This document lists contact information for specialists at Christie's auction houses in New York, Paris, and London. It also provides an auction calendar for upcoming photography sales in September and October 2014 in those cities, including sales of works by Helmut Newton, the Forbes Collection, and the Collection of Don Sanders in New York.

1. 29 SEPTEMBER 2014 NEW YORK
20/21PHOTOGRAPHS

2. INTERNATIONAL HEAD
Philippe Garner
+44 (0)207389 2366
INTERNATIONAL SPECIALISTS
Matthieu Humery
+33 1 40 76 85 92
Stuart Alexander
+1 212 636 2325
WORLDWIDE
LONDON
Jude Hull
Sarah Argyle
+44 (0)20 7389 2315
NEW YORK
Stuart Alexander
Laura Paterson
Elizabeth Eichholz
Marijana Rayl
Kamiana Gangnes
+1 212 636 2330
PARIS
Matthieu Humery
International Specialist/
Head of Department
Elodie Morel
Head of Sale
Jonas Tebib
Marie-Sygne Le Baud
+33 (1) 40 76 84 16
EUROPEAN BUSINESS DIRECTOR
Virginie Aubert
+331 40 76 85 93
AMERICAS BUSINESS DIRECTOR
Jessica Fox
+1 212 636 2204
BUSINESS MANAGERS
UNITED KINGDOM
Eva French
+44 (0)20 7389 2334
AMERICAS
Abigail Olson
+1 212 641 3182
PARIS
Virginie Barocas-Hagelauer
+331 40 76 85 63
BUSINESS COORDINATOR
AMERICAS
Alison Curry
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International Specialist
salexander@christies.com
+1 212 636 2325
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Specialist
lpaterson@christies.com
+1 212 636 2327
Elizabeth Eichholz
Specialist
eeichholz@christies.com
+1 212 636 2328
Marijana Rayl
Cataloguer
mrayl@christies.com
+1 212 636 2567
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Administrator
kgangnes@christies.com
Tel: +1 212 636 2330
Fax: +1 212 468 7122
Maho Kino
Art Handler
mkino@christies.com
Tel: +1 212 636 2017
International Department
Photographs
13/08/14
Subject to change.
13/08/14
Specialists for this Auction
EMAIL
First initial followed by last name @christies.com
(eg. Philippe Garner = pgarner@christies.com).
For general enquiries about this auction, email
should be addressed to the auction administrator.
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

5. Photographs
Monday 29 September 2014
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AUCTION CODE AND NUMBER
In sending absentee bids or making
enquiries, this sale should be referred
to as MAHO-2877
CONDITIONS OF SALE
This auction is subject to
Important Notices, Conditions
of Sale and to reserves. [40]
AUCTION
Monday 29 September 2014
2.00 pm (Lots 101-226)
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
AUCTIONEER
Philippe Garner (# 1127787)
SERVICES
ABSENTEE AND TELEPHONE BIDS
Tel: +1 212 636 2437
Fax: +1 212 636 4938
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PAYMENT
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Tel: +1 212 636 2495
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Fax: +1 212 492 5477
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Tel: +1 212 636 2480
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HANDLING AND COLLECTION
Tel: +1 212 636 2495
Fax: +1 212 636 4939
PROPERTIES FROM
The James J. Brennan Collection
Famous Photographers Archive
The Family of Henry Clay Seaman, Jr.
Front cover: Lot 126
Photograph by Edward Weston
©1981 Arizona Board of Regents, Center for Creative
Photography
Frontispiece 1: Lot 121
© Ray K. Metzker, Courtesy Laurence Miller Gallery
Frontispiece 2: Lot 160
Photograph by Charles Sheeler
© The Lane Collection
Back cover: Lot 150
© Eggleston Artistic Trust. Courtesy Cheim & Read,
New York.

6. 101
101
ROBERT MAPPLETHORPE (1946-1989)
Flower,1983
gelatin silver print
signed by Michael Ward Stout, Executor, in ink,
title, date, number ‘6/10’, MAP# ‘1105’ in an
unknown hand in ink and Estate copyright credit
reproduction limitation stamp (on the reverse of
the fush-mount)
image:15º x 15ºin.(38.5 x 38.5cm.)
sheet/fush-mount: 20 x 16in. (50.5 x 40.5cm.)
$10,000-15,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
L I T E R A T U R E :
Mapplethorpe: The Complete Flowers, teNeues,
2006, n.p.
102
102
ROBERT MAPPLETHORPE (1946-1989)
Tulip,1985
gelatin silver print
signed by Michael Ward Stout, Executor, in ink,
title, date, number ‘4/10’, MAP# ‘1607’ in an
unknown hand in pencil and Estate copyright
credit reproduction limitation stamp (on the
reverse of the fush-mount)
image:15º x 15ºin.(38.5 x 38.5cm.)
sheet/fush-mount: 19æ x 16in. (50 x 40.5cm.)
$15,000-25,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
L I T E R A T U R E :
Mapplethorpe: The Complete Flowers, teNeues,
2006, n.p.

7. 5
P R O V E N A N C E :
With Hamiltons Gallery, London
L I T E R A T U R E :
Mapplethorpe: The Complete Flowers, teNeues, 2006, pl. 142
103
ROBERT MAPPLETHORPE (1946-1989)
Orchid,1986
gelatin silver print
signed, dated, numbered ‘2/10’ in ink (in the margin); signed in ink,
title, date, number ‘2/10’, MAP# ‘1702’ in ink and copyright credit
reproduction limitation stamp (on the verso)
image:19 x 19ºin.(48.2 x 48.9cm.)
sheet/fush-mount:23√ x 19√in.(60.6 x 50.4cm.)
$15,000-25,000

8. 6
104
HORST P. HORST (1906-1999)
Mainbocher Corset,Paris,1939
gelatin silver print, printed later
credit blindstamp (in the margin);
signed, titled and dated in pencil
(on the verso)
image:22 x 16in.(55.5 x 41cm.)
sheet: 24 x 20in. (61 x 50.5cm.)
$12,000-18,000

9. 7
105
HORST P. HORST (1906-1999)
Round the Clock I,NewYork,1987
gelatin silver print
signed, titled and dated in pencil (on the verso)
image:14Ω x 11Ωin.(36.5 x 29cm.)
sheet: 20 x 16in. (50.5 x 40.5cm.)
$12,000-18,000

10. 8
L I T E R A T U R E :
Avedon: Photographs, 1947-1977, Farrar, Straus and Giroux, 1978, pl.
38; Avedon Fashion, Harry N. Abrams, 2009, back cover and p. 109
106
RICHARD AVEDON (1923-2004)
Suzy Parker and RobinTattersall,Evening dress by Griffe,
Folies-BergIre,Paris,August 1957
gelatin silver print, printed 1978
signed and numbered ‘4/75’ in pencil, Avedon/Paris portfolio, title,
date and copyright credit reproduction limitation stamp (on the
verso)
image/sheet:18 x 14ºin.(45.8 x 36.3cm.)
$15,000-25,000

11. 9
107
RICHARD AVEDON (1923-2004)
Sunny Harnett,Evening dress by GrIs,Casino,LeTouqet,
August 1954
gelatin silver print, printed 1978
signed and numbered ‘4/75’ in pencil, Avedon/Paris portfolio, title,
date and copyright credit reproduction limitation stamp (on the
verso)
image/sheet:18 x 14ºin.(45.8 x 36.3cm.)
$20,000-30,000
L I T E R A T U R E :
Avedon: Photographs, 1947-1977, Farrar, Straus and Giroux, 1978,
pl. 44; Avedon Fashion, Harry N. Abrams, 2009, p. 123

12. 10
109
RICHARD AVEDON (1923-2004)
Henry Moore,sculptor,Much Hadham,England,1963
gelatin silver print
annotation ‘E’, ‘Top’ in ink (on the mount); title, date, annotation
‘7/5’ in pencil on Harper’s Bazaar credit stamp and ‘Lesson 20, page
4&5, Key: E’ stamp (on the reverse of the mount)
image:16Ω x 13æin.(42 x 35cm.)
sheet:17 x 14cm.(43 x 35Ωin.)
mount:20 x 15in.(50.5 x 38cm.)
$15,000-25,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
108
ALFRED EISENSTAEDT (1898-1995)
RichardAvedon in front of‘Henry Moore’,c.1963
gelatin silver print
image:7æ x 9Ωin.(19.5 x 24cm)
sheet:8 x 10in.(20 x 24cm.)
$2,000-3,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
FROM THE ARCHIVES OF THE FAMOUS PHOTOGRAPHERS SCHOOL
108

13. 11
109

14. 12
111
RICHARD AVEDON (1923-2004)
Santa Monica Beach,30th September 1963
gelatin silver print, printed 1970
title, date, credit in pencil and ‘F.P.Mag. Vol. IV #13
Page 4 Date 1970’ stamp (on the reverse of the mount)
image/sheet:18 x 13æin.(46 x 35cm.)
mount:19 x 14æin.(48 x 37cm.)
$40,000-60,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
L I T E R A T U R E :
Avedon, An Autobiography, Random House, 1993, pl. 59; Avedon,
Evidence 1944-1994, Random House/The Whitney Museum of
American Art, 1994, p. 146; Richard Avedon Photographs 1946-2004,
Louisiana Museum of Modern Art, 2007, p. 67
110
RICHARD AVEDON (1923-2004)
Ezra Pound,1958
3 gelatin silver prints
each numbered consecutively ‘C, D, E’ in ink (in the margin); various
printing notations in ink (on the mount); notations, ‘Lesson 10, Page
6-7’, ‘Famous Photographers School’ and ‘Please return to art archives
graphics building orignal art’ stamps (on the reverse of the mount)
image:each 11 x 10æin.(28 x 27.5 cm.)
sheet:each 14 x 11in.(35.5 x 28cm.)
primary mount:each 17 x 15Ωin (43 x 39cm.) (3)
$15,000-25,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
L I T E R A T U R E :
Avedon, Portraits, Farrar, Straus and Giroux, 1976, n.p., variant;
Richard Avedon Portraits, Abrams/The Metropolitan Museum of Art,
2002, n.p., variant; Richard Avedon Photographs 1946-2004, Louisiana
Museum of Modern Art, 2007, p. 83, variant
FROM THE ARCHIVES OF THE FAMOUS PHOTOGRAPHERS SCHOOL
110

15. 13
111

16. 14
112
RICHARD AVEDON (1923-2004)
Palermo,Sicily,1947
gelatin silver print
‘Property of Avedon Studio New York’ stamp
(on the reverse of the fush-mount)
image:10 x 13in.(27.5 x 35cm.)
sheet/fush-mount: 11 x 14in. (28 x 36cm.)
$10,000-15,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographer’s School;
The FPS Archives;
Acquired from the FPS by the present owner
L I T E R A T U R E :
Avedon, Observations, Simon and Schuster, 1959, pp. 76-77;
Avedon, An Autobiography, Random House, 1993, pl. 11
FROM THE ARCHIVES OF THE FAMOUS PHOTOGRAPHERS SCHOOL

17. 15
113
RICHARD AVEDON (1923-2004)
Suzy Parker and RobinTattersall,Dress by Dior,Place de
la Concorde,Paris,August 6,1956
gelatin silver print
credit, various notations in pencil/crayon and ‘Richard Avedon Made
in France’ stamp (on the reverse of the fush-mount)
image/fush-mount:11æ x 10æin.(29.5 x 27cm.)
$30,000-50,000
P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
L I T E R A T U R E :
Livingston and Gopnik, Evidence, 1944-1994,
Random House, 1994, p. 49

18. P R O V E N A N C E :
Richard Avedon;
The Famous Photographers School;
The FPS Archives;
Acquired from the FPS by the present owner
114
RICHARD AVEDON (1923-2004)
Untitled for‘Harper’s Bazaar’,c.1963
gelatin silver print
retouching acetate overlay; stamp ‘Lesson 18n Page 31’
(on the backing board folder cover); Avedon Studio stamp
and Famous Photographers School stamp
(on the backing board verso no longer affxed)
image/sheet:15 x 20in.(38 x 51.5cm.)
mount:16 x 21Ωin.(40.5 x 50cm.)
$10,000-15,000
FROM THE ARCHIVES OF THE FAMOUS PHOTOGRAPHERS SCHOOL

19. 17
VARIOUS PRIVATE COLLECTIONS
115
RICHARD AVEDON (1923-2004)
Nureyev,1963
gelatin silver print
signed and dated ‘67’ in ink (in the margin)
image:6 x 6in.(15 x 15cm.)
sheet:10Ω x 9in.(26.5 x 22.5cm.)
$15,000-25,000
P R O V E N A N C E :
Gift from the artist
L I T E R A T U R E :
Harper’s Bazaar, May 1963, p. 111; ‘Nureyev: A
Photographic Study of the Human Form in Action
by Avedon’, Vogue, December 1967, p. 211; Avedon
Fashion 1944-2000, Abrams, 2009, p. 182
actual size
The everyday miracle of man, made suddenly memorable and rare by the
exultant stretch of Nureyev’s body. Those arms reaching desperately to conquer
space, body, and legs defying the constraint of the air, reiterate the perpetual
yearning magnifcence of man.
RICHARD AVEDON

20. 18
116
IRVING PENN (1917-2009)
Black andWhite‘Vogue’Cover (Jean Patchett),New
York,1950
gelatin silver print, printed 1984
signed, initialed, titled, dated, notation ‘REF: 7372’ in ink, Penn/
Condé Nast copyright credit reproduction limitation stamp and
stamped ‘signed, silver prints of this negative not exceeding 16’
(on the reverse of the fush-mount)
image:17º x 15ºin.(43.7 x 38.4cm.)
sheet/fush-mount:18 x 16æin.(46 x 40cm.)
$80,000-120,000
L I T E R A T U R E :
‘The Black and White Idea’, Vogue, April 1, 1950, front cover;
Moments Preserved, Simon and Schuster, 1960; Szarkowski,
Irving Penn, The Museum of Modern Art, 1984, pl. 48; Penn,
Passage: A Work Record, Knopf/Callaway, 1991, p. 100;
Westerbeck, ed., Irving Penn: A Career in Photography,
Art Institute of Chicago, 1997, pl. 4, p. 28

21. 19

22. 118
117

23. 21
VARIOUS PRIVATE COLLECTIONS
119
ORMOND GIGLI (B. 1925)
Girls in theWindows,
NewYork City,1960
chromogenic print, fush-mounted
on aluminum
signed, titled, dated and numbered ‘26/30’ in
ink (in the margin); signed, titled, dated and
numbered ‘26/30’ in ink (on the reverse of
the fush-mount)
image:42 x 42in.(106.7 x 106.7cm.)
sheet/fush-mount:47æ x 47æin.
(121.4 x 121.4cm.)
$30,000-50,000
118
RAY METZKER (B. 1931)
Philadelphia,#39,1963,
from CityWhispers
gelatin silver print, printed later
signed and numbered ‘8/25’ in pencil
(on the verso)
image:6 x 8in.(15 x 22.5cm.)
sheet: 5 x 10in. (20 x 25.5cm.)
$7,000-9,000
L I T E R A T U R E :
Metzker, City Stills, Prestel, 1999, pl. 28;
Davis, The Photographs of Ray K. Metzker,
Hall Family Foundation/Nelson-Atkins
Museum of Art, 2012, pl. 25, p. 90
119
THE JAMES J. BRENNAN COLLECTION
117
RAY METZKER (B. 1931)
Philadelphia,1957
gelatin silver print, printed later
signed and numbered ‘2/20’ in pencil
(on the verso)
image:7 x 7in.(18.5 x 19cm.)
sheet: 10 x 8in. (25.5 x 20cm.)
$7,000-9,000

24. 22
121
RAY METZKER (B. 1931)
Nude Composite:Philadelphia,1966
gelatin silver montage, printed 1982
signed and numbered ‘5/20’ in pencil (on secondary mount)
image/fush-mount:each 3 x 10in.(7.5 x 25cm.)
overall montage:22º x 10in.(56.5 x 25cm.)
secondary mount:31Ω x 20Ωin.(80 x 52.cm.)
$40,000-60,000
E X H I B I T E D :
‘American Photography: A History in Pictures’, San Antonio
Museum of Art, San Antonio, Texas, 1994; ‘Ray Metzker
Photographs from the Collection of Perry and Rowena Nagid’,
McNay Art Museum, San Antonio, Texas, December 10,
1996-February 9, 1997
L I T E R A T U R E :
Tucker, Unknown Territory: Photographs by Ray K. Metzker, Aperture/
The Museum of Fine Arts, Houston, 1984, p. 68; Davis, The
Photographs of Ray K. Metzker, Hall Family Foundation/The Nelson-
Atkins Museum of Art, 2012, pl. 54, p. 129
120
HARRY CALLAHAN (1912-1999)
Eleanor,Chicago,1948
gelatin silver print, printed later
signed in pencil (in the margin)
image:9 x 12in.(22.5 x 31cm.)
sheet: 11 x 14in. (28 x 35cm.)
$10,000-15,000
L I T E R A T U R E :
Cox, Harry Callahan: Eleanor, High Museum of Art/Steidl,
2007, pl. 11, p. 53
120

25. 23
121

26. 24
122
IRVING PENN (1917-2009)
Collapse,1980
platinum-palladium print, fush-mounted on aluminum,
printed 1981
signed, titled, dated, numbered ‘1/23’, Penn copyright credit stamp
and stamped ‘In addtion to 23 numbered prints of this image in
platinum metals, a number of unsigned silver prints for reproduction
in publications may exist’ (on the reverse of the fush-mount)
image:12Ω x 20æin.(31.8 x 52.7cm.)
sheet/fush-mount:16 x 24in.(40.6 x 60.9cm.)
$18,000-22,000
L I T E R A T U R E :
Szarkowski, Irving Penn, The Museum of Modern Art, 1984, pl. 155;
Penn, Passage: A Work Record, Knopf/Callaway, 1991, p. 237;
Penn, Still Life, Little, Brown and Co., 2001, n.p.

27. 25
A PRIVATE NEW YORK COLLECTOR
123
IRVING PENN (1917-2009)
Twenty Metal Pieces,March 1980
platinum-palladium print, fush-mounted on aluminum,
printed September 1981
signed, titled, dated, numbered ‘5/48’, notation ‘AR 1268’ in pencil,
Penn copyright credit reproduction limitation stamp and stamped
‘In addition to 48 numbered prints of this image in platinum metals,
a number of unsigned silver prints for reproduction in publications
may exist’ (on the reverse of the fush-mount)
image:approximately 14º x 22in.(36.2 x 56cm.)
sheet/fush-mount: 16 x 24in. (40.6 x 61cm.)
$15,000-25,000
L I T E R A T U R E :
Penn, Still Life, Little, Brown and Co., 2001, n.p.

28. 26
P R O V E N A N C E :
With Hamiltons Gallery, London
L I T E R A T U R E :
Penn, Flowers, Harmony Books, 1980, p. 48; Penn, Still Life, Little,
Brown and Co., 2001, n.p.
TWO PRIVATE COLLECTIONS
124
IRVING PENN (1917-2009)
Rose,ColourWonder,London,1970
dye-transfer print, printed 1990
signed, titled, dated, notation ‘16233’ in pencil, Penn/Vogue
copyright credit reproduction limitation stamp and stamped
‘signed, dye transfer prints of this image not exceeding 35’
(on the verso)
image:21æ x 17¬in.(55.3 x 44.7cm.)
sheet: 22√ x 19Ωin. (58.2 x 49.5cm.)
$40,000-60,000

29. 27
L I T E R A T U R E :
Penn, Passage: A Work Record, Knopf/Callaway, 1991, p. 203
125
IRVING PENN (1917-2009)
Cigarette,#37,NewYork,1972
platinum-palladium print, fush-mounted on aluminum,
printed Feb-March 1975
signed, dated, numbered ‘29/70’, notation ‘NEG. No. 37’,
annotated ‘No more than 70 original prints of this image will
ever be made’ in pencil and Penn copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:23Ω x 17in.(59 x 44cm.)
sheet/fush-mount:26 x 22in.(66 x 56cm.)
$25,000-35,000

30. 28
THE FAMILY OF HENRY CLAY SEAMAN, JR.
126
EDWARD WESTON (1886-1958)
Nautilus Shell,1927
gelatin silver print
signed and dated in pencil (on the mount); annotated in pencil ‘To
Clay and Margaret - From Edward-’(on the reverse of the mount)
image/sheet:8 x 7ºin.(23 x 18.5cm.)
mount:18 x 15Ωin.(46 x 39cm.)
$300,000-500,000
P R O V E N A N C E :
From the artist;
to Henry Clay Seaman, Jr. and Margaret Seaman;
by descent to Clay Hancock Seaman;
by descent to the present owner
L I T E R A T U R E :
Newhall, ed., The Daybooks of Edward Weston. Volume II. California,
Horizon Press, 1966, pl. 1; Maddow, Edward Weston: Fifty Years,
Aperture, 1973, p. 145; Edward Weston’s Gifts to His Sister,
The Dayton Art Institute, 1978, p. 44; Danly and Naef, Edward
Weston in Los Angeles, The Huntington Library and Art Gallery,
1986, fg. 31, p. 41; Mora, ed., Edward Weston: Forms of Passion,
Harry N. Abrams, 1995, p. 153; Edward Weston: Life Work, Lodima
Press, 2003, pl. 36; Watts, ed., Edward Weston: A Legacy,
The Huntington Library/Merrell, 2003, pl. 1, p. 107; Nyerges,
Edward Weston: A Photographer’s Love of Life, The Dayton Art
Institute, 2004, pl. 21, p. 149, frontispiece and detail on front cover
Edward Weston made this print in 1927 on velvety matte-surface paper,
mounted it on a large buff-colored card, signed and dated it in pencil in
the lower right corner of the mount as was his preferred method at that
time. On the reverse of the mount he wrote: ‘To Clay and Margaret from
Edward-’ It was a gift to Henry Clay Seaman, Jr. and his wife Margaret.
Clay was the brother of Weston’s dear sister Mary’s husband, John
Seaman. The print has remained in the family to the present. Having spent
decades tucked away in a drawer it has never before been exhibited to the
public.
The spring of 1927 was one of the most important periods in Edward
Weston’s developing modernist vision. He began to turn away from the
superfcial effects of pictorialism at the beginning of the decade. After
visiting the ‘International Salon of Photography’ in the spring of 1927 he
wrote in his daybooks, ‘Unable to defnitely use Form these pictorialists
resort to artistic printing: unable to feel Life, except with the surface

32. 30
emotions of a pugilist or an old maid teacher, they produce only fogs and
‘light effects.’ Pretty stories poorly told! —moods—instead of the Thing
itself.’ ‘The Thing itself,’ that was what Weston was after and the ‘Things’
that he concentrated on that spring were bananas, the nude dancer Bertha
Wardell and shells. Each presented him with a separate challenge. It was
diffcult for him to seize the motion of the dancer, the bananas ripened
and decomposed quickly, often not before one of his sons had eaten them,
much to Weston’s frustration. Even his shell arrangements were frequently
disturbed by the rambunctious boys, his cats or even the vibration of
passing trucks.
Weston frst began to photograph shells after meeting the painter,
Henrietta Shore in early 1927. She made paintings somewhat similar to
those of Georgia O’Keeffe working with fowers and shells as subject
matter. While sitting for a portrait painting by Shore they had long
conversations about their work. He made his frst shell photographs in
her studio in March and later borrowed some to continue the pursuit in
his own studio. By May he recorded in his daybooks, ‘I was awakened to
shells by the painting of Henry [Henrietta Shore]. I never saw a Chambered
Nautilus before. If I had, my response would have been immediate! If I
merely copy Henry’s expression, my work will not live. If I am stimulated
and work with real ecstasy it will live. Henry’s infuence, or stimulation,
I see not just in shell subject matter, it is in all my late work,— in the
bananas and the nudes. I feel it not as an extraneous garnish but as a
freshened tide swelling from within myself.’
After a couple of months, he became obsessed with photographing the
shells. In early May he wrote, ‘I worked all Sunday with the shells,—literally
all day. Only three negatives made and two of them were done as records
of movement to repeat again when I can fnd suitable backgrounds. I wore
myself out trying every conceivable texture and tone for grounds: Glass,
tin, cardboard,—wool, velvet, even my rubber rain coat!’
Weston sent prints of some of his shell photographs to Tina Modotti in
Mexico City. She wrote to him with her comments and those of their
friends such as the artists Diego Rivera and José Orozco. Rivera asked,
‘Is Weston sick at present? These photographs are biological, beside
the aesthetic emotion they disturb me physically,—see my forehead
is sweating.’ Modotti continued that one of the photographs, ‘made
everybody, including myself, think of the sexual act.’ Weston realized that
he had achieved something that went beyond ‘The Thing Itself’ when
he wrote the following about these responses to his shell photographs,
‘Why were all these persons so profoundly affected on the physical side?
For I can say with absolute honesty that not once while working with the
shells did I have any physical reaction to them: nor did I try to record erotic
symbolism. I am not sick and I was never free from sexual suppression,—
which if I had, might easily enter into my work, as it does in Henry’s
painting. I am not blind to the sensuous quality in shells, with which they
combine the deepest spiritual signifcance: indeed it is this very combination
of the physical and spiritual in a shell like the Chambered Nautilus,
which makes it such an important abstract of life. No! I had no physical
thoughts,—never have. I worked with clearer vision of sheer aesthetic form.
I knew that I was recording from within, my feeling for life as I never had
before. Or better, when the negatives were actually developed, I realized
what I felt,—for when I worked, I was never more conscious of what I was
doing. No! The Shells are too much a sublimation of all my work and life
to be pigeon-holed. Others must get from them what they bring to them:
evidently they do!’
Edward Weston’s negative log in his archive at the Center for Creative
Photography records that sixteen numbered prints were made from this
negative (identifed as 2S). Those would have been printed later than 1927
on semi-gloss paper and numbered. Amy Conger’s authoritative catalogue
of Weston prints in his archive at the CCP notes fve prints in other public
collections and none at CCP. In addition, we have located two other later
prints in private collections. As of this writing the only other early print
on matte-surface paper to be located is the print that Weston gave to his
sister, Mary Weston Seaman, currently in the collection of the Dayton Art
Institute in Ohio.
All quotes are from, Newhall, ed., The Daybooks of Edward Weston:
California, vol. II, Horizon Press, 1966, pp. 8, 21, 31-32.

34. 32
L I T E R A T U R E :
Adams, Yosemite and the Range of Light, Little, Brown and Co., 1992,
p. 99; Adams, Examples: The Making of 40 Photographs, Little, Brown
and Co., 1983, p. 162; Szarkowski, Ansel Adams at 100, Little, Brown
and Co., 2001, pl. 85; Stillman, Ansel Adams: 400 Photographs, Little,
Brown and Co., 2007, p. 245; Stillman, Looking at Ansel Adams:
The Photographs and the Man, Little, Brown and Co., 2012, p. 128
VARIOUS PRIVATE COLLECTIONS
127
ANSEL ADAMS (1902-1984)
Winter Sunrise,Sierra Nevada from Lone Pine
California,1944
gelatin silver print, printed later
signed in pencil (on the mount); title and Carmel credit stamp
(on the reverse of the mount)
image/sheet:14Ω x 19Ωin.(36.8 x 49.1cm.)
mount:22 x 28in.(56 x 71cm.)
$30,000-50,000

35. 33
L I T E R A T U R E :
Adams, Examples: The Making of 40 Photographs, Little, Brown and
Co., 1983, cover and p. 40; Alinder, Ansel Adams: 1902-1984, Friends
of Photography, Untitled 37, 1984, p. 55; Szarkowski, Ansel Adams at
100, Little, Brown and Co., 2001, pl. 96; Stillman, Ansel Adams: 400
Photographs, Little, Brown and Co., 2007, p. 175; Stillman, Looking
at Ansel Adams: the Photographs and the Man, Little, Brown and Co.,
2012, p. 114
128
ANSEL ADAMS (1902-1984)
Moonrise,Hernandez,Northern New Mexico,1941
gelatin silver print, printed later
signed in pencil (on the mount); title, date in ink and
Carmel credit stamp (on the reverse of the mount)
image/sheet:15Ω x 19.6in.(39.5 x 48.5cm.)
mount:22 x 28in.(56 x 71cm.)
$40,000-60,000

36. 34
129
EDWARD WESTON (1886-1958)
Monterey Cypress,1929
gelatin silver print
signed, dated and numbered ‘6/50’ in pencil
(on the mount); titled in pencil, notation
‘20T’ on Carmel-by-the-Sea credit label
affxed (on the reverse of the mount)
image/sheet:9Ω x 7Ωin.(24.1 x 19cm.)
mount:18 x 14in.(45.7 x 35.5cm.)
$15,000-25,000

37. 35
130
EDWARD WESTON (1886-1958)
Pre-Hispanic Ruins,Mitla,Oaxaca,1926
gelatin silver print
signed, titled and annotated ‘glendale’ in pencil (on the mount)
image/sheet:7Ω x 9Ωin.(19 x 24cm.)
mount: 13 x 14æin. (33 x 37.5cm.)
$20,000-30,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
L I T E R A T U R E :
Stebbins, Jr., Quinn and Furth, Edward Weston: Photography and
Modernism, Museum of Fine Arts, Boston/Little, Brown and Co.,
1999, pl. 28
Weston visited remote Mitla in Mexico with Tina Modotti and his son, Brett
in June, 1926 when he made the negative for this architectural detail. He
evidently made this print, mounted and signed it, in the brief period when
he lived in Glendale, California between November 1926 and July 1928.
I was fascinated by the stone mosaics of Mitla, for besides a variation on the Greek fret, there was
a unique pattern,—oblique lines of dynamic force,—fashes of stone lightning, which remain my
strongest memory of Mitla.
EDWARD WESTON

38. 36
131
BRETT WESTON (1911-1993)
Dunes,1958
gelatin silver print
signed and dated in pencil (on the mount)
image/sheet:7Ω x 9¬in.(19 x 24.6cm.)
mount:13 x 15in.(33 x 38.1cm.)
$15,000-25,000
L I T E R A T U R E :
Weston, Voyage of the Eye, Aperture, 1975, p. 27

39. 37
132
EDWARD WESTON (1886-1958)
Creek Bottom,1932
gelatin silver print
signed, dated and numbered ‘3/50’ in pencil
(on the mount); titled, dated and annotated
‘1050’ in pencil (on the reverse of the
mount)
image/sheet:6æ x 9ºin.(17.5 x 23cm.)
mount:15 x 15Ωin.(38 x 39cm.)
$15,000-25,000

40. 38
133
EDWARD WESTON (1886-1958)
Yosemite,1938
gelatin silver print
signed and dated in pencil (on the mount); titled in pencil
(on the reverse of the mount)
image/sheet:7¬ x 9¬ (19.4 x 24.4cm.)
mount:13æ x 15¬in.(34.9 x 39.6cm.)
$15,000-25,000
L I T E R A T U R E :
Maddow, Edward Weston: Fifty Years, Aperture, 1973, p. 201

41. 39
L I T E R A T U R E :
Newhall, Ansel Adams: The Eloquent Light, Sierra Club, 1963,
pp. 88-89; Adams, Examples: The Making of 40 Photographs, Little,
Brown and Co., 1983, p. 102; Alinder, Ansel Adams: 1902-1984,
Friends of Photography, Untitled 37, 1984, p. 34; Adams, Yosemite
and the Range of Light, Little, Brown and Co., 1992, cover and
frontispiece; Szarkowski, Ansel Adams at 100, Little, Brown and Co.,
2001, pl. 89; Stillman, Looking at Ansel Adams: The Photographs and the
Man, Little, Brown and Co., 2012, p. 102
134
ANSEL ADAMS (1902-1984)
ClearingWinter Storm,Yosemite National Park,
California,1944
gelatin silver print, printed 1978
signed in pencil (in the margin); title, date in ink and
credit stamp (on the reverse of the mount)
image/sheet:15Ω x 19ºin.(39.4 x 48.9cm.)
mount:19æ x 23ºin.(50.3 x 57.8cm.)
$30,000-50,000

42. 40
AN IMPORTANT PRIVATE COLLECTOR
135
EDWARD BURTYNSKY (B. 1955)
Carrara Marble Quarries #23,Carrara Italy,1993
chromogenic print
signed, titled, dated and numbered ‘5/10’ in ink (in the margin)
image:26¬ x 33æin.(67.6 x 85.6cm.)
$10,000-15,000
P R O V E N A N C E :
With Mira Godard Gallery, Toronto

43. 41
VARIOUS PRIVATE COLLECTIONS
136
EDWARD BURTYNSKY (B. 1955)
Shipyard #5 Qili Port,Zhejiang Province,China,2004
chromogenic print, printed 2006
signed in ink, typed title, date and number ‘5/10’ on a label affxed
(on the reverse of the mount)
image/sheet:26æ x 34in.(68 x 86cm.)
mount:33Ω x 40Ωin.(85 x 103cm.)
$8,000-12,000

44. 42
P R O V E N A N C E :
With Sommer Contemporary Art, Tel Aviv
L I T E R A T U R E :
Rineke Dijkstra: A Retrospective, Solomon R. Guggenheim Museum,
2012, p. 201
137
RINEKE DIJKSTRA (B. 1959)
Erez,Golani Brigade,Elyacim,Israel,May 26,1999
chromogenic print, printed January 2001
signed, dated in ink, typed title, date and number ‘2/10’ on a
certifcate of authenticity affxed (on the frame backing)
image:55 x 44ºin.(139.8 x 112.5cm.)
sheet/fush-mount: 68 x 57in. (172.7 x 144.8cm.)
$12,000-18,000

45. 43
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
138
ROBERT MAPPLETHORPE (1946-1989)
JackWalls,1982
gelatin silver print
signed by Michael Ward Stout, Executor, in ink, title, date,
number ‘5/10’, MAP# ‘863’ in an unknown hand in pencil
and Estate copyright credit reproduction limitation stamp
(on the reverse of the fush-mount)
image:15º x 15ºin.(38.5 x 38.5cm.)
sheet/fush-mount: 19æ x 16in. (50 x 40.5cm.)
$7,000-9,000

46. 44
A PRIVATE COLLECTION, CALIFORNIA
139
RICHARD AVEDON (1923-2004)
Dick Hickock,murderer;and Perry Smith,murderer,
April 1960
2 gelatin silver prints, printed 1962
each signed in stylus (on the recto); signed, titled, dated and
numbered ‘6/12’, ‘neg. no. 124’ in pencil and copyright credit
reproduction limitation stamp (on the verso)
image:each approximately 6 x 6in.(15.2 x 15.2cm.)
sheet:each approximately 14 x 11in.(35.5 x 27.9cm.) (2)
$25,000-35,000
P R O V E N A N C E :
With Fraenkel Gallery, San Francisco

47. 45
P R O V E N A N C E :
With Fraenkel Gallery, San Francisco
L I T E R A T U R E :
Avedon, Observations, Simon and Schuster, 1960, p. 117; Avedon,
An Autobiography, Random House, 1993, pl. 6; Stevens, Performance:
Richard Avedon, Abrams, 2008, pp. 258-259
140
RICHARD AVEDON (1923-2004)
LouisArmstrong,1955
gelatin silver print, printed 1955-1960
signed in stylus (on the recto); signed, titled, dated, numbered ‘4/8’,
‘neg. no. 2’ and copyright credit reproduction limitation stamp
(on the verso)
image/sheet:20 x 16in.(50.8 x 40.6cm.)
$30,000-50,000

48. L I T E R A T U R E :
Diane Arbus, Aperture, 1972, n.p.; Szarkowski, Looking at Photographs,
The Museum of Modern Art, 1973, pp. 206-207; Diane Arbus
Revelations, Random House, 2003, pp. 86-87
A PRIVATE COLLECTION, TEXAS
141
DIANE ARBUS (1923-1971)
Boy with a straw hat waiting to march in a pro-war
parade,N.Y.C.,1967
gelatin silver print, printed 1973 by Neil Selkirk
number ‘12/50’ in ink, Portfolio credit/copyright reproduction
limitation stamps and credit label signed by Doon Arbus,
Administrator, in ink, with title, date in ink affxed (on the verso);
accompanied by portfolio insert with printed title and date
image:14Ω x 14in.(36.9 x 35.6cm.)
sheet: 20 x 16in. (50.9 x 40.7cm.)
$20,000-30,000

49. 47
L I T E R A T U R E :
Frank, Les AmHricains, Delpire, 1958, [pl. 1], p. 7; Frank,
The Americans, Grove Press, 1959, [pl. 1], n.p., and in all subsequent
editions; ‘Robert Frank,’ Aperture, vol. 9, no. 1, 1961, p. 6; Rotzler,
‘Robert Frank,’ Du, vol. 22, no. 1, January 1962, p. 16; Frank,
The Lines of My Hand, Yugensha, 1972, p. 57, and in each of the
subsequent variant editions
142
ROBERT FRANK (B. 1924)
Hoboken N.J,1955
gelatin silver print, printed 1970s
signed, titled and dated in ink (in the margin)
image:8¿ x 12¿in.(20.7 x 30.8cm.)
sheet: 11 x 14in. (28 x 35.6cm.)
$100,000-150,000

50. 48
P R O V E N A N C E :
With Afterimage Gallery, Texas
L I T E R A T U R E :
Frank, Les AmHricains, Delpire, 1958, [pl. 61], p. 127; Frank,
The Americans, Grove Press, 1959, [pl. 61], n.p., and in all
subsequent editions
143
ROBERT FRANK (B. 1924)
LosAngeles,1956
gelatin silver print, printed 1970s
signed, titled and dated in ink (in the margin); annotated
‘Americas 61 Los Angeles 106’, ‘TR 16439/21’ in pencil and
credit stamp (on the verso)
image:11æ x 8in.(29.9 x 20.3cm.)
sheet:14 x 11in.(35.5 x 27.9cm.)
$20,000-30,000

51. 49
L I T E R A T U R E :
Frank, Les AmHricains, Delpire, 1958, [pl. 27], p. 59; Frank,
The Americans, Grove Press, 1959, [pl. 27], n.p., and in all
subsequent editions
144
ROBERT FRANK (B. 1924)
23rd St.NYC,1955
gelatin silver print, printed 1960s
signed, titled and dated in ink (in the margin);
signed in ink (on the verso)
image:12æ x 8Ωin.(32.5 x 21.5cm.)
sheet:14 x 11in.(35.5 x 28cm.)
$15,000-25,000

52. 50
L I T E R A T U R E :
Black, White and Things, [self-published], 1952, pl. 4; Frank, The Lines
of My Hand, Yugensha, 1972, p. 27; Robert Frank, Aperture, 1976,
p. 15; Greenough and Brookman, eds., Robert Frank: Moving Out,
National Gallery of Art/Scalo, 1994, p. 89; Frank, Black, White and
Things, National Gallery of Art/Scalo, 1994, pl. 4
145
ROBERT FRANK (B. 1924)
Paris,1951
gelatin silver print, printed 1970s
signed, titled and dated in ink (in the margin)
image:8æ x 13Ωin.(22 x 34cm.)
sheet:11 x 14in.(28 x 35.5cm.)
$30,000-50,000

53. 51
L I T E R A T U R E :
Robert Frank, Collection Photo Poche,
Centre National de la Photographie, 1983, pl. 16
146
ROBERT FRANK (B. 1924)
Family,1956
gelatin silver print, printed 1960s
signed, titled and dated in ink (in the margin)
image:8.6 x 12Ωin.(20.5 x 35.6cm.)
sheet:11 x 14.6in.(27.7 X 35.6cm.)
$40,000-60,000

54. 52
L I T E R A T U R E :
Sayag and Lionel-Marie, Brassa0: The Monograph, Little, Brown
and Co., 2000, p. 73; Brassa0: For the Love of Paris, Flammarion,
2013, p. 135
147
BRASSAÏ (1899-1984)
La PrYsentation,chez Suzy,1932
gelatin silver print
signed in ink (on the recto); title, negative number ‘Pl. 362’ in ink,
Rue du Faubrg. St.-Jacques copyright credit and ‘Photographie
originale’ stamps (on the verso)
image/sheet:11Ω x 9in.(29.5 x 22.5cm.)
$15,000-25,000

55. 53
149
148
149
DIANE ARBUS (1923-1971)
Burlesque Comedienne in her
Dressing Room,Atlantic City,N.J.,
1963
gelatin silver print, printed 1988
by Neil Seikirk
stamped ‘A Diane Arbus Photograph,’
signed, titled, dated, numbered ‘44/75’
by Doon Arbus, Administrator, in pencil
and Estate copyright credit reproduction
limitation stamps (on the verso)
image:14 x 14in.(37.5 x 37.5cm.)
sheet: 20 x 16in. (50.5 x 40.5cm.)
$8,000-12,000
L I T E R A T U R E :
Diane Arbus, Aperture, 1972, n.p.
THE JAMES J. BRENNAN COLLECTION
148
DIANE ARBUS (1923-1971)
Transvestite at her Birthday Party,
N.Y.C.,1969
gelatin silver print, printed later by Neil
Selkirk
stamped ‘A Diane Arbus Photograph,’
signed, titled, dated, numbered ‘6/75’ by
Doon Arbus, Administrator, in pencil
and Estate copyright credit reproduction
limitation stamps (on the verso)
image:14 x 14in.(37.5 x 37.5cm.)
sheet: 20 x 16in. (50.5 x 40.5cm.)
$5,000-7,000
L I T E R A T U R E :
Diane Arbus, Aperture, 1972, n.p.

56. 54
VARIOUS PRIVATE COLLECTIONS
150
WILLIAM EGGLESTON (B. 1939)
Untitled (Memphis),1970
dye-transfer print, printed 1999
signed in ink (in the margin); Eggleston Artistic Trust
copyright credit reproduction limitation stamp,
signed by William J. Eggleston III, Managing Trustee,
title, date and number ‘7/10’ in ink (on the verso)
image:21æ x 14Ωin.(55.3 x 36.9cm.)
sheet: 23æ x 19√in. (60.4 x 50.5cm.)
$200,000-300,000
L I T E R A T U R E :
Szarkowski, William Eggleston’s Guide, The Museum
of Modern Art, 1976, p. 39; Eggleston, The Hasselblad
Award 1998: William Eggleston, Hasselblad Center, 1999,
n.p.; William Eggleston, Fondation Cartier pour l’art
contemporian/Thames and Hudson, 2002, pl. 41;
William Eggleston: Democratic Camera, Photographs and Video,
1961-2008, Whitney Museum of American Art, 2008,
pl. 24, p. 69

57. 55

58. 56
152
151

59. 57
153
WILLIAM EGGLESTON (B. 1939)
Memphis,Tennessee,c.1971,from
‘TroubledWaters’
dye transfer print
signed in pencil, copyright credit
reproduction limitation stamp and stamped
‘Plate 15 of ffteen. Example 10 of thirty and
V.’ (on the verso)
image:11¡ x 17¡in.(28.9 x 44.2cm.)
sheet:16 x 20in.(40.6 x 50.8cm.)
$8,000-12,000
L I T E R A T U R E :
Eggleston, Ancient and Modern, Random
House, 1992, p. 62; Eggleston, The
Hasselblad Award 1998: William Eggleston,
Hasselblad Center, 1999, n.p.; Willam
Eggleston: Democratic Camera, Photographs
and Video, 1961-2008, Whitney Museum of
American Art, 2008, pl. 39, p. 93
152
STEPHEN SHORE (B. 1947)
Natural Bridge,NewYork,7/31/74
chromogenic print
signed and dated in ink (on the verso)
image:8 x 10in.(20 x 25.5cm.)
sheet: 11 x 14in. (28 x 35.5cm.)
$5,000-7,000
P R O V E N A N C E :
With Light Gallery, New York
L I T E R A T U R E :
Shore, Uncommon Places: The Complete
Works, Aperture, 2004, p. 48
151
STEPHEN SHORE (B. 1947)
Belle Glade,Florida,11/14/77
chromogenic print, printed 1980
signed, titled and dated in ink (on the verso)
image:8 x 10in.(20 x 25.5cm.)
sheet: 11 x 14in. (28 x 35.5cm.)
$5,000-7,000
P R O V E N A N C E :
With Light Gallery, New York
L I T E R A T U R E :
Shore, Uncommon Places: The Complete
Works, Aperture, 2004, p. 146

60. 58
154
155
ELLIOTT ERWITT (B. 1928)
Paris,1989
gelatin silver print, fush-mounted on
aluminum, printed later
signed in ink (in the margin)
image:21 x 29in.(55.5 x 75 cm.)
sheet/fush-mount: 29 x 39in. (75 x 100cm.)
$8,000-12,000
155
154
EDWARD PFIZENMAIER (B. 1926)
Wollman Rink,Central Park,NewYork,
1954
platinum-palladium print, printed later
signed, titled, dated, numbered ‘14/50’ in pencil
and copyright credit stamp (on the verso)
image:19√ x 14in.(55 x 35.5cm.)
sheet:24¡ x 18¿in.(59.4 x 46cm.)
$6,000-8,000

61. 59
156
SEBASTIÃO SALGADO (B. 1944)
Churchgate Station,India,1995
gelatin silver print
initialed, titled ‘India’ and dated in pencil
(on the verso)
image:20º x 30ºin.(51.5 x 77in.)
sheet: 24º x 35Ωin. (61.6 x 90.3cm.)
$12,000-18,000

62. 158
157

63. 61
159
BERENICE ABBOTT (1898-1991)
Penn Station,Manhattan,1936
gelatin silver print, printed later
signed and numbered ‘6/24’ in pencil
(on the mount)
image/sheet:37º x 29Ωin.(94.5 x 75cm.)
mount:39Ω x 31in.(100 x 79cm.)
$10,000-15,000
159
158
BERENICE ABBOTT (1898-1991)
Under the El at the Battery,1936
gelatin silver print, printed later
signed and numbered ‘6/24’ in pencil
(on the mount)
image/sheet:28Ω x 37ºin.(72.5 x 94.5cm.)
mount:30 x 38Ωin.(78 x 98cm.)
$10,000-15,000
157
BERENICE ABBOTT (1898-1991)
Newsstand,32nd Street andThird
Avenue,Manhattan,November 19,1935
gelatin silver print, printed later
signed and numbered ‘4/24’ in pencil
(on the mount)
image/sheet:28Ω 36ºin.(72.5 x 92cm.)
mount:31 x 37Ωin.(79 x 95cm.)
$10,000-15,000

64. 62
A PRIVATE COLLECTION, WESTCHESTER
160
CHARLES SHEELER (1883-1965)
Ford Plant,River Rouge,Steam Hydraulic Shear,1927
gelatin silver print
image/sheet: 10 x 8in. (25.5 x 20.5cm.)
mount: 17Ω x 14in. (44.5 x 35.5cm.)
$150,000-250,000
P R O V E N A N C E :
From the Estate of Charles Sheeler;
to the William H. and Saundra B. Lane Collection;
with Pace/MacGill Gallery, New York;
to the present owner, 1999
L I T E R A T U R E :
Norwood, Ford: Men and Methods, Doubleday, Doran and Co., 1931,
facing p. 172, view of shear from the other side; Stebbins, Jr. and
Keyes, Jr., Charles Sheeler: The Photographs, Museum of Fine Arts,
Boston, 1987, pl. 55; Stebbins, Jr., Mora and Haas, The Photography of
Charles Sheeler: American Modernist, Bulfnch, 2002, p. 154
Objective, distant, and rigorously formal, Charles Sheeler’s photographic
aesthetic renders the “River Rouge” Ford Motor plant as a modernist, machine-
age behemoth. The Gothic cathedral of early-twentieth-century America,
Ford’s shining industrial giant dwarfs the human fgure, enveloping us, like
Ford’s workers, in its technological sublimity. Strikingly illuminated by the
towering windows in Albert Kahn’s immense building, the steam hydraulic shear
presented in this photograph dominates the composition. We almost miss the
man attending to the just sheared, crumpled, steel pieces that move along the
conveyor belt on their way to unseen furnaces.
Commissioned by N. W. Ayer & Son as part of a $1.3 million advertising
campaign to garner interest in the upcoming Model A, Sheeler photographed
Ford’s mammoth manufacturing facility southwest of Dearborn, Michigan,
located near the Rouge River, in the fall of 1927. Sheeler, like his previous
collaborative partner Paul Strand, did produce commercial work to supplement
income; however the remarkable images from the Ford commission were not
meant to be advertising pictures, but rather, were considered as an aesthetic
document. Although Sheeler spent close to six weeks at River Rouge, he
took only thirty-two photographs. In a very un-Ford-like fashion, he chose to
thoroughly examine the massive complex, taking his time, carefully planning
each deliberate shot. The resulting dynamic compositions transform the Rouge
factories into a succession of complex shapes, lines, and intricate textures,
solidifying the series as a cornerstone of modernist photography.
A truly striking image, Ford Plant, River Rouge, Steam Hydraulic Shear, is one of
twenty-eight original images from the commission (four additional images have
subsequently been found from copy negatives at Ford archives). Vintage prints
from this seminal series are very rare and as of this writing one other print of this
image has been located in The Lane Collection, Museum of Fine Arts, Boston.

65. 63

66. 64
P R O V E N A N C E :
With Robert Miller Gallery, New York
L I T E R A T U R E :
Robert Polidori: Havana, Steidl, 2003, cover and p. 15
VARIOUS PRIVATE COLLECTIONS
161
ROBERT POLIDORI (B. 1951)
SeEora Faxas Residence No.1,Miramar,Havana,1997
chromogenic print, printed 2008
typed title, date and number ‘8/10’ on gallery label affxed
(on the frame backing)
image:30Ω x 39æin.(76.9 x 101cm.)
sheet/fush-mount:40 x 50in.(101.5 x 127cm.)
$40,000-60,000

67. 65
162
CANDIDA HÖFER (B. 1944)
Schloss St.Emmeram Regensburg XXIV,
2003
chromogenic print
signed in ink, typed title, date and number ‘2/6’
on a label affxed (on the frame backing)
image:47º x 67in.(120 x 170.1cm.)
sheet/fush-mount: 59º x 79in. (151 x 200cm.)
$25,000-35,000
P R O V E N A N C E :
With Galerie Eva Presenhuber, Zurich

68. 66
163
RICHARD AVEDON (1923-2004)
Made in France
San Francisco/New York: Fraenkel Gallery/
D.A.P./Distributed Art Publishers, 2001. Folio
volume, signed and numbered ‘32/100’ in ink
(on the colophon); accompanied by a gelatin
silver print, Suzy Parker and Gardner McKay,
Dress by Balmain, CafY des Beaux-Arts, Paris,
August 1956, printed 2001, signed, numbered
‘32/100’ in pencil, copyright credit reproduction
limitation, date and edition stamps (on the
verso); image, 10 x 8in. (25.4 x 20.3cm.); sheet,
14 x 11in. (35.5 x 28cm.); all contained in a
wooden slipcase
$15,000-25,000

69. 67
L I T E R A T U R E :
Harper’s Bazaar, American Edition, September 1955, p. 215;
Avedon and Brodkey, Avedon Photographs, 1947-1977, Farrar, Straus
and Giroux, 1978, pl. 159 and back cover; Hall-Duncan, The History
of Fashion Photography, Alpine Book Co., 1979, p. 137; Bailey and
Harrison, Shots of Style: Great Fashion Photographs, Victoria and Albert
Museum, 1985, cat. no. 7; Harrison, Appearances: Fashion Photography
since 1945, Jonathan Cape, 1991, p. 73; 125 Great Moments of Harper’s
Bazaar, The Hearst Corporation, 1993, pl. 3; Avedon, Evidence, 1944-
1994, Random House, 1994, p. 53
164
RICHARD AVEDON (1923-2004)
Dovima with Elephants,1955
gelatin silver print
signed and numbered ‘62/100’ in pencil, copyright credit
reproduction limitation, title, date and edition stamps (on the verso)
image:10 x 8in.(25 x 20cm.)
sheet:14 x 11in.(36 x 28cm.)
$40,000-60,000

71. 69
AN IMPORTANT PRIVATE COLLECTOR
165
RICHARD AVEDON (1923-2004)
Avedon Paris
New York: Avedon/The Metropolitan Museum of Art, 1978. 11 gelatin silver prints; each
signed, numbered ‘2/75’ in pencil, copyright credit reproduction limitation, portfolio, title,
date and edition stamps (on the verso); image, each 17¬ x 14¿in. (44.8 x 36cm.) or the
reverse; sheet, each 18 x 14ºin. (45.8 x 36.3cm.) or the reverse; each contained in paper
wrapper, signed and numbered in ink; contained in linen box (11)
$200,000-300,000

72. Erwin Blumenfeld visited New York in late June 1939. In his pocket
he carried a letter of introduction from Lucien Vogel, publisher of
the French pictorial magazine Vu, to, Henry Luce, publisher of LIFE.
The visit exceeded all expectations; Blumenfeld was introduced
to members of LIFE staff as `the greatest living photographer’
and there was a promise to soon feature his work prominently in
the magazine. A spread duly appeared In LIFE’s July 1939 issue,
reproduced below, in which Blumenfeld is described as `to European
salon photography what Margaret Bourke-White is to US news
photography’ thanks to his `technical mastery’ and `refreshing
originality’.
The article highlighted Blumenfeld’s versatility by illustrating eight
very different photographs made in Paris around 1937, including
the three exceptional vintage prints Christie’s is delighted to offer
here: Nude under Wet Silk, lot 166 -- already published in the highly
infuential Surrealist magazine Verve in 1937; La Pudeur (Shame),
1937, lot 167; and La Croix Gammée (Swatiska), c. 1937, lot 168
(this is the actual print used for the article). Their accompanying
captions are kept lightly descriptive and short – both Nudes are
considered `strange pictures of the shapely Finnish Baroness’ and the
Swastika, `a trick picture’-- belying the real signifcance of the trio in
Blumenfeld’s body of work.
During Blumenfeld’s Paris years, the nude was paramount and
he expressed his idiosyncratic and fetishistic vision of the `Eternal
Feminine’ through relentless formal experimentation using mirrors,
mannequins, sculpture and veils. In these two extremely rare vintage
portraits of Baroness Margarete von Sivers, her naked torso is
merely suggested through a scrim of stretched wet or dry crumpled
silk. Blumenfeld’s aim in creating such sophisticated and vaguely
disquieting images was, according to writer Maurice Besset:
`...to free the subject from the restrictions imposed on it by the
geometry of the space in which it was set and replace the feeling
of physical distance by one of subjection separation, imprecise,
unstable and insurmountable, such as could be brought about by
desire, recollection, dreams of anguish…’
In Germany, From the 1920s onwards, Adolf Hitler’s cult of
leadership and the Nazi propaganda machine ensured that his face
and the swastika were plastered everywhere. The two became the
focus of the work of many anti-fascist artists, including Blumenfeld.
One of his collages included a swastika as early as 1920, while his
‘face of horror’, of Hitler’s death-head, made on the eve of the
Führer’s coming to power in 1933, were dropped by the US Air
Force over German cities as part of a propaganda exercise in 1943.
La Croix Gamée is a continuation of Blumenfeld’s determination
to take swipes, via his photographs, at the evils of Nazism. It is
also fully a `Paris picture’ made by the artist at the height of his
creative powers. The image, a multiple-exposure, is, of course, a
companion-piece to Blumenfeld’s other celebrated polemic against
fascism, Dictator (or Minotaur, as it is also known), sold in these
rooms in April 2013, in which the artist placed a dead calf’s head on
a classical marble torso. Interestingly, however, it is not the pairing
of these two works that Blumenfeld chose for his absorbing pictorial
autobiography, My One Hundred Best Pictures, but rather Dictator
with another from this trio of masterpieces, La Pudeur (Shame).
All three prints are vintage, extremely rare and, as is the case in
much of Blumenfeld’s work, unsigned.

73. 71
A PRIVATE COLLECTION, SWITZERLAND
166
ERWIN BLUMENFELD (1897-1969)
WetVeil,c.1937
gelatin silver print
image/sheet:8º x 11√in.(21 x 30cm.)
$50,000-70,000
P R O V E N A N C E :
By bequest from the artist
E X H I B I T E D :
‘Photographs, drawings and photomontages’, Jeu de Paume, Paris,
October 15, 2013 - January 26, 2014
L I T E R A T U R E :
‘Speaking of Pictures...Blumenfeld’s are the Tops’, LIFE, July 3,
1939, p. 6; Ewing/Schinz,Blumenfeld Photographs: A Passion for Beauty,
Harry N. Abrams, 1996, front endpapers (horizontal) and pl. 61
(vertical variant); Blumenfeld, The Naked and the Veiled, Thames and
Hudson, 1999, p. 85, (horizontal); Eskildsen, ed., Erwin Blumenfeld:
Photographs, Drawings and Photomontages, Jeu de Paume/Hazan, 2013,
p. 151,(vertical)
It is worth noting that this version of the image has sometimes been
erroneously reproduced as a vertical. It should have, as the LIFE spread
indicates, a horizontal orientation.
Speaking of Pictures…Blumenfeld’s are the tops.
LIFE

74. 72
167
ERWIN BLUMENFELD (1897-1969)
La Pudeur (The Shame),c.1937
gelatin silver print
titled in ink (on the verso)
image/sheet:11√ x 9Ωin.(30 x 24.2cm.)
$40,000-60,000
P R O V E N A N C E :
By bequest from the artist
L I T E R A T U R E :
‘Speaking of Pictures...Blumenfeld’s are the Tops’,
LIFE, July 3, 1939, p. 4; Blumenfeld, Blumenfeld:
My One Hundred Best Photos, Zwemmer, 1981, pl. 62;
Eskildsen, ed., Erwin Blumenfeld: Photographs, Drawings and
Photomontages, Jeu de Paume/Hazan, 2013, p. 150

75. 73
168
ERWIN BLUMENFELD (1897-1969)
Swastika Legs,c.1937
gelatin silver print
titled ‘croix gammCe’ [swastika] in ink, copyright credit stamp
and stamped ‘Used in LIFE, July 3, 1939’ (on the verso)
image/sheet:11Ω x 9ºin.(29.1 x 23.5cm.)
$30,000-50,000
P R O V E N A N C E :
By bequest from the artist
L I T E R A T U R E :
‘Speaking of Pictures...Blumenfeld’s are the Tops’,
LIFE, July 3, 1939, p. 6, this print used

76. 74
170
170
GUY LE BAUBE (B. 1944)
Saint-Jean-Cap-Ferrat,1986
digital inkjet print
signed and credit blindstamp (in the margin)
image:59Ω x 40in.(151.2 x 101.6cm.)
sheet:63º x 44in.(160.8 x 111.7cm.)
$10,000-15,000
169
VARIOUS PRIVATE COLLECTIONS
169
ELLEN VON UNWERTH (B. 1954)
Paris,2004
gelatin silver print
signed, titled, dated, numbered ‘1/15’ and
annotated ‘SW27410’ in pencil (on the verso)
image:18√ x 13in.(48 x 33cm.)
sheet:20 x 16in.(50.8 x 40.6cm.)
$5,000-7,000

77. 75
L I T E R A T U R E :
Vogue [Paris], March 1979; Newton, World Without
Men, Quartet, 1984, p. 38, variant; Bailey and
Harrison, Shots of Style: Great Fashion Photographs,
Victoria and Albert Museum, 1985, cat. no. 119,
variant; Blonsky, Helmut Newton: Private Property,
W.W. Norton , 1990, pl. 1; Harrison, Appearances:
Fashion Photography since 1945, Rizzoli, 1991, p. 234;
Newton, Pages from the Glossies: Facsimiles, 1956-
1998, Scalo, 1998, p. 409, variant
171
HELMUT NEWTON (1920-2004)
Hotel GeorgeV,for FrenchVogue,
Paris,1979
gelatin silver print, printed October 1981
title, date in ink and copyright credit
reproduction limitation stamp (on the verso)
image:18Ω x 12in.(46 x 30cm.)
sheet:20Ω x 16in.(52 x 40cm.)
$10,000-15,000

78. 172
IRVING PENN (1917-2009)
David Smith,1965
platinum-palladium print, fush-mounted to
aluminum, printed 1979
signed, titled, dated, numbered ‘16/16’ in pencil,
Penn/Condé Nast copyright credit reproduction
limitation stamp and stamped ‘In addition to 16
numbered prints of this image in platinum metals,
unnumbered, but signed, silver prints not
exceeding a total of 15 may exist’
(on the reverse of the fush-mount)
image:15æ x 15Ωin.(40 x 39.4cm.)
sheet/fush-mount:24 x 20in.(61 x 50.8cm.)
$12,000-18,000
L I T E R A T U R E :
Szarkowski, Irving Penn, The Museum of Modern Art, 1984,
pl. 137; Penn, Passage: A Work Record, Knopf/Callaway, 1991,
p. 150; Greenough, Irving Penn: Platinum Prints, National
Gallery of Art/Yale University Press, 2005, pl. 41

79. 77
173
IRVING PENN (1917-2009)
Picasso (B) Cannes,1957
platinum-palladium print, fush-mounted on aluminum,
printed February 1985
signed, titled, dated, numbered ‘34/47,’ notation ‘3281’ in
pencil, Penn/Condé Nast/Vogue copyright credit reproduction
limitation stamp and stamped ‘In addition to 47 numbered
prints of this image in platinum metals, unnumbered, but signed
silver prints not exceeding a total of 21 may exist’ (on the reverse
of the fush-mount)
image:18æ x 18æin.(47.5 x 47.5cm.)
sheet/fush-mount:26 x 22in.(66x 56cm.)
$70,000-90,000

80. 78
L I T E R A T U R E :
Penn, Worlds in a Small Room, Grossman, 1974, p. 25; Penn,
Passage: A Work Record, Knopf/Callaway, 1991, p. 146; Westerbeck,
ed., Irving Penn: A Career in Photography, Art Institute of Chicago,
1997, p. 179, cat. no. 94
174
IRVING PENN (1917-2009)
Three CretanWomen,1964
platinum-palladium print, fush-mounted on aluminum,
printed June 1974
signed, initialed, numbered ‘17/19’, notation ‘1178’ in pencil,
Penn/Condé Nast copyright credit reproduction limitation
and edition stamps, stamped ‘In addition to 19 numbered
prints of this image in platinum metals, unnumbered, but
signed, silver prints not exceeding a total of 16 may exist’,
typed title, copyright credit reproduction limitation and date
in pencil on label affxed (on the reverse of the fush-mount)
image:15Ω x 15æin.(39.5 x 40.1cm.)
sheet/fush-mount: 24 x 20in. (61 x 50.9cm.)
$20,000-30,000

81. 79
175
JOSEF KOUDELKA (B. 1938)
Ireland,1972
gelatin silver print
signed in ink (in the margin)
image:9º x 14º (23.5 x 36.2cm.)
sheet:12 x 16ºin.(30.5 x 41.3cm.)
$15,000-25,000
L I T E R A T U R E :
Koudelka, Exiles, Aperture, 1988, pl. 31

82. 80
176
HENRI CARTIER-BRESSON (1908-2004)
Alicante,1933
gelatin silver print, printed later
signed in ink and copyright credit blindstamp (in the margin)
image:12 x 17in.(30 x 45cm.)
sheet: 16 x 20in. (40 x 50.5cm.)
$6,000-8,000
L I T E R A T U R E :
Henri Cartier-Bresson: Photographer, Little, Brown and Co., 1979, pl.
21; De qui s’agit-il? Henri Cartier-Bresson, Bibliothèque nationale de
France/Gallimard, 2003, p. 110

83. 81
177
HENRI CARTIER-BRESSON (1908-2004)
Ubud,Bali,Indonesia,1949
gelatin silver print, printed 1970s
signed in ink (in the margin)
image:9Ω x 14¿in.(24.2 x 36cm.)
sheet: 12 x 16in. (30.5 x 40.7cm.)
$10,000-15,000
P R O V E N A N C E :
With Jack Rutberg Fine Arts, Inc., Los Angeles
L I T E R A T U R E :
Cartier-Bresson, Images D la sauvette, Verve, 1952, pl. 95; De qui s’agit-
il? Henri Cartier-Bresson, Bibliothèque nationale de France/Gallimard,
2003, p. 271

84. 82
THE JAMES J. BRENNAN COLLECTION
178
HENRI CARTIER-BRESSON (1908-2004)
Seville,Spain,1932
gelatin silver print, printed c. 1970
signed in ink (in the margin)
image:9Ω x 14ºin.(24.3 x 36.3cm.)
sheet: 12 x 16in. (30.9 x 40.7cm.)
$8,000-12,000
L I T E R A T U R E :
Cartier-Bresson, Images D la sauvette, Verve, 1952, pl.
11; De qui s’agit-il? Henri Cartier-Bresson, Bibliothèque
nationale de France/Gallimard, 2003, p. 101

85. 83
VARIOUS PRIVATE COLLECTIONS
179
ROBERT FRANK (B. 1924)
London,1951
gelatin silver print, printed 1970s
signed, titled and dated in ink (in the margin)
image:8√ x 13¡in.(22.5 x 34cm.)
sheet: 11 x 14in. (28 x 35.5cm.)
$40,000-60,000
L I T E R A T U R E :
Frank, The Lines of My Hand, Yugensha, 1972, p. 51; Brookman
and Greenough, eds., Robert Frank: Moving Out, National Gallery
of Art, 1994, p. 81; Brookman, Robert Frank; London/Wales, Scalo,
2003, p. 15 and pp. 10-11, contact sheet

86. 84
180
ROBERT POLIDORI (B. 1951)
RYserve des Bustes,ChAteau deVersailles,1985
chromogenic print
signed in ink (on the reverse of the fush-mount);
number 2 from the edition of 10
image:41 x 52in.(104.2 x 132.2cm.)
sheet/fush-mount: 49Ω x 60in. (125.8 x 152cm.)
$10,000-15,000

87. 85
181
IRVING PENN (1917-2009)
Running Children,Morocco,Rabat,1951
gelatin silver print, printed before 1959
signed, initialed, titled, dated, notation ‘8334’, annotation
‘Print made before 1959’ in ink, Penn/CondC Nast
copyright credit reproduction limitation stamp and
stamped ‘signed, silver prints of this negative not
exceeding 37’ (on the reverse of the mount)
image/sheet:18 x 17ºin.(45.5 x 43.8cm.)
mount: 21Ω x 21Ωin. (54.7 x 54.7cm.)
$30,000-50,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
L I T E R A T U R E :
Penn, Moments Preserved, Simon and Schuster, 1960, p. 65; Penn,
Passage: A Work Record, Alfred A. Knopf/Callaway, 1991, p. 102;
Westerbeck, ed., Irving Penn: A Career in Photography, Art Institute
of Chicago/Little, Brown and Co., 1997, p. 72, pl. 23, cat. no. 80

88. 86
P R O V E N A N C E :
With Fahey/Klein Gallery, Los Angeles
L I T E R A T U R E :
Westerbeck, ed., Irving Penn: A Career in Photography, Art Institute of
Chicago/Little, Brown and Co., 1997, p. 61, fg. 7, cat. no. 110
182
IRVING PENN (1917-2009)
TwoThin New GuineaWomen,May 1970
platinum-palladium print, fush-mounted on aluminum,
printed 1984
signed, titled, dated, numbered ‘9/19’, notation ‘3148’, Vogue credit
in pencil and Penn/Condé Nast copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:13º x 13ºin.(34.1 x 34.1cm.)
sheet/fush-mount: 24 x 20in. (61 x 50.7cm.)
$15,000-25,000

89. 87
L I T E R A T U R E :
Penn, Worlds in a Small Room, Penguin, 1974, p. 75, variant
183
IRVING PENN (1917-2009)
Sitting New GuineaWomen with FourTribesmen,New
Guinea,1970
cibachrome print, printed 1991
signed, titled, dated and annotated ‘REF:16485’ in pencil, Penn/
Vogue copyright credit reproduction limitation stamp and stamped
‘Signed, cibachrome prints of this image not exceeding 5’ (on the
verso)
image:10 x 10in.(25.5 x 25.5cm.)
sheet:11Ω x 11in.(29.5 x 28cm.)
$15,000-25,000

90. 186
NICK BRANDT (B. 1966)
Lioness with Cubs UnderTree,
Serengeti,2004
archival pigment print
signed, dated and numbered ‘18/20’
in pencil (in the margin)
image:20¡ x 24in.(51.8 x 61cm.)
sheet:22 x 25Ωin.(55.9 x 64.8cm.)
$10,000-15,000
P R O V E N A N C E :
With Hasted Kraeutler, New York
185
NICK BRANDT (B. 1966)
Cheetah Looking Out Over
Plains,Masai Mara,2004
archival pigment print
signed, dated and numbered ‘14/20’ in
pencil (in the margin)
image:17º x 26æin.(45.7 x 42.5cm.)
sheet:18æ x 28ºin.(47.5 x 73cm.)
$10,000-15,000
P R O V E N A N C E :
With Hasted Kraeutler, New York
184
PETER BEARD (B. 1938)
Turkana and Bushbaby,2003
unique gelatin silver print with handwork and affxed
collage
signed and annotated ‘“The native is a curious anomaly,
the good and bad points of human nature bursting forth
without any arrangement like the thorns and fowers of his
wild-deer-ness”, Samuel White Baker 1866’ in ink (on the
recto); signed, titled, dated and credit stamp (on the verso)
sheet:19æ x 14in.(50.2 x 35.5cm.)
$7,000-9,000
P R O V E N A N C E :
With Fahey/Klein Gallery, Los Angeles
184

91. 89
185
186

92. 90
187
PETER BEARD (B. 1938)
TsavoTusker,on theAthi-Tiva River,1965
unique chromogenic print with collage of 8 gelatin silver prints,
blood, ink and paint handwork, fush-mounted
signed, titled, dated and extensively annotated in ink (on the recto)
and (in the margin)
image:98 x 64in.(249 x 162.6cm.) (overall)
sheet/fush-mount:120 x 70in.(304.8 x 177.8cm.)
$200,000-300,000
P R O V E N A N C E :
Acquired directly from the artist
L I T E R A T U R E :
Beard, The End of the Game, Doubleday/Dolphin, 1977, n.p.

93. 91

94. 188

95. 93
189
SANTE D’ORAZIO (B. 1956)
Kate Moss,Chair Full Length,Glen Cove,NewYork,1992
Chromogenic print, mounted on aluminum, printed later
signed in ink on copyright credit label affxed
(on the reverse of the mount); typed title, date and number ‘1/3’
on label affxed (on the frame backing)
image/sheet:44Ω x 66in.(111 x 167cm.)
$30,000-50,000
L I T E R A T U R E :
Vogue [Italian], December 1995, ‘Home Spa’, pp. 188-189; D’Orazio,
A Private View, Pavilion Books, 1998, n.p.; Baron, Kate Moss, Rizzoli,
2012, pp. 410-411
188
SANTE D’ORAZIO (B. 1956)
PamelaAnderson,Hollywood Landscape #5,2000
Chromogenic print, fush-mounted on diasec, printed later
signed in ink and copyright stamp on label, typed title and
number ‘1/5’ on label affxed (on the frame backing)
image:51 x 41in.(131 x 130cm.)
sheet/fush-mount: 59 x 50in. (149.8 x 127cm.)
$25,000-35,000
189

96. 94
190
ROBERT MAPPLETHORPE (1946-1989)
Deborah Harry,1982
gelatin silver print
signed by Michael Ward Stout, Executor, in ink, title, date,
number ‘4/10’, MAP# ‘945’ in an unknown hand in ink
and Estate copyright credit reproduction limitation stamp
(on the reverse of the fush-mount)
image:19º x 15ºin.(48.5 x 38.5cm.)
sheet/fush-mount: 19æ x 16in. (50 x 40.5cm.)
$6,000-8,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis

97. 95
191
ROBERT MAPPLETHORPE (1946-1989)
Lisa Lyon,1982
gelatin silver print
signed by Michael Ward Stout, Executor, in ink, title, date,
number ‘7/10’, MAP# ‘711’ in an unknown hand in pencil
and Estate copyright credit reproduction limitation stamp
(on the reverse of the fush-mount)
image:15º x 15ºin.(38.5 x 38.5cm.)
sheet/fush-mount: 20 x 16in. (50.5 x 40.5cm.)
$40,000-60,000
P R O V E N A N C E :
With Weinstein Gallery, Minneapolis
L I T E R A T U R E :
Mapplethorpe, Lady: Lisa Lyon, St. Martin’s Press, 1983, p. 109

98. 96
A PRIVATE SAN FRANCISCO COLLECTION
192
MARGARET BOURKE-WHITE (1904-1971)
Locket,Georgia,from‘You Have Seen their Faces’,1936
gelatin silver print
annotation in pencil ‘from You Have Seen their Faces, 1936 by
M.B.W. and Erskine Caldwell’, stamped ‘1104’ and ‘archival
processed 1975’ (on the verso)
image/sheet:6Ω x 4æin.(16.5 x 12cm.)
$8,000-12,000
L I T E R A T U R E :
Caldwell and Bourke-White, You Have Seen Their Faces,
Modern Age Books, 1937, facing p. 49

99. 97
193
193
EDWARD WESTON (1886-1958)
Robinson Jeffers,1929
gelatin silver print
annotations ‘Robinson Jeffers, n.d. (plaid jacket)’,’52’
in pencil, and ‘W 187a’ in ink (on the verso)
image:3æ x 3in.(10 x 7.5cm.)
sheet: 5 x 4in. (12.5 x 10cm.)
$3,000-5,000
194
ANOTHER PRIVATE COLLECTION
194
ARNOLD NEWMAN (1918-2006)
Georgia O’Keeffe,Ghost Ranch,1968
gelatin silver print
signed, titled, dated and copyright notation in pencil (in the margin);
copyright credit reproduction limitation stamp (on the verso)
image:13 x 8æin.(32.5 x 22cm.)
sheet:14 x 11in.(35 x 28cm.)
$5,000-7,000
P R O V E N A N C E :
With Jane Corkin Gallery, Toronto

100. 98
196
SEBASTIAO SALGADO (B. 1944)
Genesis
Cologne: Taschen, 2013. Two elephant
folio volumes, with stand designed by Tadao
Ando; Collector’s Edition folio caption
book, number AP 012/300, from an edition
of 3000, signed (on Vol. I colophon);
accompanied by gelatin silver print,
Two Mursi Women, Mago National Park,
Ethiopia, 2007; credit blindstamp (in the
margin); signed, titled and dated in pencil
(on the verso);
image, 10 x 13Ωin. (25 x 34.5cm.);
sheet, 12 x 15æin. (30 x 40cm.) (4)
$4,000-6,000
196
A PRIVATE SAN FRANCISCO COLLECTION
195
SEBASTIAO SALGADO (B. 1944)
Namibia,2005
gelatin silver print
doubleblind copyright credit (in the margin);
signed, titled and dated in pencil (on the
verso)
image:12Ω x 17in.(32 x 43cm.)
sheet: 16 x 20in. (40.5 x 50.5cm.)
$4,000-6,000
195

101. 99
197
ANSEL ADAMS (1902-1984)
38 selected volumes including Ansel Adams: Images 1923-1974,
New York Graphic Society, 1974; deluxe folio edition in
clamshell case; number 149 from the edition of 1000, signed by
Adams (on the colophon); accompanied by gelatin silver print,
Fern Spring, Dusk, Yosemite Valley, California, c. 1961; printed 1974;
signed in pencil (on the mount); title, date and number ‘149’
(on the reverse of the mount);
image/sheet, 12º x 9in. (31 x 23cm.);
mount, 16Ω x 13Ωin. (42 x 34.5cm.) (38)
$3,000-5,000

102. 199
198

103. 101
AN IMPORTANT PRIVATE COLLECTOR
200
ANDRÉ KERTÉSZ (1894-1985)
Paris,September 1930
gelatin silver print
titled, dated, notation ‘# 164’ in ink and
credit stamp (on the verso)
image/sheet:10√ x 13ºin.(27.6 x 33.3cm.)
$10,000-15,000
200
199
ILSE BING (1899-1998)
Self Portrait inAmsterdam,Graacht,
1933
gelatin silver print
signed and dated in ink (on the recto);
signed, dated and notation ‘#42’ in
pencil (on the verso); Paris credit and date
stamp (on the mount); titled in pencil
(on the reverse of the mount)
image/sheet:8Ω x 11in.(21.5 x 28.5cm.)
mount: 13æ x 16Ωin. (35 x 42cm.)
$6,000-8,000
198
ILSE BING (1899-1998)
Sun,Clouds,Branches,Frankfurt,
1932
gelatin silver print
initialed and dated in ink (on the recto);
credit and date stamp (on the verso) and
(on the mount); title and date in pencil
(on the reverse of the mount)
image/sheet:8æ x 11in.(22 x 28cm.)
mount: 14 x 16Ω in. (35 x 42cm.)
$6,000-8,000

104. 102
AN IMPORTANT PRIVATE COLLECTOR
202
ANDRÉ KERTÉSZ (1894-1985)
AndrW KertWsz
New York: Susan Harder/Orminda Corporation, 1982. 10 gelatin
silver prints; each signed in pencil (on the mount); image/sheet, each
approximately 4º x 3in. (10.9 x 7.7cm.) or the reverse; mount, 12º
x 9¿in. (31.2 x 23.3cm.); colophon, text insert; one from the edition
of 50 plus 10 artist proofs; contained in paper folio and cloth-bound
clamshell box (10)
$30,000-50,000
P R O V E N A N C E :
Sotheby’s New York, Photographs, October 12, 2005, lot 124
ANOTHER PRIVATE COLLECTION
201
MAN RAY (1890-1976)
A L’Heure de l’Observatoire - LesAmoureux,1932-1954
chromogenic print, printed 1967
credit and date in ink (on the recto)
image/sheet:20Ω x 49in.(52 x 125cm.)
mount:23 x 51Ωin.(58 x 131cm.)
$20,000-30,000
201

105. 103
202

106. 104
VARIOUS PRIVATE COLLECTIONS
203
ROBERT MAPPLETHORPE (1946-1989)
Apollo,1988
gelatin silver print
signed in ink, title, date, number ‘10/10’, MAP # ‘1847’
in an unknown hand in ink and copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:19º x 19ºin.(49 x 49cm.)
sheet/fush-mount:24 x 20in.(60 x 51cm.)
$25,000-35,000
P R O V E N A N C E :
With Robert Klein Gallery, Boston
L I T E R A T U R E :
Marshall, Robert Mapplethorpe, Whitney Museum of American Art/
Little, Brown and Co., 1988, p. 195

107. 105
204
ROBERT MAPPLETHORPE (1946-1989)
Calla Lily,1988
dye-transfer print
signed, dated in ink and copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:22 x 16æin.(55.9 x 42.5cm.)
sheet/fush-mount:23æ x 19√in.(60.4 x 50.5cm.)
$50,000-70,000
L I T E R A T U R E :
Robert Mapplethorpe: The Complete Flowers, teNeues, 2006, pl. 168

108. 106
205
ROBERT MAPPLETHORPE (1946-1989)
Flowers
Robert Mapplethorpe, 1988. 10 toned photogravures;
each signed, dated and numbered ‘12/25’ in pencil
(in the margin); image, each 19º x 19ºin. (48.5 x 48.5cm.);
sheet, each 35æ x 24æin. (91 x 63cm.) (10)
$60,000-80,000

109. 107
206
ROBERT MAPPLETHORPE (1946-1989)
Calla Lily,1984
gelatin silver print
signed, dated in ink (twice) and copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:15¿ x 15in.(38.4 x 38.1cm.)
sheet/fush-mount:19¬ x 15æin.(49.8 x 40cm.)
$60,000-80,000
L I T E R A T U R E :
Holborn and Levas, eds., Mapplethorpe, Random House, 1992, p. 268;
Mapplethorpe: Pistils, Random House, 1996, p. 110; Mapplethorpe:
The Complete Flowers, teNeues, 2006, pl. 88

110. 108
207
IRVING PENN (1917-2009)
Women with Roses on her arm (Lisa Fonssagrives-
Penn),Paris,1950
platiunum-palladium print, fush-mounted on aluminum,
printed August-September 1977
signed, titled, dated, numbered ‘32/40’ in pencil, Penn/
Condé Nast copyright credit reproduction limitation stamp
and stamped ‘In addition to 40 numbered prints of this image
in platinum metals, unnumbered, but signed, silver prints not
exceeding a total of 25 may exist’ (on the reverse of the fush-
mount)
image:21æ x 14Ωin.(52.7 x 36.8cm)
sheet/fush-mount:26 x 22in.(66 x 55.9cm.)
$150,000-250,000
P R O V E N A N C E :
With Jane Corkin Gallery, Toronto
L I T E R A T U R E :
Vogue [Paris], October 1950, p. 85; Szarkowski, Irving Penn,
The Museum of Modern Art, 1984, p. 54; Penn, Passage:
A Work Record, Knopf/Callaway, 1991, p. 85

111. 109

112. 110
208
ROBERT MAPPLETHORPE (1946-1989)
Orchid,1987
gelatin silver print
signed by Michael Ward Stout, Executor, date, number ‘8/10’,
MAP # ‘1730’ in ink and Estate copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:19º x 19ºin.(49 x 49cm.)
sheet/fush-mount:24 x 20in.(60 x 51cm.)
$20,000-30,000
P R O V E N A N C E :
With Robert Miller Gallery, New York
L I T E R A T U R E :
Mapplethorpe: The Complete Flowers, teNeues, 2006, pl. 151

113. 111
209
ROBERT MAPPLETHORPE (1946-1989)
Calla Lilly,1986
gelatin silver print
signed, dated in ink, title, date, number ‘9/10’, MAP # ‘1623’
in an unknown hand in ink and copyright credit reproduction
limitation stamp (on the reverse of the fush-mount)
image:19º x 19ºin.(49 x 49cm.)
sheet/fush-mount:24 x 20in.(61 x 50.8cm.)
$70,000-90,000
L I T E R A T U R E :
Mapplethorpe: The Complete Flowers, teNeues, 2006, pl. 127

114. 112
AN IMPORTANT PRIVATE COLLECTOR
211
HIROSHI SUGIMOTO (B. 1948)
WorldTrade Center - MinoruYamazaki,1997
gelatin silver print
blindstamp number ‘14/25’, ‘906’ (in the margin);
signed in pencil (on the mount)
image:23 x 18Ωin.(28.4 x 47cm.)
sheet:23æ x 18Ωin.(60.3 x 47cm.)
mount:25º x 20in.(63.9 x 50.8cm.)
$40,000-60,000
P R O V E N A N C E :
With Sonnabend Gallery, New York
210
RICHARD MISRACH (B. 1949)
Venus overVirginValley,9.25.95 (7:29-8:29
P.M.)
chromogenic print, printed 2001
signed, titled, dated, numbered ‘AP 1/1’ and inscribed
in ink (in the margin)
image:28 x 35in.(71.2 x 89cm.)
sheet/fush-mount: 30 x 36in. (76.3 x 91.5cm.)
$10,000-15,000
210

115. 113
211

116. 114
P R O V E N A N C E :
Sotheby’s, New York, October 7, 1993, lot 448
L I T E R A T U R E :
Stillman, ed., Ansel Adams: 400 Photographs,
Little, Brown and Co., 2007, p. 373
VARIOUS PRIVATE COLLECTIONS
212
ANSEL ADAMS (1902-1984)
Aspens,Northern New Mexico,1958
gelatin silver print, printed 1970s
signed in pencil (on the mount); title, date in ink
and Carmel credit stamp (on the reverse of the mount)
image/sheet:19¬ x 15Ωin.(50 x 39.5cm.)
mount:28 x 22in.(71 x 56cm.)
$15,000-25,000

117. 115
213
ANSEL ADAMS (1902-1984)
Aspens,Northern New Mexico,1958
gelatin silver print, printed later
signed in pencil (on the mount); title in ink and
Carmel credit stamp (on the reverse of the mount)
image/sheet:15º x 19in.(39 x 48cm.)
mount:22 x 28in.(56 x 71cm.)
$30,000-50,000

118. 116
214
EDWARD WESTON (1886-1958)
Cloud,1936
gelatin silver print
title, date in pencil, date and notation ‘18-CL’ in ink (on the verso)
image/sheet:8 x 10in.(20.5 x 25cm.)
$8,000-12,000
L I T E R A T U R E :
Conger, Edward Weston: Photographs, Center for Creative
Photography, 1992, fg. 910/1936

119. 117
215
ANSEL ADAMS (1902-1984)
Clearing Storm,Mt.Williamson,Sierra
Nevada,from Manzanar,1945
gelatin silver print, printed c. 1972
signed in pencil (on the mount); title in pencil and
Carmel credit stamp (on the reverse of the mount)
image/sheet: 15¬ x 19¿in.(40.1 x 49cm.)
mount: 22 x 28in. (55.9 x 71.1cm.)
$20,000-30,000

120. 118
218
EDWARD WESTON (1886-1958)
Dynamic Symmetry,1943
gelatin silver print
initialed and dated in pencil (on the mount); title,
notation ‘P043-CNLJ1-1’ and annotations ‘Jean’s 1st
studio - Carmel Highlands left to right above: Jean,
Leon Wilson, Neil Weston, Left below: Charis Wilson
Weston.’, ‘Collection-Museum of Modern Art N.Y.’,
in pencil (on the reverse of the mount)
image/sheet:7Ω x 9¬in.(19 x 24.5cm.)
mount:8√ x 11in.(22.5 x 27.9cm.)
$10,000-15,000
L I T E R A T U R E :
Conger, Edward Weston: Photographs, Center for
Creative Photography, 1992, fg. 1724/1943
216
217
EDWARD WESTON (1886-1958)
Winter Idyll,1945
gelatin silver print
initialed and dated in pencil (on the mount);
titled and annotated ‘NY45-CH-2’ in pencil
(on the reverse of the mount)
image/sheet:7¬ x 9Ωin.(19.3 x 24.2cm.)
mount: 14¿ x 15¬in. (36 x 39.6cm.)
$8,000-12,000
L I T E R A T U R E :
Conger, Edward Weston: Photographs,
Center for Creative Photography, 1992,
fg. 1772/1945
216
EDWARD WESTON (1886-1958)
Nude,1936
gelatin silver print, printed later
by Cole Weston
signed, titled, dated, notation ‘227N’ in
pencil by Cole Weston and credit stamp
(on the reverse of the mount)
image/sheet:9Ω x 7Ωin.(24 x 19.5cm.)
mount: 15 x 13ºin. (38 x 33.4cm.)
$8,000-12,000

121. 119
218
217

122. 220
ROY DECARAVA (1919-2009)
Couples,NewYork,1960
gelatin silver print
signed in pencil (in the margin); credit, title ‘Couples’ and
notation ‘Neg. 50 #4’ in pencil (on the reverse of the mount)
image:10 x 12√in.(25.5 x 32.7cm.)
sheet: 11 x 14in. (28 x 35.6cm.)
mount:14¬ x 18¬in.(37.2 x 47.3cm.)
$6,000-8,000
L I T E R A T U R E :
Galassi, Roy DeCarava: A Retrospective, The Museum of
Modern Art, 1996, p. 259
220
THE JAMES J. BRENNAN COLLECTION
219
ROY DECARAVA (1919-2009)
Hotel,NewYork,1962
gelatin silver print, printed 1982
signed, dated and copyright credit in pencil (in the margin)
image:13 x 8æin.(33 x 22.5cm.)
sheet: 14 x 11in. (35 x 27.5cm.)
$8,000-12,000
L I T E R A T U R E :
Galassi, Roy DeCarava: A Retrospective, The Museum of
Modern Art, 1996, p. 115
219

123. 121
222
RYAN MCGINLEY (B. 1977)
Dash &Agathe
(Black Leather Couch),1999
chromogenic print
signed in ink, typed title, date and numbered ‘5/6’
on accompanying gallery label
image:26æ x 40in.(68 x 101.6cm.)
sheet:27¡ x 42æin.(69.5 x 108.6cm.)
$7,000-9,000
P R O V E N A N C E :
With Team Gallery, New York
222
221
VARIOUS PRIVATE COLLECTIONS
221
RYAN MCGINLEY (B. 1977)
Dash (Stairs),2002
chromogenic print
signed in ink, typed title, date and number ‘5/6’
on accompanying gallery label
image:40 x 27Ωin.(101.6 x 69.9cm.)
sheet:42º x 30in.(107.3 x 76.2cm.)
$7,000-9,000
P R O V E N A N C E :
With Team Gallery, New York

124. 122
223
WILLIAM EGGLESTON (B. 1939)
Untitled,from‘Morals ofVision’,1978
chromogenic print
signed in ink (on the verso)
image:13 x 19in.(33.1 x 48.4cm.)
sheet: 16 x 20in. (40.7 x 50.9cm.)
$5,000-7,000

125. 123
224
JOEL STERNFELD (B. 1944)
McLean,Virginia,December 5,1978
chromogenic print, printed 2006
signed in ink, typed title, date and number ‘4/10’
on a gallery label affxed (on the reverse of the mount);
one from the edition of 10 plus 2 artist’s proofs
image:42 x 52Ωin.(106.6 x 133.3cm.)
sheet/fush-mount: 48 x 58Ωin. (121.9 x 148.6cm.)
$20,000-30,000
P R O V E N A N C E :
With Luhring Augustine, New York

126. 225

127. 125END OF SALE
226
DAIDO MORIYAMA (B. 1938)
Misama (Stray Dog),1971
gelatin silver print, printed later
signed ‘Daido’ and in Japanese in pencil
(on the reverse of the mount)
image:29 x 42in.(74 x 107cm.)
$10,000-15,000
225
ADAM FUSS (B. 1961)
Untitled,from‘Details of Love’,1992
unique cibachrome photogram
title, date and notations ‘AF3N745’, ‘CR3 FU.3417’
on a gallery label affxed (on the frame backing)
image/sheet:52 x 40Ωin.(132 x 102.9cm.)
$12,000-18,000
P R O V E N A N C E :
With Cheim & Read, New York;
with Xavier Hufkins, Brussels
226

129. 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
lpaterson@christies.com
Triple XXX: The Collection of Don Sanders
Online Only
Helmut Newton
Photographs for Playboy
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.

130. HELMUT NEWTON (1920-2004)
Carrie Leigh,Beverly Hills,1985
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Eva,Monte Carlo,1993
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Real Dolls,California,2002
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’Playmates,Los Angeles,1986
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Study onVoyeurism,Los Angeles,1989
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Mannequins Quai d’Orsay,1977
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’,Los Angeles,1997
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’,Los Angeles,1997
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’,Los Angeles,1997
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’,Los Angeles,1997
chromogenic print,printed later
Estimate:$15,000-25,000

131. HELMUT NEWTON (1920-2004)
Eva,Monte Carlo 1993
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
BeautyTreatment,Paris,1974
dye-bleach print
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’,Los Angeles,1997
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Real Dolls,California,2002
chromogenic print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Untitled I,Bel Air,1989
gelatin silver print,printed later
Estimate:$15,000-25,000 HELMUT NEWTON (1920-2004)
Mannequins,Quai d’Orsay,Paris,1977
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
‘Playboy’Playmates,California,1986
dye-bleach print
Estimate:$15,000-25,000 HELMUT NEWTON (1920-2004)
‘Playboy’Playmates,Los Angeles,1986
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
The Redhead,Sherman Oaks,California,1992
gelatin silver print,printed later
Estimate:$15,000-25,000
HELMUT NEWTON (1920-2004)
Hollywood Hills,1986
gelatin silver print,printed later
Estimate:$15,000-25,000
Helmut Newton Photographs for Playboy
Online Only | 23 September–7 October

132. Index
A
Abbott,B.,157,158,159
Adams,A.,127,128,134,197,212,213,215
Arbus,D.,141,148,149
Avedon,R.,106,107,109-115,139,140,163-165
B
Beard,P.,184,187
Bing,I.,198,199
Blumenfeld,E.,166-168
Bourke-White,M.,192
Brandt,N.,185,186
Brassaï,147
Burtynsky,E.,135,136
C
Callahan,H.,120
Cartier-Bresson,H.,176-178
D
D’Orazio,S.,188,189
DeCarava,R.,219,220
Dijkstra,R.,137
E
Eggleston,W.,150,153,223
Eisenstaedt,A.,108
Erwitt,E.,155
F
Frank,R.,142-146,179
Fuss,A.,225
G
Gigli,O.,119
H
Höfer,C.,162
Horst,H.P.,104,105
K
Kertész,A.,200,202
Koudelka,J.,175
L
Le Baube,G.,170
M
Man Ray,201
Mapplethorpe,R.,101-103,138,190,191,203-206,
208,209
McGinley,R.,221,222
Metzker,R.,117,118,121
Misrach,R.,210
Moriyama,D.,226
N
Newman,A.,193
Newton,H.,171
P
Penn,I.,116,122-125,172-174,181-183,207
Pfizenmaier,E.,154
Polidori,R.,161,180
S
Salgado,S.,156,195,196
Sheeler,C.,160
Shore,S.,151,152
Sternfeld,J.,224
Sugimoto,H.,211
V
Von Unwerth,E.,169
W
Weston,B.,131
Weston,E.,126,129,130,132,133,194,214,216-218
Winter,YosemiteValley,18

133. 131
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 ∆ 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
an advance to the consignor that is secured solely
by consigned property. Such property is identified
in the catalogue with the symbol º next to the lot
number. This symbol will be used both in cases
where Christie’s holds the financial interest on its
own, and in cases where Christie’s has financed all
or part of such interest through third parties. When
a third party agrees to finance all or part of Christie’s
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk. The third party
may also bid for the lot. Where it does so, and is the
successful bidder, the remuneration may be netted
against the final purchase price. If the lot is not sold,
the third party may incur a loss. Where Christie’s
has an ownership or financial interest in every lot in
the catalogue, Christie’s will not designate each lot
with a symbol, but will state its interest at the front
of the catalogue.
In this catalogue, if property has
ºu next to the lot
number, Christie’s guarantee of a minimum price
has been financed through third parties.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION REPORTS
Christie’s catalogues include references to condition
only in descriptions of amultiple works (such as
prints, books and wine). Please contact the Specialist
Department for a condition report on a particular lot.
Condition reports are provided as a service to
interested clients. Prospective buyers should note
that descriptions of property are not warranties and
that each lot is sold “as is.”
PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit {e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarize themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country.
Please note that it is the client’s responsibility
to determine and satisfy the requirements of
any applicable laws or regulations applying to
the export or import of property containing
endangered and other protected wildlife
material. The inability of a client to export
or import property containing endangered
and other protected wildlife material is not
a basis for cancellation or rescission of the
sale. Please note also that lots containing
potentially regulated wildlife material are
marked as a convenience to our clients,
but Christie’s does not accept liability for
errors or for failing to mark lots containing
protected or regulated species.
11/3/14