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UK Auction 20 May 2010
Citation preview
photographs
2 0 may 2 010 LONDON
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PHOTO pp2-3_solo per MMS.indd 2 19/04/10 16:21
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Lots 1–128
Viewing
Friday 14 May, 10am – 6pm
Saturday 15 May, 10pm – 6pm
Sunday 16 May, 12am – 6pm
Monday 17 – Wednesday 19 May, 10am – 6pm
Thursday 20 May, 10am – 2pm
photographs
2 0 may 2 010 5pm LONDON
Front cover Peter Lindbergh, Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990, Lot 24 (detail)
Inside front cover Nobuyoshi Araki, Untitled, 1986, Lot 22 (detail)
title page Irving Penn, Audrey Hepburn, 1951, Lot 32 (detail)
PHOTO 4-5_v1.indd 5 19/04/10 08:40
1 SEBASTIÃO SALGADOb. 1944
Dinka Man at cattle camp of Kei, Southern Sudan, 2006
Gelatin silver print. 76.5 × 54 cm (30 1/8 × 21 1/4 in). Signed, titled ‘Sud-Soudan’ and dated in
pencil on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡
Provenance Acquired directly from the artist
literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 295
PHOTO 06-07_v1.indd 6 16/04/10 18:20
3
2
2 SEBASTIÃO SALGADOb. 1944
Site of the now dried Lake Faguibine, Mali, Africa, 1985
Gelatin silver print, printed 2007. 54 × 81.6 cm (21 × 32 1/8 in). Signed, titled ‘Mali’ and dated
in pencil on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡
Provenance Acquired directly from the artist
literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p. 233
3 SEBASTIÃO SALGADOb. 1944
The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu Refugees,
Tanzania, 1994
Gelatin silver print, printed later. 53.3 × 81.3 cm (21 × 32 in). Signed, titled ‘Tanzania’ and
dated in pencil on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠ ‡
Provenance Acquired directly from the artist
literature M. Couto, Sebastião Salgado: Africa, Köln: Taschen, 2007, p.194
PHOTO 06-07_v1.indd 7 16/04/10 18:20
4 JOSEF KOUDELKAb. 1938
England, Dog, 1976
Gelatin silver print, printed c. 1983. 36.2 × 54 cm (14 1/4 × 21 1/4 in). Signed in ink
in the margin.
Estimate£9,000–12,000 $13,800–18,400 €10,300–13,800 ♠
Provenance Acquired directly from the artist
literature Exiles: Photographs by Josef Koudelka, London: Thames and Hudson,
1997, pl. 26
PHOTO partOne_6-64.indd 8 16/04/10 19:16
PHOTO partOne_6-64.indd 9 16/04/10 19:16
5 EVE ARNOLDb. 1913
Marilyn on the set of ‘The Misfits’, Nevada, 1960
Gelatin silver print, printed 2003. 29.2 × 43.2 cm (11 1/2 × 17 in). Signed in pencil
on the verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡
Provenance Acquired directly from the artist
literature Magnum Cinema: Photographs from 50 Years of Movie-making, London:
Phaidon, 1995, p. 159; B. Lardinois, Eve Arnold’s People, London: Thames and Hudson,
2009, pp. 64–65
PHOTO partOne_6-64.indd 10 16/04/10 19:16
6 ANDRÉ DE DIENES1913–1985
Marilyn Monroe, 1949
Gelatin silver montage print. 28.6 × 22.2 cm (11 1/4 × 8 3/4 in). Credit stamp on
the verso.
Estimate£1,200–1,800 $1,900–2,800 €1,400–2,000
Provenance Art Beaufort, Hamburg
PHOTO partOne_6-64.indd 11 16/04/10 19:16
7 EVE ARNOLDb. 1913
Paul Newman at Lee Strasbourg’s studio, New York, 1955
Gelatin silver print, printed later. 32.7 × 48.3 cm (12 7/8 × 19 in). Signed in pencil
on the verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,9000 ‡
Provenance Acquired directly from the artist
literature B. Lardinois, Eve Arnold’s People, London: Thames and Hudson, 2009,
pp. 34–35
PHOTO partOne_6-64.indd 12 16/04/10 19:16
8 JACQUES LOWE1930 – 2001
John F. Kennedy at the Democratic National Convention, 1960
Gelatin silver print. 34.3 × 23.2 cm (13 1/2 × 9 1/8 in). Dated, annotated
‘Convention’ in ink and copyright credit stamp on the verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900
Provenance Art Beaufort, Hamburg
PHOTO partOne_6-64.indd 13 16/04/10 19:17
9 PETER BEARDb. 1938
Francis Bacon in his studio, 7 Reese Mews off the Old Brompton Road London (a painting
later destroyed), 1972
Gelatin silver print with ink, printed later. 21 × 32.1 cm (8 1/4 × 12 5/8 in). Signed, dated,
annotated and inscribed in ink in the margin. This work is believed to be unique.
Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200
Provenance Private Collection, Germany
literature Peter Beard, Vol. 1, Taschen, 2008, pl. 240
PHOTO partOne_6-64.indd 14 16/04/10 19:17
10 PETER BEARDb. 1938
Francis Bacon on his roof at 80 Narrow Street, London, 1972
Gelatin silver print, printed later. 32.7 × 21.6 cm (12 7/8 × 8 1/2 in). Signed, titled,
dated and inscribed in ink in the margin.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200
Provenance Private Collection, Germany
literature J. Bowermaster, The Adventures and Misadventures of Peter Beard in
Africa, 1994, p. 147
11 PETER BEARDb. 1938
Francis Bacon on his roof at 80 Narrow Street, London, 1972
Gelatin silver contact sheet with ink, printed later. 50.5 × 40.6 cm (19 7/8 × 16 in).
Signed, titled, dated and extensively annotated in ink on the recto; The Time Is
Always Now copyright credit stamp on the reverse of the frame.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200
Provenance The Time is Always Now Gallery, New York; Private Collection, Germany
literature Peter Beard, Vol. 1, Taschen, 2008, pl. 244 (variant)
10 11
PHOTO partOne_6-64.indd 15 19/04/10 09:42
12 13
12 DAVID MCCABEb. 1940
Andy Warhol in his studio, New York, c. 1964
Gelatin silver print, printed later. 50.8 × 34.3 cm (20 × 13 1/2 in). Signed in ink in
the margin.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance Riflemaker, London
13 PETER BEARDb. 1938
Andy Warhol at home with Skull, 1972
Unique Polaroid print with blood. 14.4 × 10.5 cm (5 11/16 × 4 1/8 in). Signed and
dated in ink on the recto; The Time Is Always Now copyright credit stamp on
the reverse of the frame.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Time is Always Now Gallery, New York; Art Beaufort, Hamburg
PHOTO partOne_6-64.indd 16 16/04/10 19:18
14 TERRY O’NEILLb. 1938
Michael Caine and Bob Hoskins, Raymond’s Revue Bar, London, 1985
Lambda print, printed later and flush-mounted. 121.9 × 121.9 cm (48 × 48 in).
Signed in ink on the recto.
Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ♠
Provenance Private Collection, London
PHOTO partOne_6-64.indd 17 16/04/10 19:18
15 BRIAN DUFFYb. 1933
Paul McCartney at CTS Studios, 1966
Gelatin silver print. 34 × 22.5 cm (13 3/8 × 8 7/8 in). Signed in ink and blindstamp credit in the
margin.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ♠
Provenance Acquired directly from the artist
PHOTO 18-19_v1.indd 18 16/04/10 18:21
16 CLAUDE GASSIANb. 1949
David Bowie, Paris, 1976
Four gelatin silver prints, printed later. Each 39.7 × 60 cm (15 5/8 × 23 5/8 in). Each signed, titled,
dated and numbered 3/5 in ink on the reverse of the flush-mount.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900
Provenance Private Collection, Europe
exhibited Paris, acte2galerie, Double Vie, 20 May–14 September 2002; Lyon, Musée d’Art
Contemporain de Lyon, Intersections, 5 June–3 August 2003 (each another example exhibited)
literature Éditions de la Martinière, Claude Gassian Photographies 1970–2001, 2001, p. 94;
Exhibition catalogue, Intersections, Éditions Musée d’Art Contemporain de Lyon, 2003, p. 100
PHOTO 18-19_v1.indd 19 16/04/10 18:22
17 RICHARD AVEDON1923–2004
John Ford, Director, Bel Air, California, 11 April, 1972
Gelatin silver print. 19.1 × 18.4 cm (7 1/2 × 7 1/4 in). Signed, dated in ink and
copyright credit label on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Private Collection, Germany
LITeraTUre Portraits: Richard Avedon, Farrar Straus & Giroux, 1976, n.p.; Richard
Avedon: Photographs 1946–2004, Louisiana Museum of Modern Art, 2007, n.p.
PHOTO partOne_6-64.indd 20 16/04/10 19:21
18 INEZ VAN LAMSWEERDE & VINOODH MATADINb. 1963 & b. 1961
Kate, 1999
Colour coupler print. 96.5 × 78.4 cm (38 × 30 7/8 in). Signed in ink by both artists on
a label affixed to the reverse of the flush-mount. Number 2 from an edition of 10.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠
Provenance Private Collection, Paris
PHOTO partOne_6-64.indd 21 16/04/10 19:21
19 DAVID LACHAPELLEb. 1964
Cathedral, 2007
Digital colour coupler print. 61 × 81.3 cm (24 × 32 in). Signed in ink, printed
title, date and number on an artist’s label affixed to the reverse of the
flush-mount. One from an edition of 10.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300
Provenance Guy Hepner Contemporary, LA
LITeraTUre David LaChapelle: Stern Portfolio, vol. 51, teNeues, 2008, pp. 28–29;
S. Kessler, ‘David LaChapelle: Renaissance Man’, Whitewall, Issue 15, Fall 2009, p. 95
PHOTO partOne_6-64.indd 22 16/04/10 19:21
20 DAVID LACHAPELLEb. 1964
Mr. David Martinez as Priest, 2007
Digital colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed in ink, printed
title, date and number on an artist’s label affixed to the reverse of the
flush-mount. One from an edition of 10.
Estimate£8,000–10,000 $12,300–15,400 €9,200–11,500
Provenance Guy Hepner Contemporary, LA
PHOTO partOne_6-64.indd 23 16/04/10 19:21
21 BETTINA RHEIMSb. 1952
Madonna Blue Laying on a Blue Bed, New York, September, 1994
Colour coupler print, flush-mounted. 120 × 120 cm (47 1/4 × 47 1/4 in). Signed,
titled, numbered 1/5 and annotated ‘Pourquoi M’as-tu Abandonne’ in ink on a
label affixed to the reverse of the frame. One from an edition of 5 plus 2 artist’s
proofs.
Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200 ♠
Provenance Private Collection, Paris
PHOTO partOne_6-64.indd 24 16/04/10 19:21
PHOTO partOne_6-64.indd 25 16/04/10 19:22
22 NOBUYOSHI ARAKIb. 1940
Untitled, 1986
Dye destruction print, printed 2003. 32.7 × 41.9 cm (12 7/8 × 16 1/2 in). Signed in
ink on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Private Collection, Japan
PHOTO partOne_6-64.indd 26 16/04/10 19:22
23 DAIDO MORIYAMAb. 1938
Eyeball, 1986
Gelatin silver print, printed 2005. 51.4 × 35.6 cm (20 1/4 × 14 in). Signed in
English and Japanese in pencil on the verso.
Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000 ‡
ProvenancePrivate Collection, Japan
LITeraTUre Daido Moriyama: Retrospective Since 1965, RM Verlag, 2007
PHOTO partOne_6-64.indd 27 16/04/10 19:22
24 PETER LINDBERGHb. 1944
Helena Christensen, Italian Vogue, ET Mirage, California, United States, 1990
Gelatin silver print, printed 2002 and flush-mounted. 120 × 176.5 cm (47 1/4 × 69 1/2 in). Signed, titled, dated and numbered 2/3 in pencil on a label affixed to the reverse of the
frame. Accompanied by a signed certificate of authenticity.
Estimate£30,000–40,000 $46,000–61,400 €34,400–45,800
Provenance Private Collection, Europe
eXHIBITeD New York, The Aperture Foundation, The Idealizing Vision, 1991; Paris, Centre National de la Photographie, Vanities, 1993; Images of Women & Invasion, including: Hamburg,
Museum Fur Kunst und Gewerbe, 23 January–26 February 1998; Milan, Palazzo dell’Arte , 4 March–20 April 1998; Rome, Palazzo Delle Esposizione, 15 July–15 August 1998; Vienna,
Kunsthaus Wien, 10 September 1998–15 January 1999; Moscow, Pushkin Museum, February–March 2002; Goslar, Mönchehaus Museum for Contemporary Art, 19 April–29 June 2008;
Dusseldorf, Landesmuseum Kultur Forum, Photographs, 31 July–3 October 1999; Hamburg, Triennale of Photography, Archaeology of Elegance – 1980–2000: 20 Years of Fashion, 25 April–25
August 2002 (each another example exhibited)
lITeraTure Peter Lindbergh Stories, Santa Fe: Arena Editions, 2002, n.p.
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PHOTO 28-29_v1.indd 29 19/04/10 14:10
25 LILLIAN BASSMANb. 1917
Anne Saint-Marie, New York, Chanel Advertising, 1958
Gelatin silver print, printed later. 69.5 × 87 cm (27 3/8 × 34 1/4 in). Signed in
pencil on the verso. Number 8 from an edition of 25.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900 ‡
Provenance Acquired directly from the artist
literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, cover
and pp. 102–03
PHOTO partOne_6-64.indd 30 16/04/10 19:23
PHOTO partOne_6-64.indd 31 16/04/10 19:23
26 LILLIAN BASSMANb. 1917
Blowing Kiss, Barbara Mullen, New York, c. 1958
Gelatin silver print, printed later. 50.2 × 47.6 cm (19 3/4 × 18 3/4 in). Signed in
pencil on the verso. Number 6 from an edition of 25.
Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡
Provenance Acquired directly from the artist
literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, p. 126
PHOTO partOne_6-64.indd 32 16/04/10 19:23
27 LILLIAN BASSMANb. 1917
Margy Cato, Junior Bazaar, c. 1950s
Gelatin silver print, printed later. 56.8 × 43.8 cm (22 3/8 × 17 1/4 in). Signed in
pencil on the verso. Number 11 from an edition of 25.
Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡
Provenance Acquired directly from the artist
literature D. Solomon, Lillian Bassman: Women, Abrams: New York, 2009, p. 145
PHOTO partOne_6-64.indd 33 16/04/10 19:23
28 HORST p. HORST1906–1999
Birthday Gloves, New York, 1947
Gelatin silver print, printed later. 42.5 × 35.9 cm (16 3/4 × 14 1/8 in). Blindstamp
credit in the margin; signed in pencil on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ‡
Provenance Acquired directly from the artist
literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and
Hudson, 1991, pl. 57
PHOTO partOne_6-64.indd 34 16/04/10 19:23
29 HORST p. HORST1906 – 1999
Lisa with Turban, New York, 1940
Gelatin silver print, printed later. 45.7 × 36.2 cm (18 × 14 1/4 in). Blindstamp
credit in the margin; signed in pencil on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ‡
Provenance Acquired directly from the artist
literature Kazmaier, Horst: Sixty Years of Photography, London: Thames and
Hudson, 1991, pl. 51
PHOTO partOne_6-64.indd 35 16/04/10 19:23
30 HORST P. HORST1906 – 1999
Mainbocher Corset, Paris, 1939
Gelatin silver print, printed later. 45.2 × 34 cm (17 13/16 × 13 3/8 in). Signed in
pencil on the verso.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡
Provenance Acquired directly from the artist
literature N. Hall-Duncan, The History of Fashion Photography, New York: Alpine
Book Co., 1979, p. 65; V. Lawford, Horst: His Work and His World, Harmondsworth:
Viking, 1984, p. 184; Kazmaier, Horst: Sixty Years of Photography, London: Thames and
Hudson, 1991, pl. 8
PHOTO 36-37_v1.indd 36 16/04/10 18:23
31 GEORGE HOYNINGEN-HUENE1900 – 1968
Divers, Horst and Model, Swimwear by A. J. Izod, 1930
Gelatin silver print, printed later by Horst P. Horst. 44 × 35.2 cm (17 5/16 × 13 7/8
in). Hoyningen-Huene / Horst copyright credit blindstamp in the margin; signed,
titled, dated and annotated ‘from the collection of Horst’ by H. P. Horst in pencil
on the verso.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡
Provenance From the collection of Horst P. Horst
literature Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs,
London, 2006, p. 117
PHOTO 36-37_v1.indd 37 16/04/10 18:23
32 IRVING PENN1917-2009
Audrey Hepburn, Paris, 1951
Gelatin silver print. 34.9 × 34 cm (13 3/4 × 13 3/8 in). Signed, dated in ink, titled
in pencil, Condé Nast copyright credit reproduction limitation and edition
stamps on the reverse of the mount. One from an edition of 6 silver prints.
Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ‡
Provenance Acquired directly from the artist
exhibited London, National Portrait Gallery, Irving Penn Portraits, 18 February–6
June 2010 (another example exhibited)
literature Vogue, November 1951; I. Penn, Moments Preserved: Eight Essays in
Photographs and Words, Simon & Schuster, 1960, p. 156
Penn’s portrait of Audrey Hepburn was taken to mark her
Broadway debut in Gigi and appeared in Vogue in the issue of
November 1st 1951 (the play opened a week later). It was the
magazine’s first published picture of the 22-year-old actress and
dancer. Hepburn was fond of repeating that on arrival ‘the first two
things I saw were the Statue of Liberty and Richard Avedon’. As it
turned out, it was the other giant of magazine photography who
photographed her first. Penn had taken it in Paris earlier in the
year during a trip which also saw a sitting in her Palais-Royal
apartment with Gigi’s creator, the elderly novelist Colette. By this
time, Penn had abandoned the two stylistic motifs that had marked
out his studio portraiture almost as still life studies: firstly the
positioning of the sitter on or against an unravelled length of dark
carpet, and secondly the ‘corner portrait’, wherein sitters were
required to arrange themselves – or in a few cases allow
themselves to be arranged – in the apex of two perpendicular
studio flats. In both cases Penn made either full-length studies or
at least photographed his subjects from the waist up, observing
their movement (or lack of it) within these unanticipated and
restrictive spaces. By 1950, he had replaced these conceits with a
closer scrutiny of the sitter’s face. The resulting portraits, of which
this head and shoulders study is emblematic, were characterised
by tight and unexpected close cropping, any trace of the studio
now confined to a simple neutral backdrop (he had experimented
with tight cropping-in on his first series of nudes in 1949). The
interaction of photographer and sitter was, if still off-kilter, at least
warmer – a concentration on gaze and expression rather than a
cold-blooded observation of physical contortion.
(Robin Muir, April 2010)
PHOTO partOne_6-64.indd 38 16/04/10 19:29
PHOTO partOne_6-64.indd 39 16/04/10 19:29
33 HENRI CARTIER-BRESSON1908 – 2004
Easter Parade, Harlem, New York, 1947
Gelatin silver print, printed later. 35.6 × 24.1 cm (14 × 9 1/2 in). Signed in ink and
blindstamp credit in the margin.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200
Provenance Acquired directly from the artist
literature P. Galassi et al, Henri Cartier-Bresson: The man, the image and the
world, London: Thames and Hudson, 2003, p. 210
PHOTO partOne_6-64.indd 40 16/04/10 19:29
34
35
34 HENRI CARTIER-BRESSON1908 – 2004
Henri Matisse, Vence, France, 1944
Gelatin silver print, printed later. 23.8 × 35.9 cm (9 3/8 × 14 1/8 in). Signed in ink
and blindstamp credit in the margin.
Estimate£8,000–10,000 $12,300–15,400 €9,200–11,500
Provenance Acquired directly from the artist
literature Y. Bonnefoy, Henri Cartier-Bresson: Photographer, London: Thames
and Hudson, 1980 p. 126; Jean Lacouture et al., In Our Time: The World as Seen by
Magnum Photographers, New York & London: Norton, 1989, pp. 372–73; Henri
Cartier-Bresson Scrap Book, London: Thames and Hudson, 2006, p. 68
35 LEE FRIEDLANDERb. 1934
Billie and De de Pierce, 1952
Gelatin silver print, printed later. 15.2 × 22.9 cm (6 × 9 in). Signed, titled in
pencil on the verso.
Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500
Provenance Art Beaufort, Hamburg
literature Friedlander, New York: Museum of Modern Art, 2005, p. 30
PHOTO partOne_6-64.indd 41 16/04/10 19:30
36 NICK BRANDTb. 1966
Elephant Exodus, Amboseli, 2008
Archival pigment print. 60.3 × 166.1 cm (23 3/4 × 65 3/8 in). Signed, dated and
numbered 2/15 in pencil in the margin.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠
PHOTO partOne_6-64.indd 42 16/04/10 19:30
PHOTO partOne_6-64.indd 43 16/04/10 19:30
37 BRITTA JASCHINSKIb. 1965
Lone Lion, 2007
Gelatin silver print. 76.2 × 116.8 cm (30 × 46 in). Signed, dated and numbered in
pencil on a label affixed to the reverse of the frame. One from an edition of 5
plus 1 artist’s proof.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700
Provenance Acquired directly from the artist
exhibited London, Natural History Museum, Wildlife Photographer of the Year
2009, 23 October 2009 – 11 April 2010 (another example exhibited)
literature BBC Books, Wildlife Photographer of the Year: Portfolio 19, 2009, p. 54
PHOTO partOne_6-64.indd 44 16/04/10 19:30
38 THOMAS JOSHUA COOPERb. 1946
A Premonitial Work, 2000 – 2001
Gelatin silver print. 35.9 × 57.8 cm (14 1/8 × 22 3/4 in). Signed, titled, dated,
numbered 3/3 and annotated ‘Muskaget Sound and the North Atlantic Ocean
Looking N., N.E. – yet again, towards the Old World From Sunset to Full
Moonrise Wasque Point, Chappaquiddicte Island Martha’s Vineyard,
Massachusetts U.S.A.’ in ink on a label affixed to the verso.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700
Provenance Sean Kelly Gallery, New York
PHOTO partOne_6-64.indd 45 16/04/10 19:30
39 RICHARD MISRACHb. 1949
Untitled, 2007
Archival pigment print. 41.6 × 50.8 cm (16 3/8 × 20 in). Signed, titled, dated and
numbered 2/15 in ink in the margin. One from an edition of 15 plus artist’s
proofs.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡
Provenance Blind Spot Editions, New York
PHOTO partOne_6-64.indd 46 16/04/10 19:30
40 LENI RIEFENSTAHL1902–2003
Mask, 1975–6
Dye-transfer print, printed later. 57.5 × 42.9 cm (22 5/8 × 16 7/8 in). Initialled,
annotated ‘AP’ in pencil and copyright credit stamp on the reverse of the
mount. One from an edition of 15 plus artist’s proofs.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Atlas Gallery, London
PHOTO partOne_6-64.indd 47 16/04/10 19:30
41 BARTHÉLÉMY TOGUOb. 1967
Afrika Oil, 2005-8
Digital colour coupler print. 161.9 × 123.8 cm (63 3/4 × 48 3/4 in). Signed in ink,
printed title, date and number on a label affixed to the reverse of the
flush-mount. One from an edition of 3.
Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300
Provenance Private Collection, Europe
Barthélémy Toguo works in sculpture, painting, video, installation
and performance. He creates theatrically staged works fed by his
fascination with the gap between West and ‘non-West’; his work
is politically charged and has the interest of human flux at its
core. The artist has founded Bandjoun Station, an arts and
cultural centre in Cameroon, which is facilitated by local artists
and intellectuals.
PHOTO partOne_6-64.indd 48 16/04/10 19:30
42 RUUD VAN EMPELb. 1958
Moon #4, 2007
Dye destruction print, flush-mounted. 83.8 × 59.7 cm (33 × 23 1/2 in). Signed, titled,
dated and numbered 5/13 in ink on an artist’s label affixed to the reverse of the frame.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ♠
Provenance Flatland Gallery, Netherlands
literature Ruud van Empel: Photoworks 2006–2008, 2009, p. 47
PHOTO partOne_6-64.indd 49 16/04/10 19:31
43 RUUD VAN EMPELb. 1958
World #6, 2005
Dye destruction print, Diasec mounted. 105 cm × 150 cm (41 3/8 × 59 in).
Signed in pencil, printed title, date and number on a label affixed to the
reverse of the flush-mount. One from an edition of 9.
Estimate£20,000–30,000 $30,700–46,100 €22,900–34,400 ♠
Provenance Stux Gallery, New York
PHOTO partOne_6-64.indd 50 16/04/10 19:32
PHOTO partOne_6-64.indd 51 16/04/10 19:32
44 CHRISTOPHER BUCKLOWb. 1957
Tetrarch, 2.19 & 4.14 pm, 17th October, 2001
Unique dye destruction print, flush-mounted. 92.4 × 252.7 cm (36 3/8 × 99 1/2
in). Signed, titled and dated in pencil on the verso.
Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800
Provenance Riflemaker, London
PHOTO partOne_6-64.indd 52 16/04/10 19:32
PHOTO partOne_6-64.indd 53 16/04/10 19:33
45 MASSIMO VITALIb. 1944
Knokke Dyptich, 2002
Two colour coupler prints, each Diasec mounted. Each 149.2 × 120.7 cm (58 3/4
× 47 1/2 in). Signed, titled, dated and numbered in ink on a label affixed to the
reverse of the flush-mount. One from an edition of 6.
Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠
Provenance Private Collection, Europe
PHOTO partOne_6-64.indd 54 16/04/10 19:33
PHOTO partOne_6-64.indd 55 16/04/10 19:33
46 EDWARD BURTYNSKYb. 1955
Shipbreaking #2, Chittagong, Bangladesh, 2000
Colour coupler print, printed 2001. 86.4 × 68.6 cm (34 × 27 in). Signed in ink,
printed title, date and number 1/10 on a label affixed to the reverse of the
mount.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300
Provenance Acquired directly from the artist
exhibited Washington DC, Corcoran Gallery of Art, Edward Burtynsky: Oil, 3
October – 13 December 2009 (another example exhibited)
literature Manufactured Landscapes: The Photographs of Edward Burtynsky,
National Gallery of Canada, Ottawa & Yale University Press: London, 2003, p. 41;
Edward Burtynsky: Oil, Steidl: Göttingen, 2009, p. 154
PHOTO partOne_6-64.indd 56 19/04/10 11:53
47
48
47 PIETER HUGOb. 1976
Sam, Klein Karoo, 2003
Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and
numbered 2/8 in pencil in the margin.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900
Provenance Michael Stevenson Gallery, Cape Town
48 PIETER HUGOb. 1976
Tem Vleksi, Cape Town, 2003
Archival pigment print. 50.8 × 50.8 cm (20 × 20 in). Signed, titled, dated and
numbered 7/8 in pencil in the margin.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900
Provenance Michael Stevenson Gallery, Cape Town
PHOTO partOne_6-64.indd 57 16/04/10 19:33
49 DESIREE DOLRONb. 1963
Xteriors IX, 2004
Colour coupler print, Diasec mounted. 170 × 125cm (67 × 49 1/4 in). Signed,
titled, dated and numbered 6/8 in ink on the reverse of the flush-mount.
Accompanied by a signed certificate of authenticity.
Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠
Provenance Galerie Gabriel Rolt, Amsterdam
exhibited Hague, The Hague Museum of Photography, Desiree Dolron, 26
February – 8 May 2005 (another example exhibited)
literature Exhibition catalogue, The Hague Museum of Photography, Desiree
Dolron, Hague, 2005, p. 101
PHOTO 58-59_v1.indd 58 16/04/10 18:53
50 DESIREE DOLRONb. 1963
Xteriors X, 2005
Colour coupler print. 60 × 50 cm (23 5/8 × 19 11/16 in). Signed, titled, dated and
numbered 5/6 in ink on the reverse of the flush-mount. Accompanied by a
signed certificate of authenticity.
Estimate£18,000–22,000 $27,700–34,000 €20,600–25,000 ♠
Provenance Galerie Gabriel Rolt, Amsterdam
PHOTO 58-59_v1.indd 59 16/04/10 18:53
51 SHIRIN NESHATb. 1957
Untitled from the Rapture Series, 1999
Gelatin silver print, mounted. 112.4 × 168.6 cm (44 1/4 × 66 3/8 in). One from an
edition of 5 plus 2 artist’s proofs.
Estimate£20,000–30,000 $30,700–46,100 €22,900–34,400
Provenance Private Collection, Europe
literature G. Mackert, Shirin Neshat, Vienna, 2000, p. 74; Exhibition catalogue,
Castello di Rivoli, Shirin Neshat, Turin, 2002, p. 120
PHOTO partOne_6-64.indd 60 16/04/10 19:34
PHOTO partOne_6-64.indd 61 16/04/10 19:34
52 AHMET ERTUGb. 1949
HAREM: Topkapi Palace, Istanbul, 1990
Lightjet print, printed later and flush-mounted. 228 × 180 cm (89 3/4 × 70 7/8 in). Signed
in ink, printed title, date and number 1/5 on an artist’s label affixed to the reverse of the
frame. One from an edition of 5 plus 1 artist’s proof.
Estimate£16,000–18,000 $24,600–27,700 €18,300–20,600 ‡
Provenance Acquired directly from the artist
literature R. Bragner et al., Topkapi Palace of Felicity, Istanbul: Ertug & Kölük, 1990, p. 217
PHOTO partOne_6-64.indd 62 16/04/10 19:34
53 ROBERT POLIDORIb. 1951
Salles du XVIIIeme, Chateau de Versailles, 2005
Fujicolor Crystal Archive print. 167.6 × 127 cm (66 × 50 in). Signed in ink,
printed title, date and number on a label affixed to the reverse of the
flush-mount. One from an edition of 10 plus 2 artist’s proofs.
Estimate£10,000–12,000 $15,400–18,400 €11,500–13,800
Provenance Flowers, London
literature R. Polidori, Parcours Muséologique Revisité, Vol. 1, Steidl, 2009, p. 137
PHOTO partOne_6-64.indd 63 16/04/10 19:35
54 ROBERT MAPPLETHORPE1946–1989
X, Y and Z Portfolios
Washington,D.C.:HarryLunn;NewYork:RobertMiller;London:RobertSelf.
X,1977/1978.Thirteenseleniumtonedgelatinsilverprints,mountedonblackrag
board.Eachapproximately19.4×19.4cm(75/8×75/8in).Eachsigned,numbered20/25
inpencilwithasequentiallynumberedblindstamponthemount.Colophonnumbered
‘20’inink,poembyPaulSchmidt,signedbySchmidtinink,platelistandredpaper
interleaving.Containedinagiltstampedblacksilkclamshellbox.Onefromanedition
of25plus6letteredartist’sproofs.
Y,1977/1978.Thirteenseleniumtonedgelatinsilverprints,printed1978andmounted
onwhiteragboard.Eachapproximately19.4×19.4cm(75/8×75/8in).Eachsigned,
numbered24/25inpencilwithasequentiallynumberedblindstamponthemount.
Colophonsigned,numbered‘24’inink,poembyPattiSmith,platelist,andpinkpaper
interleaving.Containedinagiltstampedgreysilkclamshellbox.Onefromanedition
of25plus6letteredartist’sproofs.
Z,1979–1981.Thirteenseleniumtonedgelatinsilverprints,printed1981andmounted
onwhiteragboard.Eachapproximately19.1×19.1cm(71/2×71/2in).Eachsigned,
numbered23/25ininkwithasequentiallynumberedblindstamponthemount.
Colophonsigned,dated‘81’,numbered‘23’inink,essaybyEdmundWhite,platelist
andstonepaperinterleaving.Containedinagiltstampedbrownsilkclamshellbox.
Onefromaneditionof25plus6letteredartist’sproofs.
Estimate£60,000–80,000 $92,200–122,900 €68,700–91,600 ‡
PROvEnAncERobertMillerGallery,NewYork
LiTERATuRE X: Mapplethorpe,London:JonathanCape,1992,v.p.; Pictures: Robert
Mapplethorpe,NewYork:ArenaEditions,1999,n.p.;Y: Mapplethorpe Pistils,London:Jonathan
Cape,1996,v.p.; Mapplethorpe: The Complete Flowers,Düseldorf:teNeues,2006,n.p.; Z: Robert
Mapplethorpe,BlackBook,SaintMartin’sPress,1988,n.p.; Robert Mapplethorpe: Ten by Ten,
München:Schirmer/Mosel,1988,v.p.; Mapplethorpe,London:JonathanCape,1992,v.p.
PresentedinthislotisthecompletesuiteofPortfolioworksbyRobert
Mapplethorpe,X,Y,Z,thestoryandsumofeverythingweexpectfromhim
asanartist.Theseportfolioswerecreatedtoexistandbeseentogether.
XdepictspartofMapplethorpe’sownworld.Hewasanactiveparticipant
–theimagesrevealsomethingthathewasproudtobelongto,andthey
haveundisputeddignity.Thesubjectsareposedneatly,bodiesofiron
thatshinewithelegance;theimagesbegthequestion,‘Whyshouldn’twe
acceptbeautyinthis?’,evenifwedon’twanttoanswer.Polarityis
ever-presentinMapplethorpe’sworks–sofreeanduninhibitedyet
contrivedandaustere–agentlemanandapromiscuousdandywithan
attitudewhichgoesbeyondshameandpunchesstraighttotheheart,
leavinganindelibleimprint.Nomatterwhattheviscosityoftheactivity,
thereisstillcalm.Theviewerisperhapstheonlyguiltypartyin
presumingthattheinteractionsarecausingharm,whenactuallyweare
witnessingpleasure.AportraitofatradesmanbyIrvingPennorastoic
depictionofamemberofGermansocietybyAugustSandercanofferno
morecredenceorrespect.
Yconcentratessolelyontheflower.Mapplethorpeexplorestheform
throughmanipulationoflightandshadow–throughexperimentationand
carefulbalancehestimulatestheheartbeatoftheinanimateblindorthe
stillGardenia.Nothingabouttheseimagescouldeverbeconfusedwith
ordescribedasasnapshot.Theflowersareisolatedlikehisother
subjects,statuesqueasanyGreekmarble,exaltedonaplatform,
sometimesnakedandatothertimeswithprops(reflectinghisportrait
style),elevatingthemabovethemundane.
Zillustratesthelinkbetweensexandartwhichwaspurelyandsimply
Mapplethorpe’slife.Againthestageisset,thistimewithhisreferenceto
theblackmale.Theportraitsamongtheseworksarerepresentationsof
‘fantasticalchic’,figureheadsofmasculinity,themostmajestickings.
Nothingisplucked,startled,fromthestreetstounnerveusorjarour
conscience–Mapplethorpe’smainstream1960sformalismisrocksolid.
Unfortunatelywithworkssuchasthesehewas–likeabirdcaughtonthe
wire–wideopennotonlytocriticalacclaim,butalsotocriticism;his
imagespushtheboundariesof‘modernity’whiletheircompositionwould
fitnicelywithinthephotographicconventionsofthenineteenthcentury,a
periodthatMapplethorpeadmiredandcollected.
PHOTO partOne_6-64.indd 64 16/04/10 19:36
PHOTO 65.indd 65 16/04/10 19:13
55 ROBERT MAPPLETHORPE1946–01989
Daisies, 1977
Gelatin silver diptych, printed c. 1988, in an artist’s frame. Each 35.6 × 35.2 cm (14 × 13 7/8
in). One from an edition of 3.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300
Provenance Holly Solomon Gallery, New York; Robert Miller Gallery, New York; Baudoin
Lebon, Paris
literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, pl. 23 (image ii)
PHOTO partTwo_65-137.indd 66 16/04/10 19:51
56 ROBERT MAPPLETHORPE1946–1989
Roses, 1988
Gelatin silver print. 48.6 × 48.6 cm (19 1/8 × 19 1/8 in). Signed, dated 1989 in ink
by Michael Stout, Executor, titled, dated, numbered 5/10 in an unidentified
hand in ink and Robert Mapplethorpe copyright credit stamp on the verso.
Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200
Provenance Baudoin Lebon, Paris
literature Mapplethorpe: The Complete Flowers, Düsseldorf: teNeues, 2006, n.p.
PHOTO partTwo_65-137.indd 67 16/04/10 19:51
57 IRVING PENN1917 – 2009
Camel Pack (SM), Neg. XXXXII, 1975
Platinum-palladium print. 76 × 56.5 cm (29 5/8 × 22 1/8 in). Signed, titled, dated,
numbered 20/68 in pencil and copyright credit reproduction limitation stamp
on the verso.
Estimate£12,000–18,000 $18,500–27,700 €13,800–20,600
Provenance Private Collection, Paris
literature J. Szarkowski, Irving Penn, New York: The Museum of Modern Art,
1984, pl. 126; Exhibition catalogue, National Museum of Modern Art and the National
Portrait Gallery, Irving Penn: Master Images, Washington and London, 1990, p. 64;
Passage: A Work Record, New York: Alfred A. Knopf: Callaway, 1991, p. 219; Exhibition
catalogue, Art Institute of Chicago, Irving Penn: A Career in Photography, Chicago,
1997, p. 20; Still Life by Irving Penn, London: Thames and Hudson, 2001, n.p.;
Exhibition catalogue, National Gallery of Art, Irving Penn: Platinum Prints,
Washington, 2005, pl. 70
PHOTO partTwo_65-137.indd 68 16/04/10 19:51
58 ANDRÉ KERTÉSZ1894 – 1985
Untitled, 1979
Dye destruction print. 10.3 × 10.2 cm (4 1/16 × 4 in). Signed by the artist, dated,
numbered 1/50 and annotated ‘Plate 23’ in an unidentified hand in pencil on
the verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900
Provenance Art Beaufort, Hamburg
PHOTO partTwo_65-137.indd 69 16/04/10 19:51
PHOTO partTwo_65-137.indd 70 16/04/10 19:51
59 CHRIS KILLIPb. 1946
Youth on Wall, Yarrow, Tyneside, 1976
Gelatin silver print, printed 2007. 38.1 × 47 cm (15 × 18 1/2 in). Signed, titled and dated in
pencil on the verso.
Estimate£2,000–2,500 $3,000–3,800 €2,300–2,900 ♠
Provenance Acquired directly from the artist
exhibited London, Serpentine Gallery, Another Country: Photographs of the North East of
England by Chris Killip and Graham Smith, 31 August – 29 September 1985 (another example
exhibited)
literature J. Berger and S. Grant, In Flagrante, London: Secker & Warburg, 1988, pp. 10–11
In the 1970s and 1980s Chris Killip photographed in the North East of
England, documenting the social and political landscape of the time, and
singling out subjects which have subsequently become symbolic of an
era – the effects of de-industrialisation, the onset of Thatcherism, and
the strength of human optimism in the face of hardship and adversity.
This youth’s tightly-wound body and his expression of frustration receive
full aperture in Killip’s medium format composition. The camera
becomes a microscope for a slice of life shown to us without sympathy
for the discomfort of the witness; should we offer comfort to the subject,
or stand for a moment in his abrasive world? It is a sensibility not
dissimilar to that explored by the great Dave Heath in his photo essay A
Dialogue of Solitude – the feeling that fellow man is disposable, a lack of
empathy for other people considered to exist in parallel but not in tune
with our own lives. The slogan ‘Our Green and Pleasant Land’ is deftly
spat upon by Killip’s images, which favour the proud and the strong over
the romantic.
This image, among others, culminated in Killip’s 1988 book In Flagrante,
which has become one of the most sought after, admired and collected
photo books of recent times. The photographs were also shown at
London’s Serpentine Gallery in 1985 as part of the exhibition Another
Country, alongside works by another notable photographer of Killip’s
generation, Graham Smith.
Chris Killip was a founder member of the Side Gallery, Newcastle-upon-
Tyne, in the early 1970s, and was Director there between 1977–79. He has
received numerous awards, including the Henri Cartier-Bresson Award
for the body of work In Flagrante, and has been the Professor of Visual
and Environmental Studies at Harvard Unversity since 1994.
PHOTO partTwo_65-137.indd 71 16/04/10 19:51
60
61
60 JOHN BULMERb. 1938
Graveyard, for TOWN Magazine, 1963
Gelatin silver print, printed later. 36.5 × 55.9 cm (14 3/8 × 22 in). Signed and
numbered 1/25 in ink in the margin.
Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300 ♠
Provenance Acquired directly from the artist
61 GRAHAM SMITHb. 1947
Who She Wanted and What She Got, South Bank, Middlesbrough, 1982
Gelatin silver print, printed 2008. 39.1 × 48.6 cm (15 3/8 × 19 1/8 in). Signed,
titled, dated and extensively annotated in pencil on the verso.
Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500 ♠
Provenance Acquired directly from the artist
exhibited London, Serpentine Gallery, Another Country: Photographs of the North
East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985
(another example exhibited)
PHOTO partTwo_65-137.indd 72 16/04/10 19:52
62 GRAHAM SMITHb. 1947
Friday Night, Backroom 4, The Commercial, South Bank, Middleborough, 1983
Gelatin silver print, printed 2008. 40.3 × 45.9 cm (15 7/8 × 18 1/16 in). Signed,
titled, dated and extensively annotated in pencil on the verso.
Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500 ♠
Provenance Acquired directly from the artist
exhibited London, Serpentine Gallery, Another Country: Photographs of the North
East of England by Chris Killip and Graham Smith, 31 August – 29 September 1985
(another example exhibited)
PHOTO partTwo_65-137.indd 73 16/04/10 19:52
PHOTO partTwo_65-137.indd 74 16/04/10 19:52
63 MARK NEVILLEb. 1966
Betty at Port Glasgow Town Hall Christmas Party from The Port Glasgow Book
Project, 2005
Colour coupler print, flush-mounted. 100.3 × 127 cm (39 1/2 × 50 in). Signed and
dated in ink on a label affixed to the reverse of the frame. Number 4 from an
edition of 5 plus 2 artist’s proofs. Accompanied by a signed certificate of
authenticity, a copy of the commercially unavailable book Port Glasgow, and a
portfolio of community response from Portonians relating to ‘The Port
Glasgow Book Project’.
Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800
Provenance Private Collection, Europe
exhibited Oxford, Modern Art Oxford, Local Stories, 7 March – 30 April 2006;
Kilmarnock, Dick Institute, The Port Glasgow Book Project, 25 August – 21 October
2006; Parrworld, touring exhibition including: Haus Der Kunst, Munich, 7 May – 17 Aug
2008; Jeu de Paume, Paris, 30 June – 27 September 2009; Baltic Centre for
Contemporary Art, Gateshead, 16 October 2009 – 17 January 2010 (each another
example exhibited)
literature M. Neville, Port Glasgow, 2005, cover
In 2004, Neville spent a year as an artist in residence in Port
Glasgow, the world centre for shipbuilding 50 years ago, now a
town facing industrial and economic decline. His Port Glasgow
Book Project was a revolutionary public artwork that sought to
challenge notions of ownership, appropriation, dissemination, and
political and social division. In particular, it looked at how class and
social divide is reinforced through images. The concept was to
produce and distribute a hardback book of ‘social documentary’
images, with high production values, that subverted conventional
ways in which such books are disseminated as ‘art’, or ‘coffee-
table’, and questioned the way in which social documentary
photography sometimes depends on an inherent framework of
exploitation. The book was uniquely delivered, free, to the 8,000
households in the Port by the members of the local Boys’ Football
Club. It was not available anywhere else, commercially or
otherwise. Once delivered, each recipient had singular ownership
of the book, and could choose to cherish it as a social document,
discard it, or even attempt to sell it on eBay.
Another example of this work is held in the collections of Martin
Parr, The National Galleries of Scotland and The Arts Council of
England.
PHOTO partTwo_65-137.indd 75 16/04/10 19:52
65
64
65 BRYN CAMPBELLb. 1933
Salford, 1974
Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated in
pencil and copyright credit stamp on the verso.
Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700
Provenance Acquired directly from the artist
literature Bryn Campbell: Reports and Rumours, Photographers Publications:
Taiwan, 2001, n.p.
64 BRYN CAMPBELLb. 1933
Southend, 1972
Gelatin silver print. 23.5 × 35.4 cm (9 1/4 × 13 15/16 in). Signed, titled, dated and
copyright credit stamp on the verso.
Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700
Provenance Acquired directly from the artist
literature Bryn Campbell: Reports and Rumours, Photographers Publications:
Taiwan, 2001, n.p.
PHOTO partTwo_65-137.indd 76 16/04/10 19:52
66 SOPHY RICKETTb. 1970
Vauxhall Bridge from Pissing Women, 1995
Gelatin silver print. 114.9 × 114.6 cm (45 1/4 × 45 1/8 in). Signed, titled, dated and
numbered in pencil on the reverse of the frame. One from an edition of 5.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ♠
Provenance Private Collection, UK
PHOTO partTwo_65-137.indd 77 16/04/10 19:53
67
68
68 COLIN JONESb. 1936
Sunderland, 1963
Gelatin silver print. 27 × 38.4 cm (10 5/8 × 15 1/8 in). Signed, titled, dated and
annotated ‘vintage’ in pencil on the verso.
Estimate£1,200–1,800 $1,900–2,800 €1,400–2,000
Provenance Acquired directly from the artist
67 BRYN CAMPBELLb. 1933
Rush Hour in fog, Bromley Station, c. 1959
Gelatin silver print. 23.8 × 29.5 cm (9 3/8 × 11 5/8 in). Signed, titled, dated in
pencil and copyright credit stamp on the verso.
Estimate£1,500–2,000 $2,300–3,000 €1,700–2,300
Provenance Acquired directly from the artist
literature Bryn Campbell: Reports and Rumours, Photographers Publications:
Taiwan, 2001, n.p.
PHOTO partTwo_65-137.indd 78 16/04/10 19:53
69 BILL BRANDT1904 – 1983
Housewife, Bethnal Green, 1937
Gelatin silver print, printed later. 34.6 × 29.2 cm (13 5/8 × 11 4/8 in). Signed in ink
in the margin.
Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ‡
Provenance Acquired directly from the artist
literature Bill Brandt Photographs 1928–1983, London: Thames and Hudson,
1993, p. 68; Bill Brandt: The Photography of Bill Brandt, New York: Harry N. Abrams,
1999, pl. 29
PHOTO partTwo_65-137.indd 79 16/04/10 19:53
70 JINDRICH STREITb. 1946
Polska, 1977
Gelatin silver print. 37.5 × 28.4 cm (14 3/4 × 11 3/16 in). Signed, titled and dated
in pencil on the verso.
Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300 ♠
Provenance Acquired directly from the artist
PHOTO partTwo_65-137.indd 80 16/04/10 19:55
71 HELEN LEVITT1913 – 2009
New York, c. 1940
Gelatin silver print, printed later. 26 × 17.5 cm (10 1/4 × 6 7/8 in). Signed, dated
and annotated ‘N.Y.’ in pencil on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Acquired directly from the artist
literature Exhibition catalogue, San Francisco Museum of Modern Art, Helen
Levitt, San Francisco, 1991, p. 20; W. Evans, Helen Levitt – Monograph, New York:
Powerhouse Books, 2008, p. 56
PHOTO partTwo_65-137.indd 81 16/04/10 19:55
72 NATHAN LERNER1913 – 1997
City Light Box Study, New York, 1944
Gelatin silver print, printed c. 1980s. 33.3 × 23.5 cm (13 1/8 × 9 1/4 in).
Estimate£800–1,200 $1,200–1,800 €900–1,400
Provenance Art Beaufort, Hamburg
literature Exhibition catalogue, Musée d’Art et d’Histoire du Judaisme, Nathan
Lerner: l’heritage du Bauhaus à Chicago, Paris, 2008, p. 69
PHOTO 82-83_v1.indd 82 16/04/10 19:13
73 HELEN LEVITT1913 – 2009
New York, c. 1940
Gelatin silver print, printed later. 18.6 × 27.9 cm (7 5/16 × 11 in). Signed, dated and
annotated ‘N.Y.’ in pencil on verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Acquired directly from the artist
literature W. Evans, Helen Levitt – Monograph, New York: Powerhouse Books, 2008, p. 144
PHOTO 82-83_v1.indd 83 16/04/10 19:14
74 CHRISTOPHER WILLIAMSb. 1956
ECT (European Container Terminus B.V), 1991
Gelatin silver print. 26.7 × 34.1 cm (10 1/2 × 13 7/16 in). Signed, titled, dated and
numbered 2/10 in pencil on the verso.
Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000
Provenance Luhring Augustine Hetzler, Santa Monica
PHOTO partTwo_65-137.indd 84 16/04/10 19:59
75 ROBERT POLIDORIb. 1951
Ambassador Hotel Swimming Pool, Los Angeles, CA, from Southern California
Project, 2005
Fujicolor Crystal Archive print. 102.9 × 146.7 cm (40 1/2 × 57 3/4 in). Signed in
ink, printed title, date and number on a label affixed to the reverse of the
flush-mount. One from an edition of 10.
Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800
Provenance Private Collection
PHOTO partTwo_65-137.indd 85 16/04/10 19:59
76 JOEL STERNFELDb. 1944
McLean Virginia, December 4, 1978
Dye-transfer print, printed 1983. 38.1 × 49.5 cm (15 × 19 1/2 in). Signed, titled
and dated in ink on the verso.
Estimate£12,000–18,000 $18,500–27,700 €13,800–20,600 ‡
Provenance Acquired directly from the artist
literature S. Greenough et al., On the Art of Fixing a Shadow: One Hundred and
Fifty Years of Photography, 1989, pl. 373; Joel Sternfeld: American Prospects, Gottingen:
Steidl, 2003, pl. 30
PHOTO partTwo_65-137.indd 86 16/04/10 19:59
78
77
78 WILLIAM EGGLESTONb. 1939
Untitled (shovel), 1982
Colour coupler print. 25.6 × 37.9 cm (10 1/16 × 14 15/16 in). Signed, dated and
inscribed ‘for Elsie’ in ink on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Acquired directly from the artist
77 WILLIAM EGGLESTONb. 1939
Untitled (iron on washing machine) from Louisiana Project, 1980
Dye-transfer print. 17 × 25.4 cm (6 11/16 × 10 in). Signed in ink, numbered 1/12
in an unidentified hand in pencil and edition stamp on the verso.
Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300
Provenance Private Collection, Berlin
PHOTO partTwo_65-137.indd 87 16/04/10 20:00
80
79
80 JOEL MEYEROWITZb. 1938
Province Town, 1977
Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,
dated ‘1979’ and numbered 18/75 in ink on verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance Art Beaufort, Hamburg
79 JOEL MEYEROWITZb. 1938
Porch, Providence, 1977
Colour coupler print, printed 1979. 19.5 × 24.6 cm (7 11/16 × 9 11/16 in). Signed,
dated ‘1979’ and numbered 18/75 in ink on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance Art Beaufort, Hamburg
literature Exhibition catalogue, Museum of Fine Arts, Cape Light: Color
Photographs, Boston, 1978, pl. 3
PHOTO partTwo_65-137.indd 88 16/04/10 20:00
81 AUGUST SANDER1876 – 1964
Loop at the Rhine near Boppard, 1936
Gelatin silver print, printed in 1974 by Günther Sander. 21.6 × 28.7 cm (8 1/2 × 11
5/16 in). Archive blindstamp on the recto; signed, numbered 35/75 in pencil by
Günther Sander and Schirmer/Mosel stamp on the reverse of the mount.
Estimate£3,500–4,500 $5,400–6,900 €4,000–5,200
Provenance Art Beaufort, Hamburg
PHOTO partTwo_65-137.indd 89 16/04/10 20:00
83
82
83 NAN GOLDINb. 1953
Stromboli at dawn, Italy, 1996
Dye destruction print. 65.4 × 99.1 cm (25 3/4 × 39 in). Signed, titled, dated and numbered
in ink on the reverse of the flush-mount. One from an edition of 15.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300
Provenance Yvon Lambert, Paris
literature Exhibition catalogue, Whitney Museum of America Art, Nan Goldin: I’ll be your
mirror, New York, 1996, p. 435; G. Costa, Nan Goldin, London: Phaidon, 2005, pl. 40
82 BILL HENSONb. 1955
Untitled #52, 1998/99
Colour coupler print, flush-mounted. 102.9 × 153.7 cm (40 1/2 × 60 1/2 in).
Signed, dated, numbered 3/5 and annotated ‘CLSH 370 N26’ in ink in the
margin.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300
Provenance Roslyn Oxley9 Gallery, Sydney
literature Mnemosyne: Photographic Works 1974–2004, Zurich: Scalo, 2005, p. 469
PHOTO partTwo_65-137.indd 90 16/04/10 20:00
84 TODD HIDOb. 1968
#2423-A from House Hunting, 1999
Colour coupler print. 60.6 × 50.8 cm (23 7/8 × 20 in). Signed, titled, dated and
annotated ‘AP’ in pencil on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Acquired directly from the artist
exhibited Kansas City, Kemper Museum of Contemporary Art, Todd Hido: Open
House, 12 April – 7 July 2002 (another example exhibited)
literature G. Keizer, ‘Left Alone’, Mother Jones, November 2005, p. 68
PHOTO partTwo_65-137.indd 91 16/04/10 20:01
85 THOMAS RUFFb. 1958
LMV 09 h.t.b. 03, 1999
Digital colour coupler print, Diasec mounted. 99.7 × 133 cm (39 1/4 × 52 3/8 in).
Signed, titled, dated and numbered in pencil on the reverse of the frame. One
from an edition of 5 plus 2 artist’s proofs.
Estimate£25,000–35,000 $38,400–53,800 €28,600–40,100 ♠
Provenance Galerie Nelson, Paris
literature M. Winzen, Thomas Ruff: 1979 to the Present, Cologne, 2001, p. 242
“When I did my first architectural series, in 1987–91, I chose the
typical, undistinguished buildings my generation grew up
surrounded by. I thought that high architecture might overshadow
the image itself, that a Mies building would be too beautiful. I was
worried that there would be too much Mies and too little Ruff. But
after gaining experience making various series in the meantime, I
thought I could transform even Mies architecture into a Ruff image.
When Julian [Heymen] proposed the project in 1999, I realised I was
ready for Mies – that I could make his architecture look different
from the way it had appeared in previous photographs.”
(Thomas Ruff, ‘A Thousand Words: Thomas Ruff talks about
“l.m.v.d.r.” ’, Artforum, vol. XXXIX, no. 10, Summer 2001, p. 159)
PHOTO partTwo_65-137.indd 92 19/04/10 14:38
PHOTO partTwo_65-137.indd 93 19/04/10 14:39
86 JULIUS SHULMAN1910 – 2009
Case Study # 22, Los Angeles, Pierre Koenig, Architect, 1960
Gelatin silver print, printed later. 45.1 × 36.2 cm (17 3/4 × 14 1/4 in). Signed and
annotated ‘#22 Stahl’ in pencil on the verso.
Estimate£1,000–2,000 $1,500–3,000 €1,200–2,300
Provenance Art Beaufort, Hamburg
literature Exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia,
Colección Taschen, Madrid, 2004, p. 189; L. Nittive and L. Essling, Time & Place: Los
Angeles 1957–1968, Göttingen: Steidl Verlag, 2008, p. 44
PHOTO partTwo_65-137.indd 94 16/04/10 20:01
87 HIROSHI SUGIMOTOb. 1948
South Bay Drive-In, San Diego, 1993
Gelatin silver print. 42.2 × 54 cm (16 5/8 × 21 1/4 in). Blindstamp title and
number 7/25 735 in the margin; signed and numbered ‘735’ in pencil on the
mount.
Estimate£15,000–20,000 $23,000–30,700 €17,200–22,900
Provenance Gallery Koyanagi, Tokyo.
literature Hans Belting, Theaters: Hiroshi Sugimoto, New York, 2000, pp. 206–07
PHOTO partTwo_65-137.indd 95 16/04/10 20:01
88 NICOLAS FAUREb. 1949
N° 160 – A, 1997
Lambda print, flush-mounted and printed later. 125 × 160 cm (49 1/4 × 63 in).
Signed, titled, dated and numbered 4/5 in ink on a label affixed to the reverse
of the frame. One from an edition of 5 plus 2 artist’s proofs.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ‡
Provenance Acquired directly from the artist
exhibited Lausanne, Musée de l’Elysée, Nicolas Faure: Landscape A, 17 November
2005 – 5 February 2006 (another example exhibited)
literature Exhibition catalogue, Musée de l’Elysée, Nicolas Faure: Landscape A,
Lausanne, 2005, p. 57
The Utopian, illusion-inducing artificial gardens that Nicolas Faure
has discovered along Switzerland’s highways can only be seen
from a distance. They are invisible to those in passing vehicles
because of the speed at which the vehicles are travelling. Nor do
the gardens reveal themselves to pedestrians – the spaces are for
the most part enclosed and in any case off-bounds. These
‘compensation zones’, created to diminish the effects of the
wide-spread use of concrete, usually border on the highways
directly. Faure’s photographs make it possible not only to see
differently; they take a new look at landscape, showing a form of
beauty in no way nostalgic and yet central to modern concerns,
including ecological ones. His images also make it possible to
understand the bond that man – or, more prosaically, the federal
administration – has to nature, or at least to the idea of it.
(Exhibition catalogue, Nicolas Faure: Landscape A, Lausanne Musée
de l’Elysée, 2005, p. 6)
Another example of this work is held in the collections of the
Museum of Modern Art, New York, Musée de l’Elysée, Lausanne
and Pictet Bank Collection
PHOTO partTwo_65-137.indd 96 16/04/10 20:01
PHOTO partTwo_65-137.indd 97 16/04/10 20:01
89 MICHAEL REISCHb. 1964
Landschaft, 7/018, 2009
Digital colour coupler print, Diasec mounted. 114 × 315 cm (44 7/8 × 124 in).
Signed, titled, dated and numbered 5/8 in ink on the reverse of the flush-
mount. One from an edition of 8 plus 2 artist’s proofs.
Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200
Provenance Hengesbach Gallery, Berlin
literature New Landscapes: Michael Reisch, Hatje Cantz Verlag, 2010, p. 39
PHOTO partTwo_65-137.indd 98 16/04/10 20:02
The German artist Michael Reisch studied under Bernd Becher at the Kunstakademie
in Düsseldorf in the early 1990s.
Reisch’s imagination works within the photograph, processing a wide range of
references, while at the same time creating overlaps between nature, sculpture, and
architecture. Each work is a system whose visual effect depends, above all, on the way
in which it differs from reality. Each photograph is a construction that blends
photographic and sculptural modes of thinking within a model and through which the
specific work of art also becomes evident as a photograph.
(Martin Hochleitner, Michael Reisch, Hatje Cantz, 2006, p. 13)
PHOTO partTwo_65-137.indd 99 16/04/10 20:02
90 NICOLAI HOWALT & TRINE SØNDERGAARDb. 1970 & b. 1972
Tree No. 2 from Tree Zone, 2007
Digital colour coupler print, flush-mounted. 92.1 × 69.9 cm (36 1/4 × 27 1/2 in).
Signed in ink on the reverse of the frame. Accompanied by a signed certificate
of authenticity. Number 1 from an edition of 5 plus 2 artist’s proofs.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ♠
Provenance Martin Asbaek Projects, Copenhagen
literature Tree Zone: Howalt & Søndergaard, New York: Hassla Books, 2009
PHOTO partTwo_65-137.indd 100 16/04/10 20:02
91 BEATE GÜTSCHOWb. 1970
LS#13, 2001
Lambda print, printed 2002. 108 × 85.1 cm (42 1/2 × 33 1/2 in). Signed in ink,
printed title, date and number 3/10 on a label affixed to the reverse of the
flush-mount.
Estimate£3,500–4,500 $5,400–6,900 €4,000–5,200 ♠
Provenance Eric Franck Fine Art, London
literature L. A. Martin, Beate Gütschow: LS/S, New York: Aperture, 2007, p. 14
PHOTO partTwo_65-137.indd 101 19/04/10 10:00
92 ERIC BAUDELAIREb. 1973
Plantation from Imagined States, 2004
Colour coupler print, Diasec mounted. 104.9 × 134.9 cm (41 5/16 × 53 1/8 in).
Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-
mount.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Galeria Juana De Aizpuru, Madrid
PHOTO partTwo_65-137.indd 102 19/04/10 10:03
94
93
94 HARRY CORY WRIGHTb. 1963
Aonach Dubh, Glen Coe, Highland, 2006
Colour coupler print, flush-mounted. 135 × 170 cm (53 1/8 × 67 in). Signed on a
label affixed to the reverse.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900
Provenance Eleven Fine Art, London
93 JOEL TETTAMANTIb. 1977
Untitled (Archive n° 6705) from ‘DAVOS’, Switzerland, 2006–09
Lambda print, flush-mounted. 121.9 × 154 cm (48 × 60 5/8 in). Signed in ink, printed title,
date and number 1/3 on a label affixed to the reverse of the frame
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ‡
Provenance Acquired directly from the artist
literature N. Olonetzky, Joel Tettamanti: Davos, Zurich: Scheidegger & Spiess, 2009, n.p.
PHOTO partTwo_65-137.indd 103 19/04/10 10:25
95 DAVID PARKERb. 1949
Siren XXIII, 2005
Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink,
printed title, date and number 2/10 on a label affixed to the reverse of the
frame.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠
Provenance Michael Hoppen Gallery, London
PHOTO partTwo_65-137.indd 104 16/04/10 20:03
96 DAVID PARKERb. 1949
Siren XXXV, 2005
Toned gelatin silver print. 64.3 × 135.9 cm (25 5/16 × 53 1/2 in). Signed in ink,
printed title, date and number 2/10 on a label affixed to the reverse of the
frame.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠
Provenance Michael Hoppen Gallery, London
PHOTO partTwo_65-137.indd 105 19/04/10 10:23
97 ALBERTO GARCIA-ALIXb. 1956
El Brazo de Ana, 1992
Gelatin silver print. 51.4 × 45.1 cm (20 1/4 × 17 3/4 in). Copyright credit
blindstamp in the margin; signed, titled, dated and numbered in pencil on the
verso. One from an edition of 7.
Estimate£2,500–3,500 $3,800–5,400 €2,900–4,000 ♠
Provenance Private Collection, Europe
PHOTO 106-107_v1.indd 106 16/04/10 19:14
98 NAN GOLDINb. 1953
Yogo and C putting on make up, Second Tip, Bangkok, 1992
Dye destruction print. 65.4 × 97.5 cm (25 3/4 × 38 3/8 in). Signed, titled, dated
and numbered 5/15 in ink on the verso.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200
PHOTO 106-107_v1.indd 107 16/04/10 19:15
99 MICHEL JOURNIAC1943 – 1995
Piège pour un travesti – Rita Hayworth – Constat n° 4, 1972
Unique tetraptych comprising of three black and white prints and a mirror with
letter collage. Each 120 × 74.9 cm (47 1/4 × 29 1/2 in). Signed and dated in ink on the
mirror. Credited, titled, dated and numbered ‘1–4’ sequentially in an unidentified
hand in ink on a gallery label affixed to the reverse of each flush-mount.
Estimate£35,000–45,000 $53,800–69,100 €40,100–51,600
Provenance Private Collection, Europe
literature Exhibition catalogue, Musée d’Art Moderne et Contemporain de
Strasbourg, Michael Journiac, Strasbourg, 2004, p. 131
PHOTO 108-109_v2.indd 108 16/04/10 19:50
Michel Journiac invented a radically new way of making art,
melding the anatomical with the sociological. Heralded by some
as one of the most important of post-war artists, he dissected
and projected the human condition by exploring themes such
as femininity, death and the sacred. Once faced with AIDS, the
subjects he concentrated on became more disturbing and related
to his own suffering. After his death there was a renaissance
of interest in his work, especially among younger artists. His
work is represented both in private and important international
institutional collections.
PHOTO 108-109_v2.indd 109 16/04/10 19:50
100 HIROSHI SUGIMOTOb. 1948
Hall of Thirty-Three Bays, 1995
Gelatin silver print. 42.4 × 54.1 cm (16 11/16 × 21 5/16 in). Blindstamp number
6/25 017 in the margin; signed in pencil on the mount. One from an edition of 10.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200
Provenance Private Collection, London
literature Exhibition catalogue, Hiroshi Sugimoto, Hatje Cantz, 2005, p. 165 (variant)
PHOTO partTwo_65-137.indd 110 16/04/10 20:05
101
102
102 NOBUYOSHI ARAKIb. 1940
Tokyo Cubes #16 and #17, 1994
Two gelatin silver prints. Each 24.8 × 24.8 cm (9 3/4 × 9 3/4 in). Each signed in
pencil on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance White Cube, London
literature J. Sans, Araki, London: Taschen, 2007, p. 114 (Tokyo Cube #17)
101 KOHEI YOSHIYUKIb. 1946
Untitled, Plate 6 from The Park, 1971
Gelatin silver print, printed later. 31.3 × 46.5 cm (12 5/16 × 18 5/16 in).
Signed in Japanese, numbered in ink and stamped on the verso. One from
an edition of 10.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Private Collection, Europe
PHOTO partTwo_65-137.indd 111 16/04/10 20:05
103 VALERIE BELINb. 1964
Untitled (Nº 98121906), 1998
Gelatin silver print. 153 × 125 cm (60 1/4 × 49 1/4 in). Signed, dated in ink,
printed title and number on a label affixed to the reverse of the flush-mount.
One from an edition of 2.
Estimate£7,000–9,000 $10,800–13,800 €8,000–10,300 ♠
Provenance Private Collection, Europe
literature Valerie Belin, Göttingen: Steidl, 2007, n.p.
PHOTO partTwo_65-137.indd 112 16/04/10 20:06
104 VALERIE BELINb. 1964
Untitled (Nº 93082604), 1993
Gelatin silver print. 118 × 80 cm (46 1/2 × 31 1/2 in). Signed, dated in ink, printed
title and number on a label affixed to the reverse of the flush-mount. One from
an edition of 2.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900 ♠
Provenance Private Collection, Europe
literature Valerie Belin, Göttingen: Steidl, 2007, n.p.
PHOTO partTwo_65-137.indd 113 16/04/10 20:06
105 NOBUYOSHI ARAKIb. 1940
Self-Portrait from Shikikei (Colourscapes), 1991
Dye destruction print, printed 2003. 41.3 × 32.7 cm (16 1/4 × 12 7/8 in). Signed in
ink on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Private Collection, Japan
literature Deja-vu, April 1991, cover; Araki, Shikikei, Magazine House, 1991, p. 46;
J. Sans, Araki, London: Taschen, 2007, p. 543
PHOTO 114-115_v1.indd 114 16/04/10 19:45
106 PHILIP-LORCA DICORCIAb. 1951
Hannah, 2004
Fujicolor Crystal Archive print. 151.8 × 100.3 cm (59 3/4 × 39 1/2 in). Signed in ink, printed title, date and number on
a label affixed to the reverse of the flush-mount. One from an edition of 8.
Estimate£12,000–16,000 $18,500–24,600 €13,800–18,300
Provenance Private Collection, Europe
exhibited London, Gagosian Gallery, Philip-Lorca diCorcia, 9 February – 19 March 2005 (another example exhibited); New
York, Pace/MacGill Gallery, Philip-Lorca diCorcia: Lucky Thirteen, 8 September – 8 October 2005 (another example exhibited)
literature Exhibition catalogue, Institute of Contemporary Art, Philip-Lorca diCorcia, Boston, 2007, p. 41
PHOTO 114-115_v1.indd 115 19/04/10 11:22
107 VIK MUNIZb. 1961
Viewing From Moon – Longitude: 23° 42'28" Latitude 0° 04'04" – 07/20/1969 – 10:56:43
UT (LOCAL) – Gaze: AZ: 272º 22.968' Alt: 90º 00' from Pictures of Air, 2001
Dye destruction print, flush-mounted. 162.6 × 121.9 cm (64 × 48 in). Signed in
ink, printed title, date and number on a label affixed to the reverse of the
frame. One from an edition of 10.
Estimate£8,000–12,000 $12,300–18,400 €9,200–13,800 ♠
Provenance Michael Hue-Williams Fine Art, London
PHOTO partTwo_65-137.indd 116 16/04/10 20:07
108 ERNST HAAS1921-1986
Po Valley, 1970
Dye-transfer print, printed 1992. 50.8 × 76.2 cm (20 × 30 in). Signed, titled,
dated, numbered 3/30 by Alexander Haas, the photographer’s son, in pencil
and Ernst Haas copyright credit stamp on the verso.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700 ‡
Provenance Acquired directly from the Estate of Ernst Haas
literature Harry N. Abrams, Inc., Ernst Haas: Color Photography, 1989, cover and
p. 44; R. L. Kirschenbaum, Ernst Haas, Tokyo: Pacific Press Services, 1993. pl. 28
PHOTO partTwo_65-137.indd 117 16/04/10 20:07
109 MICHAEL WOLFb. 1954
Industrial #2, 2005
Lambda print, printed later and flush-mounted. 121.9 × 157.5 cm (48 × 62 in).
Signed in ink, printed title, date and number AP1 on a label affixed to the
reverse of the frame. One from an edition of 9 plus 2 artist’s proofs.
Estimate£10,000–15,000 $15,400–23,000 €11,500–17,200 ‡
Provenance Private Collection, Hong Kong
literature Michael Wolf, Hong Kong: Outside, Asia One Books/ Peperoni Books,
2009, n.p.
PHOTO 118-119_v1.indd 118 16/04/10 19:44
Photographer Michael Wolf has the eye of a minimalist painter, only his has
the grit of city living in it – which makes his images all the more compelling.
In one Hong Kong cityscape, a strict modern facade with rectangular pale
yellow, peach and sky-blue balconies is irreverently interrupted by clothes
lines and mops left out to dry; it’s as though people had taken up residence in
a faded Mondrian painting. By night, Wolf captures light beaming blue, gold
and green from apartment-block windows, gracing the concrete boxes with
an unexpected cinematic grandeur worthy of great Hong Kong filmmaker
Wong Kar-Wai. Indoors, residents go about their business, watching TV,
doing the dishes, apparently unaware that their actions are echoed by their
neighbours ad infinitum in a relentless but somehow reassuring urban rhythm.
By day, Wolf’s hulking, drab gray tower block makes us all the more attentive
to colourful details: a child’s red pyjamas hung out to dry, a blue plastic bag
of groceries dangling perilously from a window handle. This is Hong Kong at
its intimate best and anonymous worst, all in one photo – but it’s much more
than that, even. Wolf’s photos distill all of city life as we know it down to its
oxymoronic essence: layer upon layer of existential ennui and pulsating vitality,
slabs of concrete and the signs of life that miraculously break through it. For
better and for worse, there’s no denying: this is the life.
(Alison Bing, San Francisco Chronicle, January 2005)
PHOTO 118-119_v1.indd 119 16/04/10 19:44
110 FRANK THIELb. 1966
SK 76/ 2Mp (#02), 2000
Colour coupler print, printed 2001 and Diasec mounted. 196.9 × 146.7 cm (77
1/2 × 57 3/4 in). Signed, titled, dated and numbered 2/4 in pencil and ink on the
verso and reverse of the frame.
Estimate£6,000–8,000 $9,200–12,300 €6,900–9,200 ♠
Provenance Sean Kelly Gallery, New York
Frank Thiel has documented Berlin for more than a decade, photographing a
city that seems constantly in flux, its centre unclear. In fact this ever-changing
urban landscape suits the focus and interest of Thiel, who is concerned with
the process of construction, the incomplete and the temporary. Although
his chosen subject-matter is somewhat clinical the images are veiled with
romanticism; ruined buildings and austere structures become reminiscent of
abstract paintings, their muted colours seductive beyond the actual content.
Thiel has exhibited globally and his works are contained in the following
collections among others: Centro Galego de Arte Contemporánea, Santiago
de Compostela, Spain; Museu National Centro de Arte Reina Sofia, Madrid,
Spain; National Gallery of Canada, Ottawa, Canada; Fotomuseum Winterthur,
Switzerland; and Moderna Museet, Stockholm, Sweden.
PHOTO partTwo_65-137.indd 120 16/04/10 20:11
PHOTO partTwo_65-137.indd 121 16/04/10 20:11
111 FRANK THIELb. 1966
Stadt 5/23/C (Berlin), 2001
Colour coupler print, printed 2004 and Diasec mounted. 53 × 194.9 cm (20 7/8 ×
76 3/4 in). Signed, titled, dated and numbered 2/4 in ink on the reverse of the
frame.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000 ♠
Provenance Helga de Alvear, Madrid
PHOTO partTwo_65-137.indd 122 16/04/10 20:11
PHOTO partTwo_65-137.indd 123 16/04/10 20:11
112 GREGORY CREWDSONb. 1962
Untitled (Penitent Girl) from Twilight, 2001–02
Digital colour coupler print. 122.2 × 153 cm (48 1/8 × 60 1/4 in). Signed in ink,
printed title, date and number on a label affixed to the reverse of the
flush-mount. One from an edition of 10.
Estimate£20,000–25,000 $30,700–38,400 €22,900–28,600
Provenance Private Collection, Europe
exhibited London, Victoria and Albert Museum, Twilight: Photography in the Magic
Hour, October – 17 December 2006 (another example exhibited)
literature Twilight: Photographs from Gregory Crewdson, New York: Harry N.
Abrams, 2002, pl. 20; Exhibition catalogue, Victoria and Albert Museum, Twilight:
Photography in the Magic Hour, London, 2006, p. 61 and pl. 12
PHOTO partTwo_65-137.indd 124 19/04/10 12:26
113 ALEX PRAGERb. 1979
Rita from Week End, 2009
Digital colour coupler print. 61.3 × 81.9 cm (24 1/8 × 32 1/4 in). Signed, titled,
dated and numbered 1/7 in ink on an artist’s label affixed to the reserve of the
flush-mount.
Estimate£1,000–1,500 $1,500–2,300 €1,200–1,700 ‡
Provenance Yancey Richardson Gallery, New York
PHOTO partTwo_65-137.indd 125 16/04/10 20:11
114 LOUIS FAURER1916 – 2001
NYC, 1973
Gelatin silver print, printed 1980. 24.8 × 16.5 cm (9 3/4 × 6 1/2 in). Signed, titled
and dated in pencil on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance Art Beaufort, Hamburg
PHOTO partTwo_65-137.indd 126 16/04/10 20:11
115 RENÉ BURRIb. 1933
São Paulo, Brazil, 1960
Gelatin silver print, printed 2000. 27.9 × 41.9 cm (11 × 16 1/2 in). Signed, titled
and dated in pencil on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Acquired directly from the artist
literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum
Photographers, New York & London: Norton, 1989, pp. 196–97; Rene Burri Photographs,
London: Phaidon, 2004, pp. 192–93 and cover
116
115
116 LOUIS STETTNERb. 1922
Elbowing Out of Town Newstand, NYC, 1954
Gelatin silver print, printed later. 27.9 × 42.1 cm (11 × 16 9/16 in). Blindstamp
credit in the margin; signed, titled and dated in pencil on verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡
Provenance Acquired directly from the artist
literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,
2000, p. 57
PHOTO partTwo_65-137.indd 127 16/04/10 20:12
118117
118 BURT GLINN1925 – 2008
Ball for Debut of Lindy Guinness, Belvoir Castle, UK, 1959
Gelatin silver print, printed later. 56.5 × 38.1 cm (22 1/4 × 15 in). Initialled in
pencil and credit stamp on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400 ‡
Provenance Acquired directly from the artist
117 LOUIS STETTNERb. 1922
Aubervilliers, 1947
Gelatin silver print, printed later. 42.2 × 33.3 cm (16 5/8 × 13 1/8 in). Signed,
titled and dated in pencil on the verso.
Estimate£1,500–2,500 $2,300–3,800 €1,700–2,900 ‡
Provenance Acquired directly from the artist
literature Louis Stettner: Wisdom Cries Out in the Streets, Paris: Flammarion,
2000, p. 35
PHOTO partTwo_65-137.indd 128 16/04/10 20:12
119 IRVING PENN1917 – 2009
Mrs. Amory Carhart, New York, 1947
Gelatin silver print. 25.4 × 20.6 cm (10 × 8 1/8 in). Credit, date and ‘Vogue Studios,
New York City Proof’ stamps on the verso.
Estimate£4,000–5,000 $6,200–7,700 €4,600–5,700
Provenance Private Collection, Paris
literature J. Szarkowski, Irving Penn, New York: Museum of Modern Art, 1984, pl. 39
PHOTO partTwo_65-137.indd 129 16/04/10 20:12
120 NORMAN PARKINSON1913-1990
The Iron Road, November, 1947
Gelatin silver print, printed later. 25.4 × 22.9 cm (10 × 9 in). Signed in pencil in
the margin; annotated ‘Wenda at the Station’ in an unidentified hand in pencil
on the verso.
Estimate£2,000–3,000 $3,000–4,600 €2,300–3,400
Provenance Private Collection, Germany
PHOTO partTwo_65-137.indd 130 16/04/10 20:13
121 CORNELL CAPA1918 – 2008
Bolshoi Ballet School, Moscow, 1958
Gelatin silver print, printed 2001. 43.2 × 29.8 cm (17 × 11 3/4 in). Signed, titled
and dated in ink on a copyright credit label affixed to the verso.
Estimate£2,000–2,500 $3,000–3,800 €2,300–2,900 ‡
Provenance Acquired directly from the artist
literature Jean Lacouture et al., In Our Time: The World as Seen by Magnum
Photographers, New York & London: Norton, 1989, p. 374
PHOTO partTwo_65-137.indd 131 16/04/10 20:13
122 HERBERT LIST1903–1974
Ostee, 1931
Gelatin silver print, printed later. 34 × 49.5 cm (13 3/8 × 19 1/2 in). Signed, titled,
dated by Max Scheler, Executor in ink with Estate stamp on the verso.
Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500
Provenance Art Beaufort, Hamburg
literature M. Scheler and M. Harder, Herbert List: The Monograph, New York:
Monacelli, 2000, pp. 12–13 and 32
123
122
123 HENRI CARTIER-BRESSON1908–2004
Landscape, New Jersey, 1964
Gelatin silver print, printed c. 1970s. 14.6 × 21.9 cm (5 3/4 × 8 5/8 in). Signed in
ink in the margin; credit stamp on the verso.
Estimate£5,000–7,000 $7,700–10,800 €5,700–8,000
Provenance Private Collection, Germany
PHOTO partTwo_65-137.indd 132 16/04/10 20:14
0
124 FRITZ HENLE1909 – 1993
Young Girl, Mexico, 1947
Gelatin silver print. 21 × 20.5 cm (8 1/4 × 8 1/16 in). Credit and date stamps on the verso.
Estimate£800–1,200 $1,200–1,800 €900–1,400
Provenance Art Beaufort, Hamburg
PHOTO partTwo_65-137.indd 133 16/04/10 20:14
125 GOHAR DASHTIb. 1979
Untitled from Today’s Life and War, 2008
Inkjet print. 69.9 × 105.1 cm (27 1/2 × 41 3/8 in). Signed and numbered 7/7 in ink
on the recto.
Estimate£4,000–6,000 $6,200–9,200 €4,600–6,900
Provenance Acquired directly from the artist
In Today’s Life and War, Gohar Dashti presents ten photos
depicting a complex relationship between the daily experiences
and the internal psychic experiences of a young Iranian couple.
Her works initiate a multi-layered viewing process, beginning
with a seemingly innocuous glimpse at the mundane activities of
this couple and extending to the disconcerting realization of the
presence of military tanks, bunkers and soldiers. According to
Dashti, she depicts a “post-war couple” that is “symbolic of (her)
generation” who are “entangled in the memories and realities
of war as a background to their daily life.” Dashti’s particular
body of work offers a unique voice from her contemporary
experience and depicts how, in the context of Iranian artists,
political and historical events create specific cultural memories
that have specific generational significances while referencing
a more general communal trauma that spans generations. For
the post-war generation, the sense of mourning reflects the
unrecoverable lost innocence and youth and addresses the high
social price of war. In fact, what we are presented with is an
articulate, reflective and profound statement that allows us to
feel a sense of mourning and a sense of hope.
(Jolaine Frizzell, The Persistence of Trauma in Post-war Iran: Gohar
Dashti and Today’s Life and War, 2009)
PHOTO partTwo_65-137.indd 134 16/04/10 20:14
PHOTO partTwo_65-137.indd 135 16/04/10 20:14
126 ANDREAS MÜHEb. 1979
Unterm Baum, Angela Merkel, Berlin, 2008
Colour coupler print 60 × 80 cm (23 5/8 × 31 1/2 in). Number 5 from an edition of 5.
Estimate£3,000–4,000 $4,600–6,100 €3,500–4,600 ♠
Provenance Acquired directly from the artist
PHOTO 136-137_v1.indd 136 16/04/10 19:45
128
127
127 CLARE RICHARDSONb. 1973
Untitled III from Harlemville, 2000
Colour coupler print. 50.8 × 61 cm (20 × 24 in). Signed and numbered on the verso.
One from an edition of 6.
Estimate£1,800–2,200 $2,800–3,400 €2,000–2,500
Provenance White Cube, London
eXHIBITeD London, White Cube, Clare Richardson: Harlemville, 6 September–13 October
2001; Dublin, Douglas Hyde Gallery, Clare Richardson: Harlemville, 24 February–18 April 2005
(each another example exhibited)
lITeraTure Clare Richardson: Harlemville, Göttingen: SteidlMack, 2003, n.p.
000
128 CLARE RICHARDSONb. 1973
Untitled II from Sylvan, 2002
Colour coupler print. 107.5 × 127 cm (42 5/16 × 50 in). Signed and numbered on
the verso. One from an edition of 6.
Estimate£3,000–5,000 $4,600–7,700 €3,500–5,700
Provenance White Cube, London
eXHIBITeD London, White Cube, Clare Richardson: Sylvan, 11 December 2003–17
January 2004 (another example exhibited)
lITeraTure Clare Richardson: Beyond the Forest, Göttingen: SteidlMack, 2007, n.p.
PHOTO 136-137_v1.indd 137 16/04/10 19:45
Araki, N. 22, 102, 105
Arnold, E. 5, 7
Avedon, R. 17
Bassman, L. 25, 26, 27
Baudelaire, E. 92
Beard, P. 9, 10, 11, 13
Belin, V. 103, 104
Brandt, B. 69
Brandt, N. 36
Bucklow, C. 44
Bulmer, J. 60
Burri, R. 115
Burtynsky, E. 46
Campbell, B. 64, 65, 67
Capa, C. 121
Cartier-Bresson, H. 33, 34, 123
Cooper, T. J. 38
Cory Wright, H. 94
Crewdson, G. 112
Dashti, G. 125
de Dienes, A. 6
DiCorcia, P-L. 106
Dolron, D. 49, 50
Duffy, B. 15
Eggleston, W. 77, 78
Ertug, A. 52
Faure, N. 88
Faurer, L. 114
Friedlander, L. 35
Garcia-Alix, A. 97
Gassian, C. 16
Glinn, B. 118
Goldin, N. 83, 98
Gütschow, B. 91
Haas, E. 108
Henle, F. 124
Henson, B. 82
Hido, T. 84
Horst, H. P. 28, 29, 30
Howalt, N. & Søndergaard, T. 90
Hoyningen-Huene, G. 31
Hugo, P. 47, 48
Jaschinski, B. 37
Jones, C. 68
Journiac, M. 99
Kertész, A. 58
Killip, C. 59
Koudelka, J. 4
LaChapelle, D. 19, 20
Lerner, N. 72
Levitt, H. 71, 73
Lindbergh, P. 24
List, H. 122
Lowe, J. 8
Mapplethorpe, R. 54, 55, 56
McCabe, D. 12
Meyerowitz, J. 79, 80
Misrach, R. 39
Moriyama, D. 23
Mühe, A. 126
Muniz, V. 107
Neshat, S. 51
Neville, M. 63
O’Neill, T. 14
Parker, D. 95, 96
Parkinson, N. 120
Penn, I. 32, 57, 119
Polidori, R. 53, 75
Prager, A. 113
Reisch, M. 89
Rheims, B. 21
Richardson, C. 127, 128
Rickett, S. 66
Riefenstahl, L. 40
Ruff, T. 85
Salgado, S. 1, 2, 3
Sander, A. 81
Shulman, J, 86
Smith, G. 61, 62
Sternfeld, J. 76
Stettner, L. 116, 117
Streit, J. 70
Sugimoto, H. 87, 100
Tettamanti, J. 93
Thiel, F. 110, 111
Toguo, B. 41
van Empel, R. 42, 43
van Lamsweerde, I. & Matadin, V. 18
Vitali, M. 45
Williams, C. 74
Wolf, M. 109
Yoshiyuki, K. 101
INDEX
PHOTO Backmatter_138-149.indd 138 16/04/10 19:57
GUIDE FOR PROSPECTIVE BUYERS
BUYING aT aUCTION
The following pages are designed to offer you information on how to buy at auction at
Phillips de Pury & Company. Our staff will be happy to assist you.
CONDITIONS OF SalE
The Conditions of Sale and Authorship Warranty which appear later in this catalogue
govern the auction. Bidders are strongly encouraged to read them as they outline the legal
relationship between Phillips de Pury & Company, the seller and the buyer and describe
the terms upon which property is bought at auction. Please be advised that Phillips de
Pury & Company generally acts as agent for the seller.
BUYER’S PREmIUm
Phillips de Pury & Company charges the successful bidder a commission, or buyer’s
premium, on the hammer price of each lot sold. The buyer’s premium is payable by the
buyer as part of the total purchase price at the following rates: 25% of the hammer price up
to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and
including £500,000, and 12% of the portion of the hammer price above £500,000.
VaT
Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.
The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT
AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.
1 PRIOR TO aUCTION
Catalogue Subscriptions
If you would like to purchase a catalogue for this auction or any other Phillips de Pury &
Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.
Pre-Sale Estimates
Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high
and low estimate range should, in our opinion, offer a chance of success. However, many
lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’
appears, please contact the specialist department for further information. It is advisable
to contact us closer to the time of the auction as estimates can be subject to revision.
Pre-sale estimates do not include the buyer’s premium or VAT.
Pre-Sale Estimates in US Dollars and Euros
Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction
catalogues may also be printed in US dollars and/or euros. Since the exchange rate is
that at the time of catalogue production and not at the date of auction, you should treat
estimates in US dollars or euros as a guide only.
Catalogue Entries
Phillips de Pury & Company may print in the catalogue entry the history of ownership of a
work of art, as well as the exhibition history of the property and references to the work in
art publications. While we are careful in the cataloguing process, provenance, exhibition
and literature references may not be exhaustive and in some cases we may intentionally
refrain from disclosing the identity of previous owners. Please note that all dimensions of
the property set forth in the catalogue entry are approximate.
Condition of lots
Our catalogues include references to condition only in the descriptions of multiple works
(e.g., prints). Such references, though, do not amount to a full description of condition.
The absence of reference to the condition of a lot in the catalogue entry does not imply
that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips
de Pury & Company may provide condition reports. In preparing such reports, our
specialists assess the condition in a manner appropriate to the estimated value of the
property and the nature of the auction in which it is included. While condition reports are
prepared honestly and carefully, our staff are not professional restorers or trained
conservators. We therefore encourage all prospective buyers to inspect the property at
the pre-sale exhibitions and recommend, particularly in the case of any lot of significant
value, that you retain your own restorer or professional advisor to report to you on the
property’s condition prior to bidding. Any prospective buyer of photographs or prints
should always request a condition report because all such property is sold unframed,
unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury
& Company accepts no liability for the condition of the frame. If we sell any lot unframed,
we will be pleased to refer the purchaser to a professional framer.
Pre-auction Viewing
Pre-auction viewings are open to the public and free of charge. Our specialists are
available to give advice and condition reports at viewings or by appointment.
Electrical and mechanical lots
All lots with electrical and/or mechanical features are sold on the basis of their decorative
value only and should not be assumed to be operative. It is essential that, prior to any
intended use, the electrical system is verified and approved by a qualified electrician.
Symbol Key
The following key explains the symbols you may see inside this catalogue.
O Guaranteed Property
The seller of lots with this symbol has been guaranteed a minimum price. The guarantee
may be provided by Phillips de Pury & Company, by a third party or jointly by us and a
third party. Phillips de Pury & Company and third parties providing or participating in a
guarantee may benefit financially if a guaranteed lot is sold successfully and may incur
a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed
lot and may be allowed to net the financial remuneration against the final purchase price
if such party is the successful bidder.
∆ Property in which Phillips de Pury & Company has an Ownership Interest
Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in
part or has an economic interest in the lot equivalent to an ownership interest.
• No Reserve
Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.
A reserve is the confidential value established between Phillips de Pury & Company and
the seller and below which a lot may not be sold. The reserve for each lot is generally set at
a percentage of the low estimate and will not exceed the low pre-sale estimate.
♠ Property Subject to the artist’s Resale Right
Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of
the hammer price and payable as part of the purchase price as follows:
Portion of the Hammer Price (in EUR) Royalty Rate
From 0 to 50,000 4%
From 50,000.01 to 200,000 3%
From 200,000.01 to 350,000 1%
From 350,000.01 to 500,000 0.5%
Exceeding 500,000 0.25%
The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to
a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be
based on the pounds sterling/euro reference exchange rate quoted on the date of the sale
by the European Central Bank.
†, §, ‡, or Ω Property Subject to VaT
Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’
in this catalogue for additional information.
PHOTO Backmatter_138-149.indd 139 16/04/10 19:57
2 BIDDING IN ThE SalE
Bidding at auction
Bids may be executed during the auction in person by paddle or by telephone or prior to
the sale in writing by absentee bid. Proof of identity in the form of government-issued
identification will be required, as will an original signature. We may also require that
you furnish us with a bank reference.
Bidding in Person
To bid in person, you will need to register for and collect a paddle before the auction
begins. New clients are encouraged to register at least 48 hours in advance of a sale to
allow sufficient time for us to process your information. All lots sold will be invoiced to
the name and address to which the paddle has been registered and invoices cannot be
transferred to other names and addresses. Please do not misplace your paddle. In the
event you lose it, inform a Phillips de Pury & Company staff member immediately. At the
end of the auction, please return your paddle to the registration desk.
Bidding by Telephone
If you cannot attend the auction, you may bid live on the telephone with one of our
multilingual staff members. This service must be arranged at least 24 hours in advance of
the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone
bids may be recorded. By bidding on the telephone, you consent to the recording of your
conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium
and VAT, which we can execute on your behalf in the event we are unable to reach you
by telephone.
absentee Bids
If you are unable to attend the auction and cannot participate by telephone, Phillips de
Pury & Company will be happy to execute written bids on your behalf. A bidding form can
be found at the back of this catalogue. This service is free and confidential. Bids must be
placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the
lowest possible price taking into account the reserve and other bidders. Always indicate
a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be
accepted. Any absentee bid must be received at least 24 hours in advance of the sale.
In the event of identical bids, the earliest bid received will take precedence.
Employee Bidding
Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
the reserve when submitting their absentee bids and otherwise comply with our employee
bidding procedures.
Bidding Increments
Bidding generally opens below the low estimate and advances in increments of up to 10%,
subject to the auctioneer’s discretion. Absentee bids that do not conform to the
increments set below may be lowered to the next bidding increment.
UK£50 to UK£1,000 by UK£50s
UK£1,000 to UK£2,000 by UK£100s
UK£2,000 to UK£3,000 by UK£200s
UK£3,000 to UK£5,000 by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)
UK£5,000 to UK£10,000 by UK£500s
UK£10,000 to UK£20,000 by UK£1,000s
UK£20,000 to UK£30,000 by UK£2,000s
UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000
UK£50,000 to UK£100,000 by UK£5,000s
UK£100,000 to UK£200,000 by UK£10,000s
above UK£200,000 at the auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her
own discretion.
3 ThE aUCTION
Conditions of Sale
As noted above, the auction is governed by the Conditions of Sale and Authorship
Warranty. All prospective bidders should read them carefully. They may be amended by
saleroom addendum or auctioneer’s announcement.
Interested Parties announcement
In situations where a person allowed to bid on a lot has a direct or indirect interest in such
lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot
or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company
will make an announcement in the saleroom that interested parties may bid on the lot.
Consecutive and Responsive Bidding
The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.
The auctioneer may further bid on behalf of the seller up to the amount of the reserve by
placing consecutive bids or bids in response to other bidders.
4 aFTER ThE aUCTION
Payment
Buyers are required to pay for purchases immediately following the auction unless other
arrangements have been agreed with Phillips de Pury & Company in writing in advance of
the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK
bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate
policy not to make or accept single or multiple payments in cash or cash equivalents in
excess of the local currency equivalent of US$10,000.
Credit Cards
As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and
UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.
Collection
It is our policy to request proof of identity on collection of a lot. A lot will be released to
the buyer or the buyer’s authorized representative when Phillips de Pury & Company has
received full and cleared payment and we are not owed any other amount by the buyer.
After the auction, we will transfer all lots to our fine arts storage facility located at 110–112
Morden Road, Mitcham, Surrey CR4 4XB and will so advise all buyers. Please contact the
Shipping Department at (tel) +44 20 7318 4081 or (fax) +44 20 7318 4038 to arrange collection
or to seek assistance with any shipping requirements. Please note that all buyers have 30
days to collect their purchases, after which date Phillips de Pury & Company will levy for
each uncollected lot an administrative fee of £25, a storage fee of £3 per day and a pro
rated insurance charge of 0.1% of the purchase price per month.
loss or Damage
Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage
to lots for a maximum of five days following the auction.
Transport and Shipping
As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand
carry only. We do not provide packing, handling or shipping services directly. However, we
will coordinate with shipping agents instructed by you in order to facilitate the packing,
handling and shipping of property purchased at Phillips de Pury & Company. Please refer
to Paragraph 7 of the Conditions of Sale for more information.
Export and Import licences
Before bidding for any property, prospective bidders are advised to make independent
enquiries as to whether a licence is required to export the property from the United
Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply
with all import and export laws and to obtain any necessary licences or permits. The
denial of any required licence or permit or any delay in obtaining such documentation will
not justify the cancellation of the sale or any delay in making full payment for the lot.
Endangered Species
Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,
whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may
require a licence or certificate prior to exportation and additional licences or certificates
upon importation to any country outside the European Union (EU). Please note that the
ability to obtain an export licence or certificate does not ensure the ability to obtain an
import licence or certificate in another country, and vice versa. We suggest that
prospective bidders check with their own government regarding wildlife import
requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any
necessary export or import licences or certificates as well as any other required
documentation. The denial of any required licence or certificate or any delay in obtaining
such documentation will not justify the cancellation of the sale or any delay in making full
payment for the lot.
PHOTO Backmatter_138-149.indd 140 16/04/10 19:57
aUCTIONS lONDON
EVENING SalE 29 JUNE 2010 7pm DaY SalE 30 JUNE 2010 10am & 2pm
Viewing 21 – 29 June
Phillips de Pury & Company Howick Place London SW1P 1BB
Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240
www.phillipsdepury.com
GIlBERT aND GEORGE Damned Buddleia, 1980 Estimate £150,000-200,000
CONTEMPORARY ART
PHOTO Backmatter_138-149.indd 141 16/04/10 19:57
VaT aND OThER TaX INFORmaTION FOR BUYERS
The following paragraphs provide general information to buyers on the VAT and certain
other potential tax implications of purchasing property at Phillips de Pury & Company.
This information is not intended to be complete. In all cases, the relevant tax legislation
takes precedence, and the VAT rates in effect on the day of the auction will be the rates
charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is
not usually treated as agent and most property is sold as if it is the property of Phillips de
Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those
symbols located beside the lot number or the pre-sale estimates in the catalogue (or
amending saleroom addendum).
1 PROPERTY wITh NO VaT SYmBOl
Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s
Margin Scheme, and VAT will not normally be charged on the hammer price.
Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will
charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form
part of the buyer’s premium on our invoice and will not be separately identified.
2 PROPERTY wITh a † SYmBOl
These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%
on both the hammer price and buyer’s premium.
Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business
person in a non-EU country then no VAT will be charged on the buyer’s premium. This is
subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT
registration number in the relevant Member State (non-UK) or the buyer’s business status
in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence
not be provided then VAT will be charged on the buyer’s premium.
3 PROPERTY wITh a § SYmBOl
Lots sold to buyers whose registered address is in the EU will be assumed to be remaining
in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer
advises us that the property is to be exported from the EU, Phillips de Pury & Company will
re-invoice the property under the normal VAT rules.
Lots sold to buyers whose address is outside the EU will be assumed to be exported from
the EU. The property will be invoiced under the normal VAT rules. Although the hammer
price will be subject to VAT, the VAT will be cancelled or refunded upon export. The
buyer’s premium will always bear VAT unless the buyer is a relevant business person in
the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips
de Pury & Company receiving evidence of the buyer’s VAT registration number in the
relevant Member State (non-UK) or the buyer’s business status in a non-EU country such
as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will
be charged on the buyer’s premium.
4 PROPERTY SOlD wITh a ‡ OR Ω SYmBOl
These lots have been imported from outside the EU to be sold at auction under temporary
admission. Property subject to temporary admission will be offered under the
Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,
marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%
on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin
Scheme should notify the Client Accounting Department before the sale.
Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant
business person in the EU (non-UK) or is a relevant business person in a non-EU country
then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &
Company receiving evidence of the buyer’s VAT registration number in the relevant
Member State (non-UK) or the buyer’s business status in a non-EU country such as the
buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be
charged on the buyer’s premium.
5 EXPORTS FROm ThE EUROPEaN UNION
The following types of VAT may be cancelled or refunded by Phillips de Pury & Company
on exports made within three months of the sale date if strict conditions are met:
• The amount in lieu of VAT charged on the buyer’s premium for property sold
under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol);
• The VAT on the hammer price for property sold under the normal VAT rules
(i.e., with a † or a § symbol).
The following type of VaT may be cancelled or refunded by Phillips de Pury &
Company on exports made within 30 days of payment date if strict conditions are met:
• The import VAT charged on the hammer price and an amount in lieu of VAT on
the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a
Ω symbol) under the Auctioneer’s Margin Scheme.
In each of the above examples, where the appropriate conditions are satisfied, no VAT
will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &
Company to export the property from the EU. If such instruction is received after payment,
a refund of the VAT amount will be made.
Where the buyer carries purchases from the EU personally or uses the services of a third
party, Phillips de Pury & Company will charge the VAT amount due as a deposit and
refund it if the lot has been exported within the timelines specified below and either
of the following conditions are met:
• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,
Phillips de Pury & Company is provided with appropriate documentary proof of
export from the EU within three months of the date of sale. Buyers carrying their
own property should obtain hand-carry papers from the Shipping Department to
facilitate this process.
• For lots sold under temporary admission, Phillips de Pury & Company is provided
with a copy of the correct paperwork duly completed and stamped by HM Revenue &
Customs which shows the property has been exported from the EU via the UK
within 30 days of payment date. It is essential for shippers acting on behalf of
buyers to collect copies of original import papers from our Shipping Department.
HM Revenue & Customs insist that the correct customs procedures are followed
and Phillips de Pury & Company will not be able to issue any refunds where the
export documents do not exactly comply with governmental regulations. Property
subject to temporary admission must be transferred to another customs procedure
immediately if any restoration or repair work is to be carried out.
Buyers carrying their own property must obtain hand-carry papers from the Shipping
Department, for which a charge of £20 will be made. The VAT refund will be processed
once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips
de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK
or EU private residents unless the lot is subject to temporary admission and the property
is exported from the EU within 30 days of payment date. Any refund of VAT is subject to
a minimum of £50 per shipment and a processing charge of £20.
Buyers intending to export, repair, restore or alter lots under temporary admission should
notify the Shipping Department before collection. Failure to do so may result in the import
VAT becoming payable immediately and Phillips de Pury & Company being unable to
refund the VAT charged on deposit.
6 VaT REFUNDS FROm hm REVENUE & CUSTOmS
Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be
possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this
manner are limited to businesses located outside the UK and may be considered for example
for Import VAT charged on the hammer price for lots sold under temporary admission.
All claims made by customers located in another member state to the UK will need to be
made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is
no longer in operation.
If you are located in an EU member state other than the UK you will now need to apply for a
refund of UK VAT directly to your local tax authority. This is done via submission of an
electronically based claim form which should be accessed through the website of your
local tax authority. As a result, your form may include VAT incurred in a number of
member states. Furthermore, from 1 January 2010 you should only submit one form per
year, rather than submitting forms throughout the year.
Please note that the time limits by which you must make a claim have been extended.
When making a claim for VAT incurred in another EU member state any claim will still be
made on a calendar year basis but must now be made no later than 30 September
following that calendar year. This effectively extends the time by which claims should be
made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you
should make a claim to your local tax authority no later than 30 September 2011). Once you
have submitted the electronic form to your local tax authority it is their responsibility to
ensure that payment is obtained from the relevant member states. This should be
completed within four months. If this time limit is not adhered to you may receive interest
on the unpaid amounts.
If you are located outside the EU you should apply for a refund of UK VAT directly to
HMRC (The rules for those located outside of the EU have not changed). Claim forms are
only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and
follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms
should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle
House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100
(fax) +44 2871 305101.
You should submit claims for VAT to HMRC no later than six months from the end of the
12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010
should be made no later than 31 December 2010).
Please note that refunds of VAT will only be made where VAT has been incurred for a business
purpose. Any VAT incurred on articles bought for personal use will not be refunded.
7 SalES aND USE TaXES
Buyers from outside the UK should note that local sales taxes or use taxes may
become payable upon import of lots following purchase. Buyers should consult their
own tax advisors.
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CONDITIONS OF SalE
The Conditions of Sale and Authorship Warranty set forth below govern the relationship
between bidders and buyers, on the one hand, and Phillips de Pury & Company and
sellers, on the other hand. All prospective buyers should read these Conditions of Sale
and Authorship Warranty carefully before bidding.
1 INTRODUCTION
Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale
and Authorship Warranty; (b) additional notices and terms printed in other places in this
catalogue, including the Guide for Prospective Buyers, and (c) supplements to this
catalogue or other written material posted by Phillips de Pury & Company in the saleroom,
in each case as amended by any addendum or announcement by the auctioneer prior to
the auction.
By bidding at the auction, whether in person, through an agent, by written bid, by
telephone bid or other means, bidders and buyers agree to be bound by these Conditions
of Sale, as so changed or supplemented, and Authorship Warranty.
These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain
all the terms on which Phillips de Pury & Company and the seller contract with the buyer.
2 PhIllIPS de PURY & COmPaNY aS aGENT
Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in
this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own
a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,
beneficial or financial interest in a lot as a secured creditor or otherwise.
3 CaTalOGUE DESCRIPTIONS aND CONDITION OF PROPERTY
Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless
such description is changed or supplemented, as provided in Paragraph 1 above) and in
the condition that they are in at the time of the sale on the following basis.
(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially
dependent on information provided to us by the seller, and Phillips de Pury & Company is
not able to and does not carry out exhaustive due diligence on each lot. Prospective
buyers acknowledge this fact and accept responsibility for carrying out inspections and
investigations to satisfy themselves as to the lots in which they may be interested.
Notwithstanding the foregoing, we shall exercise such reasonable care when making
express statements in catalogue descriptions or condition reports as is consistent with
our role as auctioneer of lots in this sale and in light of (i) the information provided to us
by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted
opinions of relevant experts, in each case at the time any such express statement is made.
(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by
prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots
on the basis that bidders (and independent experts on their behalf, to the extent
appropriate given the nature and value of the lot and the bidder’s own expertise) have fully
inspected the lot prior to bidding and have satisfied themselves as to both the condition of
the lot and the accuracy of its description.
(c) Prospective buyers acknowledge that many lots are of an age and type which means
that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company
may prepare and provide condition reports to assist prospective buyers when they are
inspecting lots. Catalogue descriptions and condition reports may make reference to
particular imperfections of a lot, but bidders should note that lots may have other faults
not expressly referred to in the catalogue or condition report. All dimensions are
approximate. Illustrations are for identification purposes only and cannot be used as
precise indications of size or to convey full information as to the actual condition of lots.
(d) Information provided to prospective buyers in respect of any lot, including any pre-sale
estimate, whether written or oral, and information in any catalogue, condition or other
report, commentary or valuation, is not a representation of fact but rather a statement of
opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as
a prediction of the selling price or value of the lot and may be revised from time to time by
Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &
Company nor any of our affiliated companies shall be liable for any difference between the
pre-sale estimates for any lot and the actual price achieved at auction or upon resale.
4 BIDDING aT aUCTION
(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction
or participation in the sale. All bidders must register for a paddle prior to bidding,
supplying such information and references as required by Phillips de Pury & Company.
(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury
& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s
behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy
of which is printed in this catalogue or otherwise available from Phillips de Pury &
Company. Bids must be placed in the currency of the sale. The bidder must clearly
indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and
value added tax (VAT). The auctioneer will not accept an instruction to execute an
absentee bid which does not indicate such maximum bid. Our staff will attempt to execute
an absentee bid at the lowest possible price taking into account the reserve and other
bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the
event of identical bids, the earliest bid received will take precedence.
(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of
which is printed in this catalogue or otherwise available from Phillips de Pury & Company.
Telephone bidding is available for lots whose low pre-sale estimate is at least £500.
Phillips de Pury & Company reserves the right to require written confirmation of a
successful bid from a telephone bidder by fax or otherwise immediately after such bid is
accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the
telephone, a bidder consents to the recording of the conversation.
(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder
accepts personal liability to pay the purchase price, as described more fully in Paragraph
6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing
with Phillips de Pury & Company before the commencement of the auction that the bidder
is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &
Company and that we will only look to the principal for such payment.
(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury &
Company to prospective buyers. While we undertake to exercise reasonable care in
undertaking such activity, we cannot accept liability for failure to execute such bids except
where such failure is caused by our wilful misconduct.
(f) Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
the reserve when submitting their absentee bids and otherwise comply with our employee
bidding procedures.
5 CONDUCT OF ThE aUCTION
(a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve,
which is the confidential minimum selling price agreed by Phillips de Pury & Company with
the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.
(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a
lot for sale (including after the fall of the hammer) if he or she believes there may be error
or dispute and take such other action as he or she deems reasonably appropriate.
(c) The auctioneer will commence and advance the bidding at levels and in increments he
or she considers appropriate. In order to protect the reserve on any lot, the auctioneer
may place one or more bids on behalf of the seller up to the reserve without indicating he
or she is doing so, either by placing consecutive bids or bids in response to other bidders.
(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.
For the benefit of international clients, pre-sale estimates in the auction catalogue may be
shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.
Accordingly, estimates in US dollars or euros should be treated only as a guide.
(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the
auctioneer will be the buyer and the striking of the hammer marks the acceptance of the
highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk
and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.
(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,
‘returned to owner’ or ‘bought-in’.
(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of
Sale and Authorship Warranty as if sold in the auction.
6 PURChaSE PRICE aND PaYmENT
(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s
premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the
‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including
£25,000, 20% of the portion of the hammer price above £25,000 up to and including
£500,000 and 12% of the portion of the hammer price above £500,000.
(b) VAT is payable in accordance with applicable law. All prices, fees, charges and
expenses set out in these Conditions of Sale are quoted exclusive of VAT.
(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to
us an amount equal to the resale royalty provided for in those regulations and we
undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to
the Artist’s Resale Right are identified with the symbol ♠ next to the lot number.
(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
following the auction regardless of any intention to obtain an export or import licence or
other permit for such lot. Payments must be made by the invoiced party in pounds
sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:
(i) Phillips de Pury & Company will accept payment in cash provided that the total
amount paid in cash or cash equivalents does not exceed the local currency
equivalent of US$10,000.
(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and
the buyer provides to us acceptable government-issued identification. Cheques
and banker’s drafts should be made payable to ‘PDEPL LTD’. If payment is sent by
post, please send the cheque or banker’s draft to the attention of the Client
PHOTO Backmatter_138-149.indd 143 16/04/10 19:57
Accounting Department at Howick Place, London SW1P 1BB and ensure that the
sale number is written on the cheque. Cheques or banker’s drafts drawn by third
parties will not be accepted.
(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.
Bank transfer details are as follows:
Bank of Scotland
Gordon Street
Glasgow
G1 3RS
For the account of PDEPL LTD
Sort code: 80-54-01
Account no.: 00440780
SWIFT BIC: BOFSGB21138
IBAN: GB36BOFS 8054 0100 4407 80
(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and
UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.
(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the
Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to
release a lot to the buyer until title in the lot has passed and appropriate identification has
been provided, and any earlier release does not affect the passing of title or the buyer’s
unconditional obligation to pay the Purchase Price.
7 COllECTION OF PROPERTY
(a) Phillips de Pury & Company will not release a lot to the buyer until we have received
payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding
amounts due to Phillips de Pury & Company or any of our affiliated companies, including
any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such
other terms as we in our sole discretion shall require, including completing any anti-
money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied
all of the foregoing conditions, and no later than five days after the conclusion of the
auction, he or she should contact us at (tel) +44 207 318 4081 or (fax) +44 20 7318 4038 to
arrange for collection of purchased property.
(b) After the auction, we will transfer all lots to our fine arts storage facility located at
110–112 Morden Road, Mitcham, Surrey, CR4 4XB, and will so advise all buyers. Purchased
lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of
collection or (ii) five days after the auction, whichever is the earlier. Until risk passes,
Phillips de Pury & Company will compensate the buyer for any loss or damage to a
purchased lot up to a maximum of the Purchase Price paid, subject to our usual
exclusions for loss or damage to property.
(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap
purchased lots for hand carry only. We do not provide packing, handling, insurance or
shipping services. We will coordinate with shipping agents instructed by the buyer,
whether or not recommended by Phillips de Pury & Company, in order to facilitate the
packing, handling, insurance and shipping of property bought at Phillips de Pury &
Company. Any such instruction is entirely at the buyer’s risk and responsibility, and
we will not be liable for acts or omissions of third party packers or shippers.
(d) Phillips de Pury & Company will require presentation of government-issued
identification prior to release of a lot to the buyer or the buyer’s authorized representative.
8 FaIlURE TO COllECT PURChaSES
(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days
of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per
day and pro rated insurance charges of 0.1% of the Purchase Price per month on each
uncollected lot.
(b) If a purchased lot is paid for but not collected within six months of the auction, the
buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item
by auction or private sale, with estimates and a reserve set at Phillips de Pury &
Company’s reasonable discretion. The proceeds of such sale will be applied to pay for
storage charges and any other outstanding costs and expenses owed by the buyer to
Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited
unless collected by the buyer within two years of the original auction.
9 REmEDIES FOR NON-PaYmENT
(a) Without prejudice to any rights the seller may have, if the buyer without prior
agreement fails to make payment of the Purchase Price for a lot in cleared funds within
five days of the auction, Phillips de Pury & Company may in our sole discretion exercise
one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s
premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,
retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject
future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge
interest at 12% per annum from the date payment became due until the date the Purchase
Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien
over any of the buyer’s property which is in the possession of Phillips de Pury & Company
and instruct our affiliated companies to exercise a lien over any of the buyer’s property
which is in their possession and, in each case, no earlier than 30 days from the date of
such notice arrange the sale of such property and apply the proceeds to the amount owed
to Phillips de Pury & Company or any of our affiliated companies after the deduction from
sale proceeds of our standard vendor’s commission, all sale-related expenses and any
applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a
reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood
that in the event such resale is for less than the original hammer price and buyer’s
premium for that lot, the buyer will remain liable for the shortfall together with all costs
incurred in such resale; (vii) commence legal proceedings to recover the hammer price
and buyer’s premium for that lot, together with interest and the costs of such proceedings;
or (viii) release the name and address of the buyer to the seller to enable the seller to
commence legal proceedings to recover the amounts due and legal costs.
(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the
buyer’s property which is in our possession upon notification by any of our affiliated
companies that the buyer is in default of payment. Phillips de Pury & Company will notify
the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &
Company, upon notification by any of our affiliated companies that the buyer is in default
of payment, to pledge the buyer’s property in our possession by actual or constructive
delivery to our affiliated company as security for the payment of any outstanding amount
due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been
delivered to an affiliated company by way of pledge.
(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &
Company to instruct any of our affiliated companies in possession of the buyer’s property
to deliver the property by way of pledge as the buyer’s agent to a third party instructed by
Phillips de Pury & Company to hold the property on our behalf as security for the payment
of the Purchase Price and any other amount due and, no earlier than 30 days from the date
of written notice to the buyer, to sell the property in such manner and for such
consideration as can reasonably be obtained on a forced sale basis and to apply the
proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated
companies after the deduction from sale proceeds of our standard vendor’s commission,
all sale-related expenses and any applicable taxes thereon.
10 RESCISSION BY PhIllIPS de PURY & COmPaNY
Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale
without notice to the buyer if we reasonably believe that there is a material breach of the
seller’s representations and warranties or the Authorship Warranty or an adverse claim is
made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the
sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then
refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the
refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury
& Company and the seller with respect to such rescinded sale.
11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS
Before bidding for any property, prospective buyers are advised to make their own
enquiries as to whether a licence is required to export a lot from the United Kingdom or to
import it into another country. Prospective buyers are advised that some countries
prohibit the import of property made of or incorporating plant or animal material, such as
coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,
percentage or value. Accordingly, prior to bidding, prospective buyers considering export
of purchased lots should familiarize themselves with relevant export and import
regulations of the countries concerned. It is solely the buyer’s responsibility to comply
with these laws and to obtain any necessary export, import and endangered species
licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify
the cancellation of the sale or any delay in making full payment for the lot.
12 DaTa PROTECTION
(a) In connection with the management and operation of our business and the marketing and
supply of auction related services, or as required by law, we may ask clients to provide
personal information about themselves or obtain information about clients from third parties
(e.g., credit information). If clients provide us with information that is defined by law as
‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use
it for the above purposes. Phillips de Pury & Company and our affiliated companies will not
use or process sensitive information for any other purpose without the client’s express
consent. If you would like further information on our policies on personal data or wish to make
corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to
receive details of future events please call the above number.
(b) In order to fulfil the services clients have requested, Phillips de Pury & Company may
disclose information to third parties such as shippers. Some countries do not offer
equivalent legal protection of personal information to that offered within the European
Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties
respect the privacy and confidentiality of our clients’ information and provide the same
level of protection for client information as provided within the EU, whether or not they are
located in a country that offers equivalent legal protection of personal information. By
agreeing to these Conditions of Sale, clients agree to such disclosure.
13 lImITaTION OF lIaBIlITY
(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,
our affiliated companies and the seller to the buyer in connection with the sale of a lot
PHOTO Backmatter_138-149.indd 144 16/04/10 19:57
aUCTION 30 JUNE 2010 lONDON
Viewing 21 – 29 June
Phillips de Pury & Company Howick Place London SW1P 1BB
Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240
www.phillipsdepury.com
SalVaTORE SCaRPITTa Trapped-canvas, 1958 Estimate £250,000-350,000
CONTEmPORaRY aRT
PhOTOGRaPhS
EDITIONS
DESIGNS
THE ITALIA AUCTION
PHOTO Backmatter_138-149.indd 145 16/04/10 19:58
GUIDE FOR PROSPECTIVE BUYERS
BUYInG aT aUCTIOn
The following pages are designed to offer you information on how to buy at auction at
Phillips de Pury & Company. Our staff will be happy to assist you.
COnDITIOnS OF SalE
The Conditions of Sale and Authorship Warranty which appear later in this catalogue
govern the auction. Bidders are strongly encouraged to read them as they outline the legal
relationship between Phillips de Pury & Company, the seller and the buyer and describe
the terms upon which property is bought at auction. Please be advised that Phillips de
Pury & Company generally acts as agent for the seller.
BUYER’S PREmIUm
Phillips de Pury & Company charges the successful bidder a commission, or buyer’s
premium, on the hammer price of each lot sold. The buyer’s premium is payable by the
buyer as part of the total purchase price at the following rates: 25% of the hammer price up
to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and
including £500,000, and 12% of the portion of the hammer price above £500,000.
VaT
Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.
The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT
AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.
1 PRIOR TO aUCTIOn
Catalogue Subscriptions
If you would like to purchase a catalogue for this auction or any other Phillips de Pury &
Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.
Pre-Sale Estimates
Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high
and low estimate range should, in our opinion, offer a chance of success. However, many
lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’
appears, please contact the specialist department for further information. It is advisable
to contact us closer to the time of the auction as estimates can be subject to revision.
Pre-sale estimates do not include the buyer’s premium or VAT.
Pre-Sale Estimates in US Dollars and Euros
Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction
catalogues may also be printed in US dollars and/or euros. Since the exchange rate is
that at the time of catalogue production and not at the date of auction, you should treat
estimates in US dollars or euros as a guide only.
Catalogue Entries
Phillips de Pury & Company may print in the catalogue entry the history of ownership of a
work of art, as well as the exhibition history of the property and references to the work in
art publications. While we are careful in the cataloguing process, provenance, exhibition
and literature references may not be exhaustive and in some cases we may intentionally
refrain from disclosing the identity of previous owners. Please note that all dimensions of
the property set forth in the catalogue entry are approximate.
Condition of lots
Our catalogues include references to condition only in the descriptions of multiple works
(e.g., prints). Such references, though, do not amount to a full description of condition.
The absence of reference to the condition of a lot in the catalogue entry does not imply
that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips
de Pury & Company may provide condition reports. In preparing such reports, our
specialists assess the condition in a manner appropriate to the estimated value of the
property and the nature of the auction in which it is included. While condition reports are
prepared honestly and carefully, our staff are not professional restorers or trained
conservators. We therefore encourage all prospective buyers to inspect the property at
the pre-sale exhibitions and recommend, particularly in the case of any lot of significant
value, that you retain your own restorer or professional advisor to report to you on the
property’s condition prior to bidding. Any prospective buyer of photographs or prints
should always request a condition report because all such property is sold unframed,
unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury
& Company accepts no liability for the condition of the frame. If we sell any lot unframed,
we will be pleased to refer the purchaser to a professional framer.
Pre-auction Viewing
Pre-auction viewings are open to the public and free of charge. Our specialists are
available to give advice and condition reports at viewings or by appointment.
Electrical and mechanical lots
All lots with electrical and/or mechanical features are sold on the basis of their decorative
value only and should not be assumed to be operative. It is essential that, prior to any
intended use, the electrical system is verified and approved by a qualified electrician.
Symbol Key
The following key explains the symbols you may see inside this catalogue.
O Guaranteed Property
The seller of lots with this symbol has been guaranteed a minimum price. The guarantee
may be provided by Phillips de Pury & Company, by a third party or jointly by us and a
third party. Phillips de Pury & Company and third parties providing or participating in a
guarantee may benefit financially if a guaranteed lot is sold successfully and may incur
a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed
lot and may be allowed to net the financial remuneration against the final purchase price
if such party is the successful bidder.
∆ Property in which Phillips de Pury & Company has an Ownership Interest
Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in
part or has an economic interest in the lot equivalent to an ownership interest.
• no Reserve
Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.
A reserve is the confidential value established between Phillips de Pury & Company and
the seller and below which a lot may not be sold. The reserve for each lot is generally set at
a percentage of the low estimate and will not exceed the low pre-sale estimate.
♠ Property Subject to the artist’s Resale Right
Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of
the hammer price and payable as part of the purchase price as follows:
Portion of the Hammer Price (in EUR) Royalty Rate
From 0 to 50,000 4%
From 50,000.01 to 200,000 3%
From 200,000.01 to 350,000 1%
From 350,000.01 to 500,000 0.5%
Exceeding 500,000 0.25%
The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to
a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be
based on the pounds sterling/euro reference exchange rate quoted on the date of the sale
by the European Central Bank.
†, §, ‡, or Ω Property Subject to VaT
Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’
in this catalogue for additional information.
PHOTO 146-148_v1.indd 146 16/04/10 19:45
PhIllIPS de PURY & COmPanY
advisory Board
Maria Bell
Janna Bullock
Lisa Eisner
Lapo Elkann
Ben Elliot
Lady Elena Foster
H.I.H. Francesca von Habsburg
Marc Jacobs
Ernest Mourmans
Aby Rosen
Christiane zu Salm
Juergen Teller
Princess Gloria von Thurn und Taxis
Jean Michel Wilmotte
Anita Zabludowicz
Directors
Aileen Agopian
Sean Cleary
Finn Dombernowsky
Patty Hambrecht
Alexander Payne
Rodman Primack
Olivier Vrankenne
Chairman
Simon de Pury
Chief Executive Officer
Bernd Runge
Senior Directors
Michael McGinnis
Dr. Michaela de Pury
InTERnaTIOnal SPECIalISTS
Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42
Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44
Katherine van Thillo, Consultant +32 475 687 011
Buenos aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060
Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000
london Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611
los angeles Maya McLaughlin, Contemporary Art +1 323 791 1771
milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671
moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22
Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805
Singapore Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916
Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32
NEW YORK
450 West 15 Street, New York, NY 10011, USA
tel +1 212 940 1200 fax +1 212 924 5403
LONDON
Howick Place, London SW1P 1BB, United Kingdom
tel +44 20 7318 4010 fax +44 20 7318 4011
PARIS
15 rue de la Paix, 75002 Paris, France
tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
BERLIN
Auguststrasse 19, 10117 Berlin, Germany
tel +49 30 8800 1842 fax +49 30 8800 1843
GENEVA
23 quai des Bergues, 1201 Geneva, Switzerland
tel +41 22 906 80 00 fax +41 22 906 80 01
WORlDWIDE OFFICES
GEnERal COUnSEl
Patty Hambrecht
manaGInG DIRECTORS
Finn Dombernowsky, London/Europe
Sean Cleary, New York (Interim)
PHOTO 146-148_v1.indd 147 16/04/10 19:45
mODERn anD COnTEmPORaRY EDITIOnS
NEW YORK
Cary Leibowitz, Worldwide Co-Director +1 212 940 1222
Kelly Troester, Worldwide Co-Director +1 212 940 1221
Jannah Greenblatt +1 212 940 1332
Joy Deibert +1 212 940 1333
PhOTOGRaPhS
LONDON
Lou Proud +44 20 7318 4018
Sebastien Montabonel +44 20 7318 4025
Alexandra Bibby +44 20 7318 4087
Rita Almeida Freitas +44 20 7318 4087
Helen Hayman +44 20 7318 4092
Emma Lewis +44 20 7318 4092
NEW YORK
Vanessa Kramer, New York Director +1 212 940 1243
Shlomi Rabi +1 212 940 1246
Caroline Shea +1 212 940 1247
Carol Ehlers, Consultant +1 212 940 1245
Sarah Krueger +1 212 940 1245
JEWElRY
Nazgol Jahan, Worldwide Director +1 212 940 1283
NEW YORK
Carmela Manoli +1 212 940 1302
Emily Bangert +1 212 940 1365
Heather Zises +1 212 940 1290
GENEVA
Carolin Bulgari +41 22 906 80 00
Veronica Lota +41 22 906 80 00
LONDON
Lane McLean +44 20 7318 4032
ThEmE SalES
LONDON
Tobias Sirtl, London Manager +44 20 7318 4095
Henry Highley +44 20 7318 4061
Arianna Jacobs +44 20 7318 4054
Siobhan O’Connor +44 20 7318 4040
NEW YORK
Corey Barr, New York Manager +1 212 940 1234
Steve Agin, Consultant +1 908 475 1796
Anne Huntington +1 212 940 1210
Stephanie Max +1 212 940 1301
PRIVaTE SalES
NEW YORK
Andrea Hill +1 212 940 1238
COnTEmPORaRY aRT
Michael McGinnis, Senior Director +1 212 940 1254
and Worldwide Head, Contemporary Art
LONDON
Peter Sumner, Head of Sales, London +44 20 7318 4063
Henry Allsopp +44 20 7318 4060
Laetitia Catoir +44 20 7318 4064
Judith Hess +44 20 7318 4075
Leonie Moschner +44 20 7318 4074
Ivgenia Naiman +44 20 7318 4071
Sarah Buchwald +44 20 7318 4085
Catherine Higgs +44 20 7318 4089
George O’Dell +44 20 7318 4093
Raphael Lepine +44 20 7318 4078
Edward Tang +44 20 7318 4024
Tanya Tikhnenko +44 20 7318 4065
Phillippa Willison +44 20 7318 4070
NEW YORK
Aileen Agopian, New York Director +1 212 940 1255
Sarah Mudge, Head of Part II +1 212 940 1259
Jeremy Goldsmith +1 212 940 1253
Timothy Malyk +1 212 940 1258
Jean-Michel Placent +1 212 940 1263
Rodman Primack +1 212 940 1256
Roxana Bruno +1 212 940 1229
Maria Bueno +1 212 940 1261
Sara Davidson +1 212 940 1262
Alexandra Leive +1 212 940 1252
Peter Flores +1 212 940 1223
(Uli) Zhiheng Huang +1 212 940 1288
PARIS
Edouard de Moussac + 33 1 42 78 67 77
DESIGn
Alexander Payne, Worldwide Director +44 20 7318 4052
LONDON
Domenico Raimondo +44 20 7318 4016
Ellen Stelter +44 20 7318 4021
Ben Williams +44 20 7318 4027
Marcus McDonald +44 20 7318 4014
Marine Hartogs +44 20 7318 4021
NEW YORK
Alex Heminway, New York Director +1 212 940 1269
Marcus Tremonto +1 212 940 1268
Tara DeWitt +1 212 940 1265
Meaghan Roddy +1 212 940 1266
Alexandra Gilbert +1 212 940 1268
PARIS
Johanna Frydman +33 1 42 78 67 77
SPECIalISTS anD DEPaRTmEnTS
aRT anD PRODUCTIOn
Fiona Hayes, Art Director
LONDON
Mark Hudson, Senior Designer
Andrew Lindesay, Sub-Editor
Tom Radcliffe, UK Production Manager
NEW YORK
Andrea Koronkiewicz, Studio Manager
Kelly Sohngen, Graphic Designer
Orlann Capazorio, US Production Manager
maRKETInG
NEW YORK
Trish Walsh, Marketing Manager
PHOTO 146-148_v1.indd 148 16/04/10 19:45
aUCTIOn
Thursday 20 May 2010, 5pm
VIEWInG
Friday 14 May, 10am – 6pm
Saturday 15 May, 10am – 6pm
Sunday 16 May, 12pm – 6pm
Monday 17 May – Wednesday 19 May, 10am – 6pm
Thursday 20 May, 10am – 2pm
VIEWInG & aUCTIOn lOCaTIOn
Howick Place, London SW1P 1BB
WaREhOUSE & COllECTIOn lOCaTIOn
110–112 Morden Road, Mitcham, Surrey CR4 4XB
SalE DESIGnaTIOn
When sending in written bids or making enquiries, please refer to
this sale as UK040110 or Photographs
SPECIalISTS
Lou Proud, Head of Sale, London +44 20 7318 4018
Sebastien Montabonel, London +44 20 7318 4025
CaTalOGUERS
Alexandra Bibby, London +44 20 7318 4087
Rita Almeida Freitas, London +44 20 7318 4087
SalE aDmInISTRaTOR
Emma Lewis, London +44 20 7318 4092
PROPERTY manaGER
Ian Bell +44 20 7318 4098
CaTalOGUES
Leslie Pitts +44 20 7318 4039 +1 212 940 1240
Catalogues £30/$60 at the Gallery
aBSEnTEE anD TElEPhOnE BIDS
Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035
BUYERS aCCOUnTS
Carolyn Whitehead +44 20 7318 4020
SEllER aCCOUnTS
Elliott Depree +44 20 7318 4072
ClIEnT SERVICES
Harmony Johnston +44 20 7318 4010
Charlotte Salisbury +44 20 7318 4010
Kathryn Walters +44 20 7318 4010
WaREhOUSE & ShIPPInG
Kate Spalding + 44 20 7318 4081
Cláudia Gonçalves + 44 20 7318 4026
PhOTOGRaPhY
Byron Slater
Peter Hepplewhite
SalE InFORmaTIOn
HOWICK PL
PIC
CA
DIL
LY
HYDE PARK
CORNER
ST. JAMES’S
PARK
BU
CK
ING
HA
M P
AL
AC
E R
OA
D
BUCKINGHAMG
AT
E
VA
UX
HA
LL
BR
IDG
E
ST
. JA
ME
S’S
ST
PALL M
ALL
CONSTITUTION HILL
TH
E MA
LL
BIRDCAGE WALK
GR
OS
VE
NO
R
GDNS
VICTORIA STREET
KnIGhTSBRIDGE
GR
OS
VEN
OR
PLA
CE
GREEN
PARK
ST. JAMES’S PARK
GREEN PARK
BUCKINGHAM
PALACE GARDENS
VICTORIA
2
6
8
Back cover Desiree Dolron, Xteriors IX, 2004, Lot 49
Inside back cover Gregory Crewsdon, Untitled (Penitent Girl) from Twilight, 2001–02, Lot 112
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PHOTO pp150.indd 151 19/04/10 16:24
www.phillipsdepury.com
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