Fine Photographs

online only auction | 1 day sale | sale is over
Location
New York, NY 10010
Dates

Sale Starts

Thu
Feb 13
12pm
2025

Sale Ends

Thu
Feb 13
2025

Terms & Conditions

CONDITIONS OF SALE
The property described in this catalogue, as amended by any posted notices or oral announcements during the sale, will be sold by
Swann Galleries, Inc. (Swann) as agent for various owners (the Consignors). These CONDITIONS OF SALE, and the LIMITED
WARRANTY and ADVICE TO PROSPECTIVE BIDDERS set forth elsewhere in the catalogue are the complete and only terms
and conditions on which all property is offered for sale. By bidding at auction (whether present in person or by agent, b y written or
telephone bid, or by any other means) the buyer agrees to be bound by these Conditions of Sale.
1. THE AUTHENTICITY OF PROPERTY LISTED IN THIS CATALOGUE IS WARRANTED TO THE EXTENT STATED IN
THE "LIMITED WARRANTY" EXCEPT AS PROVIDED THEREIN. ALL PROPERTY IS SOLD "AS IS" AND NEITHER
SWANN NOR THE CONSIGNOR MAKES ANY WARRANTIES OR REPRESENTATIONS OF ANY KIND OR NATURE WITH
RESPECT TO THE PROPERTY OR ITS VALUE, AND IN NO EVENT SHALL THEY BE RESPONSIBLE FOR CORRECTNESS
OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE, AUTHENTICITY, AUTHORSHIP, COMPLETENESS,
CONDITION OF THE PROPERTY OR ESTIMATE OF VALUE. NO STATEMENT (ORAL OR WRITTEN) IN THE
CATALOGUE, AT THE SALE, OR ELSEWHERE SHALL BE DEEMED SUCH A WARRANTY OR REPRESENTATION, OR
ANY ASSUMPTION OF RESPONSIBILITY.
2. All bids are to be per lot as numbered in the catalogue.
3. NEITHER SWANN NOR THE CONSIGNOR MAKES ANY REPRESENTATION THAT THE PURCHASER OF
MANUSCRIPT MATERIAL, PHOTOGRAPHS, PRINTS, OR WORKS OF ART WILL ACQUIRE ANY COPYRIGHT OR
REPRODUCTION RIGHTS THERETO.
4. Swann reserves the absolute right (a) to withdraw any property at any time before its actual final sale, including during the bidding, and
(b) to refuse any bid from any bidder. The auctioneer is the sole judge as to the amount to be advanced by each succeeding bid.
5. Any right of the purchaser under this agreement or under the law shall not be assignable and shall be enforceable only by the
original purchaser and not by any subsequent owner or any person who shall subsequently acquire any interest. No purchaser shall be entitled
to any remedy, relief or damages beyond return of the property, rescission of the sale and refund of the purchase price; and without limitation,
no purchaser shall be entitled to damages of any kind.
6. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, the
auctioneer shall have the absolute discretion either to determine the successful bidder or to re -offer and resell the lot in dispute. If
any dispute arises after the sale, Swann's sales records shall be conclusive as to the purchaser, amount of highest bid, and in all other
respects.
7. The purchase price paid by a purchaser shall be the sum of the final bid and a buyer's premium of 25% of the final bid on each lot up
to and including $100,000; 20% of the the portion of the hammer price above $100,000 up to and including $1,000,000; and 12% of the
portion of the hammer price above $1,000,000 ("the Buyer's Premium"), plus all applicable sales tax. An additional buyer?s premium may
be charged on any purchase made through a live online auction as posted by Swann in accordance with such live online auction.
8. On the fall of the auctioneer's hammer, title to the offered lot or article will pass to the highest acknowledged bidder, who
thereupon (a) immediately assumes full risk and responsibility therefor, (b) will immediately sign a confirmation of the purc hase
therefor, setting forth his name and address, and (c) will immediately pay the full purchase price therefor. If the foregoing conditions
or any other applicable conditions herein are not complied with, in addition to other remedies available to Swann and the Consignor
by law (including without limitation the right to hold the purchaser liable for the bid price), Swann, at its option, may either (a)
cancel the sale, retaining as liquidated damages all payments made by the purchaser, or (b) resell the property, either publi cly or
privately, for the account and risk of the purchaser, and in such event the purchaser shall be liable for the payment of all deficiencies
plus all costs, including warehousing, the expenses of both sales, and Swann's commission at its regular rates and all other charges
due hereunder. Swann may also impose late charges of 1.5% per month (or the highest rate allowed under applicable law, whichever
is lower) on any amounts unpaid.
9. All property shall be removed from Swann by the purchaser at his expense no later than five (5) days following its sale, and if not so
removed may, at Swann's option, be sent by Swann to a public warehouse at the account, risk and expense of the purchaser. Whether sent to
a warehouse or stored by Swann, the purchaser shall be liable for all actual expenses incurred plus a storage charge of 5% of the purchase
price.
10. Except as noted in this paragraph, all lots in this sale are offered for the account of a third party, without any interest (direct or indirect)
of the auctioneer or Swann. Where Swann or an affiliate of Swann is the sole or partial owner of the property it is noted by the symbol l next
to the description of that lot. Under no circumstances will the Consignor receive any rebate commission. Under no circumstances may the
Consignor bid upon or buy back his property.
11. Except as may be otherwise expressly provided herein, any and all claims of a purchaser shall be deemed to be waived and without
validity unless delivered in writing by registered mail return receipt requested to Swann within thirty (30) days of the date of sale.
12. The rights and obligations of the parties shall be governed by the laws of the State of New York. All bidders and the purchaser submit
to the personal jurisdiction of the New York State courts and their rules and procedures in the event of any dispute.
13. No waiver or alteration of any of these Conditions of Sale, the Advice to Prospective Bidders, the Limited Warranty, the estimates, or
any other matter in this catalogue or any other matter whatever (whether made by the auctioneer, or Consignor, or any representative of
Swann) shall be effective unless it is in writing and signed by a representative of Swann.
14. THE "LIMITED WARRANTY" APPEARING BELOW AND THE "ADVICE TO PROSPECTIVE BIDDERS" APPEARING
OVERLEAF FORM PART OF THESE CONDITIONS OF SALE.
LIMITED WARRANTY
We warrant the authenticity and condition of each lot catalogued herein on the terms and conditions set forth below.
1. Unless otherwise indicated in the respective catalogue descriptions (which are subject to amendment by oral or written
notices or announcements made by Swann prior to sale), we warrant for a period of three (3) years from the date of sale the
authenticity of each lot catalogued herein. (Please note Paragraphs 3 and 5 below.)
2. Except as noted above, or unless otherwise indicated in the respective catalogue description, we warrant for a period of
thirty (30) days from the date of sale to the original buyer of record, that each book or manuscript is complete in text and
illustration and generally is in such physical condition as may reasonably be expected considering the age and provenance.
This warranty does not cover damages to binding, stains or foxing, wormholes, short leaves of text or plates or any defect not
affecting the completeness of the text. Moreover, this warranty does not cover the lack of inserted advertisements, blank leaves,
cancels or subsequently published volumes.
3. Serial publications, books in original parts, extra-illustrated books, made up "albums" and lots described as "sold as is,"
"sold not subject to return," "not collated," "collection of " or "group of," and any lot containing more than three (3) items, are
sold as is and therefore not covered by these warranties.
4. The benefits of these warranties are not assignable and are applicable only to the original buyer of the lot, and are
conditioned on the buyer returning the work in the same condition as at time of sale and in the time period specified.
5. (a) The buyer's sole remedy under these warranties shall be the rescission of the sale and refund of the original purchase
price paid for the item, and this remedy shall be exclusive and in lieu of any other remedy which might otherwise be available
to the buyer as a matter of law.
(b) In the event that a buyer claims that an item is not authentic, Swann shall have no obligation to rescind the sale unless
the buyer has obtained, at the buyer's expense, the opinion of two recognized experts in the field, who are mutually agreeable
to Swann and the buyer, that a lot or portion thereof is not authentic.
ADVICE TO PROSPECTIVE BIDDERS
1. ALL PROPERTY IS SOLD SUBJECT TO THIS ADVICE, THE CONDITIONS OF SALE, AND TERMS OF WARRANTY
PRINTED IN THE CATALOGUE.
2. INSPECTION OF PROPERTY. Prospective bidders or their agents should inspect property prior to the auction. Swann staff are
available to advise prospective bidders at all pre-sale exhibitions and by appointment.
3. BUYER'S PREMIUM. The purchase price payable on any lot purchased will be the total of the final bid plus the Buyer's Premium as
defined in paragraph 7 of the Conditions of Sale, plus all applicable sales taxes.
4. SALES TAX. All items purchased are subject to payment of the New York City and State sales tax of 8.875% on the total purchase
price (final bid plus the Buyer's Premium as defined in paragraph 7 of the Conditions of Sale) unless the purchaser presents proof of exemption
therefrom. An exempt purchaser must provide a properly completed New York State Resale Certificate (Form ST-120) evidencing
possession of a valid New York State Resale or, for non-New York State businesses, the equivalent resale authorization from another
locale. Purchases shipped outside of New York State may be subject to sales tax imposed by another state, and any such sales taxes will also
be due and payable unless proper proof of exemption therefrom is provided. Purchases will not be released unless all sales tax requirements
are satisfied.
5. BIDDING INCREMENTS. $10 up to $150; then $25 to $500; $50 to $1,000; $100 to $2,000; $200 to $6,000; $500 to $10,000; $1,000 to $20,000;
$2,000 to $50,000; and approximately 10% of the current bid thereafter. However, the auctioneer may modify the increments at any time.
6. RESERVES. All lots are subject to a reserve, which is the confidential minimum price agreed to with the seller below which the lot
will not be sold. The reserve will never be higher than the low pre-sale estimate, and will never be lower than half the low estimate. Swann
may implement such reserve by opening the bidding on behalf of the seller and may bid up to the amount of the reserve by placing successive
or consecutive bids for a lot in response to other bidders.
7. ESTIMATES. The estimates provided are intended as a guide to bidding. The figures are educated guesses, based on recent values. A
bid between the listed figures would, in our opinion, have a chance of success (at the time the catalogue was prepared). The estimates are
exclusive of the buyer's premium, and may be revised at any time prior to the auction.
8. BIDDING. All persons attending the auction must obtain a bidding number prior to bidding. If bids cannot be made in person or by an
agent, they may be made by mail, fax. e-mail, or telephone and such bids will be executed without charge.
9. ABSENTEE BIDS will be executed by Swann on the bidder's behalf in competition with other absentee bids and bidding in the room.
Every effort will be made to carry out the bidder's instructions, but Swann shall in no event be responsible for failing correctly to carry out
instructions, and Swann reserves the right to decline to undertake such bids. Bids by mail should be made in U.S. dollars on the bid sheet
found at the end of the catalogue and in accordance with the instructions on the bid sheet.
10. REMOVAL OF PROPERTY. All lots purchased shall be removed at the purchaser's risk and expense by the end of the fifth business
day following the sale. Purchases not so removed will be treated as set forth in paragraph 9 of the Conditions of Sale.
11. SHIPMENT. Upon request, Swann will facilitate the shipping of purchases to out-of-town buyers at an additional charge for packing,
postage and insurance, but will not be responsible for any loss, damage or delay resulting from the packing, handling and shipping thereof.
Unless specific instructions are received, Swann is the sole judge of the method to be used for shipment.
12. PRICES REALIZED. A list of prices realized is published on our website www.swanngalleries.com at the conclusion of the sale. The
Prices Realized is also available at Swann and will be mailed upon request.
13. CREDIT. Bidders whose credit is unknown to Swann should submit acceptable credit references or make prior arrangements for
payment, failing which purchases will not be released until funds have cleared. Mail bidders should submit references or a deposit of 25%
of their maximum bid. If successful, the deposit will be applied to the purchase; if unsuccessful, the deposit will be returned.
14. LOTS NOT RETURNABLE. Paragraph 3 of the Limited Warranty describes lots which are sold as is and not returnable. Books,
manuscripts, prints, drawings, photographs, signatures, or any other property offered in a lot comprising more than 3 items, whether or not
such items are individually named, constitute "Grouped Lots." Such ?Grouped Lots" are not subject to return for any reason.
SUPPLEMENTAL ADVICE TO PROSPECTIVE BIDDERS WITH RESPECT TO SALES OF PRINTS,
DRAWINGS, PAINTINGS, WATERCOLORS, SCULPTURES, AND MULTIPLES
GENERAL:
Dimensions are given in millimeters and inches, with height preceding width in both cases. Dimensions for prints are measured to
the outside edges of the plate mark (for intaglio) or image (for planographic and relief); dimensions for drawings and other works
are measured to the outside edges of the support (paper, canvas, etc.) For prints, if the margins are known or believed to be full this
is stated.
References are cited using the author?s surname and corresponding catalogue page number(s) or catalogue raisonne number at th e
end of each catalogue entry, preceding the estimate.
Whenever possible framed works are sold in the frames in which they have been received. However, we take no responsibility for
frames.
Be advised that pursuant to paragraph 1(b) of the Limited Warranty, Swann does not warrant the condition of prints, drawings or
watercolors unless specifically stated in the catalogue description. We attempt to characterize quality and gross defects in condition
whenever possible as an aid to prospective bidders, but clients should satisfy themselves prior to the sale as to the condition of each
lot and should exercise and rely on their own judgment as to whether the lot accords with its description. More detailed condition
reports are available upon request.
Illustrations in the catalogue are for identification only and should not be used as a basis for determining the condition of the lot.
FOR UNIQUE WORKS, SUCH AS DRAWINGS AND WATERCOLORS:
Authorship for each lot is indicated using the following descriptions:
Guido Reni: In our opinion, a work by the artist. (When the artist?s forename(s) is not known, a series of asterisks, followed by
the surname of the artist indicates that in our opinion the work is by the artist named.)
Guido Reni (attributed to): In our opinion, probably a work by the artist but less certainty as to authorship is expressed than in the
preceding category.
Guido Reni (studio of): In our opinion, a work by an unknown hand in the studio of the artist which may or may not have been
executed under the direction of the artist.
Guido Reni (circle of): In our opinion, a work by an unknown hand closely associated with the named artist but not necessarily his
student.
Guido Reni (style of) or (follower of): In our opinion, a work by an unknown, nearly contemporary or contemporary hand working
in the artist?s style but not necessarily his student.
Guido Reni (manner of): In our opinion, a work in the style of the artist and of a later date.
Guido Reni (after): In our opinion, a copy of a work of the artist.
FOR PRINTS AND MULTIPLES:
If there is a generally accepted title for the print, that title is given at the beginning of the lot description following the artist?s name.
The primary medium is identified following the title. The terms used are intended only as a general description and may not include
all the techniques employed by the artist.
Dates used in the catalogue entries refer to execution of the ?master? or printing matrix. For prints made after 1949, it will be stated
if the impression was pulled later than the execution of the master or matrix; for prints made prior to 1949, the impression may or
may not be of a date contemporaneous with the execution of the master or matrix.
The term ?signed? means that, in our opinion, the signature is by the artist and was made more or less contempora neously with the
creation of the print.
Whenever possible, we attempt to indicate the state of a print and will usually rely on information found in the relevant cat alogue
raisonne to determine this information.
For modern and contemporary prints, and for early prints when the data are available, every reasonable effort is made to identify
relevant information concerning the extent of the edition. If the print is described as an ?artist?s proof? or an ?hors commerce?
impression, the size of the regular edition is usually provided.
In most cases, we describe the quality of the impression of the print, ranging in descending order from ?brilliant? and ?supe rb? to
?very good,? ?good? and ?fair.? These descriptions are intended merely as a general guide and should not be taken as a statement
of fact, nor do they represent any description of the condition of the print.
SUPPLEMENTAL ADVICE TO PROSPECTIVE BIDDERS WITH RESPECT TO SALES OF POSTERS
Posters, for the most part, were printed in large format on the cheapest possible paper, and with an expected life of two to three months on
billboards. They were ephemeral by definition and not intended to withstand the test of time. Therefore, in grading a poster?s condition the
standards and criteria of the print collector cannot be used. The most important element in grading a poster?s condition is its appearance as
defined by the lines, colors and overall design.
Condition in this catalogue is noted according to a rating system which has been accepted by most poster dealers. The following ratings are
used, with an appropriate + or - to indicate slightly better or worse condition:
Condition A: designates a poster much in the same state as when it was printed; the colors are fresh, there is no signifcant paper loss
or tears, but there may be some slight blemish, creases or scuffng.
Condition B: designates a poster in good condition. Some restoration (including repaired tears or slight overpainting) may ha ve been
done but it is not visibly apparent, there may be discoloration and/or fading.
Condition C: designates a poster that is showing the effects of time and/or heavy restoration. Fading and discoloration may be more
pronounced, restoration, folds, creases and flaking may be visible, and there may be paper loss or obvious restored losses.
Within these guidelines, we have done our best to describe any flaws, defects and restoration?whether apparent or not. However,
the above condition ratings are subjective. Prospective purchasers should satisfy themselves as to condition
IF YOU HAVE ANY QUESTIONS REGARDING THESE POSTERS, PLEASE FEEL FREE TO CALL FOR
ADDITIONAL INFORMATION OR FOR A CONDITION REPORT. WE ENCOURAGE YOU TO EXAMINE THE
POSTERS YOURSELF OR TO HAVE THEM EXAMINED BY YOUR REPRESENTATIVE.
ALL POSTERS ARE LINEN-BACKED UNLESS OTHERWISE INDICATED.
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Swann Auction Galleries

Description & Details

The February Fine Photographs auction brings together twentieth-century masters in a curated selection of diverse and rare highlights. We are thrilled to offer a signed example of Roy DeCarava?s iconic Hallway, New York, 1953, a vintage print that was acquired directly from the artist. The sale also includes Robert Mapplethorpe?s stunning Double Jack in the Pulpit, 1988, as well as August Sander?s Handlanger [Bricklayer], 1928, printed 1976, Robert Adams? Out a Front Window, Longmont, Colorado, from The New West, 1968-71, and Minor White?s striking Moon and Wall Encrustations, Pultneyville, NY, 1964, printed 1970s.
ANSEL ADAMS (1902-1984) Tuolumne Meadows, Yosemite National Park, from Portfolio Four "What MajesticANSEL ADAMS (1902-1984) Winter Sunrise, Sierra Nevada from Lone Pine, California. 1944; printedANSEL ADAMS (1902-1984) Cathedral Spires and Rocks, Late Afternoon. Circa 1948; printed after 1974ANSEL ADAMS (1902-1984) Tenaya Creek, Dogwood, Rain, Yosemite National Park, California. 1948;ANSEL ADAMS (1902-1984) Rain, Beartrack Cove, Glacier Bay National Monument, Alaska. 1949; printedANSEL ADAMS (1902-1984) Forest and Stream, Northern California, from Portfolio V. 1959; printedANSEL ADAMS (1902-1984) Lone Pine Peak, Sierra Nevada, California, from Portfolio V. Circa 1960;BRETT WESTON (1911-1993) Snow on Rock Wall, The Dalles, from the Oregon Portfolio. 1970; printedWILLIAM A. GARNETT (1916-2006) Four Trees on Hills, Paso Robles, California. 1979.PAUL CAPONIGRO (1932-2024) Frosted Window, Massachusetts. 1957; printed circa 1970.WYNN BULLOCK (1902-1975) Tide Pool, Point Lobos. 1957.MINOR WHITE (1908-1976) Easter Sunday, Stony Brook State Park, New York. 1963.MINOR WHITE (1908-1976) Peeled Paint, Rochester, New York. 1959; printed circa 1970.MINOR WHITE (1908-1976) Moon and Wall Encrustations, Pultneyville, NY. 1964; printed circa 1970.MINOR WHITE (1908-1976) Navigation Markers, Cape Breton, Nova Scotia. 1970.BRETT WESTON (1911-1993) Reflections, from the Abstractions I portfolio. 1979.LAURA GILPIN (1891-1979) Narcissus. 1926.EDWARD WESTON (1886-1958) Artichoke Halved. 1930; printed 1970s by Cole Weston.WALKER EVANS (1903-1975) Two Bobbins, Ivory Coast. 1935.CONSUELO KANAGA (1894-1978) Glasses and Reflections. 1948; printed circa 1970.JOSEF SUDEK (1896-1976) Rose in Glass. 1950s; printed before 1975.ROBERT MAPPLETHORPE (1946-1989) Double Jack in the Pulpit. 1988.KENRO IZU (1949- ) Still Life #513. 1994; printed 1996.HORST P. HORST (1906-1999) Calla Lily. 1944; printed later.HAROLD EDGERTON (1903-1990) Cutting the Card Quickly. 1960; printed early 1980s.EVELYN HOFER (1922-2009) Still Life No. 6 "Hommage à Zurbarán." 1997.PAUL CAPONIGRO (1932-2024) Two Pears, Cushing, Maine. 1999; printed later.TOM BARIL (1952- ) Gloxinia Buds.1998; printed 2000.PAUL STRAND (1890-1976) Wall Street, New York. 1915; printed 1984.SHERRIL SCHELL (1877-1964) Reflections in a New York Shop Window. Circa 1930.(DIRIGIBLES IN NEW YORK CITY) A selection of 17 photographs of dirigibles in the NYC skies overWALKER EVANS (1903-1975) Moving Truck and Bureau Mirror, Brooklyn. 1929; likely printed late 1930s.BERENICE ABBOTT (1898-1991) New York at Night. 1932; printed 1980s.BERENICE ABBOTT (1898-1991) Under the El at the Battery. 1936; printed 1980s.BERENICE ABBOTT (1898-1991) Theoline, Pier 11, East River, Manhattan, New York 1936; printed 1980s.ALFRED EISENSTAEDT (1898-1995) Future Ballerinas of the American Ballet Theatre, New York City. 1937WALTER ROSENBLUM (1919-2006) Girl on Swing, Pitt Street, New York. 1938; printed 1960s.MORRIS ENGEL (1918-2005) The Race, East Side, NYC. 1937; printed 1982.SOL LIBSOHN (1914-2001) Quality Printing. Circa 1940s; printed 1960s.SOL LIBSOHN (1914-2001) Phone. Circa 1940s; printed 1960s.EDWARD SCHWARTZ (1906-2005) Two Women Shoppers in slush on Clinton St. & Madison St., New York.(STANDING ROOM ONLY) A selection of approximately 44 press photographs of crowds. 1912-55.TODD WEBB (1905-2000) LaSalle Street, Harlem, N.Y. 1946; printed before 1976.GODFREY FRANKEL (1912-1995) Hydrant, New York City. Circa 1947.LOUIS FAURER (1916-2001) Times Square Area, N.Y.C. Circa 1947; printed 1980.MORRIS ENGEL (1918-2005) Rebecca, Harlem, N.Y. 1947; printed 1980.W. EUGENE SMITH (1918-1978) Backstage dressing room at The Met ( the chorus playing cards). 1953.ROY DECARAVA (1919-2009) Hallway, New York. 1953.W. EUGENE SMITH (1918-1978) Empire State Building, New York City. Circa 1955-58.WILLIAM KLEIN (1926-2022) Dance in Bensonhurst, NY. 1955; printed 1977.LOUIS STETTNER (1922-2016) Windshield, Saratoga Springs, New York. 1957; printed 1970s.WILLIAM KLEIN (1928-2022) Moved Across the Street , New York. 1955; printed 1980s.ROBERT FRANK (1924-2019) Couple, from New York Is. 1959.RALPH STEINER (1899-1986) Fire escape. 1965; printed 1980.BRUCE DAVIDSON (1933- ) East 100th Street (child on fire escape). 1967-68; printed 1970s.DIANE ARBUS (1923-1971) Photographer Posing Communion Boy, N.Y.C. 1968; printed 2003 by NeilELLIOTT ERWITT (1928-2023) New York City (dog legs). 1974; printed 1980s.LEE FRIEDLANDER (1934- ) New York City (Father Duffy, Times Square). 1974; printed 1980s.LOUIS STETTNER (1922-2016) Women from Texas, Fifth Avenue, New York. 1976.DANNY LYON (1942- ) IRT #2, New York. November 1979; printed 1981.RUTH ORKIN (1921-1985) Rainbow over the Carlyle. 1980.HEINRICH KÜHN (1866-1944) The Hay Harvest. Circa 1925.AUGUST SANDER (1876-1964) Handlanger [Bricklayer]. 1928; printed 1976 by Gunther Sander.TOM HOWARD (1894-1961) Execution of Ruth Snyder (the first woman to be executed and first photo ofMARGARET BOURKE-WHITE (1904-1971) Niagara Falls Power Corp. (metal worker). 1930.DORIS ULMANN (1882-1934) Spinner. 1932-34.LISETTE MODEL (1901-1983) A selection of 6 photographs from Model's portfolio Twelve Photographs.CLARENCE JOHN LAUGHLIN (1905-1985) The Closed Door, from the Images of the Lost. 1939; printed 1954.W. EUGENE SMITH (1918-1978) Saipan (two soldiers). 1944; printed 1970s.ROBERT CAPA (1913-1954) Immigrant Tent Camp, near Jaifa, Israel. 1948.W. EUGENE SMITH (1918-1978) Hear No Evil, from the Life Magazine photo essay "A Man of Mercy." 1954;IRVING PENN (1917-2009) Deep Sea Diver, New York, from the Small Trades series. 1951.IRVING PENN (1917-2009) Tree Pruner, New York, from the Small Trades series. 1951.(MINING--GERMANY) An album titled "Im Pütt" with 14 handsome photographs of workers in a mine.DAVE HEATH (1931-2016) Howard Crawford, Jr., Korea. Circa 1953-54; printed 1961-62.RAE RUSSEL (1925-2008) A photo essay documenting a social housing development on Henry Street in New(AMERICAN CRIME) A group of approximately 225 mugshots, all depicting men, from Philadelphia,BRUCE DAVIDSON (1933- ) Alabama, from Time of Change. 1963.DANNY LYON (1942- ) Cotton Pickers, Ferguson Unit, Texas, from Conversations with the Dead. 1967;GEORGE A. TICE (1938-2025) Amish Children Playing in Snow, Lancaster, Pennsylvania. 1969; printedGARRY WINOGRAND (1928-1984) A selection of three photographs from Women are Beautiful. Circa 1970;DANNY LYON (1942- ) Two rare color prints from the series Bikeriders: Run to Springfield, Illinois *STEVE MCCURRY (1950- ) Afghan Girl (Sharbat Gula). 1984; printed before 1995.SEBASTIÃO SALGADO (1944- ) St. Sebastian, Gold Mine, Serra Pelada, Brasil. 1986.SEBASTIÃO SALGADO (1944- ) Zaire [Kibumba Number One Camp]. 1994.(GILMAN COLLECTION) Photographs from the Collection of the Gilman Paper Company.JAMES WALLACE BLACK (1825-1896) Boston, as the Eagle and the Wild Goose See It. 1860.THOMAS H. JOHNSON (active 1860s) Racket Broke Breaker, the Delaware and Hudson Canal Company. CircaTIMOTHY O'SULLIVAN (1840-1882) Black Cañon, Colorado River, Looking Above from Camp 7. 1871.WILLIAM HENRY JACKSON (1843-1942) The Royal Gorge - Grand Canyon of the Arkansas. Circa 1882.PAUL STRAND (1890-1976) Campo Santo, New Mexico (cemetery). 1932.LAURA GILPIN (1891-1979) Shepherds of the Desert. 1934.EDWARD WESTON (1886-1958) Church Door, Hornitos, from Edward Weston: Fiftieth Anniversary Portfolio,CLARENCE JOHN LAUGHLIN (1905-1985) The Head in the Wall. 1945; printed 1979.ROBERT FRANK (1924-2019) New Jersey, Spring. 1960.ROBERT ADAMS (1937- ) Out a Front Window, Longmont, Colorado, from The New West. 1968-71.ROBERT ADAMS (1937- ) Mobile homes, Jefferson County, Colorado. 1973.WILLIAM GARNETT (1916-2006) Reflection of the Sun on Illinois Farm after Heavy Rain. 1977.RAY METZKER (1931-2014) Reading Terminal Market, Philadelphia. 1963; printed circa 1980.LEE FRIEDLANDER (1934- ) Kansas City, Missouri. 1965; printed 1980s.ELIOT PORTER (1901-1990) A portfolio entitled Western Landscapes. 1988.EDWARD STEICHEN (1879-1973) Vauquois Mine Crater (Argonne Sector). Circa 1918.(PHOTOGRAPHER UNKNOWN) Aerial view of Hiroshima. August 1945.BILL BRANDT (1904-1983) Rainswept Roofs. 1933; printed 1970s.GORDON PARKS (1912-2006) Lighthouse. 1945; printed 1980s.JOSEF SUDEK (1896-1976) From Strelecky Island. 1957.PAUL CAPONIGRO (1932-2024) Stonehenge, England. Circa 1967.BERND BECHER (1931-2007) & HILLA BECHER (1934-2015) Naval Colliery, Tonypandy, South Wales, GB, fromMARTIN PARR (1952- ) Manorhamilton Sheep Fair, County Leitrim, Ireland. 1981.MARIO GIACOMELLI (1925-2000) Felicita raggiunta, si cammina. 1989.MICHAEL KENNA (1953- ) Quixote's Giants, Study 3, Campo de Criptana, La Mancha, Spain. 1996; printed(EXPLORATION) An album with 67 photographs from the Meteor oceanographic expedition of 1925-27.SEBASTIÃO SALGADO (1944- ) El Condor, Ecuador. 1982; printed 1993.MICHAEL KENNA (1953- ) Moai, Study 50, Ahu Tongariki, Easter Island. 2001.NICK BRANDT (1964- ) Giraffe Fan, Aberdares. 2000; printed 2001.NICK BRANDT (1964- ) Giraffe Looking out over Plains, Serengeti. 2002.JULIA MARGARET CAMERON (1815-1879) Sir Henry Taylor. 1865.CARL VAN VECHTEN (1880-1964) Salvador Dalí. 1934.ALFRED STIEGLITZ (1864-1946) Georgia O'Keeffe - Hand and Wheel. 1933; printed 1983.MAN RAY (1890-1976) Portrait of Andree Wildenstein. Circa 1935; printed 1960s.BARBARA MORGAN (1900-1992) Martha Graham - Primitive Mysteries. 1935; printed early 1980s.EDWARD WESTON (1886-1958) Carmelita Maracci. 1937; printed 1940s.YOUSUF KARSH (1908-2002) Winston Churchill. 1941; printed before 1960.JOE SCHWARTZ (1913-2013) Peace Advocates, Hazel Scott with Paul Robeson in the background at theARNOLD NEWMAN (1918-2006) Portrait of the artist Yasuo Kuniyoshi (1889-1953). 1941; printed 1960s.ARNOLD NEWMAN (1918-2006) Max Ernst. 1942; printed 1970s.BRETT WESTON (1911-1993) Portrait of Edward Weston. 1942; printed 1980s.LIDA MOSER (1920-2014) Group Portrait with Berenice Abbott in Maurice Sievan’s studio1952;PHILIPPE HALSMAN (1906-1979) Marilyn Monroe. 1952; printed circa 1970.ALFRED WERTHEIMER (1929-2014) Segregated lunch counter, Chattanooga, TN, Elvis has breakfast. JulyALBERTO KORDA (1928-2001) Guerrillero Heroico (Che Guevara). 1960; printed 1980s.ELLIOTT LANDY (1942- ) Bob Dylan with son Jesse Dylan, Byrdcliffe home, Woodstock, NY. 1968; printedFRANCESCO SCAVULLO (1921-2004) Janis Joplin. 1969; printed 1970s.TODD WEBB (1905-2000) Georgia O'Keeffe. 1962; printed 1984.DIANE ARBUS (1923-1971) Portrait of Germaine Greer. 1971.MIKE MANDEL (1950- ) Complete set of 134 Baseball Photographer Trading Cards. 1975.MARY BETH EDELSON (1933-2021) Calling: Goddess Head, Montauk. 1975.DUANE MICHALS (1932- ) Self-portrait by Stefan Mihal. 1970s.JUDITH JOY ROSS (1946- ) Randy Sartoni, A.D. Thomas Elementary School, Hazleton, PA. 1993; printedALBERT WATSON (1942- ) Mick Jagger. 1992.MARK SELIGER (1959- ) Lou Reed, New York. 2011.ROBERT DOISNEAU (1912-1994) Portfolio entitled "Portraits." 1943-71; printed 1984.E.J. BELLOCQ (1873-1949) Storyville Portrait, New Orleans, plate 27. 1911-13; printed 1970s by LeeFRANTIŠEK DRTIKOL (1883-1961) Portfolio V, with 10 (of 10) photographs. 1926-29; printed 1996.RUDOLF KOPPITZ (1884-1936) Pictures from the Tyng Collection, featuring the iconic BewegungsstudieANDRÉ KERTÉSZ (1894-1985) Distortion #6. 1933; printed 1960s.GEORGE PLATT LYNES (1907-1955) Two male nudes in torn shirts (Paul Cadmus and Jared French). CircaHORST P. HORST (1906-1999) Odalisque, New York. 1943; printed 1980s.BILL BRANDT (1904-1983) Nude, London. 1952; printed 1970s.BILL BRANDT (1904-1983) Campden Hill, London. 1953; printed 1969.AARON SISKIND (1903-1991) Pleasures and Terrors of Levitation #99 (Christmas card). 1961.KENNETH JOSEPHSON (1932- ) Polapan, from the 1975 Ken Josephson Portfolio. 1973; printed circa 1974.JACK WELPOTT (1923-2007) Sabine. 1973; printed 2002.JERRY UELSMANN (1934-2022) Untitled (female nude melting into bed). 1977.RALPH GIBSON (1939- ) Untitled (shoulder). 1979.HELMUT NEWTON (1920-2004) Nude on Seaweed, Saint Tropez. 1981.DAVID BAILEY (1938- ) Marie Helvin. January 1981.LYNN DAVIS (1944- ) George Bassey. 1979; printed 1981.(BAILEY; GIBSON; NEWTON; MEISEL; RITTS, et alia) The Year of Tibet Portfolio II. 1928-90; printedMAN RAY (1890-1976) Woman holding skirts wide. Circa 1930.GRETE STERN & ELLEN AUERBACH (1904-99 & 1906-2004) Ringl + Pit Fotografie Portfolio. 1929-33;ERWIN BLUMENFELD (1897-1969) Untitled (Monsavon au Lait). 1936.LOUISE DAHL-WOLFE (1895-1989) Liz Gibbons as a Photographer. 1938; printed 1970s.CECIL BEATON (1904-1980) Gloria Swanson for Vogue. 1946.LILLIAN BASSMAN (1917-2017) Next to Nothing, New York, Junior Bazaar. 1948; printed 1990s.NORMAN PARKINSON (1913-1990) Mary Drage - Fashion shot for Vogue America. October 3, 1950.RICHARD AVEDON (1923-2004) Dovima in Balenciaga. 1950s.MELVIN SOKOLSKY (1933-2022) Jump, New York, for Harper's Bazaar. 1960; printed 2009.HELMUT NEWTON (1920-2004) Study with six models. 1970s.RICHARD H. PETTIBONE (1938- ) Helmut Newton, Le temps des joyaux, French Vogue, December 1979. 1980.HIRO [YASUHIRO WAKABAYSHI] (1930-2021) Nude outlined in pink. 1975.BRUCE WEBER (1946- ) Charles James Dress and Roses, Kent, England. 1982; printed 1998.HORST P. HORST (1906-1999) Zoli Models. 1985.IRVING PENN (1917-2009) Model in white feathered head piece (Nadja Auermann). Circa 1994.CATHLEEN NAUNDORF (1968- ) Breakfast at Tiffany's, II. 2010.MANUEL ÁLVAREZ BRAVO (1902-2002) Los Obstáculos. 1929; printed 1980s.JACQUES-HENRI LARTIGUE (1894-1986) Renée Perle at the beach. Circa 1930-31.BRASSAÏ (1899-1984) Chez Suzy. Circa 1932-33; printed 1970s.HENRI CARTIER-BRESSON (1908-2004) Behind the Gare St. Lazare. 1932; printed 1980s.HENRI CARTIER-BRESSON (1908-2004) Sunday on the Banks of the Marne. 1938; printed 1980s.HAROLD EDGERTON (1903-1990) Swirls and Eddies of a Tennis Stroke. 1939; printed early 1980s.HENRI CARTIER-BRESSON (1908-2004) Coronation of King George VI, Trafalgar Square, London. 1937;MANUEL ÁLVAREZ BRAVO (1902-2002) Retrato de lo Eterno [Portrait of the Eternal]. 1935; printedMANUEL ÁLVAREZ BRAVO (1902-2002) La Buena Fama Durmiendo [The Good Reputation Sleeping]. 1939;ROBERT DOISNEAU (1912-1994) Be Bop en Cave. 1951; printed 1980s.WILLY RONIS (1910-2009) Cave rue de la Huchette. 1957; printed 2001.ROBERT DOISNEAU (1912-1994) La maison de carton (A boy behind a bench and boxes). 1957; printedELLIOTT ERWITT (1928-2023) A Portfolio of Ten Photographs. 1946-68; printed 1974.GRACIELA ITURBIDE (1942- ) Cemetery, Paris. 1976.ÉDOUARD BOUBAT (1923-1999) Communicant in Salamanca, Spain. Circa 1956; printed 1980s.MARIO GIACOMELLI (1925-2000) Lo non ho mani che mi accarezzino il volto [I have no hands to caressJOSEF KOUDELKA (1938- ) Roma, near Tours, France. 1970; printed 1970s.INGE MORATH (1923-2002) Portfolio entitled Inge Morath. 1975.GRACIELA ITURBIDE (1942- ) Mujer Angel, Mexico. 1979; printed 1986.GRACIELA ITURBIDE (1942- ) Cayó del Cielo [Fallen From the Sky], Chalma, Mexico. 1990; printedSAMUEL BOURNE (1834-1912) A group of 12 photographs depicting historical landmarks in Agra. 1860s.HENRI CARTIER-BRESSON (1908-2004) Shanghai, Honan Street, Communist students mingle with the crowdHENRI CARTIER-BRESSON (1908-2004) Fireworks seen from the Forbidden City, Beijing. 1958; printedYOSHIYUKI IWASE (1904-2001) Untitled, from the series Seaweed Harvest. 1957; printed 1970s.KIICHI ASANO (1914–1993) Innai (children at window). February 1958; printed later.CECIL B. ATWATER (1886-1981) An album of approximately 290 color photographs depicting Asia, theDAIDO MORIYAMA (1938- ) Evening Scene, Aomori, Japan. 1977; printed circa 2000.MARY ELLEN MARK (1940-2015) Untitled, from Passport. 1963-73; printed 1978.STEVE MCCURRY (1950- ) Dust Storm, Rajasthan, India. 1983; printed 2011.ESTHER BUBLEY (1921-1998) Group of children, hands reaching up, Morocco. Circa 1953.SEBASTIÃO SALGADO (1944- ) Algeria (man praying). 2009.ADOLF VOIGT & HANS GIEBLER (active 1950s-2000s) An elegant series of 30 detailed photographs of the(NASA) Blue Marble, View of the Earth as seen by the Apollo 17 crew. December 7, 1972.WILLIAM EGGLESTON (1939- ) Untitled (In Case of Emergency). 1974.JOEL MEYEROWITZ (1938- ) From the Bay/Sky series, Provincetown. 1975.ROBERT CUMMING (1943-2021) Marinduque Island Jungle - Stage #36, from the series Studio Still LifesLAURIE SIMMONS (1949- ) New Bathroom Woman Kneeling. 1979.SANDY SKOGLUND (1946- ) Coat Hangers. 1979; printed 1980.SANDY SKOGLUND (1946- ) Spoons. 1979; printed 1980.NAN GOLDIN (1953- ) Roommate (Janet). 1980.GORDON PARKS (1912-2006) Abstraction (bird). 1981.JAMES WELLING (1951- ) 6 Railroads. Circa 1987; printed 1991.ANDREAS GURSKY (1955- ) Düsseldorf, Airplane. 1989.ZOE LEONARD (1961- ) Bull Fight #3. 1986; printed 1990.JOHN COPLANS (1920-2003) Self-Portrait (Legs and Hands, Thumbs Together). 1985; printed 1986.JOHN COPLANS (1920-2003) Running. 1990.ABELARDO MORELL (1948- ) Camera Obscura Image of Houses across the street in our living room. 1991.CHESTER HIGGINS, JR. (1946- ) Muslim Woman, New York City. 1990; printed 2004.RICHARD MISRACH (1949- ) Driver / Santa, Bonneville Salt Flats, Utah. 1992.HIROSHI SUGIMOTO (1948- ) The Brides in the Bath Murderer. 1994.JAMES CASEBERE (1953- ) Barrel Vaulted Room 1994; printed 1998.NOBUYOSHI ARAKI (1940- ) Untitled, from the series Private Diary. 1999.ABELARDO MORELL (1948- ) Camera Obscura Image of San Francisco Looking East. 2002.GABRIEL OROZCO (1962- ) Well. 2002.RICHARD MOSSE (1980- ) 707 Damascus. 2008.ELINOR CARUCCI (1971- ) The First Week * The Woman that I Still Am #2. 2004 and 2010.ZANELE MUHOLI (1972- ) Thandiwe. 2018.

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