Photographs from the Collection of Don Sanders

29 SEPTEMBER 2014 NEW YORK
20/21 PHOTOGRAPHS
TRIPLE XXX: PHOTOGRAPHS FROM THE COLLECTION OF DON SANDERS

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Photographs
13/08/14
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13/08/14
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International Calendar
Photographs
PARIS
13 NOVEMBER
THE COLLECTION OF
KASPAR M. FLEISCHMANN
PARIS
14 NOVEMBER
PHOTOGRAPHIES
PARIS
NEW YORK
23 SEPTEMBER–
7 OCTOBER
TRIPLE XXX:
HELMUT NEWTON
FOR PLAYBOY
ONLINE ONLY SALE
29 SEPTEMBER
PHOTOGRAPHS FROM
THE FORBES COLLECTION
NEW YORK
29 SEPTEMBER
PHOTOGRAPHS
NEW YORK
29 SEPTEMBER
TRIPLE XXX:
PHOTOGRAPHS FROM
THE COLLECTION OF
DON SANDERS
NEW YORK
18 NOVEMBER–
2 DECEMBER
THE CLASSICS
ONLINE ONLY SALE
LONDON
8–16 OCTOBER
PHOTOGRAPHS
ONLINE ONLY SALE

1
Front cover: Lot 367
© Sylvie Blum
Back cover: Lot 315
© Bettina Rheims
Triple XXX: Photographs from
the Collection of Don Sanders
Monday 29 September 2014
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AUCTION CODE AND NUMBER
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to as CALI-3458
CONDITIONS OF SALE
This auction is subject to
Important Notices, Conditions
of Sale and to reserves. [40]
AUCTION
Monday 29 September 2014
4.00 pm (Lots 301-379)
20 Rockefeller Plaza
New York, NY 10020
VIEWING
Friday 26 September 10.00 am - 5.00 pm
Saturday 27 September 10.00 am - 5.00 pm
Sunday 28 September 1.00 pm - 5.00 pm
Monday 29 September 10.00 am - 5.00 pm
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2 Photograph by Jerry Jones, Houston

The Patron
Don Sanders is a truly unique collector. He matches
the intense passion and focus of his collecting with a
tremendous enthusiasm, generosity, and friendship
towards those artists that he works with. It is a
rare combination, and as an artist it gives rise to
enormous creative energy and support. Don never
does anything halfway. When he is excited about an
idea for a project his commitment and spirited energy
are boundless.
A number of years ago, Don and I were having dinner
in Houston. He asked me if I had any ideas for a new
project. I mentioned that I had just come across some
new fgurines from Japan that I thought would make
for an interesting series. Don immediately said “Let’s
do it,” and two days later when I returned to New
York there waiting for me was a wonderful letter and
a check from Don telling me to let him know when I
needed anything more.
I can’t begin to express how wonderful it has been
to work with Don, and how honored I am to be a
part of his collection. But most of all it has been his
friendship for well over a decade that has meant the
most to me.
David Levinthal

The Collector
Early in our friendship Don told me that he had been a photographer as
a young man and paid for his education making prints for the football
team.
This immediately told me that he was a man who was collecting from the
inside out...which is to say he loved and understood photography as a
medium. This fact has informed his approach from the very beginning. He
understood the creative process in the photographer and would apply this
perception to the works he considered for acquisition.
There are two kinds of photography collections, one being the pursuit of
a large number of mostly single images of a large group of artists or rather
a more committed approach in which the collector attempts to create
a kind of raisonné...a large group of images from a single artist that is
representative of the work over a longer period of time. Once a collector
commits himself to an artist work he subsequently becomes an enthusiast
of the artist and thus builds his collection in depth. To this end the Don
Sanders collection has become an unprecedented monument to the
human fgure as a contemporary form of investigation. The overall depth of
the collection reveals many great icons and many interesting discoveries as
well as theoretical examinations and variations
on themes.
This is a rare bird that has fown into Christie’s...
Ralph Gibson

301
DAVID LACHAPELLE (B. 1963)
Naomi Campbell for ‘Playboy’, December 1999
9 archival pigment prints
each with embossed Playboy credit stamp (in the margin);
each with photographer/model credit, initialed and dated
by Aaron Baker, Playboy curator, in ink (on the verso)
image: each 15Ω x 20in. (39.5 x 50.8cm.) or the reverse
sheet: each 20 x 24in. (61 x 50.8cm.) (9)
$25,000-35,000
PROVENANCE:
Acquired directly from Playboy Enterprises, Inc.
L I T E R A T U R E :
David Lachapelle, Giunti Arte Mostre Musei, Giunti Editore,
2007, no. 175, p. 308
6

7
302
HELMUT NEWTON (1920-2004)
2 Playmates, Hollywood, 1986
gelatin silver print, printed later
signed, titled, dated and inscribed ‘For Joshua’
in red wax pencil (on the verso)
image: 19¿ x 19in. (48.7 x 48.3cm.)
sheet: 24 x 20in. (61 x 50.7cm.)
$25,000-35,000
PROVENANCE:
With A Gallery for Fine Photography, New Orleans
Playboy/Helmut Newton, Chronicle Books, 2005, pp.130-131

8
Sante’s acceptance of his subjects’ good looks is without apology, faithful as he is to the essence of
photography as vanitas, a ghostly reminder that the sole beauty we know is feeting beauty.
PROVENANCE:
Acquired directly from the artist
Fahey, ed., Sante D’Orazio: A Very Private View, Penguin/Melcher
Media, 1998, n.p.
303
SANTE D’ORAZIO (B. 1956)
Stephanie Seymour for ‘Playboy’, 1992
25 archival pigment prints, printed 2000s
each signed, titled, dated, numbered ‘AP’ in pencil and copyright
credit reproduction limitation stamp (on the verso)
image: each 15 x 12in. (38.2 x 30.5cm.) or the reverse
sheet: 19 x 13in. (48.3 x 33.1cm.) (24)
$30,000-50,000
—Francesco Clemente

9
304
RICHARD AVEDON (1923-2004)
Stephanie Seymour, Model, Robe by Comme des Gar/ons,
NYC, May 9, 1992
gelatin silver print, printed 1993
signed in stylus (in the margin); signed, dated ‘1993’, numbered
‘10/25’ in pencil, copyright credit reproduction limitation, title,
date and edition stamps (on the verso)
image: 22 x 17Ωin. (56 x 44.5cm.)
sheet: 24 x 20in. (61 x 50.7cm.) (2)
$60,000-80,000
PROVENANCE:
With Fraenkel Gallery, San Francisco
Wisniak, ‘Stephanie Seymour’, Egoiste, no. 12, 1992, n.p.;
Avedon, An Autobiography, Random House, 1993, pl. 181;
Livingston and Gopnik, Evidence, 1944-1994, Random House,
1994, p. 167; Avedon Fashion 1944-2000, Harry N. Abrams,
2009, p. 349

305
Evi as Cop, Half-Naked and
Dressed, Beverly Hills, March, 1998
gelatin silver print diptych
each signed, titled, dated and numbered ‘1/6’
in pencil (on the verso)
image/sheet: each approximately 60 x 40in.
(152.4 x 101.6cm.) (2)
$100,000-150,000
PROVENANCE:
With A Gallery for Fine Photography,
New Orleans
Heiting, ed., Helmut Newton: Work, Taschen,
2000, pp. 190-191
10

306
INES VAN LAMSWEERDE (B. 1963) AND VINOODH
MATADIN (B. 1961)
My Little Darling Trish, 2003; and ‘Oh Trish’, 2006
oversized archival pigment print, accompanied by a unique
suite of 25 archival pigment prints, printed 2010
(oversized print) signed in ink on a gallery label affxed
(on the frame backing); number ‘4’ from the edition of 6;
(portfolio) each consecutively numbered in pencil (on the verso);
each number ‘18’ from the edition of 25; contained in a large folio
clamshell box
My Little Darling Trish, image: 53æ x 43æin. (136.5 x 111.1cm.)
Oh Trish, image, each 22º x 18in. (56.5 x 45.7cm.)
sheet: 30 x 20in. (76.2 x 50.7cm.) (26)
$40,000-60,000
PROVENANCE:
My Little Darling Trish, 2003:
With Matthew Marks Gallery, New York;
with Modernism, Inc., Los Angeles
Oh Trish, 2006:
Acquired directly from the artists

I feel a true spirit of myself captured in their photos.
PROVENANCE:
Please see lot 306
Lamsweerde and Matadin: Pretty Much Everything, Taschen, 2011, Vol. I, p. 11
307
INES VAN LAMSWEERDE (B. 1963) AND
VINOODH MATADIN (B. 1961)
‘Oh Trish’, 2003; and ‘Trish’, 2008
oversized archival pigment print, accompanied
by a unique portfolio of 10 archival pigment prints;
(oversized print) signed in ink on a gallery label affxed
(on the frame backing); number ‘4’ from the edition of 6;
(portfolio) each consecutively numbered in pencil
(on the verso); text insert, signed in ink by the artists
(on the illustrated list of plates) each number ‘18’ from
the edition of 25; contained in a large folio clamshell box
Oh Trish, image/sheet: 50¬ x 40¬in. (128.5 x 103.2cm.)
Trish Portfolio, image, each 14 x 11ºin. (35.5 x 28.5cm.)
sheet: 16 x 13in. (40.5 x 33cm.) (11)
$30,000-50,000
—Lady Gaga
Working together for twenty-fve years, cult photographers Inez Van Lamsweerde and
Vinoodh Matadin are primarily known for their quirky fashion work with a host of
fashion and pop celebrities, including Kate Moss (see lot 310), Björk and Lady Gaga.
The couple have long dabbled in fne art photography and in 2012 Gagosian mounted
a mid-career retrospective of their work in its Paris and Los Angeles galleries, which
included digitally-altered self-portraits and a new series of fower still-lifes.
The two following lots, 306 and 307, are portraits of American supermodel Trish
Goff. Having frst acquired these oversized prints, Don Sanders then commissioned the
artists to create two unique portfolios of the model—in sweater and naked—with the
remaining shots from the contact sheets of each sitting.

308
Roselyne, Arcangues, 1975
gelatin silver print
signed, titled, dated, numbered ‘1/3’ in pencil and Monte Carlo
copyright credit reproduction limitation stamps (on the verso)
image: 22¡ x 15¿in. (56.7 x 38.3cm.)
sheet: 24 x 20in. (61 x 50.7cm.)
$20,000-30,000
14
PROVENANCE:
Blonsky, ed., Helmut Newton: Private Property, Schirmer’s, 2004,
pl. 133; Newton, White Women, Schirmer/Mosel, 2010, p. 160

15
I apologized to Kate Moss for how I made her look. And she
said, ‘Oh, I’ve had enough pretty pictures made of me. But I
always say, It doesn’t matter how it looks now. In 20 years
you’ll look back and say, ‘Gee, I really look great.’
—Chuck Close
309
CHUCK CLOSE (B. 1940)
Kate Moss, 2003
gelatin silver print diptych, printed 2005
signed, dated and numbered ‘12/25’ in
pencil (in the margin)
image: 9¿ x 6æin. (23.3 x 17.3cm.) top;
and 8¬ x 6æin. (22 x 17.3cm.) bottom
sheet: 21æ x 17in. (55.4 x 43.4cm.)
$20,000-30,000
W Magazine, September 2003, the original
daguerreotypes illustrated in a 40-page
portfolio of Kate Moss; Kismaric and
Respini, Fashioning Fiction in Photography
Since 1990, The Museum of Modern Art,
2004, p. 131, fg. 1, top image.

310
INEZ VAN LAMSWEERDE (B. 1963) AND VINOODH
MATADIN (B. 1961)
Kate/Bride, ‘W’ Magazine, 2003
archival pigment print
credit label with printed title, date, number ‘AP’ and accompanied by
a note, signed by both artists, in ink affxed (on the frame backing)
image: 21æ x 16√in. (55.3 x 43cm.)
sheet: 24 x 20in. (61 x 50.7cm.)
$10,000-15,000
16
W Magazine, September 2003; Lamsweerde and Matadin: Pretty Much
Everything, Taschen, 2011, Vol. II, p. 64
The artists’ accompanying note reads as follows:
‘Dearest Don:
Herewith the beautiful Kate. It comes with a signed label as we felt it was a
shame to write on the great print. Hope you agree. Much love’

17
311
‘Big Lady, Little Lady’, Pictorial for ‘Playboy’,
August 1977
25 archival pigment prints, printed later
each with Newton/Playboy credit stamp (on the verso)
image: each 20 x 13Ωin. (50.7 x 33.7cm.) or the reverse
$30,000-50,000
PROVENANCE:
Playboy: Helmut Newton, Chronicle Books, 2005, n.p.
Newton’s depiction of a tall blonde whose only garment is a
black cloak that she has draped over her dark-haired, blindfolded
companion—a diminutive woman—as the two, in their high heels,
preoccupied, as if on a mission, stride rapidly past a statue of a
young man—may owe its composition to The Story of O, a book
Newton admired. The tantalizing ambiguity—at frst glance the
miniscule woman could be mistaken for a child—thrusts the viewer
into a perverse reaction. It’s as if Newton was intent on leading the
observer into an emotional labyrinth.
—Walter Abish

How I work with my models...We spend time together, know each other, family to family, for years.
We are friends. And once in a while we make pictures together... After empathy, I believe that there is
no more important aspect of character in a photographic artist than humility. Our best images so often
arrive by chance. We are entirely dependent on what is outside us, in the world, for our art. Without
a subject, without models, we are nothing and thus, in my own mathematics, I never consider myself
more important than the people I photograph. Without them I don’t exist. Nope.
312
JOCK STURGES (B. 1947)
‘Montalivet, France’, 2010
a unique suite of 20 archival pigment prints
each signed, titled, dated, numbered ‘AP1’ in pencil and
copyright blindstamp (in the margin); accompanying text
insert, signed in ink; contained in customized large folio box
image: each 18Ω x 14¬in. (47 x 37.3cm.) or the reverse
sheet: each 20 x 16in. (50.7 x 61cm.)
$15,000-25,000
PROVENANCE:
18
—Jock Sturges
Every summer for the past 34 years, Jock Sturges has been photographing
in Montalivet, a beautiful and unspoiled seaside retreat in the South
of France which boasts one of the oldest naturalist colonies anywhere.
Don Sanders has been given the pick of the work made during these
retreats since the early 2000s, resulting in exceptional and unique suites
of photographs. See lots 344 and 356 for other examples of the artist’s
work taken in this idyllic location.

19
313
BETTINA RHEIMS (B. 1952)
X-Mas I, Milk and Honey, Paris, November 1999
chromogemic print, fush-mounted on aluminum
signed, titled, dated, numbered ‘1/7’ and notation ‘BR2139’
on the accompanying label affxed (on the frame backing)
image/fush-mount: 32Ω x 40in. (82.6 x 101.6cm.)
$15,000-25,000
Rheims, X-Mas, Kehayoff Verlag, 2003, n.p.

20
314
THOMAS RUFF (B. 1958)
Untitled (Nude), 2002
archival pigment print, printed 2006
signed, dated and numbered ‘37/100’ in
pencil (on the verso)
image: 14º x 8ºin. (36.3 x 21cm.)
sheet: 16Ω x 12in. (42 x 30.5cm.)
$7,000-9,000
PROVENANCE:
With Thomas Levy Gallery, Albuquerque,
New Mexico
Ruff, Nudes, Harry N. Abrams, 2003

21
I am a writer with images and the funny thing is that my work, every project, starts with a list of words.
315
‘Art is a Word’, Paris, November 1988
signed, titled, dated and numbered ‘2/15’ in ink (on the verso)
image: 18 x 18in. (45.7 x 45.7cm.)
sheet: 26 x 26in. (66 x 66cm.)
$7,000-9,000
PROVENANCE:
With Gallery Sho, Tokyo
—Bettina Rheims
Kehayoff ed., Bettina Rheims: Female Trouble, Schirmer Art Books,
1991, p. 20

316
‘Helmut’s Angels’ for ‘Playboy’, Pictorial Outtakes,
May 1988
2 gelatin silver prints
each signed, dated and annotated ‘Taken by Helmut Newton for
Playboy’ by Aaron Baker, Playboy Curator, in pencil (on the verso)
image: each 14 x 14in. (35.5 x 35.5cm.)
sheet: 20 x 16in. (50.7 x 40.5cm.) (2)
$10,000-15,000
22
PROVENANCE:
Playboy: Helmut Newton, Chronicle Books, 2005, pp. 81-83

23
317
GÜNTER BLUM (1949-1997)
The Polaroid Collection: Erotisches
Tagebuch, I, II and III, 1999
a unique suite of 158 gelatin silver and
chromogenic prints
each with embossed credit and 1999
blindstamp (in the margin); each signed,
variously titled, variously dated, inscribed
‘For Don kissed by Günter Blum’ in ink
and credit, date and edition ‘1/1’ stamp
(on the verso); accompanied by a note
and postcard inscribed to Don Sanders
by Günter and Sylvie Blum respectively;
and a 4to. volume, Erotisches Tagebuch,
Umschau/Braus Verlag, 1999; contained in
three large 4to clmashell boxes with credit
labels affxed (on the inside lid)
sheet: each 14 x 11in. (35.5 x 28cm.) (3)
$20,000-30,000
PROVENANCE:

318
Claude dans Mon Studio, Paris, November 1988
signed, titled, dated, numbered ‘4/15’ and edition annotation in
17æ x 17Ωin. (45.1 x 44.5cm.)
sheet: 24 x 20in. (61 x 50.8cm.)
$4,000-6,000
PROVENANCE:
24

319
‘Les Espionnes’, Valerie I; and Ingrid I and II, 1999
3 gelatin silver prints, printed 2007
each signed, titled, dated, numbered ‘2/15’ and edition annotation in
each 22æ x 17Ωin. (55.2 x 44.5cm.)
sheet: 24 x 20in. (61 x 50.8cm.) (3)
$10,000-15,000
25
PROVENANCE:

320
Big Nudes, 1993
each signed, titled, dated, numbered ‘7/15’, Monte Carlo copyright
credit reproduction limitation stamp and stamped ‘Published by
Galerie Sho Multiples, 1994’ (on the verso)
image: each 18¡ x 14¬in. (46.7 x 37.3cm.)
sheet: 20 x 16in. (50.7 x 40.5cm.) (5)
$50,000-70,000
26
PROVENANCE:
With Galerie Sho, Tokyo

320
I was fatally fascinated by their size (grandeur nature) and simplicity.
—Helmut Newton

‘One day in the year 1980 I found in a German newspaper a reportage showing the offces of the special German
police anti-terrorist unit called “Die Fahdungstelle G5-G9.” They were entrusted with the hunting down of
the Baader-Meinhof Gang. I cut these pictures out of the newspaper and kept them by my side for a long time.
After a long time I decided to create a series of female nudes in the spirit of a passport photo, shot against a white
background, lit very simply by one strobe light from the side with a prominent shadow on the seamless paper.
For a long time I referred to this body of work as “The Terrorists”. Much later they became “The Big Nudes.”
321
Paris (‘Big Nudes’ shoot), 1980
a suite of 26 gelatin silver prints
each signed, titled ‘Paris’, dated, dates ‘1/3’ in pencil and Monte
Carlo copyright credit reproduction limitation stamps (on the verso);
accompanied by a letter on Newton’s stationery, signed, dated
December 12, 2002 and extensively annotated in ink
image: each approximately 7¡ x 11ºin. (19 x 28.5cm.) or the reverse
sheet: each approximately 9 x 12in. (23 x 30.5cm.) (27)
$150,000-250,000
PROVENANCE:
Newton, Pola Woman, Schirmer Art Books, 1992; Newton, Mes
derniers nus, Vallois, 1994, pl. 7, captioned ‘Grand Nu XI- Verina,
Nice 1993’; heiting, ed., Helmut Newton: Work, Taschen, 2000, p.
171-175; Lamarche-Vadel, ed., Helmut Newton, Editions du Regard,
1981, p.52-53; Garner, Helmut Newton, Sex and Landscapes, Taschen,
2004; p. 32, Lagerfeld, Helmut Newton 47 Nudes, Thames and
Hudson, 1982, p. 49-51; Newton, Big Nudes, Schirmer/Mosel, 1990,
n.p.; Helmut Newton aus dem Photographischen Werk, Schirmer/Mosel,
1993, p.61-62; Newton, Pages from the Glossies: Facsimiles 1956-1998,
Scalo, 1998, p. 434-435 (facsimile of original Vogue publication);
Although numbered ‘1/3’, this set of 28 prints from Newton’s extraordinary
‘Big Nudes’ shoot is actually one of only two in existence. The other set is
held by the Newton Estate in Berlin.
28
—Helmut Newton

30
322
LEE FRIEDLANDER (B. 1934)
Madonna, 1979
signed in pencil, copyright credit reproduction
limitation and date stamps (on the verso)
image: 13 x 8¬in. (33 x 22cm.)
sheet: 14 x 11in. (35.5 x 28cm.)
$20,000-30,000
PROVENANCE:
With Hamburg Kennedy Photographs, New York
Friedlander, Nudes, Jonathan Cape, 1991, pl. 62

323
MARTIN SCHREIBER (B. 1946)
Madonna Nudes, New York City, 1979
each with credit blindstamp (on the recto); each signed, titled and
dated in ink (in the margin); accompanied by an exhibition catalogue,
signed, dated 2009 and inscribed ‘To Don: the true collector! Thank
you for your patronage!’ in ink (on the title page)
image: each 11º x 11in. (28.4 x 28cm.)
sheet: 16 x 12in. (40.5 x 30.5cm.) (45)
$30,000-50,000
31
PROVENANCE:
Martin Schreiber: Madonna Nudes, 1979, CDA Projects, Istanbul,
October 8-27, 2010 (exhibition catalogue)
These elegant and intimate portraits bring us a step closer to Madonna
before she was engulfed in the blaze of limelight for the next four decades.
They were created by Martin Schreiber, an American photographer/sculptor
now living in France, who has published 11 books on his various
art projects.
Large-format prints contact sheets of the sitting will be offered in the
following lot, 324.
In 1979, I was teaching nude photography at Parsons school
in New York. I needed models for the course and one day a
20-year-old called Madonna Ciccone showed up. She was just
another citizen, a girl trying to make ends meet. She did it for
the money, in this case $30. She was relaxed, composed, did
as asked...
I was into the body as a sculptural form in those days.
I’d bend or twist models to see what I could create. It was
experimental. She was very comfortable with her body, and
with being shot by 15 students. In January 1985, I saw her
on the cover of Interview magazine and thought: “Wow,
I know her.” Five months later, she was on the cover of
Time magazine as Madonna. I called the art director at
‘Penthouse’. One thing led to another and, eventually, in
September 1985, ‘Playboy’ published a series of photographs.
—Martin Schreiber

33
324
MARTIN SCHREIBER (B. 1946)
Madonna, New York City, A and B, 1979
2 gelatin silver contact sheets, printed 2009
annotated respectively ‘A’, ‘B’ in red wax pencil and
embossed credit stamp (on the recto); each signed, titled,
dated, and numbered ‘5/25’ in ink (in the margin)
image: (A) 18 x 20in. (45.7 x 50.7cm.); and (B) 15 x 22¿in.
(40 x 56.2cm.)
$7,000-9,000
PROVENANCE:
The 45 prints from this sitting are offered in the previous lot, 323
325
AKIRA GOMI (B. 1953)
Yellows (49 Daughters), 1993
a unique photocollage of 49 chromogenic Polaroid prints
image/sheet: 8Ω x 7in. (21 x 17.8cm.) (each)
overall sheet: 61 x 48in. (154.9 x 121.9cm.)
$20,000-30,000
PROVENANCE:
From the collection of Eikoh Hosoe
In 1989, Akira Gomi, hitherto a fashion photographer for various Japanese
publications, began photographing young Japanese women to record
typical body types. In 1991, all copies of Gomi’s frst monogram Yellows
1.0 were destroyed by the authorities because of the artist’s inclusion of
pubic hair in these photographs. The incident was a cause célèbre in Japan.
Two years later in 1993, however, he was able to reprise the work in
Japan’s frst CD-ROM photo collection.
Gomi subsequently released two further Yellows series, 2.0 and 3.0.

326
NOBUYOSHI ARAKI (B. 1940)
Shiki In Me, 2006
a unique photocollage of 9 gelatin silver prints with multicolored
acrylic paint handwork
title and date on a printed label (affxed on the frame backing board)
image/sheet: each 20æ x 15ºin. (52.8 x 38.7cm.)
image: 65Ω x 54in. (166.4 x 137.1cm.) overall
mount: 69Ω x 57Ωin. (176.5 x 146cm.)
$20,000-30,000
34
PROVENANCE:
With Taka Ishii Gallery, Tokyo
Sagawa, ed., Nobuyoshi Araki: Shiki In Me, Artone, 2006, n.p.
Don Sanders is a friend and patron of Nobuyushi Araki, with possibly the
largest holdings of the prolifc Japanese artist’s work in private hands.
Please refer to lots 327, 350, 353 and 365 for other important examples of
Araki’s extraordinary output in the collection.

35
I wanted to molest women who had become monochrome, it made me want to paint color on prints.
327
Shiki In Me #19, 2006
a unique photocollage of 9 gelatin silver prints with multicolored
acrylic paint handwork
title and date on a printed label (affxed on the frame backing board)
image/sheet: each 20æ x 15ºin. (52.8 x 38.7cm.)
image: 65Ω x 54in. (166.4 x 137.1cm.) overall
mount: 69Ω x 57Ωin. (176.5 x 146cm.)
$20,000-30,000
—Nobuyoshi Araki
PROVENANCE:
Sagawa, ed., Nobuyoshi Araki: Shiki In Me, Artone, 2006, n.p.

The important truth is that models know vastly better how to be themselves than any photographer ever can.
If you are smart
you
will
leave
them
be!
PROVENANCE:
Jock Sturges frst encountered Misty Dawn in 1976 at a commune near his
brother’s house in Northern California. Completely comfortable in her own skin
and happy to pose for the young photographer, she quickly became a favorite
model and has been photographed a great deal by the artist. Please see lot 342
for a unique suite of charming color portraits of the sitter.
328
‘Misty Dawn, Northern California: Black &
White’, 2007
a unique suite of 39 gelatin silver prints
each signed, titled, dated and numbered ‘1/15’ in pencil
(on the verso); accompanying text insert, signed in ink;
contained in customized large folio box
image: each 22√ x 18√in. (58 x 48cm.) or the reverse
sheet: each 24 x 20in. (61 x 50.7cm.)
$20,000-30,000
—Jock Sturges

37
329
LUCIEN CLERGUE (B. 1934)
Untitled (Not Visible), 1990s
a unique photocollage of 9 chromogenic
Polaroid prints
one signed in ink (in the margin)
image/sheet: each 4º x 3Ωin. (10.7 x 9cm.)
image: 11 x 10in. (27.9 x 25.4cm.) overall
$7,000-9,000

330
GUIDO ARGENTINI (B. 1966)
‘Rasika’, 2007
a suite of 22 chromogenic prints
each signed, titled, dated and numbered ‘1/3’ in ink (in the margin);
contained in a customized square folio clamshell box
sheet: each 17 x 17in. (43.2 x 43.2cm.)
$15,000-25,000
PROVENANCE:
38

331
MARCO GLAVIANO (B. 1942)
Kylie Bax for ‘Playboy’, March 2001
8 unique archival pigment prints
each with number ‘1/1’ in ink and Playboy embossed credit stamp
(in the margin); each with photographer/model credit, initialed and
dated by Aaron Baker, Playboy Curator, in ink (on the verso)
image: each approximately 20 x 15in. (50.8 x 38.1cm.) or the reverse
$12,000-18,000
39

These prints are spectacular! Amazing!
332
TIMOTHY GREENFIELD-SANDERS (B. 1952)
‘XXX’, 2004
a unique series of 20 unique archival pigment print diptychs
each signed, with sitter credit and numbered ‘1/1-A’ or ‘1/1-B’
in pencil (in the margin); contained in four customized boxes;
accompanied by a printed list of sitter credits, signed and inscribed
in ink (on the artist’s letterhead)
image: each 21Ω x 17¿in. (54.6 x 43.3cm.)
$50,000-70,000
PROVENANCE:
Greenfeld-Sanders, XXX: 30 Porn-Star Portraits, Bulfnch Press, 2004
40
—Timothy Greenfeld-Sanders
In 2003, inspired by Boogie Nights, a Hollywood flm about the private lives
of porn-stars, Timothy Greenfeld-Sanders began a new series of portraits
on this theme.
His subjects include a wide range of actors in the business—men and
women, young and old, superstars like Jenna Jameson (the leading porn
star of our time) and Nina Hartley, as well as aspiring ‘starlets’ like Bella
Donna and Sunrise Adams.
According to Greenfeld-Sanders, his goal was not to pass judgment
on these actors but rather to expose their essential dignity, beauty,
and humanity—their ‘ordinariness’. To this end, he asked them to act
naturally in front of the camera and avoid any kind of deliberately sexy or
‘professionally’ provocative stance.
The resulting images, published in 2004 as XXX: 30 Porn Stars, are
compelling. They reveal not only the marked individuality of each sitter, but
also the difference between their on and off-screen presence. The project
was also flmed by both HBO and CBS (for 60 Minutes).
Lot 332 is a unique suite of 20 diptych portraits from this original series
(minus its male protaganists), especially commissioned by Don Sanders.

42
One might speculate that Levinthal’s XXX images could
easily fnd themselves published in Hustler magazine or
hung as decoration in a strip joint or used as evidence in yet
another round of hearings to defund art endowments or to
close down ‘offensive’ exhibitions. Perhaps a more interesting
exercise might involve placing this work on the continuum
that progresses from the Venus of Willendorf (25,000 BC),
to historic nudes analyzed by Kenneth Clark or John Berger,
to the Kinsey Institute photo archive, to Jeff Koons’ Made in
Heaven series (1991).
What is important here is the fact that in the XXX images
by David Levinthal, no actual women are depicted. We place
ourselves in the physical presence of the XXX fgures by
looking at them through the ‘window’ of the photographic
frame. There is no small degree of irony in the idea that
the original models are only twelve inches tall, yet by
photographing them, in effect increasing our separation from
these models by an additional order of magnitude, the very
artifce of photography makes them seem even more real. For
all their detail, their loaded iconography and their immediate
presence in our physical and cultural space, it is important to
remember that, in an updating of Ren) Magritte’s infamous
statement, Ceci n’est pas une nue.
—Jeff Speer

43
333
DAVID LEVINTHAL (B. 1949)
‘XXX’: Volumes I, II and III, 1999-2001
a unique suite of 272 Polacolor ER Landflm prints
each signed, dated and numbered ‘A/P’ (in the margin); contained
in 6 customized large folio boxes; accompanied by an illustrated
inventory list of the prints bound in three 4to. red leather volumes
with impressed title (on the cover)
$250,000-350,000
PROVENANCE:
Speer, ‘Ceci n’est pas une nue: David Levinthal’s XXX series’, 21st:
The Journal of Contemporary Photography, Vol. 5, ‘Strange Genius’,
2001; Levithal, David Levinthal:XXX, Galerie Xippas, 2000, n.p.
Talking to David Levinthal about this typically disconcerting series of nudes
is fascinating.
According to the artist, he frst encountered the raw doll kits, which
he photographed for XXX, at Village Comics, a now-defunct novelty
store in New York City. Over the next few months, Levinthal bought
a considerable number of the kits which were then sent to specialist
‘Pygmalions’ who breathed life into these mini Galateas with paint, hair
and costumes. Such was Levinthal’s fascination with his resulting army of
dolls that XXX is his largest body of work to date. Don Sanders is the only
collector to have acquired all 272 prints in Levinthal’s highly-important and
typically controversial series. This therefore provides the only opportunity
of acquiring the complete set.

334
‘At Your Service’, featuring Eva Tettamanti,
Pictorial for ‘Playboy’, August 1993
8 chromogenic prints and 4 maquettes for the pictorial with 8
mounted color half-tones
(prints) each signed and annotated ‘Taken by Helmut Newton for
Playboy 8/93’ by Aaron Baker, Playboy Curator, in ink (on the
verso); (maquettes for the pictorial) various initials, including Hugh
Hefner’s, title, dates, extensive annotations and Playboy credit in ink
in various hands (on the mount)
image (prints): each 15Ω x 10¡in. (39.4 x 26.4cm.) or the reverse
sheet (prints): each 16 x 12in. (40.5 x 30.5cm.)
mount (maquettes): 14º x 22ºin. (35.5 x 56cm.) overall (8)
$40,000-60,000
PROVENANCE:
Helmut Newton, Sex and Landscapes, Taschen, 2004, p. 27
50

HelmUt nefiton PRIVATE PROPERTY
Helmut Newton with a Private Property portfolio, 1985
Helmut Newton created his Private Property portfolio in
1983. The objective was to constitute an anthology of
images that would represent the range of his achievement
through the preceding ten years. He eventually selected
forty fve subjects, to be presented in three suites of
ffteen. Each suite includes exemplary photographs
that demonstrate the unique way in which this brilliant
photographer drew together the disciplines of fashion,
portraiture and the erotic. Private Property includes
numerous images that have become icons = Elsa Peretti in
a ‘Bunny’ Costume by Halston, Woman into Man, Offce
Love, Tied-Up Torso, Self-Portrait with Wife and Models,
Woman Examining Man and the naked Sie Kommen, to
name but a few.
This was a quarter century ago. Newton engaged in the
project with a characteristically single-minded focus. He
arranged for an American master printer, Thomas Consilvio,
to work in a South of France darkroom so that he could
keep a very close control of the process from his Monte
Carlo home. Newton had no desire to spend time in the
darkroom, but he knew exactly the results that he wanted
and he was an exacting taskmaster. The full edition of
seventy fve was printed to his satisfaction and to high
archival standards. Newton considered how to package the
prints, and the choice of off-the-shelf, heavy-duty boxes
with webbing straps and handles and stencilled titles suited
his instinct for something tough, functional and wilfully
non-precious.
Though Newton was enjoying considerable professional
success at the time Private Property was published, the
market was not yet responding as it does today to the
work of the great photographers of the post-war years.
Newton’s print market was in its infancy. By the time
twenty or so portfolios had found buyers, he was focused
on other projects and decided that no further sets should
be sold. There is no intention ever to release the balance
into the market place, making this in effect an edition of
no more than twenty fve. A number of the sold sets have
been broken and in recent years we have seen a growing
demand for the individual prints when they become
available. The opportunity to acquire a complete set is today
a very rare one. With the passage of time the importance
of this portfolio has become ever more evident. It is a
landmark representation of an exceptional photographer at
the height of his creativity.

335
‘Private Property, Suites I, II and III’, 1984
the complete set of 45 gelatin silver prints (15 in each suite);
each signed, consecutively numbered by print, ‘1-15’, by suite
‘I-III’, edition ‘24/75’ in pencil and portfolio copyright credit
reproduction limitation stamp (on the verso); varying sizes from
10 x 10in. (26.8 x 26.8cm.) to 9 x 14in. (24.1 x 35.5cm.):
each overmatted and contained in an individual hard-shell
carrying case, with stenciled title (on the lid)
$250,000-350,000
Newton, Helmut Newton: Private Property, Schirmer’s Visual
Library, 1990.

Private ProPerty:
Suite 1
54

57
Private ProPerty:
Suite 2

336
SYLVIE BLUM (B. 1967)
‘Big Sylvie’, Self Portrait, 2001
oversized gelatin silver print
signed, dated and numbered ‘1/3’ in ink
(in the margin)
image: 65 x 31Ωin. (165 x 80cm.)
sheet: 72Ω x 37æin. (184 x 95.9cm.)
$7,000-9,000
PROVENANCE:
Acquired directly from the artist.
Austrian-born Sylvie Blum began a career as a
fashion model, working for such luminaries as
Helmut Newton, Jeanloup Sieff and Jan Saudek.
In 1991 she met photographer Günter Blum
and became his muse. The couple married four
years later.
After Günter’s premature death in 1997, Sylvie
became a successful photographer, writer and
producer in her own right.
Don Sanders has been a friend a patron of both
Günter and Sylvie Blum for a number of years.
Other unique bodies of work by the couple are
being offered elsewhere in the sale—lots 317
(Günter) and 368-368 (Sylvie).
336
337
Claudya Desout avec des Gants,
Paris, Octobre 1987
archival pigment print, printed later
signed, titled, dated, numbered ‘I/III’ and
notation ‘BR287’ (on the reverse of the
fush-mount)
image/sheet/fush-mount: 42º x 55Ωin.
(107.3 x 140.9cm.)
$15,000-25,000
PROVENANCE:
With Cook Fine Art, New York
Walther, ed., Art of the Twentieth Century,
Part 1, Taschen, 2000, p. 656

63
338
Mains de Vie, 2001
unique gelatin silver print photocollage with drawings in ink
and colored pencils
signed in ink (on the mount); signed (twice), titled and dated (twice)
in pencil (on the mount)
print: 5Ω x 8ºin. (14 x 21cm.)
mount: 19º x 19ºin. (49 x 49cm.)
$7,000-9,000
PROVENANCE:
339
Nhe de la Vague, c. 1980
signed and numbered ‘33/50’ in ink (in the margin)
image: 20Ω x 6in. (52.2 x 15.3cm.)
sheet: 23 x 8¬in. (58.5 x 22cm.)
$3,000-5,000
PROVENANCE:
339

340
EDWARD WESTON (1886-1958)
Nude, NM, 1937
2 gelatin silver prints, printed later by Cole Weston
each signed, titled, dated, respective notations ‘NM-A-N1G’,
‘NM-A-N2G’ by Cole Weston in pencil and credit stamp
(on the reverse of the mount)
image/sheet: each approximately 9Ω x 7¡in. (24 x 19cm.)
or the reverse
mount: 15 x 13æin. (38 x 33.5cm.) (2)
$10,000-15,000
64
PROVENANCE:
Acquired directly from Cole Weston

—Bruce Chatwin
65
In session after session, Lisa posed as bride, broad, doll, moll, playgirl, beach-girl, bike-girl, gym-girl, and boy-girl;
as frog-person, mud-person, famenco dancer, spitualist medium, archetypal huntress, circus artiste, snake-woman,
society woman, young Christian, and kink.
341
ROBERT MAPPLETHORPE (1946-1989)
Lisa Lyon, 1980
signed, dated and numbered ‘3/15’ in ink (in the margin);
signed, title, date, number ‘3/15’, MAP notation ‘572’ in
pencil/ink and copyright credit reproduction limitation stamp
(on the reverse of the fush-mount)
image: 14 x 14in. (35.5 x 35.5cm.)
sheet/fush-mount: 20 x 16in. (50.7 x 40.5cm.)
$10,000-15,000
PROVENANCE:
With Sean Kelly Gallery, New York
Mapplethorpe, Lady Lisa Lyon, Little, Brown and Co., 1996, p. 21

66
342
‘Misty Dawn, Northern California: Color’, 2007
each signed, titled, dated, numbered ‘1/25’ in pencil and copyright
blindstamp (in the margin); accompanying text insert, signed and
inscribed in ink; contained in customized large folio box
image: each 23 x 15ºin. (58.4 x 38.7cm.) or the reverse
$15,000-25,000
PROVENANCE:

67
343
‘20 Nudes: 1974-1991’
a unique suite of 20 dye-bleach prints,
printed 2005
each signed and numbered ‘13/15’ in
pencil (on the overmat); accompanied by
handwritten text inserts, variously signed,
titled, dated and inscribed in colored wax
pencils/red ink; one with affxed unique
color Polaroid print, signed, titled ‘Miami’
and dated ‘1990’ in ink (in the margin);
contained in a customized large folio
clamshell box
image: each approximately 14æ x 9¿in.
(47.5 x 23.2cm.) or the reverse
Polaroid: 4º x 3Ωin. (11 x 8.8cm.) overall
sheet: 16 x 12in. (40.5 x 30.5cm.)
$20,000-30,000
PROVENANCE:
From 1956, Clergue began to photograph
female nudes, and it is for these sensual studies
that he is now best known. In the early years, his
models were mostly friends, and Clergue recalls
that women were more likely to agree to be
photographed if their faces were not included.
Thus by concealing their identities, he hit on
what became a signature style, the portrayal of
a ‘universal’ female form— typically a symbol
of life, fertility and sexuality, bathing in the sea
close to his hometown of Arles.
As with much of collection, Don Sanders’
Clergue inventory is quite staggering. Although
the largest body of work by the artist in private
hands, it is a carefully-curated pot-pourri of
the best of the nude work, often in portfolio
form with personally inscribed and elaborately
embellished text inserts. Each set is decorative,
charming and unique. Please see lots 328, 338-
339, 347, 351 and 362 for other fne examples
of the artist’s work in the collection.

69
345
344
Fanny, Montalivet, 2004
signed, titled, dated, numbered ‘1/10’ in pencil
and credit blindstamp (in the margin)
image: 33 x 41Ωin. (83.8 x 105.4cm.)
sheet: 36 x 48in. (91.5 x 122cm.)
$8,000-12,000
PROVENANCE:
345
MONA KUHN (B. 1969)
Kai and Luzia, 2003
signed, titled, dated and numbered ‘2/10’
in pencil (on the reverse of the fush-mount)
image/sheet/fush-mount: 20 x 20in.
(50.7 x 50.7cm.)
$4,000-6,000

346
Bergstrom over Paris, 1976
chromogenic print fush-mounted on
aluminum, printed later
typed title, date and number ‘AP I/II’ on a
gallery label affxed (on the frame backing
board); accompanied by a duplex color test
print of the image for Helmut Newton: Sumo,
Taschen, 1999
print: image/sheet/fush-mount: 42Ω x 63in.
(107.9 x 160cm.)
test print: approximately
14 x 20in. (35.5 x 50.7cm.) overall (2)
$200,000-300,000
PROVENANCE:
With Andrea Caratsch Gallery, Switzerland
Newton, ed., Helmut Newton, Sumo,
Taschen, 1999, n.p. (double page spread)
At the time of this publication, the print is
actually believed to be unique, rather than ‘AP I/
II’ as indicated by the artist.
The volume Sumo, in which this splendid image
was illustrated is offered elsewhere in the sale
— lot 374.
70

71
There must be a certain look of availability in the women I photograph. I think a woman who gives the
appearance of being available is sexually much more exciting than a woman who is completely distant.
This sense of availability I fnd erotic.
—Helmut Newton

72
347
‘21 American Nudes: 1979-1991’
a unique suite of 21 dye-bleach prints,
printed 2010
each signed, titled, dated, numbered ‘13/30’
and copyright credit reproduction limitation
in ink (on the verso); accompanied by
handwritten text inserts, one signed, titled,
dated and inscribed ‘For my dear friend Don
Sanders, fondly’ in colored inks; contained
in a customized large folio clamshell box,
signed in red wax pencil (on the lid)
image: each approximately 10¡ x 15¡in.
(26.3 x 39cm.) or the reverse
sheet: 12 x 16in. (30.5 x 40.5cm.)
$20,000-30,000
PROVENANCE:

73
348
image: 22¡ x 15¿in. (56.7 x 38.3cm.)
sheet: 24 x 20in. (61 x 50.7cm.)
$20,000-30,000
PROVENANCE:
Four days and nights in August with Roselyne in a chateau,
which must remain nameless, in the west of France. The light
in the house is strange, it is always dark, even on the sunniest
day. There are quite a few house guests there...Luckily the
house is deserted by 11 AM except for the staff, and they are
very discreet.
—Helmut Newton

349
‘Women’s Refections’, 2008
Tokyo: Shoichiro Satake/Galerie Sho Contemporary Art,
2008. 10 chromogenic prints; each signed, dated, numbered
‘9/25’ in ink and ‘Argentini Limited Edition’ embossed stamp
(in the margin); image, each 16 x 16in. (40 x 40cm.); sheet,
each 17 x 17in. (43.2 x 43.2cm.); Certifcate of Authenticity,
signed and dated in ink; contained in a folio clamshell box
$8,000-12,000
PROVENANCE:
Decide for yourself who is the fairest of them all.
—Guido Argentini

75
actual size
350
Untitled, 2001
unique chromogenic Polaroid print
signed in ink on a gallery label affxed (on the frame backing)
4º x 3Ωin. (10.7 x 9cm.) overall
$4,000-6,000
PROVENANCE:

76
351
Sunday at Le Havre, 1987
unique photocollage of 22 chromogenic
Polaroid prints
signed, titled and dated (over three margins)
each: 4¿ x 4in. (10.5 x 10.2cm.) overall
grid: approximately 26Ω x 11æin. (67.4 x
30cm.) overall
$20,000-30,000
PROVENANCE:

77
The inspiration for this photo comes from an image from the flm ‘She’s Gotta Have It’, with infuence and help
from the famous photographer David Levinthal and his giant Polaroid. A picture says a thousand words, so let’s
leave it at that.
352
DAVID LEVINTHAL (B. 1949)
Untitled, 2003, commissioned for
the 50th Anniversary Issue of
‘Playboy’, January 2004
unique Polacolor ER Land Film print
signed and dated in ink (in the margin);
accompanied by the framed Playboy issue
and article in which the print is reproduced
sheet: 29 x 36Ωin. (73.6 x 92.8cm.) (2)
$15,000-25,000
—Spike Lee
PROVENANCE:
According to the Playboy article (‘Lights, Camera,
Fantasy!’) in which this image is featured, the
magazine gave ‘Eight top movie directors free
reign to shoot their innermost desires.’ Spike Lee
chose Levinthal to realize his fantasy, a scene
from his 1985 flm, She’s Gotta Have It.
It is one of the very few images of living forms,
rather than dolls or fgurines, by the artist.
See lot 333 for his more typical and
comprehensive series XXX.

78
After Yoko’s death, I didn’t want to photograph anything but life—honestly. Yet every time I pressed the button,
I ended up close to death, because to photograph is to stop time. I want to tell you something, listen closely:
photography is murder.
353
For Robert Frank, 1993
the complete series of 101 gelatin silver prints
each with date stamp (in the negative); each signed in pencil (on the verso);
signed and dated in ink on accompanying Taka Ishii Gallery letterhead;
contained in two 4to. customized boxes
image: each 7¡ x 11º (18.8 x 28.6cm.) or the reverse
sheet: each 10 x 12in. (25.4 x 30.5cm.)
$60,000-80,000
PROVENANCE:
With Gallery Taka Ishii, Tokyo
Araki, Private Diary 1980-1995, Heibonsha Limited, 1996, n.p.
The current lot, 353, 101 Works for Robert Frank was made in 1993, three years
after the death of Araki’s beloved wife, Yoko Aoki.
The compilation of 101 black and white images is based on a unique scrapbook
that Araki gave to Robert Frank during his visit to Japan for the opening of his
retrospective exhibition in Yokohama.
Collectively the works present an emotional mosaic, some unapologetically explicit,
shot indoors of wide-eyed ingenues in rumpled bedclothes or in bondage, others
are more comfortably mundane, almost abstract in nature—still-lifes with tiny
plastic dinosaurs, children in Tokyo alleys, the city’s skies and Araki’s cat Chiro.
Only fve complete sets of Araki’s masterpiece are believed to be in existence.
—Nobuyoshi Araki

82
In their biographies, artists like Michelangelo, Da Vinci and Bach said
that their most valuable technique was their ability to inspire themselves.
This is true of all artists; the moment there is something to say, there
becomes a way to say it.
—Ralph Gibson
Influenced as a young man by Dorothea Lange and Robert Frank, both of
whom he assisted in the 1960s, Gibson’s photographs have a distinct style
characterized by stark contrasts, graphic precision and thought-provoking
content.
Lustrum Press, founded by Gibson in New York in 1970, had an immediate
impact on the photography scene with its striking and often provocative
publications that notably included his own highly influential trilogy, The
Somnambulist (1970), Déja-vu (1973) and Days at Sea (1974).
Ralph Gibson is a significant figure in contemporary photography and
any collector of the medium may feel quietly confident that they have his
measure. They are mistaken. This trilogy is a revelation which can only be
experienced from looking at each print, one after the other, at first hand.
Gibson has meticulously sequenced his images to create three compelling
and nuanced tableaux. The trilogy is, quite simply, Gibson’s masterpiece.
Christie’s is honored to offer this unique opportunity of acquiring these
master prints.

To Don, a man with a dream.
—Ralph Gibson
354
RALPH GIBSON (B. 1939)
‘The Somnambulist’ 1970; ‘Dhj0-vu’, 1972; and ‘Days at
Sea’, 1974
the unique suite of 125 gelatin silver master prints for the trilogy
each signed, dated and numbered ‘1/1’ in pencil (on the verso);
each set of prints accompanied by the frst edition softcover volume,
published by Lustrum Press, 1973-1974, each signed and two
inscribed, in ink (on a front endpaper)
image: each approximately 18 x 12in. (45.7 x 30.5cm) or the reverse
sheet: each 20 x 16in. (50.8 x 40.6cm.) (3)
$200,000-300,000
83
PROVENANCE:

355
I know my models very well and that knowledge is present in the photographs. It’s hard to describe this fnally
because what’s manifest in the images is so subtle, so subliminal. It’s impossible to say, it’s here, it’s this, not
this and then this. It can’t be done. It’s ephemeral but somehow there. The relationship, the trust, the attitude of
the model to the photographer and vice versa is there — somehow magically included.
355
Fanny, Montalivet, 2001
signed, titled, dated and numbered ‘1/5’ in pencil
(in the margin)
image: 23 x 57Ωin. (58.5 x 146cm.)
sheet: 30Ω x 65in. (77.5 x 165cm.)
$10,000-15,000
90
PROVENANCE:
—Jock Sturges
Although this print is numbered ‘1/5’, it is probably unique.

91
356
356
Nude in Seaweed, from ‘Private
Property’ Suite I, 1984
signed, numbered print ‘12’, suite ‘I’,
edition ‘9/75’ in pencil and gallery label
affxed (on the verso)
image: 10Ω x 10¬in. (26.8 x 27.2cm.)
sheet: 16 x 12in. (40.5 x 30.5cm.)
$7,000-9,000
PROVENANCE:
Newton, Helmut Newton: Private Property, Schirmer’s
Visual Library, 1990, pl. 12

93
358
357
LEE FRIEDLANDER (B. 1934)
Untitled (Nude), 2006
signed in pencil, copyright credit
reproduction limitation and date stamps
(on the verso)
image: 12√ x 8Ωin. (32.7 x 21.5cm.)
sheet: 14 x 11in. (35.5 x 28cm.)
$8,000-12,000
358
Nude (Tina on the Azotea), 1923
gelatin silver print, printed later by Cole Weston
signed, titled, dated, notation ‘67N’, inscribed ‘A gift for Don Sanders
from Gina and Kim Weston’ by Kim Weston in pencil and Edward/
Cole Weston Trust credit stamp (on the reverse of the mount)
image/sheet: 6¡ x 9ºin. (16.3 x 23.4cm.)
mount: 15 x 18in. (38 x 45.7cm.)
$7,000-9,000
PROVENANCE:
Acquired directly from Kim Weston
Mora, ed., Edward Weston: Forms of Passion, Harry N. Abrams Inc.,
1995, p. 85; Conger, Edward Weston: The Form of the Nude, Phaidon,
2005, p. 39

359
ROBERT MAPPLETHORPE (1946-1989)
Lisa Lyon, 1980
signed by Michael Ward Stout, Executor, title, date, number ‘12/15’,
MAP notation ‘505’ in pencil/ink and Estate copyright credit
reproduction limitation stamp (on the reverse of the fush-mount)
image: 13√ x 13æin. (35.4 x 35cm.)
sheet/fush-mount: 20 x 16in. (50.7 x 40.5cm.)
$8,000-12,000
PROVENANCE:
With Sean Kelly Gallery, New York
Mapplethorpe, Random House, 1992, p. 152; Mapplethorpe,
Lady: Lisa Lyon, Little, Brown and Co., 1996, p. 18

95
Nothing could be closer to my heart than what is in these boxes!
360
‘Maia I and II’, 2005
a unique suite of 52 gelatin silver prints
each signed, titled and dated in pencil (on the verso); each one from
an edition of 40; text inserts, two signed, one also dated and inscribed
in ink; contained in two large folio clamshell boxes
image: each 14æ x 16¬in. (37.5 x 47.5cm.) or the reverse
sheet: each 16 x 20in. (40.5 x 50.7cm.) (2)
$30,000-50,000
—Jock Sturges
PROVENANCE:
These portfolios of Jock Sturges’ wife Maia were especially
created for Don Sanders.

361
361
Nude Floating, 1939
gelatin silver print, printed later by Cole Weston
signed, titled, dated and notation ‘N39-C-2’ 67N’ by Kim Weston in
pencil and Edward/Cole Weston Trust credit stamp (on the reverse
of the mount)
image/sheet: 7¡ x 9ºin. (19 x 23.4cm.)
mount: 15 x 18in. (38 x 45.7cm.)
$3,000-5,000
PROVENANCE:
Acquired directly from Kim Weston
Mora, ed., Edward Weston: Forms of Passion, Harry N. Abrams Inc.,
1995, p. 298; Conger, Edward Weston: The Form of the Nude, Phaidon,
2005, p. 107
96
362
‘27 Nudes in Provence: 1961-1973’
a unique suite of 27 gelatin silver prints, printed 2009
each signed in ink (in the margin); each titled, dated, numbered
‘13/30’ and copyright credit in ink (on the verso); accompanied by
handwritten text inserts, one inscribed ‘To Don Sanders, his friend
Lucien, Arles 2009’ in colored inks; accompanied by a handwritten
letter on the artist’s letterhead and dated ‘June 22, ‘09’; contained in a
customized large folio clamshell box
image: each approximately 14æ x 9¿in. (47.5 x 23.2cm.) or the reverse
sheet: 16 x 12in. (40.5 x 30.5cm.)
$25,000-35,000
PROVENANCE:

363
‘Here’s Looking at You’ for ‘Playboy’, Pictorial Outtakes,
January 1991
14 gelatin silver prints
each signed, dated and annotated ‘Taken by Helmut Newton for
Playboy’ by Aaron Baker, Playboy Curator, in pencil (on the verso)
image: each approximately 19 x 19in. (48.3 x 48.3cm.)
sheet: 24 x 20in. (61 x 50.7cm.) (14)
$30,000-50,000
98
PROVENANCE:
Heiting, ed., Helmut Newton: Work, Taschen, Cologne, 2000,
pp. 243 and 246; Playboy/Helmut Newton, Chronicle Books,
2005, pp. 150-159

99
364
image: 22 x 14æin. (56 x 37.5cm.)
sheet: 24 x 20in. (61 x 50.7cm.)
$20,000-30,000
PROVENANCE:

100
...digital cameras are for stupid people. Pictures taken by a digital camera only show the instant moment...I do
not feel the body temperature of the subject in a digital image. A digital camera turns the photographer into a
robot, with no feeling.
—Nobuyoshi Araki
365
‘Love by Leica’, 2006
the complete suite of 66 gelatin silver prints
each signed in pencil (on the verso);
accompanied by a softcover 4to. volume
‘Love by Leica’, Rathole (publisher), Tokyo,
2006; contained in a customised large 4to.
box
image: each 6æ x 10in. (17 x 25.5cm.)
or the reverse
$50,000-70,000
PROVENANCE:
With Gallery Taka Ishii, Tokyo
Araki, Love: by Leica, Rat Hole, 2006, n.p.
Love by Leica is the second photographic ‘diary’,
begun in 1998 with Life by Leica. For the series,
Araki swapped out his usual Pentax camera for a
Leica, as the title suggests.
The series includes a number of familiar themes
in this prolifc and complex photographer’s
work—sexual bondage and Tokyo street scenes.
The complete set of 66 prints has never before
been offered at auction.

102
366
Red Lips, Red Nails and Olga Sucking Her Thumb, 2005
archival pigment print triptych
each signed, titled, dated and numbered ‘6/25’ in ink (in the margin)
image: each 23Ω x 23¡in. (59.7 x 59.3cm.)
sheet: each 24 x 24in. (61 x 61cm.) (3)
$10,000-15,000
PROVENANCE:

103
367
‘Venus Project: 1997-2001’
237 unique chromogenic Polaroid prints, contained in binders
one signed and inscribed ‘For Don with love’ in ink (in the margin);
236 signed, dated and numbered ‘1/1’ in ink (on the verso); each
binder with credit label affxed (on the front inside cover), signed
and inscribed ‘For Don kissed with love’ in ink; accompanied by two
4to. volumes, one with unique color Polaroid print, signed, dated
and numbered ‘1/1’ in ink (in the margin); signed and extensively
inscribed in ink (on the overmat); accompanied by a handwritten
letter in ink on silver paper
each approximately 4º x 3Ωin. (10.8 x 8.9cm.) overall (2)
$20,000-30,000
PROVENANCE:

104
368
Big Cat Shoot, 2008
the complete suite of 110 unique archival
pigment prints; and diary
24 signed, dated and numbered ‘1/10’ in
pencil (on the verso); accompanied by a
unique illustrated diary with handwritten
captions in ink, contained in a 4to. folding
case; accompanied also by a letter on silver
print signed and inscribed extensively in ink;
all contained in four customized large folio
boxes
image: each 20 x 15Ωin. (50.7 x 39.5cm.)
or the reverse
$60,000-80,000
PROVENANCE:
Commissioned directly from the artist
In 2008, Don Sanders commissioned model
turned photographer Sylvie Blum to undertake
this shoot in the desert landscape of the
American southwest. This resulting unique series
of 110 photographs is also accompanied by an
illustrated diary with handwritten captions by
Blum about the experience.

369
MARCO GLAVIANO (B. 1942)
Angie Everhart for ‘Playboy’, February 2000
3 archival pigment prints, printed 2000s
each numbered ‘1/1’ in ink and Playboy embossed stamp (in the
margin), initialed, dated and artist/model credits by Aaron Baker,
Playboy Curator, in ink (on the verso)
sheet: 24 x 20in. (61 x 50.7cm.) (3)
$8,000-12,000
106
PROVENANCE:

107
370
PLAYBOY/ VARIOUS PHOTOGRAPHERS
Playmates of the Year: 1960-2010
each with date, number ‘1/1’ in ink and Playboy
embossed credit stamp (in the margin)
image: each with varying dimensions
sheet: each 24 x 20in. (61 x 50.8cm.) or the reverse
$40,000-60,000
PROVENANCE:

371
PLAYBOY ENTERPRISES INC.
‘Playboy: The Complete Centerfolds’
San Francisco: Chronicle Books, 2007. Large folio volume and
briefcase.
$2,500-3,500
108

109
372
PLAYBOY ENTERPRISES INC.
‘Legacy Collection: Gold Edition’
Chicago: Playboy Enterprises, Inc., 2007. 48 archival pigment
prints, each with number ‘5/75’ in ink and Playboy Legacy Collection
blindstamp (in the margin); Certifcate of Authenticity, numbered
‘5/75’and signed by Aaron Baker, Norman Solomon and Michael
Karman, respectively Playboy International Curator, Playboy
Director of International Images and Master Printer of Legacy
Collection in ink; various text inserts; accompanied by a folio volume
Mutual Seduction: The Photography of Playboy; all contained in a large
folio clamshell case; one of the edition of 75, plus 10 director’s
editions
$30,000-50,000
PROVENANCE:
It is believed that less than 20 from the projected edition of 75 were
actually realized.

110
Any photographer who says he is not a voyeur is either stupid or a liar
373
‘Cyberwomen’
London: Eyestorm, 2000; 7 gelatin silver prints, each with number
‘29/100’ in pencil and portfolio copyright credit reproduction limitation
stamp (on the verso); image, each 13 x 10in. (33 x 25.4cm.) or the
reverse; sheet: 16 x 12in. (40.5 x 30.5cm.); each overmatted; contained in
large 4to. box.
$15,000-25,000
PROVENANCE:
Purchased directly from Eyestorm
—Helmut Newton

112
374
‘Sumo’
Monte Carlo: Taschen, 1999. 400 duotone reproductions of photographs
selected and edited by June Newton; frst edition, signed in wax pencil and
number-stamped ‘5905’ (on a front endpaper); elephant folio with illustrated
dust jacket. 27 x 19in. (70 x 50cm.); accompanied by Philippe Starck stand;
one from the edition of 10,000
$4,000-6,000

113
375
376 378
375
PENTHOUSE
‘Penthouse’
New York: Assouline, 2008. Folio volume and slipcase, lavishly
illustrated with centerfolds from 1982-2008
$800-1,200
376
NOBUYUSHI ARAKI (B. 1940)
‘Araki’
Tokyo: Taschen, 2001. Elephant folio volume and slipcase, lavishly
illustrated; signed in ink and number-stamped ‘369’ (on the title
page); one from the edition of 2500.
$1,000-1,500
377
377
‘Bettina Rheims: Book of Olga’
Paris: Taschen, 2008. Elephant folio volume and slipcase, lavishly
illustrated; signed in ink and number-stamped ‘060’ (on the title
page); one from the edition of 1000
$1,000-1,500
378
DAVID LACHAPELLE (B. 1963)
‘Artists and Prostitutes’
Los Angeles: Taschen, 2005. Elephant folio volume and slipcase,
lavishly illustrated; signed in ink and number-stamped 405 (on the
title page); one from the edition of 2500.
$1,000-1,500

PATRICK HUGHES (B. 1939)
Reverspective: Don’s Nudes, 2007
unique oil on board construction
signed, titled and dated in ink (on the frame backing board)
28æ x 68in. (73 x 173cm.) overall
Available for private sale
PROVENANCE:
With Flowers Gallery, London
Contact
Laura Paterson
+1 212 636 2330
Patrick Hughes, a leading British artist, made his frst so called
‘Reverspective’ (the combination of ‘reverse’/’perspective’) in 1964. The
piece, called Sticking Out Room, was a life-sized ‘room’ created for the
Institute of Contemporary Arts (ICA). Hughes says of the illusory perspective
of these works: ‘It is a contradictory view of a room that sticks outwards
instead of one you can walk into, but as you walk away from it to look
back again, the perspective changes, so the part that is closest actually
looks furthest. It is bloody marvellous.’
Don Sanders shared the artist’s opinion; after seeing Hughes’ work at
a show in New York, Don commissioned a work of his own. Hughes
asked for photos of 100 images in Don’s collection and he selected
those he wanted to reproduce in his interpretation of Don’s ‘gallery’. The
commission took about six months to complete and is an exceptional work
of art.

Helmut Newton
Photographs for Playboy
Triple XXX: The Collection of Don Sanders
Online Only
Sale Information
23 September–7 October
christies.com/helmutnewton
Viewing:
20 Rockefeller Plaza
New York, NY 10020
Friday September 26 10–5
Saturday September 27 10–5
Sunday September 28 1–5
Monday September 29 10–5
Contact Information:
Laura Paterson
+1 212 636 2327
PLEASE NOTE
This is not a sale catalog for the auction. This summary is provided as a courtesy.
Please see the sale online for full descripions, the conditions of sale, and other
important information regarding this auction.

Carrie Leigh, Beverly Hills, 1985
Estimate: $15,000-25,000
Eva, Monte Carlo, 1993
chromogenic print, printed later
Estimate: $15,000-25,000
Real Dolls, California, 2002
Estimate: $15,000-25,000
‘Playboy’ Playmates, Los Angeles, 1986
Estimate: $15,000-25,000
Study on Voyeurism, Los Angeles, 1989
Estimate: $15,000-25,000
Mannequins Quai d’Orsay, 1977
Estimate: $15,000-25,000
‘Playboy’, Los Angeles, 1997
Estimate: $15,000-25,000
Estimate: $15,000-25,000
Estimate: $15,000-25,000
Estimate: $15,000-25,000

Eva, Monte Carlo 1993
Estimate: $15,000-25,000
Helmut Newton Photographs for Playboy
Online Only | 23 September–7 October
Beauty Treatment, Paris, 1974
dye-bleach print
Estimate: $15,000-25,000
Estimate: $15,000-25,000
Real Dolls, California, 2002
Estimate: $15,000-25,000
Untitled I, Bel Air, 1989
Estimate: $15,000-25,000 HELMUT NEWTON (1920-2004)
Mannequins, Quai d’Orsay, Paris, 1977
Estimate: $15,000-25,000
‘Playboy’ Playmates, California, 1986
dye-bleach print
Estimate: $15,000-25,000 HELMUT NEWTON (1920-2004)
‘Playboy’ Playmates, Los Angeles, 1986
Estimate: $15,000-25,000
The Redhead, Sherman Oaks, California, 1992
Estimate: $15,000-25,000
Hollywood Hills, 1986
Estimate: $15,000-25,000

120 Photograph by Jerry Jones, Houston

Index
A
Akira, G., 325
Araki, N., 326, 327, 350, 353, 365
Argentini, G., 330, 349, 366
Avedon, R., 304
B
Blum, G., 317
Blum, S., 336, 367, 368
C
Clergue, L., 329, 338, 339, 343, 347, 351, 362
Close, C., 309
D
D’Orazio, S., 303
F
Friedlander, L., 322, 357
G
Gibson, R., 354
Glaviano, M., 331, 369
Greenfield-Sanders, T., 332
H
Hughes, P., 379
K
Kuhn, M., 345
L
Lachapelle, D., 301, 376, 378
Levinthal, D., 333, 352
M
Mapplethorpe, R., 341, 359
N
Newton, H., 302, 305, 308, 311, 316, 320, 321, 334,
335, 346, 348, 355, 363, 364, 371, 374
P
Penthouse, 375
Playboy, 372, 373
Playboy
Various photographers, 370
R
Rheims, B., 313, 315, 318, 319, 337, 377
Ruff, T., 314
S
Schreiber, M., 323, 324
Sturges, J., 312, 328, 342, 344, 356, 360
V
Van Lamsweerde, I.
Matadin, V., 306, 307, 310
W
Weston, E., 340
Weston, E.
Weston, K.
Weston, C., 358, 361

123
Important Notices and Explanation of
Cataloguing Practice
EXPLANATION OF CATALOGUING
PRACTICE
As stated in Christie’s Conditions of Sale printed at
the back of this catalogue, Christie’s warrants the
authenticity of authorship identified in the UPPER
CASE TYPE headings of each lot. Such headings
generally indicate the person or persons, publisher
or agency responsible for the execution of, or own-ing
the rights to, the negative, positive, digital file
or other method employed from which the print,
plate, transparency or object being offered for sale is
created. While we may indicate in the lot descrip-tion
who we believe to have been the maker, printer
or creator of the object being offered, the Limited
Warranty does not apply to any information regard-ing
the maker, printer or creator of the print, plate,
transparency or object being offered.
Please consult a member of the department if you
have questions about any specific lots.
e.g., Attributed to [Henri Le Secq]:
In Christie’s opinion, a work that may have been
executed by [Henri Le Secq] but cannot be defini-tively
determined to be by [Henri Le Secq].
DAGUERREIAN UNKNOWN:
In Christie’s opinion, the maker of daguerreotype,
whose identity cannot be definitively determined or
attributed.
PHOTOGRAPHER UNKNOWN:
In Christie’s opinion, the creator of a photograph,
whose identity cannot be definitively determined or
attributed.
Copyright:
Christie’s wishes to make clear that all lots are sold
without copyright. Images may not be reproduced
without the express written permission of the
copyright holder.
In addition to the “author” described in upper
case type, each lot is generally described by title,
medium, negative and printing dates, signatures,
various stamps, dimensions and other relevant infor-mation
in upper and lower case type, all of which
are not covered by the Limited Warranty. A sample
entry is as follows:
Ansel Adams (1902-1984)
Moonrise, Hernandez, New Mexico1
Gelatin silver print.2 1941/1960s.3 Signed in ink on
the mount; Carmel credit stamp with title in ink on
the reverse of the mount.4
14 x 19 in. (37.8 x 49.3 cm.)5
PROVENANCE:
From the artist;
Private Collection, California;
with XYZ Gallery;
to the present owner.
EXHIBITED:
Museum of Modern Art, New York, 1979.
LITERATURE:
New York Graphic Society, Ansel Adams: Classic
Images, pl.1.
1 Title:
The title is, if known, the title given the work by
the artist, the most common used to describe the
image, what might appear on the print itself or,
in some cases, simply a descriptive title given by
Christie’s to untitled works.
2 Medium:
In Christie’s opinion, the medium is the photo-graphic
technique that most accurately describes
how the work was executed. A list of photo-graphic
techniques appears in the section entitled
“Photographic Techniques.”
3 Negative and printing dates:
The negative date indicates the date that the
negative, positive, digital file or other method was
exposed. The date of the printing indicates the date
that the print, plate, transparency or object being
offered for sale was created. When a difference
between the negative date and the date of printing
of the object is known or assumed, the negative
date will be followed by the printing date separated
by a /. If the negative date and the date of printing
are the same, or are assumed to be reasonably close
in time so that, for all practical purposes, they are
indistinguishable, only one date will appear.
4 Signatures, stamps, inscriptions:
Christie’s indicates the existence of any wet stamps,
blind embossing or written markings that we deem
important. Signatures are assumed to be in the hand
of the artist.
5 Dimensions:
Measurements are given in both inches and centi-meters
with height preceding width and refer to the
image size only unless otherwise noted.
6 Provenance, Exhibited and Literature:
Provenance is the history of ownership of a work
and is listed from the earliest known to most recent.
When the provenance includes members of the
trade, “with” precedes the dealer or gallery as it is
often unknown whether the work was owned by
the dealer, on consignment to or brokered by that
dealer to the next owner.
Exhibitions listed include those where the actual
object offered for sale was included.
When “See:” precedes a literature reference it
indicates that the image is reproduced but is not the
work being offered. If the specific object offered for
sale is illustrated, the word “See:” is omitted.
Information regarding provenance, exhibition his-tory
and literature may not be complete.
IMPORTANT NOTICES
CHRISTIE’S INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christie’s may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol Δ next to
its lot number.
On occasion, Christie’s has a direct financial
interest in lots consigned for sale, which may
include guaranteeing a minimum price or making
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by consigned property. Such property is identified
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number. This symbol will be used both in cases
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or part of such interest through third parties. When
a third party agrees to finance all or part of Christie’s
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In this catalogue, if property has º u next to the lot
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Christie’s catalogues include references to condition
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Department for a condition report on a particular lot.
Condition reports are provided as a service to
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PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
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altogether the importation of property containing
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Please note that it is the client’s responsibility
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the export or import of property containing
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material. The inability of a client to export
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sale. Please note also that lots containing
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but Christie’s does not accept liability for
errors or for failing to mark lots containing
protected or regulated species.
11/3/14

124
Buying at Christie’s
CONDITIONS OF SALE
Christie’s Conditions of Sale and Limited Warranty
are set out later in this catalogue. Bidders are
strongly encouraged to read these as they set out the
terms on which property is bought at auction.
ESTIMATES
Estimates are based upon prices recently paid at
auction for comparable property, condition, rarity,
quality and provenance. Estimates are subject to
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representation or prediction of actual selling prices.
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information.
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BUYER’S PREMIUM
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final bid price of each lot sold at the following rates:
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hammer price above $100,000 and up to and
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hammer price above $2,000,000.
Exceptions:
Wine: 22.5% of the final bid price of each lot sold.
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The auctioneer accepts bids from those present
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hours prior to the sale and only if the capacity of our
pool of staff phone bidders allows. Arrangements to
bid in languages other than English must be made
well in advance of the sale date.
Telephone bids may be recorded. By bidding on
the telephone, prospective purchasers consent to the
recording of their conversations.
Christie’s offers all absentee and telephone bidding
services as a convenience to our clients, but will not
be responsible for errors or failures to execute bids.
SUCCESSFUL BIDS
While invoices are sent out by mail after the
auction, we do not accept responsibility for
notifying you of the result of your bids. Buyers are
requested to contact us by telephone or in person
as soon as possible after the sale to obtain details
of the outcome of their bids to avoid incurring
unnecessary storage charges. Successful bidders will
pay the price of the final bid plus premium plus any
applicable taxes.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery
delays, prospective buyers are encouraged to supply
bank or other suitable references before the auction.
Please note that Christie’s will not accept payments
for purchased Lots from any party other than the
registered buyer.
Lots purchased in New York may be paid for in
the following ways: wire transfer, credit card (up
to $50,000), bank checks, checks and cash, money
orders or travellers checks (up to $7,500 combined
total, subject to conditions)
Wire transfer: JPMorgan Chase Bank, N.A. 270
Park Avenue New York, NY 10017 ABA#
021000021 FBO: Christie’s Inc. Account #
957-107978, for international transfers, SWIFT:
CHASUS33.
Credit cards: Visa, MasterCard, American Express
and China UnionPay a limit of $50,000 for credit
card payment will apply. This limit is inclusive
of the buyer’s premium and any applicable taxes.
Credit card payments at the NY sale site will only
be accepted for NY sales. Christie’s will not accept
credit card payments for purchases in any other
sale site.
The fax number to send completed CNP (Card
Member not Present) authorization forms to is
+1 212 636 4939. Alternatively, clients can mail the
authorization form to the address below.
Cash, Money Orders or Travellers Checks is limited
to $7,500 (subject to conditions).
Bank Checks should be made payable to Christie’s
(subject to conditions).
Checks should be made payable to Christie’s.
Checks must be drawn on a US bank and payable
in US dollars. In order to process your payment
efficiently, please quote sale number, invoice
number and client number with all transactions.
All mailed payments should be sent to:
Christie’s Inc. Cashiers’ Department, 20 Rockefeller
Center, New York, NY 10020.
Please direct all inquiries to the Cashiers’ Office Tel:
+1 212 636 2495 Fax +1 212 636 4939
Please note that Christie’s will not accept
payments for purchased Lots from any party
other than the registered buyer.
Payment in full must be received in good, cleared
funds before the property will be released.
SALES TAX
Purchases picked up in New York or delivered
to locations in California, Florida, Illinois,
Massachusetts, New York, Pennsylvania,
Rhode Island or Texas may be subject to sales or
compensating use tax of such jurisdiction.
It is the buyer’s responsibility to ascertain and pay all
taxes due. Buyers claiming exemption from sales tax
must have the appropriate documentation on file
with Christie’s prior to the release of the property.
For more information, please contact Purchaser
Payments at +1 212 636 2496.
COLLECTION OF PURCHASED LOTS
Buyers are expected to remove their property within
7 calendar days of the auction. Please consult the
Lot Collection Notice for collection information
for purchased lots. This sheet is available from the
Bidder Registration staff, Purchaser Payments or the
Packing Desk.
SHIPPING
A shipping form is enclosed with each invoice. It
is the buyer’s responsibility to pick up purchases or
make all shipping arrangements. After payment has
been made in full, Christie’s can arrange property
packing and shipping at the buyer’s request and
expense. Where Christie’s arranges and bills for such
services via invoice or credit card, an administration
charge will apply. We recommend that buyers
request an estimate for any large items or property
of high value that require professional packing. For
more information please contact the Art Transport
Department at +1 212 636 2480.
We regret that Christie’s staff will not accommodate
requests to roll canvases sold on stretchers.
EXPORT/IMPORT PERMITS
Property sold at auction may be subject to laws
governing export from the US and import
restrictions of foreign countries. Buyers should
always check whether an export license is required
before exporting. It is the buyer’s sole responsibility
to obtain any relevant export or import license.
The denial of any license or any delay in obtaining
licenses shall neither justify the rescission of any sale
nor any delay in making full payment for the lot.
Upon request, Christie’s will assist the buyer in
submitting applications to obtain the appropriate
licenses. However, Christie’s cannot ensure that a
license will be obtained. Local laws may prohibit
the import of some property and/or may prohibit
the resale of some property in the country of
importation, no such restriction shall justify the
rescission of any sale or delay in making full
payment for the lot. If a license is obtained on a
buyer’s behalf, a minimum fee of $150 per item will
be charged. For more information, please contact
the Art Transport Department at +1 212 636 2480.
15/02/13

125
Handling and Collection
HANDLING AND COLLECTION
All lots will be handled free of charge for 35 days from the auction
date at Christie’s Rockefeller Center or Redstone handling facility.
Operation hours for collection from either location are from
9.30 am to 5.00 pm, Monday-Friday. (Lots may not be collected
during the day of their move to Christie’s Redstone in Long Island
City.) Please consult the Lot Collection Notice for collection
information. This sheet is available from the Bidder Registration
staff, Purchaser Payments or the Packing Desk and will be sent
with your invoice.
ADMINISTRATION AND HANDLING CHARGES
Failure to collect your property within 35 calendar days of the
auction date from any Christie’s location, will result in handling
and administration charges plus any applicable sales taxes.
Lots will not be released until all outstanding charges due to
Christie’s are paid in full. Please contact Christie’s Client Service
Center on +1 212 636 2000.
Christie’s Rockefeller Center
20 Rockefeller Plaza, New York 10020
Tel: +1 212 636 2000
nycollections@christies.com
Main Entrance on 49th Street
Receiving/Shipping Entrance
on 48th Street
Hours: 9.30 am - 5.00 pm
Monday-Friday except Public Holidays
Christie’s Redstone
Post-Sale
32-23 48th Avenue
Long Island City, NY 11101
Tel: +1 212 974 4500
nycollections@christies.com
Main Entrance on 48th Avenue
Receiving/Shipping Entrance
on 48th Avenue
Hours: 9.30 am - 5.00 pm
Monday-Friday except Public Holidays
Charges All Property
Administration (per lot, due on Day 36) $150.00
Handling (per lot/day, beginning Day 36) $12.00
Property can be transferred to Christie’s Fine Art Storage Services (CFASS) New York
at any time for environmentally controlled long term storage, per client request.
CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.
Contact CFASS New York for details: Tel: + 1 212 974 4570, newyork@cfass.com
STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

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