photographs sale uk

photographs

2 0 may 2 010 LONDON

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Lots 1–128

Viewing

Friday 14 May, 10am – 6pm

Saturday 15 May, 10pm – 6pm

Sunday 16 May, 12am – 6pm

Monday 17 – Wednesday 19 May, 10am – 6pm

Thursday 20 May, 10am – 2pm

photographs

2 0 may 2 010 5pm LONDON

Front cover Peter Lindbergh, Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990, Lot 24 (detail)

Inside front cover Nobuyoshi Araki, Untitled, 1986, Lot 22 (detail)

title page Irving Penn, Audrey Hepburn, 1951, Lot 32 (detail)

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1 SEBASTIÃO SALGADOb. 1944

Dinka Man at cattle camp of Kei, Southern Sudan, 2006

Gelatin silver print. 76.5 × 54 cm (30 1/8 × 21 1/4 in). Signed, titled ‘Sud-Soudan’ and dated in

pencil on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡

Provenance Acquired directly from the artist

literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 295

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Site of the now dried Lake Faguibine, Mali, Africa, 1985

Gelatin silver print, printed 2007. 54 × 81.6 cm (21 × 32 1/8 in). Signed, titled ‘Mali’ and dated

in pencil on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡


literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 233


The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu Refugees,

Tanzania, 1994

Gelatin silver print, printed later. 53.3 × 81.3 cm (21 × 32 in). Signed, titled ‘Tanzania’ and

dated in pencil on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡


literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p.194

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4 JOSEF KOUDELKAb. 1938

England, Dog, 1976

Gelatin silver print, printed c. 1983. 36.2 × 54 cm (14 1/4 × 21 1/4 in). Signed in ink

in the margin.

Estimate£9,000–12,000 $13,800–18,400 €10,300–13,800 ♠


literature Exiles: Photographs by Josef Koudelka, London: Thames and Hudson,

1997, pl. 26

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5 EVE ARNOLDb. 1913

Marilyn on the set of ‘The Misfits’, Nevada, 1960

Gelatin silver print, printed 2003. 29.2 × 43.2 cm (11 1/2 × 17 in). Signed in pencil

on the verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡


literature Magnum Cinema: Photographs from 50 Years of Movie-making, London:

Phaidon, 1995, p. 159; B. Lardinois, Eve Arnold’s People, London: Thames and Hudson,

2009, pp. 64–65


6 ANDRÉ DE DIENES1913–1985

Marilyn Monroe, 1949

Gelatin silver montage print. 28.6 × 22.2 cm (11 1/4 × 8 3/4 in). Credit stamp on

the verso.

Estimate£1,200–1,800 $1,900–2,800 €1,400–2,000

Provenance Art Beaufort, Hamburg


7 EVE ARNOLDb. 1913

Paul Newman at Lee Strasbourg’s studio, New York, 1955

Gelatin silver print, printed later. 32.7 × 48.3 cm (12 7/8 × 19 in). Signed in pencil

on the verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,9000 ‡


literature B. Lardinois, Eve Arnold’s People, London: Thames and Hudson, 2009,

pp. 34–35


8 JACQUES LOWE1930 – 2001

John F. Kennedy at the Democratic National Convention, 1960

Gelatin silver print. 34.3 × 23.2 cm (13 1/2 × 9 1/8 in). Dated, annotated

‘Convention’ in ink and copyright credit stamp on the verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900



9 PETER BEARDb. 1938

Francis Bacon in his studio, 7 Reese Mews off the Old Brompton Road London (a painting

later destroyed), 1972

Gelatin silver print with ink, printed later. 21 × 32.1 cm (8 1/4 × 12 5/8 in). Signed, dated,

annotated and inscribed in ink in the margin. This work is believed to be unique.

Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200

Provenance Private Collection, Germany

literature Peter Beard, Vol. 1, Taschen, 2008, pl. 240



Francis Bacon on his roof at 80 Narrow Street, London, 1972

Gelatin silver print, printed later. 32.7 × 21.6 cm (12 7/8 × 8 1/2 in). Signed, titled,

dated and inscribed in ink in the margin.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200


literature J. Bowermaster, The Adventures and Misadventures of Peter Beard in

Africa, 1994, p. 147


Francis Bacon on his roof at 80 Narrow Street, London, 1972

Gelatin silver contact sheet with ink, printed later. 50.5 × 40.6 cm (19 7/8 × 16 in).

Signed, titled, dated and extensively annotated in ink on the recto; The Time Is

Always Now copyright credit stamp on the reverse of the frame.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200

Provenance The Time is Always Now Gallery, New York; Private Collection, Germany

literature Peter Beard, Vol. 1, Taschen, 2008, pl. 244 (variant)

10 11


12 13

12 DAVID MCCABEb. 1940

Andy Warhol in his studio, New York, c. 1964

Gelatin silver print, printed later. 50.8 × 34.3 cm (20 × 13 1/2 in). Signed in ink in

the margin.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400

Provenance Riflemaker, London


Andy Warhol at home with Skull, 1972

Unique Polaroid print with blood. 14.4 × 10.5 cm (5 11/16 × 4 1/8 in). Signed and

dated in ink on the recto; The Time Is Always Now copyright credit stamp on

the reverse of the frame.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000

Provenance Time is Always Now Gallery, New York; Art Beaufort, Hamburg


14 TERRY O’NEILLb. 1938

Michael Caine and Bob Hoskins, Raymond’s Revue Bar, London, 1985

Lambda print, printed later and flush-mounted. 121.9 × 121.9 cm (48 × 48 in).

Signed in ink on the recto.

Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ♠

Provenance Private Collection, London


15 BRIAN DUFFYb. 1933

Paul McCartney at CTS Studios, 1966

Gelatin silver print. 34 × 22.5 cm (13 3/8 × 8 7/8 in). Signed in ink and blindstamp credit in the

margin.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ♠


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16 CLAUDE GASSIANb. 1949

David Bowie, Paris, 1976

Four gelatin silver prints, printed later. Each 39.7 × 60 cm (15 5/8 × 23 5/8 in). Each signed, titled,

dated and numbered 3/5 in ink on the reverse of the flush-mount.

Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Private Collection, Europe

exhibited Paris, acte2galerie, Double Vie, 20 May–14 September 2002; Lyon, Musée d’Art

Contemporain de Lyon, Intersections, 5 June–3 August 2003 (each another example exhibited)

literature Éditions de la Martinière, Claude Gassian Photographies 1970–2001, 2001, p. 94;

Exhibition catalogue, Intersections, Éditions Musée d’Art Contemporain de Lyon, 2003, p. 100

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17 RICHARD AVEDON1923–2004

John Ford, Director, Bel Air, California, 11 April, 1972

Gelatin silver print. 19.1 × 18.4 cm (7 1/2 × 7 1/4 in). Signed, dated in ink and

copyright credit label on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000


LITeraTUre Portraits: Richard Avedon, Farrar Straus & Giroux, 1976, n.p.; Richard

Avedon: Photographs 1946–2004, Louisiana Museum of Modern Art, 2007, n.p.


18 INEZ VAN LAMSWEERDE & VINOODH MATADINb. 1963 & b. 1961

Kate, 1999

Colour coupler print. 96.5 × 78.4 cm (38 × 30 7/8 in). Signed in ink by both artists on

a label affixed to the reverse of the flush-mount. Number 2 from an edition of 10.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠

Provenance Private Collection, Paris


19 DAVID LACHAPELLEb. 1964

Cathedral, 2007

Digital colour coupler print. 61 × 81.3 cm (24 × 32 in). Signed in ink, printed

title, date and number on an artist’s label affixed to the reverse of the

flush-mount. One from an edition of 10.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300

Provenance Guy Hepner Contemporary, LA

LITeraTUre David LaChapelle: Stern Portfolio, vol. 51, teNeues, 2008, pp. 28–29;

S. Kessler, ‘David LaChapelle: Renaissance Man’, Whitewall, Issue 15, Fall 2009, p. 95


20 DAVID LACHAPELLEb. 1964

Mr. David Martinez as Priest, 2007

Digital colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed in ink, printed

title, date and number on an artist’s label affixed to the reverse of the


Estimate£8,000–10,000 $12,300–15,400 €9,200–11,500

Provenance Guy Hepner Contemporary, LA


21 BETTINA RHEIMSb. 1952

Madonna Blue Laying on a Blue Bed, New York, September, 1994

Colour coupler print, flush-mounted. 120 × 120 cm (47 1/4 × 47 1/4 in). Signed,

titled, numbered 1/5 and annotated ‘Pourquoi M’as-tu Abandonne’ in ink on a

label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s

proofs.

Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200 ♠



22 NOBUYOSHI ARAKIb. 1940

Untitled, 1986

Dye destruction print, printed 2003. 32.7 × 41.9 cm (12 7/8 × 16 1/2 in). Signed in

ink on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡

Provenance Private Collection, Japan


23 DAIDO MORIYAMAb. 1938

Eyeball, 1986

Gelatin silver print, printed 2005. 51.4 × 35.6 cm (20 1/4 × 14 in). Signed in

English and Japanese in pencil on the verso.

Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000 ‡

ProvenancePrivate Collection, Japan

LITeraTUre Daido Moriyama: Retrospective Since 1965, RM Verlag, 2007


24 PETER LINDBERGHb. 1944

Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990

Gelatin silver print, printed 2002 and flush-mounted. 120 × 176.5 cm (47 1/4 × 69 1/2 in). Signed, titled, dated and numbered 2/3 in pencil on a label affixed to the reverse of the

frame. Accompanied by a signed certificate of authenticity.

Estimate£30,000–40,000 $46,000–61,400 €34,400–45,800


eXHIBITeD New York, The Aperture Foundation, The Idealizing Vision, 1991; Paris, Centre National de la Photographie, Vanities, 1993; Images of Women & Invasion, including: Hamburg,

Museum Fur Kunst und Gewerbe, 23 January–26 February 1998; Milan, Palazzo dell’Arte , 4 March–20 April 1998; Rome, Palazzo Delle Esposizione, 15 July–15 August 1998; Vienna,

Kunsthaus Wien, 10 September 1998–15 January 1999; Moscow, Pushkin Museum, February–March 2002; Goslar, Mönchehaus Museum for Contemporary Art, 19 April–29 June 2008;

Dusseldorf, Landesmuseum Kultur Forum, Photographs, 31 July–3 October 1999; Hamburg, Triennale of Photography, Archaeology of Elegance – 1980–2000: 20 Years of Fashion, 25 April–25

August 2002 (each another example exhibited)

lITeraTure Peter Lindbergh Stories, Santa Fe: Arena Editions, 2002, n.p.

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25 LILLIAN BASSMANb. 1917

Anne Saint-Marie, New York, Chanel Advertising, 1958

Gelatin silver print, printed later. 69.5 × 87 cm (27 3/8 × 34 1/4 in). Signed in

pencil on the verso. Number 8 from an edition of 25.

Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900 ‡


literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, cover

and pp. 102–03



Blowing Kiss, Barbara Mullen, New York, c. 1958

Gelatin silver print, printed later. 50.2 × 47.6 cm (19 3/4 × 18 3/4 in). Signed in


Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡


literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, p. 126



Margy Cato, Junior Bazaar, c. 1950s

Gelatin silver print, printed later. 56.8 × 43.8 cm (22 3/8 × 17 1/4 in). Signed in


Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡


literature D. Solomon, Lillian Bassman: Women, Abrams: New York, 2009, p. 145


28 HORST p. HORST1906–1999

Birthday Gloves, New York, 1947

Gelatin silver print, printed later. 42.5 × 35.9 cm (16 3/4 × 14 1/8 in). Blindstamp

credit in the margin; signed in pencil on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ‡


literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and

Hudson, 1991, pl. 57


29 HORST p. HORST1906 – 1999

Lisa with Turban, New York, 1940

Gelatin silver print, printed later. 45.7 × 36.2 cm (18 × 14 1/4 in). Blindstamp

credit in the margin; signed in pencil on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ‡


literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and

Hudson, 1991, pl. 51


30 HORST P. HORST1906 – 1999

Mainbocher Corset, Paris, 1939

Gelatin silver print, printed later. 45.2 × 34 cm (17 13/16 × 13 3/8 in). Signed in


Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡


literature N. Hall-Duncan, The History of Fashion Photography, New York: Alpine

Book Co., 1979, p. 65; V. Lawford, Horst: His Work and His World, Harmondsworth:

Viking, 1984, p. 184; Kazmaier, Horst: Sixty Years of Photography, London: Thames and

Hudson, 1991, pl. 8

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31 GEORGE HOYNINGEN-HUENE1900 – 1968

Divers, Horst and Model, Swimwear by A. J. Izod, 1930

Gelatin silver print, printed later by Horst P. Horst. 44 × 35.2 cm (17 5/16 × 13 7/8

in). Hoyningen-Huene / Horst copyright credit blindstamp in the margin; signed,

titled, dated and annotated ‘from the collection of Horst’ by H. P. Horst in pencil

on the verso.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡

Provenance From the collection of Horst P. Horst

literature Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs,

London, 2006, p. 117

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32 IRVING PENN1917-2009

Audrey Hepburn, Paris, 1951

Gelatin silver print. 34.9 × 34 cm (13 3/4 × 13 3/8 in). Signed, dated in ink, titled

in pencil, Condé Nast copyright credit reproduction limitation and edition

stamps on the reverse of the mount. One from an edition of 6 silver prints.

Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ‡


exhibited London, National Portrait Gallery, Irving Penn Portraits, 18 February–6

June 2010 (another example exhibited)

literature Vogue, November 1951; I. Penn, Moments Preserved: Eight Essays in

Photographs and Words, Simon & Schuster, 1960, p. 156

Penn’s portrait of Audrey Hepburn was taken to mark her

Broadway debut in Gigi and appeared in Vogue in the issue of

November 1st 1951 (the play opened a week later). It was the

magazine’s first published picture of the 22-year-old actress and

dancer. Hepburn was fond of repeating that on arrival ‘the first two

things I saw were the Statue of Liberty and Richard Avedon’. As it

turned out, it was the other giant of magazine photography who

photographed her first. Penn had taken it in Paris earlier in the

year during a trip which also saw a sitting in her Palais-Royal

apartment with Gigi’s creator, the elderly novelist Colette. By this

time, Penn had abandoned the two stylistic motifs that had marked

out his studio portraiture almost as still life studies: firstly the

positioning of the sitter on or against an unravelled length of dark

carpet, and secondly the ‘corner portrait’, wherein sitters were

required to arrange themselves – or in a few cases allow

themselves to be arranged – in the apex of two perpendicular

studio flats. In both cases Penn made either full-length studies or

at least photographed his subjects from the waist up, observing

their movement (or lack of it) within these unanticipated and

restrictive spaces. By 1950, he had replaced these conceits with a

closer scrutiny of the sitter’s face. The resulting portraits, of which

this head and shoulders study is emblematic, were characterised

by tight and unexpected close cropping, any trace of the studio

now confined to a simple neutral backdrop (he had experimented

with tight cropping-in on his first series of nudes in 1949). The

interaction of photographer and sitter was, if still off-kilter, at least

warmer – a concentration on gaze and expression rather than a

cold-blooded observation of physical contortion.

(Robin Muir, April 2010)


33 HENRI CARTIER-BRESSON1908 – 2004

Easter Parade, Harlem, New York, 1947

Gelatin silver print, printed later. 35.6 × 24.1 cm (14 × 9 1/2 in). Signed in ink and

blindstamp credit in the margin.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200


literature P. Galassi et al, Henri Cartier-Bresson: The man, the image and the

world, London: Thames and Hudson, 2003, p. 210


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35

34 HENRI CARTIER-BRESSON1908 – 2004

Henri Matisse, Vence, France, 1944

Gelatin silver print, printed later. 23.8 × 35.9 cm (9 3/8 × 14 1/8 in). Signed in ink

and blindstamp credit in the margin.

Estimate£8,000–10,000 $12,300–15,400 €9,200–11,500


literature Y. Bonnefoy, Henri Cartier-Bresson: Photographer, London: Thames

and Hudson, 1980 p. 126; Jean Lacouture et al., In Our Time: The World as Seen by

Magnum Photographers, New York & London: Norton, 1989, pp. 372–73; Henri

Cartier-Bresson Scrap Book, London: Thames and Hudson, 2006, p. 68

35 LEE FRIEDLANDERb. 1934

Billie and De de Pierce, 1952

Gelatin silver print, printed later. 15.2 × 22.9 cm (6 × 9 in). Signed, titled in


Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500


literature Friedlander, New York: Museum of Modern Art, 2005, p. 30


36 NICK BRANDTb. 1966

Elephant Exodus, Amboseli, 2008

Archival pigment print. 60.3 × 166.1 cm (23 3/4 × 65 3/8 in). Signed, dated and

numbered 2/15 in pencil in the margin.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠


37 BRITTA JASCHINSKIb. 1965

Lone Lion, 2007

Gelatin silver print. 76.2 × 116.8 cm (30 × 46 in). Signed, dated and numbered in

pencil on a label affixed to the reverse of the frame. One from an edition of 5

plus 1 artist’s proof.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700


exhibited London, Natural History Museum, Wildlife Photographer of the Year

2009, 23 October 2009 – 11 April 2010 (another example exhibited)

literature BBC Books, Wildlife Photographer of the Year: Portfolio 19, 2009, p. 54


38 THOMAS JOSHUA COOPERb. 1946

A Premonitial Work, 2000 – 2001

Gelatin silver print. 35.9 × 57.8 cm (14 1/8 × 22 3/4 in). Signed, titled, dated,

numbered 3/3 and annotated ‘Muskaget Sound and the North Atlantic Ocean

Looking N., N.E. – yet again, towards the Old World From Sunset to Full

Moonrise Wasque Point, Chappaquiddicte Island Martha’s Vineyard,

Massachusetts U.S.A.’ in ink on a label affixed to the verso.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700

Provenance Sean Kelly Gallery, New York


39 RICHARD MISRACHb. 1949

Untitled, 2007

Archival pigment print. 41.6 × 50.8 cm (16 3/8 × 20 in). Signed, titled, dated and

numbered 2/15 in ink in the margin. One from an edition of 15 plus artist’s

proofs.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡

Provenance Blind Spot Editions, New York


40 LENI RIEFENSTAHL1902–2003

Mask, 1975–6

Dye-transfer print, printed later. 57.5 × 42.9 cm (22 5/8 × 16 7/8 in). Initialled,

annotated ‘AP’ in pencil and copyright credit stamp on the reverse of the

mount. One from an edition of 15 plus artist’s proofs.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000

Provenance Atlas Gallery, London


41 BARTHÉLÉMY TOGUOb. 1967

Afrika Oil, 2005-8

Digital colour coupler print. 161.9 × 123.8 cm (63 3/4 × 48 3/4 in). Signed in ink,

printed title, date and number on a label affixed to the reverse of the


Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300


Barthélémy Toguo works in sculpture, painting, video, installation

and performance. He creates theatrically staged works fed by his

fascination with the gap between West and ‘non-West’; his work

is politically charged and has the interest of human flux at its

core. The artist has founded Bandjoun Station, an arts and

cultural centre in Cameroon, which is facilitated by local artists

and intellectuals.


42 RUUD VAN EMPELb. 1958

Moon #4, 2007

Dye destruction print, flush-mounted. 83.8 × 59.7 cm (33 × 23 1/2 in). Signed, titled,

dated and numbered 5/13 in ink on an artist’s label affixed to the reverse of the frame.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ♠

Provenance Flatland Gallery, Netherlands

literature Ruud van Empel: Photoworks 2006–2008, 2009, p. 47


43 RUUD VAN EMPELb. 1958

World #6, 2005

Dye destruction print, Diasec mounted. 105 cm × 150 cm (41 3/8 × 59 in).

Signed in pencil, printed title, date and number on a label affixed to the

reverse of the flush-mount. One from an edition of 9.

Estimate£20,000–30,000 $30,700–46,100 €22,900–34,400 ♠

Provenance Stux Gallery, New York


44 CHRISTOPHER BUCKLOWb. 1957

Tetrarch, 2.19 & 4.14 pm, 17th October, 2001

Unique dye destruction print, flush-mounted. 92.4 × 252.7 cm (36 3/8 × 99 1/2

in). Signed, titled and dated in pencil on the verso.

Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800

Provenance Riflemaker, London


45 MASSIMO VITALIb. 1944

Knokke Dyptich, 2002

Two colour coupler prints, each Diasec mounted. Each 149.2 × 120.7 cm (58 3/4

× 47 1/2 in). Signed, titled, dated and numbered in ink on a label affixed to the

reverse of the flush-mount. One from an edition of 6.

Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠



46 EDWARD BURTYNSKYb. 1955

Shipbreaking #2, Chittagong, Bangladesh, 2000

Colour coupler print, printed 2001. 86.4 × 68.6 cm (34 × 27 in). Signed in ink,

printed title, date and number 1/10 on a label affixed to the reverse of the

mount.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300


exhibited Washington DC, Corcoran Gallery of Art, Edward Burtynsky: Oil, 3

October – 13 December 2009 (another example exhibited)

literature Manufactured Landscapes: The Photographs of Edward Burtynsky,

National Gallery of Canada, Ottawa & Yale University Press: London, 2003, p. 41;

Edward Burtynsky: Oil, Steidl: Göttingen, 2009, p. 154


47

48

47 PIETER HUGOb. 1976

Sam, Klein Karoo, 2003

Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and


Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Michael Stevenson Gallery, Cape Town

48 PIETER HUGOb. 1976

Tem Vleksi, Cape Town, 2003

Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and


Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Michael Stevenson Gallery, Cape Town


49 DESIREE DOLRONb. 1963

Xteriors IX, 2004

Colour coupler print, Diasec mounted. 170 × 125cm (67 × 49 1/4 in). Signed,

titled, dated and numbered 6/8 in ink on the reverse of the flush-mount.

Accompanied by a signed certificate of authenticity.

Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠

Provenance Galerie Gabriel Rolt, Amsterdam

exhibited Hague, The Hague Museum of Photography, Desiree Dolron, 26

February – 8 May 2005 (another example exhibited)

literature Exhibition catalogue, The Hague Museum of Photography, Desiree

Dolron, Hague, 2005, p. 101

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50 DESIREE DOLRONb. 1963

Xteriors X, 2005

Colour coupler print. 60 × 50 cm (23 5/8 × 19 11/16 in). Signed, titled, dated and

numbered 5/6 in ink on the reverse of the flush-mount. Accompanied by a

signed certificate of authenticity.

Estimate£18,000–22,000 $27,700–34,000 €20,600–25,000 ♠

Provenance Galerie Gabriel Rolt, Amsterdam

PHOTO 58-59_v1.indd 59 16/04/10 18:53

51 SHIRIN NESHATb. 1957

Untitled from the Rapture Series, 1999

Gelatin silver print, mounted. 112.4 × 168.6 cm (44 1/4 × 66 3/8 in). One from an

edition of 5 plus 2 artist’s proofs.

Estimate£20,000–30,000 $30,700–46,100 €22,900–34,400


literature G. Mackert, Shirin Neshat, Vienna, 2000, p. 74; Exhibition catalogue,

Castello di Rivoli, Shirin Neshat, Turin, 2002, p. 120


52 AHMET ERTUGb. 1949

HAREM: Topkapi Palace, Istanbul, 1990

Lightjet print, printed later and flush-mounted. 228 × 180 cm (89 3/4 × 70 7/8 in). Signed

in ink, printed title, date and number 1/5 on an artist’s label affixed to the reverse of the

frame. One from an edition of 5 plus 1 artist’s proof.

Estimate£16,000–18,000 $24,600–27,700 €18,300–20,600 ‡


literature R. Bragner et al., Topkapi Palace of Felicity, Istanbul: Ertug & Kölük, 1990, p. 217


53 ROBERT POLIDORIb. 1951

Salles du XVIIIeme, Chateau de Versailles, 2005

Fujicolor Crystal Archive print. 167.6 × 127 cm (66 × 50 in). Signed in ink,


flush-mount. One from an edition of 10 plus 2 artist’s proofs.

Estimate£10,000–12,000 $15,400–18,400 €11,500–13,800

Provenance Flowers, London

literature R. Polidori, Parcours Muséologique Revisité, Vol. 1, Steidl, 2009, p. 137


54 ROBERT MAPPLETHORPE1946–1989

X, Y and Z Portfolios

Washington,D.C.:HarryLunn;NewYork:RobertMiller;London:RobertSelf.

X,1977/1978.Thirteenseleniumtonedgelatinsilverprints,mountedonblackrag

board.Eachapproximately19.4×19.4cm(75/8×75/8in).Eachsigned,numbered20/25

inpencilwithasequentiallynumberedblindstamponthemount.Colophonnumbered

‘20’inink,poembyPaulSchmidt,signedbySchmidtinink,platelistandredpaper

interleaving.Containedinagiltstampedblacksilkclamshellbox.Onefromanedition

of25plus6letteredartist’sproofs.

Y,1977/1978.Thirteenseleniumtonedgelatinsilverprints,printed1978andmounted

onwhiteragboard.Eachapproximately19.4×19.4cm(75/8×75/8in).Eachsigned,

numbered24/25inpencilwithasequentiallynumberedblindstamponthemount.

Colophonsigned,numbered‘24’inink,poembyPattiSmith,platelist,andpinkpaper

interleaving.Containedinagiltstampedgreysilkclamshellbox.Onefromanedition

of25plus6letteredartist’sproofs.

Z,1979–1981.Thirteenseleniumtonedgelatinsilverprints,printed1981andmounted

onwhiteragboard.Eachapproximately19.1×19.1cm(71/2×71/2in).Eachsigned,

numbered23/25ininkwithasequentiallynumberedblindstamponthemount.

Colophonsigned,dated‘81’,numbered‘23’inink,essaybyEdmundWhite,platelist

andstonepaperinterleaving.Containedinagiltstampedbrownsilkclamshellbox.

Onefromaneditionof25plus6letteredartist’sproofs.

Estimate£60,000–80,000 $92,200–122,900 €68,700–91,600 ‡

PROvEnAncERobertMillerGallery,NewYork

LiTERATuRE X: Mapplethorpe,London:JonathanCape,1992,v.p.; Pictures: Robert

Mapplethorpe,NewYork:ArenaEditions,1999,n.p.;Y: Mapplethorpe Pistils,London:Jonathan

Cape,1996,v.p.; Mapplethorpe: The Complete Flowers,Düseldorf:teNeues,2006,n.p.; Z: Robert

Mapplethorpe,BlackBook,SaintMartin’sPress,1988,n.p.; Robert Mapplethorpe: Ten by Ten,

München:Schirmer/Mosel,1988,v.p.; Mapplethorpe,London:JonathanCape,1992,v.p.

PresentedinthislotisthecompletesuiteofPortfolioworksbyRobert

Mapplethorpe,X,Y,Z,thestoryandsumofeverythingweexpectfromhim

asanartist.Theseportfolioswerecreatedtoexistandbeseentogether.

XdepictspartofMapplethorpe’sownworld.Hewasanactiveparticipant

–theimagesrevealsomethingthathewasproudtobelongto,andthey

haveundisputeddignity.Thesubjectsareposedneatly,bodiesofiron

thatshinewithelegance;theimagesbegthequestion,‘Whyshouldn’twe

acceptbeautyinthis?’,evenifwedon’twanttoanswer.Polarityis

ever-presentinMapplethorpe’sworks–sofreeanduninhibitedyet

contrivedandaustere–agentlemanandapromiscuousdandywithan

attitudewhichgoesbeyondshameandpunchesstraighttotheheart,

leavinganindelibleimprint.Nomatterwhattheviscosityoftheactivity,

thereisstillcalm.Theviewerisperhapstheonlyguiltypartyin

presumingthattheinteractionsarecausingharm,whenactuallyweare

witnessingpleasure.AportraitofatradesmanbyIrvingPennorastoic

depictionofamemberofGermansocietybyAugustSandercanofferno

morecredenceorrespect.

Yconcentratessolelyontheflower.Mapplethorpeexplorestheform

throughmanipulationoflightandshadow–throughexperimentationand

carefulbalancehestimulatestheheartbeatoftheinanimateblindorthe

stillGardenia.Nothingabouttheseimagescouldeverbeconfusedwith

ordescribedasasnapshot.Theflowersareisolatedlikehisother

subjects,statuesqueasanyGreekmarble,exaltedonaplatform,

sometimesnakedandatothertimeswithprops(reflectinghisportrait

style),elevatingthemabovethemundane.

Zillustratesthelinkbetweensexandartwhichwaspurelyandsimply

Mapplethorpe’slife.Againthestageisset,thistimewithhisreferenceto

theblackmale.Theportraitsamongtheseworksarerepresentationsof

‘fantasticalchic’,figureheadsofmasculinity,themostmajestickings.

Nothingisplucked,startled,fromthestreetstounnerveusorjarour

conscience–Mapplethorpe’smainstream1960sformalismisrocksolid.

Unfortunatelywithworkssuchasthesehewas–likeabirdcaughtonthe

wire–wideopennotonlytocriticalacclaim,butalsotocriticism;his

imagespushtheboundariesof‘modernity’whiletheircompositionwould

fitnicelywithinthephotographicconventionsofthenineteenthcentury,a

periodthatMapplethorpeadmiredandcollected.


PHOTO 65.indd 65 16/04/10 19:13


Daisies, 1977

Gelatin silver diptych, printed c. 1988, in an artist’s frame. Each 35.6 × 35.2 cm (14 × 13 7/8

in). One from an edition of 3.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300

Provenance Holly Solomon Gallery, New York; Robert Miller Gallery, New York; Baudoin

Lebon, Paris

literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, pl. 23 (image ii)

PHOTO partTwo_65-137.indd 66 16/04/10 19:51


Roses, 1988

Gelatin silver print. 48.6 × 48.6 cm (19 1/8 × 19 1/8 in). Signed, dated 1989 in ink

by Michael Stout, Executor, titled, dated, numbered 5/10 in an unidentified

hand in ink and Robert Mapplethorpe copyright credit stamp on the verso.

Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200

Provenance Baudoin Lebon, Paris

literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, n.p.


57 IRVING PENN1917 – 2009

Camel Pack (SM), Neg. XXXXII, 1975

Platinum-palladium print. 76 × 56.5 cm (29 5/8 × 22 1/8 in). Signed, titled, dated,

numbered 20/68 in pencil and copyright credit reproduction limitation stamp

on the verso.

Estimate£12,000–18,000 $18,500–27,700 €13,800–20,600


literature J. Szarkowski, Irving Penn, New York: The Museum of Modern Art,

1984, pl. 126; Exhibition catalogue, National Museum of Modern Art and the National

Portrait Gallery, Irving Penn: Master Images, Washington and London, 1990, p. 64;

Passage: A Work Record, New York: Alfred A. Knopf: Callaway, 1991, p. 219; Exhibition

catalogue, Art Institute of Chicago, Irving Penn: A Career in Photography, Chicago,

1997, p. 20; Still Life by Irving Penn, London: Thames and Hudson, 2001, n.p.;

Exhibition catalogue, National Gallery of Art, Irving Penn: Platinum Prints,

Washington, 2005, pl. 70


58 ANDRÉ KERTÉSZ1894 – 1985

Untitled, 1979

Dye destruction print. 10.3 × 10.2 cm (4 1/16 × 4 in). Signed by the artist, dated,

numbered 1/50 and annotated ‘Plate 23’ in an unidentified hand in pencil on

the verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900



59 CHRIS KILLIPb. 1946

Youth on Wall, Yarrow, Tyneside, 1976

Gelatin silver print, printed 2007. 38.1 × 47 cm (15 × 18 1/2 in). Signed, titled and dated in


Estimate£2,000–2,500 $3,000–3,800 €2,300–2,900 ♠


exhibited London, Serpentine Gallery, Another Country: Photographs of the North East of

England by Chris Killip and Graham Smith, 31 August – 29 September 1985 (another example

exhibited)

literature J. Berger and S. Grant, In Flagrante, London: Secker & Warburg, 1988, pp. 10–11

In the 1970s and 1980s Chris Killip photographed in the North East of

England, documenting the social and political landscape of the time, and

singling out subjects which have subsequently become symbolic of an

era – the effects of de-industrialisation, the onset of Thatcherism, and

the strength of human optimism in the face of hardship and adversity.

This youth’s tightly-wound body and his expression of frustration receive

full aperture in Killip’s medium format composition. The camera

becomes a microscope for a slice of life shown to us without sympathy

for the discomfort of the witness; should we offer comfort to the subject,

or stand for a moment in his abrasive world? It is a sensibility not

dissimilar to that explored by the great Dave Heath in his photo essay A

Dialogue of Solitude – the feeling that fellow man is disposable, a lack of

empathy for other people considered to exist in parallel but not in tune

with our own lives. The slogan ‘Our Green and Pleasant Land’ is deftly

spat upon by Killip’s images, which favour the proud and the strong over

the romantic.

This image, among others, culminated in Killip’s 1988 book In Flagrante,

which has become one of the most sought after, admired and collected

photo books of recent times. The photographs were also shown at

London’s Serpentine Gallery in 1985 as part of the exhibition Another

Country, alongside works by another notable photographer of Killip’s

generation, Graham Smith.

Chris Killip was a founder member of the Side Gallery, Newcastle-upon-

Tyne, in the early 1970s, and was Director there between 1977–79. He has

received numerous awards, including the Henri Cartier-Bresson Award

for the body of work In Flagrante, and has been the Professor of Visual

and Environmental Studies at Harvard Unversity since 1994.


60

61

60 JOHN BULMERb. 1938

Graveyard, for TOWN Magazine, 1963

Gelatin silver print, printed later. 36.5 × 55.9 cm (14 3/8 × 22 in). Signed and

numbered 1/25 in ink in the margin.

Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300 ♠


61 GRAHAM SMITHb. 1947

Who She Wanted and What She Got, South Bank, Middlesbrough, 1982

Gelatin silver print, printed 2008. 39.1 × 48.6 cm (15 3/8 × 19 1/8 in). Signed,

titled, dated and extensively annotated in pencil on the verso.

Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500 ♠


exhibited London, Serpentine Gallery, Another Country: Photographs of the North

East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985

(another example exhibited)


62 GRAHAM SMITHb. 1947

Friday Night, Backroom 4, The Commercial, South Bank, Middleborough, 1983

Gelatin silver print, printed 2008. 40.3 × 45.9 cm (15 7/8 × 18 1/16 in). Signed,

titled, dated and extensively annotated in pencil on the verso.

Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500 ♠


exhibited London, Serpentine Gallery, Another Country: Photographs of the North

East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985

(another example exhibited)


63 MARK NEVILLEb. 1966

Betty at Port Glasgow Town Hall Christmas Party from The Port Glasgow Book

Project, 2005

Colour coupler print, flush-mounted. 100.3 × 127 cm (39 1/2 × 50 in). Signed and

dated in ink on a label affixed to the reverse of the frame. Number 4 from an

edition of 5 plus 2 artist’s proofs. Accompanied by a signed certificate of

authenticity, a copy of the commercially unavailable book Port Glasgow, and a

portfolio of community response from Portonians relating to ‘The Port

Glasgow Book Project’.

Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800


exhibited Oxford, Modern Art Oxford, Local Stories, 7 March – 30 April 2006;

Kilmarnock, Dick Institute, The Port Glasgow Book Project, 25 August – 21 October

2006; Parrworld, touring exhibition including: Haus Der Kunst, Munich, 7 May – 17 Aug

2008; Jeu de Paume, Paris, 30 June – 27 September 2009; Baltic Centre for

Contemporary Art, Gateshead, 16 October 2009 – 17 January 2010 (each another

example exhibited)

literature M. Neville, Port Glasgow, 2005, cover

In 2004, Neville spent a year as an artist in residence in Port

Glasgow, the world centre for shipbuilding 50 years ago, now a

town facing industrial and economic decline. His Port Glasgow

Book Project was a revolutionary public artwork that sought to

challenge notions of ownership, appropriation, dissemination, and

political and social division. In particular, it looked at how class and

social divide is reinforced through images. The concept was to

produce and distribute a hardback book of ‘social documentary’

images, with high production values, that subverted conventional

ways in which such books are disseminated as ‘art’, or ‘coffee-

table’, and questioned the way in which social documentary

photography sometimes depends on an inherent framework of

exploitation. The book was uniquely delivered, free, to the 8,000

households in the Port by the members of the local Boys’ Football

Club. It was not available anywhere else, commercially or

otherwise. Once delivered, each recipient had singular ownership

of the book, and could choose to cherish it as a social document,

discard it, or even attempt to sell it on eBay.

Another example of this work is held in the collections of Martin

Parr, The National Galleries of Scotland and The Arts Council of

England.


65

64

65 BRYN CAMPBELLb. 1933

Salford, 1974

Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated in

pencil and copyright credit stamp on the verso.

Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700


literature Bryn Campbell: Reports and Rumours, Photographers Publications:

Taiwan, 2001, n.p.


Southend, 1972

Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated and

copyright credit stamp on the verso.

Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700



Taiwan, 2001, n.p.


66 SOPHY RICKETTb. 1970

Vauxhall Bridge from Pissing Women, 1995


numbered in pencil on the reverse of the frame. One from an edition of 5.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ♠

Provenance Private Collection, UK


67

68

68 COLIN JONESb. 1936

Sunderland, 1963

Gelatin silver print. 27 × 38.4 cm (10 5/8 × 15 1/8 in). Signed, titled, dated and

annotated ‘vintage’ in pencil on the verso.

Estimate£1,200–1,800 $1,900–2,800 €1,400–2,000



Rush Hour in fog, Bromley Station, c. 1959

Gelatin silver print. 23.8 × 29.5 cm (9 3/8 × 11 5/8 in). Signed, titled, dated in

pencil and copyright credit stamp on the verso.

Estimate£1,500–2,000 $2,300–3,000 €1,700–2,300



Taiwan, 2001, n.p.


69 BILL BRANDT1904 – 1983

Housewife, Bethnal Green, 1937

Gelatin silver print, printed later. 34.6 × 29.2 cm (13 5/8 × 11 4/8 in). Signed in ink

in the margin.

Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡


literature Bill Brandt Photographs 1928–1983, London: Thames and Hudson,

1993, p. 68; Bill Brandt: The Photography of Bill Brandt, New York: Harry N. Abrams,

1999, pl. 29


70 JINDRICH STREITb. 1946

Polska, 1977

Gelatin silver print. 37.5 × 28.4 cm (14 3/4 × 11 3/16 in). Signed, titled and dated

in pencil on the verso.

Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300 ♠



71 HELEN LEVITT1913 – 2009

New York, c. 1940

Gelatin silver print, printed later. 26 × 17.5 cm (10 1/4 × 6 7/8 in). Signed, dated

and annotated ‘N.Y.’ in pencil on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡


literature Exhibition catalogue, San Francisco Museum of Modern Art, Helen

Levitt, San Francisco, 1991, p. 20; W. Evans, Helen Levitt – Monograph, New York:

Powerhouse Books, 2008, p. 56


72 NATHAN LERNER1913 – 1997

City Light Box Study, New York, 1944

Gelatin silver print, printed c. 1980s. 33.3 × 23.5 cm (13 1/8 × 9 1/4 in).

Estimate£800–1,200 $1,200–1,800 €900–1,400


literature Exhibition catalogue, Musée d’Art et d’Histoire du Judaisme, Nathan

Lerner: l’heritage du Bauhaus à Chicago, Paris, 2008, p. 69

PHOTO 82-83_v1.indd 82 16/04/10 19:13

73 HELEN LEVITT1913 – 2009

New York, c. 1940

Gelatin silver print, printed later. 18.6 × 27.9 cm (7 5/16 × 11 in). Signed, dated and

annotated ‘N.Y.’ in pencil on verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡


literature W. Evans, Helen Levitt – Monograph, New York: Powerhouse Books, 2008, p. 144

PHOTO 82-83_v1.indd 83 16/04/10 19:14

74 CHRISTOPHER WILLIAMSb. 1956

ECT (European Container Terminus B.V), 1991


numbered 2/10 in pencil on the verso.

Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000

Provenance Luhring Augustine Hetzler, Santa Monica


75 ROBERT POLIDORIb. 1951

Ambassador Hotel Swimming Pool, Los Angeles, CA, from Southern California

Project, 2005

Fujicolor Crystal Archive print. 102.9 × 146.7 cm (40 1/2 × 57 3/4 in). Signed in

ink, printed title, date and number on a label affixed to the reverse of the


Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800

Provenance Private Collection


76 JOEL STERNFELDb. 1944

McLean Virginia, December 4, 1978

Dye-transfer print, printed 1983. 38.1 × 49.5 cm (15 × 19 1/2 in). Signed, titled

and dated in ink on the verso.

Estimate£12,000–18,000 $18,500–27,700 €13,800–20,600 ‡


literature S. Greenough et al., On the Art of Fixing a Shadow: One Hundred and

Fifty Years of Photography, 1989, pl. 373; Joel Sternfeld: American Prospects, Gottingen:

Steidl, 2003, pl. 30


78

77

78 WILLIAM EGGLESTONb. 1939

Untitled (shovel), 1982

Colour coupler print. 25.6 × 37.9 cm (10 1/16 × 14 15/16 in). Signed, dated and

inscribed ‘for Elsie’ in ink on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000


77 WILLIAM EGGLESTONb. 1939

Untitled (iron on washing machine) from Louisiana Project, 1980

Dye-transfer print. 17 × 25.4 cm (6 11/16 × 10 in). Signed in ink, numbered 1/12

in an unidentified hand in pencil and edition stamp on the verso.

Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300

Provenance Private Collection, Berlin


80

79

80 JOEL MEYEROWITZb. 1938

Province Town, 1977

Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,

dated ‘1979’ and numbered 18/75 in ink on verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400


79 JOEL MEYEROWITZb. 1938

Porch, Providence, 1977

Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,

dated ‘1979’ and numbered 18/75 in ink on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400


literature Exhibition catalogue, Museum of Fine Arts, Cape Light: Color

Photographs, Boston, 1978, pl. 3


81 AUGUST SANDER1876 – 1964

Loop at the Rhine near Boppard, 1936

Gelatin silver print, printed in 1974 by Günther Sander. 21.6 × 28.7 cm (8 1/2 × 11

5/16 in). Archive blindstamp on the recto; signed, numbered 35/75 in pencil by

Günther Sander and Schirmer/Mosel stamp on the reverse of the mount.

Estimate£3,500–4,500 $5,400–6,900 €4,000–5,200



83

82

83 NAN GOLDINb. 1953

Stromboli at dawn, Italy, 1996

Dye destruction print. 65.4 × 99.1 cm (25 3/4 × 39 in). Signed, titled, dated and numbered

in ink on the reverse of the flush-mount. One from an edition of 15.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300

Provenance Yvon Lambert, Paris

literature Exhibition catalogue, Whitney Museum of America Art, Nan Goldin: I’ll be your

mirror, New York, 1996, p. 435; G. Costa, Nan Goldin, London: Phaidon, 2005, pl. 40

82 BILL HENSONb. 1955

Untitled #52, 1998/99

Colour coupler print, flush-mounted. 102.9 × 153.7 cm (40 1/2 × 60 1/2 in).

Signed, dated, numbered 3/5 and annotated ‘CLSH 370 N26’ in ink in the

margin.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300

Provenance Roslyn Oxley9 Gallery, Sydney

literature Mnemosyne: Photographic Works 1974–2004, Zurich: Scalo, 2005, p. 469


84 TODD HIDOb. 1968

#2423-A from House Hunting, 1999

Colour coupler print. 60.6 × 50.8 cm (23 7/8 × 20 in). Signed, titled, dated and

annotated ‘AP’ in pencil on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡


exhibited Kansas City, Kemper Museum of Contemporary Art, Todd Hido: Open

House, 12 April – 7 July 2002 (another example exhibited)

literature G. Keizer, ‘Left Alone’, Mother Jones, November 2005, p. 68


85 THOMAS RUFFb. 1958

LMV 09 h.t.b. 03, 1999

Digital colour coupler print, Diasec mounted. 99.7 × 133 cm (39 1/4 × 52 3/8 in).

Signed, titled, dated and numbered in pencil on the reverse of the frame. One

from an edition of 5 plus 2 artist’s proofs.

Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠

Provenance Galerie Nelson, Paris

literature M. Winzen, Thomas Ruff: 1979 to the Present, Cologne, 2001, p. 242

“When I did my first architectural series, in 1987–91, I chose the

typical, undistinguished buildings my generation grew up

surrounded by. I thought that high architecture might overshadow

the image itself, that a Mies building would be too beautiful. I was

worried that there would be too much Mies and too little Ruff. But

after gaining experience making various series in the meantime, I

thought I could transform even Mies architecture into a Ruff image.

When Julian [Heymen] proposed the project in 1999, I realised I was

ready for Mies – that I could make his architecture look different

from the way it had appeared in previous photographs.”

(Thomas Ruff, ‘A Thousand Words: Thomas Ruff talks about

“l.m.v.d.r.” ’, Artforum, vol. XXXIX, no. 10, Summer 2001, p. 159)


86 JULIUS SHULMAN1910 – 2009

Case Study # 22, Los Angeles, Pierre Koenig, Architect, 1960

Gelatin silver print, printed later. 45.1 × 36.2 cm (17 3/4 × 14 1/4 in). Signed and

annotated ‘#22 Stahl’ in pencil on the verso.

Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300


literature Exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia,

Colección Taschen, Madrid, 2004, p. 189; L. Nittive and L. Essling, Time & Place: Los

Angeles 1957–1968, Göttingen: Steidl Verlag, 2008, p. 44


87 HIROSHI SUGIMOTOb. 1948

South Bay Drive-In, San Diego, 1993

Gelatin silver print. 42.2 × 54 cm (16 5/8 × 21 1/4 in). Blindstamp title and

number 7/25 735 in the margin; signed and numbered ‘735’ in pencil on the

mount.

Estimate£15,000–20,000 $23,000–30,700 €17,200–22,900

Provenance Gallery Koyanagi, Tokyo.

literature Hans Belting, Theaters: Hiroshi Sugimoto, New York, 2000, pp. 206–07


88 NICOLAS FAUREb. 1949

N° 160 – A, 1997

Lambda print, flush-mounted and printed later. 125 × 160 cm (49 1/4 × 63 in).

Signed, titled, dated and numbered 4/5 in ink on a label affixed to the reverse

of the frame. One from an edition of 5 plus 2 artist’s proofs.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡


exhibited Lausanne, Musée de l’Elysée, Nicolas Faure: Landscape A, 17 November

2005 – 5 February 2006 (another example exhibited)

literature Exhibition catalogue, Musée de l’Elysée, Nicolas Faure: Landscape A,

Lausanne, 2005, p. 57

The Utopian, illusion-inducing artificial gardens that Nicolas Faure

has discovered along Switzerland’s highways can only be seen

from a distance. They are invisible to those in passing vehicles

because of the speed at which the vehicles are travelling. Nor do

the gardens reveal themselves to pedestrians – the spaces are for

the most part enclosed and in any case off-bounds. These

‘compensation zones’, created to diminish the effects of the

wide-spread use of concrete, usually border on the highways

directly. Faure’s photographs make it possible not only to see

differently; they take a new look at landscape, showing a form of

beauty in no way nostalgic and yet central to modern concerns,

including ecological ones. His images also make it possible to

understand the bond that man – or, more prosaically, the federal

administration – has to nature, or at least to the idea of it.

(Exhibition catalogue, Nicolas Faure: Landscape A, Lausanne Musée

de l’Elysée, 2005, p. 6)

Another example of this work is held in the collections of the

Museum of Modern Art, New York, Musée de l’Elysée, Lausanne

and Pictet Bank Collection


89 MICHAEL REISCHb. 1964

Landschaft, 7/018, 2009

Digital colour coupler print, Diasec mounted. 114 × 315 cm (44 7/8 × 124 in).

Signed, titled, dated and numbered 5/8 in ink on the reverse of the flush-

mount. One from an edition of 8 plus 2 artist’s proofs.

Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200

Provenance Hengesbach Gallery, Berlin

literature New Landscapes: Michael Reisch, Hatje Cantz Verlag, 2010, p. 39


The German artist Michael Reisch studied under Bernd Becher at the Kunstakademie

in Düsseldorf in the early 1990s.

Reisch’s imagination works within the photograph, processing a wide range of

references, while at the same time creating overlaps between nature, sculpture, and

architecture. Each work is a system whose visual effect depends, above all, on the way

in which it differs from reality. Each photograph is a construction that blends

photographic and sculptural modes of thinking within a model and through which the

specific work of art also becomes evident as a photograph.

(Martin Hochleitner, Michael Reisch, Hatje Cantz, 2006, p. 13)


90 NICOLAI HOWALT & TRINE SØNDERGAARDb. 1970 & b. 1972

Tree No. 2 from Tree Zone, 2007

Digital colour coupler print, flush-mounted. 92.1 × 69.9 cm (36 1/4 × 27 1/2 in).

Signed in ink on the reverse of the frame. Accompanied by a signed certificate

of authenticity. Number 1 from an edition of 5 plus 2 artist’s proofs.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ♠

Provenance Martin Asbaek Projects, Copenhagen

literature Tree Zone: Howalt & Søndergaard, New York: Hassla Books, 2009


91 BEATE GÜTSCHOWb. 1970

LS#13, 2001

Lambda print, printed 2002. 108 × 85.1 cm (42 1/2 × 33 1/2 in). Signed in ink,


flush-mount.

Estimate£3,500–4,500 $5,400–6,900 €4,000–5,200 ♠

Provenance Eric Franck Fine Art, London

literature L. A. Martin, Beate Gütschow: LS/S, New York: Aperture, 2007, p. 14


92 ERIC BAUDELAIREb. 1973

Plantation from Imagined States, 2004

Colour coupler print, Diasec mounted. 104.9 × 134.9 cm (41 5/16 × 53 1/8 in).

Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-

mount.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000

Provenance Galeria Juana De Aizpuru, Madrid


94

93

94 HARRY CORY WRIGHTb. 1963

Aonach Dubh, Glen Coe, Highland, 2006

Colour coupler print, flush-mounted. 135 × 170 cm (53 1/8 × 67 in). Signed on a

label affixed to the reverse.

Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900

Provenance Eleven Fine Art, London

93 JOEL TETTAMANTIb. 1977

Untitled (Archive n° 6705) from ‘DAVOS’, Switzerland, 2006–09

Lambda print, flush-mounted. 121.9 × 154 cm (48 × 60 5/8 in). Signed in ink, printed title,

date and number 1/3 on a label affixed to the reverse of the frame

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ‡


literature N. Olonetzky, Joel Tettamanti: Davos, Zurich: Scheidegger & Spiess, 2009, n.p.


95 DAVID PARKERb. 1949

Siren XXIII, 2005

Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink,


frame.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠

Provenance Michael Hoppen Gallery, London


96 DAVID PARKERb. 1949

Siren XXXV, 2005

Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink,


frame.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠

Provenance Michael Hoppen Gallery, London


97 ALBERTO GARCIA-ALIXb. 1956

El Brazo de Ana, 1992

Gelatin silver print. 51.4 × 45.1 cm (20 1/4 × 17 3/4 in). Copyright credit

blindstamp in the margin; signed, titled, dated and numbered in pencil on the

verso. One from an edition of 7.

Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000 ♠


PHOTO 106-107_v1.indd 106 16/04/10 19:14

98 NAN GOLDINb. 1953

Yogo and C putting on make up, Second Tip, Bangkok, 1992

Dye destruction print. 65.4 × 97.5 cm (25 3/4 × 38 3/8 in). Signed, titled, dated

and numbered 5/15 in ink on the verso.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200

PHOTO 106-107_v1.indd 107 16/04/10 19:15

99 MICHEL JOURNIAC1943 – 1995

Piège pour un travesti – Rita Hayworth – Constat n° 4, 1972

Unique tetraptych comprising of three black and white prints and a mirror with

letter collage. Each 120 × 74.9 cm (47 1/4 × 29 1/2 in). Signed and dated in ink on the

mirror. Credited, titled, dated and numbered ‘1–4’ sequentially in an unidentified

hand in ink on a gallery label affixed to the reverse of each flush-mount.

Estimate£35,000–45,000 $53,800–69,100 €40,100–51,600


literature Exhibition catalogue, Musée d’Art Moderne et Contemporain de

Strasbourg, Michael Journiac, Strasbourg, 2004, p. 131

PHOTO 108-109_v2.indd 108 16/04/10 19:50

Michel Journiac invented a radically new way of making art,

melding the anatomical with the sociological. Heralded by some

as one of the most important of post-war artists, he dissected

and projected the human condition by exploring themes such

as femininity, death and the sacred. Once faced with AIDS, the

subjects he concentrated on became more disturbing and related

to his own suffering. After his death there was a renaissance

of interest in his work, especially among younger artists. His

work is represented both in private and important international

institutional collections.

PHOTO 108-109_v2.indd 109 16/04/10 19:50

100 HIROSHI SUGIMOTOb. 1948

Hall of Thirty-Three Bays, 1995

Gelatin silver print. 42.4 × 54.1 cm (16 11/16 × 21 5/16 in). Blindstamp number

6/25 017 in the margin; signed in pencil on the mount. One from an edition of 10.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200

Provenance Private Collection, London

literature Exhibition catalogue, Hiroshi Sugimoto, Hatje Cantz, 2005, p. 165 (variant)


101

102


Tokyo Cubes #16 and #17, 1994

Two gelatin silver prints. Each 24.8 × 24.8 cm (9 3/4 × 9 3/4 in). Each signed in


Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400

Provenance White Cube, London

literature J. Sans, Araki, London: Taschen, 2007, p. 114 (Tokyo Cube #17)

101 KOHEI YOSHIYUKIb. 1946

Untitled, Plate 6 from The Park, 1971

Gelatin silver print, printed later. 31.3 × 46.5 cm (12 5/16 × 18 5/16 in).

Signed in Japanese, numbered in ink and stamped on the verso. One from

an edition of 10.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000



103 VALERIE BELINb. 1964

Untitled (Nº 98121906), 1998

Gelatin silver print. 153 × 125 cm (60 1/4 × 49 1/4 in). Signed, dated in ink,

printed title and number on a label affixed to the reverse of the flush-mount.

One from an edition of 2.

Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ♠


literature Valerie Belin, Göttingen: Steidl, 2007, n.p.


104 VALERIE BELINb. 1964

Untitled (Nº 93082604), 1993

Gelatin silver print. 118 × 80 cm (46 1/2 × 31 1/2 in). Signed, dated in ink, printed

title and number on a label affixed to the reverse of the flush-mount. One from

an edition of 2.

Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900 ♠


literature Valerie Belin, Göttingen: Steidl, 2007, n.p.



Self-Portrait from Shikikei (Colourscapes), 1991

Dye destruction print, printed 2003. 41.3 × 32.7 cm (16 1/4 × 12 7/8 in). Signed in

ink on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡

Provenance Private Collection, Japan

literature Deja-vu, April 1991, cover; Araki, Shikikei, Magazine House, 1991, p. 46;

J. Sans, Araki, London: Taschen, 2007, p. 543

PHOTO 114-115_v1.indd 114 16/04/10 19:45

106 PHILIP-LORCA DICORCIAb. 1951

Hannah, 2004

Fujicolor Crystal Archive print. 151.8 × 100.3 cm (59 3/4 × 39 1/2 in). Signed in ink, printed title, date and number on

a label affixed to the reverse of the flush-mount. One from an edition of 8.

Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300


exhibited London, Gagosian Gallery, Philip-Lorca diCorcia, 9 February – 19 March 2005 (another example exhibited); New

York, Pace/MacGill Gallery, Philip-Lorca diCorcia: Lucky Thirteen, 8 September – 8 October 2005 (another example exhibited)

literature Exhibition catalogue, Institute of Contemporary Art, Philip-Lorca diCorcia, Boston, 2007, p. 41

PHOTO 114-115_v1.indd 115 19/04/10 11:22

107 VIK MUNIZb. 1961

Viewing From Moon – Longitude: 23° 42'28" Latitude 0° 04'04" – 07/20/1969 – 10:56:43

UT (LOCAL) – Gaze: AZ: 272º 22.968' Alt: 90º 00' from Pictures of Air, 2001

Dye destruction print, flush-mounted. 162.6 × 121.9 cm (64 × 48 in). Signed in

ink, printed title, date and number on a label affixed to the reverse of the

frame. One from an edition of 10.

Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800 ♠

Provenance Michael Hue-Williams Fine Art, London


108 ERNST HAAS1921-1986

Po Valley, 1970

Dye-transfer print, printed 1992. 50.8 × 76.2 cm (20 × 30 in). Signed, titled,

dated, numbered 3/30 by Alexander Haas, the photographer’s son, in pencil

and Ernst Haas copyright credit stamp on the verso.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ‡

Provenance Acquired directly from the Estate of Ernst Haas

literature Harry N. Abrams, Inc., Ernst Haas: Color Photography, 1989, cover and

p. 44; R. L. Kirschenbaum, Ernst Haas, Tokyo: Pacific Press Services, 1993. pl. 28


109 MICHAEL WOLFb. 1954

Industrial #2, 2005

Lambda print, printed later and flush-mounted. 121.9 × 157.5 cm (48 × 62 in).

Signed in ink, printed title, date and number AP1 on a label affixed to the

reverse of the frame. One from an edition of 9 plus 2 artist’s proofs.

Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200 ‡

Provenance Private Collection, Hong Kong

literature Michael Wolf, Hong Kong: Outside, Asia One Books/ Peperoni Books,

2009, n.p.

PHOTO 118-119_v1.indd 118 16/04/10 19:44

Photographer Michael Wolf has the eye of a minimalist painter, only his has

the grit of city living in it – which makes his images all the more compelling.

In one Hong Kong cityscape, a strict modern facade with rectangular pale

yellow, peach and sky-blue balconies is irreverently interrupted by clothes

lines and mops left out to dry; it’s as though people had taken up residence in

a faded Mondrian painting. By night, Wolf captures light beaming blue, gold

and green from apartment-block windows, gracing the concrete boxes with

an unexpected cinematic grandeur worthy of great Hong Kong filmmaker

Wong Kar-Wai. Indoors, residents go about their business, watching TV,

doing the dishes, apparently unaware that their actions are echoed by their

neighbours ad infinitum in a relentless but somehow reassuring urban rhythm.

By day, Wolf’s hulking, drab gray tower block makes us all the more attentive

to colourful details: a child’s red pyjamas hung out to dry, a blue plastic bag

of groceries dangling perilously from a window handle. This is Hong Kong at

its intimate best and anonymous worst, all in one photo – but it’s much more

than that, even. Wolf’s photos distill all of city life as we know it down to its

oxymoronic essence: layer upon layer of existential ennui and pulsating vitality,

slabs of concrete and the signs of life that miraculously break through it. For

better and for worse, there’s no denying: this is the life.

(Alison Bing, San Francisco Chronicle, January 2005)

PHOTO 118-119_v1.indd 119 16/04/10 19:44

110 FRANK THIELb. 1966

SK 76/ 2Mp (#02), 2000

Colour coupler print, printed 2001 and Diasec mounted. 196.9 × 146.7 cm (77

1/2 × 57 3/4 in). Signed, titled, dated and numbered 2/4 in pencil and ink on the

verso and reverse of the frame.

Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200 ♠

Provenance Sean Kelly Gallery, New York

Frank Thiel has documented Berlin for more than a decade, photographing a

city that seems constantly in flux, its centre unclear. In fact this ever-changing

urban landscape suits the focus and interest of Thiel, who is concerned with

the process of construction, the incomplete and the temporary. Although

his chosen subject-matter is somewhat clinical the images are veiled with

romanticism; ruined buildings and austere structures become reminiscent of

abstract paintings, their muted colours seductive beyond the actual content.

Thiel has exhibited globally and his works are contained in the following

collections among others: Centro Galego de Arte Contemporánea, Santiago

de Compostela, Spain; Museu National Centro de Arte Reina Sofia, Madrid,

Spain; National Gallery of Canada, Ottawa, Canada; Fotomuseum Winterthur,

Switzerland; and Moderna Museet, Stockholm, Sweden.


111 FRANK THIELb. 1966

Stadt 5/23/C (Berlin), 2001

Colour coupler print, printed 2004 and Diasec mounted. 53 × 194.9 cm (20 7/8 ×

76 3/4 in). Signed, titled, dated and numbered 2/4 in ink on the reverse of the

frame.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠

Provenance Helga de Alvear, Madrid


112 GREGORY CREWDSONb. 1962

Untitled (Penitent Girl) from Twilight, 2001–02

Digital colour coupler print. 122.2 × 153 cm (48 1/8 × 60 1/4 in). Signed in ink,



Estimate£20,000–25,000 $30,700–38,400 €22,900–28,600


exhibited London, Victoria and Albert Museum, Twilight: Photography in the Magic

Hour, October – 17 December 2006 (another example exhibited)

literature Twilight: Photographs from Gregory Crewdson, New York: Harry N.

Abrams, 2002, pl. 20; Exhibition catalogue, Victoria and Albert Museum, Twilight:

Photography in the Magic Hour, London, 2006, p. 61 and pl. 12


113 ALEX PRAGERb. 1979

Rita from Week End, 2009

Digital colour coupler print. 61.3 × 81.9 cm (24 1/8 × 32 1/4 in). Signed, titled,

dated and numbered 1/7 in ink on an artist’s label affixed to the reserve of the

flush-mount.

Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700 ‡

Provenance Yancey Richardson Gallery, New York


114 LOUIS FAURER1916 – 2001

NYC, 1973

Gelatin silver print, printed 1980. 24.8 × 16.5 cm (9 3/4 × 6 1/2 in). Signed, titled

and dated in pencil on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400



115 RENÉ BURRIb. 1933

São Paulo, Brazil, 1960

Gelatin silver print, printed 2000. 27.9 × 41.9 cm (11 × 16 1/2 in). Signed, titled

and dated in pencil on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡


literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, pp. 196–97; Rene Burri Photographs,

London: Phaidon, 2004, pp. 192–93 and cover

116

115

116 LOUIS STETTNERb. 1922

Elbowing Out of Town Newstand, NYC, 1954

Gelatin silver print, printed later. 27.9 × 42.1 cm (11 × 16 9/16 in). Blindstamp

credit in the margin; signed, titled and dated in pencil on verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡


literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,

2000, p. 57


118117

118 BURT GLINN1925 – 2008

Ball for Debut of Lindy Guinness, Belvoir Castle, UK, 1959

Gelatin silver print, printed later. 56.5 × 38.1 cm (22 1/4 × 15 in). Initialled in

pencil and credit stamp on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡


117 LOUIS STETTNERb. 1922

Aubervilliers, 1947

Gelatin silver print, printed later. 42.2 × 33.3 cm (16 5/8 × 13 1/8 in). Signed,

titled and dated in pencil on the verso.

Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡


literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,

2000, p. 35


119 IRVING PENN1917 – 2009

Mrs. Amory Carhart, New York, 1947

Gelatin silver print. 25.4 × 20.6 cm (10 × 8 1/8 in). Credit, date and ‘Vogue Studios,

New York City Proof’ stamps on the verso.

Estimate£4,000–5,000 $6,200–7,700 €4,600–5,700


literature J. Szarkowski, Irving Penn, New York: Museum of Modern Art, 1984, pl. 39


120 NORMAN PARKINSON1913-1990

The Iron Road, November, 1947

Gelatin silver print, printed later. 25.4 × 22.9 cm (10 × 9 in). Signed in pencil in

the margin; annotated ‘Wenda at the Station’ in an unidentified hand in pencil

on the verso.

Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400



121 CORNELL CAPA1918 – 2008

Bolshoi Ballet School, Moscow, 1958

Gelatin silver print, printed 2001. 43.2 × 29.8 cm (17 × 11 3/4 in). Signed, titled

and dated in ink on a copyright credit label affixed to the verso.

Estimate£2,000–2,500 $3,000–3,800 €2,300–2,900 ‡


literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum

Photographers, New York & London: Norton, 1989, p. 374


122 HERBERT LIST1903–1974

Ostee, 1931

Gelatin silver print, printed later. 34 × 49.5 cm (13 3/8 × 19 1/2 in). Signed, titled,

dated by Max Scheler, Executor in ink with Estate stamp on the verso.

Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500


literature M. Scheler and M. Harder, Herbert List: The Monograph, New York:

Monacelli, 2000, pp. 12–13 and 32

123

122

123 HENRI CARTIER-BRESSON1908–2004

Landscape, New Jersey, 1964

Gelatin silver print, printed c. 1970s. 14.6 × 21.9 cm (5 3/4 × 8 5/8 in). Signed in

ink in the margin; credit stamp on the verso.

Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000



0

124 FRITZ HENLE1909 – 1993

Young Girl, Mexico, 1947

Gelatin silver print. 21 × 20.5 cm (8 1/4 × 8 1/16 in). Credit and date stamps on the verso.

Estimate£800–1,200 $1,200–1,800 €900–1,400



125 GOHAR DASHTIb. 1979

Untitled from Today’s Life and War, 2008

Inkjet print. 69.9 × 105.1 cm (27 1/2 × 41 3/8 in). Signed and numbered 7/7 in ink

on the recto.

Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900


In Today’s Life and War, Gohar Dashti presents ten photos

depicting a complex relationship between the daily experiences

and the internal psychic experiences of a young Iranian couple.

Her works initiate a multi-layered viewing process, beginning

with a seemingly innocuous glimpse at the mundane activities of

this couple and extending to the disconcerting realization of the

presence of military tanks, bunkers and soldiers. According to

Dashti, she depicts a “post-war couple” that is “symbolic of (her)

generation” who are “entangled in the memories and realities

of war as a background to their daily life.” Dashti’s particular

body of work offers a unique voice from her contemporary

experience and depicts how, in the context of Iranian artists,

political and historical events create specific cultural memories

that have specific generational significances while referencing

a more general communal trauma that spans generations. For

the post-war generation, the sense of mourning reflects the

unrecoverable lost innocence and youth and addresses the high

social price of war. In fact, what we are presented with is an

articulate, reflective and profound statement that allows us to

feel a sense of mourning and a sense of hope.

(Jolaine Frizzell, The Persistence of Trauma in Post-war Iran: Gohar

Dashti and Today’s Life and War, 2009)


126 ANDREAS MÜHEb. 1979

Unterm Baum, Angela Merkel, Berlin, 2008

Colour coupler print 60 × 80 cm (23 5/8 × 31 1/2 in). Number 5 from an edition of 5.

Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ♠


PHOTO 136-137_v1.indd 136 16/04/10 19:45

128

127

127 CLARE RICHARDSONb. 1973

Untitled III from Harlemville, 2000

Colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed and numbered on the verso.

One from an edition of 6.

Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500


eXHIBITeD London, White Cube, Clare Richardson: Harlemville, 6 September–13 October

2001; Dublin, Douglas Hyde Gallery, Clare Richardson: Harlemville, 24 February–18 April 2005

(each another example exhibited)

lITeraTure Clare Richardson: Harlemville, Göttingen: SteidlMack, 2003, n.p.

000

128 CLARE RICHARDSONb. 1973

Untitled II from Sylvan, 2002

Colour coupler print. 107.5 × 127 cm (42 5/16 × 50 in). Signed and numbered on

the verso. One from an edition of 6.

Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700


eXHIBITeD London, White Cube, Clare Richardson: Sylvan, 11 December 2003–17

January 2004 (another example exhibited)

lITeraTure Clare Richardson: Beyond the Forest, Göttingen: SteidlMack, 2007, n.p.

PHOTO 136-137_v1.indd 137 16/04/10 19:45

Araki, N. 22, 102, 105

Arnold, E. 5, 7

Avedon, R. 17

Bassman, L. 25, 26, 27

Baudelaire, E. 92

Beard, P. 9, 10, 11, 13

Belin, V. 103, 104

Brandt, B. 69

Brandt, N. 36

Bucklow, C. 44

Bulmer, J. 60

Burri, R. 115

Burtynsky, E. 46

Campbell, B. 64, 65, 67

Capa, C. 121

Cartier-Bresson, H. 33, 34, 123

Cooper, T. J. 38

Cory Wright, H. 94

Crewdson, G. 112

Dashti, G. 125

de Dienes, A. 6

DiCorcia, P-L. 106

Dolron, D. 49, 50

Duffy, B. 15

Eggleston, W. 77, 78

Ertug, A. 52

Faure, N. 88

Faurer, L. 114

Friedlander, L. 35

Garcia-Alix, A. 97

Gassian, C. 16

Glinn, B. 118

Goldin, N. 83, 98

Gütschow, B. 91

Haas, E. 108

Henle, F. 124

Henson, B. 82

Hido, T. 84

Horst, H. P. 28, 29, 30

Howalt, N. & Søndergaard, T. 90

Hoyningen-Huene, G. 31

Hugo, P. 47, 48

Jaschinski, B. 37

Jones, C. 68

Journiac, M. 99

Kertész, A. 58

Killip, C. 59

Koudelka, J. 4

LaChapelle, D. 19, 20

Lerner, N. 72

Levitt, H. 71, 73

Lindbergh, P. 24

List, H. 122

Lowe, J. 8

Mapplethorpe, R. 54, 55, 56

McCabe, D. 12

Meyerowitz, J. 79, 80

Misrach, R. 39

Moriyama, D. 23

Mühe, A. 126

Muniz, V. 107

Neshat, S. 51

Neville, M. 63

O’Neill, T. 14

Parker, D. 95, 96

Parkinson, N. 120

Penn, I. 32, 57, 119

Polidori, R. 53, 75

Prager, A. 113

Reisch, M. 89

Rheims, B. 21

Richardson, C. 127, 128

Rickett, S. 66

Riefenstahl, L. 40

Ruff, T. 85

Salgado, S. 1, 2, 3

Sander, A. 81

Shulman, J, 86

Smith, G. 61, 62

Sternfeld, J. 76

Stettner, L. 116, 117

Streit, J. 70

Sugimoto, H. 87, 100

Tettamanti, J. 93

Thiel, F. 110, 111

Toguo, B. 41

van Empel, R. 42, 43

van Lamsweerde, I. & Matadin, V. 18

Vitali, M. 45

Williams, C. 74

Wolf, M. 109

Yoshiyuki, K. 101

INDEX

PHOTO Backmatter_138-149.indd 138 16/04/10 19:57

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Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

and low estimate range should, in our opinion, offer a chance of success. However, many

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’

appears, please contact the specialist department for further information. It is advisable

to contact us closer to the time of the auction as estimates can be subject to revision.

Pre-sale estimates do not include the buyer’s premium or VAT.

Pre-Sale Estimates in US Dollars and Euros

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

that at the time of catalogue production and not at the date of auction, you should treat

estimates in US dollars or euros as a guide only.

Catalogue Entries

Phillips de Pury & Company may print in the catalogue entry the history of ownership of a

work of art, as well as the exhibition history of the property and references to the work in

art publications. While we are careful in the cataloguing process, provenance, exhibition

and literature references may not be exhaustive and in some cases we may intentionally

refrain from disclosing the identity of previous owners. Please note that all dimensions of

the property set forth in the catalogue entry are approximate.

Condition of lots

Our catalogues include references to condition only in the descriptions of multiple works

(e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply

that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips

de Pury & Company may provide condition reports. In preparing such reports, our

specialists assess the condition in a manner appropriate to the estimated value of the

property and the nature of the auction in which it is included. While condition reports are

prepared honestly and carefully, our staff are not professional restorers or trained

conservators. We therefore encourage all prospective buyers to inspect the property at

the pre-sale exhibitions and recommend, particularly in the case of any lot of significant

value, that you retain your own restorer or professional advisor to report to you on the

property’s condition prior to bidding. Any prospective buyer of photographs or prints

should always request a condition report because all such property is sold unframed,

unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury

& Company accepts no liability for the condition of the frame. If we sell any lot unframed,

we will be pleased to refer the purchaser to a professional framer.

Pre-auction Viewing

Pre-auction viewings are open to the public and free of charge. Our specialists are

available to give advice and condition reports at viewings or by appointment.

Electrical and mechanical lots

All lots with electrical and/or mechanical features are sold on the basis of their decorative

value only and should not be assumed to be operative. It is essential that, prior to any

intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key

The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

third party. Phillips de Pury & Company and third parties providing or participating in a

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

lot and may be allowed to net the financial remuneration against the final purchase price

if such party is the successful bidder.

∆ Property in which Phillips de Pury & Company has an Ownership Interest

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

part or has an economic interest in the lot equivalent to an ownership interest.

• No Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips de Pury & Company and

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

a percentage of the low estimate and will not exceed the low pre-sale estimate.

♠ Property Subject to the artist’s Resale Right

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of

the hammer price and payable as part of the purchase price as follows:

Portion of the Hammer Price (in EUR) Royalty Rate

From 0 to 50,000 4%

From 50,000.01 to 200,000 3%

From 200,000.01 to 350,000 1%

From 350,000.01 to 500,000 0.5%

Exceeding 500,000 0.25%

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale

by the European Central Bank.

†, §, ‡, or Ω Property Subject to VaT

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

in this catalogue for additional information.


2 BIDDING IN ThE SalE

Bidding at auction

Bids may be executed during the auction in person by paddle or by telephone or prior to

the sale in writing by absentee bid. Proof of identity in the form of government-issued

identification will be required, as will an original signature. We may also require that

you furnish us with a bank reference.

Bidding in Person

To bid in person, you will need to register for and collect a paddle before the auction

begins. New clients are encouraged to register at least 48 hours in advance of a sale to

allow sufficient time for us to process your information. All lots sold will be invoiced to

the name and address to which the paddle has been registered and invoices cannot be

transferred to other names and addresses. Please do not misplace your paddle. In the

event you lose it, inform a Phillips de Pury & Company staff member immediately. At the

end of the auction, please return your paddle to the registration desk.

Bidding by Telephone

If you cannot attend the auction, you may bid live on the telephone with one of our

multilingual staff members. This service must be arranged at least 24 hours in advance of

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

bids may be recorded. By bidding on the telephone, you consent to the recording of your

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium

and VAT, which we can execute on your behalf in the event we are unable to reach you

by telephone.

absentee Bids

If you are unable to attend the auction and cannot participate by telephone, Phillips de

Pury & Company will be happy to execute written bids on your behalf. A bidding form can

be found at the back of this catalogue. This service is free and confidential. Bids must be

placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

lowest possible price taking into account the reserve and other bidders. Always indicate

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding

Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

the reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

Bidding Increments

Bidding generally opens below the low estimate and advances in increments of up to 10%,

subject to the auctioneer’s discretion. Absentee bids that do not conform to the

increments set below may be lowered to the next bidding increment.

UK£50 to UK£1,000 by UK£50s

UK£1,000 to UK£2,000 by UK£100s

UK£2,000 to UK£3,000 by UK£200s

UK£3,000 to UK£5,000 by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)

UK£5,000 to UK£10,000 by UK£500s

UK£10,000 to UK£20,000 by UK£1,000s

UK£20,000 to UK£30,000 by UK£2,000s

UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000

UK£50,000 to UK£100,000 by UK£5,000s

UK£100,000 to UK£200,000 by UK£10,000s

above UK£200,000 at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her

own discretion.

3 ThE aUCTION

Conditions of Sale

As noted above, the auction is governed by the Conditions of Sale and Authorship

Warranty. All prospective bidders should read them carefully. They may be amended by

saleroom addendum or auctioneer’s announcement.

Interested Parties announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in such

lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot

or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company

will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

The auctioneer may further bid on behalf of the seller up to the amount of the reserve by

placing consecutive bids or bids in response to other bidders.

4 aFTER ThE aUCTION

Payment

Buyers are required to pay for purchases immediately following the auction unless other

arrangements have been agreed with Phillips de Pury & Company in writing in advance of

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate

policy not to make or accept single or multiple payments in cash or cash equivalents in

excess of the local currency equivalent of US$10,000.

Credit Cards

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

Collection

It is our policy to request proof of identity on collection of a lot. A lot will be released to

the buyer or the buyer’s authorized representative when Phillips de Pury & Company has

received full and cleared payment and we are not owed any other amount by the buyer.

After the auction, we will transfer all lots to our fine arts storage facility located at 110–112

Morden Road, Mitcham, Surrey CR4 4XB and will so advise all buyers. Please contact the

Shipping Department at (tel) +44 20 7318 4081 or (fax) +44 20 7318 4038 to arrange collection

or to seek assistance with any shipping requirements. Please note that all buyers have 30

days to collect their purchases, after which date Phillips de Pury & Company will levy for

each uncollected lot an administrative fee of £25, a storage fee of £3 per day and a pro

rated insurance charge of 0.1% of the purchase price per month.

loss or Damage

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage

to lots for a maximum of five days following the auction.

Transport and Shipping

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

carry only. We do not provide packing, handling or shipping services directly. However, we

will coordinate with shipping agents instructed by you in order to facilitate the packing,

handling and shipping of property purchased at Phillips de Pury & Company. Please refer

to Paragraph 7 of the Conditions of Sale for more information.

Export and Import licences

Before bidding for any property, prospective bidders are advised to make independent

enquiries as to whether a licence is required to export the property from the United

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply

with all import and export laws and to obtain any necessary licences or permits. The

denial of any required licence or permit or any delay in obtaining such documentation will

not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

require a licence or certificate prior to exportation and additional licences or certificates

upon importation to any country outside the European Union (EU). Please note that the

ability to obtain an export licence or certificate does not ensure the ability to obtain an

import licence or certificate in another country, and vice versa. We suggest that

prospective bidders check with their own government regarding wildlife import

requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any

necessary export or import licences or certificates as well as any other required

documentation. The denial of any required licence or certificate or any delay in obtaining

such documentation will not justify the cancellation of the sale or any delay in making full

payment for the lot.


aUCTIONS lONDON

EVENING SalE 29 JUNE 2010 7pm DaY SalE 30 JUNE 2010 10am & 2pm

Viewing 21 – 29 June

Phillips de Pury & Company Howick Place London SW1P 1BB

Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240

www.phillipsdepury.com

GIlBERT aND GEORGE Damned Buddleia, 1980 Estimate £150,000-200,000

CONTEMPORARY ART


VaT aND OThER TaX INFORmaTION FOR BUYERS

The following paragraphs provide general information to buyers on the VAT and certain

other potential tax implications of purchasing property at Phillips de Pury & Company.

This information is not intended to be complete. In all cases, the relevant tax legislation

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is

not usually treated as agent and most property is sold as if it is the property of Phillips de

Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

amending saleroom addendum).

1 PROPERTY wITh NO VaT SYmBOl

Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

Margin Scheme, and VAT will not normally be charged on the hammer price.

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form

part of the buyer’s premium on our invoice and will not be separately identified.

2 PROPERTY wITh a † SYmBOl

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%

on both the hammer price and buyer’s premium.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

registration number in the relevant Member State (non-UK) or the buyer’s business status

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

not be provided then VAT will be charged on the buyer’s premium.

3 PROPERTY wITh a § SYmBOl

Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

re-invoice the property under the normal VAT rules.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from

the EU. The property will be invoiced under the normal VAT rules. Although the hammer

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The

buyer’s premium will always bear VAT unless the buyer is a relevant business person in

the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips

de Pury & Company receiving evidence of the buyer’s VAT registration number in the

relevant Member State (non-UK) or the buyer’s business status in a non-EU country such

as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will

be charged on the buyer’s premium.

4 PROPERTY SOlD wITh a ‡ OR Ω SYmBOl

These lots have been imported from outside the EU to be sold at auction under temporary

admission. Property subject to temporary admission will be offered under the

Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,

marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%

on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin

Scheme should notify the Client Accounting Department before the sale.

Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

business person in the EU (non-UK) or is a relevant business person in a non-EU country

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

Company receiving evidence of the buyer’s VAT registration number in the relevant

Member State (non-UK) or the buyer’s business status in a non-EU country such as the

buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be

charged on the buyer’s premium.

5 EXPORTS FROm ThE EUROPEaN UNION

The following types of VAT may be cancelled or refunded by Phillips de Pury & Company

on exports made within three months of the sale date if strict conditions are met:

• The amount in lieu of VAT charged on the buyer’s premium for property sold

under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol);

• The VAT on the hammer price for property sold under the normal VAT rules

(i.e., with a † or a § symbol).

The following type of VaT may be cancelled or refunded by Phillips de Pury &

Company on exports made within 30 days of payment date if strict conditions are met:

• The import VAT charged on the hammer price and an amount in lieu of VAT on

the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a

Ω symbol) under the Auctioneer’s Margin Scheme.

In each of the above examples, where the appropriate conditions are satisfied, no VAT

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Company to export the property from the EU. If such instruction is received after payment,

a refund of the VAT amount will be made.

Where the buyer carries purchases from the EU personally or uses the services of a third

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

refund it if the lot has been exported within the timelines specified below and either

of the following conditions are met:

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,

Phillips de Pury & Company is provided with appropriate documentary proof of

export from the EU within three months of the date of sale. Buyers carrying their

own property should obtain hand-carry papers from the Shipping Department to

facilitate this process.

• For lots sold under temporary admission, Phillips de Pury & Company is provided

with a copy of the correct paperwork duly completed and stamped by HM Revenue &

Customs which shows the property has been exported from the EU via the UK

within 30 days of payment date. It is essential for shippers acting on behalf of

buyers to collect copies of original import papers from our Shipping Department.

HM Revenue & Customs insist that the correct customs procedures are followed

and Phillips de Pury & Company will not be able to issue any refunds where the

export documents do not exactly comply with governmental regulations. Property

subject to temporary admission must be transferred to another customs procedure

immediately if any restoration or repair work is to be carried out.

Buyers carrying their own property must obtain hand-carry papers from the Shipping

Department, for which a charge of £20 will be made. The VAT refund will be processed

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips

de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK

or EU private residents unless the lot is subject to temporary admission and the property

is exported from the EU within 30 days of payment date. Any refund of VAT is subject to

a minimum of £50 per shipment and a processing charge of £20.

Buyers intending to export, repair, restore or alter lots under temporary admission should

notify the Shipping Department before collection. Failure to do so may result in the import

VAT becoming payable immediately and Phillips de Pury & Company being unable to

refund the VAT charged on deposit.

6 VaT REFUNDS FROm hm REVENUE & CUSTOmS

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this

manner are limited to businesses located outside the UK and may be considered for example

for Import VAT charged on the hammer price for lots sold under temporary admission.

All claims made by customers located in another member state to the UK will need to be

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is

no longer in operation.

If you are located in an EU member state other than the UK you will now need to apply for a

refund of UK VAT directly to your local tax authority. This is done via submission of an

electronically based claim form which should be accessed through the website of your

local tax authority. As a result, your form may include VAT incurred in a number of

member states. Furthermore, from 1 January 2010 you should only submit one form per

year, rather than submitting forms throughout the year.

Please note that the time limits by which you must make a claim have been extended.

When making a claim for VAT incurred in another EU member state any claim will still be

made on a calendar year basis but must now be made no later than 30 September

following that calendar year. This effectively extends the time by which claims should be

made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you

should make a claim to your local tax authority no later than 30 September 2011). Once you

have submitted the electronic form to your local tax authority it is their responsibility to

ensure that payment is obtained from the relevant member states. This should be

completed within four months. If this time limit is not adhered to you may receive interest

on the unpaid amounts.

If you are located outside the EU you should apply for a refund of UK VAT directly to

HMRC (The rules for those located outside of the EU have not changed). Claim forms are

only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and

follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms

should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle

House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100

(fax) +44 2871 305101.

You should submit claims for VAT to HMRC no later than six months from the end of the

12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010

should be made no later than 31 December 2010).

Please note that refunds of VAT will only be made where VAT has been incurred for a business

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

7 SalES aND USE TaXES

Buyers from outside the UK should note that local sales taxes or use taxes may

become payable upon import of lots following purchase. Buyers should consult their

own tax advisors.


CONDITIONS OF SalE

The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and

sellers, on the other hand. All prospective buyers should read these Conditions of Sale

and Authorship Warranty carefully before bidding.

1 INTRODUCTION

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

and Authorship Warranty; (b) additional notices and terms printed in other places in this

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

in each case as amended by any addendum or announcement by the auctioneer prior to

the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by

telephone bid or other means, bidders and buyers agree to be bound by these Conditions

of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

2 PhIllIPS de PURY & COmPaNY aS aGENT

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

beneficial or financial interest in a lot as a secured creditor or otherwise.

3 CaTalOGUE DESCRIPTIONS aND CONDITION OF PROPERTY

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

such description is changed or supplemented, as provided in Paragraph 1 above) and in

the condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

dependent on information provided to us by the seller, and Phillips de Pury & Company is

not able to and does not carry out exhaustive due diligence on each lot. Prospective

buyers acknowledge this fact and accept responsibility for carrying out inspections and

investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making

express statements in catalogue descriptions or condition reports as is consistent with

our role as auctioneer of lots in this sale and in light of (i) the information provided to us

by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted

opinions of relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots

on the basis that bidders (and independent experts on their behalf, to the extent

appropriate given the nature and value of the lot and the bidder’s own expertise) have fully

inspected the lot prior to bidding and have satisfied themselves as to both the condition of

the lot and the accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which means

that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

may prepare and provide condition reports to assist prospective buyers when they are

inspecting lots. Catalogue descriptions and condition reports may make reference to

particular imperfections of a lot, but bidders should note that lots may have other faults

not expressly referred to in the catalogue or condition report. All dimensions are

approximate. Illustrations are for identification purposes only and cannot be used as

precise indications of size or to convey full information as to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

estimate, whether written or oral, and information in any catalogue, condition or other

report, commentary or valuation, is not a representation of fact but rather a statement of

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as

a prediction of the selling price or value of the lot and may be revised from time to time by

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &

Company nor any of our affiliated companies shall be liable for any difference between the

pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING aT aUCTION

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

or participation in the sale. All bidders must register for a paddle prior to bidding,

supplying such information and references as required by Phillips de Pury & Company.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy

of which is printed in this catalogue or otherwise available from Phillips de Pury &

Company. Bids must be placed in the currency of the sale. The bidder must clearly

indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and

value added tax (VAT). The auctioneer will not accept an instruction to execute an

absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

an absentee bid at the lowest possible price taking into account the reserve and other

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

Phillips de Pury & Company reserves the right to require written confirmation of a

successful bid from a telephone bidder by fax or otherwise immediately after such bid is

accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

telephone, a bidder consents to the recording of the conversation.

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

accepts personal liability to pay the purchase price, as described more fully in Paragraph

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

with Phillips de Pury & Company before the commencement of the auction that the bidder

is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

Company and that we will only look to the principal for such payment.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury &

Company to prospective buyers. While we undertake to exercise reasonable care in

undertaking such activity, we cannot accept liability for failure to execute such bids except

where such failure is caused by our wilful misconduct.

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

the reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

5 CONDUCT OF ThE aUCTION

(a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve,

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

lot for sale (including after the fall of the hammer) if he or she believes there may be error

or dispute and take such other action as he or she deems reasonably appropriate.

(c) The auctioneer will commence and advance the bidding at levels and in increments he

or she considers appropriate. In order to protect the reserve on any lot, the auctioneer

may place one or more bids on behalf of the seller up to the reserve without indicating he

or she is doing so, either by placing consecutive bids or bids in response to other bidders.

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.

For the benefit of international clients, pre-sale estimates in the auction catalogue may be

shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in US dollars or euros should be treated only as a guide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

‘returned to owner’ or ‘bought-in’.

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

Sale and Authorship Warranty as if sold in the auction.

6 PURChaSE PRICE aND PaYmENT

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

£25,000, 20% of the portion of the hammer price above £25,000 up to and including

£500,000 and 12% of the portion of the hammer price above £500,000.

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to

us an amount equal to the resale royalty provided for in those regulations and we

undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to

the Artist’s Resale Right are identified with the symbol ♠ next to the lot number.

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

following the auction regardless of any intention to obtain an export or import licence or

other permit for such lot. Payments must be made by the invoiced party in pounds

sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that the total

amount paid in cash or cash equivalents does not exceed the local currency

equivalent of US$10,000.

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and

the buyer provides to us acceptable government-issued identification. Cheques

and banker’s drafts should be made payable to ‘PDEPL LTD’. If payment is sent by

post, please send the cheque or banker’s draft to the attention of the Client


Accounting Department at Howick Place, London SW1P 1BB and ensure that the

sale number is written on the cheque. Cheques or banker’s drafts drawn by third

parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

Bank transfer details are as follows:

Bank of Scotland

Gordon Street

Glasgow

G1 3RS

For the account of PDEPL LTD

Sort code: 80-54-01

Account no.: 00440780

SWIFT BIC: BOFSGB21138

IBAN: GB36BOFS 8054 0100 4407 80

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

release a lot to the buyer until title in the lot has passed and appropriate identification has

been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

7 COllECTION OF PROPERTY

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

other terms as we in our sole discretion shall require, including completing any anti-

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

all of the foregoing conditions, and no later than five days after the conclusion of the

auction, he or she should contact us at (tel) +44 207 318 4081 or (fax) +44 20 7318 4038 to

arrange for collection of purchased property.

(b) After the auction, we will transfer all lots to our fine arts storage facility located at

110–112 Morden Road, Mitcham, Surrey, CR4 4XB, and will so advise all buyers. Purchased

lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of

collection or (ii) five days after the auction, whichever is the earlier. Until risk passes,

Phillips de Pury & Company will compensate the buyer for any loss or damage to a

purchased lot up to a maximum of the Purchase Price paid, subject to our usual

exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

purchased lots for hand carry only. We do not provide packing, handling, insurance or

shipping services. We will coordinate with shipping agents instructed by the buyer,

whether or not recommended by Phillips de Pury & Company, in order to facilitate the

packing, handling, insurance and shipping of property bought at Phillips de Pury &

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and

we will not be liable for acts or omissions of third party packers or shippers.

(d) Phillips de Pury & Company will require presentation of government-issued

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FaIlURE TO COllECT PURChaSES

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days

of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per

day and pro rated insurance charges of 0.1% of the Purchase Price per month on each

uncollected lot.

(b) If a purchased lot is paid for but not collected within six months of the auction, the

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

by auction or private sale, with estimates and a reserve set at Phillips de Pury &

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

storage charges and any other outstanding costs and expenses owed by the buyer to

Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited

unless collected by the buyer within two years of the original auction.

9 REmEDIES FOR NON-PaYmENT

(a) Without prejudice to any rights the seller may have, if the buyer without prior

agreement fails to make payment of the Purchase Price for a lot in cleared funds within

five days of the auction, Phillips de Pury & Company may in our sole discretion exercise

one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s

premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,

retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject

future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge

interest at 12% per annum from the date payment became due until the date the Purchase

Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien

over any of the buyer’s property which is in the possession of Phillips de Pury & Company

and instruct our affiliated companies to exercise a lien over any of the buyer’s property

which is in their possession and, in each case, no earlier than 30 days from the date of

such notice arrange the sale of such property and apply the proceeds to the amount owed

to Phillips de Pury & Company or any of our affiliated companies after the deduction from

sale proceeds of our standard vendor’s commission, all sale-related expenses and any

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a

reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood

that in the event such resale is for less than the original hammer price and buyer’s

premium for that lot, the buyer will remain liable for the shortfall together with all costs

incurred in such resale; (vii) commence legal proceedings to recover the hammer price

and buyer’s premium for that lot, together with interest and the costs of such proceedings;

or (viii) release the name and address of the buyer to the seller to enable the seller to

commence legal proceedings to recover the amounts due and legal costs.

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

buyer’s property which is in our possession upon notification by any of our affiliated

companies that the buyer is in default of payment. Phillips de Pury & Company will notify

the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &

Company, upon notification by any of our affiliated companies that the buyer is in default

of payment, to pledge the buyer’s property in our possession by actual or constructive

delivery to our affiliated company as security for the payment of any outstanding amount

due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been

delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

Company to instruct any of our affiliated companies in possession of the buyer’s property

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

Phillips de Pury & Company to hold the property on our behalf as security for the payment

of the Purchase Price and any other amount due and, no earlier than 30 days from the date

of written notice to the buyer, to sell the property in such manner and for such

consideration as can reasonably be obtained on a forced sale basis and to apply the

proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated

companies after the deduction from sale proceeds of our standard vendor’s commission,

all sale-related expenses and any applicable taxes thereon.

10 RESCISSION BY PhIllIPS de PURY & COmPaNY

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

without notice to the buyer if we reasonably believe that there is a material breach of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

& Company and the seller with respect to such rescinded sale.

11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS

Before bidding for any property, prospective buyers are advised to make their own

enquiries as to whether a licence is required to export a lot from the United Kingdom or to

import it into another country. Prospective buyers are advised that some countries

prohibit the import of property made of or incorporating plant or animal material, such as

coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

of purchased lots should familiarize themselves with relevant export and import

regulations of the countries concerned. It is solely the buyer’s responsibility to comply

with these laws and to obtain any necessary export, import and endangered species

licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify

the cancellation of the sale or any delay in making full payment for the lot.

12 DaTa PROTECTION

(a) In connection with the management and operation of our business and the marketing and

supply of auction related services, or as required by law, we may ask clients to provide

personal information about themselves or obtain information about clients from third parties

(e.g., credit information). If clients provide us with information that is defined by law as

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not

use or process sensitive information for any other purpose without the client’s express

consent. If you would like further information on our policies on personal data or wish to make

corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to

receive details of future events please call the above number.

(b) In order to fulfil the services clients have requested, Phillips de Pury & Company may

disclose information to third parties such as shippers. Some countries do not offer

equivalent legal protection of personal information to that offered within the European

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

respect the privacy and confidentiality of our clients’ information and provide the same

level of protection for client information as provided within the EU, whether or not they are

located in a country that offers equivalent legal protection of personal information. By

agreeing to these Conditions of Sale, clients agree to such disclosure.

13 lImITaTION OF lIaBIlITY

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,

our affiliated companies and the seller to the buyer in connection with the sale of a lot


aUCTION 30 JUNE 2010 lONDON

Viewing 21 – 29 June

Phillips de Pury & Company Howick Place London SW1P 1BB

Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240


SalVaTORE SCaRPITTa Trapped-canvas, 1958 Estimate £250,000-350,000

CONTEmPORaRY aRT

PhOTOGRaPhS

EDITIONS

DESIGNS

THE ITALIA AUCTION


GUIDE FOR PROSPECTIVE BUYERS

BUYInG aT aUCTIOn

The following pages are designed to offer you information on how to buy at auction at

Phillips de Pury & Company. Our staff will be happy to assist you.

COnDITIOnS OF SalE

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

relationship between Phillips de Pury & Company, the seller and the buyer and describe

the terms upon which property is bought at auction. Please be advised that Phillips de

Pury & Company generally acts as agent for the seller.

BUYER’S PREmIUm

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the

buyer as part of the total purchase price at the following rates: 25% of the hammer price up

to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and

including £500,000, and 12% of the portion of the hammer price above £500,000.

VaT

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

1 PRIOR TO aUCTIOn

Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

and low estimate range should, in our opinion, offer a chance of success. However, many

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’

appears, please contact the specialist department for further information. It is advisable

to contact us closer to the time of the auction as estimates can be subject to revision.

Pre-sale estimates do not include the buyer’s premium or VAT.

Pre-Sale Estimates in US Dollars and Euros

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

that at the time of catalogue production and not at the date of auction, you should treat

estimates in US dollars or euros as a guide only.

Catalogue Entries

Phillips de Pury & Company may print in the catalogue entry the history of ownership of a

work of art, as well as the exhibition history of the property and references to the work in

art publications. While we are careful in the cataloguing process, provenance, exhibition

and literature references may not be exhaustive and in some cases we may intentionally

refrain from disclosing the identity of previous owners. Please note that all dimensions of

the property set forth in the catalogue entry are approximate.

Condition of lots

Our catalogues include references to condition only in the descriptions of multiple works

(e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply

that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips

de Pury & Company may provide condition reports. In preparing such reports, our

specialists assess the condition in a manner appropriate to the estimated value of the

property and the nature of the auction in which it is included. While condition reports are

prepared honestly and carefully, our staff are not professional restorers or trained

conservators. We therefore encourage all prospective buyers to inspect the property at

the pre-sale exhibitions and recommend, particularly in the case of any lot of significant

value, that you retain your own restorer or professional advisor to report to you on the

property’s condition prior to bidding. Any prospective buyer of photographs or prints

should always request a condition report because all such property is sold unframed,

unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury

& Company accepts no liability for the condition of the frame. If we sell any lot unframed,

we will be pleased to refer the purchaser to a professional framer.

Pre-auction Viewing

Pre-auction viewings are open to the public and free of charge. Our specialists are

available to give advice and condition reports at viewings or by appointment.

Electrical and mechanical lots

All lots with electrical and/or mechanical features are sold on the basis of their decorative

value only and should not be assumed to be operative. It is essential that, prior to any

intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key

The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

third party. Phillips de Pury & Company and third parties providing or participating in a

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

lot and may be allowed to net the financial remuneration against the final purchase price

if such party is the successful bidder.

∆ Property in which Phillips de Pury & Company has an Ownership Interest

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

part or has an economic interest in the lot equivalent to an ownership interest.

• no Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips de Pury & Company and

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

a percentage of the low estimate and will not exceed the low pre-sale estimate.

♠ Property Subject to the artist’s Resale Right

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of

the hammer price and payable as part of the purchase price as follows:

Portion of the Hammer Price (in EUR) Royalty Rate

From 0 to 50,000 4%

From 50,000.01 to 200,000 3%

From 200,000.01 to 350,000 1%

From 350,000.01 to 500,000 0.5%

Exceeding 500,000 0.25%

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale

by the European Central Bank.

†, §, ‡, or Ω Property Subject to VaT

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

in this catalogue for additional information.

PHOTO 146-148_v1.indd 146 16/04/10 19:45

PhIllIPS de PURY & COmPanY

advisory Board

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Juergen Teller

Princess Gloria von Thurn und Taxis

Jean Michel Wilmotte

Anita Zabludowicz

Directors

Aileen Agopian

Sean Cleary

Finn Dombernowsky

Patty Hambrecht

Alexander Payne

Rodman Primack

Olivier Vrankenne

Chairman

Simon de Pury

Chief Executive Officer

Bernd Runge

Senior Directors

Michael McGinnis

Dr. Michaela de Pury

InTERnaTIOnal SPECIalISTS

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42

Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Katherine van Thillo, Consultant +32 475 687 011

Buenos aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

london Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

los angeles Maya McLaughlin, Contemporary Art +1 323 791 1771

milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Singapore Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

NEW YORK

450 West 15 Street, New York, NY 10011, USA

tel +1 212 940 1200 fax +1 212 924 5403

LONDON

Howick Place, London SW1P 1BB, United Kingdom

tel +44 20 7318 4010 fax +44 20 7318 4011

PARIS

15 rue de la Paix, 75002 Paris, France

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

BERLIN

Auguststrasse 19, 10117 Berlin, Germany

tel +49 30 8800 1842 fax +49 30 8800 1843

GENEVA

23 quai des Bergues, 1201 Geneva, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

WORlDWIDE OFFICES

GEnERal COUnSEl

Patty Hambrecht

manaGInG DIRECTORS

Finn Dombernowsky, London/Europe

Sean Cleary, New York (Interim)

PHOTO 146-148_v1.indd 147 16/04/10 19:45

mODERn anD COnTEmPORaRY EDITIOnS

NEW YORK

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

PhOTOGRaPhS

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Helen Hayman +44 20 7318 4092

Emma Lewis +44 20 7318 4092

NEW YORK

Vanessa Kramer, New York Director +1 212 940 1243

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Carol Ehlers, Consultant +1 212 940 1245

Sarah Krueger +1 212 940 1245

JEWElRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

NEW YORK

Carmela Manoli +1 212 940 1302

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

GENEVA

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

LONDON

Lane McLean +44 20 7318 4032

ThEmE SalES

LONDON

Tobias Sirtl, London Manager +44 20 7318 4095

Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

NEW YORK

Corey Barr, New York Manager +1 212 940 1234

Steve Agin, Consultant +1 908 475 1796

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

PRIVaTE SalES

NEW YORK

Andrea Hill +1 212 940 1238

COnTEmPORaRY aRT

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

LONDON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

George O’Dell +44 20 7318 4093

Raphael Lepine +44 20 7318 4078

Edward Tang +44 20 7318 4024

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

NEW YORK

Aileen Agopian, New York Director +1 212 940 1255

Sarah Mudge, Head of Part II +1 212 940 1259

Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

Jean-Michel Placent +1 212 940 1263

Rodman Primack +1 212 940 1256

Roxana Bruno +1 212 940 1229

Maria Bueno +1 212 940 1261

Sara Davidson +1 212 940 1262

Alexandra Leive +1 212 940 1252

Peter Flores +1 212 940 1223

(Uli) Zhiheng Huang +1 212 940 1288

PARIS

Edouard de Moussac + 33 1 42 78 67 77

DESIGn

Alexander Payne, Worldwide Director +44 20 7318 4052

LONDON

Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

NEW YORK

Alex Heminway, New York Director +1 212 940 1269

Marcus Tremonto +1 212 940 1268

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

Alexandra Gilbert +1 212 940 1268

PARIS

Johanna Frydman +33 1 42 78 67 77

SPECIalISTS anD DEPaRTmEnTS

aRT anD PRODUCTIOn

Fiona Hayes, Art Director

LONDON

Mark Hudson, Senior Designer

Andrew Lindesay, Sub-Editor

Tom Radcliffe, UK Production Manager

NEW YORK

Andrea Koronkiewicz, Studio Manager

Kelly Sohngen, Graphic Designer

Orlann Capazorio, US Production Manager

maRKETInG

NEW YORK

Trish Walsh, Marketing Manager

PHOTO 146-148_v1.indd 148 16/04/10 19:45

aUCTIOn

Thursday 20 May 2010, 5pm

VIEWInG

Friday 14 May, 10am – 6pm

Saturday 15 May, 10am – 6pm

Sunday 16 May, 12pm – 6pm

Monday 17 May – Wednesday 19 May, 10am – 6pm

Thursday 20 May, 10am – 2pm

VIEWInG & aUCTIOn lOCaTIOn

Howick Place, London SW1P 1BB

WaREhOUSE & COllECTIOn lOCaTIOn

110–112 Morden Road, Mitcham, Surrey CR4 4XB

SalE DESIGnaTIOn

When sending in written bids or making enquiries, please refer to

this sale as UK040110 or Photographs

SPECIalISTS

Lou Proud, Head of Sale, London +44 20 7318 4018

Sebastien Montabonel, London +44 20 7318 4025

CaTalOGUERS

Alexandra Bibby, London +44 20 7318 4087

Rita Almeida Freitas, London +44 20 7318 4087

SalE aDmInISTRaTOR

Emma Lewis, London +44 20 7318 4092

PROPERTY manaGER

Ian Bell +44 20 7318 4098

CaTalOGUES

Leslie Pitts +44 20 7318 4039 +1 212 940 1240

[email protected]

Catalogues £30/$60 at the Gallery

aBSEnTEE anD TElEPhOnE BIDS

Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035

[email protected]

BUYERS aCCOUnTS

Carolyn Whitehead +44 20 7318 4020

SEllER aCCOUnTS

Elliott Depree +44 20 7318 4072

ClIEnT SERVICES

Harmony Johnston +44 20 7318 4010

Charlotte Salisbury +44 20 7318 4010

Kathryn Walters +44 20 7318 4010

WaREhOUSE & ShIPPInG

Kate Spalding + 44 20 7318 4081

Cláudia Gonçalves + 44 20 7318 4026

PhOTOGRaPhY

Byron Slater

Peter Hepplewhite

SalE InFORmaTIOn

HOWICK PL

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HYDE PARK

CORNER

ST. JAMES’S

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VICTORIA STREET

KnIGhTSBRIDGE

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GREEN PARK

BUCKINGHAM

PALACE GARDENS

VICTORIA

2

6

8

Back cover Desiree Dolron, Xteriors IX, 2004, Lot 49

Inside back cover Gregory Crewsdon, Untitled (Penitent Girl) from Twilight, 2001–02, Lot 112

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