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Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 1
PROPERTY OF VARIOUS OWNERS

ANONYMOUS AMERICAN PHOTOGRAPHER
A PETER GLASS TABLE, WITH ELABORATE MARQUETRY
half-plate daguerreotype, with a modern seal, cased, circa 1850
ESTIMATE 7,000 - 10,000 USD

CATALOGUE NOTES
This daguerreotype shows a remarkable piece of 19th-century American hand-craftsmanship: a rosewood center table, with elaborate
inlays, by one of the masters of the marquetry technique, Peter Glass. The table was almost certainly created as a showpiece. Its
highly complex design incorporating a radiating geometric pattern with delicately delineated floral motifs and exquisite workmanship,
were clearly intended to showcase the considerable skills of its maker. Glass's name (laterally reversed) is inscribed boldly upon the
scroll-leg base, suggesting that this table may have been entered by Glass into a competition or exhibition. It would have been highly
unusual for a maker to inscribe his name so prominently on a piece of furniture built for a client.
Peter Glass (1824 1901) was born in Germany and came to America as a young man in 1844, after having apprenticed at
cabinetmaking and learning the rudiments of marquetry, for which he demonstrated a precocious talent. He initially settled in
Massachusetts, and was in business in New York City at 13 Crosby Street in 1856. By 1857, however, he moved west to Wisconsin
where he purchased property and became a farmer, while at the same time pursuing his career as a furniture maker.
Within the general field of furniture-making, marquetry was a specialty unto itself difficult in practice, and mastered by few. With their
beautiful, intricate patterns and flawless execution, Glass's creations had no corollary in the furniture of his day. His inlaid furniture
earned him a silver medal from the Massachusetts Charitable Mechanic Association (1850); a bronze medal by New York's American
Institute (1856); and the prize for the 'best mosaic center table' at the Wisconsin State Agricultural Fair (1858), where it was noted that
the table was 'one of the most splendid specimens of mosaic work that we have ever seen an evidence of ingenuity, mechanical skill,
and patient application worthy of the highest credit.'
It is possible that the daguerreotype offered here was made at one of these exhibitions. The formal presentation of the table upon a
marble display platform, with its tilt-top folded down for the benefit of the camera, against what looks like an improvised background,
makes a fair or exhibition setting plausible. It cannot be discounted that the daguerreotype was made at the behest of Glass himself,
who may have desired a photographic record of his work that would have been far easier to transport than the piece itself. Regardless
of the reason for its making, this daguerreotype is highly unusual in its focus upon a single object. Neither a portrait nor an
occupational study, it is nonetheless an incomparable record of one of America's great craftsmen.
In recent years, Glass's work was featured in the exhibition Skin Deep: Three Masters of American Inlaid Furniture, at the
Milwaukee Art Museum (2003). He was the subject of an article in The Magazine Antiques (1973), and is also treated in the book,
American Folk Marquetry: Masterpieces in Wood (1998).
Photographs
LOT 2
PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

THE BAKER
sixth-plate daguerreotype, with a modern seal, cased, circa 1850
ESTIMATE 10,000 - 15,000 USD

CATALOGUE NOTES
The daguerreotypes in Lots 2 through 7 come from the collection of Stanley Yalkowsky, a New York author and attorney. They were
assembled as a collection in the early 1970s, and most are returning to the marketplace for the first time in nearly three decades. A
larger selection of daguerreotypes from Mr. Yalkowsky's collection was sold in these rooms on 5 October 1995, an offering which
inaugurated a new era in the auction market for 19th-century photography and especially for daguerreotypes.
This image renders its subject with the depth and three-dimensionality only seen in the best daguerreotypes. The detail is crisp
throughout. The detail in the sitter's eyes which regard the camera coolly is particularly noteworthy. This is a technically excellent
daguerreotype. The daguerreotypist's exposure is perfect, and there is just a hint of solarization on the subject's baker's whites and
hat.
Photographs
LOT 3

THE TRIO
sixth-plate daguerreotype, with a modern seal, in a half-case, 1840s
CATALOGUE NOTES
The young man on the left poses with assured insouciance, casually holding his flute in one hand; the seated young woman on the
right holds a concertina and regards the camera with an alert but relaxed air. The third member of this trio is the white-bonneted
young woman who leans into the frame, her just-slightly blurred figure suggesting that her presence there is a surprise.
Photographs
LOT 4

ANONYMOUS AUSTRALIAN PHOTOGRAPHER
DR. GODFREY HOWITT'S GARDEN, MELBOURNE, AUSTRALIA
2 sixth-plate daguerreotypes, one showing a Greenhouse Structure and the other Exotic Foliage in the Melbourne, Australia, Garden of Dr.
Godfrey Howitt, each in a gilt-edged passe-partout and titled in an unidentified hand in pencil on the reverse, 1840s (2)
PROVENANCE
George R. Rinhart, Catalogue 9, item 37
CATALOGUE NOTES
These rare Australian daguerreotypes were made in the garden of physician, botanist, and entomologist Dr. Godfrey Howitt. The
garden was situated on his property, bordered by Collins Street, Flinders Lane, and Spring Street in Melbourne. A street that currently
runs through this now urbanized area is Howitt Lane. Dr. Howitt was born in Derbyshire in Great Britain in 1800. He studied medicine
at Edinburgh University, and thereafter practiced as a physician while pursuing his passionate interests in plants and insects. He was a
founder of the London Entomological Society, and a member of the Botanical Society of Edinburgh. In 1839 he published a small
volume on Nottinghamshire flora. In 1840, he immigrated to Australia and settled in Melbourne, bringing with him a prefabricated
wooden cottage which he assembled upon the above-mentioned property. It was there, too, that he built the extensive garden
pictured in the two daguerreotypes offered here. He was associated with the newly-established Melbourne Hospital, practiced at the
Melbourne Benevolent Asylum, and was a member of the Medical Board of Victoria. Though raised as a Quaker, Howitt became
interested in Spiritualism, perhaps through his brother William Howitt, editor of the Spiritual Magazine in London. Dr. Howitt's
reputation as a botanist was such that an Australian variety of the mallow plant was named Howitta in his memory. Dr. Howitt died in
1873 near Melbourne, in Caulfield.
Photographs
LOT 5

PORTRAIT OF AN ASIAN MAN
sixth-plate daguerreotype, in a half-case, 1850s
CATALOGUE NOTES
Daguerreotypes of Asian subjects are rare, despite the large population of Asians in the American West in the mid-19th century. Both
the style of the image and the presentation practically assure American authorship of the daguerreotype. It is possible that the subject
was one of many Chinese workers who came to America in the 1850s. The tumultuous political conditions in China, as well as a series
of droughts and floods, forced many Chinese citizens to leave their country for California. This immigration accelerated through the
1850s: in 1851 there were only approximately 4,000 Chinese nationals in California; by 1852 their population approached 25,000. The
Chinese found work on the construction of the nation's railroads. Many also found their way to the California gold fields.
Photographs
LOT 6

A NURSING MOTHER
sixth-plate daguerreotype, with hand-tinting and a modern seal, cased, circa 1850
CATALOGUE NOTES
This rare daguerreotype of a mother or possibly a wet nurse nursing a baby is sharp and clear throughout. The benignity of the
woman's expression is in direct contrast to the curiosity inherent in the baby's roving eye.
Photographs
LOT 7

STANDING YOUNG NUDE
sixth-plate daguerreotype, cased, circa 1850

Photographs
LOT 8

BRADY STUDIO
19TH CENTURY REVEREND STEPHEN BROWN WITH HIS INVENTION
quarter-plate daguerreotype, with a modern seal, cased, the case's velvet lining stamped 'Brady's Gallery, 205 &207 Broadway N. York &Penna
Avenue, Washington,' circa 1850; with 10 related pieces of ephemera, including 7 contemporary paper photographs (11)
ESTIMATE 10,000 - 15,000 USD

CATALOGUE NOTES
The daguerreotype offered here shows the Reverend Stephen Brown posed with a machine, or model, of unidentified character. The
machine's relationship to Brown's well-documented career as a clergyman has not been established at this time. The deliberate and
elegant composition of this daguerreotype, with its artful array of tools beneath the machine, and the proprietary attitude with which
Reverend Brown poses, implies that Brown is the inventor of the machine, and the machine is of some import. Brown was born in
Westmoreland, New Hampshire, on 19 April 1818, and died in Washington, D. C., on 12 November 1901. Manuscript notes in an
unidentified hand that accompany this lot record that one of his forebears fought in the Revolutionary War, and another, Hosea
Brown, fought in the War of 1812. According to the Reverend Brown's obituary in The Washington Post, he studied for the
ministry when a young man and joined the Genesee Conference, New York, traveling as a minister with that conference for over
twenty years. When he located to Washington, D. C., in 1873, he preached less frequently, becoming instead a tireless worker for the
poor. His son, Stephen C. Brown, a Civil War veteran, was for 43 years the registrar of the United States National Museum in
Washington, D. C.
Photographs
LOT 9

EXCHANGE BANK BUILDING, CHICAGO, CORNER OF LAKE AND CLARK STREETS
quarter-plate daguerreotype, with a modern seal, cased, 1854-55
ESTIMATE 30,000 - 50,000 USD

CATALOGUE NOTES
The daguerreotype offered here shows the Exchange Bank Building at the southwest corner of Clark and Lake Streets, Chicago, in
1854-55. The Exchange Bank was incorporated in January, 1853, by Hiram A. Tucker, a lawyer from Rochester, New York, who had
moved to Chicago and entered the banking profession some time earlier. The Exchange Bank first appears in a Chicago city directory
in 1852-53, and is listed in directories throughout the 1850s as, variously, the 'Exchange Bank' or the 'Exchange Bank of H. A. Tucker
&Co.' The building itself, which housed several firms, is also listed in directories of that decade as the 'Exchange Bank Building' or the
'Exchange Bank Buildings,' separate and distinct from the bank that gave the building its name. An undated engraving of the building
appears in the chapter 'Banking History' in A. T. Andreas's History of Chicago of 1884-86 (Volume II, p. 619).
The dating of the daguerreotype, 1854-55, has been established by the confluence of other businesses in the building at that time,
businesses whose signage appears in this laterally-reversed image: namely, Daniels &Brother, a cigar merchant who is listed in the
Chicago city directories for 1854-55 and later, but not earlier; and the Farmers' Bank, listed in the 1853-54 and 1854-55 city directories,
but not later.
The Exchange Bank was one of many new banks that were formed in Chicago in the 1850s, spurred on by a comprehensive Illinois
banking law that was passed in February of 1851. The bank's location on Clark Street places it right in a thriving financial district of the
time. F. Cyril James, in his The Growth of Chicago Banks (New York, 1938), lists no less than 30 banks in Chicago with a Clark
Street address in 1856 (Volume I, Appendix II). The Exchange Bank continues in the city directories through 1858. But in the directory
for 1859-60, no Exchange Bank appears, and 'H. A. Tucker &Co.,' comprised of Hiram A. Tucker and William Buxton, has an address
at 22 LaSalle Street. The building depicted here continued to be known as the Exchange Bank Building until 1871, when it burned in
the Great Chicago Fire.
The building to the left in the present daguerreotype, partially obscured by the Exchange Bank Building, displays the sign of the
daguerreotypist William G. Chamberlain on its third floor. Chamberlain, whose ad in the 1852-53 city directory mentions his 'Sky-
Light Daguerreian Gallery,' is one of several possible makers of the image, although a number of daguerreotypists were operating in
Chicago in the mid-1850s. Eleven daguerreotypists are listed in the 1854-55 Chicago directory, with several in the vicinity of the bank:
besides W. G. Chamberlain at 131 Lake Street, there are H. P. Danks at 39 Clark; J. M. Gautchier at Clark and North Water; G. M.
Harvey at 77 Lake; C. C. Kelsey at 96 Lake; C. H. Lilibridge at 75 Lake; E. H. Perry and E. G. Stiles, both at 139 Lake; and P. von
Schneidau at 142 Lake.
Daguerreotypes of Chicago are exceedingly rare.
Sotheby's would like to extend special thanks to Sandra Markham for the detailed research that forms the body of this entry, and to
Debbie Vaughan of the Chicago Historical Society.
Photographs
LOT 10
PROPERTY FROM THE COLLECTION OF DAVID BELCHER

A MAN AND HIS DOG
quarter-plate daguerreotype, sealed, cased, 1850s
ESTIMATE 10,000 - 15,000 USD

CATALOGUE NOTES
The daguerreotypes offered here comprise part of the second collection of cased images put together by writer and collector David
Belcher, who sold his first collection to two prestigious institutions when he was still a college student. A Massachusetts native, Belcher
became fascinated by an ambrotype in a Philadelphia antique shop in 1961, when he was a teenager. He began collecting cased
images from that point on and continued his collecting activities into his college years; during this time, he was a frequent and
enthusiastic correspondent with Beaumont Newhall, who encouraged his interest in the field. In 1966, approximately half of his first
collection of 30 to 40 daguerreotypes and ambrotypes was purchased by the George Eastman House in Rochester, New York, and
the rest purchased later by the Library of Congress.
Belcher attended Boston University and earned his B. A. from Suffolk University in 1969. He received an M. A. in English literature
from Indiana University in 1970. From 1972 to 1977, he was a reporter for the Orange, Massachusetts, weekly newspaper, the
Enterprise Journal, and he has written for the Daguerreian Society Annual, the Daguerreian Society Newsletter, the
Antique Trader, and Yankee Magazine, among others. His article 'Confessions of a Daguerreotype Collector Twice Over and
Then Some!' (The Daguerreian Annual, 1990, pp. 118-20) recounts his passion for cased images and the acquisition of several of
the daguerreotypes offered here.
The present images were collected beginning around 1970, from a variety of sources, from flea markets to antique shops, from dealers
to other collectors. David has written,
'The driving force behind my collecting has been to seek and find the best daguerreotypes I could, lured by a love of their beauty and
history. It has been truly a labor of love. I raced through a wild winter storm in 1976 to purchase the Caroline Parker Seneca Princess
[Lot 16] from a noted dealer. I lucked onto my Winsted, Connecticut, image [Lot 19] by buying a local auctioneer's collection in 1978.
I am especially inspired by the beautiful personal portraits and range of occupationals in my collection, taken with a sensitivity that
only a daguerreotypist's highly detailed skill could convey. This is the 49th year of my collecting, and I am proud to say that my life is
far the better for it!'
The dog in this image has been captured with detail and clarity, a testament to the daguerreotypist's skill. The dog's tail which even in
the best canine daguerreotypes is usually at least somewhat blurred is rendered here with sufficient clarity that individual hairs can be
made out.
Photographs
LOT 11

CHARLES G. BARTHOLOMEW
ACTIVE 1850S GENTLEMEN ROGUES
sixth-plate daguerreotype, sealed, the photographer's 'G. Bartholomew, Artist' letterpress credit on the mat, cased, 1850s
CATALOGUE NOTES
This image was taken by the daguerreotypist Charles G. Bartholomew, who also billed himself simply as G. Bartholomew. According
to Craig's Daguerreian Registry, Bartholomew practiced the art of daguerreotypie in Ithaca and, later, Auburn, New York (cf.
Vol. 2, p. 37).
Photographs
LOT 12

'NEWS'
sixth-plate daguerreotype, titled in gilt and red pigment on the plate, cased, 1850s

Photographs
LOT 13

PORTRAIT OF YOUNG WOMAN
sixth-plate daguerreotype, with extensive hand-tinting, with a modern seal, cased, 1840s

Photographs
LOT 14

THE DAPPER GENTLEMAN
2 sixth-plate daguerreotypes of a Young Gentleman in Top Hat and Scarf, and the Same Man Without Those Accoutrements, both sealed,
cased together, 1850s (2 daguerreotypes in one case)

Photographs
LOT 15

THE HATTER
sixth-plate daguerreotype, sealed, cased, circa 1850
CATALOGUE NOTES
This daguerreotype is impressive for, among other things, the natural ease of the subject within a very deliberate composition. While
the hatter stands straight and proud, there is no rigidity in his pose. The daguerreotypist has carefully chosen to show not just a single
hat to be symbolic of the man's profession, but has instead created a cascade of hats on the table to the left in addition to the hat the
man holds in his hand and that which he wears on his head.
Photographs
LOT 16

CAROLINE PARKER
quarter-plate daguerreotype, with hand-tinting, sealed, cased, circa 1849
ESTIMATE 25,000 - 35,000 USD
LITERATURE
John Wood, The Daguerreotype: A Sesquicentennial Celebration, pl. 13
CATALOGUE NOTES
This daguerreotype shows Caroline Parker, an influential member of the Tonawanda band of the Seneca Nation, a preserver of
traditional Seneca traditions and crafts, and a teacher, translator, and representative of her people. It is believed that the present
image is of one of only two extant daguerreotype portraits of Parker.
Caroline Parker was born as Ga Hah No on the Towanda Reservation in western New York State around 1826, to a Wolf Clan family
of considerable status within the Seneca community. The Parkers were descendents of the great Seneca figure, Red Jacket, and both
father, William, and mother, Elizabeth, held positions of great authority among their people. The Parkers were one of the first literate
families on the reservation, and they pursued every opportunity for their children to receive a formal education. Caroline's brother, Ely
S. Parker, would go on to a distinguished military career, serving directly under Grant in the Civil War, and drafting the surrender that
formally ended the conflict. Both Ely and Caroline had a longstanding and fruitful relationship with Lewis Henry Morgan, known as
the father of American anthropology, and it is likely through Morgan's auspices that the daguerreotype offered here exists.
What had begun, for Morgan, as a general interest in the peoples of the Iroquois Nations ultimately became a consuming and
increasingly rigorous inquiry into their way of life. By the mid-19th century, the culture of the Iroquois peoples had endured decades of
erosion, and this lent urgency to Morgan's researches. A chance encounter with eighteen-year-old Ely Parker in an Albany bookstore
led to a relationship with the Parker family that would be beneficial for all parties. Ely and Caroline provided Morgan with access to
the Seneca community, acting as translators and providing him with detailed information about their traditions, family structures, and
crafts. Morgan, a successful attorney and businessman, provided the Parker family with material help and furthered the education of
the Parker children. Morgan's researches were initially published in The League of the Ho-de-sau-nee or Iroquois in 1851, which
was filled with information gleaned largely through Ely and Caroline Parker.
In 1849, Morgan was granted a stipend to collect Iroquois artifacts and crafts for what would become the New York State Museum.
Among the items that he collected are the very clothes Caroline Parker wears in the present daguerreotype, all of which were made by
Parker herself, who was renowned for her skill in sewing and beadwork. The designs on her blue woolen broadcloth skirt are replete
with Iroquois symbols, and incorporate 'tree of light,' 'heaven and earth,' and 'council fire' motifs. These clothes became part of the
Lewis Henry Morgan Collection at the New York State Museum, Albany. The skirt and the red cotton overdress are still present in the
Museum's collection (as cat. nos. 36664 and 36615, respectively) where they remain a source of continued inspiration to those wishing
to replicate traditional Seneca costume.
This daguerreotype was almost certainly made at Morgan's behest, to document not just the garments, but the woman who made
them. Another daguerreotype made at the same session, showing Parker standing in the same outfit, was offered at Cottone Auctions
in 1998. Another currently unlocated daguerreotype is known only through a glass-plate copy negative in the National
Anthropological Archives at the Smithsonian. Morgan published a hand-drawn illustration of Caroline Parker in his The League of
the Ho-de-sau-nee or Iroquois, in which she wears nearly identical clothing as in the daguerreotypes. This illustration may be
based upon a now-lost fourth daguerreotype from the sitting, or may simply be an artist's conception of Parker using the
daguerreotypes as source material.
Caroline Parker maintained her status within her Seneca community, even as her brother sought and found success in the affairs of the
nation at large. She was accorded the name Jiconsaseh, an honorific of great significance in Seneca culture, and was highly valued
as a teacher. In 1864 she married John Mountpleasant, a prosperous Seneca farmer. She died in 1892.
Sotheby's thanks Deborah Holler of Empire State College, George R. Hamell of the Rock Foundation Collection, and Penelope
Drooker and Andrea Lain of the New York State Museum, for their assistance in researching this daguerreotype.
Photographs
LOT 17

THE HOUSE PAINTER
sixth-plate daguerreotype, with hand-tinting, cased, 1840s
CATALOGUE NOTES
This wholly unconventional daguerreotype shows the painter as one would see him through a window from inside a house.
Photographs
LOT 18

THE CARPENTERS
sixth-plate daguerreotype, cased, 1840s

Photographs
LOT 19

STREET SCENE WITH E. A. SQUIRE DRY GOODS STORE AND WAGON, WINSTED, CONNECTICUT
half-plate daguerreotype, cased, 1850s
ESTIMATE 10,000 - 15,000 USD
CATALOGUE NOTES
The lettering on the side of the wagon in this daguerreotype advertises Hubbard and Douglas, Mad River Mills, Winsted, as purveyors
of coffee and spices. The newspaper office of the Winsted Herald is located on the second floor of the wood frame building that also
houses E. A. Squire's New Dry Goods Store.
Photographs
LOT 20

MAN WITH TIN JUG AND CUP
sixth-plate daguerreotype, sealed, cased, 1850s

Photographs
LOT 21

THE BROOM MAKERS
CATALOGUE NOTES
This daguerreotype documents an occupation rarely treated by photographers and artists of the period. In it, two broom makers pose
with nearly finished examples of their work. Each holds a broom knife a tool specific to their trade to finish off the ends of the
broomcorn bristles. Broom making was a trade practiced at a variety of levels of production: at home, in small workshops, and on an
industrial scale. The two tradesmen pictured in the present daguerreotype likely practiced their occupation at the workshop level, and
may have fulfilled the broom needs of their immediate community.
Photographs
LOT 22

THE CARPENTER AND HIS TOOLS
sixth-plate daguerreotype, cased, circa 1850
CATALOGUE NOTES
This study of a carpenter in his workshop is one of several daguerreotypes in the David Belcher Collection that shows a tradesman in
his place of employment (see also Lots 24, 30, and 31). Such in situ views are rare from the daguerreian era, given the logistical
difficulties posed by practicing the complex daguerreotype process outside the controlled confines of the studio. This view offers not
only a portrait of a proud workman, but also a glimpse of his shop with its tidy array of tools. Visible on the wall above the tools is a
broadside, or perhaps a page taken from a periodical, that incorporates a portrait of the famed Swedish singer, Jenny Lind, and, most
interestingly, what appears to be an image of Chinese or Japanese musicians.
Photographs
LOT 23

WILLIAM R. KNAPP
ACTIVE 1840S-50S THE YOUNG JOHN A. P. FISK
quarter-plate daguerreotype, inscribed 'John A. P. Fisk Aged 15' and 'Weight 360 Pounds' in red ink on the mat, sealed, cased, 'Knapp, Artist,
Alhambra, 559 Broadway' embossed in the velvet lining, 1840s

CATALOGUE NOTES
This daguerreotype shows the teenaged John A. P. Fisk, who would go on to a successful decades-long career as a New York City
restaurateur. By the time this daguerreotype was taken, Fisk was already excelling in the family restaurant business and making a name
for himself in Manhattan's Financial District. In 1879 he opened Fisk &Robins, at 24 Broad Street, which became an eatery of great
popularity. By 1894, however, after the dissolution of his partnership with Robins and a move to a less-advantageous address, Fisk
went bankrupt. An account of this failure in the New York Times tells much about the man:
'Everybody in the down-town section knew Mr. Fisk. He came of a family of chop-house keepers, his father and grandfather preceded
him in the business. Both were men of great avoirdupois. The condition of Mr. Fisk's entrance into the family business was that his
weight should equal that of his father, 295 pounds. At the age of thirteen years he weighed 277 pounds, which was close enough to the
required weight to suit his father, and he went into business.'
Fisk was for years the president of the Fat Men's Club, a gentlemen's association that restricted its membership to those weighing in
excess of 200 pounds. The Club's annual clambake festivals, held in Norwalk, Connecticut, were reliably reported on in the local and
international press. Coverage of the 1870 clambake, in which Fisk's weight is given as 358 pounds, appeared under the headline
'Connecticut Corpulence' in the Christchurch, New Zealand, Star.
Photographs
LOT 24

ANONYMOUS AMERICAN PHOTOGRAPHERS
CLOTHIERS
2 daguerreotypes, comprising a quarter-plate of a Clothier in his Shop, with light hand-tinting; and a sixth-plate of a Man Draped in a Fringed
Blanket, the second sealed, both cased, 1840s (2)

Photographs
LOT 25

THE BLACKSMITHS
sixth-plate daguerreotype, with hand-tinting, cased, circa 1850

Photographs
LOT 26

THE GOLD MINER
quarter-plate daguerreotype, with gilt-detail, cased, 1850s
ESTIMATE 20,000 - 30,000 USD

CATALOGUE NOTES
The daguerreotype offered here is a quintessential portrait of an American gold miner, a 'Forty-Niner,' one of the many adventurous
men who traveled to California in search of riches in the late 1840s and 1850s. He is shown here with standard mining tools: a pickaxe
and a pan, in which several nuggets of gilt-detailed gold can be seen. The discovery of gold in California at John Sutter's timber mill
in January of 1848 irrevocably changed the physical and cultural landscape of the United States. The rumor of gold was enough to
bring thousands to California, and many made fortunes simply by picking up the surface accumulation of gold from streambeds,
crevices, and under boulders, using the simplest of tools, such as those held by the miner in this daguerreotype. In December of 1848,
President James K. Polk spoke officially of the riches to be found in California and legitimized the adventurous desires of many to go
west. His words unleashed a migration unlike anything the young nation had yet seen. Towns and businesses grew up to serve this new
population of miners. San Francisco, Sacramento, and Benicia grew from sleepy trading settlements into cities overnight. A handful of
photographers had also made the journey west, and photographed in the towns and at 'the diggings.'
Photographs
LOT 27

FREIGHT TRAIN, VERMONT
quarter-plate daguerreotype, sealed, cased, circa 1850
ESTIMATE 15,000 - 25,000 USD
CATALOGUE NOTES
This outdoor daguerreotype shows a great deal of minute detail. When examined under magnification, the lettering on the
locomotive 'VERMONT' can be clearly seen. Three figures, the center one possibly a woman, are visible atop the freight cars.
Photographs
LOT 28

'BRIDGE OVER THE MISSISSIPPI RIVER IN ST. ANTHONY'S [SIC] FALLS, MINN.'
sixth-plate daguerreotype, with a modern seal, cased, titled in an unidentified hand in ink on a slip of paper laid into the case, 1850s
CATALOGUE NOTES
The suspension bridge at Saint Anthony Falls, on the upper Mississippi River in Minneapolis, was built in 1855 and connected
Minneapolis to Nicolett Island. The bridge was demolished in 1876. The Minnesota Historical Society has in its collection a half-plate
view of the bridge, made from nearly the same vantage point as the daguerreotype offered here. Unlike the present image, however,
the Historical Society's plate (cat. # MH5.9 MPH4.21 p. 5) shows the scene with snow on the ground. It is reproduced in Beaumont
Newhall's The Daguerreotype in America as plate 36.
Photographs
LOT 29

LOCOMOTIVE AND CREW
half-plate daguerreotype, cased, circa 1850
ESTIMATE 15,000 - 20,000 USD
CATALOGUE NOTES
This daguerreotype is of sufficient sharpness to show the lettering on the side of the locomotive 'THOs. JAMES' and to show
clearly the faces and clothes of the majority of the men on the tender.
Photographs
LOT 30

THE DRY GOODS STORE AND ITS SHOPKEEPERS
quarter-plate daguerreotype, sealed, cased, circa 1850
ESTIMATE 10,000 - 15,000 USD

CATALOGUE NOTES
It is very unusual to see an interior daguerreotype made beyond the confines of a daguerreotypist's studio. Principle among the
impediments to such an endeavor was the lack of controlled lighting, in addition to the logistical difficulties of transporting the
necessary equipment and materials. It is rarer to see a daguerreotype of tradesmen within their place of employment. In the quarter-
plate offered here, the daguerreotypist has captured the interior of a dry-goods store in which bolts of cloth, hats, notions, and other
less identifiable wares can be seen behind the chief shopkeeper, who cuts a bolt of cloth with a large pair of shears while regarding the
camera soberly.
Photographs
LOT 31

THE YOUNG TYPESETTER
CATALOGUE NOTES
This young typesetter appears to be standing at the same type desk as an older typesetter pictured in another sixth-plate
daguerreotype offered in these rooms on 18 April 1996 as part of the Abraham Stransky Collection (Sale 6827, Lot 55).
Photographs
LOT 32

THE PROFILE
half-plate daguerreotype, with hand-tinting, cased, circa 1850
ESTIMATE 20,000 - 30,000 USD
LITERATURE
John Wood, The Daguerreotype: A Sesquicentennial Celebration, pl. 38
CATALOGUE NOTES
This surprising daguerreotype, a profoundly close-up profile view of a young woman rendered as a half-plate, has a great deal of
impact and presence. Profile portraits are rarely seen in the daguerreotype decades, and it is impressive to see one on such a large
plate. The composition of the image is very deliberate: the sitter's profile fills the frame perfectly, and the curve of her head echoes
almost exactly the line of the arch-topped mat.
Photographs
LOT 33

ANONYMOUS AMERICAN PHOTOGRAPHERS
AFRICAN-AMERICANS
4 cased images, comprising 2 sixth-plate daguerreotypes of a Black Child and White Child Together, and an Elderly Black Woman; a ninth-
plate daguerreotype of a Handsomely-Dressed Young Black Man; and a quarter-plate ambrotype of a Seated Black Man, 2 of the
daguerreotypes sealed, all cased, 1840s-60s (4)

Photographs
LOT 34

THE RELAXED SITTER
sixth-plate daguerreotype, sealed, cased, 1840s

Photographs
LOT 35

EDWARD S. CURTIS
1868-1952 A ZUÑI GOVERNOR
warm-toned, signed in ink and with the photographer's copyright blindstamp in the image, on a brown paper double mount, 1926 (Taschen, p. 662)
7 by 4 7/8 in. (19.7 by 12.1 cm.)

Photographs
LOT 36

EDWARD S. CURTIS
1868-1952 'LUMMI TYPE'
plate 320 from 'The North American Indian,' Portfolio 9, large-format photogravure on Holland Van Gelder paper, 1899, printed in 1913
14 by 10 in. (37.5 by 26 cm.)

Photographs
LOT 37

EDWARD S. CURTIS
1868-1952 'THE NORTH AMERICAN INDIAN,' VOLUME 10
(Cambridge, Massachusetts, 1915), a volume illustrated with 74 photogravures on vellum of the Kwakiutl, 2 hand-colored. Thick 4to, gilt-lettered
brown 3/4 morocco, no. 344 in the proposed edition of 500
The plates 7 1/4 by 5 1/2 in. (18.4 by 14 cm.)

Photographs
LOT 38

EDWARD S. CURTIS
1868-1952 THE APACHE REAPER
toned, signed in ink on the image, annotations in pencil on the reverse, 1907 (Taschen, p. 43)
12 by 15 in. (30.1 by 39.4 cm.)

Photographs
LOT 39

COLONEL H. STUART WORTLEY
1832-1890 'A SAIL BY MOON LIGHT'
albumen print, mounted, the photographer's letterpress title and credit label on the mount, 1869-70
12 1/8 by 14 1/2 in. (30.5 by 37 cm.)
PROVENANCE
Christie's East, New York, 11 November 1981, Lot 24
LITERATURE
Katherine DiGiulio, Natural Variations: Photographs by Colonel Stuart Wortley (Huntington Library, 1994), cover and fig. 15
(another print). DiGiulio draws attention to the extreme rarity of Stuart Wortley's sea and sky studies. More information on the
photographer's innovative techniques for photographing seascapes can be found at sothebys.com.
CATALOGUE NOTES
While little-known today, Colonel H. Stuart Wortley was highly regarded in his day as a skilled and innovative practitioner of the
medium of photography. His reputation was founded principally upon his dramatically-rendered moonlit seascapes, such as the
example offered here. Photographing the sea created serious technical challenges for 19th-century photographers; the wet-plate
process was not able to capture a satisfactory exposure of both the sea and the sky on a single plate. An exposure timed to render the
sea properly would leave the sky overexposed and essentially blank, while an exposure timed to capture cloud detail would leave the
sea underexposed. Gustave Le Gray and other photographers handled this discrepancy by making two separate negatives: one
capturing a perfect exposure for the sky, the other for the sea. The two negatives were then married in the printing process, rendering
a scene that seemingly represented a single perfect exposure.
Stuart Wortley's knowledge of photographic chemistry and his imaginative approach to exposing his negatives allowed him to capture
his seascapes on a single plate. His many views of the sea under moonlight were actually taken during the daytime. Stuart Wortley's
strategy was to take a very short exposure of the scene. The brevity of the exposure mitigated the difference between sea and sky,
and gave Stuart Wortley a 'thinner' negative that would yield the moonlit photograph he had previsualized.
Photographs
LOT 40

GAMBIER BOLTON
D. 1929 'MAJESTY'
mural-sized carbon print, titled and credited 'Gambier Bolton F. R. G. S.' in the negative, mounted, in the original frame, circa 1890
32 1/2 by 42 1/2 in. (82.5 by 108 cm.)
ESTIMATE 15,000 - 25,000 USD

CATALOGUE NOTES
The widely exhibited and frequently published Gambier Bolton was a photographer of great popularity. His photographs, almost
exclusively of animals in both wild and zoological settings, were rigorously realistic and highly detailed, yet were taken with an
ennobling sensitivity that was of great appeal to his audience. This is nowhere more apparent within his oeuvre than in the
photograph offered here, Majesty, in which the great beast exudes, as one contemporary writer work wrote, 'dignity and even
grandeur, a blending of power and grace in a manner which distinguishes him from all other animals (Arthur Lawrence, 'The Cat
Majestic,' The Idler, November 1898, illustrated with photographs by Bolton). Bolton's realistic yet romanticized studies of lions and
other wild and domesticated animals fascinated the public in the same way as did the paintings of Rosa Bonheur and Sir Edwin Henry
Landseer, with whom Bolton was compared (Arthur Lawrence, 'The Landseer of Photography,' The Idler, September 1898).
Of the many photographs that Bolton took of lions, Majesty is perhaps the most successful at capturing the popular ideal of the
animal, especially to the British public, and it was exhibited in the British Section of the World's Columbian Exposition in Chicago in
1893. As rendered here, in an oversized format and presented in its original frame, Majesty has undeniable impact.
Bolton traveled throughout Africa, India, Japan, Indonesia, and North America to photograph animals in the wild. His photographs
were widely published in the periodical literature of the day, and he gave frequent lantern-slide lectures on natural history. Bolton was
a 'fellow' of many organizations, among them the Royal Geographical Society (as evidenced by the initials on the photograph offered
here), the Zoological Society, and the Royal Photographic Society. His photographs appeared with regularity in periodicals, including
multiple appearances in The Idler. Although clearly adept at capturing animals in the wild with the limited equipment of late 19th
century, Bolton made some of his finest images of animals in the zoological gardens of Europe. Bolton's ability to capture the savage
dignity of his captive subjects was noted by C. J. Cornish, who wrote, 'To watch Mr. Gambier Bolton is to learn how to see the Zoo
from another point of view than is common to ordinary or even scientific visitors. He is concerned not with habits, but with the form,
appearance, and attitudes of animals' ('How to See The Zoo,' The Cornhill Magazine, 1896).
Such was Bolton's fame as a skilled photographer of challenging subject matter that the 'Gambier Bolton Camera' 'A practical
camera worked out by a practical man' was successfully sold by Watson &Sons of London for a number of years. Bolton's
photographs were published in numerous books during his lifetime, among them The Animals of the Bible (1901), A Book of
Beasts and Birds (1903), and The Animal Picture Book (1905). A man of many scientific interests, Bolton also published
extensively on the paranormal.
Photographs
LOT 41

EDWARD WESTON (1886-1958)/COLE WESTON (1919-2003)
'OCEANO'
mounted, titled, dated, and annotated 'Negative by Edward Weston/Print by Cole Weston' by Cole Weston in pencil on the reverse, 1936, printed
later by Cole Weston (Conger 945)
7 by 9 in. (19.1 by 24.1 cm.)

Photographs
LOT 42

EDWARD WESTON (1886-1958)/BRETT WESTON (1911-1993)
'CHURCH DOOR, HORNITOS'
a plate from Fiftieth Anniversary Portfolio, mounted, initialed and dated in pencil on the mount, the portfolio stamp and plate number '8' in pencil
on the reverse, 1940, printed in 1951 by Brett Weston, one in an edition of 100 (Supreme Instants, pl. 215)
7 5/8 by 9 5/8 in. (19.4 by 24.4 cm.)

Photographs
LOT 43

RUTH BERNHARD
1905-2006 TWO FORMS
mounted, signed in pencil on the mount, 1963 (Eternal Body, pl. 25)
9 7/8 by 7 in. (25.1 by 18.4 cm.)

Photographs
LOT 44

EDWARD WESTON (1886-1958)/COLE WESTON (1919-2003)
'EDWARD WESTON'
a group of 9 (of 10) photographs from the portfolio Edward Weston (New York: Witkin-Berley, Ltd., 1971, an edition of 55 copies), printed by Cole
Weston from his father's negatives, each mounted, signed and annotated by Cole Weston in pencil and stamped and labeled on the reverse, editioned
'1 of 5 AP' in pencil on the label, 1925-48, printed circa 1971. Folio, black cloth folding case in matching slipcase with silver foil overlay and
photographic reproduction (9)
Various sizes to 7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
ESTIMATE 20,000 - 30,000 USD

Photographs
LOT 45

IMOGEN CUNNINGHAM
1883-1976 'TWO CALLAS'
mounted, signed and dated in pencil on the mount, the photographer's '862 Folsom Street, San Francisco, California 94107' label on the reverse,
framed, 1929, printed later (Flora, p. 24)
13 1/2 by 10 1/2 in. (34.3 by 26.7 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 46

JOHAN HAGEMEYER
1884-1962 'TALISMAN ROSE'
mounted to black paper, mounted again to thin board, signed, titled, and annotated 'Carmel' in pencil on the mount, dated and inscribed 'For Hanna
&Loydwith greetings from Johan' in pencil and with the 'Camera Portraits, Carmel Calif.' studio stamp on the reverse, 1942 (CCP, p. 24, 81:111:063)
7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
PROVENANCE
The photographer to Hanna and Loyd Musgrave, 1940s
By descent to the present owner

Photographs
LOT 47

JOHAN HAGEMEYER
1884-1962 'VIEW FROM 371 FILBERT ST.'
mounted to black paper, mounted again to thin board, signed, titled, and dated in pencil on the second mount, 1948
3 3/4 by 4 5/8 in. (9.5 by 11.9 cm.)
PROVENANCE
The photographer to Hanna and Loyd Musgrave, 1940s

Photographs
LOT 48

ALMA LAVENSON
1897-1989 'CALAVERAS CEMENT WORKS'
signed in pencil and titled in ink on the reverse, hinged to a mount, signed in pencil on the mount, 1933 (Tsujimoto, Images of America, pl. 69;
Ehrens, p. 39, variant)
7 3/4 by 8 7/8 in. (20 by 22.5 cm.)
ESTIMATE 12,000 - 18,000 USD

PROVENANCE
The photographer to the present owner, 1987
EXHIBITION
Baltimore Museum of Art, Alma Lavenson Photographs, March - April 1988
San Francisco, The Friends of Photography, Alma Lavenson, November 1990 - February 1991
CATALOGUE NOTES
According to Lavenson authority Susan Ehrens, the print offered here is likely the only extant early print of the image.
Photographs
LOT 49

LAURA GILPIN
1891-1979 'SUNSET. NORTH RIM. MESA VERDE SERIES'
platinum print, the photographer's copyright in pencil on the image, her Colorado Springs studio stamp on the reverse, mounted along the upper edge
to a paper mount, signed in pencil on the mount, her studio label, with typed title and print number, on the reverse, in her studio wrappers, mid-1920s
(In Celebration, pl. 336, this print)
7 by 9 1/8 in. (19.1 by 23.2 cm.)

PROVENANCE
Sotheby's New York, 10 November 1986, Sale 5510, Lot 132
EXHIBITION
The Art Museum, Princeton University, In Celebration: Works of Art from the Collection of Princeton and Friends of the
Art Museum, February - June 1997
Photographs
LOT 50

PAUL STRAND
1890-1976 'ORANGES AND BOWLS, TWIN LAKES, CONNECTICUT'
the photographer's printing notations in pencil on the reverse, flush-mounted to thick paper, signed, titled, and dated in ink and a Light Gallery stamp
on the reverse, 1915, printed in the 1960s
9 3 / 4 by 13 in. (24.7 by 33 cm.)
ESTIMATE 20,000 - 30,000 USD

PROVENANCE
Acquired from Jill Quasha, New York, 1990
LITERATURE
Variants of this image are reproduced in Circa 1916 (Metropolitan Museum of Art, 1998) as the frontispiece and pls. 25-26.
According to Paul Strand authority Anthony Montoya, the present photograph may be the only extant print of this image. There is no
print of the image in the Paul Strand Archive.
Photographs
LOT 51

PAUL STRAND
1890-1976 SELECTED IMAGES FROM CAMERA WORK 49-50
a group of 3 photogravures, comprising White Picket Fence, Porch Shadows, and Bowls, the first mounted along the top edge to the original
leaf as issued, each framed, 1916, printed in 1917 (3)
Various sizes to 9 by 6 in. (24.1 by 17.1 cm.) or the reverse

Photographs
LOT 52

PAUL STRAND
1890-1976 'GROWING IRIS, MAINE'
flush-mounted, mounted again to gray board, signed, titled, and dated in ink on paper on the reverse, 1928, printed in the early 1940s; accompanied by
a Walter and Naomi Rosenblum Collection label and stamp (Newhall, Paul Strand: Photographs 1915-1945, cover and pl. 132; A
Retrospective Monograph, Vol. 1, p. 132; Time in New England, p. 251; Greenough, p. 65)
9 3/8 by 7 1/2 in. (24 by 19 cm.)
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
The photographer to Walter and Naomi Rosenblum
Jill Quasha, New York, acquired from the above, 1990
Acquired from the above, 1990

CATALOGUE NOTES
A quintessential study of woodland New England, Growing Iris, Maine, was an important image for Paul Strand from the time of its
making and was featured in at least two significant one-man exhibitions. The first of these was Paul Strand: New Photographs at
Alfred Stieglitz's Intimate Gallery in 1928, a show of thirty-two photographs, primarily of Maine, made between 1925 and 1928. The
second was The Museum of Modern Art's 1945 retrospective Paul Strand: Photographs 1915-1945. Growing Iris, Maine, was
chosen as the cover image for the exhibition catalogue.
The print offered here dates from the time of The Museum of Modern Art exhibition, and Strand authority Anthony Montoya has
suggested the possibility that this print was used as the basis for the Museum's catalogue reproduction. Despite the photograph's
importance to Strand's exhibition career, there are relatively few prints of the image extant. According to Montoya, there is only one
print of the image dating to close to the time of the negative: a platinum print in the Paul Strand Archive. There are gelatin silver
prints, contemporaneous with the print offered here, in the collections of The Metropolitan Museum of Art (originally used by Strand
as backing for another photograph), the San Francisco Museum of Modern Art, and the Minneapolis Institute of Art. Montoya
locates four other gelatin silver prints in private collections.
Photographs
LOT 53

ALFRED STIEGLITZ
1864-1946 EQUIVALENT
flush-mounted, mounted again to a larger board, 1931

4 5/8 by 3 5/8 in. (11.8 by 9.2 cm.)
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
The photographer's estate
Private New York Collection
Scheinbaum &Russek, Santa Fe
Acquired from the above, 2000
LITERATURE
Sarah Greenough, Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs, no. 1415, in which the
author locates four prints of this image: at the National Gallery of Art, Washington, D. C.; at The Museum of Modern Art, New York;
at the Philadelphia Museum of Art; and the print offered here.
Photographs
LOT 54

EDWARD STEICHEN
1879-1973 'ILLUSTRATION FOR VOGUE' (HANDS OVER HEAD)
mounted, the photographer's '139 East 69th Street, New York City' studio and Condé Nast copyright stamps and title and '#80' in red crayon and
date in pencil on the reverse, 1934
8 5/8 by 9 3/8 in. (22 by 23.8 cm.)
ESTIMATE 20,000 - 30,000 USD

PROVENANCE
The photographer's widow, Joanna Steichen
Howard Greenberg Gallery, as agent
Acquired from the above
LITERATURE
This image is a cropped version of a photograph that appeared in the June 1934 issue of Vogue magazine. The uncropped version of
the image, 'Model in Knit Maillot,' was sold in these rooms in October 1999 (Sale 7348, Lot 103).
Photographs
LOT 55

ANSEL ADAMS
1902-1984 'WINTER SUNRISE, SIERRA NEVADA, FROM LONE PINE, CALIFORNIA
mounted, signed in pencil on the mount, a Carmel studio stamp on the reverse, framed, 1944, printed in April 1978 (400 Photographs, p. 245)
14 by 19 in. (36.8 by 49.5 cm.)
ESTIMATE 20,000 - 30,000 USD

Photographs
LOT 55A

ANSEL ADAMS
1902-1984 SELECTED VIEWS OF YOSEMITE
a group of 4 photographs, each with the Best's Studio stamp on the reverse; accompanied by 6 photographs, also of Yosemite, likely by Adams,
1940s (10)
Each approximately 6 by 4 in. (16.5 by 11.4 cm.) or the reverse

Photographs
LOT 56

ANSEL ADAMS
1902-1984 'TETON RANGE AND SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING'
mounted, signed in pencil on the mount, the Carmel studio stamp (BMFA 11) on the reverse, framed, 1942, printed between 1973 and 1977 (400
Photographs, cover and p. 205; Our National Parks, cover and p. 31)
15 1/2 by 19 1/2 in. (39.3 by 49.5 cm.)
ESTIMATE 30,000 - 50,000 USD

Photographs
LOT 56A

ANSEL ADAMS
1902-1984 'MT. GALEN CLARK'
a plate from Parmelian Prints of the High Sierras, signed 'A. E. Adams' and dedicated in pencil and with the letterpress title in the margin, in
letterpress wrappers, 1920s, printed in 1927
7 7/8 by 5 7/8 in. (20 by 15 cm.)

Photographs
LOT 57

ANSEL ADAMS
1902-1984 'MONOLITH, THE FACE OF HALF DOME, YOSEMITE NATIONAL PARK'
mounted, signed in pencil on the mount, a Carmel studio stamp on the reverse, 1927, printed in 1980 (400 Photographs, cover and p. 35)
19 by 14 in. (48.9 by 36.8 cm.)
ESTIMATE 20,000 - 30,000 USD

Photographs
LOT 58

ANSEL ADAMS
1902-1984 'WHITE BRANCHES, MONO LAKE, CALIFORNIA'
mounted, signed in pencil on the mount, the Carmel studio stamp (BMFA 11) on the reverse, framed, 1950, printed between 1973 and 1975 (400
Photographs, p. 254)
19 3/8 by 15 in. (49.2 by 38.7 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Acquired from The Gallery of Photographic Arts, Westlake, Ohio, 1975
Photographs
LOT 59

ANSEL ADAMS
1902-1984 'PORTFOLIO THREE: YOSEMITE VALLEY'
(San Francisco: Sierra Club, 1960, an edition of 208), a portfolio of 16 photographs, each mounted, signed and numbered sequentially in ink on the
mount, the portfolio stamp, sequential numbers and '185' in red ink, on the reverse, 1926-59, printed in 1960; together with duplicate letterpress
title/colophon/plate list and introduction by Adams, each with number '185' in red ink. Folio, gilt-lettered green cloth portfolio with flaps and ties
Various sizes to 11 by 8 in. (29.2 by 21 cm.) or the reverse
ESTIMATE 60,000 - 90,000 USD
PROVENANCE
Acquired from Weston Gallery, Carmel, 1982
Photographs
LOT 60

MINOR WHITE
1908-1976 WINTER FROST
mounted, signed and dated in ink on the mount, the title and annotation 'LM5' in pencil on the reverse, 1962 (MMM, p. 107)
9 1/8 by 7 1/8 in. (23.2 by 18.1 cm.)
PROVENANCE
Collection of Louise March, a Gurdjieff disciple who knew White in Rochester in the 1950s
Acquired from Photo Collect, Inc., New York, 1981

Photographs
LOT 61

MINOR WHITE
1908-1976 TREES AND MOUNTAINS
mounted, signed and dated in pencil on the mount, a Carl Siembab Gallery label, with typed credit, title, and date, on the reverse, 1966
11 by 9 in. (29.8 by 22.9 cm.)
PROVENANCE
Acquired from Daniel Wolf, Inc., New York, 1980
Photographs
LOT 62

WYNN BULLOCK
1902-1975 'THE MASTS'
mounted, signed in pencil on the mount, titled, dated, and numbered '1570A' in pencil on the reverse, 1959 (Morgan &Morgan, p. 103, variant)
9 by 7 in. (24.1 by 19.1 cm.)

Photographs
LOT 63

WYNN BULLOCK
1902-1975 'EROSION'
mounted, signed and dated in ink on the mount, signed, titled, dated, numbered '1575A', and with the studio address in ink on the reverse, 1959
(Morgan &Morgan, p. 99)
7 1/4 by 9 1/4 in. (18.4 by 23.5 cm.)

Photographs
LOT 64

PAUL STRAND
1890-1976 'DRIFTWOOD - CAPE SPLIT'
flush-mounted, signed, titled, and dated in pencil on the reverse, framed, 1945
9 by 7 in. (24.1 by 19.1 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
Acquired from Robert Klein Gallery, Boston, 1998
Photographs
LOT 65

MINOR WHITE
1908-1976 EASTER SUNDAY
mounted, initialed and dated in pencil on the mount, signed and dedicated 'For Richard, In memory of a special Easter, 1963' on the reverse, 1963
(MMM, p. 1)
9 by 3 1/2 in. (22.8 by 8.9 cm.)
PROVENANCE
Acquired from Scheinbaum &Russek, Santa Fe, 1996
Photographs
LOT 66

BRETT WESTON
1911-1993 OCEANO
mounted, signed and dated in pencil on the mount, a San Francisco Museum of Art exhibition label, with typed exhibition title, credit, number, date,
and lender, on the reverse, 1937
7 5/8 by 9 in. (19.4 by 24.1 cm.)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
Acquired from Weston Gallery, Carmel, Andrea Stillman as agent, 1981
EXHIBITION
San Francisco Museum of Art, San Francisco Invitation Salon of International Photography, 1937
Photographs
LOT 67

ANSEL ADAMS
1902-1984 'PORTFOLIO FOUR: WHAT MAJESTIC WORD, IN MEMORY OF RUSSELL VARIAN'
(San Francisco: Sierra Club, 1963, an edition of 260), a portfolio of 15 photographs, each mounted, signed in ink on the mount, the printed portfolio
label and number '197' in red ink on the reverse, in individual letterpress wrappers, 1943-63, printed in 1963; together with duplicate letterpress
title/colophon/plate list and introduction by Adams, each with the number '197' in red ink. Folio, gilt-lettered gray linen portfolio with flaps and ties
ESTIMATE 60,000 - 80,000 USD

Photographs
LOT 68

O. WINSTON LINK
1914-2001 'NW1980-1993 S-1A SWITCHER AND ITS CREW, ROANOKE'
large-format panorama, signed in ink on the reverse, framed, an exhibition label on the reverse, 1958, printed later
13 by 53 in. (34.9 by 134.6 cm.)
EXHIBITION
Ithaca, Herbert F. Johnson Museum of Art, Cornell University, June - August 2000
Photographs
LOT 69

LEWIS W. HINE
1874-1940 'THE HEART OF THE TURBINE'
titled, dated, and annotated, likely by the photographer, in pencil and with his 'Interpretive Photography, Hastings-on-Hudson, New York' studio
stamp on the reverse, 1930 (Men at Work, unpaginated)
6 by 4 5/8 in. (17.1 by 11.7 cm.)

Photographs
LOT 70

BERENICE ABBOTT
1898-1991 NEW YORK AT NIGHT
mounted, signed in pencil on the mount, the 'Abbot, Maine' studio stamp on the reverse, 1932, printed later (Steidl, Vol. II, cover, frontispiece, and p.
35)
13 by 10 in. (33.6 by 26.7 cm.)
PROVENANCE
Sotheby's New York, 19 May 1980, Sale 4382, Lot 160
Photographs
LOT 71

BRETT WESTON
1911-1993 WIND WING, BRETT'S FRANKLIN SPEEDSTER, LOS ANGELES
mounted, signed and dated in pencil on the mount, 1935 (Witkin, A Ten Year Salute, p. 66)
7 by 9 3/8 in. (19.1 by 23.8 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 72

BRETT WESTON
1911-1993 'OREGON'
(Carmel: self-published, 1975, an edition of 100), a portfolio of 15 photographs, each mounted, signed and dated in pencil on the mount, numbered
sequentially in pencil and with the portfolio stamp on the reverse, 1968-75, printed in 1975. Folio, beige linen folding box with flaps, signed and
inscribed 'To Irene and Eric Aitkin' by the photographer in ink on the front pastedown
Each approximately 10 by 13 in. (27.3 by 33.7 cm.) or the reverse
PROVENANCE
Acquired from the photographer, 1976

Photographs
LOT 73

DR. DAIN L. TASKER
1872-1964 'AMAZON - LILY'
mounted to Cadet illustration board, signed and titled in pencil on the mount, the photographer's address label and titled and annotated in pencil on
paper affixed to the reverse, circa 1930 (Tasker, unpaginated)
11 1/8 by 9 1/8 in. (28.3 by 23.2 cm.)

Photographs
LOT 74

DR. DAIN L. TASKER
1872-1964 'FUCHSIA - UPRIGHT TYPE'
mounted to Cadet illustration board, signed and titled in pencil on the mount, titled and annotated in pencil on paper affixed to the reverse, circa 1930
11 1/8 by 9 1/8 in. (28.3 by 23.2 cm.)

Photographs
LOT 75

ALFRED EISENSTAEDT
1898-1995 BALANCHINE SCHOOL OF THE AMERICAN BALLET THEATRE
flush-mounted, 2 typed credit and title labels and a Time Inc. copyright stamp on the reverse, 1936 (Remembrances, p. 37)
13 by 8 in. (33.6 by 22.2 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 76

BARBARA MORGAN
1900-1992 SELECTED IMAGES OF 'MARTHA GRAHAM - LETTER TO THE WORLD'
2 photographs from Letter to the World, comprising Kick and Swirl, the first flush-mounted to Masonite, with the '120 High Point Road, Scarsdale,
N. Y.' studio label, signed, titled, and dated in ink, on the reverse; the second large-format, mounted, signed and titled in pencil on the mount, signed,
titled, and extensively annotated in ink on the reverse, 1940 (Aperture 11:1, p. 15; Barbara Morgan, cover) (2)
9 3/4 by 13 1/2 in. (24.8 by 34.3 cm.) 15 1/4 by 18 7/8 in. (38.7 by 48 cm.)
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Photographs
LOT 77

BARBARA MORGAN
1900-1992 'MARTHA GRAHAM - WAR THEME'
large-format, mounted, signed and titled in pencil on the mount, signed and titled in pencil on the reverse, 1941
15 by 19 in. (38.1 by 48.2 cm.)
PROVENANCE
Photographs
LOT 78

MARGARET BOURKE-WHITE
1904-1971 GARGOYLE, CHRYSLER BUILDING, NEW YORK
warm-toned with black ink borders, mounted, signed in pencil on the mount, the 'Photograph by Margaret Bourke-White' stamp on the reverse,
framed, a Houk-Friedman Gallery, New York, label on the reverse, 1929-30
13 by 9 1/4 in. (33 by 23.4 cm.)
ESTIMATE 120,000 - 180,000 USD

PROVENANCE
The photographer's estate
Acquired by Syracuse University from the above
Acquired by Lee Witkin from the above
Private Collection, New York
Collection of Barry Friedman
Acquired by a Private Collector from the above
Acquired by the present owner from the above
LITERATURE
Lee D. Witkin, A Ten Year Salute: A Selection of Photographs in Celebration, The Witkin Gallery, 1969-1979
(Danbury, New Hampshire, 1979), p. 103 (likely this print)
Other prints of this image:
Stephen Bennett Phillips, Margaret Bourke-White: The Photography of Design 1927-1936 (The Phillips Collection, 2003), p.
11
Jonathan Silverman, For the World to See: The Life of Margaret Bourke-White (New York, 1983), p. 58
Therese Mulligan and David Wooters, eds., Photography from 1839 to Today: George Eastman House, Rochester, NY
(Köln, 2000), p. 588
CATALOGUE NOTES
In 1930, the Chrysler Corporation commissioned Margaret Bourke-White to photograph their new, 77-story, 1,046-foot skyscraper
while it was still under construction. In her autobiography, Portrait of Myself, Bourke-White says of her first glimpse of the Chrysler
Building gargoyles,
'On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue
below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth
century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute. I was ready
to close my studio in Cleveland in order to be nearer Fortune, but it was the gargoyles which gave me the final spurt to New York'
(p. 78).
When the building's landlord expressed doubt about renting such prime real estate to a woman, in what was then, briefly, the tallest
building in the world, Fortune magazine intervened on her behalf. Later that year, Bourke-White opened her studio, and she
remained there until early 1933.
It was from this space on the southeast side of the Chrysler Building that Bourke-White photographed one of the two imposing
gargoyles accessible to her. Designed by Chesley Bonestell and inspired by the 1929 Chrysler Plymouth hood ornament, they were
among the many automotive-themed ornaments, including hubcaps, mudguards, winged radiator caps, and stylized cars, adorning
this exuberant, luxurious building. The Chrysler Building's flamboyance was not seen again in skyscraper architecture. The Crash of
1929 and the Depression intervened, and more austere European modernist design became the norm in the following decades.
Fearless, Bourke-White often delighted in climbing out onto the gargoyles themselves, 800 feet above the street, to photograph the
city. This was not the first skyscraper that the daring Bourke-White had photographed. Fascinated and exhilarated by tall structures
and heights, she had previously made a variety of images of and from Cleveland's Terminal Tower, and she would go on to document
other large structures and to photograph from airplanes and helicopters.
Photographs
LOT 79

ROY DECARAVA
1919-2009 'KIDS GOD BLESS,' FROM 'NEW YORK 19'
large-format, flush-mounted, title and annotations in pencil on the reverse, 1952, printed circa 1960
19 7/8 by 14 1/8 in. (50.5 by 36.2 cm.)
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
Originally from the library of Harry Belafonte
LITERATURE
Cf. New York 19 shooting script, likely used in segments '5. STILL SHOTSChildren, Narration Over Page 5' to '5A. "GOD BLESS
THE CHILD," Belafonte Solo Page 6.'
Roy DeCarava and Langston Hughes, The Sweet Flypaper of Life, p. 21; Peter Galassi, Roy DeCarava: A Retrospective, p.
78 (other prints)
CATALOGUE NOTES
The print offered here, and those in Lots 80 - 82, are believed to have been used in a CBS television special broadcast on Sunday, 20
November, 1960. Entitled Belafonte: New York 19, the musical special was a celebration of Postal Code 19, the city's midtown
melting pot of diversity, culture, and the arts. In addition to Belafonte, the hour-long program featured jazz singer Gloria Lynne, John
Lewis and the Modern Jazz Quartet, and Arthur Mitchell, among others, and used Roy DeCarava's images, some of which were
made for the show and others which already existed, 'to link its disparate sequences' (Roy DeCarava Retrospective, p. 24).
Prior to creating the sequences for this special, DeCarava had provided album photography for the immensely popular Belafonte,
who had been making guest appearances on television since 1949for Swing Dat Hammer in 1959 and Belafonte Returns to
Carnegie Hall in 1960. DeCarava was known for his images of jazz musicians like Duke Ellington, Buddy Rich, and Oscar Peterson,
as well as his important collaboration about life in Harlem with Langston Hughes in 1955, published as The Sweet Flypaper of Life.
The collaboration with Belafonte continued for the singer's 1963 album, Streets I Have Walked, and his Long Road to
Freedom: An Anthology of Black Music, a compilation of music recorded between 1961 and 1971, which was released in 2001.
New York 19 was Belafonte's second CBS special produced by Phil Stein and directed by Norman Jewison, who later became
known for directing films such as In the Heat of the Night, A Soldier's Story, The Hurricane, and Moonstruck. Hired in 1958
to revitalize musical programming for the network, Jewison's shooting script for New York 19 indicates that the print offered here,
titled Kids God Bless, was likely used in segments '5. STILL SHOTSChildren, Narration Over Page 5' to '5A. "GOD BLESS THE
CHILD," Belafonte Solo Page 6.' This image of a young boy was taken by DeCarava in 1952 and published in The Sweet Flypaper
of Life in 1955 and in The Museum of Modern Art's catalogue, Roy DeCarava: A Retrospective, in 1996 with the title, Boy,
Woman's Hand on Shoulder.
Photographs
LOT 80

ROY DECARAVA
1919-2009 'LONELY WOMEN,' FROM 'NEW YORK 19'
large-format, flush-mounted, title in pencil and annotations on the reverse, circa 1960
13 1/8 by 19 3/4 in. (33.3 by 50.2 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LITERATURE
Cf. New York 19 shooting script, likely used to illustrate segment '8. STILL SHOTSLonely Women, Belafonte Narration Over Page
9' to '9A. "HE NEEDS ME," Gloria Lynne &Trio Page 10.'
Photographs
LOT 81

ROY DECARAVA
1919-2009 DANCERS' LEGS, FROM 'NEW YORK 19'
large-format, flush-mounted, circa 1956, printed circa 1960

13 3/4 by 19 7/8 in. (35 by 50.5 cm.)
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
LITERATURE
Cf. New York 19 shooting script, likely used to illustrate segment '12. STILL SHOTSDance Halls and Dancers, Belafonte Narration
Over Page 18' to '12A. PALLADIUM DANCE NUMBER, 6 Musicians Page 19.'
Cf. Galassi, p. 211, where another photograph of two male dancers, likely from the same session at a social club, is reproduced
CATALOGUE NOTES
This print of Dancers' Legs is likely from the same 1956 series from which one of the photographer's best-known works, Dancers,
New York, comes. The images are of two male dancers performing to jazz during the intermission of a dance at a social club, the
110th St. Manor at Fifth Avenue.
Director Norman Jewison's shooting script for New York 19 indicates that Dancers' Legs was likely used to illustrate segment '12.
STILL SHOTSDance Halls and Dancers, Belafonte Narration Over Page 18' to '12A. PALLADIUM DANCE NUMBER, 6 Musicians
Page 19.'
Photographs
LOT 82

ROY DECARAVA
1919-2009 METROPOLE CAFE, FROM 'NEW YORK 19'
large-format, flush-mounted, circa 1960

14 by 19 7/8 in. (35.6 by 50.5 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LITERATURE
Cf. New York 19 shooting script, likely used to illustrate segment '10. STILL SHOTSTheatres &Marquees, Belafonte Narration
Over Page 16' to '10A. THEATRE MEDLEY, Belafonte &Gloria Lynne.
CATALOGUE NOTES
Norman Jewison's shooting script for New York 19 indicates that this print of the marquee of the Metropole Café was likely used
to illustrate segment '10. STILL SHOTSTheatres &Marquees, Belafonte Narration Over Page 16' to '10A. THEATRE MEDLEY,
Belafonte &Gloria Lynne, 1. "Never Has Seen Snow" (Harry) Page 17;' 2. "Sleeping Bee" (Gloria) Pg. 17A; 3. "Accustomed" (Harry)
Pg. 17B; 4. "Wouldn't It Be Loverly" (Harry &Gloria) Pg. 17C.'
Photographs
LOT 83

WALKER EVANS
1903-1975 'ALABAMA FARMER'S KITCHEN'
mounted, signed and dated in pencil on the mount, titled and dated in pencil on the reverse, 1936, printed later (FSA 260)
9 3/8 by 6 1/4 in. (23.8 by 15.9 cm.)

Photographs
LOT 84

WALKER EVANS
1903-1975 PENNY PICTURE DISPLAY, SAVANNAH, GEORGIA
a plate from the Walker Evans: Selected Photographs, mounted, signed and edition '66/75' in pencil on the mount, framed, 1936, printed in 1974
(Walker Evans at Work, cover and p. 239)
12 7/8 by 10 3/8 in. (32.7 by 26.4 cm.)

Photographs
LOT 85

WALKER EVANS
1903-1975 BROOKLYN BRIDGE (NY RR TRACKS)
on trimmed carte-postale, the photographer's name stamp (Keller A) on the reverse, 1929 (Keller 23; The Hungry Eye, p. 21)
1 1/2 by 2 1/8 in. (3.8 by 5.4 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
Photographs
LOT 86

WALKER EVANS
1903-1975 'ALABAMA TENANT FARM, KITCHEN WALL'
mounted, signed and dated in pencil on the mount, titled in pencil and the annotation 'RA8144A' on the reverse, 1936, printing date unknown
7 1/2 by 9 1/4 in. (19.1 by 23.6 cm.)
ESTIMATE 30,000 - 50,000 USD

PROVENANCE
The photographer to Virginia Hubbard
Marty Carey, as agent, to Howard Greenberg Gallery, New York
Acquired by Bonni Benrubi Gallery, New York, from the above
Acquired from the above
LITERATURE
Other prints of this image: James Agee and Walker Evans, Let Us Now Praise Famous Men, unpaginated; Walker Evans:
Photographs for the Farm Security Administration, pl. 338; Szarkowski, Walker Evans, p. 100; Hill, Walker Evans at Work,
p. 129; Rosenheim, et al, Walker Evans, pl. 101; Mora and Hill, Walker Evans: The Hungry Eye, pl. 209; Hill, Walker Evans:
Lyric Documentary, p. 197
CATALOGUE NOTES
Walker Evans authority Jeff Rosenheim points out that the photograph offered here is one of only two interior views taken within the
house of the Fields family, one of the poor Alabama tenant-farmer families that Walker Evans and James Agee featured in their book
Let Us Now Praise Famous Men. Rosenheim notes that 'the splint of wood holding the utensils climbed up the wall as the
children grew, making the meager arrangement a virtual map of the family's growth.' Despite Agee's characteristically meticulous
account of the Fieldses' kitchen in the book, he ultimately defers to Evans's photograph to describe the room: 'In the opposite side of
the kitchen is a small bare table from which they eat: and on the walls, what you may see in one of the photographs' (Walker Evans,
p. 94).
As is frequently the case with Walker Evans photographs, it is difficult to establish a definitive printing date for the photograph
offered here. A visual examination of the photographic paper reveals faint silvering and other signs of age appropriate for an older
print.
Photographs
LOT 87

STANLEY KUBRICK
1928-1999 MICKEY, THE SHOESHINE BOY
ferrotyped, credit in ink, Look and Modern Photography magazine stamps, and with reduction notations in pencil and crayon on the reverse, 1947
8 3/4 by 8 1/4 in. (22.2 by 21 cm.)
ESTIMATE 10,000 - 15,000 USD
LITERATURE
Cf. Look, October 1947, for variants of this image in Kubrick's photo story entitled A Tale of a Shoe-Shine Boy; other images
from this story are reproduced in Stanley Kubrick: Drama &Shadows: Photographs 1945 - 1950 on pages 57 through 69.
CATALOGUE NOTES
In 1945 at age 16, future film director Stanley Kubrick got his first break when he sold Look magazine a photograph of a news vendor
taken the day after F. D. R.'s death. Until 1950, Kubrick worked as a $50-a-week photojournalist for the magazine. In October 1947,
he made the photograph offered here for a story about 12-year-old Brooklyn shoeshine boy, Mickey, who works tirelessly after school
to help support his ten younger brothers and sisters. Other images from this series can be found in Stanley Kubrick: Drama
&Shadows: Photographs 1945 - 1950 on pages 57 through 69.
Photographs
LOT 88

HOMER PAGE
1918-1985 'N. Y.' (CONEY ISLAND)
flush-mounted, signed and titled 'n. y.' in pencil on the reverse, 1949, probably printed between 1949 and 1955 (Davis, fig. 24)
10 by 13 in. (25.4 by 34.9 cm.)
EXHIBITION
Philadelphia College of Art, An Exhibition of Work by The John Simon Guggenheim Memorial Foundation Fellows in
Photography, April - May 1966
LITERATURE
The John Simon Guggenheim Memorial Foundation Fellows in Photography, 1937-1965 (Philadelphia College of Art
and CAMERA magazine, 1966), p. 31 (this print)
Photographs
LOT 89

ARNOLD NEWMAN
1918 - 2006 'IGOR STRAVINSKY N. Y. C.'
signed, titled, dated, and dedicated in pencil in the margin, numbered '1054' in pencil and with the photographer's stamp on the reverse, framed, 1946,
printed in 2001 (Five Decades, pl. 61)
7 by 13 in. (17.8 by 33 cm.)
PROVENANCE
Gift of the photographer to Amy Zachary, circa 2001
Photographs
LOT 90

JULIUS SHULMAN
1910-2009 KAUFMANN HOUSE, PALM SPRINGS, 1947
signed by the photographer in pencil and with his '7855 Woodrow Wilson Drive' studio stamp and an early number stamp, '093-39,' on the reverse,
1947, probably printed in the 1950s
7 3/4 by 9 in. (19.5 by 24.3 cm.)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
Acquired directly from the photographer, 1997
CATALOGUE NOTES
This early print of Julius Shulman's architectural icon, his 1947 photograph of the Kaufmann House, is believed to be one of only a
handful of early prints of the image extant, and the only one to have appeared at auction. The photograph is a touchstone within the
histories of photography, modern architecture and design, and the modern aesthetic. The image became the definitive photograph of
Richard Neutra's modernist masterpiece, the Kaufmann House in Palm Springs, essentially from the time of its making in 1947. No
other photograph within Shulman's oeuvre demonstrates the photographer's mastery of his medium as surely as this. The result of a
carefully orchestrated 45-minute exposure, during which interior and exterior lights were illuminated for varying lengths of time at
Shulman's direction, and the fading natural light exploited fully, the photograph encapsulates the subtle modulations of light, three-
dimensional rendering of space, and sense of the passage of time that make the image so compelling. With its exceedingly wide tonal
rangeextending from luminous white to the deepest blackthe print offered here possesses an object quality and presence not seen in
prints of the image made later.
The Kaufmann House was designed in 1946 by Richard Neutra, one of three houses built by the architect in the Palm Springs area. In
the spring of 1947, Shulman spent three days with Neutra at the house, photographing interiors and exteriors, at the architect's
request. As Shulman recounted to Simon Niedenthal, on the third day, toward twilight, he
'looked outside towards . . . the desert . . saw the light fading and it looked beautiful. I ran back in the house, got my camera, and set it
up . . . When I was running, Neutra called me . . . He said "wait a minute where are you going?" I said, "Well now Richard, come on
outside, it's beautiful" . . . He said, "no we don't do it, we haven't got the time, we have got to do more interiors." I said we can't stop
this' (quoted in 'Glamourized Houses': Neutra, Photography, and the Kaufmann House, in JAE, November 1993, p. 102).
Niedenthal recounts that the photograph was made in three sequential exposures on one sheet of film, over a period of about 45
minutes: 'The first exposure was for the overall exterior illumination and some of the house lights; the second for the exterior soffit
lighting and other interior lights. For the third exposure, Shulman asked Mr. Kaufmann to turn on the pool light, and posed Mrs.
Kaufmann to block the glare' (ibid., p. 102). Along with Shulman's pitch-perfect composition, it is the compression of 45-plus minutes
of time onto its single negative that gives this photograph its quality of heightened reality.
Photographs
LOT 91

W. EUGENE SMITH
1918-1978 DR. ALBERT SCHWEITZER, FROM ' A MAN OF MERCY ' ESSAY
large-format, mounted to black board, signed with a stylus in the image, the photographer's '821 Ave. of the Americas, New York 1, NY' studio and
other stamps and with annotations in pencil and ink and a partial collection label on the reverse, 1954 (Johnson 22:142)
22 1/8 by 17 1/4 in. (56.2 by 43.8 cm.)

Photographs
LOT 92

W. EUGENE SMITH
1918-1978 THE SPINNER (FROM 'SPANISH VILLAGE ESSAY')
the photographer's LIFE stamp on the reverse, 1951, probably printed in 1950s (Johnson, cover and 13:038)
13 1/4 by 9 1/2 in. (33.7 by 24.1 cm.)

Photographs
LOT 93

W. EUGENE SMITH
1918-1978 'MINAMATA - TOMOKO AND MOTHER'
signed with a stylus on the image, mounted, signed and titled in pencil on the mount, 1972 (Minamata, pp. 138-9)
7 3/4 by 12 7/8 in. (19.2 by 32.7 cm.)

Photographs
LOT 94

W. EUGENE SMITH
1918-1978 GRAFFITI
mounted on black board, the photographer's '134 Old Post Road North, Croton-on-Hudson, N. Y., Croton 1-4890' studio and other stamps on the
reverse, 1950s
8 3/4 by 13 3/8 in. (22.2 by 34 cm.)
LITERATURE
Cf. Swann Galleries, 10 February 2003, Sale 1959, Lot 77, which reproduces a 1953 photograph, titled Juanita and Marissa, in
which Smith's elder daughter, Marissa, draws the train that appears in the lower right of the image offered here.
Photographs
LOT 95

ILSE BING
1899-1998 WALL STREET
signed and dated in black ink on the image, tipped at all corners to a paper mount, 1936 (New Orleans Museum of Art, pl. 50, variant)
11 1/8 by 7 7/8 in. (28.3 by 20 cm.)

Photographs
LOT 96

W. EUGENE SMITH
1918-1978 EMPIRE STATE BUILDING AT MIDNIGHT
mounted to gray board, the photographer's '15 West 47th Street, New York 36, NY' studio and other stamps and notation 'Set #1' in ink on the
reverse, 1957-58 (A Photographer's Notebook, pl. 58)
13 by 6 in. (34.9 by 15.9 cm.)

Photographs
LOT 97

GEORGE HOYNINGEN-HUENE (1900-1968)/SALVATORE LOPES (B. 20TH CENTURY)
'DIVERS' (HORST WITH MODEL, PARIS)
platinum-palladium print, blindstamped in the margin, signed by Horst and title, date, edition 'AP 3/3,' and annotation 'From The Collection of' in
pencil on the reverse, 1930, printed later by Salvatore Lopes (Eye for Elegance, p. 39; Ewing, pl. 66)
19 by 14 in. (48.3 by 37.5 cm.)
ESTIMATE 15,000 - 25,000 USD

Photographs
LOT 98

MARTIN MUNKACSI
1896-1963 'DOLORES DEL RIO'
the photographer's '5 Prospect Place, New York City, Murray Hill 4-2443' studio stamp and title and numbers '475' and '20' (circled) in pencil on the
reverse, 1936 (cf. Style in Motion, pl. 124)
9 1/8 by 11 in. (23.2 by 29.2 cm.)

Photographs
LOT 99

MARTIN MUNKACSI
1896-1963 OLIVIA DE HAVILLAND
the photographer's '5 Prospect Place, New York City, Murray Hill 4-2443' studio stamp on the reverse, 1936
11 by 9 1/8 in. (29.2 by 23.2 cm.)

Photographs
LOT 100

MARTIN MUNKACSI
1896-1963 FRED ASTAIRE
the photographer's '5 Prospect Place New York City Murray Hill 4-2443' studio stamp and number '348' in pencil on the reverse, 1936 (cf. Style in
Motion, pls. 110-11)
11 by 9 1/8 in. (29.2 by 23.2 cm.)

Photographs
LOT 101

GEORGE HOYNINGEN-HUENE (1900-1968)/SALVATORE LOPES (B. 20TH CENTURY)
'HORST TORSO BY HUENE, PARIS'
platinum-palladium print, blindstamped in the margin, signed by Horst and title, date, edition '9/10,' and annotation 'From The Collection of' in pencil
on the reverse, 1931, printed later by Salvatore Lopes (Eye for Elegance, p. 29; Ewing, pl. 58)
14 by 18 in. (36.8 by 47 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 102

HORST P. HORST
1906-1999 'CALLA AETHIOPICA'
platinum-palladium print, blindstamped in the margin, signed, edition '3/3 AP,' and annotations in pencil on the reverse, 1945, printed later (Form
Horst, pl. 29)
15 by 19 in. (39.4 by 48.9 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 103

HORST P. HORST
1906-1999 'LISA ON SILK III' (FONSSAGRIVES-PENN)
platinum-palladium print, blindstamped in the margin, signed, title, date, edition '6/10' and annotations in pencil on the reverse, 1940, printed later
(Form Horst, pl. 15, variant)
18 by 14 3/8 in. (45.7 by 36.5 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 104

ALFRED EISENSTAEDT
1898-1995 'CHILDREN AT THE PUPPET THEATRE, PARIS,' II AND III
2 photographs, each signed and with edition numbers '29/250' or '7/250' in ink in the margin, credit, title, date, copyright, and annotations in pencil on
the reverse, framed, 1963, printed in 1993-94 (2)
21 by 17 3/8 in. (54.6 by 44.1 cm.) 12 3/8 by 14 in. (31.4 by 36.2 cm.)

Photographs
LOT 105

ANDRÉ KERTÉSZ
1894-1985 'A HUNGARIAN MEMORY'
(New York: Hyperion Press, 1980, an edition of 107), a portfolio of 15 photographs, each signed in pencil on the reverse, matted, 1914-24, printed in
1980; together with the printed title, signed, dated, and dedicated 'To Iggy,' in ink, and plate list, editioned '69' in ink. Oblong folio, beige linen folding
box
7 1/2 by 9 3/4 in. (19.1 by 24.8 cm.) or the reverse

Photographs
LOT 106
PROPERTY FROM THE ESTATE OF LEONARD NEWMAN

ANDRÉ KERTÉSZ
1894-1985 'MELANCHOLIC TULIP'
signed, dated, and annotated 'Epreuve d'artiste' in pencil on the reverse, framed, 1939, printed later (Diary of Light, pl. 89)
9 by 7 in. (24.8 by 17.8 cm.)

Photographs
LOT 107

JACQUES-HENRI LARTIGUE
1894-1986 'A PORTFOLIO OF PHOTOGRAPHS BY JACQUES-HENRI LARTIGUE'
(New York: Witkin-Berley, 1971, an edition of 50 plus several artist's proofs), a portfolio of 10 photographs, each mounted and matted, signed by the
photographer in ink on the mat, the portfolio label on the reverse, early 1900s, printed circa 1972; together with the printed title/colophon signed and
numbered '33' in ink. Folio, brown pictorial buckram folding case with matching slipcase
Each approximately 6 3/4 by 9 in. (17.2 by 22.8 cm.) or the reverse

Photographs
LOT 108

AUGUST SANDER (1876-1964)/GUNTHER SANDER (1907-1987)
KONDITOR (PASTRY CHEF)
the photographer's 'Köln Lindenthal' blindstamp on the image, signed and dated by the photographer's son, Gunther Sander, in pencil on the reverse,
circa 1928, printed in 1980 by Gunther Sander (Citizens of the Twentieth Century, p. 98)
10 3/8 by 8 in. (26.4 by 20.3 cm.)
PROVENANCE
Acquired from Robert Freidus Gallery, New York, circa 1980
Photographs
LOT 109

HENRI CARTIER-BRESSON
1908-2004 TIVOLI
signed in ink and blindstamped in the margin, framed, 1933, printed later (Early Work, p. 78)
14 1/8 by 9 in. (35.9 by 24.1 cm.)

Photographs
LOT 110

1908-2004 PALAIS ROYALE
signed in ink and blindstamped in the margin, framed, 1960, printed later (À Propos de Paris, pl. 34)
17 5/8 by 11 in. (44.6 by 29.8 cm.)

Photographs
LOT 111

1908-2004 BEHIND THE GARE ST. LAZARE
signed in ink and blindstamped in the margin, 1932, printed later (Cartier-Bresson, pl. 14)
14 by 9 in. (35.6 by 24.1 cm.)

Photographs
LOT 112

1908-2004 ILE-DE-FRANCE
signed in ink and blindstamped in the margin, 1955, printed later (À Propos de Paris, pl. 34)
17 by 11 5/8 in. (44.5 by 29.7 cm.)

Photographs
LOT 113

ROBERT DOISNEAU
1912-1994 SELECTED IMAGES
a group of 11 photographs, each signed in ink in the margin, titled, dated, and initialed in ink on the reverse, 1945-58, printed later (11)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 114

1908-2004 SRINAGAR, KASHMIR
a 'Family of Man Exhibition' stamp and annotation 'print by Petersen from the original negative' in pencil on the reverse, framed, 1948, printed in the
1950s probably by Rolf Petersen; accompanied by a letter of authentication from the Fondation Henri Cartier-Bresson (Cartier-Bresson, pl. 77)
6 by 9 in. (16.5 by 24.7 cm.)

Photographs
LOT 115

1908-2004 HYÈRES, FRANCE
signed in ink and blindstamped in the margin, 1932, printed later (Early Work, p. 100)
11 7/8 by 17 5/8 in. (30.2 by 45.4 cm.)

Photographs
LOT 116

ANDRÉ KERTÉSZ
1894-1985 MONDRIAN'S PIPE AND GLASSES
signed and dated in pencil on the reverse, 1926, printed later (Of Paris and New York, p. 127)
7 by 9 5/8 in. (19.7 by 24.4 cm.)

Photographs
LOT 117

JOSEF KOUDELKA
B. 1938 FRANCE
signed in ink in the margin, 1987 (Koudelka, pl. 80)

21 by 13 in. (53.9 by 34.9 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 118

JOSEF KOUDELKA
B. 1938 IRELAND

9 3/8 by 14 1/8 in. (23.8 by 35.9 cm.)

Photographs
LOT 119

JOSEF KOUDELKA
B. 1938 IRELAND

9 by 14 1/8 in. (23.5 by 35.9 cm.)

Photographs
LOT 120

1908-2004 'SPAIN' (SEVILLE)
titled in pencil and with the photographer's copyright stamp on the reverse, 1933, probably printed in the late 1950s or early 1960s (Early Work, p.
102; Cartier-Bresson, pl. 28; The Artless Art, pl. 236)
10 by 15 in. (26 by 39.4 cm.)
ESTIMATE 20,000 - 30,000 USD

Photographs
LOT 121

BRASSAÏ
1899-1984 'FILLE DE JOIE, QUARTIER ITALIE'
signed, titled, dated, and annotated in pencil and ink and with the photographer's copyright/studio stamp on the reverse, 1932, printed circa 1967
(Brassaï: The Monograph, p. 70)
12 1/8 by 9 in. (30.8 by 24.8 cm.)

Photographs
LOT 122

EDWARD WESTON
1886-1958 NAUTILUS
mounted, signed and dated by the photographer in pencil on the mount, priced '10.00' and annotated 'No. 6' by the photographer, inscribed 'Sold to
Lovett' in an unidentified hand in pencil, and with the letterpress East West Galleries label on the reverse, 1927
9 1/2 by 7 1/2 in. (24 by 19 cm.)
ESTIMATE 300,000 - 500,000 USD

PROVENANCE
Purchased by Bernice Lovett from East West Galleries, San Francisco, 1927
By descent to the present owners
LITERATURE
Other prints of this image:
Conger 544
Theodore E. Stebbins, Jr., Karen E. Quinn, and Leslie Furth, Edward Weston: Photography and Modernism (Museum of Fine
Arts, Boston, 1999, in conjunction with the exhibition), cover and pl. 32
Nancy Newhall, ed., Edward Weston: The Flame of Recognition (Aperture, 1967), cover and p. 25
Beaumont Newhall, Supreme Instants: The Photographs of Edward Weston (Tucson: Center for Creative Photography,
1986, in conjunction with the exhibition), pl. 26
Manfred Heiting, ed., Edward Weston: 1886 - 1958 (Köln, 2001), p. 106
CATALOGUE NOTES
This early print of Edward Weston's famous Nautilus was purchased by Bernice Lovett in 1927, the year of the negative, and has
remained in Lovett's family since that time. Alone among the few Weston nautilus shells that have appeared on the market in recent
decades, this print has an unbroken family provenance from the time it was made in 1927 until now.
The present photographprinted on matte-surface paper, on a large mount, and with Weston's early signaturerepresents the definitive
early state of the image. Later in the 1920s, Weston would make the transition to paper with a glossy surface, and these later prints
present a very different account of the subject. The photograph offered here is mounted to thick buff paper, and Weston's signature
and date on the mount, which appear directly under the photograph in later printings, are located here in the lower right corner. This
print is not numbered, as later prints are, and its presentation and provenance confirm that it is among the earliest prints of the image
extant.
The photograph was purchased by Bernice Lovett from the East West Galleries, located in the San Francisco Women's Club Building
at the corner of Mason and Sutter Streets. East West was a pioneering gallery that showed not only California artists, but also the
works of Picasso, Braque, and Derain, among others. An article in the Berkeley Daily Gazette for 17 December 1927 praised the
gallery's progressive payment plan for works of art, over the span of one year. According to the Gazette, this 'extended budget plan'
was 'backed by the artist-minded business men' of the community.
Bernice Githens Lovett (1902 1998) was descended from a pioneer Oregon family, and began taking photographs as a teenager.
Both she and her future husband, Hobart McKinley Lovett, graduated from the University of California at Berkeley in the mid- 1920s,
she as a math major. During the Second World War, she designed torpedoes and later helped invent frozen peas. According to a
family member, Bernice and her husband
'. . . had a very loving but eccentric life, rarely leaving the state of California. They collected (and took) photographs and had an
extensive collection of books about California, as well as first editions by people who wrote about California . . . from Mark Twain to
William Saroyan and Robinson Jeffers. Bernice's first love, however, was Modernist and post-Modernist jewelry, and The Lovett
Collection is known for its works by Peter Macchiarini, Merry Renk, and others from the 1950s to the 1970s.
'Many of their friends were Bay-area artists or photographers, and while they knew Ansel Adams, Willard Van Dyke, and Imogen
Cunningham, they were not personally acquainted with Edward Weston. They admired his work, however, and often tried to duplicate
his techniques.
'The Nautilus Shell was bought after Bernice saw the photograph in the East West Galleries in 1927. The print's price, $10, was more
than she could afford, but Bernice arranged with the Gallery to pay for it on the installment plan . . . fifty cents a month until it was
hers. When the final fifty cents was paid, Bernice carried the photograph home in a Kodak paper box.
'There the print stayed for almost 75 years. The cottage in the Berkeley hills, built by Bernice's father as wedding gift, faced the
Golden Gate, and the west-facing wall was glass. None of the photographs they either took or collected were ever displayed for fear
of sun damage.
'In a tiny twist of fate, several years after buying the Nautilus, Bernice had a photograph of her own hang alongside one of Weston's.
In 1932, Lloyd La Page Rollins, Director of the de Young Museum in San Francisco, lent support to the f.64 group's work and invited
them to submit prints to the Museum's California Trees exhibit. Bernice's Eucalyptii lost the $100 first prize to Edward Weston's
Mojave DesertJoshua Tree, but it was a thrill she never forgot.'
Edward Weston's single gleaming nautilus shell before a plain dark background exemplifies the apex of his achievement as a
photographer. The image's simple composition belies the complexity of its conception and its making, the years of evolution in
Weston's own vision and the countless trials with objects before his camera. One of the most famous photographs ever made, the
Nautilus deserves its wide and far-ranging reputation: as a benchmark of modernism in the history of photography, and in the
broader category of 20th-century art as a whole.
Photographs
LOT 123

EDWARD WESTON
1886-1958 'WILLIE,' ST. ROCH CEMETERY, NEW ORLEANS, LOUISIANA
mounted, signed and dated in pencil on the mount, inscribed 'For Bea &Don this picture of Willie by Eddie with many happy memories, and love
from Charis &Edward' in pencil on the reverse, 1941 (Conger 1603)
9 5/8 by 7 1/2 in. (24.5 by 19.2 cm.)
PROVENANCE
The photographer to Donald and Beatrice Prendergast, 1940s
Frank H. Boos Gallery, 1 February 2001, Lot 803

CATALOGUE NOTES
The warm inscription on the reverse of the photograph in Lot 123 indicates that it was a gift from Edward Weston to Donald and
Beatrice Prendergast. Weston and his wife, Charis, first met the Prendergasts in the New Orleans home of photographer Clarence
John Laughlin in August of 1941. The Westons were already well into their cross-country trip, funded by the Limited Editions Club, to
produce images for a photographically-illustrated edition of Walt Whitman's Leaves of Grass. The Prendergasts offered to act as
guides for Weston's photographic work in the area, an offer which resulted in Weston's most memorable pictures made in Louisiana,
and in a warm and lasting friendship between the two couples. The Prendergasts directed Weston past New Orleans's standard
photographic fodder to sites little known by outsiders, including Girod Cemetery and St. Roch Cemetery, where Lot 123 was taken.
During outings spread across several days, the Prendergasts supplied Weston with invaluable help.
Bea Prendergast wrote a remembrance of her and her husband's forays with Edward Weston in the October 1986 issue of Photo
Metro. In it, she documented Weston's approach to photographing in St. Roch:
'To focus on a high wall vault, he stood on top of his heavy camera case. His hat was placed on the extended bellows, and the wide
white focusing cloth covered his head and shoulders. He merged with his camera to look at two vault drawers. The top one, inscribed
"Willie," was still remembered with a vase of springing ferns. Below Willie's ferns, the natural stone patterns of the lower vault met the
ferns' curve with answering arabesques' (cf. Conger 1603).
Edward and Charis Weston's friendship with the Prendergasts lasted beyond their stay in New Orleans, and they corresponded
regularly. In 1942, the Prendergasts spent a summer in a cottage close to the Westons' home in Carmel, and the couples became daily
companions. According to Charis, it was Bea who pointed out to Weston the dead pelican on the beach at Point Lobos that became
the subject of one of his best-known images (Conger 1696) from this phase in his career (Through Another Lens, p. 317).
It is believed that Lots 123 through 130, purchased from the same source and sharing many similarities in presentation, were all gifts
from Weston to the Prendergasts.
Photographs
LOT 124

EDWARD WESTON
1886-1958 'BODIESON, SIDNEY ROGER, PRINCE KITTY-JOHN, MARCO POLO'
mounted, initialed and dated in pencil on the mount, signed, titled, and numbered 'C44-CTS-10' in pencil on the reverse, 1944 (Conger 1733)
7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Photographs
LOT 125

EDWARD WESTON
1886-1958 'EXPOSITION OF DYNAMIC SYMMETRY'
mounted, initialed and dated in pencil on the mount, signed, titled, dated, and numbered 'PO43-CNLJ-1' in pencil on the reverse, 1943 (Conger 1742)
7 5/8 by 9 5/8 in. (19.4 by 24.4 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
CATALOGUE NOTES
The figure in the top left window in this image is the artist Jean Kellogg, at whose studio Weston made this photograph. Weston's
son, Neil, takes a position in the upper right window, holding a tea kettle and a mason's square trowel. Weston's wife, Charis, is seated
partially nude in the lower left window, holding a kerosene lamp, while her brother, Leon, wears a pith helmet and dangles an artist's
mannequin and a frying pan from the top center window. Amy Conger writes that Weston was amused by Kellogg's interest in Jay
Hambidge's treatise on art, "Elements of Dynamic Symmetry" (1926). Lampooning Hambidge's strict mathematical approach to
composition, Weston created this uncharacteristically lighthearted image, whose clever whimsy belies the photographer's great
instinctive talent at composition and his ability to corral the range of tones from absolute black to bright white with finesse and
subtlety.
Photographs
LOT 126

EDWARD WESTON
1886-1958 'CIVILIAN DEFENSE'
mounted, signed and dated in pencil on the mount, 1942

7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
ESTIMATE 50,000 - 70,000 USD

PROVENANCE
LITERATURE
Other prints of this image: Travis, Edward Weston: The Last Years in Carmel, p. 87; Charis Wilson, Edward Weston:
Nudes, p. 106; Nancy Newhall, ed., The Flame of Recognition, p. 80; Maddow, Edward Weston: Fifty Years, p. 269;
Stebbins, Weston's Westons: Portraits and Nudes, p. 137; Stebbins, Edward Weston: Photography and Modernism, pl.
132; Watts, Edward Weston: A Legacy, p. 47; Charis Wilson and Wendy Madar, Through Another Lens: My Years with
Edward Weston, fig. 84
CATALOGUE NOTES
During World War II, Charis Weston volunteered for the Aircraft Warning Service, a group of citizens who took shifts monitoring the
skies over the California coast for enemy planes. Because of her involvement in this civilian defense effort, she was issued a gas mask.
She recounted that when she first brought it home, Weston suggested making a series of nude studies:
'Both of us were repelled by the mask, and found [making the photographs] harder than expected. He said repeatedly that it was an
awful thing, and difficult to make part of the picture rather than the picture; for a counterweight he tried a fern frond from the yard,
and then a plate of peaches' (Through Another Lens: My Years with Edward Weston, p. 309).
Two photographs resulted from this sitting: the present image, and a more prosaic, vertical-format, seated nude (Conger 1695). Prints
of either image are scarce. The negative for the photograph offered here is not owned by the Center for Creative Photography, the
repository of Weston's negatives; and, as Conger relates, the negative for the vertical-format study was saved from destruction by
Bea Prendergast, who later donated it to the Center. At Edward Weston's insistence, both images were included in his 1946
retrospective at The Museum of Modern Art.
Photographs
LOT 127

EDWARD WESTON
1886-1958 'PULQUERIA, MEXICO, D. F.'
initialed and dated in pencil on the mount, titled, dated, and numbered '60A' in pencil on the reverse, 1926, probably printed in the 1940s (Conger
207)
9 3/8 by 7 1/4 in. (24 by 18.5 cm.)
PROVENANCE
Photographs
LOT 128

ANSEL ADAMS
1902-1984 EDWARD WESTON, TENAYA LAKE, YOSEMITE NATIONAL PARK
warm-toned, initialed 'EW,' likely by Edward Weston, in pencil on the reverse, 1930s
9 1/2 by 7 1/2 in. (24 by 19 cm.)
PROVENANCE
Photographs
LOT 129

EDWARD WESTON
1886-1958 ROCK FORMATION
mounted, initialed and dated in pencil on the mount, 1942

9 1/2 by 7 1/2 in. (24.1 by 19.1 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Photographs
LOT 130

EDWARD WESTON
1886-1958 ICEBERG LAKE
mounted, signed and dated in pencil on the mount, 1937 (Conger 1045)
7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
PROVENANCE
Photographs
LOT 131

EDWARD WESTON
1886-1958 'OLD ADOBE, CARMEL VALLEY'
mounted, signed, dated, and editioned '1-50' in pencil on the mount, titled, numbered '53A' and priced '15.00' in pencil on the reverse, framed, 1934,
no. 1 in a projected edition of 50 (Conger 802; Taschen, p. 111)
9 5/8 by 7 5/8 in. (24.4 by 19.3 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 132

EDWARD WESTON
1886-1958 CALIFORNIA COAST
mounted, signed and dated in pencil on the mount, 1939

7 by 9 in. (19.1 by 24.1 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 133

EDWARD WESTON
1886-1958 EGGPLANT
flush-mounted, mounted again, initialed and dated in pencil on the mount, titled and dated in pencil on the reverse, 1929 (Conger 561; Armitage, Art
of Edward Weston, p. 33)
7 3/8 by 9 1/8 in. (18.5 by 23.3 cm.)
ESTIMATE 15,000 - 25,000 USD

PROVENANCE
Acquired from Jill Quasha, New York, 1990
LITERATURE
Conger 561, in which the author locates, in addition to the print of this image at the Center for Creative Photography, two other prints
in institutions: at the Nelson-Atkins Museum, Kansas City; and a project print at the University of Santa Cruz.
According Weston's Negative Log, now in the collection of the Center for Creative Photography, Tucson, Weston made 7 prints of
this image. A later note by Weston in the Log indicates that he destroyed 4 of these prints. Although Weston has dated this print
1930, he lists the negative as having been made in 1929 in his Negative Log.
Armitage, Art of Edward Weston, p. 33
CATALOGUE NOTES
According Weston's negative log, now in the collection of the Center for Creative Photography, Tucson, Weston made 7 prints of
this image. A later note by Weston in the log indicates that he destroyed 4 of these prints. In addition to the print of this image at the
Center for Creative Photography, Conger lists two other prints in institutions: at the Nelson-Atkins Museum, Kansas City; and a
project print at the University of Santa Cruz. Although Weston has dated this print 1930, he lists the negative as having been made in
1929 in his negative log.
Photographs
LOT 134
PROPERTY ORIGINALLY FROM THE COLLECTION OF MILDRED CONSTANTINE

JANE REECE (1868-1961), WALTER FREDERICK SEELY (1886-1959), AND OTHERS
TINA MODOTTI AND HER CIRCLE
a group of 14 photographs, comprising 3 portraits of Modotti, one by Jane Reece; 3 Film Stills; Richéy Family Group by Walter Seely; Robo's
Mother; 2 of Benvenuto Modotti; Modotti's Dog; Modotti's Funeral, 2 of Yolanda Modotti Magrini, circa 1900-1980 (14)

PROVENANCE
Gift of Modotti's sister, Yolanda Modotti Magrini, circa 1980, to Mildred Constantine (1913 2008), the founder of Tina Modotti
studies, and the only Modotti biographer to have met the photographer
By descent to the present owner, 2009
LITERATURE
These prints:
Mildred Constantine, A Fragile Life (New York, 1983), pp. 20-22, 25, 28-31, 33, 53, 57, and 188
Valentina Agostinis, Tina Modotti: Gli Anni Luminosi, pp. 21, 37, 39, and 40
Chrstiane Barckhausen-Canale, Verdad y Leyenda de Tina Modotti, p. 37
CATALOGUE NOTES
These photographs and those in the lot following come originally from the collection of the late Mildred Constantine (1913 2008),
scholar, curator, author, editor, and the founder of Tina Modotti studies. Constantine met Modotti in 1941, and is the only Modotti
biographer to have met the photographer.
As an art historian, Constantine had encountered Modotti's images for Mexican Folkways in the 1920s. In the 1930s, Constantine
herself had traveled to Mexico, first as a graduate student in Mexican colonial art and later as a member of the Committee Against
War and Fascism. From 1948 to 1970, Constantine worked at The Museum of Modern Art, where she championed art that fell outside
the mainstreamgraphic, product and package design, typography, and postersand in doing so, raised their status. In addition to
exhibitions about industrial and graphic designers Vignelli, Lustig, and Yokoo, she wrote scholarly works about art nouveau and
package design. Constantine's career at MoMA overlapped with that of Rene d'Harnoncourt, director of the museum from 1949 to
1967, and a member of Modotti's artistic and social circle in Mexico in decades prior.
After leaving the museum, Constantine was an independent consultant and curator and in 1971, while searching for photographs by
Modotti for a proposed exhibition of her work at MoMA, she discovered more about the photographer's life. In 1975, Constantine
published Tina Modotti: A Fragile Life, the first monograph about the photographer. The prints offered here were gifts to
Constantine from Tina Modotti's sister, Yolanda Modotti Magrini, and are from a family album. All were used to illustrate the book,
and several have subsequently appeared in other books about the photographer.
Photographs
LOT 135
PROPERTY ORIGINALLY FROM THE COLLECTION OF MILDRED CONSTANTINE

JANE REECE (1868-1961), WALTER FREDERICK SEELY (1886-1959), AND OTHERS
TINA MODOTTI
a group of 5 photographs, including a platinum print by Jane Reece; Portrait in Kimono by Walter F. Seely; Portrait in Hat by Victoria studio,
signed and dedicated by Modotti in ink in the image; Nude with Lace; and Closeup, 1918-20s (5)
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
Gift of Modotti's sister, Yolanda Modotti Magrini, circa 1980, to Mildred Constantine (1913 2008), the founder of Tina Modotti
studies, and the only Modotti biographer to have met the photographer
LITERATURE
These prints:
Mildred Constantine, A Fragile Life (New York, 1983), pp. 22-23 and 31-32
Valentina Agostinis, Tina Modotti: Gli Anni Luminosi, pp. 15, 37, 39, 41, and 79
Chrstiane Barckhausen-Canale, Verdad y Leyenda de Tina Modotti, pp. 68 and 109
CATALOGUE NOTES
These photographs and those in the preceding lot come originally from the collection of the late Mildred Constantine (1913 2008),
scholar, curator, author, editor, and the founder of Tina Modotti studies. Constantine met Modotti in 1941, and is the only Modotti
biographer to have met the photographer.
As an art historian, Constantine had encountered Modotti's images for Mexican Folkways in the 1920s. In the 1930s, Constantine
herself had traveled to Mexico, first as a graduate student in Mexican colonial art and later as a member of the Committee Against
War and Fascism. From 1948 to 1970, Constantine worked at The Museum of Modern Art, where she championed art that fell outside
the mainstreamgraphic, product and package design, typography, and postersand in doing so, raised their status. In addition to
exhibitions about industrial and graphic designers Vignelli, Lustig, and Yokoo, she wrote scholarly works about art nouveau and
package design. Constantine's career at MoMA overlapped with that of Rene d'Harnoncourt, director of the museum from 1949 to
1967, and a member of Modotti's artistic and social circle in Mexico in decades prior.
After leaving the museum, Constantine was an independent consultant and curator and in 1971, while searching for photographs by
Modotti for a proposed exhibition of her work at MoMA, she discovered more about the photographer's life. In 1975, Constantine
published Tina Modotti: A Fragile Life, the first monograph about the photographer. The prints offered here were gifts to
Constantine from Tina Modotti's sister, Yolanda Modotti Magrini, and are from a family album. All were used to illustrate the book,
and several have subsequently appeared in other books about the photographer.
Photographs
LOT 136
PROPERTY FROM THE COLLECTION OF CARLOS VIDALI

TINA MODOTTI (1896-1942)/MANUEL ÁLVAREZ BRAVO (1902-2002)
STAIRCASE
circa 1924-26, printed between 1976 and 1979 by Manuel Álvarez Bravo (Lowe, pl. 10; A Fragile Life, p. 110)
7 1/4 by 9 1/2 in. (18.5 by 24.1 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
The collection of Carlos Vidali, son of Vittorio Vidali (1900 - 1983), Tina Modotti's close friend and companion during the last 15
years of her life. Entrusted with Modotti's negatives after her death, the Vidali family gave the photographer Manuel Álvarez Bravo,
who had known Modotti, an opportunity to print from some of these negatives in the 1970s. Experimenting with varying papers and
printing techniques, Bravo produced a small number of posthumous prints before the negatives were donated to the Museo del la
Fotografia in Pachuca, Mexico, in 1979.
CATALOGUE NOTES
The photograph offered here comes originally from the collection of Carlos Vidali, son of Vittorio Vidali (1900 - 1983), Tina
Modotti's close friend and political companion during the last 15 years of her life. At the time of Modotti's premature death in Mexico
in 1942, many of her photographs and negatives were in Moscow, left there when she moved to Spain during that country's civil war.
Around 1949, these photographs and negatives were taken by Vidali's daughter Bianca to Trieste, where her father had moved after
the second World War.
In the 1970s, Vidali's son Carlos transported the photographs and negatives from Italy to Mexico, where they were left with the
photographer Manuel Álvarez Bravo for safe-keeping. Álvarez Bravo, a good friend of Modotti during her years in Mexico City,
requested the Vidali family's permission to print from some of the negatives. Experimenting with varying papers and printing
techniques, Álvarez Bravo both explored and attempted to re-create different aspects of Modotti's work, which had been an
inspiration to him decades before.
In August of 1979, the Vidali family donated Modotti's negatives to the Museo del la Fotografía, Fototeca del Instituto Nacional de
Antropología e Historia, in Pachuca, Mexico. Álvarez Bravo in turn gave to the Vidalis the prints he had made from the negatives,
retaining--with the family's permission--a few for his own personal collection. Other than the extremely limited quantity of prints made
by Modotti herself, there are few extant prints of her seminal images; prints by Álvarez Bravo, including the one offered here, are
among a small number of posthumous prints made from her negatives, and of these posthumous prints, the ones that most closely
express Modotti's vision, as Álvarez Bravo was personally and well-acquainted with both the photographer and her work.
Photographs
LOT 137

AUGUST SANDER (1876-1964)/GUNTHER SANDER (1907-1987)
SELECTED IMAGES
3 photographs, comprising Young Farmers, Wife of Painter Peter Abelin, and Unemployed Man, each with the photographer's 'Köln
Lindenthal' blindstamp on the image, signed and dated by the photographer's son, Gunther Sander, on the reverse, circa 1914-28, printed in 1979-80
by Gunther Sander (Citizens of the Twentieth Century, cover and pp. 13, 188, and 409) (3)
10 3/8 by 8 in. (26.4 by 20.3 cm.)
PROVENANCE
Photographs
LOT 138

MANUEL ÁLVAREZ BRAVO
1902-2002 EL ENSUENO
a plate from Fifteen Photographs, mounted, signed and editioned '9/75' in pencil on the mount, 1931, printed in 1974 (Kismaric, p. 77)
9 1/4 by 7 in. (23.5 by 17.8 cm.)

Photographs
LOT 139

ANDREAS FEININGER
1906-1999 'MOTION' (HAMBURG)
signed and titled in pencil and with the 'Foto: Andreas Feininger' stamp on the reverse, 1930-31
6 7/8 by 9 in. (17.5 by 23.5 cm.)

Photographs
LOT 140

BILL BRANDT
1904-1983 LONDON (ST. PAUL'S CATHEDRAL)
ferrotyped, the photographer's name stamp in black ink on the reverse, 1930s
9 3/4 by 7 3/4 in. (25 by 19.8 cm.)

Photographs
LOT 141

JOSEF SUDEK
1896-1976 EGG ON PLATE
pigment print on laid paper, signed in pencil in the margin, 1950s

4 1/4 by 6 3/8 in. (11 by 16.3 cm.)
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Sotheby's New York, 6 April 1993, Sale 6407, Lot 306
Photographs
LOT 142

ALBERT RENGER-PATZSCH
1897-1966 'KNÖPFE' (BUTTONS)
title and number '7896' in pencil and with the 'Renger-Foto D.W.B. Essen, Goethestr. 41' studio stamp on the reverse, 1930s
7 by 5 in. (17.8 by 12.7 cm.)

Photographs
LOT 143

LÁSZLÓ MOHOLY-NAGY
1895-1946 PHOTOGRAM
a unique object, on printing-out paper, signed and inscribed to Christian Zervos by the photographer in ink, signed and annotated extensively by him
in pencil on the reverse, early 1920s
9 3/8 by 7 in. (24 by 17.9 cm.)
ESTIMATE 200,000 - 300,000 USD

PROVENANCE
Possibly, the photographer to Vladimir Mayakovsky, Moscow, before 1929
Christian Zervos, Paris, not later than 1929
Acquired by the present owner from Stefan Lennert, London, 1982
EXHIBITION
Princeton University, The Art Museum, In Celebration: Works of Art from the Collection of Princeton and Friends of the
Art Museum, February - June 1997
LITERATURE
In Celebration: Works of Art from the Collection of Princeton and Friends of the Art Museum (The Art Museum,
Princeton University, 1997, in conjunction with the exhibition), pl. 335 (this object)
CATALOGUE NOTES
This unique image by Moholy-Nagy comes from the first generation of photograms he produced in the 1920s. Made without a
camera, by placing objects directly on or over the sheet of photographic paper, this photogram embodies an animated composition
rendered with Moholy-Nagy's characteristic nuance and clarity. The photogram is further enhanced by extensive notations written by
Moholy-Nagy on the reverse, which give detailed information about the practical conception of the composition, as well as some
clues about this object's provenance. Moholy-Nagy's notations on the reverse of this photogram, in translation, are as follows:
'to Mr Zervos Moholy-Nagy
Paris 2/XII
Moholy-Nagy
Fotogram
Material:
1 muzzle
1 the metal case of a roll film
1 child's rattle
What is important here:
a new dimension given through light which can only be captured through this photographic means and through no other means'
Moholy's list of the 'material' that went into the making of this photogram belies the complexity of the photographer's technique and
the transformative effect of the photogram process as he practiced it. Through Moholy-Nagy's manipulations, the objects transcend
their quotidian associations and become instead pure abstracted elements within a precise and deliberate composition.
The brown tonality and glossy surface of this print are characteristic of the 'printing-out' paper Moholy-Nagy favored early on in his
experiments with the photogram. This type of photographic paper, with a silver-chloride emulsion, required sunlight, as opposed to
artificial light, for exposure. A darkroom was not required, and the paper offered the significant benefit, from Moholy-Nagy's
perspective, of visibly changing in reaction to light during the exposure, so that he could see the photogram image emerge on the
paper and better guide the process. Around 1923, Moholy-Nagy fundamentally shifted his approach to the photogram by making
them instead in the darkroom with conventional 'developing-out' photographic paper.
As evidenced by the first part of the inscription on the back of the present photogram, 'à Mr. Zervos, Paris,' it was sent by Moholy-
Nagy to Christian Zervos, publisher and editor of the seminal arts journal, Cahiers d'Art, and later the creator of the catalogue
raisonné on Pablo Picasso. Zervos was almost certainly in possession of this photogram by 1929, when he published two other
Moholy-Nagy photograms in Cahiers d'Art (cf. Heyne, Neussüs, et al., fgm 162 and fgm 293). The photogram offered here is
believed to have been sent for Zervos's consideration at the same time as the published works. Significantly, as with this photogram,
both of the published photograms have similar procedural inscriptions by Moholy-Nagy on the reverse. For the present image, he has
utilized a spool for roll film which appears below and to the left of center; a child's rattle the large object with the figure-8 handle and
circular, drum-like top; and a muzzle, the obscure shape in the lower right portion of the image.
When this photogram was purchased by its present owner in 1982, it was understood that, along with Christian Zervos, the great
Russian poet and editor Vladimir Mayakovsky had been in possession of the piece at some point, although the exact chain of
provenance is unclear. One of the Moholy-Nagy photograms published by Zervos in Cahiers d'Art in 1929 had an explicit
Mayakovsky provenance. On the reverse of the published photogram (fgm 293), now in the collection of the Getty Museum,
Moholy-Nagy has inscribed 'es gëhort Majakovski' ('it belongs to Mayakovsky'). Moholy-Nagy's strong connections to the Russian
avant-garde are well known, and he encountered Mayakovsky during the poet's many visits to Berlin in the 1920s. A 1924 photograph
by Moholy-Nagy of Mayakovsky at the railway station in Berlin was used as the cover illustration for a memorial publication dedicated
to the writer after his death in 1930. Mayakovsky authority Dr. Bengt Jangfeldt considers it possible that these photograms were to be
used in Lef, Mayakovsky's arts and literature journal in which he propagated western leftist art by John Heartfield and George Grosz,
among others, as well as that of the Russian Alexander Rodchenko.
The last portion of Moholy-Nagy's inscription, under the heading 'Wichtig ist dabei' ('what is important'), conveys his enthusiasm for
the photogram technique, and emphasizes his belief in its viability as a wholly new medium for expression. For Moholy-Nagy, the
photogram was the essence of photographic image-making: 'The photogram, or cameraless record of forms produced by light, which
embodies the unique nature of the photographic process, is the real key to photography' (A New Instrument of Vision, 1933).
Moholy-Nagy reasoned that the value of the photogram to the medium of photography was such that 'Anybody who has once
mastered the meaning of writing with light in producing photographs without a camera (photograms) will obviously be able to work
with a camera' (Photography is Manipulation of Light, 1928). The photogram became a core concept for his ever-evolving
curriculum for photography.
The photogram offered here perfectly characterizes Moholy-Nagy's approach to this deceptively simple photographic technique.
The film roll was clearly placed directly on the photographic paper for the exposure, and is rendered here with crisp white edges. A
portion of the rattle rested directly on the paper as well, at the base of the handle which intersects artfully with the film roll and at its
circular head. These areas of contact show greater sharpness, while the portions of the shape not touching the paper are slightly more
diffuse in appearance. The muzzle was very likely suspended over the paper during exposure (or was perhaps only present for a
portion of the exposure's duration) and appears here as a highly abstracted and enigmatic shape. The rattle and muzzle appear
together in another photogram by Moholy-Nagy: fgm 246. The rattle and muzzle appear individually in fgm 247 and fgm 288,
respectively.
This photogram was not known to the compilers of Moholy-Nagy, The Photograms: Catalogue Raisonné (Ostfildern, 2009)
prior to the Catalogue's publication. It has since been shown, in reproduction, to Renate Heyne, an editor of the volume, and has
been issued the number fgm 422. It will appear in a future edition of, or addendum to, the Catalogue Raisonné.
Sothebys thanks Renate Heyne, Bengt Jangfeldt, David King, Virginia Heckert, and Steve Yates for their assistance in researching this
photogram.
Photographs
LOT 144

LUCIA MOHOLY
1894-1989 SELECTED IMAGES OF LASZLO MOHOLY-NAGY
8 photographs, one numbered '25' in pencil, circa 1925 (8)

PROVENANCE
Gift of the sitter to graphic designer Robert Brownjohn, circa 1948, a student of László Moholy-Nagy at Chicago's Institute of
Design

CATALOGUE NOTES
Leading Bauhaus artist László Moholy-Nagy gave these photographs, taken by his former wife while they were at the Bauhaus in the
1920s, to his student and protégé, graphic designer Robert Brownjohn (1925-1970). Brownjohn attended Chicago's famed Institute of
Design (ID) beginning in 1944, and in 1947, when Moholy published Vision in Motion, he included an example of Brownjohn's work.
Brownjohn remained at the ID until 1951, when he left for New York to pursue his career.
Brownjohn worked as a graphic designer for George Nelson and taught at Cooper Union and Pratt Institute. His freelance graphic
designing included such clients as Columbia Records, Pepsi-Cola, and the American Craft Museum. He enjoyed New York's social
and jazz scenes, and his circle of friends included Miles Davis, Charlie Parker, Stan Getz, and Andy Warhol. In 1957, the firm of
Brownjohn, Chermayeff, and Geismar (BCG) was founded with Ivan Chermayeff and Tom Geismar and continued until 1960. After
leaving BCG for London, Brownjohn worked at advertising agencies J. Walter Thompson and McCann Erickson.
Brownjohn is most remembered for his title sequences for the James Bond films From Russia with Love and Goldfinger, and his
Let It Bleed album cover for the Rolling Stones.
Photographs
LOT 145

HARRY CALLAHAN
1912-1999 BARBARA
mounted to Brudno illustration board, signed in pencil on the mount, circa 1954
6 1/4 by 9 1/2 in. (15.8 by 24.2 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 146

HARRY CALLAHAN
1912-1999 PORT HURON
mounted, signed in pencil on the mount, 1952 (Bunnell, p. 49)

7 by 9 in. (17.8 by 22.8 cm.)
ESTIMATE 15,000 - 25,000 USD

Photographs
LOT 147

HARRY CALLAHAN
1912-1999 ELEANOR
in the photographer's original wood frame, signed in ink on the paper tape on the reverse, 1947 (Eleanor, p. 16)
4 1/2 by 1 3/4 in. (11.4 by 4.6 cm.)
PROVENANCE
Gift of the photographer to graphic designer Robert Brownjohn, late 1940s, a student at Chicago's Institute of Design
By descent to the current owner, 1970

CATALOGUE NOTES
This photograph, and those in Lot 144, come originally from the collection of graphic designer Robert Brownjohn (1925 - 1970). In
1944, Brownjohn became a student at Chicago's famed Institute of Design, where he was a protégé of László Moholy-Nagy. In 1946,
Moholy appointed Harry Callahan as a photography instructor, and in 1949 Callahan became head of the photography department at
the Institute. Brownjohn remained at the ID until 1951, when he moved to New York to pursue a career in graphic design and was
hired by the legendary furniture and product designer George Nelson.
Photographs
LOT 148

AARON SISKIND
1903-1991 'CHICAGO 27'
large-format, signed, titled, and dated in pencil on the reverse, 1960, printed in the 1960s; accompanied by a fragment of the original mat, signed,
titled, and dated in pencil (Pleasures and Terrors, pl. 230)
13 3/4 by 16 1/2 in. (34 by 42 cm.)
PROVENANCE
Acquired from the photographer in 1966 or 1967
Photographs
LOT 149

RALPH EUGENE MEATYARD
1925-1972 SELECTED IMAGES
2 photographs, comprising 'Zen #0057' and Abstract Window, the first mounted to Crescent illustration board, each signed by Madelyn O.
Meatyard in ink and the first with title in ink and the photographer's stamp on the reverse, each framed, 1959-60 (2)
7 by 7 in. (17.8 by 19.7 cm.) 7 by 6 in. (17.8 by 17.1 cm.)

Photographs
LOT 150

AARON SISKIND
1903-1991 'PLEASURES AND TERRORS OF LEVITATION 63'
signed and titled in pencil on the reverse, 1956, probably printed in the early 1980s (Pleasures and Terrors, pl. 111)
17 7/8 by 17 in. (45.2 by 43.8 cm.)
PROVENANCE
Gift of the photographer to the present owner, 1983
Photographs
LOT 151

ROBERT RAUSCHENBERG
1925-2008 'RAUSCHENBERG/PHOTOGRAPHS'
(New York: Sonnabend Editions, 1980, an edition of 60), a portfolio of 12 photographs, each signed, dated, and editioned '21/50' in ink in the margin,
1949-61, printed in 1979. Folio, beige cloth clamshell box with mounted photograph
Each approximately 12 by 12 in. (30.5 by 30.5 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 152

AARON SISKIND
1903-1991 'MANZANILLO #1'
large-format, titled, dated, and with annotations in pencil on the reverse, 1955 (Daiter, p. 27)
16 3/8 by 13 1/2 in. (41.5 by 34.5 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Photographs
LOT 153

AARON SISKIND
1903-1991 'JEROME, ARIZONA 21'
a plate from the 75th Anniversary Portfolio, large-format, signed, titled, and dated in ink in the margin, with letterpress portfolio wrappers, 1949,
printed in 1979, one in an edition of 57 (Siskind at 100, cover and unpaginated)
17 3/4 by 13 1/4 in. (45.1 by 33.6 cm.)

Photographs
LOT 154

ROBERT FRANK
B. 1924 UNTITLED (CHILDREN IN BACK SEAT OF CAR)
signed in ink in the margin, the photographer's copyright stamp, credit and date in ink, and his 'Robert Frank Archive' stamp, numbers and annotations
in pencil on the reverse, circa 1953, printed later
8 3/8 by 13 in. (21.3 by 33 cm.)

Photographs
LOT 155

HARRY CALLAHAN
1912-1999 ELEANOR (IN WATER)
signed in pencil in the margin, signed in pencil on the reverse, 1949, printed later (Callahan, p. 85)
6 7/8 by 6 in. (17.5 by 15.9 cm.)

Photographs
LOT 156

HARRY CALLAHAN
1912-1999 CAPE COD
signed in pencil in the margin, 1970s

6 3/8 by 6 3/4 in. (16.2 by 17.2 cm.)

Photographs
LOT 157

ROBERT FRANK
B. 1924 'NEBRASKA'
signed, titled, and dated in ink in the margin, framed, 1955, printed later
9 3/8 by 13 7/8 in. (23.8 by 35.2 cm.)

Photographs
LOT 158

ROBERT FRANK
B. 1924 WOMAN ON 11TH STREET, NEW YORK
signed in ink in the margin, the photographer's copyright stamp, credit and date in ink, and his 'Robert Frank Archive' stamp, numbers and annotations
in pencil, on the reverse, circa 1951, printed circa 1960
9 1/8 by 13 3/8 in. (23.2 by 34.9 cm.)

Photographs
LOT 159

ROBERT FRANK
B. 1924 CAFETERIA, SAN FRANCISCO
signed and dated in ink in the margin, the photographer's copyright stamp, credit in ink, and a Robert Frank Archive stamp, annotation 'The
Americans 68 Cafeteria - San Francisco' and number '854' in pencil, on the reverse, 1956, printed circa 1980 (The Americans, p. 145; Looking In,
pp. 293 and 479, and Contact #68)
13 by 8 7/8 in. (33.6 by 22.5 cm.)

Photographs
LOT 160

ROBERT FRANK
B. 1924 'BUTTE, MONTANA'
signed, titled, and dated in ink in the margin, 1956, printing date unknown (The Americans, p. 61; Looking In, pp. 240 and 468, and Contact #26)
9 by 13 1/8 in. (22.9 by 33.3 cm.)
ESTIMATE 30,000 - 50,000 USD

Photographs
LOT 161

ROBERT FRANK
B. 1924 'WALES' (MINERS, CAERAU)
signed, titled, and dated in ink in the margin, the photographer's copyright stamp, credit and date in ink, and his 'Robert Frank Archive' stamp with
title, date and number 'HH948' in pencil, and with annotations in pencil on the reverse, 1951 (Looking In, p. 76, pl. 20; London/Wales, p. 92,
cropped)
9 1/8 by 13 3/4 in. (23.2 by 34.9 cm.)
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
Acquired from Alan Klotz Gallery, New York, 1992
Photographs
LOT 162

ROBERT FRANK
B. 1924 CHICAGO (POLITICAL RALLY)
signed, titled, and dated (twice) in ink in the margin, 1956, printed no later than 1973 (The Americans, p. 125; Looking In, pp. 281 and 476, Contact
#58)
13 by 8 in. (33.1 by 20.3 cm.)
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
Sotheby's New York, 18 April 1997, Sale 6973, Lot 380
Acquired from the above by Carole Thompson, as agent, for a private Illinois collection
Photographs
LOT 163

ROBERT FRANK
B. 1924 FREAK SHOW PHOTOS ( EXILE ON MAIN STREET )
signed in ink on the reverse, 1950s

13 by 18 1/2 in. (32.8 by 21.5 cm.)
LITERATURE
The Rolling Stones, Exile on Main St. (Musidor, 1972), cover
CATALOGUE NOTES
This photograph was used as the cover illustration for the Rolling Stones' 1972 double album, Exile on Main St.. Robert Frank,
credited with the album's 'cover photography and concept,' created a visually adventurous collaged design of his photographs that
filled every printable surface of the release: from the front and back covers, to the interior gatefold and pictorial inner sleeves. Some of
these images are famous ones from The Americans, while others are film stills of the Rolling Stones taken from Frank's
documentary on the band, Cocksucker Blues, completed in the same year as the album.
This photograph, showing a display of images of sideshow performers, was selected by Frank for the front cover of the album, and
was taken in the 1950s at the time he was making the photographs that would be collected in The Americans. The exact date of the
negative is not known: several possible dates are listed for the image in the Robert Frank Archive: 1951, 1953, and 1958. While
annotations in an unidentified hand on the reverse of the print offered here indicate that the image was made at a tattoo parlor on 8th
Avenue, it is equally possible that it was made instead at Hubert's Museum, the renowned bastion of sideshow entertainment on 42nd
Street near Times Square. The photograph shows such well-known Hubert's acts as Heckler's Flea Circus; Joe Allen, The Human
Corkscrew; and the Girl That Cheats the Electric Chair.
Hubert's was a favorite haunt of photographer Diane Arbus, who made a series of images of the performers there in the late 1950s.
One of these photographs by Arbus appears the Frank image offered here: Hezekiah Trembles, 'The Jungle Creep,' visible in the
center of the third row of pictures. Arbus's photograph of Trembles was the lead picture for her six-photograph essay, published in
Esquire in July 1960, entitled 'The Vertical Journey: Six Movements of a Moment Within the Heart of the City.'
Photographs
LOT 164

ROBERT FRANK
B. 1924 'S. C.' (BARBER SHOP, MCCLELLANVILLE)
signed, titled, and dated in ink in the margin, the photographer's copyright stamp, credit and date in ink, and his 'Robert Frank Archive' stamp,
numbers and annotations in pencil on the reverse, 1955, printed later (The Americans, p. 85; Looking In, first frontispiece, pp. 256 and 471, Contact
#38)
8 1/2 by 12 7/8 in. (21.6 by 32.7 cm.)
ESTIMATE 50,000 - 70,000 USD

CATALOGUE NOTES
In addition to the print offered here, only three prints of this image have been offered at auction in recent years--in these rooms on 15
February 2006, Important Photographs from the Metropolitan Museum of Art, including Works from the Gilman Paper
Company Collection, (Sale 8165, Lot 102), and on 30 March 2009, (Sale 8575, Lot 146); and at Phillips, de Pury &Luxembourg,
New York, 26 April 2003, The Seagram Collection of Photographs (Sale 40203, Lot 132).
Photographs
LOT 165

IRVING PENN
1917-2009 'THREE ASARO MUD MEN, NEW GUINEA'
selenium-toned, mounted, signed, titled, dated, and annotated in ink and stamped on the reverse, 1970, printed in 1984, one in an edition of 25
(Passage, p. 193)
19 1/8 by 19 in. (48.6 by 48.3 cm.)
ESTIMATE 35,000 - 50,000 USD

Photographs
LOT 166

IRVING PENN
1917-2009 CIGARETTE #37
platinum-palladium print, flush-mounted to aluminum, signed, dated, editioned '6/70,' annotated in ink, and stamped on the reverse, framed, 1974,
printed in 1975 (MoMA, pl. 118)
23 1/4 by 17 7/8 in. (59 by 45.5 cm.)
ESTIMATE 30,000 - 50,000 USD

Photographs
LOT 167

IRVING PENN
1917-2009 'CUZCO CHILDREN, PERU (NEG. NO. 164)'
mounted, signed, titled, dated, and annotated in ink and stamped on the reverse, 1948, printed in 1949, one in an edition of 8 (Moments Preserved,
pp. 98-99, variant)
10 1/4 by 9 3/8 in. (26 by 23.8 cm.)
ESTIMATE 60,000 - 90,000 USD
PROVENANCE
Acquired from Andrew Smith Gallery, Santa Fe, 1995
Photographs
LOT 168

LEE FRIEDLANDER
B. 1934 'GALAX'
signed, titled, dated, and numbered in pencil and with the photographer's '44 So. Mountain Road, New City, NY' dated studio stamp on the reverse,
1962, printed no later than 1979 (MoMA, pl. 75)
7 3/8 by 11 in. (18.7 by 28 cm.)
PROVENANCE
Photographs
LOT 169

LEE FRIEDLANDER
B. 1934 'NYC' (FATHER DUFFY, TIMES SQUARE)
signed, titled, dated, and numbered in pencil and with the photographer's '44 So. Mountain Road, New City, NY' dated studio stamp on the reverse,
1974, printed no later than 1979 (MoMA, cover and pl. 300)
7 1/2 by 11 1/8 in. (19 by 25.7 cm.)
PROVENANCE
Photographs
LOT 170

LEE FRIEDLANDER
B. 1934 SELECTED IMAGES
2 photographs, comprising Newark, N. J. and New Orleans, each signed, titled, dated, and numbered in pencil and with the photographer's '44 So.
Mountain Road, New City, NY' dated studio stamp on the reverse, 1962 and 1968, printed no later than 1979 (MoMA, pl. 68 and back cover) (2)
7 3/8 by 11 1/8 in. (18.7 by 28.2 cm.) 7 1/2 by 11 3/8 in. (19 by 28.9 cm.)
PROVENANCE
Photographs
LOT 171

DIANE ARBUS (1923-1971)/NEIL SELKIRK (B. 1947)
'A YOUNG MAN AND HIS GIRLFRIEND WITH HOT DOGS IN THE PARK, NYC'
signed, titled, dated, and editioned '25/75' by the photographer's daughter, Doon Arbus, in ink, and stamped on the reverse, framed, 1971, printed
later by Neil Selkirk (Revelations, pp. 66-7)
14 by 14 in. (37.5 by 36.2 cm.)

Photographs
LOT 172

'UNTITLED #21'
signed, titled, dated, and editioned '30/75' by the photographer's daughter, Doon Arbus, in ink, and stamped on the reverse, framed, 1970-71, printed
later by Neil Selkirk (MoMA, unpaginated)
14 5/8 by 14 in. (37.1 by 36.8 cm.)

Photographs
LOT 173

'TRANSVESTITE AT HER BIRTHDAY PARTY, N. Y. C.'
signed, titled, dated, and editioned '39/75' by the photographer's daughter, Doon Arbus, in ink, and stamped on the reverse, framed, 1969, printed
later by Neil Selkirk (MoMA, unpaginated)
14 by 15 in. (37.5 by 38.1 cm.)

Photographs
LOT 174

GARRY WINOGRAND
1928-1984 UNTITLED (COUPLE WITH WOLF FROM THE ANIMALS )
signed in pencil on the reverse, circa 1962, printed no later than 1980 (Animals, p. 13)
8 3/4 by 13 in. (22.2 by 33 cm.)
PROVENANCE
Fraenkel Gallery, San Francisco, to a private collector, 1981
Acquired by the present owners, 2007
EXHIBITION
San Francisco, Fraenkel Gallery, Garry Winogrand Retrospective, November 1980 - January 1981
CATALOGUE NOTES
'In photography the formal issue might be stated as this: How much of the camera's miraculous descriptive power is the photographer
capable of handling? Or how much complexity can he make simple? Or, conversely, how much diversity must he sacrifice for the sake
of order?
'Consider Garry Winogrand's picture: so rich in fact and suggestion, and so justly resolved; more complex and more beautiful than the
movie that Alfred HItchcock might derive from it' (John Szarkowski, Looking at Photographs, p. 188).
Photographs
LOT 175

LEE FRIEDLANDER
B. 1934 SELECTED IMAGES
5 photographs, comprising Putney, VT; Central Park; Cambridge; East Chatham; and Mariposa, Calif., the first mounted, each signed in
pencil and with the photographer's appropriate markings on the reverse, 1972-75 (MoMA, pls. 245-46, 325, and 355) (5)
Each approximately 7 3/8 by 11 1/8 in. (18.7 by 28.2 cm.) or the reverse
PROVENANCE
Photographs
LOT 176

SEBASTIÃO SALGADO
B. 1944 'BRAZIL' (SERRA PELADA MINE)
blindstamped in the margin, signed, titled, and dated in pencil on the reverse, 1986 (An Uncertain Grace, p. 17)
17 by 11 in. (43.8 by 29.8 cm.)

Photographs
LOT 177

FRANCESCA WOODMAN
1958-1981 FROM 'SOME DISORDERED INTERIOR GEOMETRIES'
circa 1976 (Woodman, Phaidon, p. 239)

5 1/4 by 5 1/4 in. (13.3 by 13.3 cm.)

PROVENANCE
Gift of the photographer to the present owner, when students together at the Rhode Island School of Design in the 1970s
LITERATURE
Some Disordered Interior Geometries (Pittsburgh: Synapse/Visual Arts Press, 1981); this image appears as the eleventh of a
sequence in the only book published during Woodman's lifetime. The inspiration for this project was an old Italian geometry exercise
book Woodman found in Rome in 1977-78, which she then proceeded to embellish with her own photographs and writings. The
present image appears on a left-facing page opposite a chapter titled 'Problems to Solve, 1. Surface and Volume of
Polygonal Objects.' Under the photograph in the book, Woodman has written 'I made this.'
CATALOGUE NOTES
The image offered here appears as the eleventh of a sequence in Woodman's only book published during her lifetime, Some
Disordered Interior Geometries (Pittsburgh: Synapse/Visual Arts Press, 1981). The inspiration for this project was an old Italian
geometry exercise book Woodman found in Rome in 1977-78, which she then proceeded to embellish with her own photographs and
writings. The present image appears on a left-facing page opposite a chapter titled 'Problems to Solve, 1. Surface and Volume of
Polygonal Objects.' Under the photograph in the book, Woodman has written 'I made this.'
Her appreciation, if not reverence, for used and discarded objects (her own clothing always came from thrift stores) is the underlying
subtext for what Chris Townsend calls her 'most complex book, a three-way game that plays the text and illustrations for an
introduction to Euclid against Woodman's own text and diagrams, as well as the "geometry" of her formal compositions. This
tripartite balancing act has the magical dexterity of a fugue' (Townsend, Francesca Woodman, p. 239).
Photographs
LOT 178

FRANCESCA WOODMAN
1958-1981 UNTITLED (NUDE SELF-PORTRAIT, PROVIDENCE, RHODE ISLAND)
circa 1976
5 1/4 by 5 3/8 in. (13.3 by 13.7 cm.)
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Gift of the photographer to the present owner, when students together at the Rhode Island School of Design in the 1970s
Photographs
LOT 179

DANNY LYON
B. 1942 THE BIKERIDERS
a group of 50 photographs from 'The Bikeriders,' each signed, 33 numbered, and each with the photographer's 'Bleak Beauty' stamp, dated in
pencil, on the reverse, 1962-66, printed 2000-06 (50)
ESTIMATE 40,000 - 60,000 USD

Photographs
LOT 180

GARRY WINOGRAND
1928-1984 'WOMEN ARE BEAUTIFUL'
(RFG Publishing, Inc., 1981, an edition of 100), a portfolio of 85 photographs, each signed and editioned '16/80' in pencil on the reverse, paired back
to back in Mylar sleeves, 1960s-70s, printed in 1981, the colophon numbered '16' in black ink. Oblong folio, white buckram post binder and matching
slipcase, each with black lettering
Each approximately 8 7/8 by 13 1/8 in. (22.4 by 33.3 cm.) or the reverse
ESTIMATE 60,000 - 90,000 USD

Photographs
LOT 181

ROBERT MAPPLETHORPE
1946-1989 'HYACINTH'
large-format photogravure on chine collé, signed, dated, and editioned '10/27' in pencil in the margin, the photographer's copyright stamp on the
reverse, in a frame designed to the photographer's specifications, an exhibition label on the reverse, 1986 (Pistils, p. 77; Complete Flowers, pl. 130)
32 5/8 by 32 in. (82.9 by 81.3 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Photographs
LOT 182

ROBERT MAPPLETHORPE
1946-1989 'PARROT TULIPS'
signed, dated, and editioned '1/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated, and title, date, and numbers '1/10' and
'[MAP] 1731' in ink on the reverse, framed, 1987 (Complete Flowers, pl. 176, variant)
19 by 19 in. (48.9 by 48.9 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 183

ROBERT MAPPLETHORPE
1946-1989 'ROSES'
flush-mounted, the copyright stamp, signed and dated in ink, titled, dated, editioned '2/10' and the number '[MAP] 1772' in ink on the reverse, framed,
an exhibition label on the reverse, 1987 (Complete Flowers, pl. 155)
19 1/4 by 23 1/8 in. (48.9 by 58.7 cm.)
EXHIBITION
Photographs
LOT 184

ROBERT MAPPLETHORPE
1946-1989 'FLOWERS'
a suite of 10 large-format toned photogravures of flowers, each signed, dated, and editioned '1/25' in pencil in the margin, framed, 1988 (10)
ESTIMATE 60,000 - 80,000 USD

Photographs
LOT 185

ROBERT MAPPLETHORPE
1946-1989 BABY'S BREATH
signed and editioned '6/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated, and with numbers '6/10' and '[MAP] 917' in ink
on the reverse, 1982 (Complete Flowers, pl. 53)
15 1/8 by 15 1/8 in. (38.4 by 38.4 cm.)

Photographs
LOT 186

ROBERT MAPPLETHORPE
1946-1989 ORCHID
signed, dated, and editioned '4/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated in ink, and the number '[MAP] 919' in
pencil on the reverse, 1982 (Complete Flowers, pl. 54, color variant)
15 1/4 by 15 1/8 in. (38.7 by 38.4 cm.)

Photographs
LOT 187

ROBERT MAPPLETHORPE
1946-1989 ORCHIDS
signed, dated, and editioned '2/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated, and with title and numbers '2/10' and
'[MAP] 937' in ink on the reverse, 1982 (Complete Flowers, pl. 60, color variant)
15 1/8 by 15 1/4 in. (38.4 by 38.7 cm.)

Photographs
LOT 188

ROBERT MAPPLETHORPE
1946-1989 AFRICAN DAISY
signed, dated, and editioned '5/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated in ink, and the number '[MAP] 940' in
pencil on the reverse, 1982 (Complete Flowers, pl. 65)
15 by 15 1/8 in. (38.1 by 38.4 cm.)

Photographs
LOT 189

ROBERT MAPPLETHORPE
1946-1989 'DERRICK CROSS'
flush-mounted, title, date, and edition '6/10' in ink and the photographer's estate stamp, signed and dated by Michael Ward Stout, Executor, in ink, on
the reverse, in a frame designed to the photographer's specifications, 1982 (The Black Book, p. 7)
7 5/8 by 19 3/8 in. (19.3 by 49.1 cm.)
PROVENANCE
Collection of Vera G. List
Sotheby's New York, Sale 7987, 28 April 2004, Lot 248

Photographs
LOT 190

ROBERT MAPPLETHORPE
1946-1989 'THOMAS'
signed, dated, and editioned '3/10' in ink in the margin, flush-mounted, the photographer's copyright stamp, signed and dated, and title, date, numbers
'3/10' and '[MAP] 1729' in ink on the reverse, framed, 2 exhibition labels on the reverse, 1987 (Whitney, p. 171)
19 1/8 by 19 1/8 in. (48.6 by 48.6 cm.)
ESTIMATE 12,000 - 18,000 USD
EXHIBITION
Ithaca, Herbert F. Johnson Museum of Art, Cornell University, Cornell Collects: A Celebration of American Art from the
Collections of Alumni and Friends, August - November 1990
Photographs
LOT 191

ROBERT MAPPLETHORPE
1946-1989 ORCHID
signed, dated, and editioned '3/10' in ink in the margin, flush-mounted, the copyright stamp, signed and dated, and with date and numbers '3/10' and
'[MAP] 1766' in ink on the reverse, framed, 1987 (Complete Flowers, pl. 153)
19 1/8 by 19 1/8 in. (48.4 by 48.4 cm.)

Photographs
LOT 192

PATRICK DEMARCHELIER
B. 1943 ELLE MACPHERSON
platinum print, signed and numbered 'P/P' in pencil in the margin, 1990
19 7/8 by 16 in. (50.5 by 40.6 cm.)

Photographs
LOT 193

NORMAN PARKINSON
1913-1990 MICK JAGGER AND JERRY HALL
signed and dated in ink on the image, mounted, framed, 1981

19 by 15 3/8 in. (48.9 by 39.1 cm.)

Photographs
LOT 194

HELMUT NEWTON
1920-2004 'LISA LYON AT HOME'
signed, titled, and dated in pencil on the reverse, framed, 1981 (Big Nudes, p. 83)
14 by 9 in. (36.2 by 24.1 cm.)

Photographs
LOT 195

WILLIAM KLEIN
B. 1928 SELECTED FASHION STUDIES
3 photographs, comprising 'Hat and 5 Roses, Paris,' 'Smoke and Veil, Paris,' and 'Anouk Aimee, Paris,' each signed, titled, and dated in
pencil on the reverse, framed, 1956-61, printed later (3)
Each approximately 18 by 13 in. (45.7 by 33 cm.)
PROVENANCE
Acquired from Peter Fetterman Gallery, Santa Monica, 1999-2002
Photographs
LOT 196

PETER LINDBERGH
B. 1944 'TATIANA PATITZ, CAFE FLORE, PARIS'
signed, titled, dated, and editioned '5/25' in pencil and stamped on the reverse, framed, 1985
21 by 14 in. (53.3 by 35.6 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Acquired from Fahey/Klein Gallery, Los Angeles, 1999
Photographs
LOT 197

MICHEL COMTE
B. 1954 PENELOPE CRUZ
large-format digital print, signed, dated, and dedicated in ink in the margin, framed, 2001
29 by 38 in. (74.9 by 98.4 cm.)

Photographs
LOT 198

HORST P. HORST
1906-1999 'ROUND THE CLOCK'
large-format platinum-palladium print, the printer's blindstamp in the margin, signed by Andrew Cowan, executor of the Horst estate, and the printer
in pencil on the reverse, 1987, printed in the 1980s (Form Horst, pl. 46)
23 1/4 by 19 3/8 in. (59 by 49.1 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 199

WILLIAM EGGLESTON
B. 1939 UNTITLED (FROM NIGHTCLUB PORTRAITS )
oversized print, flush-mounted, signed in ink and with the Eggleston Artistic Trust label, edition '1/5' in ink, and stamped 'EAT#0509.044,' framed,
1973, printed in 2005
38 by 26 in. (96.5 by 67.9 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 200

FLIP SCHULKE
1930-2008 MUHAMMAD ALI BOXING UNDER WATER
signed and annotated in pencil on the reverse, framed, 1961, printed later
18 by 12 in. (47.6 by 31.7 cm.)

Photographs
LOT 201

RICHARD AVEDON
1923-2004 'JAMES GALANOS, FASHION DESIGNER, NEW YORK CITY, 8-10-1975'
oversized, flush-mounted on linen, signed and editioned ' 2/10' in ink and with title and copyright stamps on the reverse, tipped to a mount, framed,
1975, printed later (Evidence, p. 159)
35 1/2 by 27 3/4 in. (90.2 by 70.5 cm.)

Photographs
LOT 202
PROPERTY OF SHAGWONG RESTAURANT, MONTAUK

PETER BEARD
B. 1938 MICK JAGGER
inscribed by Mick Jagger in white crayon on the image, flush-mounted to foamcore, extensively inscribed by the photographer in ink and stamped '©
Peter Beard 1997 Vintage Photograph' on the reverse; accompanied by a frame backboard inscribed by Peter Tunney, stamped twice '© Peter Beard
1997 Vintage Photograph and four times 'Thank You' and with a 'The Time Is Always Now' label, on the reverse, 1979
19 by 12 5/8 in. (48.3 by 32.1 cm.)
AUTHENTICATION
The Peter Beard Studio has confirmed the authenticity of this lot.
CATALOGUE NOTES
The back of the mount is dated 'June 1st/79' and reads, 'Dear j &a., this authentic collector's item Has to grace Shagger's walls - ! It
was inscribed by Mick and shat on by a bird (in the house) THEN my bush baby decided to make it HIS shelf + exclusive territory -
Hence all the pissed-on-paw prints + BB shit - "full fathom five - to have suffered a sea-change into something rich + strange".' This is
signed with hearts 'Peter Beard.'
Photographs
LOT 203

PETER BEARD
B. 1938 'PHOTO LESSON ON THE S. S. CAROLINE, SKORPIOS, GREECE, JULY 1972' (JACQUELINE
KENNEDY ONASSIS)
a unique object, signed, titled, dated, and inscribed in red and black inks; partial handprint and drawing in blood and inks in the image; and with collage
elements, framed, a facsimile of the Peter Beard studio stamp on the reverse, 1972, printed in 2004
14 1/4 by 23 7/8 in. (36.2 by 60.6 cm.)
ESTIMATE 15,000 - 25,000 USD
AUTHENTICATION
PROVENANCE
Acquired from Fahey/Klein Gallery, Los Angeles, 2005
Photographs
LOT 204

PETER BEARD
B. 1938 'P. B. DIARY A 4 WARHOL'S "INTERVIEW"'
a unique object, signed, titled, and annotated in white and black inks and painted with blood on the image and in the margins, framed, 1970s
19 by 23 in. (48.3 by 58.4 cm.)
ESTIMATE 10,000 - 15,000 USD
AUTHENTICATION
Photographs
LOT 205

PETER BEARD
B. 1938 'STARVO '71' (NOR DREAD NOR HOPE ATTEND, FROM THE END OF THE GAME )
a unique diptych, signed, initialed, titled, dated, and annotated in ink, with paint, partial handprint, ink drawings, and collage element, 1971, printed in
1976, object made in 1986; accompanied by original frame backboard annotated by the photographer in red ink (End of the Game, unpaginated)
13 1/2 by 20 3/8 in. (34.3 by 31.7 cm.)
AUTHENTICATION
The Peter Beard Studio has confirmed the authenticity of this lot and has confirmed that these prints were made by Peter Beard in his
Windmill darkroom for The End of the Game. This structure was destroyed by fire in 1977.
Photographs
LOT 206

SALLY MANN
B. 1951 'SUNDAY FUNNIES'
signed, titled, dated, copyrighted, and editioned '9/25' in pencil on the reverse, framed, 1991 (Immediate Family, unpaginated)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)

Photographs
LOT 207

SALLY MANN
B. 1951 'DAMAGED CHILD'
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)

Photographs
LOT 208

SALLY MANN
B. 1951 'SORRY GAME'
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)

Photographs
LOT 209

SALLY MANN
B. 1951 'EMMETT, JESSIE AND VIRGINIA'
signed, titled, dated, copyrighted, and editioned '15/25' in pencil on the reverse, framed, 1989 (Immediate Family, cover and unpaginated; Still
Time, p. 67)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 210

SALLY MANN
B. 1951 'THE NEW MOTHERS'
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)

Photographs
LOT 211

SALLY MANN
B. 1951 'CRABBING AT PAWLEY'S'
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)

Photographs
LOT 212

DAN GRAHAM
B. 1942 SELECTED URBAN STUDIES
2 chromogenic prints, comprising '''Mr. Steps,'' Union City, N. J.,' and 'Tudor-Style New Housing Development, Staten Island, New
York,' each mounted, signed, titled, and dated in pencil or ink on the mount or mat, framed, 1966 and 1978 (2)
11 by 14 in. (27.5 by 35.5 cm.) 13 3/4 by 9 1/4 in. (35 by 23 cm.)

Photographs
LOT 213

DAN GRAHAM
B. 1942 SELECTED NEW JERSEY IMAGES
2 chromogenic prints, comprising 'Warehouse Through Window with Parking Lot View after Dark, Paramus, New Jersey' and 'Back-
Yards, Bayonne, N. J.,' each mounted, signed, titled, and dated in pencil or ink on the mount or mat, framed, 1967 and 1978 (2)
9 1/4 by 13 3/4 in. (23 by 35 cm.) 10 1/2 by 13 1/4 in. (36.5 by 33.5 cm.)

Photographs
LOT 214

EDWARD BURTYNSKY
B. 1955 'ROCK OF AGES #1, ACTIVE SECTION, E. L. SMITH QUARRY, BARRE, VERMONT'
chromogenic print, mounted, flush-mounted to foamcore, a title/edition label, signed in ink, on the reverse, 1991, no. 4 in an edition of 15
(Manufactured Landscapes, pl. 28; Quarries, p. 63)
17 7/8 by 21 7/8 in. (45.4 by 55.6 cm.)

Photographs
LOT 215

BERND & HILLA BECHER
1931-2007 & B. 1934 'SPHERICAL GASTANKS'
a sequence of 6 photographs, each ferrotyped, mounted, numbered sequentially in pencil on the mount, the first signed, titled, and annotated with a
sequence map on the reverse, each framed, 1998 (Gastanks, pp. 83-4, 86, 96) (6)
ESTIMATE 70,000 - 100,000 USD
PROVENANCE
Acquired from Sonnabend Gallery, New York, 1998
Photographs
LOT 216

VARIOUS CONTEMPORARY PHOTOGRAPHERS
'THE INDOMITABLE SPIRIT: PHOTOGRAPHERS + FRIENDS UNITED AGAINST AIDS'
(New York: Photographers + Friends United Against AIDS, 1989, an edition of 65), a portfolio of 10 photographic works by JOHN BALDESSARI,
CHUCK CLOSE, JAN GROOVER, ANNETTE LEMIEUX, DUANE MICHALS, RICHARD PRINCE, ROBERT RAUSCHENBERG, CINDY
SHERMAN, BRUCE WEBER, and WILLIAM WEGMAN, 9 signed and editioned '42/50' and 6 dated, each in printed wrappers, 1979-89, printed in
1989. Folio, black linen clamshell box with an offset image by BARBARA KRUGER
Various sizes to 24 by 21 in. (62.2 by 53.3 cm.)
ESTIMATE 15,000 - 25,000 USD

Photographs
LOT 217

CINDY SHERMAN
B. 1954 UNTITLED (DIPTYCH)
a diptych of 2 chromogenic prints, each signed, dated, and editioned '7/25' in ink on the reverse, framed to the artist's specifications in a hinged double
pewter frame, 1985, printed in 1999 (2)
Each approximately 9 by 7 5/8 in. (24.1 by 19.4 cm.)

Photographs
LOT 218

DAVID LEVINTHAL
B. 1949 'BARBIE MILLICENT ROBERTS'
3 unique large-format color Polaroid prints from the series 'Barbie Millicent Roberts: An Original,' each signed, dated, and editioned 'AP' in ink in
the margin, framed, 1998 (Barbie, pp. 19, 25, and 75) (3)
PROVENANCE
The photographer to the present owner, 1998
Photographs
LOT 219

SANDY SKOGLUND
B. 1946 'THE GREEN HOUSE'
oversized Cibachrome print, signed, titled, dated, and editioned '9/30' in ink on the image, mounted to Plexiglas, framed, 1990 (Reality Under
Siege, p. 23)
47 by 58 in. (119.4 by 149.2 cm.)

Photographs
LOT 220

GREGORY CREWDSON
B. 1962 UNTITLED (FROM NATURAL WONDER SERIES)
color coupler print, signed in ink in the margin, mounted, framed, 1992
28 by 35 7/8 in. (71.1 by 91.1 cm.)

Photographs
LOT 221
PROPERTY FROM A PRIVATE NEW ENGLAND COLLECTION

SANDY SKOGLUND
B. 1946 'REVENGE OF THE GOLDFISH'
large-format Cibachrome print, signed, titled, dated, and editioned 'AP III/X' in pencil on the reverse, framed, 1980, printed in 1981 (Reality Under
Siege, p. 43)
35 by 27 in. (90.2 by 70.5 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 222

ROBERT MAPPLETHORPE
1946-1989 PARROT TULIPS
dye-transfer print, flush-mounted, the photographer's estate stamp, signed by Michael Ward Stout, Executor, and edition '2/5' and 'DT 1853' in ink on
the reverse, 1988, printed in 1989 (Complete Flowers, pl. 176)
20 by 25 in. (52.7 by 65.4 cm.)
ESTIMATE 20,000 - 30,000 USD

Photographs
LOT 223

VIK MUNIZ
B. 1961 'DOUBTING THOMAS' (FROM PICTURES OF CHOCOLATE )
Cibachrome print, flush-mounted to foamcore, a Brent Sikkema, New York, gallery label, signed and dated in ink and editioned 'AP 1/3' in letterpress,
on the reverse, framed, 2000
30 by 40 in. (76.2 by 101.6 cm.)
ESTIMATE 25,000 - 35,000 USD

Photographs
LOT 224

PHILIP-LORCA DICORCIA
B. 1953 LONDON
chromogenic print, mounted, signed in pencil on the reverse, overmatted, framed, 1995, one in an edition of 15
25 by 37 in. (63.5 by 94.6 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 225

EDWARD BURTYNSKY
B. 1955 'VERMONT MARBLE COMPANY #5, ABANDONED GRANITE SECTION, ROCHESTER, VERMONT'
large-format chromogenic print, mounted, mounted again to foamcore, framed, a title/edition label, signed in ink, on the reverse, 1991, printed in 2001,
no. 1 in an edition of 7 (Quarries, p. 69)
40 by 50 in. (101.6 by 127 cm.)
ESTIMATE 12,000 - 18,000 USD

Photographs
LOT 226

THOMAS RUFF
B. 1958 '947'
chromogenic print, front-mounted to Plexiglas, signed, titled, dated, and editioned '3/5' in pencil on the reverse, framed, signed, titled, dated, and
numbered in pencil on the reverse, 2003
47 by 33 in. (119.4 by 84.5 cm.)
ESTIMATE 10,000 - 15,000 USD

Photographs
LOT 227

SHIRIN NESHAT
B. 1957 'FAEZEH &AMP; AMIN KHAN'
oversized chromogenic print with ink handwork, flush-mounted to aluminum, signed, titled, dated, and editioned 'AP 1/2' in ink on a label on the
reverse, framed, 2008
87 by 69 in. (222.3 by 176.5 cm.)
ESTIMATE 30,000 - 50,000 USD

Photographs
LOT 228

SHIRIN NESHAT
B. 1957 UNTITLED, FROM THE RAPTURE SERIES
oversized, mounted, signed, titled, dated, and editioned 'AP 1' in pencil on the reverse, framed, 1999
45 by 69 1/4 in. (114.3 by 175.9 cm.)
ESTIMATE 15,000 - 25,000 USD

Photographs
LOT 229

SHIRIN NESHAT
B. 1957 'IDENTIFIED,' FROM THE WOMEN OF ALLAH SERIES
oversized, flush-mounted, framed, an Annina Nosei Gallery, New York, label on the reverse, 1995
49 1/4 by 32 7/8 in. (124.7 by 83.5 cm.)
ESTIMATE 30,000 - 50,000 USD
PROVENANCE
Acquired from Haines Gallery, San Francisco, 1998
Photographs
LOT 230

SHIRIN NESHAT
B. 1957 UNTITLED FROM RAPTURE SERIES
oversized, mounted, signed, titled, dated, and editioned 'AP 1' in pencil on the reverse, framed, a Galerie Jerome de Noirmont, Paris, label on the
reverse, 1999
45 by 69 1/4 in. (114.3 by 175.9 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
Acquired from Galerie Jerome de Noirmont, Paris, 1999
Photographs
LOT 231

ABELARDO MORELL
B. 1948 'CAMERA OBSCURA IMAGE OF BROOKLINE VIEW, IN BRADY'S ROOM'
signed, titled, dated, and editioned '20/30' in pencil on the reverse, 1992 (Camera in a Room, unpaginated)
18 by 22 in. (45.6 by 57.1 cm.)

Photographs
LOT 232

ABELARDO MORELL
B. 1948 'CAMERA OBSCURA IMAGE OF THE BOSTON PUBLIC LIBRARY COURTYARD IN EXHIBITION ROOM'
signed, titled, and dated in pencil on the reverse, framed, 2001, no. 5 in an edition of 30 (Camera Obscura, p. 27)
18 by 22 in. (45.7 by 56.5 cm.)

Photographs
LOT 233

JOEL-PETER WITKIN
B. 1939 'HISTORY OF THE (WHITE) WORLD: VENUS AND THE MAGDALEN, PARIS'
arch-topped, signed, titled, dated, and editioned '5/6' in pencil on the reverse, framed, 1994 (Celant, pl. 109)
12 by 16 in. (31.1 by 41.9 cm.)

Photographs
LOT 234

SUSAN DERGES
B. 1955 'THE OBSERVER AND THE OBSERVED NO. 13'
signed, titled, dated, and editioned '2/3' in pencil on the reverse, framed, 1991 (Under the Sun, pl. 11)
20 by 16 in. (51.4 by 41.9 cm.)

Photographs
LOT 235

ROBERT FRANK
B. 1924 'MABOU NOVA SCOTIA, APRIL 21ST 1993'
signed, titled, and dated in ink in the margin, framed, 1993

14 by 17 7/8 in. (35.6 by 45.5 cm.)
ESTIMATE 10,000 - 15,000 USD
LITERATURE
Stripped Bare, p. 105 (this print)
Photographs
LOT 236

HIROSHI SUGIMOTO
B. 1948 'TIME EXPOSED'
(Tokyo: Kyoto Shoin Co., 1991, an edition of 500 copies), a portfolio of 51 reproductions of photographs, each tipped along the upper edge to a thin
mount, title and plate number blindstamped on the mount, 1980-91, printed in 1991. Folio, hinged brushed aluminum box, no. 106 in an edition of 500
PROVENANCE
The Mezzanine Gallery, The Metropolitan Museum of Art, mid 1990s
Photographs
LOT 237

LYNN DAVIS
B. 1944 'CHEOPS, GIZA, CAIRO, EGYPT'
oversized, selenium-toned, flush-mounted, signed, dated, and editioned '9/10' in ink and stamped on the reverse, framed, 1997, printed in 1999
39 5/8 by 39 7/8 in. (100.6 by 101.3 cm.)

Photographs
LOT 238

AARON ROSE
B. 1938 SELECTED NATURE STUDIES
a group of 3 chromogenic prints, each unique, signed in pencil in the margin, dated in pencil on the reverse, 1994-96 (3)

CATALOGUE NOTES
Aaron Rose has worked as a photographer since 1969 and was virtually unknown until five of his works were shown in the 1997 Whitney
Biennial. He is a purist in a digital agebuilding his own cameras, making his own lenses, mixing a variety of chemicals to achieve varied
and unconventional tonalities, and working every day in his darkroom, beginning at 5:00 a.m. every day. Free from commercial
constraints or the need to be recognized, Rose makes only one print from each of his negatives. His works are scarce in the
marketplace, as he has sold very few of his images to a few friends and collectors.
Rose's stated goal is simple: 'taking chemistry and light as far as I can.' Toward that end, the photographsnature and astronomical
studies, New York City rooftops, abstractions, and landscapes'are tantalizingly balanced between abstraction and representation'
(Paul Goldberger, New York Times, March 17, 1997).
Photographs
LOT 239

THOMAS JOSHUA COOPER
B. 1946 'A PREMONITIONAL WORK - CEREMONIAL DWELLING (A MESSAGE TO TIMOTHY O'SULLIVAN)'
a diptych, each mounted, signed in pencil on the mount, signed, titled, dated, editioned '3/3,' and annotated in ink on the reverse, framed, 1994-95 (2)

Photographs
LOT 240

THOMAS JOSHUA COOPER
B. 1946 SELECTED LANDSCAPES
2 photographs, including 'A Premonitional Work, The Giant's Causeway' and 'Mythic Stone/An Indication Piece,' each mounted, signed in
pencil on the mount, signed, titled, dated, and editioned '3/3' in ink on the reverse, framed, 1987-88 (2)

Photographs
LOT 241

ELIOT PORTER
1901-1990 'INTIMATE LANDSCAPES'
(New York: Daniel Wolf Press, 1979, an edition of 250), a portfolio of 10 dye-transfer prints, each mounted, signed in pencil on the mount, the
portfolio stamp on the reverse, in individual wrappers, 1956-77, printed circa 1979, the colophon signed and numbered '17' in ink. Folio, taupe linen
clamshell box with gilt-lettered leather label

Photographs
LOT 242

DARREN ALMOND
B. 1951 'FULLMOON @ MERCED MEADOW'
chromogenic print, flush-mounted to aluminum, a Matthew Marks Gallery, New York, label with credit, title, date, and edition '1/5' on the reverse,
framed, signed in ink and a Matthew Marks Gallery label on the reverse, 2005
48 by 48 in. (121.9 by 121.9 cm.)

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Photographs

New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624

PROPERTY OF VARIOUS OWNERS

A PETER GLASS TABLE, WITH ELABORATE MARQUETRY

half-plate daguerreotype, with a modern seal, cased, circa 1850

ESTIMATE 7,000 - 10,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

sixth-plate daguerreotype, with a modern seal, cased, circa 1850

ESTIMATE 10,000 - 15,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

sixth-plate daguerreotype, with a modern seal, in a half-case, 1840s

ESTIMATE 6,000 - 9,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

DR. GODFREY HOWITT'S GARDEN, MELBOURNE, AUSTRALIA

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

PORTRAIT OF AN ASIAN MAN

sixth-plate daguerreotype, in a half-case, 1850s

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

ESTIMATE 7,000 - 10,000 USD

PROPERTY FROM THE COLLECTION OF STANLEY YALKOWSKY

STANDING YOUNG NUDE

sixth-plate daguerreotype, cased, circa 1850

ESTIMATE 5,000 - 7,000 USD

PROPERTY OF VARIOUS OWNERS

19TH CENTURY REVEREND STEPHEN BROWN WITH HIS INVENTION

ESTIMATE 10,000 - 15,000 USD

PROPERTY OF VARIOUS OWNERS

EXCHANGE BANK BUILDING, CHICAGO, CORNER OF LAKE AND CLARK STREETS

quarter-plate daguerreotype, with a modern seal, cased, 1854-55

ESTIMATE 30,000 - 50,000 USD

Daguerreotypes of Chicago are exceedingly rare.

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

A MAN AND HIS DOG

quarter-plate daguerreotype, sealed, cased, 1850s

ESTIMATE 10,000 - 15,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

ACTIVE 1850S GENTLEMEN ROGUES

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

ESTIMATE 7,000 - 10,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

PORTRAIT OF YOUNG WOMAN

ESTIMATE 1,500 - 2,500 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

THE DAPPER GENTLEMAN

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

sixth-plate daguerreotype, sealed, cased, circa 1850

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

quarter-plate daguerreotype, with hand-tinting, sealed, cased, circa 1849

ESTIMATE 25,000 - 35,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

THE HOUSE PAINTER

sixth-plate daguerreotype, with hand-tinting, cased, 1840s

ESTIMATE 7,000 - 10,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

sixth-plate daguerreotype, cased, 1840s

ESTIMATE 5,000 - 7,000 USD

PROPERTY FROM THE COLLECTION OF DAVID BELCHER

half-plate daguerreotype, cased, 1850s