Beruflich Dokumente
Kultur Dokumente
LOT 1
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).
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LOT 2
THE BAKER
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.
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LOT 3
THE TRIO
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.
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LOT 4
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.
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LOT 5
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.
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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.
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LOT 7
LOT 8
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)
LOT 9
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.
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.
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LOT 10
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.
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LOT 11
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).
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LOT 12
'NEWS'
sixth-plate daguerreotype, titled in gilt and red pigment on the plate, cased, 1850s
LOT 13
sixth-plate daguerreotype, with extensive hand-tinting, with a modern seal, cased, 1840s
LOT 14
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)
LOT 15
THE HATTER
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.
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LOT 16
CAROLINE PARKER
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.
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LOT 17
CATALOGUE NOTES
This wholly unconventional daguerreotype shows the painter as one would see him through a window from inside a house.
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LOT 18
THE CARPENTERS
LOT 19
STREET SCENE WITH E. A. SQUIRE DRY GOODS STORE AND WAGON, WINSTED, CONNECTICUT
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.
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LOT 20
LOT 21
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.
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LOT 22
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.
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LOT 23
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
'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.
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LOT 24
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)
LOT 25
THE BLACKSMITHS
LOT 26
LOT 27
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.
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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.
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LOT 29
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.
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LOT 30
LOT 31
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).
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LOT 32
THE PROFILE
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.
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LOT 33
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)
LOT 34
LOT 35
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.)
LOT 36
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.)
LOT 37
(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.)
LOT 38
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.)
LOT 39
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.
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LOT 40
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.)
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.
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LOT 41
'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.)
LOT 42
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.)
LOT 43
mounted, signed in pencil on the mount, 1963 (Eternal Body, pl. 25)
9 7/8 by 7 in. (25.1 by 18.4 cm.)
LOT 44
'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.)
LOT 45
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.)
LOT 46
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
LOT 47
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
LOT 48
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.)
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
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LOT 49
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.)
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
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LOT 50
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
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.
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LOT 51
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
LOT 52
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.)
PROVENANCE
The photographer to Walter and Naomi Rosenblum
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.
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LOT 53
1864-1946 EQUIVALENT
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
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LOT 54
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.)
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).
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LOT 55
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.)
LOT 55A
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
LOT 56
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.)
LOT 56A
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.)
LOT 57
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.)
LOT 58
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.)
PROVENANCE
Acquired from The Gallery of Photographic Arts, Westlake, Ohio, 1975
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LOT 59
(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
PROVENANCE
Acquired from Weston Gallery, Carmel, 1982
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LOT 60
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
LOT 61
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
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LOT 62
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.)
LOT 63
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.)
LOT 64
flush-mounted, signed, titled, and dated in pencil on the reverse, framed, 1945
9 by 7 in. (24.1 by 19.1 cm.)
PROVENANCE
Acquired from Robert Klein Gallery, Boston, 1998
Photographs
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LOT 65
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
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LOT 66
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.)
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
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LOT 67
(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
Various sizes to 9 by 11 in. (22.9 by 29.2 cm.) or the reverse
LOT 68
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
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LOT 69
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.)
LOT 70
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
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LOT 71
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.)
LOT 72
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
LOT 73
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.)
LOT 74
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.)
LOT 75
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.)
LOT 76
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.)
PROVENANCE
Acquired from the photographer, 1983
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LOT 77
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
Acquired from the photographer, 1983
Photographs
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LOT 78
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.)
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)
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.
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LOT 79
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.)
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.
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LOT 80
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.)
PROVENANCE
Originally from the library of Harry Belafonte
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.'
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LOT 81
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.'
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LOT 82
PROVENANCE
Originally from the library of Harry Belafonte
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.'
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LOT 83
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.)
LOT 84
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.)
LOT 85
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.)
PROVENANCE
Acquired from Scheinbaum &Russek, Santa Fe, 1996
Photographs
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LOT 86
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.)
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.
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LOT 87
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.)
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
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LOT 88
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)
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LOT 89
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
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LOT 90
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.)
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
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LOT 91
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.)
LOT 92
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.)
LOT 93
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.)
LOT 94
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
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LOT 95
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.)
LOT 96
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.)
LOT 97
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.)
LOT 98
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.)
LOT 99
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.)
LOT 100
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.)
LOT 101
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.)
LOT 102
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.)
LOT 103
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.)
LOT 104
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.)
LOT 105
(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
LOT 106
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.)
LOT 107
(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
LOT 108
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
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LOT 109
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.)
LOT 110
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.)
LOT 111
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.)
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.)
LOT 113
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)
Various sizes to 13 by 9 in. (34.9 by 24.8 cm.) or the reverse
LOT 114
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.)
LOT 115
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.)
LOT 116
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.)
LOT 117
B. 1938 FRANCE
LOT 118
B. 1938 IRELAND
LOT 119
B. 1938 IRELAND
LOT 120
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.)
LOT 121
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.)
LOT 122
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.)
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.
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LOT 123
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
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.
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LOT 124
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.)
PROVENANCE
Frank H. Boos Gallery, 1 February 2001, Lot 795
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LOT 125
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.)
PROVENANCE
Frank H. Boos Gallery, 1 February 2001, Lot 797
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.
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LOT 126
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.
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LOT 127
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
Frank H. Boos Gallery, 1 February 2001, Lot 804
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LOT 128
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
Frank H. Boos Gallery, 1 February 2001, Lot 810
Photographs
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LOT 129
PROVENANCE
Frank H. Boos Gallery, 1 February 2001, Lot 799
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LOT 130
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
Frank H. Boos Gallery, 1 February 2001, Lot 805
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LOT 131
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.)
LOT 132
LOT 133
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.)
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.
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
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LOT 134
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)
Various sizes to 7 1/8 by 9 3/8 in. (18.1 by 23.8 cm.)
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
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
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LOT 135
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)
Various sizes to 13 5/8 by 8 7/8 in. (34.6 by 22.6 cm.)
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
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
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LOT 136
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.)
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
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LOT 137
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
Acquired from Robert Freidus Gallery, New York, circa 1980
Photographs
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LOT 138
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.)
LOT 139
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.)
LOT 140
ferrotyped, the photographer's name stamp in black ink on the reverse, 1930s
LOT 141
PROVENANCE
Sotheby's New York, 6 April 1993, Sale 6407, Lot 306
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 142
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.)
LOT 143
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.)
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:
Paris 2/XII
Moholy-Nagy
Fotogram
Material:
1 muzzle
1 child's rattle
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
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LOT 144
PROVENANCE
Gift of the sitter to graphic designer Robert Brownjohn, circa 1948, a student of László Moholy-Nagy at Chicago's Institute of
Design
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
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LOT 145
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.)
LOT 146
LOT 147
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
LOT 148
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
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 149
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.)
LOT 150
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
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LOT 151
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.)
LOT 152
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.)
PROVENANCE
Acquired from Scheinbaum &Russek, Santa Fe, 1995
Photographs
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LOT 153
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.)
LOT 154
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.)
LOT 155
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.)
LOT 156
LOT 157
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.)
LOT 158
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.)
LOT 159
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.)
LOT 160
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.)
LOT 161
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.)
PROVENANCE
Acquired from Alan Klotz Gallery, New York, 1992
Photographs
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LOT 162
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.)
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
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LOT 163
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
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LOT 164
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)
LOT 165
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.)
LOT 166
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.)
LOT 167
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.)
PROVENANCE
Acquired from Andrew Smith Gallery, Santa Fe, 1995
Photographs
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LOT 168
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
Acquired from Robert Freidus Gallery, New York, circa 1979
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 169
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
Acquired from Robert Freidus Gallery, New York, circa 1979
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 170
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
Acquired from Robert Freidus Gallery, New York, circa 1979
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 171
'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.)
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.)
LOT 173
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.)
LOT 174
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
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
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LOT 175
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
Acquired from Robert Freidus Gallery, New York, circa 1979
Photographs
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LOT 176
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.)
LOT 177
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
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LOT 178
circa 1976
5 1/4 by 5 3/8 in. (13.3 by 13.7 cm.)
PROVENANCE
Gift of the photographer to the present owner, when students together at the Rhode Island School of Design in the 1970s
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 179
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)
Various sizes to 18 by 12 in. (46.9 by 31.7 cm.) or the reverse
LOT 180
(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
LOT 181
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.)
EXHIBITION
Ithaca, Herbert F. Johnson Museum of Art, Cornell University, June - August 2000
Photographs
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LOT 182
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.)
LOT 183
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
Ithaca, Herbert F. Johnson Museum of Art, Cornell University, June - August 2000
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 184
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)
Each approximately 19 by 19 in. (48.3 by 48.9 cm.)
LOT 185
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.)
LOT 186
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.)
LOT 187
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.)
LOT 188
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.)
LOT 189
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
LOT 190
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.)
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
Ithaca, Herbert F. Johnson Museum of Art, Cornell University, June - August 2000
Photographs
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LOT 191
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.)
LOT 192
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.)
LOT 193
LOT 194
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.)
LOT 195
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
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 196
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.)
PROVENANCE
Acquired from Fahey/Klein Gallery, Los Angeles, 1999
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 197
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.)
LOT 198
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.)
LOT 199
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.)
LOT 200
signed and annotated in pencil on the reverse, framed, 1961, printed later
18 by 12 in. (47.6 by 31.7 cm.)
LOT 201
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.)
LOT 202
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
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LOT 203
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.)
AUTHENTICATION
The Peter Beard Studio has confirmed the authenticity of this lot.
PROVENANCE
Acquired from Fahey/Klein Gallery, Los Angeles, 2005
Photographs
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LOT 204
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.)
AUTHENTICATION
The Peter Beard Studio has confirmed the authenticity of this lot.
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 205
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
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LOT 206
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.)
LOT 207
signed, titled, dated, copyrighted, and editioned '12/25' in pencil on the reverse, framed, 1984 (Immediate Family, unpaginated)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)
LOT 208
signed, titled, dated, copyrighted, and editioned '11/25' in pencil on the reverse, framed, 1989 (Immediate Family, unpaginated)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)
LOT 209
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.)
LOT 210
signed, titled, dated, copyrighted, and editioned '7/25' in pencil on the reverse, framed, 1989 (Immediate Family, unpaginated)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)
LOT 211
signed, titled, dated, copyrighted, and editioned '4/25' in pencil on the reverse, framed, 1989 (Immediate Family, unpaginated)
7 7/8 by 9 3/4 in. (20 by 24.7 cm.)
LOT 212
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.)
LOT 213
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.)
LOT 214
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.)
LOT 215
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)
Each approximately 16 by 12 in. (40.6 by 30.5 cm.)
PROVENANCE
Acquired from Sonnabend Gallery, New York, 1998
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 216
(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.)
LOT 217
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.)
LOT 218
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)
Each approximately 28 by 21 in. (71.1 by 53.3 cm.)
PROVENANCE
The photographer to the present owner, 1998
Photographs
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LOT 219
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.)
LOT 220
color coupler print, signed in ink in the margin, mounted, framed, 1992
28 by 35 7/8 in. (71.1 by 91.1 cm.)
LOT 221
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.)
LOT 222
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.)
LOT 223
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.)
LOT 224
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.)
LOT 225
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.)
LOT 226
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.)
LOT 227
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.)
LOT 228
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.)
LOT 229
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.)
PROVENANCE
Acquired from Haines Gallery, San Francisco, 1998
Photographs
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LOT 230
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.)
PROVENANCE
Acquired from Galerie Jerome de Noirmont, Paris, 1999
Photographs
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LOT 231
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.)
LOT 232
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.)
LOT 233
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.)
LOT 234
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.)
LOT 235
LITERATURE
Stripped Bare, p. 105 (this print)
Photographs
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LOT 236
(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
Each approximately 9 by 12 in. (24.1 by 31.1 cm.)
PROVENANCE
The Mezzanine Gallery, The Metropolitan Museum of Art, mid 1990s
Photographs
New York | 13 Apr 2010, 10:00 AM & 2:00 PM | N08624
LOT 237
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.)
LOT 238
a group of 3 chromogenic prints, each unique, signed in pencil in the margin, dated in pencil on the reverse, 1994-96 (3)
Each approximately 8 by 8 in. (20.3 by 20.3 cm.)
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
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LOT 239
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)
Each approximately 16 by 23 in. (40.6 by 58.4 cm.)
LOT 240
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)
Each approximately 17 by 23 in. (43.2 by 58.4 cm.)
LOT 241
(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
Each approximately 13 by 10 in. (34.4 by 26.7 cm.)
LOT 242
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.)