photographs - bonhams

PhotographsTuesday May 7, 2013 at 1pmNew York

PhotographsTuesday May 7, 2013 at 1pmNew York

Bonhams 580 Madison AvenueNew York, New York 10022bonhams.com

PreviewSan FranciscoSaturday April 27, 12pm to 5pmSunday April 28, 12pm to 5pmMonday April 29, 12pm to 5pm

New YorkSaturday May 4, 12pm to 5pmSunday May 5, 12pm to 5pmMonday May 6, 10am to 7pmTuesday May 7, 10am to 1pm

Please note lot 107 will preview only in New York.

Bids+1 (212) 644 9001 +1 (212) 644 9009 fax

To bid via the internet please visit www.bonhams.com

Sale Number: 20912Lots 1 - 135

Catalog: $35

InquiriesJudith EurichDirector Prints & Photographs+1 (415) 503 [email protected]

Morisa RosenbergDirector Works on Paper+1 (323) 436 [email protected]

Stacy ThompsonJr. Specialist/Cataloguer+1 (415) 503 [email protected]

Naomi ThuneJr. Specialist/Cataloguer+1 (323) 436 [email protected]

Automated Results Service+1 (800) 223 2854

Online bidding will be available for this auction. For further information please visit:www.bonhams.com/20912

Please see pages 2 to 4 for bidder information including Conditions of Sale, after-sale collection and shipment.

IllustrationsFront cover: Lot 105Session page: Lot 106

Please note the “Property Collection Notice” on page 4, containing important information regarding the shipping of sold property following the auction.

© 2013, Bonhams & Butterfields Auctioneers Corp.; All rights reserved. Bond No. 57BSBGL0808Principal Auctioneer: Malcolm J. Barber, License No. 1183017

CONDITIONS OF SALE

The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom we act as agent. If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the purchaser. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the purchaser EQUAL TO 25% OF THE FIRST $50,000 OF THE BID PRICE, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $50,000 UP TO AND INCLUDING $1,000,000, AND 12% OF THE AMOUNT OF THE BID PRICE OVER $1,000,000, and (c) unless the purchaser is exempt by law from the payment thereof, any California, Arizona, Connecticut, Georgia, Illinois, Massachusetts, Nevada, New York, Pennsylvania, Texas, Washington, D.C., Washington state, or other state or local sales tax (or compensating use tax) and other applicable taxes.

2. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid.

Unless otherwise agreed, payment in good funds is due and payable within five (5) business days following the auction sale. Whenever the purchaser pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have collected good funds for all amounts due.

Payment for purchases may be made in or by (a) cash, (b) cashier’s check or money order, (c) personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card. A processing fee will be assessed on any returned checks. Please note that the amount of cash notes and cash equivalents that can be accepted from a given purchaser may be limited.

The purchaser grants us a security interest in the property, and we may retain as collateral security for the purchaser’s obligations to us, any property and all monies held or received by us for the account of the purchaser, in our possession. We retain all rights of a secured party under the California Commercial Code. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to us and the consignor by law, including without limitation, the right to hold the purchaser liable for the purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property, either publicly or privately, and in such event the purchaser shall be

liable for the payment of any deficiency plus all costs and expenses of both sales, our commission at our standard rates, all other charges due hereunder, attorneys’ fees, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the purchaser to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the purchaser. If all fees, commissions, premiums, bid price and other sums due to us from the purchaser are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

3. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

4. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

5. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the purchaser or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the purchaser and shall in no event include any compensatory, incidental or consequential damages.

6. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid therefor to protect such interest. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

7. All statements contained in the catalog or in any bill of sale, condition report, invoice or elsewhere as to authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition and literature of historical relevance, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS OR WARRANTIES. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

8. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of the catalog. If not so removed, daily storage fees will be payable to us by the purchaser as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the purchaser’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the purchaser. Bonhams can provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

9. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or its licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent.

10. These Conditions of Sale shall bind the successors and assigns of all bidders and purchasers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

11. These Conditions of Sale and the purchaser’s and our respective rights and obligations hereunder are governed by the laws of the State of California. By bidding at an auction, each purchaser and bidder agrees to be bound by these Conditions of Sale. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the purchaser of lots consigned hereunder) shall be resolved by the procedures set forth below.

Mediation and Arbitration Procedures

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:

(i) the arbitration shall occur within 60 days following the selection of the arbitrator;

SELLING AT AUCTIONBonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction. Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www.bonhams.com/us for more information or call our Client Services Department at +1 (800) 223 2854 ext. 3550.

Auction EstimatesThe first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways:

• Attend one of our Auction Appraisal Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Appraisal Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent

to Bonhams’ address in envelopes marked as “photo auction estimate”. Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

Consigning Your PropertyAfter you receive an estimate, you may consign your property to us for sale in the next appropriate auction. Our staff assists you throughout the process, arranging transportation of your items to our galleries (at the consignor’s expense), providing a detailed inventory of your consignment, and reporting the prices realized for each lot. We provide secure storage for your property in our warehouses and all items are insured throughout the auction process. You will receive payment for your property approximately 35 days after completion of sale.

Sales commissions vary with the potential auction value of the property and the particular auction in which the property is offered. Please call us for commission rates.

Professional Appraisal ServicesBonhams specialists conduct insurance and fair market value appraisals for private collectors, corporations, museums, fiduciaries and government entities on a daily basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market. Fair market value appraisals are used for estate, tax and family division purposes and reflect prices paid by a willing buyer to a willing seller.

When we conduct a private appraisal, our specialists will prepare a thorough inventory listing of all your appraised property by category. Valuations, complete descriptions and locations of items are included in the documentation.

Appraisal fees vary according to the nature of the collection, the amount of work involved, the travel distance, and whether the property is subsequently consigned for auction.

Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

Estate ServicesSince 1865, Bonhams has been serving the needs of fiduciaries – lawyers, trust officers, accountants and executors – in the disposition of large and small estates. Our services are specially designed to aid in the efficient appraisal and disposition of fine art, antiques, jewelry, and collectibles. We offer a full range of estate services, ranging from flexible financial terms to tailored accounting for heirs and their agents to world-class marketing and sales support.

For more information or to obtain a detailed Trust and Estates package, please visit our website at www.bonhams.com/us or contact our Client Services Department.

SELLER’S GUIDE

CONDITIONS OF SALE - CONTINUED

(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and

(iii) discovery and the procedure for the arbitration shall be as follows:

(A) All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

(C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;

(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

Limited Right of Rescission

If within one (1) year from the date of sale, the original purchaser (a) gives written notice to us alleging that the identification of Authorship (as defined below) of

such lot as set forth in the BOLD TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original purchaser alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original purchaser the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the purchaser on the sale and make demand on the consignor to pay the balance of the original purchase price to the original purchaser. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original purchaser our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original purchaser only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The purchaser hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the purchaser’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the BOLD TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the BOLD TYPE heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

Limitation of Liability

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE PURCHASER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES.

BIDDING & BUYING AT AUCTIONWhether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (800) 223 2854 ext. 3550.

CatalogsBefore each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

PreviewsAuction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.

EstimatesBonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

ReservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at AuctionOn occasion, Bonhams may offer a lot in which it has an ownership interest, in whole or in part. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number.

Similarly, Bonhams may have an economic interest in a lot beyond its commission as a result of making an advance against anticipated proceeds to the consignor which is secured by the consigned property or where it has guaranteed the consignor a minimum auction price for consigned property. Such property, if any, is identified in the catalog with a ○ symbol next to the lot number.

Bidding at AuctionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.

By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it.

We assume no responsibility for failure to execute bids for any reason whatsoever.

In PersonIf you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Absentee BidsAs a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, at offsite auction locations, and at our San Francisco, Los Angeles and New York galleries.

By Telephone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale.

OnlineWe offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.

Bid IncrementsBonhams generally uses the following increment multiples as bidding progresses:

$50-200 .........................................by $10s $200-500 .......................................by $20/50/80s $500-1,000 ....................................by $50s $1,000-2,000 .................................by $100s $2,000-5,000 .................................by $200/500/800s $5,000-10,000… ............................by $500s $10,000-20,000 .............................by $1,000s $20,000-50,000 .............................by $2,000/5,000/8,000s $50,000-100,000 ...........................by $5,000s $100,000-200,000 .........................by $10,000s above $200,000 .............................at auctioneer’s discretion

The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.

Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

Sales TaxCalifornia, Arizona, Colorado, Connecticut, Georgia, Illinois, Nevada, New York, Massachusetts, Pennsylvania, Texas, Washington state and Washington DC residents must pay applicable sales tax. Other state or local taxes (or compensating use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed above.

Shipping & RemovalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Collection of PurchasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.

Property Collection NoticeThis sale previews in multiple cities. Please note the property will be available for collection in New York at the time of the auction. East Coast, out-of-state and international buyer property will remain available for collection in our New York gallery after the auction. All California buyer property will be shipped to our San Francisco, California gallery for collection. Please contact the department or cashiers with inquiries or shipping requests.

Handling and Storage ChargesBonhams will hold all purchased lots in our gallery until Tuesday, May 14 without penalty. After May 14 collection of lots will be by appointment only. Please call +1 (212) 644 9001 at least 24 hours in advance to make an appointment.

Auction ResultsTo find out the final purchase price for any lot following the sale, please call our automated auction results line at +1 (800) 223 2854 ext. 3400. All you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

BUYER’S GUIDE

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1Ogawa Gesshu (1891-1967)Kimono, 1932Bromide print, inscribed ‘Kimono by Ogawa Gesshu, 1932, printed in the 7th year of Taisho Period, Guarantor, Ogawa’s nephew, Tanaka Eitaro’ in ink and Eitaro Tanaka’s signature seal in red ink on a label affixed to the verso.10 3/8 x 4 1/2in$2,000 - 3,000

2Ogawa Gesshu (1891-1967)Sisters, 1920Bromide print, inscribed ‘Sisters by Ogawa Gesshu, printed in the 14th year of Taisho Period, c. 1925, Guarantor, Ogawa’s nephew, Tanaka Eitaro’ in ink and Eitaro Tanaka’s signature seal in red ink on a label affixed to the verso.6 x 9in$2,000 - 3,000

3Frederick Henry Evans (1853-1943)Château Amboise, early 1900sPlatinum print, on a large paper mount with hand-ruled pencil and watercolor borders, initialed and titled in pencil on the mount; titled in an unidentified hand in pencil on the mount verso.5 1/4 x 3 1/4in$2,000 - 3,000

4William Pryor Floyd (active 1866-1875)Vistas de Macau, c. 1870Album with 42 albumen prints, 2 panoramas in two parts and 2 panoramas in 4 parts; 2 prints and a panorama signed ‘Floyd’ in the negative; small album in original, blue oblong-folio, with marbled leaves and gilt lettering.prints approx. 7 1/4 x 11in; cards 93/8 x 12 5/8in; album 9 7/8 x13 3/8 x 1 1/8in$15,000 - 25,000

Little is known about the British photographer, William Pryor Floyd, who had a photography studio in Macau and Hong Kong in the latter part of the 1800s. Beginning in the 16th century, Macau was under Portuguese control, and became a bustling, multi-cultural city and an important trading port with India, Southern China, Japan and Southeast Asia. The images of the panoramas and individual sites in this album capture a combination of the beauty and exotic characteristics of this place in the late 19th century.

Additional images in this lot can be viewed in our online catalog.

Photographs | 7

5Edward S. Curtis (1868-1952)The Vanishing Race, Navaho, 1904Orotone, signed by the photographer in the negative, with Seattle studio label on the verso of frame; in original studio frame.10 1/2 x 13 5/8in$4,000 - 6,000

Literature:The North American Indian. The Complete Portfolios, Taschen, 2001, p. 36; Cardozo, Native Nations: First Americans As Seen by Edward S. Curtis, Little, Brown and Company, Boston, 1993, p. 123

6Edward S. Curtis (1868-1952)At the Old Well of Acoma, 1904Orotone, signed by the photographer in the negative; in original studio frame.10 3/8 x 13 1/2in$5,000 - 7,000

Literature:Cardozo, ed., Native Nations: First Americans As Seen by Edward S. Curtis, Little, Brown and Company, Boston, 1993, p. 48; The North American Indian, The Complete Portfolios, Taschen, Köln, 1997, p. 621

7Frank A. Rinehart (1861-1928)Portraits of Native Americans, 1898-1899A group of 15 platinum prints, of Native Americans in traditional dress, each with Rinehart’s signature, title, copyright date, and inventory number in the negative. (15)each approx. 9 1/4 x 7 1/4in$10,000 - 15,000


8Edouard-Denis Baldus (1813-1882)The Railroad Station at Clermont (Oise), 1852-1855Albumen print from a paper negative, on the original mount, from the album Chemins de fer de Paris à Lyons et à la Mediterannée, 1855, numbered and titled in a period hand in ink on the mount.11 3/8 x 17in$2,000 - 3,000

Literature:Janis, The Art of the French Calotype, Princeton, 1983, pl. XXX

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9Berenice Abbott (1898-1991)Yuban Warehouse, Water and Dock Streets, Brooklyn, May 22, 1936Gelatin silver print, probably printed between 1958 and 1966, flush-mounted to board, signed in pencil on the mount; the ‘Photograph, Berenice Abbott, Abbott, Maine 04406’ credit stamp on the mount verso.7 1/2 x 9 1/2in$3,000 - 5,000

Provenance:Carl Siembab Gallery of Photography, Boston, Mass (label on the reverse of the mount)The Cronin Gallery, Houston, Texas

Literature:O’Neal, Berenice Abbott: American Photographer, McGraw-Hill Book Co., New York, 1982, pp. 136-137; Berenice Abbott: Photographs, Horizon Press, New York, 1970, pp. 80-81

10Berenice Abbott (1898-1991)New York at Night, 1932Gelatin silver print, c. 1980, signed in pencil on the mount; with the ‘Photograph by Berenice Abbott © Commerce Graphics Ltd., Inc., East Rutherford, NJ 07073’ ink stamp on the verso.19 1/4 x 15 1/2in$10,000 - 15,000

Literature:Steidl, Berenice Abbott: Volume II, 2008, cover, frontispiece and p. 35; Berenice Abbott: Photographer: A Modern Vision, The New York Public Library, 1989, pl. 9.

11Paul Caponigro (born 1932)Blue Ridge Way, North Carolina and Virginia, 1965Gelatin silver print, printed later, signed in pencil on the mount and the overmat.14 1/2 x 17 7/8in$2,000 - 3,000

Provenance:Andrew Smith Gallery, Santa Fe, 1990

Literature:Road and Roadside: American Photographs, 1930-1986, The Art Institute of Chicago and four other institutions, 1987-1988 (exhibition catalog)

12Paul Caponigro (born 1932)Stream, Redding, Connecticut, 1968Gelatin silver print, printed later, signed in pencil on the mount and the overmat.16 1/2 x 23 1/4in$2,000 - 3,000


Literature:Masterworks from Forty Years, Photography West Graphics, Carmel, 1993, frontispiece

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13Ansel Adams (1902-1984)Monolith, the Face of Half Dome, Yosemite National Park, California, c. 1926Gelatin silver print, probably printed between 1973 and 1977, signed in pencil on the mount; titled in ink and his credit stamp (BMFA 11) on the mount verso. 19 1/4 x 14in$20,000 - 30,000

Literature:Stillman, Ansel Adams: 400 Photographs, Little, Brown and Company, New York, 2007, cover and p. 35Ansel Adams: Yosemite and the Range of Light, Little, Brown and Co., Boston, 1979, pl. 54

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14Ansel Adams (1902-1984)White House Ruin, Cañon de Chelley, National Monument, Arizona, 1942Gelatin silver print, probably printed between 1973 and 1977, signed in pencil on the mount; titled in ink, and his credit stamp (BMFA 11) on the mount verso.19 1/4 x 14 1/4in$20,000 - 25,000

Provenance:Photography West Gallery, Carmel, 1984

Literature:Stillman, Ansel Adams: 400 Photographs, Boston, 2007, p. 165Ansel Adams, Photographs of the Southwest, Boston, 1976, pl. 31Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 128Stillman and Turnage, eds., Ansel Adams: Our National Parks, Boston, 1992, p. 98

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15Ansel Adams (1902-1984)Mount Williamson, Sierra Nevada, from Manzanar, 1944Gelatin silver print, probably printed between 1973 and 1977, signed in pencil on the mount; titled in ink, and his credit stamp (BMFA 11) on the mount verso.15 1/2 x 19 1/8in$20,000 - 30,000

Provenance:Property of a Private Southern California Collection

Literature:400 Photographs, back cover and pp. 261 and 422)Szarkowski, Ansel Adams At 100, Little, Brown and Co./San Francisco Museum of Modern Art, 2001, pl. 97

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16Ansel Adams (1902-1984)Moonrise, Hernandez, New Mexico, 1941Gelatin silver print, probably printed between 1973 and 1977, signed in pencil on the mount; titled in ink and his credit stamp (BMFA 11) on the mount verso.15 1/8 x 19 3/8in$25,000 - 35,000

Literature:Alinder and Szarkowski, Classic Images, Little, Brown and Co., Boston, 1985, pl. 32Powell, Photographs of the Southwest, New York Graphic Society, Boston, 1985, pl. 55Szarkowski, Ansel Adams at 100, Little, Brown and Company, 2001, p. 96

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17Ansel Adams (1902-1984)Dunes, Oceano, California, 1963Gelatin silver print, printed 1963, Pl. 4, from Portfolio IV, signed in ink on the mount; the portfolio stamp and plate number ‘IV’ and set no. ‘222’ in an edition of 260 in an unidentified hand in red ink on mount verso.7 1/4 x 7 3/4in$7,000 - 9,000

Literature:The Portfolios of Ansel Adams, p. 64; Haas and Senf, Ansel Adams in the Lane Collection, Museum of Fine Arts, Boston, 2005, pl. 64; Alinder and Szarkowski, Ansel Adams: Classic Images, Little, Brown and Co., Boston, 1985, pl. 70

18Ansel Adams (1902-1984)Ice on Ellery Lake, Sierra Nevada, California, 1959Gelatin silver print, from Yosemite and the Range of Light, printed 1979, signed and numbered 37/50 in pencil on the mount; portfolio credit label on the mount verso.13 1/8 x 18 3/4in$6,000 - 8,000

Literature:Yosemite and the Range of Light, Little, Brown and Co., Boston, 1979, pl. 116; Alinder and Stillman, Ansel Adams: Letters and Images 1916-1984, New York Graphic Society, and Little, Brown and Co., Boston, 1988, p. 297

19Ansel Adams (1902-1984)Sand Dunes, Oceano, California, c. 1950Gelatin silver print, printed 1978, signed in pencil on the mount; titled, dated in ink, and his credit stamp on the mount verso.19 x 15in$10,000 - 15,000

Literature:Alinder and Szarkowski, Classic Images, Little, Brown and Co., Boston, 1985, pl. 70; Examples: The Making of 40 Photographs, Little, Brown and Company, Boston, 1983, pl. 148; Stillman, 400 Photographs, Little, Brown and Company, New York, 2007, p. 342

20Ansel Adams (1902-1984)Zabriskie Point, Death Valley National Monument, California, c. 1942Gelatin silver print, printed 1970’s, signed in pencil on the mount; title and his credit stamp (BMFA 11) on the mount verso.19 1/4 x 15in$8,000 - 10,000

Literature:Szarkowski, The Portfolios of Ansel Adams, New York Graphics Society, Little, Brown and Co., Boston, 1977, p. 32

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21Ansel Adams (1902-1984)Leaf, Glacier Bay National Monument, 1948Gelatin silver print, printed 1963, Pl. 3, from Portfolio IV, signed in ink on the mount; the portfolio stamp and plate number ‘III’ and set no. ‘222’ in an edition of 260 in an unidentified hand in red ink on the mount verso.6 3/4 x 9n$5,000 - 6,000

Literature:The Portfolios of Ansel Adams, p. 63; Stillman and Turnage, Editors, Ansel Adams: Our National Parks, Little, Brown and Co., Boston, 1992, p. 44

22Ansel Adams (1902-1984)Autumn, Yosemite Valley, c. 1933Gelatin silver print, mounted on double-sided Bristol board, signed in pencil on the mount.7 1/4 x 9 3/8in$4,000 - 6,000

Provenance:Gift from the photographer to the present owner

23Ansel Adams (1902-1984)Yosemite Falls; Moon and Half Dome, 1950; 1960Two gelatin silver prints, printed c. 1970, each signed in ink on the mount; the ‘Special Edition’ credit stamp on the mount versos. (2)9 1/4 x 7 1/4in; 9 1/2 x 7 1/4in$6,000 - 8,000

Literature:(Moon and Half Dome) Alinder and Szarkowski, Ansel Adams: Classic Images, Brown and Co., Boston, 1985, cover and pl. 74; Stillman, Ansel Adams: 400 Photographs, Little, Brown and Company, New York, 2007, p. 379; Ansel Adams: Yosemite and the Range of Light, Little, Brown and Co., Boston, 1979, p. 115

24William Clift (born 1944)Shadow, Mont Saint-Michel, France, 1977Gelatin silver print, signed and titled in pencil on the mount; signed in pencil on the overmat.13 3/4 x 19 3/8in$2,500 - 3,500

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25Edward Weston (1886-1958)The Big Sur, 1945Gelatin silver print, initialed and dated in pencil on the mount; titled, dated and numbered ‘C45-NES-2’ in pencil, and Beaumont and Nancy Newhall Collection stamp on the mount verso.7 1/2 x 9 1/2in$8,000 - 12,000

Literature:Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, The University of Arizona, Tucson, 1992, fig. 1775

26Brett Weston (1911-1993)Mendenhall Glacier, 1973Gelatin silver print, signed and dated in pencil on the mount.7 1/2 x 8 3/4in$6,000 - 9,000

Literature:Newhall, Brett Weston: Voyage of the Eye, Aperture, 1975, p. 65; Brett Weston: Photographs from Five Decades, Aperture, 1980, p. 93

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27Edward Weston (1886-1958)Fiftieth Anniversary Portfolio: 1902-1952, c. 1952Carmel, California, 1951, an edition of 100. a portfolio of 12 gelatin silver photographs, printed by Brett Weston under Edward Weston’s supervision, each mounted, initialed and dated by the photographer in pencil on the mount, each stamped in ink with the print number on the reverse of the mount; with colophon, introduction by Edward Weston, a plate list, contained in folio, white cloth with flaps and black letterpress title.9 1/2 x 7 1/2in or reverse$60,000 - 90,000

Provenance:Estate of Ben Maddow, Weston historian and biographer, author of Edward Weston: His Life and Photographs

Butterfield & Butterfield, San Francisco & Los Angeles, 13 November 1994, lot 1597

The plates are as follows:Cabbage Leaf, 1931Eel River, 1937David H. McAlpin, New York, 1941Eroded Rock, Point Lobos, 1930Nude, 1936Wall Scrawls, Hornitos, 1940Guadalupe, Mexico, 1925Church Door, Hornitos, 1940North Dome, Point Lobos, 1946William Edmondson, sculptor, Nashville, 1941“Willie,” New Orleans, 1941Dunes, Oceano, 1936


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28Brett Weston (1911-1993)Grass and Lava, 1982Gelatin silver print, signed and numbered 13/50 in pencil on the mount.10 1/2 x 13 1/4in$2,500 - 3,500


29Brett Weston (1911-1993)Untitled (Nude Underwater), 1979Gelatin silver print, signed in pencil on the mount; inscribed ‘Nudes 210’ in an unidentified hand in pencil on the mount verso.12 3/4x 10 1/2in$3,000 - 4,000


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30Brett Weston (1911-1993)Glen Canyon, 1959Gelatin silver print, signed and dated in pencil on the mount and the verso; No. 12 from the portfolio Fifteen Photographs 1934-1961.9 3/8 x 7 1/2in$3,000 - 4,000

Provenance:Butterfields, San Francisco & Los Angeles, 23 October 2001, lot 4376

Literature:Newhall, Voyage of the Eye, Aperture, Millerton, 1975, unpaginated

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31Brett Weston (1911-1993)Lily Stalks, 1925Gelatin silver print, printed 1970s, signed and dated in pencil on the mount.13 1/2 x 10 1/2in$3,000 - 5,000

Literature:Bennett, Brett Weston: Out of the Shadow, Oklahoma City Museum of Art, Oklahoma, 2008, p. 71

32Aaron Siskind (1903-1991)Aaron Siskind: 75th Anniversary Portfolio, 1936-1976New York: Light Gallery, 1979. a portfolio of 12 gelatin silver prints, each signed, titled, and dated in ink in the margin, in individual printed wrappers; with the printed title, introduction by Peter Bunnell, plate list, and colophon, numbered ‘39/50’ in ink (there were also 7 artist’s proofs), contained in folio, red linen portfolio with flaps and ties.folio 20 3/4 x 17 x 1in$20,000 - 30,000

The plates are as follows: Savoy Dancers, Harlem Document, c. 1936Glouchester 1h, 1944Jerome, Arizona 21, 1949Chicago 30, 1950Martha’s Vineyard 108, 1954St. Louis 9, 1955Feet 102, 1957Chicago Facade 7, 1960Rome: Arch of Constantine 10, 1963Jalapa 24 (Homage to Franz Kline), 1973Louise 30, 1974New York 78, 1976


33Jerry Uelsmann (born 1934)Untitled (Cube over Ocean), 1980Gelatin silver print, initialed and dated in pencil on the mount; signed, dated in ink and copyright credit stamp on the mount verso. 15 1/2 x 19 1/2in$2,000 - 3,000

Literature:Jerry Uelsmann: Photo Synthesis, Univ. Press of Florida, Gainesville, 1992, p. 68

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34André Kertész (1894-1985)Looking at the Circus, Budapest, May 19, 1920Gelatin silver print, printed late 1970s, signed, titled, and dated in pencil on the verso.9 3/4 x 7 3/4in$2,000 - 3,000

Literature:André Kertész, The Manchester Collection, Jean Genoud, Lausanne, 1984, p. 25; Borhan, André Kertész, His Life and Work, Bullfinch Press, Boston, 1994, p. 81; Ducrot, André Kertész, Sixty Years of Photography, Grossman, New York, 1972, back cover and p. 33

35André Kertész (1894-1985)Martinique, 1972Gelatin silver print, printed later, signed, titled and dated in pencil on the verso.7 3/8 x 9 5/8in$5,000 - 7,000

Provenance:Morgan Gallery, Kansas

Literature:Borhan, André Kertész: His Life and Work, Bullfinch Press, Boston, 1994, p. 321; Greenough, Gurbo and Kennel, André Kertész, National Gallery of Art, Washington, D.C./Princeton University Press, 2005, pl. 106; Sixty Years of Photography 1912-1972, Penguin, New York, 1978, p. 224

36André Kertész (1894-1985)Satiric Dancer, Paris, 1926Gelatin silver print, probably printed in the 1980s, signed, titled and dated in pencil on the verso.9 3/4 x 7 3/4in$5,000 - 7,000

Literature:André Kertész: A Lifetime of Perception, p. 243; André Kertész: Of Paris and New York, p. 139

37André Kertész (1894-1985)Sidewalk, Paris, 1929Gelatin silver print, printed c. 1982, signed, dated in pencil, debossed number on the mount.9 1/2 x 7 1/2in$2,500 - 3,500

Literature:Borhan, André Kertész: His Life and Work, p. 110; Ducrot, André Kertész: Sixty Years of Photography, p. 133; André Kertész: A Lifetime of Perception, p. 119

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38Manuel Alvarez Bravo (1902-2002)La buena fama, durmiendo (The Good Reputation Sleeping), 1938-39Gelatin silver print, printed 1970s, signed and annotated ‘Mexico’ in pencil on the verso.7 x 9 1/2in$5,000 - 7,000

Provenance:From the photographer to the present owner, 1970s

Literature: Aperture, Manuel Álvarez Bravo: Photographs and Memories, p. 77; Kismaric, Manuel Alvarez Bravo, The Museum of Modern Art, Harry N. Abrams, New York, 1997, p. 123; Monsivais, Manuel Alvarez Bravo: 100 Years, 100 Days, Madrid, Turner Publications, 2001, pl. 48

39Manuel Alvarez Bravo (1902-2002)Muchacha viendo pájaros (Girl looking at birds), 1931Gelatin silver print, printed 1970s, signed and annotated ‘Mexico’ in pencil on the mount.6 3/4 x 9 1/4in$3,500 - 5,500

Provenance:From the photographer to the present owner, 1970s

Literature:Kismaric, Manuel Alvarez Bravo, The Museum of Modern Art, Harry N. Abrams, New York, 1997, p. 73; Livingston, M Alvarez Bravo, David R. Godine, Boston/Corcoran Gallery of Art, Washington, D.C., 1978, pl. 47

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40Manuel Alvarez Bravo (1902-2002)La Hija de los Danzantes (The Daughter of the Dancers), 1933Platinum print, printed 1980s, signed and annotated ‘Mexico’ in pencil in the margin.9 1/2 x 6 5/8in$4,000 - 6,000

Literature:Kismaric, Manuel Alvarez Bravo, The Museum of Modern Art, Harry N. Abrams, New York, 1997, p. 93; Livingston, M Alvarez Bravo, David R. Godine, Boston/Corcoran Gallery of Art, Washington, D.C., 1978, pl. 58; Kaufman, Manuel Alvarez Bravo: Photographs and Memories, Aperture, 1997, p. 63

41Manuel Alvarez Bravo (1902-2002)Fin de Tianguis, Yalalag (End of Market Day), 1931Gelatin silver print, printed 1980s, signed and annotated ‘Mexico’ in pencil on the verso.9 1/2 x 7 1/2in$2,000 - 3,000

Literature:Kismaric, Manuel Alvarez Bravo, The Museum of Modern Art, Harry N. Abrams, New York, 1997, p. 58

Photographs | 27

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42Manuel Alvarez Bravo (1902-2002)Plátano Planta I, 1960sGelatin silver print, printed c. 1977, signed and annotated ‘Mexico’ in pencil on the mount.7 5/8 x 9 5/8in$2,500 - 3,500

43Manuel Alvarez Bravo (1902-2002)La Falsa Luna (The False Moon), 1967Gelatin silver print, printed c. 1977, signed and annotated ‘Mexico’ in pencil on the mount.7 3/4 x 9 3/4in$2,000 - 3,000

44Horace Bristol (1909-1997)Tunnel Entrance with Lamp, Los Angeles, 1932Toned gelatin silver print, printed later, signed and dated ‘32’ in pencil on the overmat; signed in pencil on the verso.10 3/8 x 9in$2,000 - 3,000

Literature:Conner and Heimerdinger, Horace Bristol: An American View, Chronicle Books, San Francisco, 1996, p. 1

45Horace Bristol (1909-1997)Rescue at Rabaul: PBY Blister Gunner, 1944Gelatin silver print, printed later, signed and numbered ‘20’ in pencil on the verso.15 1/4 x 15 1/4in$7,000 - 10,000

Provenance:Horace Bristol, Jr.

Literature: Eye on the World: The Photographs of Horace Bristol, p. 37; Horace Bristol: An American View, p. 93

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46Ruth Bernhard (1905-2006)Two Leaves, 1953Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, and dated in pencil on the mount verso. 13 1/2 x 10 1/2in$4,000 - 6,000


Literature:Mitchell, Between Art & Life, Chronicle Books, San Francisco, 2000; p. 103Alinder, Collecting Light: The Photographs of Ruth Bernhard, The Friends of Photography, Carmel, 1979, pl. 20

47Ruth Bernhard (1905-2006)Mr. Reilly, 1956Gelatin silver print, flush-mounted on Crescent board, signed in ink on the image.13 3/8 x 10in$4,000 - 6,000

Literature:Mitchell, Ruth Bernhard: Between Art & Life, Chronicle Books, San Francisco, 2000, p. 12

48Ruth Bernhard (1905-2006)In the Box-Horizontal, 1962Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, and dated in pencil on the mount verso.7 3/8 x 13 1/8in$10,000 - 15,000

Literature:The Eternal Body, Chronicle Books, San Francisco, 1986, back cover and pl. 19; Mitchell, Ruth Bernhard: Between Art & Life, Chronicle Books, San Francisco, 2000, p. 104

49Ruth Bernhard (1905-2006)Lifesavers, 1930Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the mount verso.10 1/2 x 13 1/8in$3,000 - 5,000

Literature:Mitchell, Ruth Bernhard: Between Art & Life, Chronicle Books, San Francisco, 2000, inside front cover and p. 56; Alinder, Collecting Light: The Photographs of Ruth Bernhard, The Friends of Photography, Carmel, 1979, pl. 1

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50Ruth Bernhard (1905-2006)Classic Torso, 1952Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the mount verso.13 1/2 x 10in$6,000 - 8,000

Provenance:Acquired directly from the photographer

Literature:Mitchell, Ruth Bernhard: Between Art & Life, Chronicle Books, San Francisco, 2000, p. 64; Ruth Bernhard: The Eternal Body, Chronicle Books, San Francisco, 1986, pl. 12

51Ruth Bernhard (1905-2006)Classic Torso with Hands, 1952Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the mount verso.13 5/8 x 10in$6,000 - 8,000

Provenance:Acquired directly from the photographer

Literature:Mitchell, Ruth Bernhard: Between Art & Life, Chronicle Books, San Francisco, 2000, p. 100

52Ruth Bernhard (1905-2006)Perspective II, 1967Gelatin silver print, printed later, signed in pencil on the mount; signed, titled, dated in pencil and copyright credit stamp on the mount verso.7 7/8 x 13 1/2in$6,000 - 8,000

Literature:The Eternal Body, Chronicle Books, San Francisco, 1986, cover and pl. 26; Mitchell, Ruth Bernhard: Between Art and Life, Chronicle Books, San Francisco, 2000, p. 89

53Ruth Bernhard (1905-2006)In the Box-Horizontal, 1962Gelatin silver print, printed 1984, signed and numbered 32/75 in pencil on the mount; titled, dated, numbered in pencil, and the ‘Ruth Bernhard: The Eternal Body/Special Edition Print 1984’ stamp on the mount verso.5 1/2 x 9 1/2in$6,000 - 8,000

Literature:The Eternal Body, Chronicle Books, San Francisco, 1986, cover and pl. 19; Mitchell, Between Art & Life, Chronicle Books, San Francisco, p. 104; Alinder, Collecting Light: The Photographs of Ruth Bernhard, The Friends of Photography, Carmel, Ca., 1979, pl. 27

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54Robert Doisneau (1912-1994)Venus Prise à la Gorge, 1964Gelatin silver print, printed 1981, signed in ink in the margin; initialed, titled, and dated in ink on the verso.12 3/4 x 9 1/2in$2,000 - 3,000

55Robert Doisneau (1912-1994)Le Baiser de l’Hôtel de Ville, 1950Gelatin silver print, probably printed 1980s, signed in ink in the margin; initialed, titled, and dated in ink on the verso.9 1/2 x 11 3/4in$12,000 - 18,000

Provenance:Sotheby’s, London, 16 May 2006, lot 34

Literature:Ollier, Doisneau, Paris, Gingko Press, Spain, 1998, p. 395; Robert Doisneau, Photographs, 1980, pl. 69; Doisneau, Three Seconds from Eternity, New York Graphic Society, Boston, 1979, pl. 33

56Robert Doisneau (1912-1994)Le Manège de Monsieur Barré, 1955Gelatin silver print, printed 1982, signed in ink in the margin; initialed, titled, and dated in ink on the verso.11 1/2 x 9 3/4in$3,000 - 5,000

Literature:Robert Doisneau, Photographs, Gordon Fraser, London, 1980, p. 139; Gautrand, Robert Doisneau, 1912-1994, Taschen, Köln, London, Los Angeles, 2003, p. 140

57Robert Doisneau (1912-1994)La Dame Indignée, Vitrine Galerie Romi, Paris, 1948Gelatin silver print, printed 1980s, signed in ink in the margin; initialed, titled, and dated in ink on the verso.13 1/2 x 14 7/8in$3,000 - 4,000

Provenance:A Gallery for Fine Photography, New Orleans, Louisiana

Literature: Ollier, Doisneau, Paris, Gingko Press, Spain, 1998, p. 493

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58Philippe Halsman (1906-1979)Albert Einstein, 1947Gelatin silver print, printed 1970s, signed and numbered 45/99 in white ink on the image.20 x 16in$5,000 - 7,000

59Yousuf Karsh (1908-2002)Ernest Hemingway, 1957Gelatin silver print, printed 1970s, signed in ink on the mount; titled and dated in pencil in an unidentified hand and his copyright stamp on the mount verso. 19 3/4 x 15 3/4in$6,000 - 9,000

Provenance:Property of a private Washington collector

Literature:Karsh: A Fifty-Year Retrospective, Little, Brown & Company, Boston, 1983, p. 81

60Yousuf Karsh (1908-2002)Albert Schweitzer, 1954Gelatin silver print, printed 1983, from Fifteen Portraits portfolio, signed in ink and numbered 58/100 in pencil on the mount. 24 x 20in$3,500 - 5,500

Literature:Karsh Portraits, University of Toronto Press, Toronto, 1976, p. 167

61Arnold Newman (1918-2006)Igor Stravinsky, New York City, 1946Gelatin silver print, printed later, signed, titled and dated in pencil in the margin, sheet mounted on archival board; copyright credit reproduction limitation stamp on the mount verso.10 1/8 x 18 7/8in$6,000 - 8,000

Literature:Arnold Newman: Five Decades, New York, 1986, pl. 61; Danziger and Conrad III, Interviews with Master Photographers, London, 1977, pp. 96-97

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62O. Winston Link (1914-2000)Hawksbill Creek Swimming Hole, Luray, Virginia, 1955Gelatin silver print, printed 1992, signed, dated, numbered ‘NW1126’ in an unidentified hand in pencil and copyright reproduction limitation stamp on the verso.19 3/8 x 15 1/2in$2,000 - 3,000

Literature:Hensley, America’s Last Steam Railroad: Steam, Steel & Stars, Photographs by O. Winston Link, Harry N. Abrams, New York, 1987, p. 49

63O. Winston Link (1914-2000)Swimming Pool, Welch, West Virginia, 1958Gelatin silver print, printed 1996, signed, dated, numbered ‘NW1963’ in an unidentified hand in pencil and copyright reproduction limitation stamp on the verso.15 1/2 x 19 3/8in$2,000 - 3,000

Literature:Hensley, America’s Last Steam Railroad: Steam, Steel & Stars, Photographs by O. Winston Link, Harry N. Abrams, New York, 1987, pp. 122-23

64O. Winston Link (1914-2000)Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956Gelatin silver print, printed 1992, signed, dated, numbered ‘NW1103’ in an unidentified hand in pencil and copyright reproduction limitation stamp on the verso.15 1/2 x 19 3/8in$8,000 - 10,000


65O. Winston Link (1914-2000)Policeman Weldon Painter Patrols the Main Street of Stanley, Virginia, 1956Gelatin silver print, printed 1992, signed, dated, numbered ‘NW1345’ in an unidentified hand in pencil and copyright reproduction limitation stamp on the verso.15 1/2 x 19 3/8in$2,000 - 3,000


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66Horst P. Horst (1906-1999)Mainbocher Corset, Paris, 1939Gelatin silver print, printed later, the photographer’s copyright credit blindstamp in the margin; signed, titled, dated and numbered 14/30 in pencil on the verso.12 x 9 1/4in$7,000 - 9,000

Literature: Horst: Sixty Years of Photography, Universe Publishing, New York, 1996, pl. 8

67Judy Dater (born 1941)Imogen Cunningham and Twinka at Yosemite, 1974Gelatin silver print, printed 2007, signed, titled, dated and numbered 6/20 in pencil on the verso.9 1/8 x 7 1/8in$2,000 - 3,000

Literature:Imogen Cunningham: A Portrait, cover and p. 126

68Henri Cartier-Bresson (1908-2004)Mexico, 1934Gelatin silver print, printed later, signed in ink and the photographer’s copyright credit blindstamp in the margin.9 1/2 x 14in$3,000 - 5,000

Provenance:Michael Shapiro Gallery, San Francisco, 1995; Private Collection

Literature:Henri Cartier-Bresson/Paul Strand: Mexique, 1932-1934, Steidl, 2012, unpaginated

69Henri Cartier-Bresson (1908-2004)Newcastle-on-Tyne, England, 1978Gelatin silver print, printed 1980s, signed in ink in the margin.9 1/2 x 14 1/8in$5,000 - 7,000

Literature:Montier, Henri Cartier-Bresson and the Artless Art, Little, Brown, and Co., Boston, 1996, pl. 219; Henri Cartier-Bresson: Photographer, New York Graphic Society, Little, Brown and Company, 1979, p. 104

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70

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70Walker Evans (1903-1975)Political Poster, Martha’s Vineyard, Massachusetts, 1930-31Gelatin silver print, printed 1971, signed, inscribed ‘VI 31/100 1936-1971’ in pencil on the mount.6 1//2 x 4 5/8in$2,000 - 3,000

Literature:Kirstein, Walker Evans. American Photographs, Museum of Modern Art, New York, 1938. reprint, with new afterword by Peter Galassi, MoMA, N.Y., 1988, pl. 4; Walker Evans, First and Last, Harper and Row, New York, 1989, p. 49

71Walker Evans (1903-1975)Victorian Gravestone, Mississippi, December, 1935Gelatin silver print, printed later, the Lunn Gallery stamp, numbered ‘II-136’ in pencil on the verso.8 x 10in$3,000 - 5,000

Literature:Photographs for the Farm Security Administration, 1935-1938, Da Capo Press, New York, 1973, pl. 117

72Lee Friedlander (born 1934)Liberty, with French, Indian, Highlander and Green Mountain Soldiers, Ticonderoga, New York, 1975Gelatin silver print, signed in pencil, copyright credit reproduction limitation stamp on the verso.7 3/8 x 11in$2,500 - 3,500

Provenance:The Cronin Gallery, Houston, Texas

Literature:Lee Friedlander: The American Monument, Eakins Press, New York, 1976, pl. 1

73Nicholas Nixon (born 1947)View of Copley Square, Boston; Buildings on Tremont Street, Boston, 1974; 1975Two gelatin silver prints, each signed, titled, and dated in pencil on the verso. (2)each 7 5/8 x 9 5/8in$2,500 - 3,500

Provenance: The Cronin Gallery, Houston, Texas

Literature:New Topographics, Center of Creative Photography, University of Arizona and George Eastman House, International Museum of Photography and Film, Steidl, Göttingen, Germany, 2009, p. 179 and p. 185

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Photographs | 43

74Alfred Eisenstaedt (1898-1995)V.J. Day, Sailor Kissing a Nurse, Times Square, 1945Gelatin silver print, printed 1990, signed and numbered 77/250 in ink in the margin; titled and dated in an unidentified hand with ‘Time Warner’ copyright credit reproduction limitation in pencil on the verso.17 1/2 x 12in$10,000 - 12,000

Literature:Adam, Eisenstaedt on Eisenstaedt: A Self-Portrait, Abbeville Press, New York, 1985, p. 75

75Alfred Eisenstaedt (1898-1995)Farewell to Servicemen, Penn Station, 1943Gelatin silver print, printed 1991, signed and numbered 127/250 in ink in the margin; titled and dated in an unidentified hand with ‘Time Warner’ copyright credit reproduction limitation in pencil on the verso.17 5/8 x 13 3/8n$9,000 - 12,000

Literature:O’Neil, ed., Eisenstaedt: Remembrances, Little, Brown and Co., 1990, p. 63

74 75

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Ruth Orkin (1921-1985)American Girl in Florence, Italy, 1951Gelatin silver print, printed 1980s, with Orkin’s embossed signature in the margin; the Ruth Orkin Estate stamp with Mary Engel’s signature, title and dates in pencil on the verso. 13 x 19 1/2in$3,000 - 4,000

Literature: Ruth Orkin: Above and Beyond, exh. cat., New York: Howard Greenberg Gallery/Ruth Orkin Archive, 2000, p. 9; Ruth Orkin: American Girl in Italy – The Making of a Classic, exh. cat., New York: Howard Greenberg Gallery/Ruth Orkin Photo Archive, 2005, cover and pl. 10

77¤

Alfred Eisenstaedt (1898-1995)René Breguet, Ice Skating Waiter, St. Moritz, 1932Gelatin silver print, printed 1990, signed and numbered 55/250 in ink in the margin; titled, dated in an unidentified hand with ‘Time Warner’ copyright credit reproduction limitation in pencil on the verso.17 5/8 x 13 1/2in $5,000 - 7,000

Literature: Adam, Eisenstaedt on Eisenstaedt: A Self-Portrait, Abbeville Press, New York, 1985, p. 33; O’Neil, Eisenstaedt: Remembrances, Little, Brown and Co., 1990, p. 4; Witness to Our Time, Viking Press, New York, p. 55

44 | Bonhams

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78Bill Brandt (1904-1983)Train leaving Newcastle, 1937Gelatin silver print, printed later, signed in ink in the margin.13 3/8 x 11 3/8in$2,000 - 3,000

Provenance:Sotheby’s, London, 16 May 2006, Lot 15

Literature:Bill Brandt: Shadow of Light, Da Capo Press, New York, 1966, p. 35

79Bill Brandt (1904-1983)Northumbria Miner at his Evening Meal, 1937Gelatin silver print, printed later, signed in ink on the mount.13 3/8 x 11 3/8in$2,500 - 3,500

Provenance:Phillips de Pury & Company, New York, 25 April 2007, Lot 271

Literature:Brandt: The Photography of Bill Brandt, Harry N. Abrams, New York, 1999, p. 106Bill Brandt: Photographs 1928-1983, Thames & Hudson, London, 1993, p. 73

80Bill Brandt (1904-1983)East Durham coal-miner just home from the pit, 1937Gelatin silver print, printed later, signed in ink on the mount.13 1/8 x 11 3/8in$3,000 - 5,000

Provenance:Phillips de Pury & Company, New York, 14 November, 2009, Lot 262

Literature:Bill Brandt: Shadow of Light, Da Capo Press, New York, 1966, p. 37Brandt: The Photography of Bill Brandt, Harry N. Abrams, New York, 1999, p. 112

81Nicholas Nixon (born 1947)Yazoo City, Mississippi, 1979Gelatin silver print, signed, titled, and dated in pencil on the verso.7 3/4 x 9 5/8in$2,000 - 3,000

Provenance:Butterfield & Butterfield, San Francisco, 14 October 1986, lot 1923

Literature:Nicholas Nixon: Pictures of People, Museum of Modern Art, New York, 1988, p. 40

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82Don Hong-Oai (1929-2004)Gibbons at Play, Tianzi Mountain, 1986Sepia-toned gelatin silver print, signed in Chinese in ink and stamped on the image; signed in Chinese and red copyright credit stamp on the verso.19 5/8 x 15 5/8in$4,000 - 6,000

Literature:Silverman, Dreams of China and Vietnam: Don Hong Oai, Photos Gallery, Berkeley, 2007, p. 58

83Don Hong-Oai (1929-2004)Sandstorm, Vietnam, 1969Sepia-toned gelatin silver print, printed 1980s, signed in Chinese in ink and stamped on the image; signed in pencil and red copyright credit stamp on the verso.10 3/4 x 13 7/16in$3,000 - 5,000

Literature:Silverman, Dreams of China and Vietnam: Dong Hong Oai, Photos Gallery, Berkeley, 2007, p. 101

84Iwase Yoshiyuki (1904-2001)Untitled (Nudes), c. 1950Two gelatin silver prints, each with the photographer’s red credit stamp on the verso. (2)11 7/8 x 9 3/4in; 20 7/8 x 17 1/4in$3,000 - 4,000

Provenance:Acquired by the present owner from the Yoshiyuki Iwase Archive, Japan, 2007


85Iwase Yoshiyuki (1904-2001)Untitled (Ama Divers), c. 1950Three gelatin silver prints, each with the photographer’s red credit stamp on the verso. (3)11 3/4 x 8 1/8in; 9 3/4 x 11 7/8in; 16 1/2 x 12 1/2in$2,500 - 3,500



86Iwase Yoshiyuki (1904-2001)Untitled (Ama Divers), c. 1950Three gelatin silver prints, each with the photographer’s red credit stamp on the verso. (3)12 x 10in; 17 x 13 7/8in; 16 1/2 x 13 1/2in$2,500 - 3,500



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87Sebastião Salgado (born 1944)Wood Delivery Men, Eastern Sierra Madre, Mexico, 1980Gelatin silver print, printed later, embossed copyright credit stamp in the margin; signed, titled ‘Mexiave’, and dated in pencil on the verso.11 3/4 x 17 1/2in$3,000 - 5,000

Provenance:The Camera Obscura Gallery, Denver, CO.

Literature:Galeano and Ritchin, An uncertain grace: Photographs by Sebastião Salgado, Farrer, Strauss & Giroux, New York, 1990, p. 6

88Sebastião Salgado (born 1944)Famine, Mali, 1985Gelatin silver print, printed later, embossed copyright credit stamp in the margin; signed, titled ‘Mali’, and dated in pencil on the verso.11 1/2 x 17 3/8in$3,000 - 5,000


Literature:Emmanuelli, L’Homme en Detresse: Photographies de Sebastiao Salgado, Paris, 1986, p. 25

89Sebastião Salgado (born 1944)Serra Pelada Gold Mine, Brazil, 1986Gelatin silver print, printed later, embossed copyright credit stamp in the margin; signed, titled ‘Brazil’, and dated in pencil on the verso.12 x 17 1/2in$3,000 - 5,000


Literature:Galeano and Ritchin, An uncertain grace: Photographs by Sebastião Salgado, Farrer, Strauss & Giroux, New York, 1990, p. 13

90Sebastião Salgado (born 1944)Cast of Thousands, Serra Pelada, in the Gold Mine of Pará, Brazil, 1986Gelatin silver print, printed later, embossed copyright credit stamp in the margin; signed, titled ‘Brazil’, and dated in pencil on the verso.12 x 17in$3,000 - 5,000


Literature:Galeano, and Ritchin, An uncertain grace: Photographs by Sebastião Salgado, Farrer, Strauss & Giroux, New York, 1990, pp. 24-25

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91Sebastião Salgado (born 1944)Trapani, Sicily, Italy, 1991Gelatin silver print, embossed copyright credit stamp in the margin; signed, titled, and dated in pencil on the verso.19 15/16 x 30 1/2in$4,500 - 6,500

Provenance:Peter Fetterman Gallery, Santa Monica

Literature:Workers: An Archeology of the Industrial Age, Phaiden Press, London, 1993, pp. 94-95

92Sebastião Salgado (born 1944)Dinka Girl, South Sudan, 2006Gelatin silver print, embossed copyright credit stamp in the margin; signed, titled ‘South Sudan’ and dated in pencil on the verso.20 1/8 x 14 5/8in$5,000 - 7,000

93Sebastião Salgado (born 1944)Man Lying in Oil, Kuwait, 1991Gelatin silver print, embossed copyright credit stamp in the margin; signed, titled, and dated in pencil on the verso.11 7/8 x 17 1/2in$3,000 - 5,000

Provenance:Peter Fetterman Gallery, Santa Monica, 1992


94Sebastião Salgado (born 1944)Greater Buhrman Oil Field, Kuwait, 1991Gelatin silver print, embossed copyright credit stamp in the margin; signed, titled, and dated in pencil on the verso.13 7/8 x 20 7/8in$2,000 - 3,000

Provenance:Peter Fetterman Gallery, Santa Monica


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95Lewis Baltz (born 1945)Maryland #6, 1976Gelatin silver print, printed on Agfa paper, signed, dated, and annotated ‘M-6’ in pencil on the verso.6 x 9in$5,000 - 7,000


Literature:The Nation’s Capital in Photographs, 1976, Lewis Baltz, The Corcoran Gallery, Washington D.C., exhibition catalog, unpaginated

Livington, Baltz: Works, Steidl, 2010, vol. 4, pl. 6

96Lewis Baltz (born 1945)Maryland #13, 1976Gelatin silver print, printed on Agfa paper, signed, dated, and annotated ‘M-13’ in pencil on the verso.6 x 9in$5,000 - 7,000


Literature:The Nation’s Capital in Photographs, 1976, Lewis Baltz, The Corcoran Gallery, Washington D.C., exhibition catalog, unpaginated

Livington, Works: Baltz, Steidl, 2010, vol. 4, pl. 13

97Robert Adams (born 1937)North of Broomfield, Colorado, 1973Gelatin silver print, signed, titled and dated in pencil on the verso.6 x 7 5/8in$6,000 - 8,000

98Robert Adams (born 1937)Lakewood, Colorado, c. 1975Gelatin silver print, printed 1979, signed and titled in pencil on the verso.7 x 9in$6,000 - 8,000

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99Harry Callahan (1912-1999)Eleanor (Silhouette), 1948Gelatin silver print on Agfa paper, printed later, signed in pencil in the margin; signed and inscribed ‘S-55’ in an unidentified hand in pencil on the verso.9 1/8 x 11 7/8in$7,000 - 9,000

Literature: Callaway and Kennedy, ed., Eleanor, The Friends of Photography, Carmel, California, 1984, p. 5; Salvesen, Harry Callahan: The Photographer at Work, Center for Creative Photography, Tucson, and Yale University Press, New Haven, CT., 2006, pl. 100; Harry Callahan, The Museum of Modern Art, New York, 1967, cover and p. 15

100Harry Callahan (1912-1999)Eleanor, Chicago, 1948Gelatin silver print, printed 1970s, signed in stylus in the margin; inscribed ‘S-97’ ‘EM15’ in an unidentified hand in pencil on the verso.8 x 10in$7,000 - 9,000

Literature:Callaway and Kennedy, Eleanor, The Friends of Photography, Carmel, California, 1984, pp. 22-23; Sherman, Harry Callahan, The Museum of Modern Art, New York, 1967, p. 13; Cox, Harry Callahan: Eleanor, The High Museum of Art, 2007, p. 61

101Harry Callahan (1912-1999)Eleanor, Port Huron, 1954Gelatin silver print, printed 1970s, signed in pencil in the margin.7 x 7in$3,000 - 5,000

Literature:Szarkowski, Callahan,Museum of Modern Art, New York, 1976, p. 21; Callaway and Kennedy, Eleanor, The Friends of Photography, Carmel, California, 1984, p. 13

102Harry Callahan (1912-1999)Cape Cod, 1972Three gelatin silver prints, printed later, each signed in pencil in the margin; numbered ‘S-183’, ‘S-187’, ‘S-193’, respectively, in an unidentified hand in pencil on the verso. (3)9 1/2 x 10in; 9 1/4 x 12 1/4in; 9 x 9in$10,000 - 15,000

Literature:Greenough, Harry Callahan, National Gallery of Art, Washington, D.C., Bulfinch Press, and Little, Brown and Co., Boston, 1996, p. 149Szarkowski, foreword, Harry Callahan: The Photographer at Work, Center for Creative Photography, Tucson, and Yale University Press, New Haven, CT., 2006, p. 6Szarkowski, Harry Callahan, The Museum of Modern Art, New York 1976, p. 193

Additional images in this lot can be viewed in our online catalog. 102

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Photographs | 57

103Garry Winogrand (1928-1984)Centennial Ball, Metropolitan Museum of Art, New York, 1969Gelatin silver print, printed after 1975, signed in pencil on the verso.8 3/4 x 13in$2,000 - 3,000

Provenance:Sotheby’s, New York, 18 April 1997, lot 444The Cronin Gallery, Houston, Texas

Literature:Rubinfien, ed., Garry Winogrand, San Francisco Museum of Art, with Yale Univ. Press, New Haven and London, 2013, pl. 298

104Garry Winogrand (1928-1984)Selected Images, from Women are Beautiful, 1965-1975Four gelatin silver prints, printed c. 1980, each signed in pencil on the verso. (4)8 3/4 x 13 1/8in or reverse$6,000 - 8,000


105Garry Winogrand (1928-1984)Park Avenue, 1959Gelatin silver print, probably printed late 1970s, signed in pencil on the verso.13 1/4 x 8 3/4in$20,000 - 30,000

Provenance:Acquired from Garry Winogrand, 1980, when he was preparing for his forthcoming exhibition at Light Gallery in New York in 1981.

Literature:Rubinfien, ed., Garry Winogrand, San Francisco Museum of Art, with Yale Univ. Press, New Haven and London, 2013, pl. 24Szarkowski, Figments from the Read World, Museum of Modern Art, New York, 1988, p. 77Jeffrey Fraenkel and Frish Brandt, eds., The Man in the Crowd: The Uneasy Streets of Garry Winogrand, Fraenkel Gallery, San Francisco, 1999, p. 10

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106Robert Mapplethorpe (1946-1989)Orchid, 1988Gelatin silver print, flush-mounted, signed, dated and numbered 2/10 in ink in the margin; signed, titled, dated and numbered 2/10 in ink and copyright credit stamp on the verso.19 1/8 x 19 1/4in$9,000 - 12,000

Provenance:Obelisk Gallery, Boston, Mass.Property from the Sonesta International Hotels Corporation

Literature:Muschamp, Robert Mapplethorpe, The Complete Flowers, Düsseldorf, TeNeues, 2006, pl. 179

107Hiroshi Sugimoto (born 1948)Chapel of Notre Dame du Haut, 1998Gelatin silver print, flush-mounted to the artist’s original construct, signed in pencil, printed title, date and numbered 2/5 on an artist’s label affixed to the reverse of the frame.59 x 47in$65,000 - 85,000

Provenance:Sonnabend Gallery, New YorkPhillips de Pury & Company, New York, 16 April 2010, lot 102

Literature:Bonami, De Michelis and Yau, Architecture of Time, Museum of Contemporary Art, Chicago/D.A.P./Distributed Art Publishers, Inc., New York, 2003, unpaginated

106

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107

Hiroshi Sugimoto’s Architecture series began in 1997 as a commission from the Museum of Contemporary Art, Chicago, for their traveling exhibition At the End of the Century: One Hundred Years of Architecture, which originated at the Museum of Contemporary Art in Tokyo in 1998. Since then Sugimoto has continued to photograph icons of Modernist and contemporary architecture, including this image of Le Corbusier’s Chapel of Notre Dame du Haut in Ronchamp, France.

Photographs | 61

108Helmut Newton (1920-2004)Arielle VI, 1982Gelatin silver print, from the Arielle portfolio, printed 1999, signed, titled, dated and numbered 8/10 in pencil on the verso.9 1/2 x 14 3/8in$6,000 - 8,000

Provenance:Phillips de Pury & Company, New York, 25 April 2007, lot 347

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109John Coplans (1920-2003)Self-Portrait (Front Hand III), 1987Gelatin silver print, signed, titled, numbered 1/12 in pencil and copyright credit stamp on the verso.19 3/4 x 18 1/2in$5,000 - 7,000

Provenance:Obelisk Gallery, Boston, Mass.Property from the Sonesta International Hotels Corporation

Literature:John Coplans: Self-Portrait, Hand/Foot, Museum Boymans-Van Beuningen, Rotterdam, 1990-1991, pl. 5

109

Photographs | 63

110Harold Edgerton (1903-1990)Milk Drop Coronet, 1957Chromogenic print, probably printed 1970s, signed in ink in the margin.7 x 6in$2,000 - 3,000

Literature:Jussim and Kayafas, Stopping Time: The Photographs of Harold Edgerton, Harry N. Abrams, Boston, 1987, p. 126, variant

111Jesse Alexander (born 1929)Grand Prix of France, Reims (Ferrari 553), 1954Gelatin silver print, printed later, signed in ink in the margin.31 3/4 x 20 1/2in$2,500 - 3,000

Literature:Alexander, Ferrari Grand Prix Moments,, David Bull Publishing, 2007, p. 69

110 111

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112Harold Edgerton (1903-1990)Harold Edgerton: Ten Dye Transfer Photographs,Littleton: Palm Press, Inc., 1985. 10 dye-transfer prints. each signed in pencil on the verso. Milk Crop Coronet also signed in ink in the margin. Numbered 60/150 on colophon (there was also a special edition of 30 sets reserved for the publisher and 26 artist’s proofs lettered A to Z), contained in a linen clamshell case with credit and title.sizes vary from 14 x 15 7/8in to 14 1/8 x 18in or reverse$10,000 - 15,000

Provenance:Photo Forum, Pittsburgh, 1991

The plates are as follows:Cutting the Card Quickly!Milk Drop Coronet.30 Bullet Piercing An AppleFootball KickCranberry Juice into MilkPigeon ReleasedBullet through BananaDiverMoscow CircusBullet through Candle Flame


112

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113Luis Gonzáles Palma (born 1957)La Luna, 1989Gelatin silver print with mixed media and collage, signed and titled in pencil on painted masonite. 23 1/2 x 12 1/2in$10,000 - 15,000

Provenance: Stephen Cohen Gallery, Los Angeles, 1999

114Luis González Palma (born 1957)LGP, 2000Hand-varnished gelatin silver print and mixed media, signed and numbered 3/15 in ink on the verso.19 3/4 x 43in$4,000 - 6,000

115Stephen Shore (born 1947)U.S. 93, Kingman, Arizona, July 2, 1975Chromogenic print, signed, titled and dated in ink on the verso.8 x 10in$3,000 - 4,000


Literature:Uncommon Places: The Complete Works, Aperture, New York, 2004, p. 107

116Robert ParkeHarrison (born 1968)Tree Stories, 2000Gelatin silver print with acrylic paint, gels and varnishes, flush-mounted to artist’s wooden frame, signed, titled, dated and numbered 1/4 (there was also 1 artist’s proof), in pencil on tape affixed to the reverse of the frame.40 1/2 x 61 3/4 in$15,000 - 20,000

Provenance:Thomas Paul Fine Art, Los Angeles

Literature:Robert ParkeHarrison: The Architect’s Brother, Twin Palms Publishers, Santa Fe, New Mexico, 2000, unpaginated

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116

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117Joel-Peter Witkin (born 1939)Un Santo Oscuro, Los Angeles, 1987Toned gelatin silver print, signed, titled, dated, numbered 1/3 and copyright notation in pencil on the verso.28 x 28in$6,000 - 8,000

Provenance:Fraenkel Gallery, San Francisco

Literature:Parry Janis, intro., Joel-Peter Witkin, Photo Poche, Centre National de la Photographie, Italy, 1991, pl. 52; Joel-Peter Witkin: Gods of Earth and Heaven, Twelvetrees Press, Santa Fe, 1994, unpaginated

118Joel-Peter Witkin (born 1939)Female King, New Mexico, 1997Toned gelatin silver print, signed, titled, dated, numbered 1/12 and copyright notation in pencil on the verso.29 1/4 x 26in$4,000 - 6,000

Provenance:Etherton Gallery, Tucson, Arizona

Literature:Witkin, Gods of Earth and Heaven, Twelvetrees Press, 1994, unpaginated; Celant, Joel-Peter Witkin, Scalo, New York, 1995, pl. 22

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119Joel-Peter Witkin (born 1939)Portrait of Nan, New Mexico, 1984Toned gelatin silver print, signed, titled, dated, numbered 3/3 and copyright notation in pencil on the verso.28 x 28in$6,000 - 8,000

Provenance:Fraenkel Gallery, San Francisco

Literature:Celant, Joel-Peter Witkin, Scalo, New York, 1995, cover and pl. 47Joel-Peter Witkin: Forty Photographs, San Francisco Museum of Modern Art, 1985, p. 39

119

Photographs | 69

120

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122 123

120Abelardo Morell (born 1948)Camera Obscura Image of the Grand Tetons in Resort Room, 1997Gelatin silver print, signed, titled and dated in pencil on the verso.18 x 22 1/2in$4,000 - 6,000

Literature:Ollman, Abelardo Morell and the Camera Eye, Museum of Photographic Arts, San Diego, 1998, p. 34

121Ernst Haas (1921-1986)Route 66, Albuquerque, New Mexico, USA, from In America series, 1969Large-format digital chromogenic print, printed 2012, signed, titled, dated and numbered 38/50 by Alexander Haas, the artist’s son, in ink on a studio label affixed to the verso of the mount.22 1/2 x 33 3/4in$6,000 - 8,000

Provenance:Acquired directly from the Estate of Ernst Haas

Literature:Ernst Haas: In America, Viking Press, New York, 1975, R. Peltason, ed., Ernst Haas: A Colour Retrospective, 1952-1986, Thames & Hudson, London, 1989, pl. 93

122Eliot Porter (1901-1990)In Wildness, 1981New York: Daniel Wolf Gallery, 1981. 10 dye-transfer prints, each signed in pencil on the mount; in individual wrappers with letterpress title and date, 1953-81, with the printed title, plate, colophon, signed and numbered ‘211’ in ink (of an edition of 300); contained in a linen clamshell box with embossed credit and title.Each approx. 16 x12¼ in or reverse$6,000 - 8,000


The plates are as follows:Red osier. near Great Barrington, Massachusetts, 1957Path in woods. Great Spruce Head Island, Maine, 1981Hawkweed in meadow. Great Spruce Head Island, Maine, 1968Tidal marsh. Mount Desert Island, Maine, 1965Maple leaves and pine needles. Tamoworth, New Hampshire, 1956Sunflower and sandune, Colorado, 1959Sculptured rock. Marble Canyon, Arizona, 1967Maple sapling and rock. Passaconaway, New Hampshire, 1953Pool in a brook. Pond Brook, near Whiteface, New Hampshire, 1953Sunset behind Las Tres Virgenes Volcano. Near Mezquital, Baja, California, 1966


123Various PhotographersPhotobox 01, 2001New York: New Museum of Contemporary Art, 2001. 5 chromogenic prints, 3 Fujicolor Crystal Archive prints, and 1 dye destruction print; each variously signed, titled, dated and numbered 21/40 in ink on the verso.Certificate of Authenticity or a label accompanying the work; contained in original linen clamshell case.Photographers included: Vik Muniz, Candida Höfer, Naomi Fisher, Isaac Julien, Nikki S. Lee, Malerie Marder, Zwelethu Mthethwa, Catherine Opie and Miguel Rio Branco.sizes vary from 12 7/8 x 19in to 19 5/8 x 24in$5,000 - 7,000

Provenance: The New Museum of Contemporary Art, New York Acquired by an Important Washington, D.C. Collector in 2001


Photographs | 71

124Herb Ritts (1952-2002)Rachel with Shark, Hollywood, 1989Gelatin silver print, copyright credit blindstamp in the margin; signed, titled, dated, and numbered 5/25 in pencil on the verso.18 3/4 x 12 1/2in$5,000 - 7,000

Provenance:Fahey/Klein Gallery, Los Angeles

Literature:Herb Ritts: Men/Women, Twin Palms, Altadena, Ca., 1989, unpaginated

125Herb Ritts (1952-2002)Tony - Black Torso, Los Angeles, 1986Gelatin silver print, copyright credit blindstamp in the margin; signed, titled, dated, and numbered 18/25 in pencil on the verso.18 1/4 x 14 3/4in$4,000 - 6,000

Literature:Herb Ritts: Men/Women, Twin Palms, Altadena, Ca., 1989 (variant)

126David Bailey (born 1938)John Lennon Eyes Closed, London, 1965Gelatin silver print, printed c. 1991, signed and numbered 3/60 in pencil on the verso.13 x 13in$5,000 - 7,000

Literature:Spencer, David Bailey’s Rock ‘n’ Roll Heroes, Little, Brown and Company, Boston, 1997, p. 27

127Don Hunstein (born 1928)Bob Dylan and Suze, NYC, 1960Chromogenic print, printed later, signed in ink on the verso.16 x 16in$2,000 - 3,000

Literature:Variant of the cover of Bob Dylan’s 1963 album ‘The Freewheelin’ Bob Dylan’; Buckland, Who Shot Rock & Roll, Knopf, 2009, p. 263

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126

127

Photographs | 73

128

129

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128Sharon Lockhart (born 1964)Untitled, 2003Chromogenic print, signed, dated and numbered 5/6 in ink on the verso.43 1/2 x 52in$5,000 - 7,000

Provenance:Blum & Poe Gallery, Los Angeles

129Loretta Lux (born 1969)Yanan, 2004Cibachrome print, signed, titled, dated and numbered 9/20 in pencil on the verso.9 x 12 1/2in$6,000 - 8,000

Provenance:Yossi Milo Gallery, New York

130Sheng Qi (born 1965)My left hand, with the artist as a boy, 2004Chromogenic print, signed, dated and numbered 5/5 in pencil in the margin.47 3/8 x 31 1/2in$4,000 - 6,000

Provenance:Limn Gallery, San Francisco

Literature:Between Past and Future: New Photography and Video from China, traveling exhibition, 2004, cover

131David LaChapelle (born 1964)Eminen: About to Blow, New York, 1999Digital chromogenic print on Agfa paper, signed, titled, dated, and numbered 7/30 in ink on the verso.23 x 17in$4,000 - 6,000

130 131

Photographs | 75

132

133

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132John Humble (born 1944)Lifeguard Station 26, #8; #21, 1999Two chromogenic prints, printed 2000, each signed, titled, dated and numbered 5/15 and 4/15, respectively, in ink in the margin. (2)each 31 1/2 x 40in$4,000 - 6,000

133Susan Derges (born 1955)Untitled (No. 3), 2005Dye destruction print, signed in ink with printed title and date on label on reverse of the frame.23 x 19 1/2in$3,500 - 5,500

134 135

134Zhang Dali (born 1963)Dialogue, Beijing, 1998Digital chromogenic print, mounted on dibond panel, signed, dated and numbered 3/10 in wax crayon in the margin.59 3/4 x 39 3/4in$4,000 - 6,000

Provenance:McClain Gallery, Houston, Texas

Literature:Zhang Dali: Demolition & Dialogue, The Courtyard Gallery, Beijing, 1999, pl. 47 (variant)

135Zhang Dali (born 1963)Demolition-Ciqikou, Beijing, 1999Digital chromogenic print, mounted on dibond panel, signed, dated and numbered 3/10 in wax crayon in the margin.59 3/4 x 39 3/4in$4,000 - 6,000

Provenance:McClain Gallery, Houston, Texas

Literature:Zhang Dali: Demolition & Dialogue, The Courtyard Gallery, Beijing, 1999, pl. 101

End of Sale

Photographs | 77

INDEX

Abbott, Berenice ............................... 9, 10Adams, Ansel ................................... 13-23Adams, Robert ................................ 97, 98Alexander, Jesse .................................. 111

Bailey, David ....................................... 126Baldus, Edouard-Denis ............................ 8Baltz, Lewis ..................................... 95, 96Bernhard, Ruth ................................ 46-53Brandt, Bill ....................................... 78-80Bravo, Manuel Alvarez ..................... 38-43Bristol, Horace ................................ 44, 45

Callahan, Harry .............................. 99-102Caponigro, Paul .............................. 11, 12Cartier-Bresson, Henri ..................... 68, 69Clift, William ......................................... 24Coplans, John ..................................... 109Curtis, Edward S. ................................ 5, 6

Dali, Zhang ................................. 134, 135Dater, Judy ............................................ 67Derges, Susan ..................................... 133Doisneau, Robert ............................. 54-57

Edgerton, Harold ........................ 110, 112Eisenstaedt, Alfred .................... 74, 75, 77Evans, Frederick Henry ............................ 3Evans, Walker ................................. 70, 71

Floyd , William Pryor ............................... 4Friedlander, Lee ..................................... 72

Gesshu, Ogawa .................................. 1, 2

Haas, Ernst ......................................... 121Halsman, Philippe ................................. 58Hong-Oai, Don ............................... 82, 83Horst, Horst P. ....................................... 66Humble, John ..................................... 132Hunstein, Don ..................................... 127

Karsh, Yousuf ................................. 59, 60Kertész, André ................................. 34-37

LaChapelle, David ............................... 131Link, O. Winston .............................. 62-65Lockhart, Sharon ................................. 128Lux, Loretta ......................................... 129

Mapplethorpe, Robert ......................... 106Morell, Abelardo ................................. 120

Newman, Arnold .................................. 61Newton, Helmut ................................. 108Nixon, Nicholas ............................... 73, 81

Orkin, Ruth ........................................... 76

Palma, Luis Gonzáles ................... 113, 114ParkeHarrison, Robert ......................... 116Porter, Eliot ......................................... 122

Qi, Sheng ............................................ 130

Rinehart, Frank A. ................................... 7Ritts, Herb ................................... 124, 125

Salgado, Sebastião ........................... 87-94Shore, Stephen ................................... 115Siskind, Aaron ....................................... 32Sugimoto, Hiroshi ............................... 107

Uelsmann, Jerry .................................... 33

Various Photographers ........................ 123

Weston, Brett ............................ 26, 28-31Weston, Edward ............................. 25, 27Winogrand, Garry ........................ 103-105Witkin, Joel-Peter ......................... 117-119

Yoshiyuki, Iwase ............................... 84-86

78 | Bonhams

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