photographs...orphaned cheetah cubs/ mweiga , 1962 gelatin silver print with applied blue paint...

Photographs New York | March 30, 2020

PhotographsNew York I Monday March 30, 2020, at 2pm EST

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

PREVIEWNew YorkThursday March 26, 10am to 5pmFriday March 27, 10am to 5pmSaturday March 28, 12pm to 5pmSunday March 29, 12pm to 5pmMonday March 30, 10am to 12pm

SALE NUMBER: 25760 Lots 1 - 176

CATALOG: $35

ILLUSTRATIONSFront cover: lot 37 Inside front cover: lot 23Session page: lot 24Inside back cover: lot 45Back cover: lot 124

AUCTIONEERJacqueline Towers-Perkins 2068426-DCA

NYC DCA Auction House License No. 2077070

BIDS+1 (212) 644 9001+1 (212) 644 9009 [email protected]

To bid via the internet please visitwww.bonhams.com/25760

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Bidding by telephone will only be accepted on a lot with a lower estimate in excess of $1000

Please see pages 176 to 179 for bidder information including Conditions of Sale, after-sale collection and shipment. All items listed on page 179, will be transferred to off-site storage along with all other items purchased, if not removed by 5pm Monday April 13.

INQUIRIESLaura PatersonHead of Photographs+1 (917) 206 [email protected]

Amelia WilsonPhotographs Cataloguer+1 (917) 206 [email protected]

SALE INCLUDING COLLECTIONS OF• The Pritzker Organization,

Chicago• The Collection of James (Jimmy)

Fox

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© 2020 Bonhams & Butterfields Auctioneers Corp. All rights reserved. NYC DCA Auction House License No. 2077070

It seems we have become somewhat inured to the relentless bombardment of images we see in the media of mass migration, disease, starvation and exploitation. We console ourselves that as individuals we are powerless to make a difference to these situations borne for the most part of greed, brutality and misery. How can we, by ourselves, possibly halt the inexorable slide towards the total destruction of our planet and its flora and fauna?

The first few lots of this sale are devoted to photographers who had no such qualms. At home in the US, Ansel Adams championed the preservation of the American wilderness to great effect with his studies of its vast and unpopulated glories. Adams’ early lobbying efforts, on behalf of the Sierra Club, directly led in 1939 to the creation of Kings Canyon National Park, California, putting half a million acres under irrevocable federal protection. Peter Beard and Nick Brandt’s cameras travelled further afield. Both always intended that their significant talents should be used to expose the egregious and ongoing exploitation of wild animals in Africa. From the 1960s onwards, Beard has documented the systematic destruction of Africa’s wildlife in the National Parks of Kenya’s Tsavo lowlands and Uganda in his highly glamorous and visceral prints. It has been 25 years since the publication of his highly influential book, The End Game, in which he proclaimed, “The deeper the white man went into Africa, the faster the life flowed out of it, off the plains and out of the bush… vanishing in acres of trophies and hides and carcasses.”

Nick Brandt’s recent photographs of the (vanishing) inhabitants of the Kenyan national parks of Ambroseli, Serengeti and Masai Mara, however, reflect a deep emotional connection to his sitters. These are quiet, monumental and moving studies of animals who are, as he puts it, “simply in the state of Being.” Brandt has also co-founded, with conservationist Richard Bonham, Big Life Foundation, which employs 300 rangers in an area of almost two million acres in East Africa to co-ordinate anti-poaching patrols.

May all three and their successors continue to jolt us out of our complacency and inactivity.

Introduction

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1NICK BRANDT (BORN 1966)Elephant with Tattered Ears, Ambroseli, 2008 Archival pigment print, signed, dated and numbered ‘8/15’ in pencil in the margin. 27 3/8 x 32 3/4in (69.5 x 83.2cm) sheet 30 1/2 x 38 1/4in (77.5 x 97.2cm)

$25,000 - 35,000

Provenance With Fahey Klein Gallery, Los Angeles Literature Brandt, On This Earth A Shadow Falls, DAP/ Big Life Editions, 2010, p. 163

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2PETER BEARD (BORN 1938)Orphaned Cheetah Cubs/ Mweiga , 1962 Gelatin silver print with applied blue paint handprint, printed later, signed, titled, dated and inscribed in ink on the recto. 8 1/4 x 12 1/2in (21 x 31.7cm) sheet 8 5/8 x 12 7/8in (22 x 32.7cm) mount 14 x 18in (35.5 x 45.6cm)

$25,000 - 30,000

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3 WPETER BEARD (BORN 1938)Cows and Calves at Buffalo Springs, Kenya NFD, for “The End of the Game/ Last Word from Paradise”, June 1960 Platinum print with handwork, snapshots/ contact sheet collage featuring portrait of Karen Blixen, other works by Beard and red paint handprint, signed, titled and dated in pencil in the margin; annotations in red ink on a number of the collaged images; blue paint hand print on the external frame glazing. sheet 26 x 40in (66 x 101.6cm) overall; artist’s frame

$30,000 - 50,000

Provenance With The Time is Always Now, New York

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4NICK BRANDT (BORN 1966)Leopard Staring, Masai Mara, 2010 Archival pigment print, signed, dated and numbered ‘AP 3/3’ in pencil in the margin. 21 3/4 x 27 1/4in (55.2 x 69.2cm) sheet 30 x 40in (76.2 x 101.6cm)

$25,000 - 35,000

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5NICK BRANDT (BORN 1966)Lioness Looking Over Plains, Masai Mara, 2004 Archival pigment print, signed, dated and numbered ‘14/35’ in pencil in the margin. 11 x 14 1/2in (28 x 36.2cm) sheet 13 x 19in (33 x 48.2cm)

$5,000 - 7,000

Provenance With Stephen Cohen Gallery, Los Angeles, acquired 2005 Literature Brandt, On This Earth A Shadow Falls, DAP/ Big Life Editions, 2010, p. 19

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6ANSEL ADAMS (1902-1984)Moonrise, Hernandez, New Mexico, c. 1941 Gelatin silver print, printed 1973, signed in pencil on the mount, titled, dated in ink and ‘Carmel’ credit stamp on the mount verso. 15 1/4in x 19 3/4in (38.7cm x 50 cm) mount 22 x 28in (56 x 71.1cm)

$35,000 - 45,000

Provenance Christie’s, New York, April 23, 1996, lot 106 Literature Adams and Alinder, Ansel Adams: An Autobiography, Little, Brown and Co., New York, 1985, p. 274; Adams, Examples: The Making of 40 Photographs, Little, Brown and Co., New York, 1989, cover, p. 40; Szarkowski, Ansel Adams at 100, San Francisco Museum of Modern Art/Little, Brown and Co., Boston, 2001, pl. 96; Stillman, ed., Ansel Adams: 400 Photographs, Little, Brown and Co., Boston, 2007, p. 175

7ANSEL ADAMS (1902-1984)“Portfolio One: Twelve Photographic Prints by Ansel Adams, 1938-1948” San Francisco: Grabhorn Press, 1948, 12 gelatin silver prints; each signed in pencil on the mount; each with Portfolio credit stamp, numbered sequentially ‘1-12’ from set ‘19’ in red ink on the mount verso; images, varying sizes from approximately 5 x 7in (12.7 x 17.7cm) to 8 x 10in (20.2 x 25.4cm) or the reverse; mount, each 14 x 18in (35.5 x 45.7 cm) or the reverse; text inserts, numbered ‘19/75’ in red ink on list of plates; one from from the edition of seventy-five; contained in original folding portfolio case.

$50,000 - 70,000

Provenance Sotheby’s New York, October 7, 1993, lot 450 Literature Szarkowski, The Portfolios of Ansel Adams, Little Brown and Company, New York, 1998, n.p.

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The Jacob Collection, The Property of an Important Swiss CollectorLots 6 – 7

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8EDWARD WESTON (1886-1958)Shell, 1927 Gelatin silver print, printed later by Cole Weston, signed, Edward Weston credit, titled, dated, notation ‘1S’ in pencil by Cole Weston on the mount verso. 9 3/8 x 7 1/4in (23.8 x 18.4cm) mount 15 x 13in (38 x 33cm)

$5,000 - 7,000

Provenance With Witkin Gallery, acquired c. 1970 Literature Edward Weston Photographer, Aperture, New York, 1965, cover

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9ANSEL ADAMS (1902-1984)Leaf, Glacier Bay National Monument, Alaska, 1948 Gelatin silver print, printed 1974, signed in pencil on the mount, title, date in ink and ‘Carmel’ credit stamp on the mount verso. 9 3/4 x 12 5/8in (24.8 x 32cm) mount 16 x 20in (40.6 x 50.8cm)

$6,000 - 8,000

The photograph is accompanied by a copy of a typed letter on Ansel’s headed notepaper, dated July 23 1982 and signed by him.

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(actual size)

10BRETT WESTON (1911-1993)Dunes, 1930s Gelatin silver print, signed in pencil on the mount; signed in ink on the mount verso. 3 5/8 x 4 1/4in (9.2 x 10.7cm) mount 5 x 5 3/4in (12.6 x 14.7cm)

$4,000 - 6,000

Provenance With Paul Hertzmann, San Francisco

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11EDWARD WESTON (1886-1958)Lake Tenaya, 1937 Gelatin silver print, initialed and dated in pencil on the mount; signed, titled and dated in pencil on the mount verso; accompanied by the original matboard with affixed Museum of Modern Art New York label. 7 1/2 x 9 1/2in (19 x 24.1cm) mount 14 x 15 1/2in (35.6 x 39.4cm)

$20,000 - 30,000

Provenance This photograph was purchased some time between August 9, 1949 (the date of the present owner’s parents’ marriage) and April 25, 1950, when the snapshot (fig 1) was taken of his mother admiring the work at home. Provenance Acquired from the artist Literature Edward Weston Photographer, Aperture, 1965, np; Edward Weston, Aperture/ Konemann, 1997, p. 43

(fig 1)

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12RUTH BERNHARD (1905-2006)Symbiosis, 1971 Gelatin silver print, signed in pencil on the mount; signed, titled, dated in pencil and copyright credit reproduction limitation stamp on the mount verso. 13 5/8 x 8 3/8in (34.5 x 21.3cm) mount 20 x 16in (50.8 x 40.7cm)

$4,000 - 6,000

13EDWARD WESTON (1886-1958)Nude, 1925 Gelatin silver print, printed later by Cole Weston; signed, Edward Weston credit, titled, dated and notation ‘40N’ by Cole Weston in pencil on the mount verso. 7 3/8 x 8 3/4in (18.7 x 22.2cm) mount 13 1/8 x 15in (33.2 x 38.1cm)

$2,000 - 3,000

Literature Abbott, ed., Edward Weston’s Book of Nudes, Getty Publications, Los Angeles, n.p.

14BRETT WESTON (1911-1993)Nude, 1975 Gelatin silver print, signed and dated in pencil on the mount. 10 3/8 x 13 5/8in (26.3 x 34.5cm) mount 15 x 18in (38.1 x 45.8cm)

$4,000 - 6,000

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15SALLY MANN (BORN 1951)At My Mother’s House, 1991 Gelatin silver print, signed, titled, dated and numbered ‘6/25’ in pencil on the verso. 9 1/2 x 7 1/2in (24.1 x 19cm) sheet 8 x 10in (20.4 x 25.4cm)

$5,000 - 7,000

Provenance With Gail Gibson Gallery, Seattle, acquired 2003

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16ANDRÉ KERTÉSZ (1894-1985)Satiric Dancer, 1926 Gelatin silver print, printed later, signed in pencil on the mount; numbered ‘28/50’ in pencil on mount verso. 3 7/8 x 3in (9.8 x 7.6cm) mount 12 1/8 x 9 1/8in (30.7 x 23.2cm)

$3,000 - 5,000

Provenance With Yancey Richardson Gallery, New York Literature Phillips, Travis and Naef, André Kertész: Of Paris and New York, Thames and Hudson, 1985, p. 159

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17RUTH ORKIN (1921-1985)Tirya Castelbolognesi, aged 3, Kibbutznick on Drainpipes, Israel, 1951 Gelatin silver print, flush-mounted, titled, dated and ‘65 Central Park West’ copyright credit stamps on the flush-mount verso. image/ flush-mount 6 1/4 x 9 3/8in (15/9 x 23.8cm)

$5,000 - 7,000

Literature Orkin, A Photo Journal, Viking Press, 1981, p. 89

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18MARY ELLEN MARK (1941-2015)Belen, Tightrope Walker, Garzetti Circus, Mexico, 1977 Gelatin silver print, printed later, signed, titled, dated and numbered ‘2/75’ in pencil on the verso. 12 1/2 x 10in (31.7 x 25.4cm) sheet 14 x 11in (35.5 x 28cm)

$2,000 - 3,000

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19EDWARD WESTON (1886-1958)Pulqueria, Mexico, 1926 Gelatin silver print, printed later by Cole Weston, signed, titled, dated, negative notation ‘8A’ by Cole Weston in pencil and ‘Edward Weston’ facsimile signature credit stamp on the mount verso. 7 1/2 x 9 3/8in (19 x 23.7cm) mount 13 1/2 x 15 1/2in (34.2 x 39.4cm)

$2,500 - 3,500

Provenance With Spencer Throckmorton Fine Art, New York

20WALKER EVANS (1903-1975)Sidewalk and Shopfront, New Orleans, 1935 Gelatin silver print, printed early 1973, annotation ‘Print for Walker Evans at his request by Jerry L. Thompson early 1973. Test enlargement for exhibition at Robert Schoelkopf Gallery. Printed on Saltzman 8 x 10 enlarger at Yale School of Art on Agfa Portriga Paper by Jerry L. Thompson’ in pencil on the verso. 13 1/4 x 10 3/8in (33.6 x 26.3cm) sheet 14 x 11 1/4in (35.5 x 28.5cm)

$10,000 - 15,000

Provenance Acquired directly from the artist Literature Walker Evans: American Photographs, The Museum of Modern Art, New York/ Harry N. Abrams, 50th Anniversary Edition, 1988, pl. 5; Thompson, The Last Years of Walker Evans, Thames and Hudson, 1995 Exhibited Walker Evans: Labor Anonymous, Rencontres de la photographie, Arles, 2015, and two other European venues At Walker Evans’ request, this photograph was printed by Jerry Thompson as a test for an impromptu exhibition of Evans’ work at the Robert Schoelkopf Gallery in New York from April 21 to May 17, 1973. The show was arranged so that Evans could recoup some of the costs he had incurred during a recent illness when he had been unable to work. Thompson describes this intense period of printing for Evans in his book, (op. cit., p. 64.)

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21RAY K. METZKER (1931-2014)Chicago (59-Af-1 s92), 1959 Gelatin silver print, printed later, signed and numbered ‘20/25’ in pencil on the verso. 10 x 10in (25.5 x 25.5cm) sheet 14 x 11in (35.5 x 28cm)

$4,000 - 6,000

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22VIK MUNIZ (BORN 1961)“The Steerage” (After Stieglitz), from “Pictures of Chocolate”, 2000 Dye-bleach print, flush-mounted, signed and dated on a gallery label affixed on the frame backing; one from the AP edition of 3. image/ flush-mount 40 x 30in (101.4 x 76.1cm)

$20,000 - 30,000

Provenance With Galerie Xippas, Paris; with Sean Koppel Gallery, Chicago; Phillips, New York, October 6, 2016, lot 40 Literature Do Lago, Vik Muniz: Obra Completa 1987-2009, Captivara, 2009, p. 239

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23 WHARRY CALLAHAN (1912-1999)Collage, Chicago, 1958 Mural sized gelatin silver print, flush-mounted on aluminum, printed later, signed and numbered ‘3/8’ in ink on the flush-mount verso. image/ flush-mount 36 x 45 1/4in (91.4cm x 114.9cm)

$25,000 - 35,000

Provenance Phillips de Pury & Company New York, October 18, 2006, lot 19; to a private collection; Sotheby’s New York, October 15, 2008, lot 101; to a private collection; Sotheby’s New York, October 5, 2017, lot 17 Literature Salvesen, Harry Callahan: The Photographer at Work, Universities of Arizona and Yale, 2009, fig. 24

24BRASSAÏ (1899-1984)Transmutation 17, 1934-1935 Gelatin silver print; ‘Succession Brassaï Estate’ stamp on the verso. 9 1/2 x 6 3/4in (23.5 x 17.4cm)

$20,000 - 30,000

Provenance With Galerie Karsten Greve, St. Moritz

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25SEBASTIÃO SALGADO (BORN 1944)Gold Miners, Sierra Pelada, Brazil, 1986 Gelatin silver print, copyright blindstamp in the margin; signed, dated and annotation ‘Brasil’ on the verso. 20 3/8 x 13 1/2in (51.8 x 34.2cm) sheet 24 x 20in (61 x 50.8cm)

$5,000 - 7,000

Provenance With Kennedy Hamburg Photographs, New York, acquired July 2011 Literature Salgado, Workers: An Archaeology of The Industrial Age, Aperture, 1993, p. 314

26IRVING PENN (1917-2009)Feather Glove (Small Neg XXX), 1975 Platinum-palladium print, printed December 1975, signed, initialed, titled, dated, numbered ‘21/43’, medium, edition annotations in pencil and copyright credit reproduction limitation stamp on the verso. sheet 29 1/2 x 22in (75 x 55.9cm)

$25,000 - 35,000

Provenance Christie’s, New York, March 31, 2009, lot 39

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27CHARLES JONES (1866-1959)Selected studies, c. 1900 4 unique gold toned gelatin silver printing out papers. (4) each 6 x 4 1/4in (15.2 x 10.8cm) or the reverse

$15,000 - 20,000

Provenance With Michael Hopper Gallery, London

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28WOLFGANG TILLMANS (B. 1968)Mohn (Poppies), 1998 Archival pigment print, signed, titled, dated and numbered ‘25/30’ on the verso. 14 5/8 x 22in (37.2 x 56cm) sheet 16 1/4 x 22in (41.4 x 56cm)

$6,000 - 8,000

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29IRVING PENN (1917-2009)Icelandic Poppy/Papaver Nudicaule (New York), 2006 Archival pigment print, signed, initialed, dated, notations ‘22571’ ‘G’ in ink and Penn/Vogue copyright credit reproduction limitation and edition stamps on the flush-mount verso. One from the edition of 13. image/ flush-mount 22 7/8 x 24in (58.1 x 61cm)

$25,000 - 35,000

Provenance With Pace/MacGill Gallery, New York

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30ELLIOTT ERWITT (BORN 1928)California (Kiss), 1955 Gelatin silver print, printed later, signed in ink in the margin; signed, titled and dated in pencil on the verso. 11 5/8 x 17 1/2in (29.2 x 44.4cm) sheet 16 x 20in (40.6 x 50.8cm)

$4,000 - 6,000

Provenance With Peter Fetterman Gallery, Santa Monica, acquired 2002

31MELVIN SOKOLSKY (BORN 1933)Simone, Bubble, Seine, Paris, 1963 Gelatin silver print, printed later, signed by the artist, titled, dated and numbered ‘9/25’ in pencil on the verso. 17 1/2 x 15 1/2in (44.4 x 39.4cm) sheet 20 x 16in (50.8 x 40.6cm)

$6,000 - 8,000

Provenance With Fahey Klein Gallery, Los Angeles, acquired 1996

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32NORMAN PARKINSON (1913-1990)New York, New York, 1950 Gelatin silver print, printed later, signed and dated in ink in the margin; numbered ‘AP’ in ink and Parkinson/ Hamiltons Gallery copyright credit stamp on the verso. 13 x 13in (33 x 33cm) sheet 20 x 16in (50.8 x 40.6cm)

$6,000 - 8,000

33ELLIOTT ERWITT (BORN 1928)New York City, 1974 Gelatin silver print, printed later, signed in ink in the margin; signed, titled and dated in pencil on the verso. 11 1/2 x 17 1/2in (29.2 x 43.4cm) sheet 16 x 20in (40.6 x 50.8cm)

$5,000 - 7,000


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34JOSEF KOUDELKA (1877-1960)France, 1975 Gelatin silver print, printed later, signed in ink in the margin. 14 x 21 1/4in (35.5 x 54cm) sheet 20 x 24in (50.8 x 61cm)

$6,000 - 8,000

Literature Josef Koudelka, Collection Photo Poche, Centre National de la Photographie, Paris, 1984, plate 58; Exils, Delpire, 1988 (1997) (2014), plate 26 (24) (5); Koudelka, Collection Maestro, Delpire, 2006, pl. 86; Koudelka: Returning, Editions Kant/ Museum of Decorative Arts, Prague, 2018, p. 250

35ANDRÉ KERTÉSZ (1894-1985)On the Quais, Paris, 1926 Gelatin silver print, printed c. 1979, signed, titled, dated in pencil and ‘Magnum New York’ credit stamp on the verso. 9 3/4 x 7in (25 x 17.8cm) sheet 10 x 8in (25.4 x 20.2cm)

$4,000 - 6,000

Literature Corkin, André Kertész: A Lifetime of Perception, Andalusian Books, 1982, p. 25

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36BRUCE DAVIDSON (BORN 1933)Jimmy Armstrong, the Palisades, New Jersey, 1958, Gelatin silver print, printed later, signed in pencil on the verso. 12 5/8 x 8 3/8in (32 x 21.2cm) sheet 14 x 11in (35.5 x 27.9cm)

$3,000 - 5,000

Provenance Acquired from the artist Literature Bruce Davidson, Fundación MAPFRE/ Aperture, New York, 2016, p. 79

37WERNER ROHDE (1906-1990)Self-Portrait with Mask, 1926 Gelatin silver print, signed and dated on the verso. 6 3/4 x 5in (17.1 x 12.7cm) sheet 13 1/8 x 11 1/4in (33 x 28.5cm)

$15,000 - 25,000

Provenance With Robert Miller Gallery, New York

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38WEEGEE (ARTHUR FELLIG) (1899-1968)Self-Portrait with Victor Keppler, c. 1950 Gelatin silver print, inscribed to ‘To Wilma’ in turquoise ink in the margin. 7 1/2 x 7 1/2in (19 x 19cm) sheet 10 x 8in (25.4 x 20.3cm)

$3,000 - 5,000

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(actual size)

39WALKER EVANS (1903-1975)Self Portrait, 5 rue de la Santé, Paris Gelatin silver print, dated 1926 and notation ‘2’ in pencil on the verso. 4 1/8 x 3in (10.3 x 7.6cm) sheet 4 3/4 x 3 1/2in (12.1 x 8.9cm)

$15,000 - 25,000

Provenance Acquired directly from the artist Literature Thompson, Walker Evans at Work, Thames & Hudson, 1984, p. 18; Mellow, Walker Evans, Basic Books, 1999, p. 45; Hill and Liesbrock ed., Walker Evans: Depth of Field, Prestel, 2016, p. 36, for a more frontal variant

Along with many dreamers, Walker Evans went to Paris in 1926 aiming to write. Like Dürer, Rembrandt, Picasso, Van Gogh, and Cindy Sherman, Evans recorded his likeness as only he could. In 1927 he admired what he saw in the large mirror in his Paris pension. That same year he made a dazzling series of shadow selfies. These self portraits were some of Evans’s first photographs. Back in New York, he documented himself with small and large cameras. Using fake moustache and comic hats, he posed for himself in Brooklyn, followed by a session taken in Darien, Connecticut, featuring cerebral poses and dramatic lighting. By 1927 automated photo booths were common in New York. Evans saw these as instant pleasure in recording what he knew best and loved most.

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41WALKER EVANS (1903-1975)Untitled (African mask), 1935 Gelatin silver print, ‘Lunn Archive’ stamp with notation ‘XX III’ in pencil on the verso. 9 1/2 x 7 3/8in (24.1 x 18.6cm) sheet 10 x 8in (25.4 x 20.3cm)

$4,000 - 6,000


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40WALKER EVANS (1903-1975)Untitled (African Sculpture), 1935 Gelatin silver print, ‘Lunn Archive’ stamp with notation ‘XX 437’ in pencil on the verso. 9 1/4 x 7 1/2in (23.4 x 19cm) sheet 10 x 8in (25.4 x 20.3cm)

$4,000 - 6,000


In 1935, the groundbreaking African Negro Art exhibition was organized by The Museum of Modern Art in New York. The show included over 600 African sculptures which were for the first time were displayed as works of art, rather than as purely ethnographic objects. Evans, then only 32 years old, was commissioned by the Museum to create a substantial portfolio documenting the masterpieces of the exhibition.

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42JAROMÍR FUNKE (1896-1945)Homage to Matisse, 1924 Gelatin silver print, signed and dated by Anna Funková in pencil on the verso. 4 1/4 x 5 1/2in (11.1 x 14cm)

$25,000 - 35,000

Provenance Christie’s New York, European Modernism, May 10-11, 2016, lot 38

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43WILLIAM KLEIN (BORN 1928)Boy and $1, New York, 1955 Gelatin silver print, printed later, signed, titled and dated pencil on the verso. 19 7/8 x 15 3/8in (50.5 x 39cm)

$2,000 - 3,000

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44DIANE ARBUS (1923-1971)Man and boy on a bench in Central Park, NYC, 1962 Gelatin silver print, printed later by Neil Selkirk, stamped ‘A Diane Arbus photograph’, signed, titled, dated, numbered ‘45/75’ in ink by Doon Arbus, Estate Administrator in ink and Estate copyright credit reproduction limitation stamps on the verso. 14 3/8 x 13 1/2in (36.5 x 34.2cm) sheet 20 x 16in (50.8 x 40.6cm)

$15,000 - 25,000

Provenance With Fraenkel Gallery, San Francisco Literature Diane Arbus, Aperture, New York, 1972, np; Diane Arbus: Revelations, Random House, New York, 2003, p. 76

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45LOUIS FAURER (1916-2001)New York (Billboard), 1946 Gelatin silver print, flush-mounted on board, signed and dated in white pencil on the flush-mount verso. image/ flush-mount 13 1/4 x 8 7/8in (33.7 x 22.6cm)

$6,000 - 8,000

Provenance With Steven Leiber, San Francisco

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46CLARENCE JOHN LAUGHLIN (1905-1985)The Eye That Never Sleeps, 1946 Gelatin silver print, printed 1979, signed, titled and dated in ink on the primary mount; initialed and annotations ‘Print made 1979’, ‘Ill. p. 118’ in ink and copyright credit reproduction limitation stamps on the mount verso. image 12 3/4 x 8 3/4in (32.3 x 22.2cm) mount 17 x 13 3/4in (43.1 x 35cm)

$6,000 - 8,000

Provenance With Stephen Wirtz Gallery, San Francisco

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47JOEL-PETER WITKIN (BORN 1939)The Boy with Four Arms (Ragazzo con Quarto Bracci), SF, 1984 Toned gelatin silver print, signed, titled in English and Italian, dated and numbered ‘2/15’ in pencil on the verso. 14 5/8 x 15in (37.2 x 38.1cm) sheet 20 x 16in (50.8 x 40.6cm)

$2,500 - 3,500

48DAVID LACHAPELLE (BORN 1964)Archangel Michael: And No Message Could Have Been Clearer, Hawaii, 2005 Chromogenic print, flush-mounted, signed in ink, printed title, date and number ‘1/5’ on the artist’s studio label affixed on the frame backing. sheet / flush-mount 40 x 30in (101.6 x 76.2cm)

$10,000 - 15,000

Literature With Denis Bloch Fine Art, Beverly Hills

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THE PRITZKER ORGANIZATION, CHICAGO

49TOM ARNDT (BORN 1944)Two Sailors, Wabash & Adams, Chicago, 1986 Gelatin silver print, signed, titled and dated in pencil on the verso. 15 1/4 x 10 1/8in (38.7 x 25.6cm) sheet 20 x 16in (50.8 x 40.6cm)

$700 - 900

50ORMOND GIGLI (1925-2019)Flag Girl, 1986 Archival pigment print, printed later, signed, titled, dated and numbered ‘2/5’ in ink in the margin. 42 x 31in (106.7 x 78.7cm) sheet 48 x 36in (121.9 x 91.4cm)

$8,000 - 12,000

52 | BONHAMS

50

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51SPENCER TUNICK (BORN 1967)Heather with Marlin, 57th Street and Fifth Avenue, NYC, 1990s Gelatin silver print, signed and numbered ‘2/25’ in pencil on the verso. 16 3/4 x 13 1/4in (42.5 x 33.5cm) sheet 20 x 16in (50.8 x 40.6cm)

$700 - 900

52WILLIAM HELBURN (BORN 1924)Red Canoe (Barbara Mullen, Dress by John Moore for Talmack, chiffon chambray fabric by Hope Skillman, Gramercy Park, NYC), 1957 Archival pigment print, printed 2015, signed and numbered ‘9/50’ in ink on the verso. 23 7/8 x 19in (60.6 x 48.2cm) sheet 25 x 20in (63.5 x 50.8cm)

$5,000 - 7,000

LiteratureLilly, William Helburn, Seventh and Madison, Thames & Hudson, 2014, cover

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53FRANK HORVAT (BORN 1928)Simone A, London, for British “Vogue”, 1961 Gelatin silver print, printed 2010, signed and numbered ‘1/30’ in ink in the margin; signed, credit, titled, and dated in pencil on the verso. 19 3/4 x 13 5/8in (50.2 x 34.5cm) sheet 23 1/4 x 16 1/2in (59 x 41.9cm)

$2,000 - 3,000

56 | BONHAMS

54ORMOND GIGLI (1925-2019)New York City (Girls in Windows), 1960 Carbro print, printed later, signed, titled and numbered ‘12/30’ in ink in the margin; signed, titled, dated and numbered ‘12/30’ in ink on the verso. 16 3/4 x 15 1/2in (41.5 x 39.4cm) sheet 18 1/4 x 17 3/8in (46.4 x 44.2cm)

$15,000 - 20,000

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55EADWEARD MUYBRIDGE (1830-1904)Selected images from “Animal Locomotion”, 1884-1887 24 collotype plates, the majority with letterpress credit in the margin. each approximately 8 1/2 x 13 1/4in (21.5 x 33.6cm) sheet each appproximately 19 x 24in (48.3 x 61cm)

$20,000 - 30,000

58 | BONHAMS

56RAY K. METZKER (1931-2014)Composite: Venetian Blinds, 1966-1982 10 gelatin silver prints mounted together, printed 1982, signed and numbered ‘1/20’ in pencil on the mount. image each 3/4 x 29 7/8in (1.9 x 75.8cm) image overall 9 1/4 x 29 7/8in (23.5 x 75.8cm) mount 22 x 28in (55.9 x 71.1cm)

$22,000 - 28,000

Provenance Christie’s New York, October 3, 2013, lot 185

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57ROBERT HEINECKEN (1931-2006)Iconographic Art Lunches #1, 1984 Polaroid, signed, dated, numbered ‘2 of 5,’ annotated ‘The School of the Museum of Fine Arts, Boston, Submarine sandwich, salami, cheese, lettuce, sliced tomatoes, buns, lunchmeat’ and ‘The Museum of Fine Arts, Boston Salad Bar, Beets, peppers, croutons, onions, bacon bits, beansprouts, olives, elbow macaroni etc.’ in ink on the recto. sheet 20 x 24in (50.8 x 61cm)

$8,000 - 12,000

Robert Heinecken was invited by Polaroid to trial its new 20” x 24” large-format camera.Inspired by the photograms of Man Ray and Moholy-Nagy, Heinecken set about creating his own, very distinct studies, the result of arranging various foodstuffs, sourced from the MFA Museum and MFA School’s cafés, on a Plexiglas tray which was then placed on film and exposed.

60 | BONHAMS

58ROBERT HEINECKEN (1931-2006)Iconographic Art Lunches # 2, 1984 Polaroid, signed, dated, numbered ‘4 of 4’ and annotated ‘The School at the Museum of Fine Arts, Boston, Chili burger, potato chips, peanuts, buns, sweet roll’, ‘The Museum of Fine Arts, Boston, Mushroom quiche, Belgian endive, pineapple, layer cake,’ in ink on the recto. sheet 20 x 24in (50.8 x 61cm)

$8,000 - 12,000

PHOTOGRAPHS | 61


59WOLFGANG TILLMANS (GERMAN, 1968)Anemone II, 2003 Chromogenic print, printed 2004, signed, titled, dated and numbered ‘6/10 + 1’ in pencil on the verso. 16 x 10 1/2in (40.6 x 26.7cm) sheet 16 x 12in (40.5 x 30.5cm)

$2,000 - 3,000

62 | BONHAMS

60IRVING PENN (1917-2009)(Vermeer) Still Life with Mouse, 1947 Gelatin silver print, signed, initialed, titled, dated, annotation ‘Print made c. 1947’, ‘Courtesy of Vogue’ notation ‘REF 2140’ in pencil/ ink and copyright credit reproduction limitation stamps on the mount verso. 13 1/8 x 10 1/4in (33.2 x 26cm) mount 15 1/8 x 12 1/2in (38.3 x 31.7cm)

$5,000 - 7,000

Literature Szarkowski, Irving Penn, New York Graphic Society Books/ Little Brown and Co., 1984, pl. 74

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61JOHN DUDLEY JOHNSTON (1868-1955)Liverpool - An Impression (Royal Insurance Building), 1906 Gum bichromate print, signed in ink on the recto; credit, title and date in pencil on the verso. 13 3/8 x 9 5/8in (34 x 24.5cm)

$1,500 - 2,500

Pictorialist J. Dudley Johnston was an influential member of the British Linked Ring Brotherhood and was also made President of the Royal Photographic Society twice in the 1920s. Another print of this delicately wrought and painterly image of Liverpool, perhaps Johnston’s most accomplished, can be found in the collection of the Victoria and Albert Museum in London. No other photograph by Johnston has appeared at auction since the early 1990s.

64 | BONHAMS

62BRASSAÏ (1899-1984)Un Fiacre devant Café du Dôme, Montparnasse, 1931-1932 Gelatin silver print, printed later, signed twice, titled, dated, notation ‘N.241’ in pencil/ ink, ‘Tirage de l’Auteur’ and ‘Faubourg St. Jacques’ copyright credit stamps on the verso. 11 x 9 1/4in (28 x 23.5cm)

$2,500 - 3,500

Provenance With Marlborough Gallery, New York

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63 (actual size)

63HANS BELLMER (1902-1975)Plate 9, from “Les Jeux de la Poupée”, 1949 Hand-colored gelatin silver print. 5 1/2 x 5 1/4in (14 x 13.3cm) page/ mount 9 5/8 x 7 1/2in (24.4 x 19cm)

$3,000 - 5,000

64FRANTIŠEK DRTIKOL (1883-1961)Untitled, 1920s Gelatin silver print, signed in ink on the recto. 7 3/4 x 5 3/4in (19.6 x 14.8cm)

$5,000 - 7,000

66 | BONHAMS

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(actual size)

65KARL STRUSS (1886-1981)Albright-Knox Art Gallery, Buffalo, 1910 Platinum print, signed and dated in pencil on the recto. 4 1/4 x 2 7/8in (10.7 x 7.3cm)

$2,000 - 3,000

Provenance Bonhams and Butterfields, San Francisco, October 18, 2005, lot 392

68 | BONHAMS

(actual size)

66RALPH STEINER (1899-1986)Rival, 1924 Gelatin silver print, signed and dated in pencil on the verso. 2 1/2 x 4in (6.3 x 10.3cm) sheet 2 3/4 x 5 1/2in (6.8 x 14in)

$3,000 - 5,000

Provenance Christie’s, New York, November 11, 1986, lot 368 Literature Steiner, A Point of View, Wesleyan University Press, 1978, p. 46

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67HELMUT NEWTON (1920-2004)“Sumo”, 1999 Taschen, Monte Carlo, elephant folio volume, signed in blue wax pencil on the title page; number ‘6004’ from the edition of 10,000; accompanied by an aluminum stand designed by Philippe Starck, this stamped ‘Starck’ and ‘Newton’ at either end.

$4,000 - 6,000

70 | BONHAMS

(actual size)

68RICHARD PETTIBONE (BORN 1938)Helmut Newton, “Les Temps de Joyaux,” French “Vogue, 1980 Polaroid print with applied acrylic paint, signed, titled, dated and numbered ‘1/9’ in ink on the overmat. 3 1/2 x 4 1/2in (8.9 x 11.4cm) casing 5 3/4 x 4 1/4in (14.6 x 10.8cm)

$12,000 - 18,000

Provenance The Collection of the Minnesota College of Art; to a private collection, acquired 1983; by bequest to the present owner

PHOTOGRAPHS | 71

(actual size)

69RICHARD PETTIBONE (BORN 1938)Guy Bourdin, “Le Soir et un Fête,” French “Vogue”, March 1980 Polaroid print with applied acrylic paint, signed, titled, dated and numbered ‘1/9’ in ink on the overmat. 3 1/2 x 4 1/2in (8.9 x 11.4cm) casing 5 3/4 x 4 1/4in (14.6 x 10.8cm)

$12,000 - 18,000


72 | BONHAMS

(actual size)

70RICHARD PETTIBONE (BORN 1938)Helmut Newton, “Two Models in My Studio, Paris” , 1974 Polaroid print with applied acrylic paint, signed, titled dated and numbered ‘1/9’ in ink on the overmat. 3 1/2 x 4 1/2in (8.9 x 11.4cm) casing 5 3/4 x 4 1/4in (14.6 x 10.8cm)

$12,000 - 18,000


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71

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71LARRY JOHNSON (BORN 1959)Literal Bolan, 1998 A series of six chromogenic prints, each flush-mounted; number ‘2’ from the edition of 3. (6) sheet /flush-mount, each 31 x 31in (78.7 x 78.7cm)

$3,000 - 5,000

Provenance With Cohan, Leslie and Browne, New York; with Patrick Painter Inc., Santa Monica Larry Johnson’s work combines immaculate glossy surfaces with witty references to popular culture, animation, gay subcultures, and modern architecture. Much of his work, as here, explores themes of Hollywood and celebrity.

72RICHARD AVEDON (1923-2004)Igor Stavinsky, Composer, New York City, 11-2-69 Gelatin silver print triptych, flush-mounted on linen, printed 1975, signed, numbered ‘5/50’, negative notations ‘2’, ‘4’, ‘ii’ in ink, copyright credit reproduction limitation, title, date and edition stamps on the flush-mount verso. each 10 x 8in (25.4 x 20.2) overall 10 x 23 3/4in (25.4 x 60.3cm)

$7,000 - 9,000

Literature Richard Avedon: Evidence 1944-1994, Random House, New York, np (section 1969-1970)

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75

73TERRY O’NEILL (BORN 1938)Audrey Hepburn relaxing during filming of “Two for the Road”, South of France, 1966 Gelatin silver print, printed later, signed and numbered ‘9/50’ in ink in the margin. 12 x 18in (30.5 x 45.7cm) sheet 16 x 20in (40.6 x 50.8cm)

$4,000 - 6,000

74JOHN R. HAMILTON (1923-1997)Dean Martin between takes in his dressing room, “The Silencers”, 1966 Gelatin silver print, printed later, signed, titled, dated, numbered ‘1/60’ in pencil and copyright credit reproduction limitation stamps on the verso. 9 1/2 x 12 3/4in (24.1 x 32.4cm) sheet 11 x 14in (28 x 35.5cm)

$3,000 - 5,000

75MARTINE FRANCK (1938-2012)Swimming Pool Designed by Alain Capeilleres, Le Brusc, South of France, 1976 Gelatin silver print, printed later, signed in ink and copyright blindstamp in the margin. 10 1/2 x 15 7/8in (26.6 x 40.2cm) sheet 16 x 20in (40.6 x 50.8cm)

$4,000 - 6,000


PHOTOGRAPHS | 77


76WOLFGANG TILLMANS (GERMAN, 1968)Clocktower (Winter), 2001 Chromogenic print, signed, titled, dated and numbered ‘3 + 1’ in pencil on the verso. 16 x 23 1/4in (40.6 x 60.7cm) sheet 20 x 24in (50.7 x 60.9cm)

$3,000 - 5,000

78 | BONHAMS

77 WALEX PRAGER (BORN 1979)Crystal from Polyester, 2007 Chromogenic print, flush-mounted on acrylic, signed, titled, dated and numbered ‘2/5’ in ink on the the flush-mount verso. image/ flush-mount 47 1/2 x 63in (120.7 x 160cm)

$25,000 - 35,000

Provenance With Robert Berman Gallery, Santa Monica; to a private collection, California; Phillips New York, Friday, June 7, 2019, lot 85 Literature Prager and Gowan, Silver Lake Drive, Chronicle Books, 2018, p. 23

PHOTOGRAPHS | 79

78DAVID LEVINTHAL (BORN 1949)Untitled, from “Cowboys and Indians”, 2012 Archival pigment print, signed, dated and numbered ‘20/20’ in pencil in the margin. 16 x 21 1/4in (40.6 x 54cm) sheet 20 x 25 3/4in (50.8 x 65.4cm)

$1,800 - 2,200

80 | BONHAMS

79WILLIAM EGGLESTON (BORN 1939)Biloxi, Mississippi, 1975 Chromogenic print, signed in ink on the verso. 10 1/2 x 15 3/8in (26.6 x 39cm) sheet 14 x 17in (35.5 x 43.2cm)

$7,000 - 9,000

Literature William Eggleston: The Democratic Camera, Photographs and Video, 1961-2008, Whitney Museum of American Art, 2009, pl. 91, p. 163

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80

80BRUNO BARBEY (BORN 1941)Essaouira, Maroc, 1985 Chromogenic print, signed in ink on the verso. 10 1/8 x 13in (25.7 x 33cm) sheet 11 x 14in (28 x 35.6cm)

$1,000 - 1,500

81ANDRES SERRANO (BORN 1950)Istanbul (Sisters), 1996 Platinum print, initialed and numbered ‘57/125’ in pencil on the verso. 9 3/4 x 8in (24.7 x 20.3cm) sheet 11 3/4 x 10in (29.7 x 25.4cm)

$1,800 - 2,200

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84

82HENRI CARTIER-BRESSON (1908-2004)Udaipur, India, 1966 Gelatin silver print, printed later, signed in ink and copyright credit blindstamp in the margin 11 5/8 x 17 1/2in (29.2 x 44.4cm) sheet 16 x 20in (40.6 x 50.8cm)

$3,000 - 4,000

Literature Ray, Henri Cartier-Bresson in India, Thames & Hudson, 1987, pl. 55

83MARC RIBOUD (BORN 1923)Benares, India, 1956 Gelatin silver print, printed later, signed in stylus in the margin; signed, titled and dated in pencil on the verso. 8 1/4 x 12 1/4in (21 x 31.2cm) sheet 11 x 14in (27.9 x 35.6cm)

$1,500 - 2,000

84MANUEL ALVAREZ BRAVO (1902-2002)Set Trap, 1934 Gelatin silver print, printed 1975, signed and annotated ‘Mexico’ in pencil on the mount. 7 x 9 5/8in (17.8 x 24.4cm) mount 13 1/8 x 15 7/8in (33.2 x 40.2cm)

$1,800 - 2,200

Literature Naef, In Focus: Manuel Alvarez Bravo, J. Paul Getty Museum Publications, 2001, p. 111.

PHOTOGRAPHS | 85

85STEVE MCCURRY (BORN 1950)Afghan Girl (Sharbat Gula), Refugee Camp, Pakistan, 1984 Archival pigment print, printed later, signed in ink on the verso. 21 1/4 x 14 1/8in (54 x 35.7cm) sheet 24 x 20in (61 x 50.8cm)

$10,000 - 15,000

Literature McCurry, South Southeast, Phaidon, 2000, np

86 | BONHAMS

86GERTRUDE KASEBIER (1852-1934)Rosette, 1904 Platinum print, triple mounted, signed and dated in Roman numerals in pencil on the primary mount. 7 7/8 x 5 7/8in (20 x 15cm) primary mount/ secondary flush-mount 12 5/8 x 9 1/2in (32 x 24.1cm) tertiary mount 17 3/4 x 12 3/4in (45 x 32.2cm)

$7,000 - 9,000

Provenance Christie’s New York, November 1986, The Warren Coville Collection, lot 245; Phillips, New York, April 1999 lot 98

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87

87CECIL BEATON (1904-1980)Nancy Cunard, c. 1927 Gelatin silver print, printed 1960s, signed in red wax pencil on the mount; credit stamp on the mount verso. 17 1/2 x 13 1/2in (44.5 x 34.3cm) mount 21 x 15 1/4in (53.4 x 38.6cm)

$3,000 - 5,000

Literature Danziger, Beaton, Secker and Warburg, 1980, p. 89, for a variant from this sitting

88GEORGES DAMBIER (1925-2011)Capucine in Hat by Jean Barthet, Arachnée, April 1952 Gelatin silver print, printed later, signed, numbered ‘1/25’ in pencil and copyright credit reproduction limitation stamp on the verso. 17 1/4 x 13 3/8in (43.8 x 34cm) sheet 20 x 16in (50.8 x 40.6cm)

$2,500 - 3,500

89HAROLD EDGERTON (1903-1990)Selected images, c. 1940 3 gelatin silver prints, each signed in pencil on the verso. varying sizes from 12 1/8 x 18 3/8in (30.7 x 40.6cm) to 13 1/2 x 17 1/2in (44.4 x 34.2cm) or the reverse sheet each 20 x 16in (50.8 x 40.6cm) or the reverse

$4,000 - 6,000

88 | BONHAMS

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88

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90ROY SCHATT (1919-2002)Marilyn Monroe at the Actor’s Studio, New York; and Steve McQueen,1955-1956 2 gelatin silver prints, printed later; each signed in ink and copyright credit stamp on the verso; (Marilyn) accompanied by an Estate certificate of authenticity, signed, titled and dated ‘March 24, 2009’ by Elaine Schatt, Executor, in ink. each 13 1/2 x 10 3/8in (34.2 x 27cm) sheet each 14 x 11in (35.5 x 28cm)

$1,000 - 2,000

91HENRI CARTIER-BRESSON (1908-2004)Lincoln Kirstein watching a rehearsal of the New York City Ballet, 1959 Gelatin silver print, printed later, signed in ink in the margin. 14 x 9 1/4in (35.5 x 23.5cm) sheet 17 3/4 x 13 3/4in (45.1 x 34.9cm)

$5,000 - 7,000

Lincoln Kirstein (1907-1996) played an instrumental role in founding, with George Balanchine, the School of American Ballet in 1934 and the New York City Ballet in 1948. For years he was the school’s president and the ballet’s general manager. His life and career were showcased in The Museum of Modern Art’s 2019 retrospective exhibition Lincoln Kirstein’s Modern.

90 | BONHAMS

91

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92 | BONHAMS

92HENRI CARTIER-BRESSON (1908-2004)Andrew Wyeth, 1962 Gelatin silver print, printed later, signed in ink and embossed copyright credit stamp in the margin. 14 1/8 x 9 1/2in (35.9 x 24.1cm) sheet 16 x 12in (40.6 x 30.5cm)

$4,000 - 6,000

93BEN SHAHN (1898-1969)Untitled (Two workers), 1930s Gelatin silver print, signed in pencil on the mount verso. 7 3/4 x 9 7/8in (19.7 x 25cm) mount 8 x 10 3/4in (20.4 x 27.3cm)

$4,000 - 6,000

Provenance With Photofind Gallery (Howard Greenberg), New York

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94LEWIS WICKES HINE (1874-1940)Tenement Workers, c. 1912 Gelatin silver print, flush-mounted, notation ‘neg #6457’ in pencil on the flush-mount verso. image/ flush-mount 4 5/8 x 6 3/4n (11.2 x 17.2cm)

$2,000 - 3,000

Provenance With Witkin Gallery, New York

94 | BONHAMS

95MIKE DISFARMER (1884-1956)Ed and Mamie Barger, from the Heber Springs Portraits, 1939-1946 Gelatin silver print, printed later, ‘Disfarmer Collection’ blindstamp in the margin; numbered ‘27/75’ in pencil and ‘Disfarmer Collection’ stamp on the verso. 11 3/4 x 7in (29.7 x 17.8cm) sheet 18 x 14in (45.7 x 35.5cm)

$1,000 - 1,500

PHOTOGRAPHS | 95

96BILL BRANDT (1904-1983)In the Public Bar at Charley Brown’s, 1942 Gelatin silver print, printed later, signed in ink on the mount. 13 1/4 x 11 1/2in (33.6 x 29.2cm) sheet 20 x 16in (50.8 x 40.6cm)

$2,000 - 3,000

96 | BONHAMS

97BRASSAÏ (1899-1984)Clochard avec son chat, 1932 Gelatin silver print, printed 1960s, signed in pencil, notation ‘N.566.2+27’ in ink and copyright credit stamp on the verso. 11 3/8 x 8 5/8in (28.8 x 21.8cm)

$2,500 - 3,500

PHOTOGRAPHS | 97

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98 | BONHAMS

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98ROBERT FRANK (1924-2019)Wales (Ben James, Miner), 1953 Gelatin silver print, signed by the artist, credit, title, date, notation ‘2535’ in an unknown hand in pencil/ ink and Lunn Archive copyright credit reproduction limitation stamps on the verso. 13 5/8 x 9 1/4in (34.5 x 23.5cm) sheet 14 x 11in (35.5 x 27.9cm)

$15,000 - 25,000

Provenance With Rick Wester Photographs, Hastings-on-Hudson, New York Literature Frank and Maloney (ed.), “Ben James: Story of a Welsh Miner,” U.S. Camera Annual, New York: U.S. Camera Publishing Corp., 1954, 82–93, variant illustrated In 1953, Robert Frank photographed two South Wales mining communities, Caerau and Maesteg. The National Coal Board permitted Frank to shadow miners as they went about their daily activities and he chose Ben James as the main protagonist for his photo essay. The series was first published in the 1955 issue of U.S. Camera Annual.

In creating these photographs, Frank began to flout “straight” photojournalism in favor of something more intangible, less formally structured. His sitters tell of the hardship and monotony of working class life in postwar industrial Britain, endured in surroundings steeped in coal dust and rain. Frank’s brilliant and intuitive sequencing of his stark Welsh documentary makes it the direct precursor to The Americans. Bruce Davidson returned to the area just over a decade later and his photographs provide an interesting counterpoint to Frank’s. A successor to the older photographer’s innovative treatment of subject matter to tell a story and evoke a mood, Davidson’s pictures show how far these mining communities have progressed. His sitters seem more modern and less wraith-like than Frank’s and they exist in a landscape which occasionally may even see the sun.

THE COLLECTION OF JAMES (JIMMY) FOX

99BRUCE DAVIDSON (BORN 1933)Wales, 1965 Gelatin silver print, Davidson/ Magnum credit stamp on the verso. 10 1/4 x 13 1/4in (26 x 33.6cm) sheet 11 x 14in (28 x 35.5cm)

$2,000 - 3,000

PHOTOGRAPHS | 99

100

100 BRUCE DAVIDSON (BORN 1933)Father and Son, South Wales, 1965 Gelatin silver print, printed later, signed in pencil on the verso. 10 3/4 x 8 1/2in (27.3 x 21.5cm) sheet 14 x 11in (35.5 x 27.9cm)

$2,500 - 3,500

Literature Bruce Davidson, Fundación MAPFRE/ Aperture, New York, 2016, pl. 117, p. 94

101BRUCE DAVIDSON (BORN 1933)Wales, 1965 Gelatin silver print, printed later, signed in pencil on the verso. 8 x 12 3/8in (20.3 x 31.4cm) sheet 11 x 14in (28 x 35.6cm)

$2,500 - 5,000

102BRUCE DAVIDSON (BORN 1933)Wales, 1965 Gelatin silver print, printed later, signed in pencil on the verso. 8 3/5 x 12 1/2in (21.7 x 31.7cm) sheet 11 x 14in (28 x 35.6cm)

$2,500 - 3,500

Literature Bruce Davidson, Fundación MAPFRE/ Aperture, New York, 2016, pl. 123, p. 200

100 | BONHAMS

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104

103ROBERT FRANK (1924-2019)NYC (Cadillac), 1962 Gelatin silver print, printed 1970s, signed, titled and dated in ink in the margin; credit in an unknown hand in ink and Lunn Archive copyright credit stamp on the verso. 13 1/2 x 9 1/4in (34.3 x 23.5cm) sheet 14 x 11in (35.5 x 28cm)

$4,000 - 6,000

Provenance Sotheby’s New York, March 30, 2009, lot 109

104ERNST HAAS (1921-1986)Route 66, Albuquerque, New Mexico, 1969 Archival pigment print, printed later, signed, titled, dated and numbered ‘23/50’ by Alexander Haas, Estate Co-executor, in ink on the accompanying Haas Studio Estate label. 17 1/4 x 25 3/4in (43.8 x 65.4cm) sheet 20 x 30in (50.8 x 76.2cm)

$4,000 - 6,000

PHOTOGRAPHS | 103

105ELLIOTT ERWITT (BORN 1928)New York City, 1955 Gelatin silver print, printed later, signed in ink in the margin; signed, titled and dated in pencil on the verso. 11 3/4 x 17 5/8in (29.8 x 44.7cm) sheet 16 x 20in (40.6 x 50.8cm)

$4,000 - 6,000

104 | BONHAMS

106WILLIAM EGGLESTON (BORN 1939)Memphis, 1965-1968 Chromogenic print, signed in ink on the verso. 8 3/4 x 13in (22.3 x 33cm) sheet 11 x 14in (27.8 x 35.5cm)

$7,000 - 9,000

PHOTOGRAPHS | 105

107 WDAVID DREBIN (BORN 1970)Gold City, 2006 Archival pigment print, signed, titled and numbered ‘5/10’ in ink on a credit label affixed on the frame backing. image/ flush-mount 48 1/2 x 61in (123.2 x 155cm)

$4,000 - 6,000

108JULIUS SHULMAN (1910-2009)Case Study House #22, 1960 Gelatin silver print, printed later, signed in pencil on the verso. 14 3/4 x 11 3/4in (37.4 x 29.8cm) sheet 20 x 16in (50.8 x 40.6cm)

$8,000 - 10,000

106 | BONHAMS

PHOTOGRAPHS | 107

109HAROLD EDGERTON (1903-1990)Death of a Lightbulb /.30 cal Bullet, c. 1936 A series of 4 gelatin silver prints, printed later, signed, titled, dated and numbered ‘13/40’ in ink in the margin. sheet 20 x 24in (50.7 x 60.9cm)

$2,500 - 3,500

108 | BONHAMS

110CARL ANDRE (BORN 1935)American Decay, 1973 A series of 4 chromogenic prints, mounted together with a list of “ingredients” in the artist’s hand in ink and gallery opening invitation; accompanied by two postcards, dated respectively October 12, 1972 and May 21, 1973, one signed, one initialed and each inscribed by the artist in ink. prints, each approximately 3 1/2 x 5in (9 x 12.5cm) mount 14 1/4 x 25 1/4in (36 x 64.8cm)

$3,000 - 5,000

This lot documents Carl Andre’s extraordinary conceptual work American Decay - his disgusted response to Richard Nixon’s second Presidential term. During Nixon’s campaign, his lunches had consisted of cottage cheese coated with ketchup. Andre’s work, which was not intended for sale, took up an area of 12 x 18 feet and consisted of 500 pounds of cottage cheese (about 10 inches deep), anointed with 10 gallons of ketchup. The show which opened at the Max Protech Gallery in Washington, DC on January 19, 1972, closed after one day because of the putrid smell which rapidly permeated the premises.

PHOTOGRAPHS | 109

111LYNN DAVIS (BORN 1945)Meroe, Sudan, 1998 Gelatin silver print, flush-mounted on board, printed 2005, signed, titled, dated, numbered ‘6/10’ in ink and credit reproduction limitation stamp on the flush-mount verso. 28 x 27 5/8in (71.1 x 70.2cm) sheet / flush-mount 40 x 30in (101.6 x 76.2cm)

$4,000 - 6,000


110 | BONHAMS

112LYNN DAVIS (BORN 1945)Sphinx, 1997 Gelatin silver print, flush-mounted on board, printed 1998, signed, titled, dated, numbered ‘4/10’ in ink and credit reproduction limitation stamp on the the flush-mount verso. 27 7/8 x 27 3/4in (70.8 x 70.5cm) sheet /flush-mount 40 x 30in (101.5 x 76.2cm)

$4,000 - 6,000


PHOTOGRAPHS | 111

113TSENG KWONG CHI (1950-1990)Selected images from “East Meets West”, 1979-1983 5 gelatin silver prints, 3 signed, dated and numbered ‘1/5’ by the artist in ink in the margin; each signed, titled, dated, annotated ‘Vintage’ in pencil/ ink by Muna Tseng, Estate Executor, and ‘Muna Tseng Dance Projects’ Estate stamp on the verso. (5) each 14 3/4 x 15in (37.5 x 38cm) sheet each 20 x 16in (50.8 x 40.6cm)

$10,000 - 15,000

112 | BONHAMS

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115

114

114 | BONHAMS

116

114BERENICE ABBOTT (1898-1991)Automat, New York, 1936 Gelatin silver print, printed later, signed in pencil on the mount; ‘Maine’ copyright credit reproduction limitation stamp on the mount verso. 10 1/4 x 13 5/8in (26 x 33.2cm) mount 16 x 20in (40.6 x 50.8cm)

$6,000 - 8,000

Literature Yochelson, Berenice Abbott: Changing New York, The New Press/ Museum of the City of New York, 1990, pl. 34

115BERENICE ABBOTT (1898-1991)Fifth Avenue Houses, Nos. 4, 6, 8, Manhattan, 1936 Gelatin silver print, printed later, signed in pencil on the mount. 10 1/8 x 13 1/8in (25.6 x 33.2cm) 16 x 20in (40.6 x 50.8cm)

$5,000 - 7,000

Literature Yochelson, Berenice Abbott: Changing New York, The New Press/ Museum of the City of New York, 1990, pl. 42

116WILLIAM KLEIN (BORN 1928)Wings of the Hawk, New York, 1955 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 18 x 12 1/2in (45.7 x 31.8cm) sheet 20 x 16in (50.8 x 40.6cm)

$2,000 - 3,000

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117JOHAN HAGEMEYER (1884-1962)San Francisco Skyline, 1949 Gelatin silver print, signed and dated in pencil on the mount. 4 3/4 x 6 1/4in (12 x 15.8cm) mount 18 x 14in (45.7 x 35.6cm)

$2,000 - 3,000

116 | BONHAMS

(actual size)

118WALKER EVANS (1903-1975)Manhattan skyline from Brooklyn, c. 1929 Gelatin silver contact print. 1 1/2 x 2in (3.8 x 5.1cm)

$7,000 - 9,000

When Walker Evans returned from Europe, he lived in Brooklyn near to the foot of the Bridge. Evans’s first published photographs were those he made of the Brooklyn Bridge, which were published in Hart Crane’s epic poem The Bridge.This print by Evans is a view of the Manhattan skyline taken from the bridge, dating from that same period.

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119

119MORRIS ENGEL (1918-2005)Rebecca, Harlem, 1947 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 10 1/8 x 13 3/8in (25.5 x 34cm) sheet 11 x 14in (28 x 35.5cm)

$2,000 - 3,000

Literature Cornic, Ruth Orkin, Morris Engel: Outside, Quand la photographie s’empare du cinema, Carlotta, 2014, pp. 100-101

120BRUCE DAVIDSON (BORN 1933)Selected images from “East 100th Street”, 1966-1968 34 gelatin silver prints, printed c. 1968, each with various notations, the majority with Davidson, Magnum NYC/ ABC Press copyright credit stamps on the verso. sheet each approximately 14 x 11in (35.5 x 28cm) or the reverse (34)

$40,000 - 60,000

Literature Davidson, East 100th Street, St. Ann’s Press, Los Angeles, 2003, for all of the images in this large group. For two years from 1966-1968, Bruce Davidson photographed one block in East Harlem. He went back day after day, standing on sidewalks, knocking on doors, asking permission to photograph what he found there - a face, a child, a room, a family. This was a radical project for the time. The resulting pictures were equally remarkable and arguably Davidson’s finest body of work.


118 | BONHAMS

120

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121

121WILLIAM KLEIN (BORN 1928)Gun I, New York, 1955 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 18 x 12 7/8in (45.7 x 32.7cm) sheet 20 x 16in (50.8 x 40.6cm)

$2,000 - 3,000

122WEEGEE (ARTHUR FELLIG) (1899-1968)Gunmen Killed by Off Duty Cop at 344 Broome Street, February 3, 1942 Gelatin silver print, mounted on board, ‘Credit Photo by Weegee’ stamp on the mount verso. 13 1/2 x 10 5/8in (34 x 27cm) mount 13 5/8 x 10 7/8in (34.8 x 27.6cm)

$10,000 - 15,000


120 | BONHAMS

122

PHOTOGRAPHS | 121

123HAROLD EDGERTON (1903-1990)“Ten Dye Transfer Photographs”, 1985 Littleton, Massachusetts: Palm Press, Inc., 10 dye transfer prints; each signed in pencil on the verso; image, each approximately 18 x 14in (45.7 x 35.7cm) or the reverse; sheet, each 20 x 16in (50.8 x 40.7cm) or the reverse; each framed; lacking the portfolio box.

$12,000 - 18,000

122 | BONHAMS

124 WDAVID DREBIN (BORN 1970)Eye, 2018 Archival pigment print, signed, titled and numbered ‘1/7’ in ink on an accompanying credit label. image/ flush-mount 61 x 48 1/2in (155 x 123.2cm)

$4,000 - 6,000

PHOTOGRAPHS | 123

125

126

124 | BONHAMS

125JAMES CASEBERE (BORN 1953)Four Flooded Arches from Center with Fog, 1999 Dye-bleach print, face mounted and mounted on Plexiglas, signed in ink on a gallery label affixed on the artist’s frame backing; one from the edition of 5 plus 2 AP. image/flush-mount, 30 x 40in (76.2 x 101.6cm); artist’s frame construction

$4,000 - 6,000

Provenance With Sean Kelly Gallery, New York; with Grant Selwyn Gallery, Beverly Hills

126BRETT WESTON (1911-1993)Lake Pátzcuaro, Mexico, 1973 Gelatin silver print, printed 1976, signed and dated in pencil on the mount. 13 ¼ x 15in (33.6 x 38.1cm)

$1,800 - 2,200

Literature Brett Weston: Photographs from Five Decades, Aperture, 1980, p. 120


127OLAFUR ELIASSON (BORN 1967)Untitled, numbers 56, 66 and 67 from the series “Iceland” , 2004 3 archival pigment prints, each flush-mounted on aluminum, each signed in ink on a gallery affixed on the frame backing. image/ flush-mount each 23 5/8 x 35 1/2in (60 x 90.2cm)

$9,000 - 12,000

Provenance With Tanya Bonakdar Gallery, New York

127

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128WILLIAM EGGLESTON (BORN 1939)Near Minter City and Glendora, Mississippi, c. 1969-1970 Chromogenic print, signed in ink on the verso. 8 3/4 x 13in (22.3 x 33cm) sheet 11 x 14in (27.8 x 35.5cm)

$10,000 - 15,000

Literature Szarkowski, William Eggleston’s Guide, The Museum of Modern Art/ MIT Press, Cambridge, 1976, p. 54; William Eggleston: The Democratic Camera, Photographs and Video, 1961-2008, Whitney Museum of American Art, 2009, pl. 12, p. 51

126 | BONHAMS

129LEE FRIEDLANDER (BORN 1934)Knoxville, Tennessee, 1971 Gelatin silver print, printed 1973, signed, titled, dated, negative notation ‘79-6’ in pencil, copyright credit reproduction limitation and date stamps on the verso. 7 3/8 x 11 1/8in (18.7 x 28.2cm) sheet 11 x 14in (27.8 x 35.5cm)

$3,000 - 5,000

Provenance With Light Gallery, New York

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130BARBARA KASTEN (BORN 1936)Construct NYC-9, 1983 Dye-bleach print, signed, titled, dated and numbered ‘5/6’ in pencil on the verso. sheet 40 x 30in (101.6 x 76.2cm)

$5,000 - 7,000

128 | BONHAMS

131GYORGY KEPES (1906-2001)Untitled, n.d Unique gelatin silver print with paint handwork, flush-mounted. image/ flush-mount 19 5/8 x 15 1/2in (49.7 x 39.3cm)

$2,500 - 3,500

Provenance Gift from the artist to a former student; by bequest to the present owner

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132

133

130 | BONHAMS

134

132LUIS GONZÁLES PALMA (BORN 1957)Las Sombras de Su Niñez (The Shadows of His Youth), from “Jerarquías de Intimidad, La Separación”, 2004 Mixed media diptych with Kodalith film, gold leaf and red pepper embedded in resin; the first panel signed and each annotated ‘AP 1/3’ in ink on the flush-mount verso. image/ flush-mount, each 33 1/2 x 34 1/4in (85.1 x 87cm)

$5,000 - 7,000

Provenance With the Schneider Gallery, Chicago; to a private collection, 2009; Bonhams New York: Tuesday, April 29, 2014, lot 89; to a private collection

133EDWARD S. CURTIS (1868-1952)The Vanishing Race, 1904 Orotone, signed in the image. 11 x 13 1/2in (28 x 34.3cm); original Curtis Studio frame

$5,000 - 7,000

134EDWARD S. CURTIS (1868-1952)Maid of Dreams, 1909 Orotone. 10 x 8in (25.5 x 20.3cm); Curtis Studio frame

$3,000 - 5,000

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137

135BILL BRANDT (1904-1983)Barbary Castle, Marlborough Downs, Wiltshire, 1948 Gelatin silver print, printed later, signed in ink on the mount. 13 1/2 x 11 3/8in (34.3 x 28.8cm) mount 20 x 16in (50.8 x 40.6cm)

$2,000 - 3,000

Literature Bill Brandt: Shadow of Light, Da Capo Press, 1977, p. 109

136RICHARD MISRACH (BORN 1949)Salton Sea, 1983 Chromogenic print, printed 1984, signed, titled and dated in ink on the verso. 7 3/4 x 9 3/4in (19.7 x 24.8cm) sheet 8 1/2 x 11in (21.5 x 27.9cm)

$2,000 - 3,000

137RICHARD MISRACH (BORN 1949)Untitled, Santa Barbara, Stonewall, 1984 Chromogenic print, printed 1988, signed, titled, dated and numbered ‘7/25’ in ink in the margin. 18 1/4 x 22 7/8in (46.3 x 58.2cm) sheet 20 x 24in (50.8 x 61cm)

$3,000 - 5,000

132 | BONHAMS

139

138

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138


138WOLFGANG TILLMANS (GERMAN, 1968)New Family, 2001 Chromogenic print, printed 2002, signed, titled, dated and numbered ‘7/10 + 1’ in pencil on the verso. 10 1/2 x 16in (26.7 x 40.6cm) sheet 12 x 16in (30.5 x 40.6cm)

$2,000 - 3,000

139 WJÖRN VANHÖFEN (BORN 1961)Gotthard #2754, 2008-2010 Chromogenic print, flush-mounted, signed and numbered ‘2/5’ in ink on the accompanying gallery label. (2) 41 3/8 x 51 1/4in (105 x 130.1cm) sheet / flush-mount 48 x 57 3/4in (121.9 x 146.6cm)

$6,000 - 8,000

140 WJÖRN VANHÖFEN (BORN 1961)Südafrika #883, 2008 Chromogenic print, flush-mounted, signed and numbered ‘1/5’ in ink on the accompanying gallery label. 41 3/8 x 51 1/4in (105 x 130.1cm) sheet / flush-mount 48 x 57 3/4in (121.9 x 146.6cm)

$3,000 - 5,000

134 | BONHAMS

139

140

PHOTOGRAPHS | 135

141WALKER EVANS (1903-1975)Main Street of a Pennsylvania Town, 1935 Gelatin silver print, Evans/ ‘Farm Security Administration’ credit and ‘Lunn Archive’ stamps on the verso. 9 1/2 x 7 3/8in (24.2 x 18.7cm)

$2,500 - 3,500

Provenance With Prakapas Gallery, New York, acquired 1978 Literature Walker Evans: American Photographs, The Museum of Modern Art, New York/ Harry N. Abrams, Inc., 50th Anniversary Edition, 1988, pl. 28

136 | BONHAMS

142JOEL STERNFELD (BORN 1944)Joseph, Utah, June 1983 Chromognic print, printed March 1988, signed, titled, dated and numbered ‘7/100’ in ink on the verso. 13 1/2 x 17in (34.2 x 43.2cm) sheet 16 x 20in (40.6 x 50.8cm)

$1,500 - 2,000

PHOTOGRAPHS | 137

143 (actual size)

143MARJORIE CONTENT (1895-1984)Salvation Army Band, c. 1928 Gelatin silver print, signed and dated in pencil on the verso. 3 7/8 x 2 7/8in (10 x 7.2cm)

$4,000 - 6,000


Marjorie Content rarely published and never exhibited her photographs. For over fifteen years she secretly photographed her surroundings, creating a series of unique and exquisite contact prints that remained unknown even to close friends Alfred Stieglitz and Georgia O’Keeffe. Her work seldom appears at auction.

144ILSE BING (1899-1998)Street Musicians, Frankfurt, 1932 Gelatin silver print, initialed and dated in ink on the recto; titled, dated in pencil, credit and date stamp on the verso; accompanied by the original mount with credit and date stamp. 11 x 8 1/4in (28 x 21cm)

$7,000 - 9,000


138 | BONHAMS

144

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145BERND AND HILLA BECHER (GERMAN, 1931-2007 AND 1934-2017)Fördertürme (Winding Towers), 1966-1968 16 gelatin silver prints, each numbered consecutively ‘1-13’, ‘15-17’ in pencil and credit stamp on the verso. sheet: each 12 1/8 x 16in (30.7 x 40.6cm)

$50,000 - 70,000

Provenance The Collection of Luc Van Malderen; to a private European collection In 1957, Bernd Becher began taking photographs of industrial buildings in West Germany. The same year, he met Hilla Wobeser, who had also spent time photographing the country’s industrial regions. Knowing that much of the infrastructure of these areas would not survive the impending collapse of Germany’s coal and steel markets, they set out to document the buildings and machines of a disappearing economy. Winding Towers exemplifies their approach: the metal structures (which maneuver equipment into the mine shafts below) are framed in a uniform manner, with no workers in sight.

As Bernd once commented, “the winding towers . . . look very similar, and you could think that they came from a production series, like cars. Only when you put them beside each other do you see their individuality.” The Bechers’ first solo gallery exhibition in North America was held in 1972 at Sonnabend Gallery and included several groups of winding towers as well as photographs of water towers, silos, and gas storage tanks. (The Museum of Modern Art, New York) Luc Van Malderen (1930-2018), the original owner of this substantial group of photographs by the Bechers, was an photographer, graphic designer and scholar. His photographs, largely of the Belgian industrial landscape, can be seen in two books, Architectures Industrielles en Belgique et Ailleurs (Labor, 1990/1992) and Archéologie Industrielle Belgique (Éditions Racine, 2002). He directed the department of Visual Communications at ENSAV La Cambre in Brussels from 1962 to 1994 and also taught at a number of universities, mainly in the US. His photographs of Architectures Industrielles were exhibited at the Museum of Photography in Charleroi, Belgium in 1993.

140 | BONHAMS

PHOTOGRAPHS | 141

146

147

142 | BONHAMS

148

146PETER TURNLEY (BORN 1955)Paris; and Café Lacour, Paris, 1976 2 gelatin silver prints, printed later by Voja Mitrovic, each signed in ink in the margin; each with printer credit in pencil on the verso (2) each 14 x 21in (35.5 x 53.3cm) or the reverse sheet 20 x 24in (50.8 x 61cm)

$2,500 - 3,500

Voja Mitrovic is a celebrated printer who worked at Pierre Gassman’s Picto Lab in Paris making master prints for a host of celebrated photographers such Henri Cartier-Bresson and Josef Koudelka. Provenance Acquired directly from the artist

147ANDRÉ KERTÉSZ (1894-1985)Stairs of Montmartre, Paris, 1925 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 7 3/4 x 9 3/4in (19.7 x 24.8cm) sheet 8 x 10in (20.3 x 25.4cm)

$6,000 - 8,000

Literature Corkin, André Kertész: A Lifetime of Perception, Andalusian Books, 1982, p. 25; Phillips, Travis and Naef, André Kertész: Of Paris and New York, Thames and Hudson, 1985, fig, 2, pp. 59 and 155

148WALKER EVANS (1903-1975)Main Street, Saratoga Springs, New York, Gelatin silver print, printed c. 1978, annotation ‘Posthumous print from Evans’ original negative c. 1978 by Amos Chan for the Walker Evans Estate’ by John T. Hill, Estate Executor, in pencil on the verso. 8 1/8 x 6 3/8in (20.6 x 16.2cm) sheet 13 x 9 1/2in (33 x 24.1cm)

$5,000 - 7,000

Literature Kirstein, Walker Evans: American Photographs, Museum of Modern Art, New York, 1938, part II, pl. 34; Thompson, Walker Evans at Work, Thames and Hudson, 1984, p. 62

PHOTOGRAPHS | 143

149

150

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151

149EDOUARD-DENIS BALDUS (1813-1882)L’Église de St. Trophime, Arles; and Saint Eustache, c. 1860 2 albumen prints, each with facsimile signature credit stamp, the first with printed title and plate number ‘54’ on the mount; the second titled in pencil on the mount verso. (2) each approximately 11 1/8 x 8 5/8in (28.2 x 21.9cm) mount, each approximately 17 3/8 x 13 3/8in (44 x 34cm)

$2,000 - 3,000

Provenance With Weston Gallery, Carmel (St. Trophime)

150EDOUARD-DENIS BALDUS (1813-1882)Nôtre-Dame de Paris, c. 1852 Salted paper print, facsimile signature credit stamp on the mount. 12 5/8 x 17 1/2in (32 x 44.4cm) mount 18 3/4 x 24 1/2in (47.5 x 62.2cm)

$800 - 1,200

151EUGÈNE ATGET (1857-1927)Olivier, c. 1900 Printing out paper, titled, notation ‘#157’ in an unknown hand in pencil, Atget credit and ‘Berenice Abbott Collection’ stamp on the mount verso. 8 7/8 x 6 3/4in (22.5 x 17.2cm) mount 14 1/2 x 11 3/8in (36.8 x 28.8cm)

$2,500 - 3,500

Provenance With Carlton Gallery, New York, acquired 1980

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152

152GEORGE HOYNINGEN-HUENE (1900-1968)Fashion by Lelong, Paris (Virginia Kent and Peggy Leaf), 1934 Platinum-palladium print, printed later, Hoyningen-Huene/ Horst copyright blindstamp in the margin; signed, titled, dated, numbered ‘3/27’ by Ricky Horst, Estate Executor in pencil and Estate stamps on the verso. 20 x 14 7/8in (50.8 x 36.5cm) sheet 24 x 20in (50.8 x 61cm)

$3,000 - 5,000

Provenance With Fahey Klein Gallery, Los Angeles

153PETER LINDBERGH (1944-2019)Mathilde on Eiffel Tower (Homage to Marc Riboud), Paris (“Rolling Stone” negative), 1989 Gelatin silver print, signed, titled and dated in pencil on the verso. 17 3/8 x 13 3/4in (44.2 x 34.9cm) sheet 24 x 20in (61 x 50.8cm)

$10,000 - 15,000


146 | BONHAMS

153

PHOTOGRAPHS | 147

154HECTOR ACEBES (1921-2017)Woman, Benin, 1953 Gelatin silver print, printed later, signed in pencil on the verso. 22 1/4 x 18 1/8in (56.4 x 46cm) sheet 24 x 20in (61 x 50.8cm)

$2,500 - 3,500

148 | BONHAMS


155SERGIO LARRAIN (1931-2012)Bolivia, Potosi, 1957-1958 2 gelatin silver prints, printed later, each with Larrain/ Magnum copyright credit stamps on the verso. (2) Each 14 x 9 1/4in (35.5 x 23.5cm) sheet each 16 x 12in (40.6 x 30.5cm)

$3,000 - 5,000

PHOTOGRAPHS | 149

156

150 | BONHAMS

157

156RONNY JAQUES (1910-2008)Marlon Brando as Stanley Kowalski in “A Streetcar Named Desire”, for “Harper’s Bazaar”, 1948 Unique vintage gelatin silver print, flush-mounted, signed, titled, dated and annotated ‘vintage print’ in ink on the flush-mount verso. 12 x 10 5/8in (30.5 x 27cm) sheet / flush-mount 14 x 10 5/8in (35.5 x 27cm)

$2,000 - 3,000

Provenance Christie’s, London, November 2, 2010, lot 124; with Michael Hoppen Gallery, London

157EVE ARNOLD (1913-2012)Bar Girl, Havana, 1954 Gelatin silver print, printed later, signed, titled, dated and inscribed in pencil on the verso. 12 1/4 x 17 1/8in (31.1 x 43.3cm) sheet 16 x 20in (40.6 x 50.8cm)

$2,000 - 3,000

ProvenanceAcquired from the artist

PHOTOGRAPHS | 151

158MARTIN H.M. SCHREIBER (BORN 1946)Madonna, Studio at 22nd Street, NYC, 1979 5 gelatin silver prints, 2 with credit blindstamp on the recto; each signed, titled and dated in ink on the mount. (5) each 12 3/4 x 15 3/8in (32 x 39cm) sheet each 16 x 20in (40.5 x 50.8cm) mount each approximately 17 1/2 x 25 1/4in (44.5 x 63.8cm)

$6,000 - 8,000

152 | BONHAMS

159DIANE ARBUS (1923-1971)Mia Villiers Farrow on a bed, 1964 Gelatin silver print, printed later by Neil Selkirk, stamped ‘ A Diane Arbus photograph’, signed, titled, dated, numbered ‘9/75’ by Doon Arbus, Estate Administrator, in ink and Estate copyright credit reproduction limitation stamps on the verso. 14 x 14 1/4in (35.5 x 36.2cm) sheet 20 x 16in (50.8 x 40.6cm)

$10,000 - 15,000

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160

160RANKIN (BORN 1966)Kate Moss, 1990s Gelatin silver print, signed in ink on the verso. 20 x 16 1/2in (50.8 x 41.9cm) sheet 24 x 20in (61 x 50.8cm)

$4,000 - 6,000

Literature Rankin, Nudes, Vision On Publishing Ltd., 1999, cover (cropped version)

161TERRY O’NEILL (1938-2019)Brigitte Bardot (with cigar), Spain, 1971 Gelatin silver print, printed later, signed and numbered ‘33/50’ in ink in the margin. 14 x 9 1/4in (35.5 x 23.5cm) sheet 16 x 12in (40.6 x 30.5cm)

$8,000 - 12,000

Literature Gill, Celebrity: The Photographs of Terry O’Neill, Little Brown & Co., 2003, p. 21

154 | BONHAMS

161

PHOTOGRAPHS | 155

168

156 | BONHAMS

163

162WILLIAM KLEIN (BORN 1928)Smoke + Veil, Paris (“Vogue”), 1958 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 17 3/4 x 12 1/2in (45 x 31.7cm) sheet 20 x 16in (50.8 x 40.6cm)

$3,500 - 4,500


163LOTTE JACOBI (1896-1990)Head of the Dancer Niuta Norskaya, 1929 Gelatin silver print, printed later, signed in ink in the margin. 10 x 12 1/2in (25.5 x 31.7cm) sheet 11 x 14in (28 x 35.5cm)

$2,000 - 3,000

Provenance With Robert Miller Gallery, New York

PHOTOGRAPHS | 157

164

165

158 | BONHAMS

166

164DAVID BAILEY (BORN 1938)“Box of Pinups”, 1965 Weidenfield and Nicolson, London, 24 of 36 half-tone prints; lacking box. each approximately 14 1/2 x 12 1/2in (36.5 x 31.5cm) or the reverse

$800 - 1,200

165JAN SAUDEK (BORN 1935)Untitled (Father and child), nd Gelatin silver print, signed in ink on the recto. 10 3/4 x 11 1/2in (27.3 x 29.2cm) sheet 11 1/4 x 14in (28.5 x 35.5cm)

$1,000 - 1,500

166BOB GRUEN (BORN 1945)“Love is Real: Photographs of John Lennon and Yoko Ono”, 1990 Self Published, 6 gelatin silver prints, each signed, titled, dated and numbered ‘2/75’ in ink in the margin; image, each 12 7/8 x 17in (32.7 x 43.2cm) or the reverse, sheet, each 16 x 20in (40.5 x 50.8cm) or the reverse; colophon, signed in ink; clamshell portfolio box.

$6,000 - 8,000

PHOTOGRAPHS | 159

167

160 | BONHAMS

167

167FLIP SCHULKE (1930-2008)(Muhammad) Ali Underwater, 1961 Gelatin silver print, printed c. 2002, signed, dated ‘Feb. 8, 2002’ and inscribed ‘Good luck, keep shooting!’ in pencil on the verso. 18 3/4 x 12 5/8in (47.6 x 32.1cm) sheet 20 x 16in (50.8 x 40.6cm)

$3,000 - 5,000



168BRUCE WEBER (BORN 1946)Ricky Womack, Boxer; and Peter Schifrin, Fencer, Colorado Sports Festival, 1983 2 gelatin silver prints, each signed, titled and dated in pencil on the verso. each 13 1/4 x 10 1/4in (33.5 x 26cm) sheet 14 x 11in (35.5 x 27.9cm)

$2,000 - 3,000

Provenance Acquired directly from the artist

PHOTOGRAPHS | 161

169

162 | BONHAMS

170 (actual size)

169GEORGE HOYNINGEN-HUENE (1900-1968)Divers, Paris, 1932 Platinum-palladium print, printed later, credit, title, date and annotation ‘From the collection of Horst’ by Horst P. Horst in pencil on the verso. 9 7/8 x 7 1/2in (26 x 19.1cm) sheet 14 x 11in (35.6 x 28cm)

$9,000 - 12,000

170MORTIMER OFFNER (1900-1965)Ethel Barrymore, 1930s Gelatin silver print, embossed credit stamp in the margin; sitter and artist credit stamps on the verso. 4 7/8 x 3 7/8in (12.5 x 9.8cm) sheet 10 x 8in (25.4 x 20.2cm)

$1,000 - 1,500

Mortimer Offner was a student at the Clarence White School of Photography in New York. Fascinated by the stage, he later became a celebrity portraitist, finding patrons among contemporary stars of the Broadway stage, including Ethel Barrymore, pictured here. In June 1930, Offner was sent to the west coast by Vanity Fair to make portraits of Hollywood stars. There, however, he turned his talents to screenwriting and enjoyed a successful career until blacklisted for his leftist political views.

PHOTOGRAPHS | 163

171EVE ARNOLD (1913-2012)Marilyn Monroe: A happy day on location, “The Misfits”, 1960 Gelatin silver print, printed later, signed in ink in the margin; signed, titled and dated in pencil on the verso. 13 5/8 x 9in (34.5 x 22.8cm) sheet 14 x 11in (35.5 x 28cm)

$2,000 - 3,000

164 | BONHAMS

172JOE SHERE (1917-2008)Jayne Mansfield and Sophia Loren at Romanoff’s, Beverly Hills, c. 1958 Gelatin silver print, printed later, signed, titled and dated in pencil on the verso. 9 1/4 x 9 3/4in (23.5 x 24.7cm) sheet 14 x 11in (35.5 x 28cm)

$2,000 - 3,000


PHOTOGRAPHS | 165

173

173HORST P. HORST (1906-1999)Hands (Lisa) with Flask and Flowers, New York, 1941 Gelatin silver print, printed later; embossed signature stamp in the margin, signed, titled and dated in pencil on the verso. 11 1/2 x 8 3/4in (29.2 x 22.4cm) sheet 14 x 11in (35.5 x 28cm)

$2,500 - 3,500

Provenance Acquired from the artist Literature Kazmaier, Horst: Sixty Years of Photography, Rizzoli, New York, 1991, p. 52

174IRVING PENN (1917-2009)Valentina Nicholaevna Sanina Schlee, Fashion Designer, c. 1947-1948 Gelatin silver print, Penn/ Condé Nast copyright credit reproduction limitation stamps on the verso. 9 1/2 x 7 1/2in (24.1 x 19cm) 10 x 8in (25.4 x 20.2cm)

$8,000 - 12,000

Valentina Nicholaevna Sanina Schlee (1899-1989) was Russian emigre who became a successful fashion designer in the US. Known by her first name, she counted amoung her clients glamorous Hollywood stars such as Greta Garbo, Katharine Hepburn, Mary Martin, Gloria Swanson, Paulette Goddard, Rosalind Russell and Norma Shearer. Valentina was her own best publicist, wearing clothes with a bravado that made other women want to buy them. According to fellow designer Bill Blass, ‘She made many wonderful clothes, but nobody looked as well in them as she did.’

166 | BONHAMS

174

PHOTOGRAPHS | 167

175GEORGE HURRELL (1904-1992)Anna Mae Wong, 1934 Gelatin silver print, printed later, signed and numbered ‘99/110’ in ink in the margin. 13 3/8 x 10 1/4in (34 x 26cm) sheet 14 x 11in (35.5 x 28cm)

$1,500 - 2,500


168 | BONHAMS

176ALBERT WATSON (BORN 1942)Christy Turlington, New York City, 1990 Gelatin silver print, mounted on board, signed, titled and dated ‘10/25’ in pencil on the mount verso. image 19 3/4 x 15 5/8in (50.2 x 39.7cm) mount 20 1/4 x 16 1/4in 51.5 x 41.6cm)

$4,000 - 6,000


END OF SALE

PHOTOGRAPHS | 169

170 | BONHAMS

Index of Artists

AAbbott, Berenice 114, 115Acebes, Hector 154Adams, Ansel 6, 7, 8Andre, Carl 110Arbus, Diane 44, 159Arndt, Tom 49Arnold, Eve 157, 171Atget, Eugène 151Avedon, Richard 72

BBailey, David 164Baldus, Edouard-Denis 149, 150Barbey, Bruno 80Beard, Peter 2, 3Beaton, Cecil 87Becher, Bernd and Hilla 145Bellmer, Hans 63Bernhard, Ruth 12Bing, Ilse 144Brandt, Bill 96, 135Brandt, Nick 1, 4, 5Brassaï 24, 62, 97Bravo, Manuel Alvarez 82

CCallahan, Harry 23Cartier-Bresson, Henri 83, 91, 92Casebere, James 125Charles Jones 27Chi, Tseng Kwong 113Content, Marjorie 143Curtis, Edward S. 133, 134

DDambier, Georges 88Davidson, Bruce 36, 100, 101, 102, 120Davis, Lynn 111, 112Disfarmer, Mike 95Drebin, David 107, 124Drtikol, František 64

EEdgerton, Harold 89, 109, 123Eggleston, William 79, 106, 128Eliasson, Olafur 127Engel, Morris 119Erwitt, Elliott 30, 33, 105Evans, Walker 20, 39, 40, 41, 118, 141, 148

FFaurer, Louis 45Franck, Martine 75Frank, Robert 98, 103Friedlander, Lee 129Funke, Jaromír 42

GGigli, Ormond 50, 54Gruen, Bob 166

HHaas, Ernst 104Hagemeyer, Johan 117Hamilton, John R. 74Heinecken, Robert 57, 58Helburn, William 52Hine, Lewis Wickes 94Horst, Horst P. 173Horvat, Frank 53Hoyningen-Huene, George 152, 169Hurrell, George 175

JJacobi, Lotte 163Jaques, Ronny 156Johnson, Larry 71Johnston, John Dudley 61

KKasebier, Gertrude 86Kasten, Barbara 130Kepes, Gyorgy 131Kertész, André 16, 35, 147Klein, William 43, 116, 121, 162Koudelka, Josef 34

LLaChapelle, David 48Larrain, Sergio 155Laughlin, Clarence John 46Levinthal, David 78Lindbergh, Peter 153

MMann, Sally 15Mark, Mary Ellen 18McCurry, Steve 85Metzker, Ray K. 21, 56Misrach, Richard 136, 137Muniz, Vik 22Muybridge, Eadweard 55

NNewton, Helmut 67

OO’Neill, Terry 73, 161Offner, Mortimer 170Orkin, Ruth 17

PPalma, Luis Gonzáles 132Parkinson, Norman 32Penn, Irving 26, 29, 60, 174Pettibone, Richard 68, 69, 70Prager, Alex 77

RRankin 160Riboud, Marc 84Rohde, Werner 37

SSalgado, Sebastião 25Saudek, Jan 165Schatt, Roy 90Schreiber, Martin H.M. 158Schulke, Flip 168Serrano, Andres 81Shahn, Ben 93Shere, Joe 172Shulman, Julius 108Sokolsky, Melvin 31Steiner, Ralph 66Sternfeld, Joel 142Struss, Karl 65

TTillmans, Wolfgang 28, 59, 76, 138Tunick, Spencer 51Turnley, Peter 146

VVanhöfen, Jörn 139, 140

WWatson, Albert 176Weber, Bruce 167Weegee (Arthur Fellig) 38, 122Weston, Brett 10, 14, 126Weston, Edward 9, 11, 13, 19Witkin, Joel-Peter 47

Glossary of Terms for Photographs

PHOTOGRAPHS | 171

The following are examples of the terminology used in this catalog. Please note that all statements made in this catalog are made subject to the provisions of the Condition of Sale and Buyer’s Guide printed in the catalog:

NAME OF THE ARTIST Subject to the Conditions of Sale and Terms of Guarantee, each lot is guaranteed to be the work of the photographer or author whose name appears in Bold Type Heading.

TITLES Generally accepted titles for photographs have been put in italics; in other cases, descriptive titles have been used.

PRINTS An early print is one made at roughly the same time as the negative by the photographer or by a person or procedure satisfactory to the photographer. The negative dated indicates the date that the negative, positive, digital file or other method was exposed. When there is a difference between the negative date and the date of printing, the later date follows the description of the photographic process.

In accordance with the Conditions of Sale, Bonhams does not guarantee the printing date of a photograph. Bonhams also does not undertake scientific testing in order to formulate our opinions on the dating of a positive print.

MEASUREMENTS Measurements are given height preceding width rounded to the nearest eighth of an inch.

COPYRIGHT Bonhams wishes to make clear that all lots are sold without copyright. Images may not be reproduced without the express written permission of the copyright holder.

CONDITION The general practice is not to indicate condition or defects. Exceptions are on a strictly ad hoc basis and have no implication for the balance of the lots. Prospective bidders are urged to inspect lots or condition reports on www.bonhams.com. Notwithstanding any condition reports or catalog descriptions provided, all lots are offered and sold ‘AS IS’ in accordance with Bonhams’ Conditions of Sale.

FRAMING All photographs are sold unframed unless stated in the condition report description. Photographs described as framed are sold in the frames in which they have been offered. Bonhams does not take responsibility for the appearance of the frames or for their conformity to proper standard of conservation.

The Jacob CollectionThe Property of an Important Swiss CollectorNew Bond Street, London | 22 April 2020

ENQUIRIES+44 (0) 20 7468 [email protected]/privatecollections

* For details of the charges payable in addition to the fi nal hammer price, please visit bonhams.com/buyersguide

PAUL OUTERBRIDGE JR. (AMERICAN, 1896-1958)Nude£40,000 - 60,000 *

To be sold without reserve

Built over three decades, the collection spans over three thousand years from Egyptian and Roman antiquities to 20th century design.

INQUIRIES+1 (917) 206 1653 [email protected] bonhams.com/photos

New York, A Wonderful TownPhotographs from the Peter Fetterman CollectionNew York | 4 June 2020

EDOUARD BOUBATLe Pont de Brooklyn, 1982Gelatin silver print12 x 16in$4,000 - 6,000

© 2020 Bonhams & Butterfields Auctioneers Corp. All rights reserved. NYC DCA Auction House License No. 2077070

The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom Bonhams acts as agent. By participating in this sale, you agree to be bound by these terms and conditions.If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the buyer. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the buyer (the “buyer’s premium”), EQUAL TO 27.5% OF THE FIRST $3,000 OF THE BID PRICE, 25% OF THE AMOUNT OF THE BID PRICE ABOVE $3,000 UP TO AND INCLUDING $400,000, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $400,000 UP TO AND INCLUDING $4,000,000, AND 13.9% OF THE AMOUNT OF THE BID PRICE OVER $4,000,000, and (c) unless the buyer is exempt by law from the payment thereof, any Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Minnesota, Nevada, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Rhode Island, Texas, Utah, Virginia, Washington, D.C., Washington , Wisconsin, Wyoming or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.2. In order to bid at the sale, prospective bidders must submit to Bonhams a completed bidder registration form (appearing at the end of this catalog) and any other requested information or references. New bidders and bidders who have not recently updated their registration information must pre-register to bid at least two business days before the sale. Individuals will be required to provide government-issued proof of identity and proof of address. Entity clients will be required to provide documentation including confirmation of entity registration showing the registered name, confirmation of registered address, documentary proof of officers and beneficial owners, proof of authority to transact on behalf of the entity and government-issued proof of identity for the individual who is transacting on the entity’s behalf. We may also request a financial reference and /or deposit from bidders before approving the bidder registration. In the event a deposit is submitted and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price.We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder.Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the

acceptance of a bid. Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances.3. You represent and warrant that: (i) you have provided us with true and correct copies of valid identification and proof of residence and, if applicable, financial and/or corporate documents; (ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to paragraph 2 above), nor any individual or entity with a beneficial or ownership interest in either or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions; (iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request; (vi) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud.You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties. 4. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment.We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record. Once an invoice is issued, we cannot change the buyer’s name on an invoice.Payment for purchases must be made in the currency in which the sale is conducted and may be made in or by (a) cash, up to the amount of US $5,000 (whether by single or multiple related payments), or the equivalent in the currency in which the sale is conducted, (b) cashier’s check or money order, (c) personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card, provided that the registered bidder or buyer’s name is printed on the card. A processing fee will be assessed on any returned checks. To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the

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Conditions of sale

buyer, in our possession. We also retain all rights of a secured party under the California Commercial Code, and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the consignor by law, we may at our election: (a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the consignor arising out of the buyer’s breach; (b) cancel the sale, retaining as liquidated damages all payments made by the buyer; and/or (c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer. If all fees, commissions, premiums, bid prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.5. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.6. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder, re-open the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.We further reserve the right to cancel the sale of any property if (i) you are in breach of your representations and warranties as set forth in paragraph 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the consignor to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.7. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.8. All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The reserve is the confidential minimum bid price at which such lot will be sold and it does not to exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If the auctioneer determines that any opening or subsequent bid is below the reserve for a lot, (s)he may reject such

opening bid and withdraw the item from sale. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.9. Other than as provided in the Limited Right of Rescission with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the consignor shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of this catalog. If not so removed, daily storage fees will be payable to us by the buyer as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s entire risk, as are the identification, application for, and cost(s) of obtaining of any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots.For an additional fee, Bonhams may provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the consignor make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of Property.12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection. By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology.13. These Conditions of Sale shall bind the successors and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the

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Conditions of sale - continued

rest shall remain valid and enforceable.14. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of California. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth below.15. You accept and agree that Bonhams will hold and process your personal information and may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available at website at www.bonhams.com/legals/. If you desire access, update, or restriction to the use of your personal information, please email [email protected]. SALES AND USE TAXNew York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business. Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freight-forwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.MEDIATION AND ARBITRATION PROCEDURES(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set

forth findings of fact and legal conclusions.(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:(i) the arbitration shall occur within 60 days following the selection of the arbitrator;(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and(iii) discovery and the procedure for the arbitration shall be as follows:(A) All arbitration proceedings shall be confidential;(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;(C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.LIMITED RIGHT OF RESCISSIONIf within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the BOLD TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.If, prior to receiving such notice from the original buyer alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the consignor to pay the balance of the original purchase price to the original buyer. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original buyer our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.


NY/MAIN/3.2020

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The buyer hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the BOLD TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the BOLD TYPE heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

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

Buyer’s guide

BIDDING & BUYING AT AUCTIONWhether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (212) 644 9001.CatalogsBefore each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.PreviewsAuction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.EstimatesBonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on

previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.ReservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value. Auction House’s Interest in Property Offered at AuctionOn occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).Bidding at AuctionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

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

By bidding at auction, whether in person or by agent, by


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absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever.In PersonIf you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.Absentee BidsAs a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, at offsite auction locations, and at our San Francisco, Los Angeles and New York galleries.By Telephone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale. OnlineWe offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.Bid IncrementsBonhams generally uses the following increment multiples as bidding progresses: $50-200 ...........................................by $10s $200-500 .........................................by $20/50/80s $500-1,000 ......................................by $50s $1,000-2,000...................................by $100s $2,000-5,000...................................by $200/500/800s $5,000-10,000… .............................by $500s $10,000-20,000 ..............................by $1,000s $20,000-50,000 ..............................by $2,000/5,000/8,000s $50,000-100,000 ............................by $5,000s $100,000-200,000 ..........................by $10,000s above $200,000 ..............................at auctioneer’s discretionThe auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

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

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.Sales TaxResidents of states listed in Paragraph 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed in the Conditions of Sale. If you wish to use your resale license please contact Cashiers for our form.Shipping & RemovalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.Collection of PurchasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.Handling and Storage ChargesPlease note that our office has requirement for freight elevator usage. Please contact us to schedule an elevator appointment for pickup of any large or awkward items. On Tuesday 14 April oversized lots (noted as W next to the lot number and/or listed on page 179) will be sent to Door to Door Services where transfer and full value protection fees will be immediately applicable. Storage charges will begin accruing for any lots not collected within 10 business days of the date of auction. All other sold lot will be retained in Bonhams Gallery until Tuesday 14 April. Collection of lots will be by appointment only.Please call +1 (212) 644 9001 at least 24 hours in advance to makean appointment.Storage charges of $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction. Bonhams Reserve the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense.Further transfer, handling, storage and full value protection fees will apply if move to a warehouse of our choice.Auction ResultsAll you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

Buyer’s guide - continued

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COLLECTION & STORAGE AFTER SALE

Please note that all oversized lots listed below and marked with a W in the catalogue will be removed to the warehouse of Door to Door Services herein referred to as Door To Door on Tuesday 14 April. Lots not so listed will remain at Bonhams.

W LOTS WILL BE AVAILABLE FOR COLLECTION FROM DOOR TO DOOR BEGINNING AT 9AM ET ON WEDNESDAY 15 APRIL.

AddressDoor To Door Services 50 Tannery Rd #8ASomerville, NJ 08876

Lots will be available for collection 24hrs following transfer to Door to Door every business day from 9am to 5pm ET.

Collections appointments must be booked 24 hours in advance (subject to full payment of all outstanding amounts due to Bonhams and Door To Door) by contacting Door To Door at1-908-707-0077 ext 2070

HANDLING & STORAGE CHARGES

Please note: For sold lots removed to Door To Door there will be transfer and Full value protection charges but no storage charge due for lots collected by Tuesday 21 April. For sold lots that remain at Bonhams, there will be no storage charge for lots collected within 14 days of the sale date.

The per-lot charges levied by Door To Door Services are as follows (plus any applicable sales tax):

FURNITURE/LARGE OBJECTSTransfer .................. $75Daily storage........... $10Insurance (on Hammer + Premium + tax) 0.3%

SMALL OBJECTSTransfer ................. $37.50Daily storage........... $5Insurance (on Hammer + Premium + tax) 0.3%

Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070+1 908 707 0011 (fax)[email protected]

For more information and estimates on domestic and International shipping Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070+1 908 707 0011 (fax)[email protected]

PAYMENT

All amounts due to Bonhams and all charges due to Door To Door Services must be paid by the time of collection of the property from their warehouse.

TO MAKE PAYMENT IN ADVANCETelephone +1 (908) 707 0077 ext 2070 to ascertain the amount due, payable by cash, check, or credit card.

PAYMENT AT TIME OF COLLECTIONMay be made by cash, check, or credit card.

Lots will only be released from Door To Door’s warehouse upon production of the “Collection Slip” obtained from the Cashier’s office at Bonhams.

The removal and/or storage by Door To Door of any lots will be subject to their standard Conditions of Business, copies of which are available at Bonhams.

PLEASE NOTE Door To Door does not accept liability for damage or loss, due to negligence or otherwise, exceeding the sale price of such goods, or at their option the cost of repairing or replacing the damaged or missing goods.

Door To Door reserves a lien over all goods in their possession for payment of storage and all other charges due them.

Important notice to buyers

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Oversized lots

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General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)I will arrange a third party to collect my purchase(s)

Please email or fax the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 [email protected]

Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Type of bid(A-Absentee, T-Telephone) Lot no.

Brief description(In the event of any discrepancy, lot number and not lot description will govern.)If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax)Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here We may contact you for additional information.

General Bid Increments:$10 - 200 .....................by 10s$200 - 500 ...................by 20 / 50 / 80s$500 - 1,000 ................by 50s$1,000 - 2,000 .............by 100s$2,000 - 5,000 .............by 200 / 500 / 800s$5,000 - 10,000 ...........by 500s

$10,000 - 20,000 .........by 1,000s$20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s$50,000 - 100,000 .......by 5,000s$100,000 - 200,000 .....by 10,000sabove $200,000 ...........at the auctioneer’s discretionThe auctioneer has discretion to split any bid at any time.

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Photographs March 30, 2020

25760 New York

Bonhams580 Madison Avenue New York, NY 10022

+1 212 644 9001 bonhams.com

AUCTIONEERS SINCE 1793

photographs...orphaned cheetah cubs/ mweiga , 1962 gelatin silver print with applied blue paint...

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