Phillips Photographs - 9 April 2018

Photographs
& The Enduring Image:

The Collection of Dr. Saul Unter
New York, 9 April 2018
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150. Peter Beard
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00. artist

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Photographs
& The Enduring Image: The Collection of Dr. Saul Unter
New York, 9 April 2018
Auction & Viewing Location Photographs Department

450 Park Avenue New York 10022 +1 212 940 1245
Auction Deputy Chairman, Americas and

9 April 2018 Worldwide Head of Photographs
10am (lots 1–123) Vanessa Hallett
2pm (lots 124–233) vhallett@phillips.com
Viewing Head of Department, New York

31 March – 8 April Sarah Krueger
Monday – Saturday 10am – 6pm skrueger@phillips.com
Sunday 12pm – 6pm
Senior International Specialist
Sale Designation
Christopher Mahoney
When sending in written bids or
cmahoney@phillips.com
making enquiries please refer to
this sale as NY040118 or Photographs.
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Caroline Deck
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Rachel Peart
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Carol Ehlers
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Cataloguer
Clare Milliken
cmilliken@phillips.com

Photographs.

Innovative.
Timeless.
Captivating.

1. Lewis Baltz 1945-2014
Morgan Hill (Prototype), 1973

Gelatin silver print.
6 x 9 in. (15.2 x 22.9 cm)
Signed and dated ‘1974’ in ink on the
reverse of the mount.
Estimate
$15,000-25,000
Provenance
Janet Borden, Inc., New York
Literature
Baltz, The Prototype Works, p. 73

2. Lewis Baltz 1945-2014 3. Lewis Baltz 1945-2014
Galveston (Prototype), 1973 Southwest Wall, Vollrath, 2424 McGaw, Provenance

Gelatin silver print. Irvine from The New Industrial Parks near Acquired directly from the artist
5 7/8 x 9 in. (14.9 x 22.9 cm) Irvine, California, 1974
Signed, titled and dated in ink on the Gelatin silver print. Literature
reverse of the fush-mount. 6 x 9 in. (15.2 x 22.9 cm) Baltz, The New Industrial Parks near Irvine,
Signed, dated, numbered 5/21 and California, pl. 21
Estimate annotated ‘IP21’ in pencil on the verso.
$12,000-18,000
Estimate
Provenance $10,000-15,000
Literature
Baltz, The Prototype Works, p. 79

Photographs from the Collection of Jefrey M. Kaplan,
Washington, D.C.
4. Elliott Erwitt b. 1928
New York City, 1955

Gelatin silver print, printed later.
34 1/4 x 22 1/2 in. (87 x 57.2 cm)
Signed in ink in the margin.
Estimate
$4,000-6,000
5. Lee Friedlander b. 1934
Kansas City, Missouri, 1965

6 3/8 x 9 5/8 in. (16.2 x 24.4 cm)
Signed, titled, dated, annotated ‘printed 1960’s’ in
pencil, credit, copyright credit, two reproduction
limitation stamps and a ‘Photography & the City’
label, all on the reverse of the mount.
Estimate
$8,000-12,000
Provenance
Laurence Miller Gallery, New York
Exhibited
Photography & the City: The Evolution of an
Art and a Science, Smithsonian Institution,
Washington, D.C., 1968
The Photography & the City

label on the reverse of this
photograph’s mount refers
to the exhibition of that
name held at the Arts and
Industries building of the
Smithsonian Institution,
Washington, D.C., in
1968. The exhibition was
designed by Charles and
Ray Eames and explored
the co-development of
photography, as an art and
a science, and the urban
environment. It combined
historical images from
the Smithsonian and the
Library of Congress with
work by 20th-century
photographers including Lee
Friedlander, Alfred Stieglitz,
Berenice Abbott, Dorothea
Lange and others.

6. Robert Frank b. 1924 In 1958 Robert Frank began a series of photographs
he took while riding the bus through New York City.
From the Bus, 1958 He printed many of these images with a distinctive
Gelatin silver print, printed 1980s. gray margin, including the print ofered here, “to
12 3/4 x 8 1/2 in. (32.4 x 21.6 cm)
heighten the feeling of seeing from the inside to
Signed, titled ‘NYC’ and dated ‘ca. 1955’ in ink in
the margin. the outside.”
Estimate He wrote: “The Bus carries me thru the City, I look

$15,000-25,000 out the window, I look at the people on the street,
the Sun and the Trafc Lights. It has to do with the
Provenance
Acquired directly from the artist desperation and endurance—I have always felt that
about living in New York. Compassion and probably
Literature some understanding for New York’s Concrete and
Tate Modern, Robert Frank: Story Lines, p. 124 its people, walking . . . waiting . . . standing up . . .
Todoli, Robert Frank, Fotografas/Films
holding hands . . . the summer of 1958” (Robert
1948/1984, p. 141
Frank: Moving Out, p. 204).

Photographs from the Collection of Jefrey M.
Kaplan, Washington, D.C.
7. Henri Cartier-Bresson 1908-2004
Civil Rights Demonstration, Washington, D.C., 1957

9 1/4 x 14 in. (23.5 x 35.6 cm)
Signed in ink and copyright credit blindstamp
in the margin.
Estimate
$8,000-12,000
Provenance
Jean Efron Art Consultants, Washington, D.C.
Literature
Cartier-Bresson, America in Passing, pl. 44
Thames & Hudson, Henri Cartier-Bresson: The Image
and The World, pl. 305
8. Ruth Orkin 1921-1985
Man in Rain, W. 88th St., N.Y.C., 1952

12 1/2 x 8 3/8 in. (31.8 x 21.3 cm)
Signed and titled in ink in the margin; signed, titled,
dated and copyright notation in pencil on the verso.
Estimate
$5,000-7,000
Provenance
Acquired from the Estate of Ruth Orkin

9. Robert Frank b. 1924
Hoboken (City Fathers), 1955

Gelatin silver print, printed circa 1980.
8 1/2 x 12 3/4 in. (21.6 x 32.4 cm)
Signed, titled, dated in ink in the margin; ‘Robert
Frank Archive’ and copyright stamps on the verso.
Estimate
$50,000-70,000
Provenance
Robert Freidus Gallery, New York
Literature
The Americans, no. 2
Scalo, Robert Frank: Moving Out, p. 176
Greenough, Looking In: Robert Frank’s The
Americans, p. 212

10. Garry Winogrand 1928-1984
Untitled (woman knitting panties), circa 1954

8 7/8 x 13 3/8 in. (22.5 x 34 cm)
‘Garry Winogrand - Blackman Associates / 424
Madison Ave. N.Y.C.’ credit stamp and credited
in an unidentifed hand in pencil on the verso.
Estimate
$10,000-15,000
Provenance
Benrubi Gallery, New York
Another print of this image is in the

collection of the Art Institute of Chicago
and includes the following annotation,
“Stripper Bunnie Russel (lef) and a
showgirl in / wings - Miss. Russel just
fnished her act and / is knitting woolen
panties (briefs)”.

11. Ray K. Metzker 1931-2014 12. Harry Callahan 1912-1999
Selected Images from Pictus Untitled, Eleanor, 1947

Interruptus, 1976-1980 Gelatin silver print, printed later.
Four gelatin silver prints. 7 7/8 x 4 7/8 in. (20 x 12.4 cm)
Each approximately 12 x 17 in. Signed in pencil in the margin.
(30.5 x 43.2 cm) or the reverse
Each signed, numbered 2/20, 1/25, Estimate
1/30 or 7/30 in pencil on the verso. $5,000-7,000
Estimate Literature
$10,000-15,000 Cox, Harry Callahan: Eleanor, pl. 16
Greenough, Harry Callahan, p. 80
Literature Szarkowski, Callahan, p. 61
Davis, The Photographs of Ray K.
Metzker, pl. 77

New Orleans, Louisiana, 1979

22 1/8 x 14 3/4 in. (56.2 x 37.5 cm)
Signed, titled, dated in pencil and copyright credit
reproduction limitation stamp on the verso.
Estimate
$4,000-6,000
Provenance
Literature
Galassi, Friedlander, pl. 490
Yosemite, National Park, California, 2003

15 x 14 3/4 in. (38.1 x 37.5 cm)
Signed, titled, dated in pencil, copyright credit
reproduction limitation and date stamps on the verso.
Estimate
$4,000-6,000
Provenance
New City, New York, 1994

14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)
Signed, titled ‘NC’, dated and copyright credit reproduction
limitation stamp on the verso.
Estimate
$3,000-5,000
Provenance
Literature
Galassi, Friedlander, pl. 582, there titled Stems

16. Diane Arbus 1923-1971
A House on a Hill, Hollywood, Cal., 1963

Gelatin silver print, printed later by
Neil Selkirk.
14 x 14 1/2 in. (35.6 x 36.8 cm)
Stamped ‘A Diane Arbus photograph’,
signed, titled, dated, numbered
49/75 by Doon Arbus, Executor, in
ink, copyright credit and reproduction
limitation stamps on the verso.
Estimate
$7,000-9,000
Provenance
Fraenkel Gallery, San Francisco
Literature
Aperture, Diane Arbus, n.p.
New York State, 2001

15 x 14 1/2 in. (38.1 x 36.8 cm)
Signed, titled, dated in pencil and
copyright credit reproduction limitation
stamp on the verso.
Estimate
$4,000-6,000
Provenance
Literature
Galassi, Friedlander, pl. 673

Property from a Private Collection, Miami
18. Garry Winogrand 1928-1984 19. Garry Winogrand 1928-1984
Central Park Zoo, New York, 1967 Literature We Love Mayor Daley, Chicago, 1971–1972
Gelatin silver print, printed later. Szarkowski, Garry Winogrand: Figments Gelatin silver print, probably printed 1970s.
8 3/4 x 13 in. (22.2 x 33 cm) from the Real World, p. 91 8 7/8 x 13 1/4 in. (22.5 x 33.7 cm)
Signed in pencil on the verso. TF. Editores, Garry Winogrand: El Signed in pencil on the verso.
Juego de la Fotografía. The Game of
Estimate Photography, p. 95 Estimate
$8,000-12,000 Hatje Cantz, Open City: Street $8,000-12,000
Photographs since 1950, p. 74
University of Cambridge, A History of Provenance
Photography, p. 203 Carol Ehlers Gallery, Chicago

20. Robert Frank b. 1924 This large print of Luncheonette—Butte, Montana
was shown in The Photographs of Robert Frank, the
Luncheonette—Butte, Montana, 1956 important exhibition of Frank’s work which opened at
Gelatin silver print, printed no later than 1969. the Philadelphia Museum of Art in 1969 and traveled
12 5/8 x 18 3/4 in. (32.1 x 47.6 cm)
to four other venues through 1971. The exhibition
Signed and dated in ink on the reverse of the
Masonite fush-mount. celebrated the publication of the 1969 edition of The
Americans by Aperture and was curated by Aperture’s
Estimate Michael Hofman, also an adjunct curator at the
$40,000-60,000 Museum. This was the largest exhibition of Frank’s
work to date, and was drawn almost exclusively from
Provenance
Pace/MacGill Gallery, New York The Americans. According to Frank authority Sarah
Greenough, the exhibition was notable for the size
Exhibited and quality of the prints. She writes: “Printed by Frank
The Photographs of Robert Frank, Philadelphia and the photographer Sid Kaplan, these photographs
Museum of Art, 16 May – 29 June 1969, and
were larger than those he had made for his 1962
traveling to the Davison Art Center, Wesleyan
University, Middletown, Connecticut; Williams exhibition at MoMA and even more lush. Because
College, Williamstown, Massachusetts; Hopkins of their size, the graphic strength of these images
Art Center, Dartmouth College, Hanover, New became far more apparent, as details that were lost
Hampshire; and Colgate College, Hamilton, New in the approximately 4-by-7-inch or 8-by-5-inch
York, through 1971
reproductions in the book assumed much greater
Literature prominence and authority and were ofen transformed
The Americans, no. 41 into bold, abstract forms. In addition, the luminosity
Greenough, Looking In: Robert Frank’s and the sense that light was emanating from within
The Americans, p. 260 the images was greatly magnifed” (Looking In: Robert
Frank’s The Americans, p. 317).

21. Alma Lavenson 1897-1989
Calaveras Cement Plant, 1933

8 x 10 in. (20.3 x 25.4 cm)
Signed in pencil, titled and dated in ink
on the verso.
Estimate
$10,000-15,000
Provenance
Collection of the artist’s family
Literature
Ehrens, Alma Lavenson: Photographs,
p. 39 (this print)
California Museum of Photography,
Alma Lavenson, p. 78
Tsujimoto, Images of America:
Precisionist Painting and Modern
Photography, pl. 69
22. Alma Lavenson 1897-1989
St. Charles Hotel, Downieville, 1934

7 7/8 x 7 1/8 in. (20 x 18.1 cm)
Signed in pencil on the mount; titled and
dated in ink on an artist’s label afxed to
the reverse of the mount.
Estimate
$7,000-9,000
Provenance
Collection of the artist’s family
Literature
Ehrens, Alma Lavenson: Photographs,
p. 64, variant

23. Walker Evans 1903-1975
Main Street, Saratoga Springs, New York, 1931 Provenance

Gelatin silver print, probably printed in the Acquired from George Rinhart, no later than 1975
1950s or 1960s. Private Collection, New York
12 7/8 x 10 1/4 in. (32.7 x 26 cm)
Signed, dated in pencil on the overmat; the Literature
Lunn Gallery stamp annotated ‘I’, ‘62’, titled Evans, American Photographs, Part One, pl. 27
and annotated ‘Ex Archive: Walker Evans’ in an Harper & Row, Walker Evans at Work, p. 58
unidentifed hand in pencil on the verso. Harper & Row, Walker Evans: First and Last, p. 47
Harry N. Abrams, Inc., Walker Evans:
Estimate The Hungry Eye, p. 63
$30,000-50,000

Actual size

Washington, D.C.
24. Berenice Abbott 1898-1991
Automat, 977 Eighth Avenue, 1936

7 1/4 x 9 3/8 in. (18.4 x 23.8 cm)
Signed in pencil, ‘50 Commerce Street’ credit stamp,
printed studio label and notations in unidentifed hands
in pencil on the verso.
Estimate
$20,000-30,000
Provenance
Literature
Finley, Berenice Abbott, n.p.
O’Neal, Berenice Abbott: American Photographer, p. 141
Yochelson, Berenice Abbott: Changing New York, Middle
West Side, pl. 34
Once a regular feature on the streetscape of

Manhattan, Horn & Hardart’s Automats ofered
freshly-made food via a simple mechanized
process. Food items were displayed behind
glass and purchased by inserting coins into the
adjacent slots, as the fgure in Berenice Abbott’s
photograph is seen doing. While Horn & Hardart’s
fagship Automat was in Times Square, Abbott
chose instead to photograph the location at
Columbus Circle, according to Abbott authority
Bonnie Yochelson, which was a gathering place
for musicians and cabaret-goers (Berenice
Abbott: Changing New York, p. 376). With
their reasonably-priced fare, Automats became
increasingly popular in the Depression and spread
throughout the city. Yochelson notes that New
York City’s last Automat closed in 1991.
While this photograph has become one of

Abbott’s best-known images, early prints, such
as the one ofered here, appear on the market
infrequently. It is believed that only two other
early prints of Automat, 977 Eighth Avenue have
appeared at auction since 2002.

Photographs from the Collection of
Jefrey M. Kaplan, Washington, D.C.
Park Avenue and Thirty-Ninth Street,

Manhattan, 1936
7 5/8 x 9 1/2 in. (19.4 x 24.1 cm)
Titled, dated, annotated in an
unidentifed hand in pencil and Federal
Art Project ‘Changing New York’ credit
stamp on the verso.
Estimate
$6,000-8,000
Provenance
Jean Efron Art Consultants,
Washington, D.C.
Literature
McCausland, New York in the
Thirties: As Photographed by Berenice
Abbott, pl. 64
Yochelson, Berenice Abbott: Changing
New York, Middle East Side, pl. 18
26. Ray K. Metzker 1931-2014
Philadelphia, 1962
Gelatin silver print, fush mounted.
6 x 9 in. (15.2 x 22.9 cm)
Signed, numbered 5/25, and
annotated ‘62 ER-37’ in pencil on the
verso of the mount.
Estimate
$4,000-6,000

New York at Night, 1932 Literature

Gelatin silver print, printed later. Steidl, Berenice Abbott: Volume II, cover, frontispiece, p. 35
23 1/4 x 18 5/8 in. (59.1 x 47.3 cm) Commerce Graphics, Ltd., Berenice Abbott, n.p.
Signed in pencil on the mount; credit stamp on the O’Neal, Berenice Abbott: American Photographer, p. 2
reverse of the mount. Photo Poche, Berenice Abbott, pl. 20
The New York Public Library, Berenice Abbott: A Modern
Estimate Vision, pl. 9
$10,000-15,000 Haworth-Booth, The Folio Society Book of the 100
Greatest Photographs, p. 125
Provenance
Private Collection, New York City

First Avenue and East 61st Street, New York, 1938

5 3/4 x 9 in. (14.6 x 22.9 cm)
Estimate
$6,000-8,000
Provenance
Photo-West Gallery, San Diego, 1990
Literature
Da Capo Press, Walker Evans: Photographs for
the Farm Security Administration 1935-1938,
pl. 453, variant
Fleischhauer and Brannan, Documenting
America, 1935-1943, p. 140
General Store, Mississippi, 1936

7 1/4 x 9 1/4 in. (18.4 x 23.5 cm)
Annotated ‘RA8008A’ twice in unidentifed hands
Estimate
$6,000-8,000
Provenance
Photo-West Gallery, San Diego, 1990
Literature
Da Capo Press, Walker Evans: Photographs for the
Farm Security Administration 1935-1938, pl. 113
Rizzoli, Walker Evans: America, no. 66
Minstrel Showbill, 1936

Gelatin silver print, probably printed in the 1960s or
early 1970s.
7 1/2 x 9 in. (19.1 x 22.9 cm)
Signed in pencil on the mount; titled ‘Cakewalk,
Alabama’, dated in pencil and ‘Box 310, Rte. 3, Old
Lyme, Conn., 06371’ credit stamp (Keller stamp K) on
the reverse of the mount.
Estimate
$5,000-7,000
Literature
Evans, American Photographs, Part One, pl. 42
Da Capo Press, Walker Evans: Photographs for the
Farm Security Administration 1935-1938, pl. 383
Galassi, Walker Evans: American Photographs, p. 43
Mora and Hill, Walker Evans: The Hungry Eye, p. 164

31. Helen Levitt 1913-2009
New York City (young boy), 1942

6 7/8 x 4 1/2 in. (17.5 x 11.4 cm)
Signed, titled ‘N.Y.’, dated ‘c. 1939’, annotated ‘vintage’
and additional annotations in pencil on the verso.
Estimate
$12,000-18,000
Provenance
Literature
Phillips and Hambourg, Helen Levitt, pl. 16
powerHouse Books, Helen Levitt: Crosstown, p. 54
Agee, A Way of Seeing, pl. 39
New York (boy with bubble), 1972

Dye transfer print, printed 1992.
9 1/2 x 14 1/8 in. (24.1 x 35.9 cm)
Signed, titled ‘N.Y.,’ dated and annotated in pencil
on the verso.
Estimate
$5,000-7,000
Provenance
Literature
powerHouse Books, Helen Levitt: Crosstown, p. 132
San Francisco Museum of Modern Art, Helen Levitt, p. 65

Ferry, Foot of Liberty Street, Manhattan, 1936

8 x 9 5/8 in. (20.3 x 24.4 cm)
Titled, dated, annotated in an unidentifed
hand in pencil and Federal Art Project
‘Changing New York’ credit stamp on the verso.
Estimate
$4,000-6,000
Provenance
Literature
McCausland, New York in the Thirties: As
Photographed by Berenice Abbott, pl. 23
Yochelson, Berenice Abbott: Changing New
York, Lower East Side, pl. 19

Hanover Square, Manhattan, May 25th, 1936

7 5/8 x 9 1/2 in. (19.4 x 24.1 cm)
Titled, dated in an unidentifed hand in pencil,
Federal Art Project ‘Changing New York’ credit
and ‘Duplicate’ stamps on the verso.
Estimate
$3,000-5,000
Provenance
Literature
Yochelson, Berenice Abbott: Changing
New York, Wall Street, pl. 15

New York (NY policeman, wet

street & kids), circa 1940
5 7/8 x 9 1/8 in. (14.9 x 23.2 cm)
Signed, titled ‘N.Y.C.’ and dated in
pencil on the verso.
Estimate
$10,000-15,000
Provenance

Battery Park, 1930s

7 1/2 x 9 1/2 in. (19.1 x 24.1 cm)
Signed by the artist, titled in an
unidentifed hand, all in pencil and
credit stamp on the verso.
Estimate
$3,000-5,000
Provenance
Washington, D.C.

37. Eugène Atget 1857-1927
Bagatelle, 1919-1921
Albumen print.
7 x 8 3/8 in. (17.8 x 21.3 cm)
Titled, annotated ‘984’ by the artist
in pencil and Museum of Modern Art
deaccession notations in unidentifed
hands in pencil on the verso.
Estimate
$10,000-15,000
Provenance
Acquired afer the artist’s death by
Berenice Abbott and Julien Levy, 1927
The Museum of Modern Art,
New York, 1968
Acquired by the present owner from
the above, 2002
37.
The photographs in lots 37 through 39 come from

the group of Eugène Atget prints acquired just afer
his death in 1927 by photographer Berenice Abbott
and pioneering gallerist Julien Levy. Abbott had been
introduced to Atget by Man Ray, for whom she worked
as a darkroom assistant. Abbott befriended Atget,
and the portraits she made of him are some of the few
images we have of the enigmatic photographer. Afer
Atget’s death, the survival of his work was far from
certain. Abbott and Levy purchased the thousands of
photographs and glass negatives lef in his apartment,
saving the work from likely destruction. In 1968,
Abbott and Levy sold their collection to The Museum
of Modern Art. In 2002, MoMA began a program of
deaccessioning duplicates from this vast collection.
Julien Levy devotes a chapter to Atget in his Memoir

of an Art Gallery (New York, 1977), one of the few
frst-person accounts of this prolifc but reclusive fgure.
Levy wrote: “He told me he was simply preserving
carefully the vanishing world that he loved, and keeping
an archive of important classifed documents. He was
a remarkably simple man, extremely modest. In truth,
he was unaware of his achievement. He lef 10,000
photographs in hundreds of series, but each individual
picture was an essential pearl in the string that was
his Paris. And he was making a new statement with
every picture, transcending the document and creating
poetry that outlived his Paris and will outlive us all.”
38.

39.
38. Eugène Atget 1857-1927 39. Eugène Atget 1857-1927
Bouillon Blanc en Fleur, 1896-1900 Saint-Cloud, 1919-1921

Albumen print. Albumen print.
8 3/8 x 7 in. (21.3 x 17.8 cm) 7 x 8 3/8 in. (17.8 x 21.3 cm)
Titled, annotated ‘133’ by the artist in pencil, Titled, annotated ‘931’ by the artist in pencil
‘Rue Campagne-Première’ credit stamp and and Museum of Modern Art deaccession
Museum of Modern Art deaccession notations notations in unidentifed hands in pencil on
in unidentifed hands in pencil on the verso. the verso.
Estimate Estimate
$8,000-12,000 $20,000-30,000
Provenance Provenance
Acquired afer the artist’s death by Berenice Acquired afer the artist’s death by Berenice
Abbott and Julien Levy, 1927 Abbott and Julien Levy, 1927
The Museum of Modern Art, New York, 1968 The Museum of Modern Art, New York, 1968
Acquired by the present owner from the Acquired by the present owner from the
above, 2002 above, 2002

40. Charles Marville 1816-1879
Rue des Amandiers, 1860s

Albumen print.
11 7/8 x 10 5/8 in. (30.2 x 27 cm)
Titled in pencil and ‘Ch. Marville, Photographe du Musée
Imperial du Louvre’ blindstamp on the mount.
Estimate
$12,000-15,000
Provenance
Beaussant Lefèvre, Paris, 30 November 1996
Howard Greenberg Gallery, New York
Private Collection, Colorado
Acquired by the present owner from the above
41. Frederick Henry Evans 1853-1943
Height and Light, Bourges Cathedral, 1906-1907

Platinum print.
5 1/8 x 3 1/8 in. (13 x 7.9 cm)
Signed and titled in pencil on the hand-ruled mount;
signed and annotated ‘Japine platinotype, Perfect print’
Estimate
$10,000-15,000
Provenance
Collection of Evan Evans, the photographer’s son
Witkin Gallery, New York
Private Collection
Sotheby’s, New York, 6 October 1999, lot 57
Robert Klein Gallery, Boston
Literature
Newhall, Frederick Evans, cover

Washington, D.C.
42. Edward Steichen 1879-1973
The Flatiron - Evening, 1905 Provenance

Three-color halfone print from Camera Work on the Jean Efron Art Consultants, Washington, D.C.
original double-mount leaf.
8 3/8 x 6 3/8 in. (21.3 x 16.2 cm) Literature
Camera Work, Number 14, January 1913, p. 31
Estimate Steichen, A Life in Photography, pl. 29
$8,000-12,000

Washington, D.C.
43. Alvin Langdon Coburn 1882-1966
Selected Images, 1904-1909 Literature

Nine prints including eight photogravures and one halfone Camera Work, Number 21, January 1908, pp. 5, 7, 9, 11, 13,
from Camera Work and New York. 33, 37, 39
Varying dimensions from 6 1/8 x 6 in. (15.6 x 15.2 cm) to 9 1/4 x Coburn, New York, pl. 3
6 1/2 in. (23.5 x 16.5 cm) or the reverse
Estimate Titles Include:

$6,000-8,000 George Bernard Shaw, 1904; The Rudder, 1906;
El Toro, 1906; Road To Algeciras, 1906; Auguste
Provenance
Caney Booksellers, New Jersey Rodin, 1906; The Bridge, Venice, 1906; The Duck
Pond, 1907; The Waterfront, New York, circa 1907;
The Battery, circa 1909

44. Alfred Stieglitz 1864-1946
The Steerage, 1907 Provenance

Photogravure, mounted. Acquired directly from the photographer at An
7 3/8 x 6 in. (18.7 x 15.2 cm) American Place, New York City, 1941
Signed, titled and dated twice in pencil in the margin. By descent to the present owner
Signed, titled, dated and annotated in ink on ‘An
American Place’ label afxed to the accompanying Literature
original frame backboard. Camera Work, Number 36, October 1911. p. 39
Stieglitz, 291, September-October 1915
Estimate Greenough, Alfred Stieglitz: The Key Set, Volume One,
$60,000-80,000 cat. no. 310
Bulfnch Press, Alfred Stieglitz, pl. 18
Margolis, Alfred Stieglitz, Camera Work: A Pictorial
Guide, p. 100
Norman, Alfred Stieglitz: An American Seer, pl. XVI
The Museum of Fine Arts, Boston, Alfred Stieglitz:
Photographer, pl. 8
Whelan, Alfred Stieglitz: A Biography, Photography,
Georgia O’Keefe, and the Rise of the Avant-Garde in
America, n.p.

Washington, D.C.
45. Edward Steichen 1879-1973
Selected Images, 1899-1907 Provenance

Ten prints including six photogravures, two halfones, Jean Efron Art Consultants, Washington, D.C.
one duogravure and one two-color halfone from
Camera Work. Literature
Varying dimensions from 4 1/4 x 5 3/8 in. (10.8 x 13.7 cm) Camera Work, Number 2, April 1903, pp. 7, 9, 39
to 8 1/4 x 6 1/2 in. (21 x 16.5 cm) or the reverse Camera Work, Number 11, July 1905, p. 35
Camera Work, Steichen Supplement, April 1906, pp. 13,
Estimate 15, 29, 35
$6,000-8,000 Camera Work, Number 42/43, April/July 1913, pp. 39, 63

Washington, D.C.
46. Alfred Stieglitz 1864-1946
Selected Images, 1893-1911 Provenance

Eleven photogravures from Camera Work, Picturesque Bits Jean Efron Art Consultants, Washington, D.C.
of New York and Other Studies and The American Annual of 292 Gallery, New York (Icy Night)
Photography and Photographic Times Almanac for 1896.
Varying dimensions from 3 3/8 x 6 in. (8.6 x 15.2 cm) to Literature
11 x 8 in. (27.9 x 20.3 cm) or the reverse Greenough, Alfred Stieglitz: The Key Set (Volume 1), cat.
Printed copyright, credit and date in the margin of the nos., 85, 114, 174, 258, 287, 295, 306, 331, 341, 351, 358
print from Picturesque Bits; printed copyright, credit in Camera Work, Number 4, October 1903, pl. 1
the margin of the print from The American Annual of Camera Work, Number 12, October 1905, pls. 2, 6, 8
Photography and Photographic Times Almanac for 1896. Camera Work, Number 36, October 1911, pls. 1, 3
Camera Work, Number 41, January 1913, pl. 2
Estimate Camera Work, Number 44, October 1913, pl. 2
$8,000-12,000 The American Annual of Photography and Photographic
Times Almanac for 1896, 1895, frontispiece

Actual size
47. Josef Sudek 1896-1976
Untitled (Woods), 1960s

6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)
Signed in pencil in the margin.
Estimate
$8,000-12,000
Provenance
From the artist to Rudolf Gabriel
Vladimir Birgus, Prague
Estates of Anne J. Portenar and Myron A. Portenar,
New Jersey

Selected Images, 1931-1973

Four gelatin silver prints.
Varying dimensions from 3 1/2 x 11 1/8 in. (8.9 x 28.3 cm)
to 6 3/4 x 9 1/8 in. (17.1 x 23.2 cm) or the reverse
One print signed, dated ‘73’ in stylus in the margin;
one print annotated in pencil on the verso; and one
print with credit stamp on the verso.
Estimate
$8,000-12,000
Provenance
Estates of Anne J. Portenar and Myron A. Portenar,
New Jersey
Titles include: From Belevedere Tower, St.

Vitus Cathedral, Prague, 1931; Untitled
(Misty Mountain landscape) from the Beskyd
Mountains, circa 1956; Trees, Bushes, 1964;
Spring (budding branches), circa 1968

A Walk in the Magic Garden, 1955

6 5/8 x 9 in. (16.8 x 22.9 cm)
Titled, dated in pencil, annotations in
unidentifed hands in ink and pencil, and
‘Pressfoto Obrazová Predloha’ stamps on
the verso.
Estimate
$5,000-7,000
Provenance
From the artist to Michael Hofman,
curator of Photographs, Philadelphia
Museum of Art
Estates of Anne J. Portenar and Myron A.
Portenar, New Jersey
Selected Images, 1950s

Four gelatin silver prints.
Varying dimensions from 9 x 6 5/8 in.
(22.9 x 16.8 cm) to 11 3/8 x 9 1/4 in. (28.9 x
23.5 cm), or the reverse
Three variously signed, dated and annotated
in pencil in the margin and on the verso.
Estimate
$8,000-12,000
Provenance
Titles include: Prague, 1953; A Walk in the

Mionsi Forest (Vanishing Statues series),
circa 1957; Stone and Fern, 1957-1959;
Garden of My Studio, 1950s

From the Window of My Studio, 1944-1953

Gelatin silver print
8 1/2 x 6 1/4 in. (21.6 x 15.9 cm)
Signed in pencil in the margin; dated and
annotated in pencil on the verso.
Estimate
$7,000-9,000
Provenance
From the artist to Anna Farova, Prague
Kicken Gallery, Berlin
Strahov Park, Prague, 1967

6 7/8 x 9 1/8 in. (17.5 x 23.2 cm)
Estimate
$4,000-6,000
Provenance
Anna Farova, Prague
The Collection of a Swiss Foundation
Phillips de Pury & Company, New York,
7 June 2007, lot 43

53. André Kertész 1894-1985
Looking Through Trees at Man with Umbrella,

August 2, 1962
9 3/4 x 7 in. (24.8 x 17.8 cm)
Dated, annotated ‘7’ in pencil and credit stamp on
the verso.
Estimate
$7,000-9,000
Provenance

Washington Square Afer Rain, 1970

9 5/8 x 6 5/8 in. (24.4 x 16.8 cm)
Signed, titled, dated, annotated ‘#34A’ in pencil and
credit stamp on the verso.
Estimate
$8,000-12,000
Provenance

Photographs from the Collection of Jefrey M. Photographs from the Collection of Jefrey M.
Kaplan, Washington, D.C. Kaplan, Washington, D.C.
55. André Kertész 1894-1985 56. André Kertész 1894-1985
Washington Square, March 22, 1967 Arch and Snow, Washington Square Park,
Gelatin silver print. February 15, 1970
9 3/4 x 6 1/2 in. (24.8 x 16.5 cm) Gelatin silver print.
Signed, dated, annotated ‘#14A’ in pencil and 9 5/8 x 6 1/2 in. (24.4 x 16.5 cm)
credit stamp on the verso. Signed, titled, dated, annotated ‘No 25’ in pencil
and credit stamp on the verso.
Estimate
$10,000-15,000 Estimate
$10,000-15,000
Provenance
Jean Efron Art Consultants, Washington, D.C. Provenance

Photographs from the Collection of Photographs from the Collection of Jefrey M.
Jefrey M. Kaplan, Washington, D.C. Kaplan, Washington, D.C.
57. Henri Cartier-Bresson Provenance 58. Henri Cartier-Bresson 1908-2004

1908-2004
Simiane-la-Rotonde, France, 1969
Literature Gelatin silver print, printed later.
Hyères, France, 1932
Cartier-Bresson, The World of Henri 9 1/2 x 14 1/4 in. (24.1 x 36.2 cm)
Cartier-Bresson, pl. 22 Signed in ink and copyright credit blindstamp in
9 1/2 x 14 1/8 in. (24.1 x 35.9 cm)
Chéroux, Discoveries: Henri Cartier- the margin.
Signed in ink and copyright credit
Bresson, n.p.
blindstamp in the margin.
Clair, Henri Cartier-Bresson: Europeans, p. 22 Estimate
Galassi, Henri Cartier-Bresson: The Early $7,000-9,000
Estimate
Work, p. 100
$8,000-12,000
Provenance
Literature
Chéroux, Henri Cartier-Bresson: Here and
Now, pl. 312
Clair, Henri Cartier-Bresson: Europeans, p. 30
Montier, Henri Cartier-Bresson and the Artless
Art, pl. 274

59. Henri Cartier-Bresson

1908-2004
Siphnos, Greece, 1961

9 1/2 x 14 in. (24.1 x 35.6 cm)
Signed in ink and copyright credit
blindstamp in the margin.
Estimate
$6,000-8,000
Provenance
Washington, D.C.
Literature
Bulfnch Press, Henri Cartier-Bresson:
City and Landscapes, pl. 84
Chéroux, Discoveries: Henri Cartier-
Bresson, pp. 104-105 Photographs from the Collection of
Clair, Henri Cartier-Bresson: Jefrey M. Kaplan, Washington, D.C.
Europeans, p. 115
60. Henri Cartier-Bresson Provenance

1908-2004
Literature
Seville, Spain, 1933
Cartier-Bresson, The Decisive Moment, pl. 11
Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 11
15 x 22 1/8 in. (38.1 x 56.2 cm)
Chéroux, Discoveries: Henri Cartier-Bresson, p. 32
Clair, Henri Cartier-Bresson: Europeans, p. 76
Galassi, Henri Cartier-Bresson: The Early Work, p. 102
Estimate
$10,000-15,000

61. Josef Koudelka b. 1938
Romania, 1968
11 1/2 x 17 1/2 in. (29.2 x 44.5 cm)
Estimate
$15,000-25,000
Literature
Aperture, Joseph Koudelka: Exiles, pl. 32
Aperture, Koudelka, pl. 53
Koudelka, Josef Koudelka, pl. 23
Photo Poche, Josef Koudelka, pl. 10

Washington, D.C.
Tivoli, Italy, 1933

14 x 9 1/2 in. (35.6 x 24.1 cm)
Signed in ink and copyright credit blindstamp in the margin.
Estimate
$5,000-7,000
Provenance
Literature
Galassi, Henri Cartier-Bresson: The Early Work, p. 78
Montier, Henri Cartier-Bresson and the Artless Art, pl. 271
Thames & Hudson, Henri Cartier-Bresson: The Image and
The World, pl. 122

Washington, D.C.
Henri Matisse, Vence, France, 1944

9 1/2 x 14 3/8 in. (24.1 x 36.5 cm)
Signed in ink and copyright credit blindstamp in the margin.
Estimate
$6,000-8,000
Provenance
Literature
Cartier-Bresson, The World of Henri Cartier-Bresson, pl. 121
Chéroux, Discoveries: Henri Cartier-Bresson, p. 96
Montier, Henri Cartier-Bresson and the Artless Art, pl. 277

64. Bill Brandt 1904-1983
Nude, London, 1952

13 1/2 x 11 5/8 in. (34.3 x 29.5 cm)
Estimate
$10,000-15,000
Literature
Harry N. Abrams Inc., Brandt: The
Photography of Bill Brandt, cover and
pl. 242
Photo Poche, Bill Brandt, cover
Da Capo Press, Bill Brandt: Shadow of
Light, pl. 121
Gordon Fraser, Bill Brandt: Nudes 1945-
1980, pl. 53
Thames & Hudson, Bill Brandt:
Photographs 1928-1983, p. 172
Thames & Hudson, Brandt Nudes: A New
Perspective, p. 63
65. Ruth Orkin 1921-1985
American Girl in Italy, 1952 Provenance

Gelatin silver print, printed 1980. Acquired from the Estate of Ruth Orkin
11 3/4 x 18 5/8 in. (29.8 x 47.3 cm)
Signed, dated and copyright notation in ink Literature
in the margin. Howard Greenberg Gallery/Ruth Orkin Photo
Archive, Ruth Orkin: American Girl in Italy – The
Estimate Making of a Classic, cover, pl. 10
$10,000-15,000 Howard Greenberg Gallery/Ruth Orkin Photo
Archive, Ruth Orkin: Above and Beyond, p. 9
Rosenblum, A History of Women Photographers,
pl. 227

California Kiss, Santa Monica, 1955

24 7/8 x 37 5/8 in. (63.2 x 95.6 cm)
Signed in ink, printed title and date on an
artist’s label accompanying the work.
Estimate
$6,000-8,000
Provenance
Literature
Phaidon, Elliott Erwitt: Snaps, p. 502
teNeues, Elliott Erwitt: Personal Best,
pp. 434-435
High Museum of Art, Chorus of Light:
Photographs from the Sir Elton John
Collection, p. 105

Paris, 1989 Provenance

Gelatin silver print, printed later. Chris Beetles Gallery, London
12 5/8 x 17 1/4 in. (32.1 x 43.8 cm)
Signed in ink in the margin; signed, titled Literature
and dated in pencil on the verso. Phaidon, Elliott Erwitt: Snaps, pp. 434-435
teNeues, Elliott Erwitt: Personal Best, pl. 269
Estimate
$4,000-6,000

Photographs from the Collection of 68. Homing Ship
Homing Ship, New York, 1944 and Literature

Central Park, March 27, 1970 Borhan, André Kertész: His Life and
Two gelatin silver prints, Work, p. 28
one printed later. Ducrot, André Kertész: Sixty Years
13 7/8 x 10 7/8 in. (35.2 x 27.6 cm) and of Photography, p. 182
9 3/4 x 7 in. (24.8 x 17.8 cm) Greenough, André Kertész, pl. 83
Estate copyright credit stamp on Harry N. Abrams, Inc., André
the reverse of Homing Ship; signed, Kertész: A Lifetime of Perception, p. 251
titled, dated, annotated ‘No 21’ Phillips, Travis and Naef, André
in pencil and credit stamp on the Kertész: Of Paris and New York,
reverse of Central Park. p. 238, there titled East Walk of
Conservatory Pond, Central Park
Estimate
$5,000-7,000
Provenance
Washington, D.C. (Homing Ship)
(Central Park)
68. Central Park
69.

Washington Square Park, November 30, 1971

9 3/4 x 7 1/4 in. (24.8 x 18.4 cm)
Dated, annotated ‘No 12’ in pencil and
copyright credit stamp on the verso.
Estimate
$7,000-9,000
Provenance

70. Paul Strand 1890-1976
Steel Mill, Helwan, Egypt, 1959

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm)
Credited, titled, dated and initialed ‘HS’ by Hazel
Strand in pencil on the reverse of the fush-mount.
Estimate
$10,000-15,000
Provenance

Chimney, 1965
9 3/8 x 6 1/4 in. (23.8 x 15.9 cm)
Dated, annotated ‘14’ in ink and credit stamp on
the verso.
Estimate
$5,000-7,000
Provenance

72. Erwin Blumenfeld 1897-1969
Untitled (Miss Leonardine da Vinci), 1944

Solarized gelatin silver print.
13 1/4 x 10 1/4 in. (33.7 x 26 cm)
Annotated in ink, credit and estate stamps on the verso.
Estimate
$15,000-25,000
Provenance
Collection of Yorick Blumenfeld, the photographer’s son
Deborah Bell Photographs, New York
Literature
Blumenfeld, My One Hundred Best Photos, p. 92

73. Irving Penn 1917-2009
Man Fishing from Bank of Seine, 1950

Platinum palladium print, printed 1979.
9 1/2 x 6 1/2 in. (24.1 x 16.5 cm)
Signed, titled, dated, numbered 8/69, annotated
in pencil, copyright credit Condé Nast reproduction
limitation and edition stamps on the reverse of the
aluminum fush-mount.
Estimate
$15,000-25,000

Washington, D.C.
74. Paul Strand 1890-1976
Dead Tree, Vermont, 1945 Provenance

Gelatin silver print. Jean Efron Art Consultants, Washington, D.C.
9 5/8 x 7 5/8 in. (24.4 x 19.4 cm)
Credited, titled, dated and initialed ‘HS’ by Hazel Strand in Literature
pencil on the reverse of the fush-mount. Galerie Zur Stockeregg, Paul Strand, pl. 63
Strand and Newhall, Time in New England, p. 54
Estimate
$15,000-25,000

75. Edward Weston 1886-1958 Edward Weston began his iconic series of studies of the
massive dunes at Oceano in 1934 when he visited the
Dunes, Oceano, 1936 area with fellow photographer Willard Van Dyke. In his
Gelatin silver print, printed in the late 1940s or early 1950s. daybook entry for 20 April, he wrote: “I made several dune
7 5/8 x 8 1/2 in. (19.4 x 21.6 cm)
negatives that mark a new epoch in my work. I must go
Initialed and dated by the artist in pencil on the mount.
back there,—the material made for me!” (The Daybooks
Estimate of Edward Weston, p. 282). The massive dunes at Oceano
$50,000-70,000 created an ever-shifing landscape of pure and unadorned
form, and the subject matter was indeed the perfect ft
Provenance
for Weston’s Modernist vision. The dunes were in a state
Private Collection, New York
of constant change, reshaped continuously by wind and
Literature water, and they presented completely new subject matter
Conger, Edward Weston: Photographs from the Collection to Weston on each of his visits over the ensuing years.
of the Center for Creative Photography, fg. 945
Aperture, Edward Weston: Fify Years, p. 168
Weston created what is arguably his most famous dune
Armitage, Fify Photographs, pl. 13
Enyeart, Edward Weston’s California Landscapes, pl. 15 study in 1936, the image ofered here. Weston clearly
Harry N. Abrams, Inc., Edward Weston: Forms of recognized the photograph as an important one early-on,
Passion, p. 211 and included it in his 1937 article What is Photographic
Lodima Press, Edward Weston: Life Work, pl. 72 Beauty? in Camera Craf magazine. It hung in several
Newhall, Edward Weston: The Flame of Recognition, p. 45
important early solo exhibitions including his 1940 show at
the Golden Gate International Exhibition, and in his 1946
retrospective at The Museum of Modern Art, New York.

76. Ansel Adams 1902-1984
Forest Floor, Yosemite Valley,

California, circa 1950
Gelatin silver print, printed 1979.
15 x 19 1/4 in. (38.1 x 48.9 cm)
Signed and numbered 31/50 in
pencil on the mount; signed and
dated by Matthew Adams in ink on a
Certifcate of Authenticity label and
‘Yosemite and the Range of Light’
label, each afxed to the reverse of
the mount.
Estimate
$6,000-8,000
Provenance
Washington, D.C.
Literature
Little, Brown and Company, Ansel
Adams: Letters and Images 1916-
1984, p. 347
Little, Brown and Company, Yosemite
and the Range of Light, pl. 11
Stillman, Ansel Adams: 400
Photographs, p. 346
Cypress Tree in Fog, Pebble Beach,

California, 1967
Gelatin silver print, printed 1970s.
9 5/8 x 13 in. (24.4 x 33 cm)
Signed in pencil on the mount.
Estimate
$8,000-12,000
Literature
Bulfnch Press, Ansel Adams:
Classic Images, pl. 69
Stillman, Ansel Adams: 400
Photographs, p. 395
Szarkowski, Ansel Adams
at 100, pl. 100

Portfolio Two: The National Parks and Monuments, 1950 Provenance

San Francisco: Self-published, 1950. Private Collection, Chicago
Fifeen gelatin silver prints.
Varying dimensions from 7 1/2 x 9 1/8 in. (19.1 x 23.2 cm) to Literature
8 3/4 x 12 in. (22.2 x 30.5 cm) or the reverse Alinder and Szarkowski, Ansel Adams: Classic Images,
Each signed and numbered sequentially in pencil on the pls. 39, 44
mount; each numbered ‘87’ and sequentially 1-15 within Little, Brown and Company, The Portfolios of Ansel
the portfolio credit stamp on the reverse of the mount. Adams, pls. 1-15 (Part III)
Printed title page, introduction, and plate list, numbered Stillman, Ansel Adams: 400 Photographs, pp. 172, 179,
‘87’ in red pencil. Enclosed within a folding silver- 190, 214, 217- 218, 236- 237, 240, 258
stamped cloth-covered-board case with ties. Number 87 Szarkowski, Ansel Adams At 100, pls 28, 76, 80
from an edition of 100.
Estimate
$25,000-35,000

79. Edward Weston 1886-1958
Dunes, Oceano, 1936

Gelatin silver print, printed later by Cole Weston.
7 1/2 x 9 1/2 in. (19.1 x 24.1 cm)
Signed by Cole Weston in pencil and Edward Weston
signature stamp on the reverse of the mount.
Estimate
$7,000-9,000
Provenance
Chris Beetles Gallery, London
Literature
Newhall, Supreme Instants: The Photography of
Edward Weston, cover, pl. 68
Conger, Edward Weston: Photographs from
the Collection of the Center for Creative
Photography, fg. 939
79. Aperture, Edward Weston: Fify Years, p. 167
Museum of Fine Arts, Boston, Edward Weston:
Photography and Modernism, pl. 81
80.
Cloud, the Panamints, Death Valley, 1937

Gelatin silver print, printed later by Cole Weston.
7 3/8 x 9 1/2 in. (18.7 x 24.1 cm)
Signed by Cole Weston in pencil and Edward Weston
signature stamp on the reverse of the mount.
Estimate
$4,000-6,000
Literature
Conger, Edward Weston: Photographs from the Collection of
the Center for Creative Photography, fg. 991
81.

82.

Washington, D.C.
81. Edward Weston 1886-1958 82. Ansel Adams 1902-1984
Shell, 1927 Aspens, Northern New Mexico, 1958

Gelatin silver print, printed later by Cole Weston. Gelatin silver print, printed 1973-1977.
9 1/4 x 7 3/8 in. (23.5 x 18.7 cm) 15 x 19 in. (38.1 x 48.3 cm)
Signed by Cole Weston in pencil and Edward Weston Signed in pencil on the mount; titled, dated in ink and Carmel
signature stamp on the reverse of the mount. credit stamp (BMFA 11) on the reverse of the mount.
Estimate Estimate
$6,000-8,000 $20,000-30,000
Provenance Provenance
Chris Beetles Gallery, London Private Collection, New York City
Literature Literature
J. Paul Getty, Museum, In Focus: Edward Weston, Szarkowski, Ansel Adams at 100, pls. 104-105
front wrapper, pl. 25 Szarkowski, The Portfolios of Ansel Adams, Portfolio VII, pl. 6
Conger, Edward Weston: Photographs from the Collection Gee, Photography of the Fifies: An American Perspective, p. 49
of the Center for Creative Photography, p. 84, fg. F3 Santa Barbara Museum of Art, An Eclectic Focus: Photographs
Aperture, Edward Weston: Fify Years, p. 149 from the Vernon Collection, p. 30

83. František Drtikol 1883-1961
Nude, circa 1929

Pigment print.
11 1/2 x 9 1/4 in. (29.2 x 23.5 cm)
Credited in an unidentifed hand in pencil
on the reverse of the fush-mount.
Estimate
$15,000-25,000
84. Rudolf Koppitz 1884-1936
Aktstudie (Nude Study), circa 1927

8 1/4 x 4 in. (21 x 10.2 cm)
Artist’s blindstamp on the recto; titled, dated,
numbered ‘1’ and stamped ‘Prof. Rudolf Koppitz, Photo-
Werkstätte, Wien, V., Zeinlhoferg. 8’ on the verso.
Estimate
$12,000-18,000
Provenance
Galerie Kicken, Berlin
Literature
Conklin and Faber, Rudolf Koppitz 1884-1936, p. 75
Faber, Rudolf Koppitz Photogenie 1884-1936, p. 123

Actual size
Charis, 1934 This photograph was given by Cole Weston to

Gelatin silver print, probably printed in the 1950s or 1960s. Arthur Connell, a founder and the frst treasurer of
3 1/2 x 4 1/2 in. (8.9 x 11.4 cm) Friends of Photography, the non-proft organization
Extensively annotated by Arthur Connell in ink on the
started by Ansel Adams, Brett Weston, and other
reverse of the mount.
West Coast photographers. On the reverse of the
Estimate mount, Connell has written: “This print was given
$15,000-25,000 to me by Cole Weston in January 1968 through a
request from Brett Weston. As administrator of the
Provenance
estate of his father, Edward Weston, all of Edward’s
Given by Cole Weston, the photographer’s son, to Arthur
Connell, 1968
negatives and what remains of his original prints
not otherwise owned is part of his estate which
Literature forms his legacy to his sons. This print may have
Conger, Edward Weston: Photographs from the Collection been made by Edward as he made many of his
of the Center for Creative Photography, fg. 851
fnest works in duplicate for the boys. It also could
Apeture, Edward Weston: Fify Years, p. 173
Lodima Press, Edward Weston: Life Work, pl. 56
have been made under his supervision by either
Newhall, Supreme Instants: The Photography of Edward Brett or Cole.”
Weston, p. 176

86. Horst P. Horst 1906-1999
Lisa with Harp, Paris, 1939

22 x 15 5/8 in. (55.9 x 39.7 cm)
Signed, titled and dated in pencil on the verso;
signature blindstamp in the margin.
Estimate
$10,000-15,000
Provenance
Holden Luntz 20th Century Master Photography,
Palm Beach
Literature
Vogue, 15 May 1941
Augustin, Horst: Photographs of a Decade, p. 87
Kazmaier, Horst: Sixty Years of Photography, pl. 30
Chez Mondrian, 1926

13 3/4 x 10 1/4 in. (34.9 x 26 cm)
Signed, titled and dated in pencil on the verso.
Estimate
$7,000-9,000
Provenance
Collection of Jay and Laura Crouse
Phillips de Pury & Company, New York, 6 October
2005, lot 78
Literature
Borhan, André Kertész: His Life and Work, p. 155
Ducrot, André Kertész: Sixty Years of
Photography, p. 119
Greenough, André Kertész, pl. 50
Phillips, Travis and Naef, André Kertész: Of Paris
and New York, p. 136
Bulfnch Press, On the Art of Fixing A Shadow: One
Hundred and Fify Years of Photography, pl. 240
High Museum of Art, Chorus of Light: Photographs
from the Sir Elton John Collection, p. 124

88. Lillian Bassman 1917-2012
Across the Restaurant, Barbara Mullen, dress by

Jacques Fath, Le Grand Véfour, Paris, 1949
Platinum print, printed later.
25 3/4 x 22 in. (65.4 x 55.9 cm)
Signed and numbered 14/15 in pencil on the verso.
Estimate
$30,000-40,000
Literature
Harper’s Bazaar, April 1949
Solomon, Lillian Bassman: Women, p. 17

89. Horace Bristol 1909-1997
PBY Blister Gunner, Rescue at Rabau, 1944

10 1/8 x 9 7/8 in. (25.7 x 25.1 cm)
Signed in pencil on the verso; signed, dated in
pencil on the over mat; signed and numbered
12/50 in ink on a printed information label on
the reverse of the mat.
Estimate
$15,000-25,000
Literature
Conner and Heimerdinger, Horace Bristol: An
American View, p. 93

90. Horst P. Horst 1906-1999
Mainbocher Corset, Paris, 1939

17 3/4 x 13 3/8 in. (45.1 x 34 cm)
Signed in pencil, titled and dated in an unidentifed
hand in pencil on the verso; signature blindstamp
in the margin.
Estimate
$10,000-15,000
Literature
American Vogue, 15 September 1939
French Vogue, December 1939
Kazmaier, Horst: Sixty Years of Photography, pl. 8
Hall-Duncan, The History of Fashion Photography, p. 65
High Museum of Art, Chorus of Light: Photographs From
The Sir Elton John Collection, p. 192
Muir, Vogue 100: A Century of Style, p. 78
91. Horst P. Horst 1906-1999
Coco Chanel, Paris, 1937

9 5/8 x 9 1/8 in. (24.4 x 23.2 cm)
Signed in pencil in the margin; signed in pencil,
titled and dated in an unidentifed hand in
Estimate
$7,000-9,000
Literature
Horst, Horst: Salute to the Thirties, pl. 72
Lawford, Horst: His Work and His World, p. 154
National Portrait Gallery, Horst Portraits: 60 Years
of Style, pl. 32
Victoria and Albert Museum, Horst: Photographer
of Style, p. 62
Koetzle, Photo Icons: Volume 2, p. 44

92. Man Ray 1890-1976
Portrait of Duchamp, 1923

10 1/2 x 8 1/4 in. (26.7 x 21 cm)
Signed, titled, dated and annotated in ink, ‘31 bis, Rue
Campagne Première, PARIS’ (Manford M3) credit
stamp, annotations in unidentifed hands in pencil, ink
and crayon on the verso.
Estimate
$10,000-15,000
Literature
Man Ray, Self Portrait, p. 186
Schwarz, Man Ray: The Rigour of Imagination, pl. 52
Manford, Behind the Photo: The Stamps of Man Ray,
n.p., for stamp
This photograph, of Man Ray’s 1923 painted portrait

of Marcel Duchamp, demonstrates Man Ray’s
thoroughly interdisciplinary approach to making art
and the extent to which photography infuenced his
painting. He wrote that he “set about to do a portrait
of [Duchamp] in oils, but, infuenced by the many
photographic portraits I had made of him, the work
was in black and sepia, mimicking a photograph. I
had him pose for me once or twice to verify some
details in his features. I introduced some imagined
motives in the black background so that the painting
was not too factual. It was neither a painting nor a
photograph; the confusion pleased me and I thought
this should be the direction my future painting would
take” (Self Portrait, p. 186).
The words “Cela Vit” inscribed over a rose in the lower

right corner of the painting are a punning reference
to Duchamp’s alter-ego, Rrose Sêlavy.
93. Frederick Sommer 1905-1999
Moon Culmination, 1951

9 1/2 x 7 1/2 in. (24.1 x 19.1 cm)
Signed, titled and dated in pencil on the reverse of the
mount.
Estimate
$12,000-18,000
Literature
Center for Creative Photography, Sommer: Words/
Images, pl. 33
Davis, The Art of Frederick Sommer: Photography,
Drawing, Collage, p. 59

94. Irving Penn 1917-2009
Provenance
Andrew Smith Gallery, Santa Fe
Private Collection, Chicago
Marcel Duchamp, New York, April 30, 1948
Platinum palladium print, printed 1979.
Literature
19 x 12 1/8 in. (48.3 x 30.8 cm)
Szarkowski, Irving Penn, pl. 13
Hambourg and Rosenheim, Irving Penn: Centennial,
in pencil, copyright credit Condé Nast reproduction
pl. 29, variant
limitation and edition stamps on the reverse of the
Penn, Passage: A Work Record, p. 57, variant
Westerbeck, Irving Penn: A Career in Photography,
pl. 19, variant
Estimate
$20,000-30,000

The Enduring Image:
Photographs from the Dr. Saul Unter Collection
Phillips is honored to present The Enduring Image:

Photographs from the Dr. Saul Unter Collection. The
photographs in this collection illustrate the endurance of the
human spirit. From his frst purchases in the 1990s, Dr. Unter
focused upon images documenting resilience in the face
of adversity and the beauty that emerges out of struggle.
It is a collection marked by curiosity and inclusiveness.
Dr. Unter notes, “I found that great photography captures
a moment in time that can never be duplicated. Hence I
started my collection.”
His collection (lots 95–123) encompasses the full range of

the human experience. From the heroism of Carl Mydans’
photograph of General MacArthur retaking the Philippines
and Joe Rosenthal’s Flag Raising on Iwo Jima; to the pathos
of Arthur Rothstein’s Dust Storm; to the mesmerizing
elegance of Edward Steichen’s Gloria Swanson and Man
Ray’s Nude. Photojournalism rubs shoulders with studio
photography, and the line between documentary and art is
satisfyingly blurred.
The act of photographing is, for Dr. Unter, an expression

of the human will to endure. In Robert Capa’s icon, Death
of a Loyalist Solider, the photographer himself becomes a
participant, determined that this soldier lives on to tell the
story of the fght against fascism. Andreas Feininger’s The
Photojournalist is symbolic of this necessity to see and to
record. Each photograph in the collection possesses its own
unique and infnite visual impact.
While Dr. Unter collected some of the most resonant images

of the 20th century, he also acquired photographs that, as
objects, tell their own story. Koppitz’s incomparably graceful
Bewegungsstudie bears its impressive exhibition history
on its verso. Other prints, like Death of a Loyalist Solider,
wear documentation of their long and illustrious publication
history, which continues today.
The images that appear in the following pages are ones that
have, indeed, endured in our shared visual culture.
NY_PHOTO_APR18_66-129_ALT.indd 66 13/03/18 10:54

96. Rudolf Koppitz
NY_PHOTO_APR18_67_WEB.indd 67 13/03/18 15:45

The Enduring Image:
Photographs from the Dr. Saul Unter Collection
95. Man Ray 1890-1976
Nude, 1927
10 1/4 x 7 in. (26 x 17.8 cm)
‘31 bis, Rue Campagne-Premiére, Paris XIVe’ (Manford
M6) credit stamp, titled, dated and annotated ‘Soby. 13’
in an unidentifed hand in pencil on the verso.
Estimate
$50,000-70,000
Provenance
Collection of James Thrall Soby
Gif of James Thrall Soby to The Museum of Modern Art,
New York, 1940
Sotheby’s, New York, Photographs from The Museum of
Modern Art, 25 April 2001, lot 30
Literature
Manford, Behind the Photo: The Stamps of Man Ray,
n.p., for stamp
This nude study was originally in the collection of art Like his contemporary, László Moholy-Nagy,
critic, curator, and collector James Thrall Soby. Soby Man Ray was a tireless experimenter in a variety
was the publisher of Man Ray’s frst monograph, of media. Both fully exploited the fexibility of
Photographs by Man Ray 1920 Paris 1934, and the photography to achieve new types of images. In
organizer of his 1934 exhibition at the Wadsworth his essay L’Age de la Lumière, Man Ray wrote
Atheneum, the photographer’s frst solo showing that a disregard for a medium’s conventions was
at an American museum. The photograph ofered necessary to be truly creative. He wrote that
here was part of Soby’s historic gif of over 100 Man when a photographer, “working directly with
Ray photographs to The Museum of Modern Art in light and chemistry, so deforms his subject as
1940, which included many of the images used in, or almost to hide the identity of the original, and
considered for, Man Ray’s seminal monograph. creates new form, the ensuing violation of the
medium employed is the most perfect assurance
By the 1930s, nudes comprised a signifcant portion of the author’s convictions. A certain amount of
of Man Ray’s oeuvre, and an entire passage of contempt for the material employed to express an
Photographs by Man Ray 1920 Paris 1934 is devoted idea is indispensable to the purest realization of
to the female form. The elegant nude ofered here this idea” (Man Ray 1920 Paris 1934, n.p.).
is at once representational and dreamlike. As in the
best of Man Ray’s photographs, conventional artistic L’Age de la Lumière was originally published in the
subject matter is raised to the level of Surrealism and surrealist journal Minotaure in 1933, which also
is refective of Man Ray’s distinctive vision. Through reproduced a multiple-exposure variant of the
Man Ray’s def use of lighting and his mastery of image ofered here (cf. Arturo Schwarz, Man Ray:
darkroom technique, he has created in this image a The Rigour of Imagination, pl. 450).
nude whose form seems poised between human fesh
and sculpted stone.
NY_PHOTO_APR18_66-129_ALT.indd 68 13/03/18 10:54

The Enduring Image: Photographs from the Dr. Saul Unter Collection
96. Rudolf Koppitz 1884-1936
Bewegungsstudie (Movement Study), 1924

Large-format combination gum print.
22 1/4 x 16 3/4 in. (56.5 x 42.5 cm)
Signed and dated in gouache on the recto; titled,
numbered ‘1,’ annotated ‘Combin. Gummidruck’ in ink
and ‘Vervielfältigung/Vorbehalten’ stamp, all within
the photographer’s printed studio label, and multiple
exhibition labels, all afxed to the verso.
Estimate
$200,000-300,000
Provenance
Gif of the photographer to his assistant Alfred Ernst
The estate of Alfred Ernst
Sotheby’s, London, 10 May 2001, Lot 405
Exhibited
Salon of Hungarian Amateur Photographers,
Budapest, 1927
International Photographic Salon, Prague,
Czechoslovakia, 1928
Third Salon of International Artistic Photography, Poznan,
Poland, 1929
The Camera Club of New York, March 1930
The Smithsonian Institution, Washington, D. C., May 1930
The Gallery of the California Camera Club, San Francisco,
July 1930
The Photographic Society of Philadelphia, date unknown
The Fort Dearborn Camera Club, Chicago, date unknown
Biennale Internazionale D’Arte Fotografca, Rome, 1932
Literature
Conklin and Faber, Rudolf Koppitz 1884-1936, p. 71, 83
Faber, Rudolf Koppitz Photogenie 1884-1936, p. 133

01_NY_PHOTO_APR18_FO1_Koppitz_70-71.indd 1 09/03/18 15:31
This multiple-gum print of Rudolf Koppitz’s Koppitz was perhaps the most accomplished
masterpiece, Bewegungsstudie, is remarkable for Austrian photographer of his day, and he was an
its large size, masterful print quality, extensive active exhibitor of his work. He took advantage of the
exhibition history, and direct provenance. The international network of camera clubs and salons to
array of printed labels afxed to the reverse of the ensure that his work was widely seen. The exhibition
print documents its inclusion in no fewer than nine labels on the print’s verso (as seen here) are a
exhibitions in Europe and America between 1928 and testament to this ambition. Today, Koppitz’s work
1932. Koppitz gave this print to his assistant Alfred is appreciated but difcult to categorize. Elements
Ernst, an accomplished photographer in his own of his life and creative development parallel that
right. All of these qualities demonstrate that Koppitz of his contemporaries. Like Edward Steichen, he
regarded this print highly and that it met his own served as an aerial combat photographer in World
exacting standards. War I. With Heinrich Kühn he shared a belief in the
beauty and redemptive value of nature. Like Pierre
Born in Czechoslovakia, Koppitz studied, worked, Dubreuil he achieved fame in his own day as a
and taught in Vienna for most of his career. His creator of entirely novel imagery that had no direct
development as a photographic artist paralleled his corollary in the photography of the time. He shared
mastery of the photographic processes of his day. with these photographers a deep understanding of
The print ofered here, which Koppitz describes as photographic technique and utilized a repertoire of
a “combination gum” print shows the efects he complex print processes to execute his photographic
was capable of generating in the printing process. ideas. Despite these resemblances, Koppitz’s work
More than other prints of this image, the example and his aesthetic are distinctly his own.
ofered here delivers a remarkable range of detail
and tonal subtlety. The faces of the dancers are During Koppitz’s lifetime, Bewegungsstudie
rendered with great clarity, as are their delicately became his most famous image, and his studio
arched feet, which are frequently obscured in other produced gelatin silver prints and photogravures
prints. The dancers’ black robes, which at frst seem of it in a variety of formats. While the image
absolutely black, show detail in their folds upon retains its graphic impact across these media,
prolonged examination, giving them a sense of these smaller prints do not convey the detail or
three-dimensionality and movement. In all respects, subtlety of the combination gum print ofered
it is a bravura print. While the gum and pigment here, nor do they possess the impact imparted by
processes are generally regarded as tools for the its large size. Stylized, graceful, and mysterious,
Pictorialist photographer and were typically used to Bewegungsstudie has remained Koppitz’s best
create atmospheric, Impressionistic prints, Koppitz known work. This masterful, large-format multiple-
used the process here to create a highly detailed and gum print represents the ideal presentation of this
richly-toned photograph that includes elements of timeless image.
Modernism, Pictorialism, and Surrealism, while also
relating to the Viennese Secession and the Wienner
Werkstätte movements in its stylized grace and
perfection of craf.

97. Alfred Eisenstaedt 1898-1995
Swan Lake Rehearsal, Grande Opéra de Paris, 1930

18 x 12 1/2 in. (45.7 x 31.8 cm)
Signed and numbered 9/50 in ink in the margin; titled,
dated in an unidentifed hand in ink, copyright credit,
copyright credit reproduction limitation and Time Inc.
credit stamps on the verso.
Estimate
$6,000-8,000
Swan Lake Ballet Rehearsal at the Paris Opéra, 1930

8 3/4 x 12 3/8 in. (22.2 x 31.4 cm)
Signed in ink in the margin; titled, dated in an
unidentifed hand in ink and credit stamp on the verso.
Estimate
$4,000-6,000

V-J Day, Times Square, New York City, 1945 Literature

Gelatin silver print, printed later. Eisenstaedt, Eisenstaedt on Eisenstaedt:
12 1/2 x 9 in. (31.8 x 22.9 cm) A Self-Portrait, cover, p. 75
Signed and numbered 43/50 in ink in the margin; titled, Eisenstaedt, Eisenstaedt: Remembrances, p. 67
dated in an unidentifed hand in ink, copyright credit
reproduction limitation and Time Inc. credit stamps on
the verso.
Estimate
$10,000-15,000

100. Joe Rosenthal 1911–2006
Flag Raising at Iwo Jima, 1945

16 3/4 x 13 1/2 in. (42.5 x 34.3 cm)
Signed, annotated ‘AP’ and numbered 32/300 in ink
in the margin; titled, dated, annotated with Time Inc.
copyright notations in an unidentifed hand in pencil
and ‘Associated Press LIFE Gallery of Photography’
stamp on the verso.
Estimate
$3,000-5,000
Literature
Buell, Uncommon Valor, Common Virtue: Iwo Jima and
the Photograph that Captured America, cover
Thorney, Immortal Images: A Personal History of Two
Photographers and the Flag-raising on Iwo Jima, cover
Hammel, Iwo Jima, p. 121
101. Sebastião Salgado b. 1944
Coal Mining, Dhanbad, India, 1989

14 1/8 x 21 3/8 in. (35.9 x 54.3 cm)
Signed, titled, dated and numbered 53/300 in pencil
on the verso.
Estimate
$3,000-5,000

102. W. Eugene Smith 1918-1978
The Spinner, Spanish Village, 1951

16 3/8 x 11 1/4 in. (41.6 x 28.6 cm)
Copyright credit and credit reproduction limitation
stamps on the verso.
Estimate
$8,000-12,000
Provenance
Literature
Aperture, Master of the Photographic Essay:
W. Eugene Smith, cover, p. 76
Harry N. Abrams, Inc., W. Eugene Smith Photographs
1934-1975, back cover, p. 115
Aperture, Let Truth Be the Prejudice: W. Eugene Smith:
His Life and Photographs, p. 159
Aperture, W. Eugene Smith, n.p.
Aperture, W. Eugene Smith: His Photographs and
Notes, n.p.
Stephenson, W. Eugene Smith 55, p. 53
103. W. Eugene Smith 1918-1978
Saipan (Soldier Holding Baby), 1944

17 1/2 x 13 3/4 in. (44.5 x 34.9 cm)
Estate credit stamp on verso.
Estimate
$10,000-15,000
Provenance
Literature
Aperture, Let Truth Be the Prejudice: W. Eugene Smith:
His Life and Photographs, p. 91
Aperture, Master of the Photographic Essay:
W. Eugene Smith, p. 26
Aperture, W. Eugene Smith, n.p.
Aperture, W. Eugene Smith: His Photographs
and Notes, n.p
Harry N. Abrams, Inc., W. Eugene Smith Photographs
1934-1975, p. 61
Hughes, W. Eugene Smith: Shadow & Substance:
The Life and Work of an American Photographer, n.p.
Stephenson, W. Eugene Smith 55, p. 23

104. Robert Capa 1913-1954
Death of a Loyalist Soldier, 1936

Gelatin silver print with applied pigment, probably printed
in the 1930s or early 1940s.
10 5/8 x 13 1/4 in. (27 x 33.7 cm)
‘Life Photo by Robert Capa’ credit stamp, extensively
annotated with publication usage information in
unidentifed hands in ink, crayon and pencil, and with typed
caption label and various Time, LIFE and other stamps and
labels, all on the verso. Death of Loyalist Soldier reached a much larger audience
when it was published in LIFE magazine in July 1937.
Estimate
$80,000-120,000 Its appearance there not only propelled Capa into the
top ranks of photojournalism, it also signaled a shif in
Provenance American opinion about the confict. Capa’s photograph
Time Inc. Picture Collection, New York runs the width of the page. The article beneath it notes:
Howard Greenberg Gallery, New York, 2000
“On July 17 the Spanish Civil War will be one year old . . .
Literature When the war started, most U.S. citizens looked on the
Vu, 23 September 1936, no. 445, p. 1106 Loyalists as a half-crazy, irresponsible, murderous scum
LIFE, 12 July 1937, vol. 3, no. 2. p. 19 that had turned on its honorable betters. A year of war
Capa, Death in the Making (1938), cover has taught the U.S. more of Spain . . . The reason for
Whelan, This Is War! Robert Capa at Work, back cover and
the civil war was simply that the people of Spain had
fgs. 40, 48, 58, 59, and 77
Aperture, Heart of Spain: Robert Capa’s Photographs of fred their bosses for fagrant incompetence and the
the Spanish Civil War, p. 26 bosses had refused to be fred.” This is followed by six
Aperture, Robert Capa: Photographs, p. 39 pages of photographs and text devoted to the war, with
Capa, Images of War, pp. 22-23 contributions by Ernest Hemingway, addressing the
Museum Ludwig, Sammlung Gruber: Photographie des 20.
seriousness of the confict. This coverage signaled that
Jahrhunderts, p. 202
the situation in Spain was now being taken seriously in
the mainstream media. Capa’s photograph was the lead
Robert Capa’s Death of a Loyalist Soldier, the image of the story, and its graphic depiction of the war
photographer’s most famous image and an instantly brought the confict home to Americans. It is, as Capa
recognizable classic, brought a new immediacy to authority Robert Whelan observes, “almost universally
photojournalism. Capa’s photograph, which captures acknowledged as one of the greatest war photographs
the last second of a soldier’s life with graphic intensity, ever made.” Whelan’s in-depth account of the taking
is both shocking and riveting, and conveys the visceral of this picture, and the discussion about the locale and
experience of combat. Death of a Loyalist Soldier circumstances in which it was made, appears in his book
caused a sensation upon its initial appearance, and has This is War! Robert Capa at Work (pp. 53-87).
remained one of the most unforgettable images within
our visual culture. The print ofered here comes originally from the Time
Inc. Picture Collection. As the overlapping strata of
Capa took this photograph in Spain in September usage information on its reverse makes clear, Death of
1936 while on assignment for Vu magazine. It was frst Loyalist Soldier has a publication history that is nearly
published in Vu on September 23, on a page spread too long to document. It appeared repeatedly within
of Capa’s photographs of the Civil War in Spain. The the pages of LIFE and Time magazines in the decades
confict in Spain was of intense interest to the story- following its making, and was illustrated in countless
conscious Capa. The noble fght of Spanish citizens anthologies of the magazines’ best images. In many
against the fascist forces led by General Francisco cases, this was the print used for reproduction. The
Franco, who was funded and armed by Hitler and continued use of this photograph shows that, long afer
Mussolini, resonated with him deeply. Armed with his its newsworthiness had passed, its impact remained
Leica, and his ability to get into the heat of the action, undiminished, and Death of Loyalist Soldier remains one
Capa plunged into Spain looking for great images. of the most indelible images of the 20th century.

verso

105. Carl Mydans 1907-2004 106. Carl Mydans 1907-2004
On the 6:25 from Grand Central to Stamford, The newly created ‘Japanese Police Force’ moves out of
November 22, 1963 camp for winter training, Hokkaido, Japan, 1951
Gelatin silver print, printed 1992. Gelatin silver print, printed 1996.
12 x 17 1/4 in. (30.5 x 43.8 cm) 12 x 16 1/2 in. (30.5 x 41.9 cm)
Signed in ink in the margin; credited, titled, dated, Signed in ink in the margin; titled, dated, numbered
annotated, numbered 22/50, copyright Time 12/50, annotated, copyright Time Inc. in unidentifed
Warner Inc. in unidentifed hands in pencil and hands in pencil and edition stamp on the verso.
edition stamp on the verso.
Estimate
Estimate $1,500-2,500
$2,000-3,000
Literature
Literature Mydans, Carl Mydans: Photojournalist, p. 135
Mydans, Carl Mydans: Photojournalist, p. 187

107. Carl Mydans 1907-2004
Gen. Douglas MacArthur with Gen. Richard control of strategically-important Luzon

Sutherland and Col. Lloyd Lehrbas walks through in 1941, forcing an American withdrawal,
the surf to the beach at Lingayen, Luzon, the MacArthur had famously proclaimed, “I shall
Philippines, 1945
return.” Mydans’ photograph captures the
6 1/2 x 8 1/4 in. (16.5 x 21 cm) very moment of MacArthur’s triumphant
Extensively annotated with publication usage fulfllment of that promise.
information in unidentifed hands in crayon, and
with original printed caption label and various Mydans’ image was reproduced in LIFE
Time stamps and labels, all on the verso. magazine’s 19 February 1945 issue as part
of a feature, written by Mydans himself,
Estimate
$15,000-25,000 documenting in words and pictures
the liberation of the Philippines. His
Provenance courageous coverage of both the Pacifc and
Monroe Gallery of Photography, Santa Fe
European theaters had earned him General
Literature
MacArthur’s respect. Mydans described
Mydans and Kunhardt, Jr., Carl Mydans, the finty general as the “most brilliant
Photojournalist, dust jacket and pp. 108-109 military mind I had ever known” (Carl
Mydans, Photojournalist, p. 27), and came
Carl Mydans’ most famous photograph to appreciate his ability to stage-manage
captures General Douglas MacArthur striding dramatic events, such as the landing at
ashore in the Lingayen Gulf at Luzon, the Luzon, for the camera. Mydans wrote, “No
Philippines, as American forces retook the one I have ever known in public life had a
area from the Japanese in January 1945. better understanding of the drama and
When Japanese Imperial forces had taken power of photography” (ibid., p. 13).
verso

108. Herman Leonard 1923-2010
Duke Ellington, Paris, 1958

12 1/4 x 9 3/4 in. (31.1 x 24.8 cm)
Signed, titled, dated and copyright notation in
ink in the margin.
Estimate
$1,500-2,500
109. Barbara Morgan 1900-1992
Erick Hawkins, ‘El Penitente’, 1940

9 1/8 x 6 1/2 in. (23.2 x 16.5 cm)
Titled in ink and copyright credit reproduction
limitation stamp on the verso.
Estimate
$3,000-5,000

Children at a Puppet Theatre, Paris, 1963

13 1/4 x 19 3/4 in. (33.7 x 50.2 cm)
Signed and numbered 2/250 in ink in the margin;
credited, titled, dated, annotated and copyright Time
Inc. in an unidentifed hand in pencil on the verso.
Estimate
$15,000-25,000
Literature
Eisenstaedt, Eisenstaedt on Eisenstaedt: A Self-
Portrait, p. 105
Eisenstaedt, Eisenstaedt: Remembrances, pp. 114-115
Hollander, Refections in a Glass Eye: Works from the
International Center of Photography, p. 15
Lacayo & Russell, Eyewitness: 150 Years of
Photojournalism, p. 153
Loengard, LIFE Faces, pp. 12-13

An ofcer of Mussolini’s army having a manicure

in Milan, Italy, 1934
9 7/8 x 13 in. (25.1 x 33 cm)
unidentifed hand in ink and credit stamp
on the verso.
Estimate
$4,000-6,000
Literature
Eisenstaedt, Eisenstaedt: Remembrances, p. 20
111.
112. Alfred Eisenstaedt 1898-1995 113. Andreas Feininger 1907-1999
Fabric shop in Guayaquil, Ecuador, 1958 Fulton Fish Market, Port of New York, 1946
Gelatin silver print, printed later. Gelatin silver print, printed 1998.
12 7/8 x 10 in. (32.7 x 25.4 cm) 16 3/4 x 13 7/8 in. (42.5 x 35.2 cm)
Signed in ink in the margin; titled, dated in an unidentifed Signed and numbered 4/40 in ink in the margin;
hand in ink and credit stamp on the verso. credited, titled, dated, annotated and copyright Time
Estimate
$4,000-6,000 Estimate
$4,000-6,000
112. 113.

114. Andreas Feininger 1907-1999 115. Alfred Eisenstaedt 1898-1995
Queen Elizabeth in New York Harbor, 1946 Farewell to Servicemen, Pennsylvania Station,
Gelatin silver print, printed 1998. New York, 1943
16 3/4 x 12 1/2 in. (42.5 x 31.8 cm) Gelatin silver print, printed 1989.
Signed and numbered 5/40 in ink in the margin; 17 x 13 1/4 in. (43.2 x 33.7 cm)
credited, titled, dated, annotated and copyright Time Signed and numbered 43/50 in ink in the margin;
Inc. in an unidentifed hand in pencil on the verso. credited, titled, dated, annotated and copyright Time
Estimate
$3,000-5,000 Estimate
$8,000-12,000
Literature
Eisenstaedt, Eisenstaedt: Remembrances, p. 62

116. Edward Steichen 1879-1973 their respective felds, and both maintained successful
high-profle careers throughout their long lives. Swanson
Gloria Swanson, New York, 1924 was one of few actresses to make the transition from
the silent-flm era to sound, and thence to theatre
9 1/2 x 7 1/2 in. (24.1 x 19.1 cm)
Titled and dated in unidentifed hands in pencil on the verso. and television. Steichen was that rare photographer
who produced masterful images as a Pictorialist, a
Estimate Modernist, an aerial and combat photographer, and as
$400,000-600,000 a photographer of fashion and celebrity. Steichen and
Swanson’s interaction in the studio on that day in 1924
Provenance
Collection of Joanna Steichen, the photographer’s widow illustrates the intense devotion of each to their own
Howard Greenberg Gallery, New York, 2001 objective: Swanson to perpetuate her allure, and Steichen
to capture his subject at her most alluring.
Literature
Vanity Fair, February 1928, p. 49
Vanity Fair published this image in its February 1928 issue
Haskell, Edward Steichen, cover and p. 79
Whitney Museum of American Art, A Full Retrospective of a to coincide with the release of the flm Sadie Thompson,
Photographic Master, cover starring and produced by Swanson, which had generated
Ewing and Brandow, Edward Steichen In High Fashion: The a fair amount of notoriety for its depiction of a jazz-age
Condé Nast Years 1923-1937, pl. 36, p. 57 fallen woman attempting to fnd redemption on a tropical
The Museum of Modern Art, New York, Steichen the
island. Swanson received an Academy Award nomination
Photographer, p. 27
Steichen, A Life In Photography, pl. 128 for the role, and Steichen’s portrait became the defnitive
J. Steichen, Steichen’s Legacy: Photographs, 1895-1973, pl. 79 image of the star.
Edkins, Vanity Fair: Photographs of an Age, 1914-1936, p. 93
Hambourg and Phillips, The New Vision: Photography Few photographers have had as long, rich, and as varied
Between the World Wars, p. 33
a career as Edward Steichen, characterized throughout
Haskell, The American Century: Art and Culture
1900-1950, pl. 246 by an extraordinary intensity of vision and a devotion
Galassi, American Photography, 1890-1965, p. 125 to the ever-changing craf of photography. Portraits
were a constant throughout his career, and he seemed
to work best when presented with a subject willing to
Edward Steichen’s iconic image of Gloria Swanson actively engage with the process. His early studies of
is one of the most celebrated portraits of the 20th Rodin, Eleonora Duse, and J. P. Morgan reveal Steichen’s
Century and remains captivating nearly a century afer skill at working with charismatic, sometimes volatile,
its making. The photograph was the result of a 1924 personalities. His images of Isadora Duncan and members
sitting for Vogue magazine that Steichen recounted of her dance troupe upon the Acropolis introduced a
in his autobiography, A Life in Photography: “The performative element to his images. His remarkable
day I made the picture, Gloria Swanson and I had a talent for photographing people is most apparent in the
long session, with many changes of costume and work he executed for Condé Nast beginning in the early
diferent lighting efects. At the end of the session, 1920s, of which Gloria Swanson is a prime example.
I took a piece of black lace veil and hung it in front of Photography historian Beaumont Newhall succinctly
her face. She recognized the idea at once. Her eyes summed up Steichen’s accomplishments during this
dilated, and her look was that of a leopardess lurking phase of his career: “These photographs are brilliant
behind leafy shrubbery, watching her prey. You don’t and forceful; they form a pictorial biography of the men
have to explain things to a dynamic and intelligent of letters, actors, artists, statesmen of the 1920s and
personality like Miss Swanson. Her mind works swifly 1930s, doing for that generation what Nadar did for the
and intuitively.” mid-nineteenth century intellectual world of Paris” (The
History of Photography, p. 190).
The portrait was a collaboration between two
highly accomplished professionals. In many ways, Early prints of this image appear infrequently on the
photographer and subject were kindred souls; both market. In the past 25 years, only fve other early prints
possessed an extraordinary ambition to excel in have appeared at auction.

Gala Opening at Covent Garden Opera, London, 1931

10 x 13 3/8 in. (25.4 x 34 cm)
Estimate
$4,000-6,000
Sophia Loren, Rome, 1961

12 1/2 x 9 1/2 in. (31.8 x 24.1 cm)
Estimate
$2,000-3,000
Literature
Eisenstaedt, Eisenstaedt on Eistenstaedt, p. 82
119. Martine Franck 1938-2012
Swimming Pool Designed by Alain Capeilleres,

La Brusc, South of France, 1976
10 1/2 x 16 in. (26.7 x 40.6 cm)
Signed in ink and copyright credit blindstamp in
the margin.
Estimate
$3,000-5,000

120. William Klein b. 1928
Woman + Cigarette Holder, Ball, Waldorf, New York, 1955 With its extreme contrast and pointillistic use of
Gelatin silver print. photographic grain, Woman + Cigarette Holder, Ball,
23 1/2 x 19 1/4 in. (59.7 x 48.9 cm)
Waldorf, New York, is an exemplary image from William
Signed, titled and dated in pencil on the reverse of the
fush-mount.
Klein’s signature body of work executed in New York
in 1954 and 1955. It was illustrated in his seminal 1956
Estimate book, Life is Good and Good For You in New York,
$30,000-50,000 a riotous, hyperkinetic, and ultimately afectionate
portrait of the city that juxtaposed photographs taken
Provenance
Howard Greenberg Gallery, New York, 2001
in elegant surroundings, such as Woman + Cigarette
Holder, with those taken in corner bars and on the
Literature street. Like Walker Evans’s American Photographs and
Camera Magazine, ‘William Klein,’ March 1957, Robert Frank’s The Americans, Klein’s New York defed
vol. 36, no. 3
the established templates for photographic literature.
Klein, Life Is Good and Good for You in New York, n.p.
Klein, New York, 1954.55, p. 196
And while it initially received a mixed critical response,
like Evans’s and Frank’s books, it remains a touchstone
for photographers and book designers.
Woman + Cigarette Holder, Ball, Waldorf, New York

was published in 1957 in Camera Magazine with the
alternate title, The Queen of Clubs.

121. Garry Winogrand 1928-1984
Los Angeles, 1964

9 3/4 x 13 1/8 in. (24.8 x 33.3 cm)
Signed in pencil on the verso.
Estimate
$8,000-12,000
Literature
Arena Editions, Winogrand 1964, p. 247
Fraenkel Gallery, The Man in the Crowd: The
Uneasy Streets of Garry Winogrand, p. 20
San Francisco Museum of Modern Art,
Garry Winogrand, pl. 173
Szarkowski, Mirrors and Windows: American
Photography Since 1960, p. 93
Szarkowski, Winogrand: Figments from the
Real World, p. 149
TF Editores, Garry Winogrand: The Game
of Photography, p. 65
122. Arthur Rothstein 1915-1985
Farmer and sons walking in the face of a dust

storm, Cimarron County, Oklahoma, 1936
7 1/2 x 7 5/8 in. (19.1 x 19.4 cm)
Farm Security Administration stamps with
credit, typed title and date on the verso.
Estimate
$12,000-18,000
Provenance
Edwynn Houk Gallery, Chicago
Private Collection, Europe
Christie’s, New York, 18 April 2001, lot 34
Literature
O’Neal, A Vision Shared, p. 85

123. Andreas Feininger 1907-1999
The Photojournalist (Dennis Stock), 1955 Literature

Gelatin silver print, printed 1966. Lemagny and Rouillé, A History of Photography,
9 1/2 x 7 1/4 in. (24.1 x 18.4 cm) cover and p. 268
Signed in ink and credit stamp on the verso; credit New Britain Museum of American Art, By Way of These
label afxed to the verso. Eyes: The Sublime, Exotic and Familiar, The Christopher
Hyland Collection of Photography, cover
Estimate Morgan & Morgan, Andreas Feininger, p. 77
$12,000-18,000 Gee, Photography of the Fifies: An American
Perspective, p. 145
Provenance High Museum of Art, Chorus of Light: Photographs
Howard Greenberg Gallery, New York from the Sir Elton John Collection, p. 70
Thames & Hudson, LIFE Faces, pp. 9 and 127
End of morning session

Works from an Important Private European Collection
The selection of Works from an Important Private European 124. Herb Ritts 1952-2002
Collection (lots 124–138) celebrates icons of beauty from the
20th century and the master photographers who captured Cindy Crawford - Blonde Malibu, 1993
their timelessness. From Terry O’Neill’s windblown Brigitte Gelatin silver print.
18 3/4 x 14 7/8 in. (47.6 x 37.8 cm)
Bardot and Eve Arnold’s enigmatic Marilyn Monroe to Herb
Signed, titled, dated, numbered 6/25 by Mark
Ritts’ seductive Cindy Crawford and Irving Penn’s statuesque McKenna, Chairman, Herb Ritts Foundation, in pencil
Gisele, these subjects defned the cultural zeitgeists of and ‘Original edition photograph, Printed during
their respective eras. Each image commands its own space the lifetime of the artist’ copyright credit estate
with a strong impression of the elegant, playful, peaceful, stamp on the verso.
or at times somber subject. Phillips is pleased to present

Estimate
these photographs from this exceptional Private European $10,000-15,000
Collection that also featured works in the Phillips 20th
Century & Contemporary Art Sales earlier this year in London. Literature
Museum of Fine Arts, Boston, Herb Ritts: Work, n.p.
Stern Fotografe, Herb Ritts, n.p.
Beginning of afternoon session

125. Eve Arnold 1912-2012

Three gelatin silver prints, printed later.
Each approximately 12 x 18 in. (30.5 x
45.7 cm) or the reverse
Two signed in pencil on the verso.
Estimate
$3,000-5,000
Provenance
Zelda Cheatle Gallery, London
126. Eve Arnold 1912-2012

Four gelatin silver prints, printed later.
Varying dimensions from 14 x 14 in. (35.6 x
35.6 cm) to 11 x 17 in. (27.9 x 43.2 cm) or the
reverse
Each signed, one additionally titled and
dated ‘Marilyn Monroe during flming of the
Misfts, 1960’ in pencil on the verso.
Estimate
$3,000-5,000
Provenance
Zelda Cheatle Gallery, London

127. Michael Kenna b. 1953

Five sepia toned gelatin silver prints.
Varying dimensions from 7 1/2 x 7 3/4 in. (19.1 x 19.7 cm)
to 6 3/4 x 8 1/2 in. (17.1 x 21.6 cm)
Each signed, dated and numbered in pencil on the
mount; each signed, titled, dated and numbered
in pencil within the artist’s copyright credit edition
stamp on the reverse of the mount. Each from an
edition of 45.
Estimate
$5,000-7,000

128. Herb Ritts 1952-2002
Floating Torso, St. Barthelemy, 1987 Literature

Gelatin silver print. Bulfnch Press, Herb Ritts: Work, n.p.
52 x 31 7/8 in. (132.1 x 81 cm) Fondation Cartier pour l’art Contemporain, Paris,
Overall 59 3/4 x 46 7/8 in. (151.8 x 119.1 cm) Herb Ritts, n.p
Signed, titled, dated, numbered AP1 by Mark McKenna, Twin Palms Publishers, Herb Ritts: Pictures, n.p.
Chairman, Herb Ritts Foundation, in pencil and ‘Original
edition photograph, Printed during the lifetime of the
artist’ copyright credit estate stamp on a label afxed
to the reverse of the fush-mount. One from an edition
of 7 plus 2 artist’s proofs.
Estimate
$40,000-60,000

Smoke + Veil, Paris (Vogue), 1958

18 x 12 1/2 in. (45.7 x 31.8 cm)
Estimate
$4,000-6,000
Literature
Random House, William Klein: In & Out of Fashion,
cover, there titled Evelyn Tripp, Paris
Centre Georges-Pompidou, William Klein, p. 83
Hat + 5 Roses, Paris (Vogue), 1956

17 3/4 x 13 1/2 in. (45.1 x 34.3 cm)
Estimate
$4,000-6,000
Literature
French Vogue, May 1956
Harrison, Appearances: Fashion Photography Since
1945, p. 99
High Museum of Art, Chorus of Light: Photographs from
the Sir Elton John Collection, p. 55

131. Terry O’Neill b. 1938
Brigitte Bardot, Spain, 1971

23 3/4 x 18 in. (60.3 x 45.7 cm)
Signed and annotated ‘A/P’ in ink in the margin.
Estimate
$8,000-12,000
Literature
ACC Editions, Terry O’Neill: The A-Z of Fame, cover
Little, Brown, Celebrity: The Photographs of Terry
O’Neill, p. 29
132. René Burri 1933-2014
Ernesto Che Guevara, Havana, Cuba, 1963

9 1/2 x 14 in. (24.1 x 35.6 cm)
Estimate
$3,000-5,000
Literature
Phaidon, René Burri Photographs, pp. 226-227

133. Irving Penn 1917-2009
Gisele, New York, April 1, 1999

Selenium toned gelatin silver print.
15 3/8 x 15 3/8 in. (39.1 x 39.1 cm)
Signed, titled, dated, numbered in pencil, Condé Nast
copyright credit reproduction limitation, credit and
edition stamps on the verso. One from an edition of 20.
Estimate
$70,000-90,000
Provenance
Hamiltons Gallery, London
Literature
Taschen, Gisele, cover, variant
American Vogue, ‘The Return of the Curve,’ July 1999,
p. 193, variant
“Isolation of the individual is characteristic

of Penn’s art, of his fashion work as well as of
his portraits of the famous, the Small Trades,
and tribal peoples. A personal aesthetic
determinant, this isolation arose from the
artist’s need to reduce complexity: to still the
world, distill its essence, and connect to that
essential quality imaginatively.”
Maria Morris Hambourg from The Metropolitan Museum of Art,
Irving Penn: Centennial, p. 46

134. Herb Ritts 1952-2002
Tatjana Veiled Head (Tight View), Joshua Tree, 1988

Platinum print.
19 x 14 1/2 in. (48.3 x 36.8 cm)
Signed, titled, dated, numbered 21/25 by Mark McKenna,
Chairman, Herb Ritts Foundation, in pencil and ‘Original
edition photograph, Printed during the lifetime of the artist’
copyright credit estate stamp on the verso.
Estimate
$15,000-25,000
Literature
Bulfnch Press, Herb Ritts: Work, n.p.
The J. Paul Getty Museum, Herb Ritts: L.A. Style, pl. 38
135. Michael Kenna b. 1953

Three sepia toned gelatin silver prints.
Each 7 1/2 x 7 1/2 in. (19.1 x 19.1 cm)
Each signed, dated and numbered in pencil on the mount;
each signed, titled, dated and numbered in pencil within
the artist’s copyright credit edition stamp on the reverse
of the mount. Each from an edition of 45.
Estimate
$3,000-5,000

136. Irving Penn 1917-2009
Gisele (B), New York, April 1, 1999

Selenium toned gelatin silver print, printed 2002.
15 1/2 x 15 3/8 in. (39.4 x 39.1 cm)
Signed, titled, dated, initialed in ink, copyright credit
(courtesy Vogue) reproduction limitation and edition
stamps on the reverse of the fush-mount. One from
an edition of 6.
Estimate
$40,000-60,000
Provenance
Hamiltons Gallery, London

137. David LaChapelle b. 1963
Gisele Bundchen: See-Through Coat, 2000

Chromogenic print.
23 1/4 x 17 5/8 in. (59.1 x 44.8 cm)
Signed in ink, printed title, date and number 3/10 on an
artist’s label afxed to the reverse of the fush-mount.
Estimate
$6,000-8,000
138. David LaChapelle b. 1963
Milla Made a Collage, 1995

Chromogenic print.
23 x 17 in. (58.4 x 43.2 cm)
Signed, titled, dated and numbered 6/30 in ink
on the verso.
Estimate
$6,000-8,000

139. Sante D’Orazio b. 1956
Chandra North, Oualidia, Morocco, 1996

Selenium toned gelatin silver print, mounted.
48 3/4 x 36 in. (123.8 x 91.4 cm)
‘vintage print’ in pencil and copyright credit
Estimate
$6,000-8,000
Provenance
Acquired directly from the artist

Christy Turlington, one eye covered, Hollywood,

CA, 1989
17 3/4 x 12 in. (45.1 x 30.5 cm)
‘vintage print’ in pencil, copyright credit and
copyright credit reproduction limitation stamps on
the verso.
Estimate
$3,000-5,000
Provenance
Kate Moss, West Village, NYC, 1992

18 1/2 x 14 3/4 in. (47 x 37.5 cm)
‘printed 1995’ in pencil and copyright credit
Estimate
$3,000-5,000
Provenance

142. Richard Avedon 1923-2004
Carmen Kass and Audrey Marnay, Dresses by Provenance

Hussein Chalayan, New York City, May 12, 1998 Gagosian, New York
22 3/4 x 18 in. (57.8 x 45.7 cm) Literature
Signed, numbered 14/15 in pencil, title, date, International Center of Photography and The
edition and copyright credit reproduction limitation Richard Avedon Foundation, Avedon Fashion:
stamps on the verso. 1944-2000, p. 343
Estimate
$15,000-20,000

Frederique, St. Barths, 1990

18 3/4 x 14 7/8 in. (47.6 x 37.8 cm)
‘vintage print’ in pencil and copyright credit
Estimate
$2,500-3,500
Provenance
Kat at Home, N.Y.C., 2005

14 3/4 x 22 3/8 in. (37.5 x 56.8 cm)
Signed, titled, dated, numbered 2/3 in pencil
and copyright credit reproduction limitation
stamp on the verso.
Estimate
$2,500-3,500
Provenance

∆ 145. Daido Moriyama b. 1938
How to Create a Beautiful Picture 3: Tiles of

Aizuwakamatsu, 1987
13 1/8 x 19 3/4 in. (33.3 x 50.2 cm)
Signed and annotated in pencil on the verso.
Estimate
$6,000-8,000
Provenance
Taka Ishii Gallery, Tokyo
Georgina Grenville, St. Barths, 1996

18 3/8 x 14 1/2 in. (46.7 x 36.8 cm)
Signed, titled, dated, numbered 5/25,
annotated ‘vintage print’ in pencil, copyright
credit and copyright credit reproduction
limitation stamps on the verso.
Estimate
$2,500-3,500
Provenance

147. Helmut Newton 1920-2004
Winnie of the Coast of Cannes, 1975

12 1/4 x 8 1/8 in. (31.1 x 20.6 cm)
Estimate
$10,000-15,000
148. Ormond Gigli b. 1925
Girl in Light, New York City, 1967

Archival pigment print, printed later,
fush-mounted.
30 x 30 in. (76.2 x 76.2 cm)
Signed, titled, dated and numbered 1/10 in
ink in the margin.
Estimate
$4,000-6,000
Provenance

149. Ormond Gigli b. 1925
Girls in the Windows, New York City, 1960

Archival pigment print, printed later.
31 x 31 in. (78.7 x 78.7 cm)
ink in the margin.
Estimate
$20,000-30,000
Provenance
Literature
powerHouse Books, Ormond Gigli: Girls in
the Windows and Other Stories, cover, p. 23
Little, Brown & Company, Refections in a
Glass Eye: Works from the ICP, pl. 63

150. Peter Beard b. 1938
Heart Attack City, 1972

Gelatin silver print with ink, blood, feathers, afxed
gelatin silver prints and watercolor drawings by the
Hog Ranch Art Department, executed later.
39 5/8 x 48 3/8 in. (100.6 x 123 cm)
Overall 55 3/8 x 85 3/8 in. (140.7 x 217 cm)
Signed, titled, dated and extensively annotated in ink
on the recto; ‘The Time is Always Now’ label afxed to
the reverse of the frame.
Estimate
$500,000-700,000
Provenance
The Time is Always Now, New York
The large and brilliantly complex work ofered This masterful piece shows Beard’s remarkable ability
here combines Peter Beard’s deep interest in the to locate beauty even in death. The tragic fgure of
natural world and his fascination with beauty. The Marilyn Monroe remains unassailably beautiful amidst
juxtaposition of Marilyn Monroe with Beard’s aerial the destruction that surrounds her. Beard’s aerial
photographs of the carcasses of dead elephants in studies transform the bleached bones of elephants
Kenya’s Tsavo National Park eloquently draws these into exquisite calligraphic abstractions.
themes together within an impressive and visually
dazzling composition. Critic and photography historian Jonathan Green
places Beard in the lineage of American collagists that
While Beard’s photographic documentation of African includes Robert Rauschenberg and Joseph Cornell.
wildlife is responsible for his early reputation, it is his He writes, “Beard, like Rauschenberg and Cornell
collages that are among the most signifcant works before him, is a collector obsessively hoarding images
in his oeuvre. It is perhaps the ideal medium for an that relate to his adopted African home, Kenya.
artist as visually omnivorous as Beard, who makes Pasting fragments of photographs together with
inspired use of disparate original and found imagery drawings and writing . . . Beard weaves a tapestry of
drawn from a wide variety of sources and media. In inexhaustible terror and energy. His collaged images
Heart Attack City his inclusion of three-dimensional contain newspaper clippings, cellophane wrappers,
elements, such as the feathers, adds to the visual travel plans, SX-70s, African identifcation photos,
richness of the piece. Beard’s handwritten script snakeskins, and handprints in his own blood. These
appears around the entire periphery of the central are placed side by side with images of high fashion,
images and includes daily memoranda, and statistics primitive cultures, the last of the African wild animals,
and history on the elephant deaths at Tsavo. Drawings and the frst twentieth-century pinups . . . Beard’s
by the Hog Ranch Art Department—African artists intuitive sense of organization and form transforms
who ofen embellish his work—add layers of meaning these mysterious and personal observations to the
and provide an injection of bright color. These level of shared truths” (A Critical History of American
illustrations fll the margins of Heart Attack City with Photography, pp. 160-61).
human and animal fgures whose frenzied antics recall
Hieronymus Bosch’s Garden of Earthly Delights.

03_NY_PHOTO_APR18_FO2_Beard_106-107.indd 1 09/03/18 15:33
151. Richard Avedon 1923-2004
Nastassja Kinski and the Serpent, Los Angeles,

California, June 14, 1981
31 3/4 x 48 1/4 in. (80.6 x 122.6 cm)
Signed and numbered 68/200 in pencil on the verso.
Estimate
$70,000-90,000
Provenance
Gagosian Gallery, New York
Literature
Richard Avedon Foundation and Gagosian Gallery,
Avedon Women, pl. 106
Fraser, On the Edge: Images from 100 Years of
Vogue, pp. 232–233
Humlebæk, Richard Avedon Photographs: 1944-
2004, p. 23, variant
Random House, Richard Avedon: Evidence 1944–
1994, p. 163, variant

Two Cheetahs hunting for the End of the

Game/Last Word from Paradise, 1960
Gelatin silver print with ink, afxed feathers
and gelatin silver prints, executed later.
26 5/8 x 39 1/2 in. (67.6 x 100.3 cm)
Overall 39 x 49 1/2 in. (99.1 x 125.7 cm)
Signed, dated and extensively annotated in ink
in the margin.
Estimate
$50,000-70,000
Provenance
Elizabeth Shiell Fekkai Fine Art, New York
Literature
Taschen, Peter Beard, pl. 268, variant
Taschen, Peter Beard: The End of the Game,
pp. 130-131, variant

153.
153. Peter Beard b. 1938 154. Peter Beard b. 1938
Untitled (Elephants), n.d. Refections in Natural History, Moite Bay,

Gelatin silver print with ink and afxed Lake Rudolf, 1965
gelatin silver prints, executed later. Gelatin silver print with ink, blood and afxed
14 1/2 x 19 3/4 in. (36.8 x 50.2 cm) gelatin silver prints, executed later.
Signed in ink on the recto; extensively 45 1/2 x 25 in. (115.6 x 63.5 cm)
annotated in ink in the margin; signed in Overall 52 x 31 7/8 in. (132.1 x 81 cm)
ink within a Peter Beard Studio copyright Signed, titled, dated and extensively
credit reproduction limitation stamp annotated in ink, paint and blood.
on the verso.
Estimate
Estimate $55,000-75,000
$15,000-20,000
Provenance
Provenance Acquired directly from the Peter Beard
Acquired directly from the artist Studio, New York
4 April 2012, lot 113
Literature

154.

recto
Orphaned Cheetah Cubs (Last

Word from Paradise), Mweiga Park
Headquarters, near Nyeri, Kenya, 1968
and Beside the carcass of a beast, 1909
One platinum print and one gelatin silver
print with ink, pencil, paint and afxed
gelatin silver prints, presented as a
double sided-collage, executed later.
Overall 14 3/4 x 18 1/2 in. (37.5 x 47 cm)
Each print variously signed, dated,
extensively inscribed and annotated in
pencil and ink on the recto and verso.
Cheetah Cubs number 2 from an
edition of 30.
Estimate
$30,000-50,000
Provenance
verso

Maureen Gallagher and a Late

Night Feeder, Hog Ranch, 1967
Polaroid print with blood,
executed later.
4 1/4 x 5 3/4 in. (10.8 x 14.6 cm)
Signed, titled ‘Hog Ranch night
feeder’ and dated in ink in the
margin; ‘The Time is Always Now’
copyright credit reproduction
limitation stamp and label on the
reverse of the frame.
Estimate
$7,000-9,000
Provenance
Literature
Taschen, Peter Beard,
pl. 228, variant
Lolindo Lion Charge, 1964

Polaroid print with ink and blood,
executed later.
4 1/4 x 5 3/4 in. (10.8 x 14.6 cm)
Signed, titled, dated and
extensively annotated in ink in the
margin; ‘The Time is Always Now’
label afxed to the reverse of
the frame.
Estimate
$6,000-8,000
Provenance
Literature
Bowermaster, The Adventures and
Misadventures of Peter Beard in
Africa, p. 57, variant

158. Desirée Dolron b. 1963
Self-portrait, Sudan, 1991

Chromogenic print, printed 1997.
15 3/4 x 15 3/4 in. (40 x 40 cm)
ink on the verso.
Estimate
$8,000-12,000
Provenance
Phillips de Pury & Company, London,
3 November 2011, lot 37
159. Irving Penn 1917-2009
Breast (A) New York, March 5, 1993

Dye destruction print.
10 1/2 x 10 1/2 in. (26.7 x 26.7 cm)
Signed, initialed, titled, dated in pencil,
Condé Nast copyright credit (courtesy
Vogue) reproduction limitation in an
unidentifed hand in pencil, credit, edition
and date stamps on the verso. One from an
edition of 7.
Estimate
$20,000-30,000
Provenance
A Gallery for Fine Photography, New Orleans

160. Robert Mapplethorpe 1946-1989
Lisa Lyon, 1982

15 1/8 x 15 1/2 in. (38.4 x 39.4 cm)
Signed, dated and numbered 4/10 by the
artist in ink in the margin; signed by the artist
in ink, titled, dated, numbered 4/10 in an
unidentifed hand in ink and copyright credit
reproduction limitation stamp on the reverse of
the fush-mount.
Estimate
$12,000-18,000
Provenance
Christie’s, New York, 31 October 1988, lot 293
Literature
Holborn, Mapplethorpe, p. 145
St. Martin’s Press, Lady: Lisa Lyon, p. 38
161. Victor Skrebneski b. 1929
Vanessa Redgrave, Hollywood, 1967

17 x 17 in. (43.2 x 43.2 cm)
Signed, dated and numbered 11/25 in pencil
in the margin; copyright credit stamp on
the verso.
Estimate
$8,000-12,000
Provenance
Holden Luntz Gallery, Palm Beach

162. Andy Warhol 1928-1987
Keith Haring & Juan Dubose, 1983

Two Polaroid prints.
Each 3 3/4 x 2 7/8 in. (9.5 x 7.3 cm)
Each print initialed ‘T.J.H.’ by Timothy J. Hunt of
the Andy Warhol Foundation in pencil and estate of
Andy Warhol stamps on each verso.
Estimate
$8,000-12,000
Provenance
Estate of the artist
The Andy Warhol Foundation for the Visual Arts,
to the present Private Collection
163. Andy Warhol 1928-1987
Truman Capote, circa 1978

9 x 6 1/2 in. (22.9 x 16.5 cm)
‘Andy Warhol Art Authentication Board, Inc.
Authentic’ stamp and annotated in an unidentifed
hand in pencil on the verso.
Estimate
$5,000-7,000
Provenance
The Andy Warhol Foundation for the Visual Arts,
to the present Private Collection
Actual size

Ken Moody, 1984

Polaroid print, mounted to aluminum.
24 x 20 3/4 in. (61 x 52.7 cm)
Signed and dated in ink in the margin.
Estimate
$10,000-15,000
Provenance
Robert Miller Gallery, New York
Freeman’s, Philadelphia, 21 October 2011, lot 253
Weinstein Gallery, Minneapolis

Grantley, 1984
15 1/8 x 15 1/4 in. (38.4 x 38.7 cm)
Signed, dated by Michael Ward Stout, Executor,
in ink, titled, dated and numbered 4/10 in an
unidentifed hand in pencil, estate copyright
credit reproduction limitation stamp on the
reverse of the fush-mount.
Estimate
$8,000-12,000
Provenance

Flower Arrangement, 1982

15 1/8 x 15 1/4 in. (38.4 x 38.7 cm)
Signed by Michael Ward Stout, Executor, in
ink, titled, dated and numbered 9/10 in an
unidentifed hand in pencil, estate copyright
credit reproduction limitation stamp on the
Estimate
$12,000-18,000
Provenance
Literature
Kardon, Robert Mapplethorpe: The Perfect
Moment, p. 84
Random House, Mapplethorpe: Pistils, p. 70
167. Andy Warhol 1928-1987
Selected Images with Liza Minnelli,

circa 1980
Three gelatin silver prints.
Varying dimensions from 8 3/4 x 6 in.
(22.2 x 15.2 cm) to 10 x 77/8 in. (25.4 x 20 cm)
Two with copyright credit blindstamp in
the margin; each variously stamped and
annotated in unidentifed hands in pencil
on the verso.
Estimate
$8,000-12,000
Provenance
The Andy Warhol Foundation for
the Visual Arts, to the present
Private Collection

Parrot Tulip, 1988

19 1/4 x 19 1/4 in. (48.9 x 48.9 cm)
Signed, dated by Michael Ward Stout,
Executor, in ink, titled, dated and numbered
AP 1/2 in an unidentifed hand in ink, estate
copyright credit reproduction limitation stamp
on the reverse of the fush-mount. One from an
edition of 10 plus 2 artist’s proofs.
Estimate
$18,000-22,000
Provenance

169. Robert Mapplethorpe

1946-1989
Snapdragons, 1979
13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
Executor, in ink, titled, dated, numbered
3/10 in an unidentifed hand in pencil
and estate copyright credit reproduction
limitation stamp on the reverse of the
fush-mount.
Estimate
$7,000-9,000
Provenance


1946-1989
Feathers and Eggs, 1985

15 1/8 x 15 1/8 in. (38.4 x 38.4 cm)
Executor, in ink, titled, dated, numbered
3/10 in an unidentifed hand in pencil
and estate copyright credit reproduction
fush-mount.
Estimate
$10,000-15,000
Provenance

1946-1989
Bacchus, 1988
19 1/8 x 19 1/4 in. (48.6 x 48.9 cm)
Signed by the artist in ink, titled, dated,
numbered 4/10 in an unidentifed hand
in ink and copyright credit reproduction
fush-mount.
Estimate
$12,000-18,000
Provenance
The Robert Mapplethorpe Foundation,
New York
Sean Kelly Gallery, New York
172. Irving Penn 1917-2009
Ospedale, March 4, 1980

Platinum palladium print.
19 1/4 x 11 3/8 in. (48.9 x 28.9 cm)
annotated in pencil, copyright credit
and edition stamps on the reverse of the
Estimate
$20,000-30,000
Literature
Penn, Still Life, n.p.
Penn, Passage: A Work Record, p. 229

Actual size
173. Francesca Woodman 1958-1981 “What happened is that I played the piano for a long time.
The pieces I played most were themes on variations, Scarlatti,
Untitled, Providence, RI, 1975-1978 etc. this occurs in my imagery…Then at one point I did not
Gelatin silver print, printed 1975-1978. need to translate the notes; they went directly into my hands.”
5 3/8 x 5 3/8 in. (13.7 x 13.7 cm)
Francesca Woodman
A lifetime print by the artist, signed by George
Woodman in pencil and estate stamp on the verso.
Francesca Woodman’s powerful and enigmatic body of
Estimate work was produced during a very short period from her
$30,000-50,000 adolescence until her early passing at the age of 22 in 1981.
This photograph, printed during her lifetime, was taken in
Provenance
Marian Goodman Gallery, New York Providence in the mid-to-late 1970s while she was a student at
Private Collection, East Coast, United States the Rhode Island School of Design. Woodman’s photographs
demonstrate a beauty and ferocity in her adaptations on the
human form. In her House series, produced during this pivotal
time, Woodman places herself in scenes where elements of
the physical home—such as the wall or freplace—appear to
almost devour her and the photograph ofered here builds on
that very idea. By physically inserting herself into the piano,
Woodman becomes part of its inner workings, harkening
back to her earlier musical infuences while encapsulating the
hallmark themes seen throughout her photographs.

174. Carrie Mae Weems b. 1953
Untitled (mother and daughter), 1990 Using the kitchen table as a metaphor for the space
Gelatin silver print. where one’s life unfolds, Carrie Mae Weems Kitchen
27 x 26 3/4 in. (68.6 x 67.9 cm)
Table series follows a female protagonist as she
Signed on a label accompanying the work;
printed title and number 1/5 on gallery label navigates the stages of life, examining an array of
afxed to the reverse of the frame. relationships from romantic to maternal and, as we
see in the present lot, platonic, all whilst seated at
Estimate the table. Refecting on the seminal series, Weems
$30,000-50,000
spoke to the signifcance of the domestic setting:
Provenance “That’s the space. Everything gets resolved in that
P.P.O.W., New York space. It’s a beautiful piece really, you know. It’s so
simple in its construction. It’s so minimal. There’s
Literature a table, there’s a lamp, there’s a chair. There’s a
Damiani, Carrie Mae Weems: Kitchen Table
man, there’s a woman, there’s a girl, there’s a child.
Series, p. 45, variant
Yale, Carrie Mae Weems: Three Decades of Maybe there’s a glass of wine and a couple packs of
Photography and Video, pl. 6.12, variant cigarettes. That’s it. It’s very bare bones.”

175. Steve McCurry b. 1950
Sharbat Gula, Afghan Girl, Pakistan, 1984

Chromogenic print, printed later.
21 7/8 x 14 7/8 in. (55.6 x 37.8 cm)
Signed, dated in ink on a Certifcate of Authenticity
and printed title on an artist’s label, each
accompanying the work.
Estimate
$15,000-20,000
Provenance
Literature
National Geographic, vol. 167, no. 6, June 1985, cover
Phaidon, Portraits, cover and n.p.
Phaidon, Looking East: Portraits by Steve
McCurry, p. 28
Phaidon, South Southeast, p. 137
176. Shirin Neshat b. 1957
Face to Face with God, 1995

9 x 13 1/2 in. (22.9 x 34.3 cm)
Signed, titled, dated and numbered 1/10 in ink
on the verso.
Estimate
$12,000-18,000
Provenance
Phillips, de Pury & Luxembourg, New York,
Contemporary Art Day Sale, 15 May 2001, lot 123
Literature
Neshat, Shirin Neshat, p. 54

177. Irving Penn 1917-2009
Iceland Poppy/Papaver nudicaule (G), New York, 2006

Pigment print.
19 x 23 in. (48.3 x 58.4 cm)
Signed, initialed, titled, dated in ink, copyright credit
(courtesy of Vogue) reproduction limitation, credit and
edition stamps on the reverse of the fush-mount. One
from an edition of 13.
Estimate
$40,000-60,000
Provenance
Fahey Klein Gallery, Los Angeles

178. Irving Penn 1917-2009
Jean Cocteau, Paris, 1948 Provenance

Platinum palladium print, printed 1979. Andrew Smith Gallery, Santa Fe
14 x 12 5/8 in. (35.6 x 32.1 cm) Private Collection, Chicago
Signed, titled, dated, annotated in pencil, Condé Nast
copyright credit reproduction limitation and edition Literature
stamps on the reverse of the aluminum fush-mount. Penn, Passage: A Work Record, p. 45
Hambourg and Rosenheim, Irving Penn:
Estimate Centennial, pl. 120
$12,000-18,000 Szarkowski, Irving Penn, pl. 12

179. Irving Penn 1917-2009
Two Women in Black with Bread, Morocco, 1971 Literature

Platinum palladium print, printed 1986. Foresta, Irving Penn: Beyond Beauty, pl. 118
19 1/2 x 19 1/2 in. (49.5 x 49.5 cm) Hambourg and Rosenheim, Irving Penn:
Signed, initialed, titled, dated, numbered 20/21, Centennial, p. 239
annotated ‘Courtesy of Vogue’ in pencil, credit,
copyright credit Condé Nast reproduction limitation
and edition stamps on the reverse of the aluminum
fush-mount.
Estimate
$25,000-35,000

180. Irving Penn 1917-2009
Cuzco Children, Peru, 1948 Literature

Gelatin silver print, printed 1975. Knopf, Irving Penn: Passage, p. 61 there titled
15 3/8 x 15 1/4 in. (39.1 x 38.7 cm) Brother and Sister, Cuzco
Signed, titled, dated in ink, Condé Nast copyright Penn, Worlds in a Small Room, p. 13
credit reproduction limitation, credit and edition Szarkowski, Irving Penn, pl. 59 there titled
stamps on the verso. One from an edition of 30. Mountain Children, Cuzco
Westerbeck, Irving Penn: A Career in
Estimate Photography, pl. 37
$25,000-35,000
Provenance
Aferimage Gallery, Dallas

181. Irving Penn 1917-2009
Miles Davis, New York, July 1, 1986 In 1986 Irving Penn was hired by Warner Brothers
Selenium toned gelatin silver print. Records to photograph Miles Davis for his new
14 3/4 x 14 3/4 in. (37.5 x 37.5 cm)
album Tutu. With art direction by Eiko Ishioka,
Signed, titled, dated, annotated in ink,
copyright credit reproduction limitation and the resulting album portraits—including the
credit stamps on the reverse of the mount. isolated hand, the frontal close-up and the
present image—remain some of the most iconic
Estimate photographs of the famed jazz musician and
$25,000-35,000
earned Ishioka the 1987 Grammy Award for Best
Provenance Album Package. This print was one of the dozen
Acquired directly from the artist assorted prints of the 3 images that Penn made
for the music executives involved in the album’s
release and thus precedes the 1991 edition of 12.

182. Richard Corman b. 1954
Madonna, June 17, 1983

Sixty-six Polaroid prints, fourteen mounted.
Each 3 1/4 x 3 1/4 in. (8.3 x 8.3 cm)
Each signed and dated on the verso or the mount.
Accompanied by the signed book Madonna
66 (NJG Publishing, 2016) and the original flm
treatment for Cinde Rella - A Rock Fable.
Estimate
$60,000-80,000
Provenance
Directly from the artist
Literature
Corman, Madonna 66
Actual size
On June 17, 1983, Richard Corman photographed fashion, her hair and makeup, her humor, her
Madonna for the flm treatment of Cinde Rella – A playful sexiness and her accessibility” (Richard
Rock Fable. The proposed flm was slated to star Corman, Madonna 66, 2016, n.p.).
Madonna as Cinderella in a “gentle spoof” of the
original fairy tale; rather than a glass slipper, it Corman, like Andy Warhol and others before him,
would be her voice that revealed her identity to favored the Polaroid process for the “simplicity”
Prince Charming, and the classic ‘happily-ever- and immediacy that the medium ofered. Due to
afer’ ending was adapted to include a music the instantaneous and playful qualities that are
contract. At the time, Corman was a budding inherent to Polaroids, the resulting prints, each
photographer, having worked as a studio assistant unique, capture Madonna’s club-kid-cool style
to Richard Avedon. Madonna, on the verge of as a rising star. Seen behind her is a 1980s East
stardom, was also known for her work as a back- Village backdrop that attracted other creative
up dancer and artist’s model, including for the luminaries, including Keith Haring, Jean-Michel
photographer Lee Friedlander. Basquiat, and Kenny Scharf, all of whom could be
found on any given night at the legendary Club 57
While the flm was unrealized, the narrative of on St. Mark’s Place.
Cinde Rella unfolded in Madonna’s own career.
Just one month following this photoshoot, her The Polaroids on ofer were believed lost for thirty
self-titled debut album was released. Including years and have only recently been rediscovered
the Billboard hits Lucky Star, Borderline, and by the artist. As the prints were stored during
Holiday, the album would ultimately be certifed this time, the color and clarity remains strong.
5 times platinum for having sold 5 million albums Additionally, the fourteen mounted prints were
worldwide. Madonna’s career was launched. Said used as an illustrated accompaniment to the
Corman of Madonna at the time, “her charisma original flm treatment for Cinde Rella.
was multi-dimensional. Her physical beauty, her

183. William Egleston b. 1939
Tennessee (Gulf Sign), 1972 Provenance

Dye transfer print, probably printed 1970s. Gallery of Contemporary Photography,
12 1/2 x 18 1/4 in. (31.8 x 46.4 cm) Santa Monica
Signed in pencil on the verso.
Literature
Estimate Random House, William Eggleston: Ancient
$20,000-30,000 and Modern, pl. 61
184. Alec Soth b. 1969
Cemetery, Fountain City, Wisconsin, 2002

Chromogenic print, mounted.
32 1/4 x 41 in. (81.9 x 104.1 cm)
Signed, titled, dated and numbered on
the verso. One from an edition of 10, plus
artist’s proofs.
Estimate
$8,000-12,000
Provenance
Yossi Milo Gallery, New York

185. David Hockney b. 1937
The Steering Wheel, Oct., 1982

Photographic collage.
Overall 29 1/2 x 35 1/2 in. (74.9 x 90.2 cm)
Signed, titled, dated and numbered ‘6’ in ink on the
mount. Number 6 from an edition of 20.
Estimate
$20,000-30,000
Provenance
André Emmerich Gallery, New York
Literature
Knopf, Camera Works: David Hockney, p. 22

186. Terry O’Neill b. 1938
Faye Dunaway, Beverly Hills, 1977

55 7/8 x 55 7/8 in. (141.9 x 141.9 cm)
Signed and numbered 35/50 in ink in the
margin.
Estimate
$10,000-15,000
Provenance
Literature
ACC Editions, Terry O’Neill: The A-Z of
Fame, pp. 104-105
187. Ernst Haas 1921-1986
The Swimmer, Greece, 1970

18 3/8 x 26 in. (46.7 x 66 cm)
Signed, titled, dated and numbered 8/30 by
Alexander Haas, the artist’s son, in ink on a
studio label afxed to the reverse of the frame.
Estimate
$3,000-5,000
Provenance
Acquired directly from the Estate of Ernst Haas
Literature
Steidl, Ernst Haas: Color Correction, p. 172

188. Joel Meyerowitz b. 1938
Bay/Sky/Porch
Self-published, 1979.
Fifeen chromogenic prints.
Each 7 7/8 x 9 5/8 in. (20 x 24.4 cm)
or the reverse
Each signed, dated and numbered 19/75 in
ink on the verso. Numbered 19/75 in ink on
the colophon. Enclosed within a burgundy
linen clamshell portfolio case with gilt title.
Number 19 from an edition of 75 plus 15
artist’s proofs.
Estimate
$7,000-9,000
Provenance
Karad, Inc., New Jersey
Literature
Meyerowitz, A Summer’s Day, p. 68
Museum of Fine Arts, Boston,
Cape light: Color Photographs by
Joel Meyerowitz, pl. 3
189. Tina Barney b. 1945
Beverly, Jill and Polly, 1982

Chromogenic print.
49 7/8 x 63 3/4 in. (126.7 x 161.9 cm)
Signed, dated and numbered 6/10 in
ink on the recto.
Estimate
$7,000-9,000
Provenance
17 December 2010, lot 184
Literature
Scalo, Tina Barney: Photographs,
Theater of Manners, pp. 40-41

190. Sally Mann b. 1951
Sempervirens ‘Stricta’, 1995

18 3/4 x 23 in. (47.6 x 58.4 cm)
copyright notation and edition information in
Estimate
$8,000-12,000
Provenance
Christie’s, New York, 13 October 2000, lot 461
Robert Klein Gallery, Boston
191. Sally Mann b. 1951
Sherry and Sherry’s Grandmother, Both at

Twelve Years Old, 1983
Platinum print.
7 1/2 x 9 1/2 in. (19.1 x 24.1 cm)
Signed, dated, numbered 7/25, inscribed
‘For Thea, Radiant friend, with best wishes,
Lexington, 2000’ and copyright notation
in pencil on the verso. Accompanied by the
book At Twelve: Portraits of Young Women
(Aperture, 1988).
Estimate
$6,000-8,000
Exhibited
At Twelve, Edwynn Houk Gallery,
Chicago, 1992
Still Time, Museum of Contemporary
Photography, Chicago, 11 September –
6 November 1993, and traveling thereafer
Literature
Mann, At Twelve: Portraits of Young Women,
cover and p. 56
Aperture, Still Time: Sally Mann, p. 56

192. Sally Mann b. 1951 In her recent memoir, Hold Still, Sally Mann writes
that Damaged Child was a seminal image in her
Damaged Child, 1984 Immediate Family series, describing it as her “frst
Gelatin silver print. good family picture.”
18 3/4 x 22 7/8 in. (47.6 x 58.1 cm)
Signed, titled, dated, numbered 6/25, copyright
notation and edition information in pencil on the verso. She writes: “It was of Jessie’s face, swollen with
hives from insect bites, to which she was especially
Estimate sensitive . . . As soon as I printed it, I noticed its
$20,000-30,000 kinship with the familiar Dorothea Lange picture
‘Damaged Child, Shacktown.’ In both, the girls have
Literature
Aperture, Sally Mann: Immediate Family, n.p. a look of battered defance. Just in case anyone
Aperture, Still Time: Sally Mann, p. 63 would miss it, I made sure that the title drove the
Mann, Hold Still: A Memoir with Photographs, p. 113 comparison home. As strange as it sounds, I found
something comforting about this disturbing picture.
Looking at the still-damp contact print, and then
looking at Jessie, completely recovered and twirling
around the house in her pink tutu, I realized the
image inoculated me to a possible reality that I might
not henceforth have to sufer” (pp. 111-14).

193.
193. Ruud van Empel b. 1958 194. Sandy Skoglund b. 1946
World #37, 2017 Revenge of the Goldfsh, 1980

Archival pigment print, Diasec mounted. Dye destruction print.
33 x 46 1/2 in. (83.8 x 118.1 cm) 27 3/4 x 35 in. (70.5 x 88.9 cm)
Signed, titled, dated, numbered 10/13 in ink and printed Signed, titled, numbered HC 3/5, inscribed ‘To Ann
copyright on an artist’s label afxed to the reverse of the with Love’ and copyright notation in ink on the recto.
fush-mount. One from an edition of 30 plus 10 artist’s proofs and
5 hors commerce.
Estimate
$25,000-35,000 Estimate
$20,000-30,000
Provenance
Kenneth A. Friedman & Co., Calabasas Provenance
Gif from the artist, to the present Private Collection,
New York
Literature
Edition Stemmle, Constructed Realities, The Art of
Staged Photography, cover and backcover wrap
Koetzle, Photo Icons: Volume 2, pp. 152-153
Smith College Museum of Art, Sandy Skoglund:
Reality Under Siege, pl. 43
PaciArte contemporary, Sandy Skoglund: Magic
Time, p. 17

194.
195. Philip-Lorca diCorcia

b. 1951
Igor and Fish, 1988

Chromogenic print.
16 3/8 x 23 7/8 in. (41.6 x 60.6 cm)
Signed, dated and numbered 6/20
in ink on the verso.
Estimate
$15,000-20,000
Provenance
Pace/MacGill Gallery, New York
Literature
Harper’s Magazine, April 1993
Galassi, Philip-Lorca diCorcia, p. 30
Brooks, Subjective Realities,
Works from the Refco Collection of
Contemporary Photography,
pp. 88-89
195.

196. Cindy Sherman b. 1954
Untitled (Marilyn Monroe), 1982

Chromogenic print.
15 1/2 x 9 1/8 in. (39.4 x 23.2 cm)
Initialed, dated and numbered 97/125 in ink in
the margin.
Estimate
$15,000-25,000
Provenance
Metro Pictures, New York
Literature
Schirmer/Mosel, Cindy Sherman, back cover
Nassau County Museum of Art, Explosive
Photography, p. 30
197. Alex Prager b. 1979
Caroline from Polyester, 2007

Chromogenic print.
49 x 28 in. (124.5 x 71.1 cm)
Signed, titled, dated, numbered AP 1/2 in
ink and copyright ‘Polyester’ stamp on an
artist’s label afxed to the reverse of the
fush-mount. One from an edition of 5
plus 2 artist’s proofs.
Estimate
$5,000-7,000
Provenance
M+B, Los Angeles

198. Alex Prager b. 1979
Maggie from Week-End, 2009

Chromogenic print.
23 1/2 x 31 1/2 in. (59.7 x 80 cm)
Signed, titled, dated, numbered AP 2/2
in ink and copyright ‘Week End’ stamp
on an artist’s label afxed to the reverse
of the fush-mount. One from an edition
of 7 plus 2 artist’s proofs.
Estimate
$6,000-8,000
Provenance
M+B, Los Angeles
199. Sharon Core b. 1965
Club sandwich, 2003

Chromogenic print, face-mounted to
Plexiglas.
11 1/2 x 13 7/8 in. (29.2 x 35.2 cm)
Signed, dated and numbered 2/5 in ink
on the reverse of the fush-mount.
Estimate
$7,000-9,000
Provenance
Yancey Richardson Gallery, New York

200. Vik Muniz b. 1961 Vik Muniz’s expansive visual lexicon has approached
and explored many cultural and art-historical sources,
The Scream, afer Edvard Munch from Pictures of reinterpreting them in a dazzling array of media which
Pigment, 2006 he then photographs. Here he addresses Edvard
Chromogenic print.
Munch’s classic image of existential terror, The Scream,
90 1/4 x 71 1/8 in. (229.2 x 180.7 cm)
Overall 94 7/8 x 75 5/8 in. (241 x 192.1 cm) with his unique combination of def crafsmanship,
Signed in ink, printed title, date and number 6/6 on a intelligence, and mischievous humor.
gallery label afxed to the reverse of the fush-mount.
Muniz’s take on The Scream remasters the original by
Estimate painstakingly rendering Munch’s original brushstrokes
$50,000-70,000
in vivid powdered pigment. He presents the fnished
Provenance photograph in a vastly larger format than Munch’s
Galerie Xippas, Paris original, allowing the fne pigment particles to become
Sotheby’s, New York, Contemporary Art Day Sale, new details within the composition while leaving the
12 May 2010, lot 440 power of Munch’s original undiminished. As in the best
of Muniz’s work, his trompe l’oeile reinterpretation
Literature
Capivara, Vik Muniz: Obra Completa, 1987-2009, p. 597 of The Scream radically transforms the original while
remaining respectfully true to his source.

201. John Baldessari b. 1931
Duress Series: Person Climbing Exterior Wall of Tall

Building/Person on Ledge of Tall Building/Person on
Girders of Unfnished Tall Building (Maquette), 2003
Archival digital print on graph paper with pencil.
5 3/4 x 17 1/8 in. (14.6 x 43.5 cm)
Overall 14 x 22 in. (35.6 x 55.9 cm)
Signed, titled and dated in pencil on the graph paper mount.
Estimate
$40,000-60,000
Provenance
Mai 36 Galerie, Zurich
Literature
Yale University Press, John Baldessari Catalogue
Raisonné, vol. 4, p. 314, variant
John Baldessari frst exhibited the Duress series

in 2003, responding to the lasting sociopolitical
impact of 9/11. In keeping with his practice, he
sourced his imagery by photographing movies
playing on his television set. These granular stills
depict the perilous eforts of fgures as they scale
and traverse building exteriors. Baldessari’s classic
implementation of primary colors obliterates
all individual characteristics, simultaneously
constructing ambiguous, yet universally known
fgures. The frst-person and third-person narratives
that arise from the jarring scenes prompt questions
of isolation, stress, danger, guilt, determination,
and even resilience. The work on ofer here is
the maquette, or preliminary study, Baldessari
fabricated while originally conceptualizing the
series. Experimenting with color, composition, and
concept, this maquette illuminates the multifaceted
nature of Baldessari’s artistic process.

202. Thomas Demand b. 1964 203. Elger Esser b. 1967
Glass (Glas), I + II, 2002 Provenance Marne, Frankreich, 1997

Chromogenic print diptych, each face-mounted 303 Gallery, New York Chromogenic print, Diasec mounted.
to Plexiglas and fush-mounted. 25 x 35 in. (63.5 x 88.9 cm)
Each 28 1/4 x 19 3/8 in. (71.8 x 49.2 cm) Literature Overall 36 1/2 x 46 in. (92.7 x 116.8 cm)
Each panel signed, dated and numbered 5/6 in The Museum of Modern Art, Thomas Demand, Signed in ink, printed title, date and
ink on the reverse of the frame. pp. 100-101 number 1/5 on an artist’s label afxed to
the reverse of the frame.
Estimate
$25,000-35,000 Estimate
$15,000-20,000
Provenance
Sonnabend Gallery, New York

204. Thomas Struth b. 1954
Las Vegas 1, Las Vegas, Nevada, 1999

Chromogenic print, face-mounted to Plexiglas.
55 3/4 x 80 1/2 in. (141.6 x 204.5 cm)
Overall 73 x 97 in. (185.4 x 246.4 cm)
Signed in ink, printed title, date and number 9/10 on
an artist’s label afxed to the reverse of the frame.
Estimate
$35,000-45,000
Provenance
Galerie Rüdiger Schöttle, Munich
Literature
Schirmer/Mosel, Thomas Struth 1977-2002, pp. 94-95

205. Andreas Gursky b. 1955
EM, Arena, Amsterdam I, 2000

Chromogenic print, face-mounted to Plexiglas.
81 1/2 x 65 5/8 in. (207 x 166.7 cm)
Overall 109 1/2 x 83 3/8 in. (278.1 x 211.8 cm)
Signed, titled, dated and numbered 4/6 in pencil on the
verso; printed title, date and number on a gallery label
afxed to the reverse of the frame.
Estimate
$350,000-450,000
Provenance
Matthew Marks Gallery, New York
Private European Collection
Phillips de Pury & Company, New York, Photographs
Evening Session, 6 October 2005, lot 52
Literature
The Museum of Modern Art, Andreas Gursky, p. 147
While a student at the Kunstakademie in Düsseldorf, from the pulsating energy of the players as they dart
Andreas Gurksy studied under the guidance of Bernd across the feld to the excitement of the screaming
Becher. Though clearly infuenced by the conceptual fans in the stands— what Gursky actually presents to
nature of Bernd and his wife Hilla’s cool and detached us is far diferent.
typologies, Gursky was not beholden to the black-
and-white aesthetic nor the objective documentary Shooting from what seems an impossibly elevated
style of their photographs. As the son of a vantage point, Gursky captures a scene so distant
commercial photographer, he understood the merits that viewers are removed from the details of the
and appeal of color photography, and in the early match unfolding below. He crops the feld so as
1990s began to incorporate digital post-production to show only a selection of isolated players and
into his image-making process. By manipulating his eliminates the crowd populating the stadium.
images—combining negatives, altering details, or Without a horizon line to orient the viewer, the
wholly constructing scenes as he has done in more picture plane is completely fattened thereby
recent photographs—Gursky’s goal is not to overtly bringing focus to the grid-like pattern of the grass
fctionalize his work but to create hyperreal scenes and the white markings that divide it. By abstracting
that transcended any visual, spacial or technical the scene in the way that he does, Gursky creates
limitations. With its powerful combination of color an image whose subject is as much the formalist
and monumental scale, EM, Arena, Amsterdam I, tenets of color, line and composition as it is the
2005, is one such scene: a spectacularly quiet and soccer match itself. Gursky reinforces the connection
abstracted tableau captured amidst the chaos of its between this image and painting through its
greater environment. impressive size which, at nearly 9 x 7 feet, rivals the
scale of canvases by 20th century masters such as
In his introductory essay to Andreas Gursky, Peter Mark Rothko and Jackson Pollack, among others.
Galassi writes of the photographer’s “favored
polarity between realism and abstraction.” Indeed, In EM, Arena, Amsterdam I, Gursky’s representation
Gursky’s brilliance lay in his ability to present a scene of reality through a matrix of abstraction frees his
that is at once “real” yet unknown. While the subject subject from traditional expectations, thus allowing
of a soccer match connotes an array of imagery— viewers to immerse themselves in a wholly
new experience.

206. Ahmet Ertug b. 1949
Library of Archaeology and History of Art, Rome,

Italy, 2017
Chromogenic print, fush-mounted.
85 5/8 x 70 1/4 in. (217.5 x 178.4 cm)
Overall 96 1/8 x 81 3/4 in. (244.2 x 207.6 cm)
Signed in ink, printed title, date and number 1/3 on
an artist’s label afxed to the reverse of the frame.
Estimate
$40,000-60,000
Provenance

207. Candida Höfer b. 1944
Teatro alla Scala Milano V, 2005

Chromogenic print, mounted.
70 1/2 x 90 3/4 in. (179.1 x 230.5 cm)
Overall 80 1/4 x 100 1/4 in. (203.8 x 254.6 cm)
Signed in ink, printed title, date and number 5/6 on a
label afxed to the reverse of the frame.
Estimate
$25,000-35,000
Provenance

Museum für Völkerkunde Dresden V, 2000

47 x 47 1/4 in. (119.4 x 120 cm)
Overall 60 3/4 x 60 3/4 in. (154.3 x 154.3 cm)
Signed in ink on the reverse of the frame;
printed title, date and number 3/6 on a
Estimate
$15,000-20,000
Provenance
Literature
Höfer, Candida Höfer: Dresden, cover,
back cover, n.p.
Zentralinstitut für Kunstgeschichte

München IV, 2000
47 1/4 x 47 1/4 in. (120 x 120 cm)
Overall 60 3/4 x 61 in. (154.3 x 154.9 cm)
Signed in ink on the reverse of the
frame; printed title, date and number
AP1 on a label afxed to the reverse of
the frame. One from an edition of 6 plus
artist’s proofs.
Estimate
$15,000-20,000
Provenance

210. Andres Serrano b. 1950
White Pope from Immersions, 1990

Dye destruction print, face-mounted to
Plexiglas.
59 1/2 x 39 5/8 in. (151.1 x 100.6 cm)
Overall 69 x 45 3/8 in. (175.3 x 115.3 cm)
Signed, titled and numbered 3/4 in pencil on
the verso.
Estimate
$20,000-30,000
Provenance
Phillips, New York, 9 April 2011, lot 208

211. Ahmet Ertug b. 1949
Villa Farnese Royal Stairs, Caprorola, Italy, 2017

86 1/2 x 71 in. (219.7 x 180.3 cm)
Overall 97 3/8 x 81 3/8 in. (247.3 x 206.7 cm)
Signed in ink, printed title, date and number 1/3 on an
artist’s label afxed to the reverse of the frame.
Estimate
$40,000-60,000
Provenance
Literature
Museum of Modern Art, Dubrovnik, Ahmet Ertug:
Vanishing Point, p. 15

212. Vik Muniz b. 1961
Bette Davis from Pictures of Diamonds, 2004

32 1/8 x 40 in. (81.6 x 101.6 cm)
Signed in ink, printed title, date and number AP 3/4 on
a gallery label afxed to the reverse of the fush-mount.
One from an edition of 10 plus 4 artist’s proofs.
Estimate
$30,000-50,000
Provenance
Sikkema Jenkins & Co., New York
Literature
Capivara, Vik Muniz: Obra Completa, 1987-2009, p. 519

213. Idris Khan b. 1978
every... Stave of Frederick Chopin’s Nocturnes

for the Piano, 2004
Chromogenic print.
27 1/4 x 97 1/4 in. (69.2 x 247 cm)
Overall 37 1/4 x 106 1/8 in. (94.6 x 269.6 cm)
Signed, dated and numbered 2/6 in ink on the
Estimate
$40,000-60,000
Provenance
“every . . . Stave of Frederick Chopin’s Nocturnes

for the Piano (2004) pays homage to a group of
compositions which span the length of Chopin’s
productive life and the evolution of his style.
Sometimes it is not the full span of a life that
I am interested in, but the accumulation of
experience in late works by great artists and
thinkers. . . I am searching for a kind of sublime.”
Idris Khan
214. Hiroshi Sugimoto b. 1948
Casa Batlló, 1998

18 1/2 x 22 7/8 in. (47 x 58.1 cm)
Signed in pencil on the mount; blindstamp
number ‘4/25, 926’ in the margin.
Estimate
$15,000-20,000
Provenance
Galería Principal Art, Barcelona
Literature
Museum of Contemporary Art, Chicago and
D.A.P., Sugimoto: Architecture, pp. 36-37

215. Doug & Mike Starn b. 1961 and b. 1961
Blot Out the Sun #1, 1998-1999

Lysonnic inkjet diptych on thai mulberry and tissue
papers with wax encaustic and wax.
Each 82 x 68 1/8 in. (208.3 x 173 cm)
Overall 82 x 136 1/4 in. (208.3 x 346.1 cm)
Signed and numbered 1/3 in ink on the reverse of
the wood frame.
Estimate
$40,000-60,000
Provenance
Acquired directly from the artists

216. Alec Soth b. 1969
2006_03zl0016 (Monk in Woods), 2006

Archival pigment print, printed 2011.
40 x 50 in. (101.6 x 127 cm)
Signed in ink, printed title, date and
number AP1 on a label afxed to the
reverse of the mount. One from an
edition of 7 plus 2 artist’s proofs.
Estimate
$6,000-8,000
Provenance
217. Hiroshi Sugimoto b. 1948
Reunion Island, Indian Ocean, 1996

16 5/8 x 21 1/4 in. (42.2 x 54 cm)
Signed in pencil on the mount;
blindstamp title, date and number ‘3/25,
434’ in the margin.
Estimate
$18,000-22,000
Provenance

218. Florian Maier-Aichen b. 1973 219. Doug & Mike Starn b. 1961 and b. 1961
Salton Seas (II), 2009 Black Pulse #13, 2000-2006

Chromogenic print. Chromogenic print triptych with metallic push pins.
86 1/2 x 112 1/2 in. (219.7 x 285.8 cm) Each 28 x 20 in. (71.1 x 50.8 cm)
Overall 90 x 116 in. (228.6 x 294.6 cm) Overall 35 1/2 x 67 1/2 in. (90.2 x 171.5 cm)
Signed, dated and numbered 1/6 in ink on a gallery Signed, dated and numbered 2/5 in ink on the reverse of
label afxed to the reverse of the mount. the frame; printed credit, title, date and number 2/5 on
an artists’ label afxed to the reverse of the frame.
Estimate
$30,000-50,000 Estimate
$7,000-9,000
Provenance
Blum & Poe, Los Angeles

220. Richard Misrach b. 1949
Untitled #833-02, 2002

71 x 110 in. (180.3 x 279.4 cm)
Overall 74 3/4 x 113 3/4 in. (189.9 x 288.9 cm)
Signed, titled, dated and numbered 2/5 in ink on a
Estimate
$50,000-70,000
Provenance
Catherine Edelman Gallery, Chicago
Richard Misrach has been documenting the

American landscape for the past 40 years,
using his camera to examine the complex
relationship between man and the physical world
surrounding him. Engaging with traditional
themes of the sublime, the immense beauty
of his work simultaneously engulfs his subjects
and spectators. In his own words, “paradise has
become an uneasy dwelling place; the sublime sea
frames our vulnerability, the precarious nature of
life itself.” As exemplifed in the present lot, the
solitary fgure camoufaged in ocean blue, foats
adrif in a vast and seemingly endless sea, forcing
us to reconsider the fragility of our lives amidst
looming uncertainties.

221. Florian Maier-Aichen b. 1973
Untitled (Passo Stelvio), 2009

Chromogenic print.
68 3/8 x 86 3/4 in. (173.7 x 220.3 cm)
Overall 70 3/4 x 89 1/4 in. (179.7 x 226.7 cm)
Signed, dated and numbered 2/6 in ink on a gallery
label afxed to the reverse of the mount.
Estimate
$30,000-50,000
Provenance
Blum & Poe, Los Angeles

222. James Casebere b. 1953
La Alberca, 2005
46 1/4 x 58 1/2 in. (117.5 x 148.6 cm)
Signed in ink, printed title, date and number 5/5
on a gallery label afxed to reverse of the mount.
Estimate
$15,000-20,000
Provenance
Sean Kelly Gallery, New York
Private Collection, St. Louis

223. Desirée Dolron b. 1963
Cerca Paseo de Martí from Te dí todos

mis sueños, 2002-2003
Dye destruction print, face-mounted
to Plexiglas.
49 x 63 in. (124.5 x 160 cm)
Signed, titled, dated and numbered 5/6
in ink on the reverse of the fush-mount;
signed and titled in ink on an artist’s label
afxed to the reverse of the fush-mount.
Estimate
$15,000-25,000
Provenance
Michael Hoppen Gallery, London
224. Robert Polidori b. 1951
6328 North Miro Street, New Orleans,

March, 2006
34 x 47 7/8 in. (86.4 x 121.6 cm)
Overall 43 x 57 in. (109.2 x 144.8 cm)
Signed in ink, printed title, date
and number 6/10 on a gallery label
accompanying the work.
Estimate
$6,000-8,000
Provenance
Flowers Gallery, London
Literature
Polidori, Robert Polidori: Afer the
Flood, p. 253

225. Stéphane Couturier b. 1957
Bd. Morland, Paris 4, 1999

35 x 31 in. (88.9 x 78.7 cm)
Signed, titled, dated and numbered 3/15
in ink on the verso.
Estimate
$7,000-9,000
Provenance
Property from a Private Collection,

Miami
226. Stéphane Couturier b. 1957
Berlin, Oberbaumbrücke, 1996

40 1/2 x 50 3/4 in. (102.9 x 128.9 cm)
Signed, titled, dated, credited and
numbered 3/5 in ink on the reverse of
the fush-mount.
Estimate
$6,000-8,000
Provenance
Exhibited
Stéphane Couturier, Urban Archaeology,
Lowe Art Museum, University of Miami,
13 April - 28 May, 2000

227. William Wegman b. 1943
Man Ray
Holly Solomon Editions: New York, 1982. Ten prints
including eight gelatin silver and two dye transfer
prints printed by Jef Botz.
Each gelatin silver print approximately 7 1/4 x 7 in.
(18.4 x 17.8 cm)
Each dye transfer print 3 7/8 x 3 7/8 in. (9.8 x 9.8 cm)
Each signed, titled, dated and numbered 1/20 in
pencil on the verso. Numbered 1/20 in pencil on the
colophon. Enclosed within a portfolio with signature,
date and original white ink drawing.
Estimate
$10,000-15,000
Provenance
Holly Solomon Gallery, New York
Literature
Fondation Regional D’Art Contemporain, William
Wegman, pp. 199-200
William Wegman created this portfolio in tribute

to his Weimaraner, Man Ray, who died at the
age of twelve on March 27, 1982. Each portfolio
cover has an unique drawing by Wegman in
remembrance of his beloved collaborator.

228. William Wegman b. 1943
Green Caramelle, 1998

Digital inkjet triptych.
Each approximately 301/ 4 x 231/ 4 in. (76.2 x 59.1 cm)
Overall 37 1/2 x 92 3/4 in. (95.3 x 235.6 cm)
Right panel signed and dated; lef panel titled and
numbered 5/7, all in pencil in the margin.
Estimate
$4,000-6,000
229. Robert ParkeHarrison b. 1968
Forestbed, 1998
Gelatin silver print with acrylic paint, gels
and varnishes, fush-mounted to artist’s
wooden frame.
37 x 42 in. (94 x 106.7 cm)
pencil on a label afxed to the reverse
of the frame.
Estimate
$10,000-15,000
Provenance
Bonni Benrubi Gallery, New York

230. Andrew Bush b. 1956
Envelopes, 2000-2001
Four chromogenic prints in individual
wood contact printing frames.
Varying dimensions from 5 x 6 1/4 in.
(12.7 x 15.9 cm) to 8 3/4 x 6 3/8 in.
(22.2 x 16.2 cm), or the reverse
Each signed, dated, numbered 1/5
and annotated in ink on the reverse of
the frame.
Estimate
$4,000-6,000
Provenance
Julie Saul Gallery, New York
231. Loretta Lux b. 1969
Hopper, 2005
Dye destruction print, face-mounted
to Plexiglas.
15 x 19 3/4 in. (38.1 x 50.2 cm)
Signed, titled, dated, numbered 5/7 in
ink and credit blindstamp on a
label afxed to the reverse of the
fush-mount.
Estimate
$7,000-9,000
Provenance

Study of a Girl 1, 2002

13 x 9 1/8 in. (33 x 23.2 cm)
Estimate
$5,000-7,000
Literature
Aperture, Loretta Lux, p. 57
The Blue Dress, 2001

9 x 9 in. (22.9 x 22.9 cm)
Estimate
$5,000-7,000
Provenance
Literature
Aperture, Loretta Lux, p. 51

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Sale Information
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450 Park Avenue New York 10022 +1 212 940 1245
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9 April 2018 Worldwide Head of Photographs
10am (lots 1–123) Vanessa Hallett
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Front cover Edward Steichen, Gloria Swanson, New York,

1924 (detail), lot 116
Back cover Andreas Gursky, EM, Arena, Amsterdam I,

2000 (detail), lot 205
NY_PHOTO_APR18_174_WEB.indd 174 13/03/18 15:44

London. In May 2018 in London, Phillips will hold
our inaugural ULTIMATE Evening Sale,
Photographs. featuring this exceptional work by
Now. Robert Mapplethorpe. This work will

be on view in our New York galleries
31 March – 8 April 2018.
ULTIMATE Evening &
Photographs Day Sales Visit our public viewing from 10-18 May 2018
London, 18 May 2018 at 30 Berkeley Square, London W1J 6EX
or visit phillips.com
Enquiries
+44 207 318 4087
photographslondon@phillips.com
Robert Mapplethorpe, American Flag, 1987

Estimate: £80,000-120,000
© Robert Mapplethorpe Foundation. Used by permission.

450 Park Avenue New York 10022
phillips.com +1 212 940 1200
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Pablo Picasso
Jacqueline lisant
(Jacqueline Reading), 1962
Estimate $60,000-80,000
© 2018 Estate of Pablo Picasso /
Artists Rights Society (ARS), New York
Auction 24 April 2018

Editions New York
& Works on Paper Public viewing 14-24 April

at 450 Park Avenue or
online at phillips.com
Enquiries
editions@phillips.com
+1 212 940 1220
phillips.com

Index
Abbott, B. 24, 25, 27, 33, 34, 36 Feininger, A. 113, 114, 123 O’Neill, T. 131, 186
Adams, A. 76–78, 82 Franck, M. 119 Orkin, R. 8, 65
Arbus, D. 16 Frank, R. 6, 9, 20
Arnold, E. 125, 126 Friedlander, L. 5, 13–15, 17 ParkeHarrison, R. 229
Atget, E. 37–39 Penn, I. 73, 94, 133, 136, 159,
Avedon, R. 142, 151 Gigli, O. 148, 149 172, 177–181
Gursky, A. 205 Polidori, R. 224
Baldessari, J. 201 Prager, A. 197, 198
Baltz, L. 1–3 Haas, E. 187
Barney, T. 189 Hockney, D. 185 Ritts, H. 124, 128, 134
Bassman, L. 88 Höfer, C. 207–209 Rosenthal, J. 100
Beard, P. 150, 152–157 Horst, H. P. 86, 90, 91 Rothstein, A. 122
Blumenfeld, E. 72
Brandt, B. 64 Kenna, M. 127, 135 Salgado, S. 101
Bristol, H. 89 Kertész, A. 53–56, 68, 69, 71, 87 Serrano, A. 210
Burri, R. 132 Khan, I. 213 Sherman, C. 196
Bush, A. 230 Klein, W. 120, 129, 130 Skoglund, S. 194
Koppitz, R. 84, 96 Skrebneski, V. 161
Callahan, H. 12 Koudelka, J. 61 Smith, W. E. 102, 103
Capa, R. 104 Sommer, F. 93
Cartier-Bresson, H. 7, 57–60, 62, 63 LaChapelle, D. 137, 138 Soth, A. 184, 216
Casebere, J. 222 Lavenson, A. 21, 22 Starn, D. & M. 215, 219
Coburn, A. L. 43 Leonard, H. 108 Steichen, E. 42, 45, 116
Core, S. 199 Levitt, H. 31, 32, 35 Stieglitz, A. 44, 46
Corman, R. 182 Lux, L. 231–233 Strand, P. 70, 74
Couturier, S. 225, 226 Sudek, J. 47–52
Maier-Aichen, F. 218, 221 Sugimoto, H. 214, 217
Demand, T. 202, 204 Man Ray 92, 95
diCorcia, P.-L. 195 Mann, S. 190–192 van Empel, R. 193
Dolron, D. 158, 223 Mapplethorpe, R. 160, 164–166,
D’Orazio, S. 139–141, 143, 144, 146 168–171 Warhol, A. 162, 163, 167
Drtikol, F. 83 Marville, C. 40 Weems, C. M. 174
McCurry, S. 175 Wegman, W. 227, 228
Eggleston, W. 183 Metzker, R. K. 11, 26 Weston, E. 75, 79–81, 85
Eisenstaedt, A. 97–99, 110–112, 115, 117, 118 Meyerowitz, J. 188 Winogrand, G. 10, 18, 19, 121
Ertug, A. 206, 211 Misrach, R. 220 Woodman, F. 173
Erwitt, E. 4, 66, 67 Morgan, B. 109
Esser, E. 203 Moriyama, D. 145
Evans, F. H. 41 Muniz, V. 200, 212
Evans, W. 23, 28–30 Mydans, C. 105–107
Neshat, S. 176
Newton, H. 147

206. Ahmet Ertug

24.
00. Berenice
artist Abbott

phillips.com
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Phillips Photographs - 9 April 2018

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NY_PHOTO_APR18_COVER_WEB.indd 4 13/03/18 15:48

NY_PHOTO_APR18_IFC+IBC.indd 2 09/03/18 15:30

NY_PHOTO_APR18_IFC+IBC.indd 1 09/03/18 10:54

Edward Dolman Cheyenne Westphal

Genevieve Janvrin Yuka Yamaji Sophie Busby

Miety Heiden Marianne Hoet Vivian Pfeifer Jonathan Crockett

NY_PHOTO_APR18_2-65_BL.indd 2 09/03/18 10:44

Auction & Viewing Location Photographs Department

Auction Deputy Chairman, Americas and

Viewing Head of Department, New York

NY_PHOTO_APR18_2-65_BL.indd 3 13/03/18 10:52

NY_PHOTO_APR18_2-65_BL.indd 4 13/03/18 10:52

NY_PHOTO_APR18_2-65_BL.indd 5 13/03/18 10:52

Morgan Hill (Prototype), 1973

NY_PHOTO_APR18_2-65_BL.indd 6 09/03/18 08:41

Galveston (Prototype), 1973 Southwest Wall, Vollrath, 2424 McGaw, Provenance

NY_PHOTO_APR18_2-65_BL.indd 7 09/03/18 08:41

4. Elliott Erwitt b. 1928

New York City, 1955

5. Lee Friedlander b. 1934

Kansas City, Missouri, 1965

The Photography & the City

NY_PHOTO_APR18_2-65_BL.indd 8 09/03/18 08:41

Estimate He wrote: “The Bus carries me thru the City, I look

NY_PHOTO_APR18_2-65_BL.indd 9 09/03/18 08:42

7. Henri Cartier-Bresson 1908-2004

Civil Rights Demonstration, Washington, D.C., 1957

8. Ruth Orkin 1921-1985

Man in Rain, W. 88th St., N.Y.C., 1952

NY_PHOTO_APR18_2-65_BL.indd 10 09/03/18 08:42

Hoboken (City Fathers), 1955

NY_PHOTO_APR18_2-65_BL.indd 11 09/03/18 08:42

Untitled (woman knitting panties), circa 1954

Another print of this image is in the

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Selected Images from Pictus Untitled, Eleanor, 1947

NY_PHOTO_APR18_2-65_BL.indd 13 09/03/18 08:44

New Orleans, Louisiana, 1979

14. Lee Friedlander b. 1934

Yosemite, National Park, California, 2003

15. Lee Friedlander b. 1934

New City, New York, 1994

NY_PHOTO_APR18_2-65_BL.indd 14 09/03/18 08:44

A House on a Hill, Hollywood, Cal., 1963

17. Lee Friedlander b. 1934

New York State, 2001

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18. Garry Winogrand 1928-1984 19. Garry Winogrand 1928-1984

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NY_PHOTO_APR18_2-65_BL.indd 17 09/03/18 08:46

Calaveras Cement Plant, 1933

22. Alma Lavenson 1897-1989

St. Charles Hotel, Downieville, 1934

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Main Street, Saratoga Springs, New York, 1931 Provenance

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