249 Adams, A. 23 4, 235, 236, 237, 238, 239 Aldridge, M. 87 Almeida, H. 16 8, 169, 170 Araki, N. 51, 52, 53, 5 4, 89

Rauschenberg, R. 260

Arbus, D. 20 4, 205, 20 6, 207, 20 8

Rist, P. 10 4

Avedon, R. 17, 20 0

Ritts, H. 13 Rodchenko, A. 261

Bark, J. 127

Ruff, T. 93, 105, 132

Barney, T. 69 Beahan, V. & McPhee, L. 121

Salgado, S. 58, 59, 122, 124

Beard, P. 16, 18, 19, 20, 21

Schatzberg, J. 202

Becher, B. & H. 180 Bellmer, H. 257, 258 Bien-U, B. 8 8 Bond, G. 99, 10 0 Brandt, B. 262, 263, 26 4, 265 Brassaï 259 Brunner, B. 128 Burtynsky, E. 108, 119, 120 Calle, S. 126 Cartier-Bresson, H. 214, 215, 216 Clark, L. 171, 172, 173, 174, 175 Close, C. 28 Cohen, M. 176 Crewdson, G. 63 Cunningham, I. 252 Davidson, B. 223, 224 Demarchelier, P. 41, 42, 4 3, 4 4, 4 5 diCorcia, P-L. 27 Diergarten, G. 77 Dolron, D. 72 Eggleston, W. 182, 183, 18 4, 185, 18 6, 187, 18 8, 189, 191, 194 Epstein, M. 178 Ertug, A. 95, 9 6 Evans, W. 229 Frank, R. 217, 218 Friedlander, L. 209 Fuss, A. 9 0 Galanos, J. 4 6, 47 Glinn, B. 201 Goldin, N. 4 8, 49, 50, 136 González Palma, L. 55 González-Torres, F. 71 Gowin, E. 29, 30, 31 Graham, R. 35 Grannan, K. 129 Gursky, A. 142

Haas, E. 212, 213 Hilliard, D. 110 Hiro 16 6 Höfer, C. 14 3 Hong, H. 114 Hopper, D. 210 Horst, H.P. 15, 230, 231, 232, 242, 24 3, 251 Horvat, F. 233 Hosoe, E. 163 Hoyningen-Huene, G. 241 Iwase, S. 274 Jacobson, B. 135 Jin Ming, D. 123 Johan, S. 60, 130 Jung, Y. 65 Karsh, Y. 25 4 Kawasaki, K. 273 Keetman, P. 226 Khan, I. 97 Khoroshilova, A. 6 4 Kim-Joon 102 Komura, K. 271, 272 Larsson, A. 67 Leifer, N. 19 6 Leonard, Z. 177 Link, O.W. 24 8 Liu, R. 112, 113 Liu, Z. 117, 118 Lux, L. 79, 8 0 Mann, S. 32, 33, 3 4 Mapplethorpe, R. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 161, 162 Mendieta, A. 193 Metzner, S. 14 Mikhailov, B. 192 Miller, L. 256 Moffatt, T. 13 4 Moon, S. 85 Moore, A. 62, 8 4 Morell, A. 125 Morimura, Y. 36, 37, 38, 39, 40 Moriyama, D. 91 Newman, A. 253, 255 Newton, H. 16 4, 165 Okada, K. 26 6, 267, 26 8, 269, 270 Olaf, E. 73, 74 Orkin, R. 203 ParkeHarrison, R. & S. 61 Penn, I. 219, 220, 221, 222 Peterman, S. 78 Picasso, P. 250 Pierson, J. 103

Schulke, F. 195, 197, 198 Seliger, M. 98 Serrano, A. 56, 57 Sherman, C. 167 Shore, S. 179 Simmons, L. 133, 137 Siskind, A. 227, 228 Skoglund, S. 6 8 Soth, A. 109, 111 Speers, V. 83 Sternfeld, J. 19 0 Struth, T. 115, 181 Sugimoto, H. 75, 14 4 Suhara, T. 275 Takada, M. 281, 282, 283, 28 4, 285 Tice, G. 156, 157, 158, 159, 160 Tillmans, W. 138, 139, 140, 141 van Empel, R. 81, 82 Various Photographers 131, 211 Vitali, M. 10 6, 107 Watson, A. 14 5, 14 6, 147, 14 8, 149, 150, 151, 152, 153, 15 4, 155 Weegee 225 Wegman, W. 70 Weston, E. 240, 24 4 Winogrand, G. 19 9 Witkin, J-P. 22, 23, 24, 25, 26 Wolf, M. 94 Wurm, E. 76 Yagaki, S. 276, 277, 278, 279, 280, 286, 287 Yamawaki, I. 28 8, 289, 29 0, 291, 292, 293, 294, 295 Yavno, M. 247 Zahedi, F. 8 6 Zhang, D. 116

CONTEMPORARY ART EDITIONS

AUCTION

DESIGN

PHOTOGRAPHS

JEWELRY

21 NOVEMBER 2009

LONDON

VIEWING 13 – 21 NOVEMBER

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240

www.phillipsdepury.com

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.

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.

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.

•

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 pre-sale estimate.

•

2 BIDDING IN THE SALE Bidding At Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid.

BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued 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 and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your 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.

CONTEMPORARY ART EDITIONS

AUCTION

DESIGN

PHOTOGRAPHS

JEWELRY

12 DECEMBER 2009

NEW YORK

VIEWING 4 –12 DECEMBER

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1210 Catalogues +1 212 940 1240 / +44 20 7318 4039

www.phillipsdepury.com

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. 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.

MUSIC NOVEMBER 2009 LONDON

NEW YORK NEWYORK DECEMBER 2009 NEW YORK

NOW SEX MARCH 2010 NEW YORK

MARCH 2010 LONDON

AFRICA BRIC FILM ITALIA MARCH 2010 NEW YORK

80s JUNE 2010 NEW YORK

APRIL 2010 LONDON

NO RESERVE JULY 2010 LONDON

JAPAN MUSIC NOVEMBER 2010 LONDON

NOVEMBER 2010 NEW YORK

APRIL 2010 NEW YORK

NOW SEPTEMBER 2010 LONDON

JUNE 2010 LONDON

LATIN AMERICA OCTOBER 2010 NEW YORK

BLACK NO & RESERVE WHITE DECEMBER 2010 LONDON

DECEMBER 2010 NEW YORK

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 printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid.

Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. 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.

•

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer 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. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued 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 (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of

such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is 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) ThThe 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.

PHILLIPS de PURY & COMPANY

Chairman

Senior Partners

Advisory Board

Simon de Pury

Michael McGinnis

Maria Bell

Dr. Michaela Neumeister

Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Partners

Lapo Elkann

Aileen Agopian

Ben Elliot

Sean Cleary

Lady Elena Foster

Alexander Payne

H.I.H. Francesca von Habsburg

Rodman Primack

Marc Jacobs

Olivier Vrankenne

Malcolm McLaren

Tiffany Wood

Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street NewYork NY 10011 USA

C/O Pro First 15 Rue de la Paix 75002 Paris France

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

+33 1 42 78 67 77 +33 1 42 78 23 07 fax

+49 30 880 018 42 +49 30 880 018 43 fax

LONDON

MUNICH

GENEVA

Howick Place London SW1P 1BB United Kingdom

Maximiliansplatz 12a 80333 Munich Germany

23, quai des Bergues 1201 Geneva Switzerland

+44 20 7318 4010 +44 20 7318 4011 fax

+49 89 238 88 48 0 +49 89 238 88 48 15 fax

+41 22 906 80 00 +41 22 906 80 01 fax

SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART

NEW YORK

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Aileen Agopian, New York Director

+1 212 940 1255

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Jean-Michel Placent

+1 212 940 1263

Jannah Greenblatt

+1 212 940 1332

Timothy Malyk

+1 212 940 1258

Joy Deibert

+1 212 940 1333

Chin-Chin Yap

Sarah Mudge, Head of Part II, New York

+1 212 940 1250 +1 212 940 1259

Roxana Bruno

Sara Davidson

Maria Bueno

Peter Flores

+1 212 940 1261 +1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

Eugenia Ballvé

+1 212 940 1303

+1 212 940 1229 +1 212 940 1262

LONDON

Anthony McNerney, Head of Evening Sale, London

4067 +44 20 7318

Peter Sumner, Head of Day Sale, London

4063 +44 20 7318

Laetitia Catoir

+44 20 7318 4064

Silke Taprogge

+44 20 7318 4012

Ivgenia Naiman

+44 20 7318 4071

+44 20 7318 4013

Siobhan O’Connor +44 20 7318 4093 4089 Catherine Higgs +44 20 7318

Raphael Lepine +44 20 7318 4078

Tanya Tikhnenko +44 20 7318 4065

Sarah Buchwald +44 20 7318 4085

Phillippa Willison +44 20 7318 4070

DESIGN

Fiona Biberstein

NEW YORK

Marcus Tremonto

Alex Heminway, New York Director

Tara DeWitt

+1 212 940 1268 +1 212 940 1269 +1 212 940 1265

Meaghan Roddy

+1 212 940 1266

+1 212 940 1268 LONDON

Alexander Payne, Worldwide Director +44 20 7318 4052 4027 Ben Williams +44 20 7318

Domenico Raimondo +44 20 7318 4016 Stephanie Abraitis

Ellen Stelter

+44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

MODERN AND CONTEMPORARY EDITIONS NEW YORK

Michael McGinnis, Worldwide Director +1 212 940 1254

JEWELRY NEW YORK Nazgol Jahan, Worldwide Director

+1 212 940 1283

Carmela Manoli

+1 212 940 1302

Heather Zises

+1 212 940 1290

GENEVA Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 05

LONDON Lane McLean

+44 20 7318 4032

THEME SALES Tiffany Wood, Worldwide Director NEW Corey Barr, New York Manager Anne Huntington Steve Agin, Consultant

+49 30 880 018 42 YORK +1 212 940 1234 +1 212 940 1210 +1 908 475 1796

LONDON Tobias Sirtl, London Manager

+44 20 7318 4095

Arianna Jacobs

+44 20 7318 4054

George O’Dell

+44 20 7318 4040

CHAIRMAN LONDON Rodman Primack +44 20 7318 4017 MANAGING DIRECTORS Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PRIVATE SALES Christina Scheublein +1 212 940 1248

PARIS Johanna Frydman

+33 1 42 78 67 77

PHOTOGRAPHS

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES

NEW YORK

Vanessa Kramer, New York Director

+ 1 212 940 1243

Shlomi Rabi

+ 1 212 940 1246

Caroline Shea

+ 1 212 940 1247

Paris Leonie Moschner +33 6 85 53 92 03

Sarah Krueger

+ 1 212 940 1245

London Ivgenia Naiman +44 20 7318 4071

Charlie Scheips, International Consulting Director

+ 1 212 940 1245

Carol Ehlers, Consultant

+ 1 212 940 1245

LONDON

Berlin & Munich Dr. Michaela Neumeister +49 89 238 88 48 10 Brussels & Paris Olivier Vrankenne +32 486 43 43 44

Brooke de Ocampo +44 777 551 7060 Los Angeles Mimi Won Techentin +1 310 600 9192 Maya McLaughlin +1 323 791 1771 Milan Laura Garbarino +39 339 478 9671

Lou Proud

4018 +44 20 7318

Sebastien Montabonel

4025 +44 20 7318

Eugenia Bertelè +39 02 3669 5895

Alexandra Bibby

4087 +44 20 7318

Moscow Svetlana Marich +7 495 225 88 22

Helen Hayman

4092 +44 20 7318

Shanghai/Beijing Jeremy Wingfield +86 135 0118 2804

SALE INFORMATION

AUCTION Saturday November 14 2009 at 10am & 1pm VIEWING Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm AUCTION LOCATION 450 West 15 Street New York NY 10011 SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as NY040209 NEW YORK DIRECTOR Vanessa Kramer +1 212 940 1243 SPECIALIST Shlomi Rabi +1 212 940 1246 JUNIOR SPECIALIST Caroline Shea +1 212 940 1247 SENIOR ADMINISTRATOR Sarah Krueger +1 212 940 1245

SHIPPING Steve Orridge +1 212 940 1370 Beth Petriello +1 212 940 1373 Robert Rogan +1 212 940 1374 PRINCIPAL AUCTIONEER Simon de Pury 0874341 AUCTIONEERS Aileen Agopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK PHOTOGRAPHY Morten Smidt Kristensen, Kent Pell, Clint Blowers E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. vkramer@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the Standard Terms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

INTERNATIONAL CONSULTING DIRECTOR Charlie Scheips +1 212 940 1245 CONSULTANT Carol Ehlers +1 212 940 1245 PROPERTY MANAGER Don D’Aries +1 212 940 1363 CATALOGUES Allyson Melchor +44 20 7318 4039 +1 212 940 1240 Catalogues £30 at the Gallery/$60 catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 CLIENT SERVICES +1 212 940 1200

Front Cover Miles Aldridge, Like a Painting #3, 2005, Lot 87 Inside Front Cover Mark Seliger, Mod Fashion, 2006, Lot 98, Courtesy of Galerie Alex Daniels – Reflex Amsterdam and Miles Aldridge Title Facing Page Thomas Ruff, Nude ev19, 2006, Lot 93 Inside Back Cover Andrew Moore, Restoration Studio, Russia, 2002, Lot 84 Back Cover Albert Watson, Michael Jackson, New York City, 1998, Lot 155

Inside Back Cover Andrew Moore, Restoration Studio, Russia, 2002, Lot 84 Back Cover Albert Watson, Michael Jackson, New York City, 1998, Lot 155

PHOTOGRAPHS 14 NOVEMBER

2009

PHOTOGRAPHS

N EW YOR K

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

14

NOVEMBER

2009

NEW YORK

NY0 4 02 0 9