EDWARD WESTON

Nude,  Dated 1925

gelatin silver print

5 1/8 by 9 1/4 inches

Est. $600,000-$900,000  price realized $1,609,000

SOTHEBY'S, "The Quillan Collection of 19th & 20th Century Photographs",

April 7, 2008

Lot #19

Illustration courtesy: SOTHEBY'S IMAGES, 2008 

 
 

Spring 2008 NY Photography Auction Re-Cap

by Brian Appel

 

Sotheby’s

“The Quillan Collection of Nineteenth and Twentieth Century Photographs” at Sotheby’s, a single-owner sale with roughly 70 pictures, kicked off the spring 2008 season with an $8.9 million payday easily surpassing pre-sale estimates of $4.5 to $7 million.  Defying recent economic jitters, the sixty-three lots that were sold – each by a different photographer – produced 18 world auction records for their artists.

A rare and exquisitely rendered vintage print by Edward Weston entitled “Nude” from 1925, took the top spot at the house ($1,609,000) easily trumping his previous Oct. 15, 2007 world auction record of $1,105,000 for “Nautilus”, 1927.  Measuring just 5 1/8 by 9 1/4 inches, the gelatin silver print set the bar as the most expensive photograph at auction this spring.  Framed so that the figure has no recognizable identity, the image has a timeless, formal simplicity that suggests a poetic rendering of a cloud formation in the sky.

Also from 1925, a vintage print portrait by Paul Strand of his wife Rebecca Salisbury shattered another artist auction record at $646,000.  It was the second highest lot of the sale (and the season).  Taken with a large format 8 by 10 inch camera, the meticulously crafted contact-printed image on platinum paper succeeds in “… coalescing completely his art and his intimate life…”.

AUGUST SANDER

“Werkstudenten”; 1926

gelatin silver print

5 3/4 by 7 3/4 inches

Est. $150,000-$250,000  price realized $493,000

SOTHEBY'S, "The Quillan Collection of 19th & 20th Century Photographs",

April 7, 2008

Lot #11

Illustration courtesy: SOTHEBY'S IMAGES, 2008 

 

 

“Werkstudenten”, an early August Sander print that was included in his seminal publication the “Antlitz der Zeit” (“Face of Time”) depicting the photographer’s son Erich and his friends – all of whom were political radicals and dedicated members of the Communist party – fetched $493,000, and a very rare, early print by Richard Avedon revealing the “real” Marilyn Monroe as sad seductress, almost quadrupled its high pre-sale estimate with a $457,000 payday.

 

RICHARD AVEDON

Marilyn Monroe, May 6, 1957, New York City, 1957

gelatin silver print

15 5/8 by 15 3/8 inches

Est. $70,000-$100,000  price realized $457,000

SOTHEBY'S, "The Quillan Collection of 19th & 20th Century Photographs"

April 7, 2008

lot #32

Illustration courtesy: SOTHEBY'S IMAGES, 2008

 

 

New world auction records were also struck by Hans Bellmer ($325,000), Laszlo Moholy-Nagy ($301,000), Bill Brandt ($265,000) and both Edward S. Curtis and Henry Peach Robinson with $169,000.

 

CINDY SHERMAN

Untitled Film Still #53, 1980

gelatin silver print (#3 in an edition of 10)

image: 6 3/8 by 9 1/2 in. / sheet: 8 by 10"

pre-sale est.: $60,000-$90,000  price realized: $313,000

Sotheby's, "The Quillan Collection",

Monday, April 7th, 2008

lot #34

Illustration courtesy of SOTHEBY'S IMAGES, 2008

 

 

Cindy Sherman’s 8 by 10 inch “Untitled (Film Still #53)” from 1980, no. 3 in an edition of 10, tripled its high estimate ($90,000) landing at $313,000.  The last time the artist’s #53 was offered up at auction (November, 1998) it took home $34,000 with a $35,000-$45,000 pre-sale estimate.

 

ROBERT FRANK

Mississippi River; 1956 (printed 1958-1960)

gelatin silver print

12 1/2 by 18 5/8 inches

Est. $50,000-$70,000  price realized: $205,000

SOTHEBY'S, "The Quillan Collection of 19th & 20th Century Photographs",

April 7, 2008

Lot #27

Illustration courtesy: SOTHEBY'S IMAGES, 2008

 

 

Unusual in size, Robert Frank’s 12 ½ by 18 5/8 inch elegiac image of an African American in white robes with Bible and staff, kneeling in prayer (“Mississippi River”) from his seminal series “The Americans”, 1955-1956, easily doubled its high estimate with a very strong $205,000.  This was the first time it has come to auction in N.Y. in at least a decade.

 

EDWARD WESTON

Nude On Sand, Oceano, 1936

gelatin silver print

7 1/2 by 9 5/8 in.

pre-sale est.: $120,000-$180,000  price realized: $325,000

Sotheby's, "Edward Weston's Gifts To His Sister And Other Photographs",

8 April, 2008

lot #81

Illustration courtesy SOTHEBY'S IMAGES, 2008

 

 

Sotheby’s “Edward Weston’s Gifts to His Sister and Other Photographs”, followed the Quillan Collection the next morning with more than 40 Edward Weston photographs that had remained with descendants of the family since their making.  The sale achieved just over $1.5 million (est. $900,000 to $1.4 million) with his 1936 classic “Nude on the Sand, Oceano” taking the top lot at $325,000.

 

DIANE ARBUS

A Family On The Lawn One Sunday In Westchester, N.Y., 1968

gelatin silver print

15 3/8 by 15 3/8 in.

est.: $200,000-$300,000  price realized: $553,000

lot #264

Sotheby's, New York, "Photographs" N08424

8 April , 2008

Illustration courtesy of SOTHEBY'S copyright 2008 

 

 

“A Family On the Lawn One Sunday in Westchester, N.Y.” from 1968, a rare vintage Diane Arbus print, with deep, inky blacks and sparkling whites, was the star of the Sotheby’s various owners “Photographs” sale, setting a new world auction record at $553,000.  Only five early prints of this image have been offered at auction before and only two are signed by the artist making this print particularly sought after.  A Neil Selkirk “printed later” version of the same image (numbered ‘36/50’) sold two days later at Christie’s (from the collection of Bruce and Nancy Berman) for $91,000.

Placing these two lots into a market perspective, another vintage print of this Arbus image (1968 exposure - printed between 1968 and 1970) was sold at Sotheby’s, New York on April 27th, 2004 at the “Important Photographs from a Private Collection” sale (lot #12) realizing $176,000.  The Berman consigned Neil Selkirk print (ed.: ‘36/50’) was purchased on Oct. 6th, 1995 at Christie’s, N.Y. for $4,830 (est.: $1,800-$2,200).

Southworth & Hawes’, “Portrait of Samuel Appleton”, a half-plate daguerreotype exposed indoors with available light was a surprise at the block – the second highest lot of the sale, it reached $409,000. The circa 1850 image measuring only four inches across had an $80,000-$90,000 estimate.

Paul Outerbridge’s 1938 “Kandinsky”, a color carbo print owing a compositional debt to its namesake, took home $241,000 – it was last sold at auction at Christie’s, N.Y., on the 17th of April, 1997 for just over $48,000.

 

HELMUT NEWTON

Sie Kommen (Naked and Dressed), Paris, 1981

2 gelatin silver prints; each:14 1/2 by 14 1/2 inches

pre-sale est.: $140,000-$180,000  price realized: $241,000

CHRISTIE'S, "Photographs From The Collection of Gert Elfering",

April 10, 2008

Lot #120

Illustration courtesy: CHRISTIE'S IMAGES, 2008

 

 

Christie’s

Christie’s spring season offered the greatest breadth and scope of photographic material to the market with 412 print lots sold as compared to 274 at Sotheby’s and 154 at Phillips de Pury & Company.  Print sales grossed just over $15 million as compared to Sotheby’s $17.3 million but adding their first sale dedicated to a single owner’s commitment to the history of the photographic book (183 lots sold) their gross sales topped $17.6 million.

 

“Photographs from the Collection of Gert Elfering” jump started the print auction sales at Christie’s with Helmut Newton’s surreal diptych “Sie Kommen (Naked and Dressed)” from 1981 taking the top spot.  Welding portraiture, fashion and the erotic, it landed at $241,000.  It performed strongly against a pre-sale low/high estimate of $140,000-$180,000.

 

IRVING PENN

Gisele, New York, April 1, 1999, 1999

gelatin silver print

15 1/2 by 15 1/2 inches

pre-sale est.: $30,000-$40,000  price realized: $193,000

CHRISTIE'S, "Photographs From The Collection of Gert Elfering",

April 10, 2008

lot #125

Illustration courtesy: CHRISTIE'S IMAGES LTD., 2008

 

 

RICHARD AVEDON

Brigitte Bardot, 1959

gelatin silver print (printed later), ed.: '12/35'

23 by 19 7/8 inches

pre-sale est.: $80,000-$120,000  price realized: $181,000

CHRISTIE'S, "Photographs From The Collection of Gert Elfering",

April 10, 2008

Lot #33

Illustration courtesy: CHRISTIE'S IMAGES, 2008

 

 

Two stage-managed photographs from Irving Penn – “Mouth for L’Oreal, N.Y., 1986” ($205,000), and “Gisele, New York, April 1 1999” ($193,000) took the 2nd and 3rd spots with an early print of Richard Avedon’s “Bridget Bardot” (exposed in 1959) landing at 4th with $181,000.

 

This was Gert Elfering’s third successful sale at Christie’s.  His 135 lots offered, 114 lots sold, brought in a very healthy $4.3 million.  Two previous efforts – “20th Century Photographs” in the fall of 2005 and “Horst” from the spring of last year – generated $9.7 million in print sales.

 

MICHEL COMTE

Carla Bruni, 1993

gelatin silver print

13 by 10 1/8 inches

pre-sale est.: $3,000-$4,000  price realized: $91,000

CHRISTIE'S, "Photographs From The Collection of Gert Elfering",

April 10, 2008

Lot #64

Illustration courtesy: CHRISTIE'S IMAGES, 2008

 

Mr. Elfering, a savvy collector with a great eye for the acquisition of under-valued great masters of fashion and sophistication, put together a sale that generated the largest contingency of press I’ve ever seen at a photographic preview.  By my count there were eleven press photographers and video operators snapping pictures and taking video clips of Penn’s nudes of supermodel Giselle Bundchen and Kate Moss and Helmut Newton’s nudes of Kristen McMenamy and Violette Sanchez.  Michel Comte’s nude of Carla Bruni, the new First Lady of France’s President Nicolas Sarkozy got a lot of heated attention as well (with a pre-sale $3,000-$4,000 – it delivered $91,000).

At a preview interview, Elfering half-jokingly said there would be a “… battle of the supermodels” at the sale – he was right.  Philippe Garner, in his introduction to the catalogue, hit it right square on the head when he spoke of Elfering’s prescient recognition of high style and beauty, and how it could be transported into the realm of the fine art photograph – “He (Elfering) challenged the received wisdoms that questioned the artistic integrity of photographers who worked to commissions and other commercial contexts."

Without the labels and logos and text that accompanied a great many of these photographs in the fashion and beauty magazines, the images morph into a larger, over-arching tale – one that perhaps has more to do with the viewer having front-row seats to the unconscious foundations of what we understand as mainstream popular culture.

“Photographs By Diane Arbus From the Collection of Bruce and Nancy Berman” followed the Elfering auction with a remarkable “white glove”, 100% sell-through.  Consisting of 45 Selkirk prints (executed posthumously) and six Arbus-printed photographs, the sale realized $1,372,000.  The top lot was the artist-printed photograph entitled “Child Selling Plastic Orchids at Night” from 1963.  It realized $115,000 with a pre-sale low/high estimate of $30,000-$50,000.

Of the six Arbus printed photographs, two were early explorations from 1960-1961 when the artist was still using a 35mm format — one image was of a young African American boy with a newsboy/Gatsby cap, “Boy in a Cap, N.Y.C.”, the other a “Headless Woman” from a freak show.  Both eerily predict her unequaled fascination with the often heartbreaking subject matter that was to bring her untold notoriety and confirm her place as one of the important artists of the post-war period.

It is of interest to note that the pre-sale estimates on the early vintage Arbus prints in the Berman consignment were in the vicinity of $25,000-$35,000 as compared to the estimates on the early Arbus prints in the aborted “Hubert’s Museum Work 1958-1963” at Phillips.  Those estimates ranged from $20,000-$120,000 with averages in the vicinity of $60,000-$80,000 and more than likely reflected the steep secret minimums that were struck with the consignor before the sale.

The Arbus sale is only the first of three sales that the Berman’s have entrusted Christie’s with disposing – all to take place in New York.  Photographs by William Eggleston will be de-accessed this coming October and a sale that will showcase a refined group of tightly curated works will be auctioned off in the spring of 2009.

The Berman’s have elected to pair each of the sales with substantial donations of photographs to three prominent Los Angeles institutions; The L.A. County Museum of Art, The Museum of Contemporary Art, and the J. Paul Getty Museum.

 

ANSEL ADAMS

Clearing Winter Storm, Yosemite Valley, 1944

gelatin silver mural print (printed 1970-1975)

40 1/2 by 54 5/8 inches

pre-sale est.: $250,000-$350,000  price realized: $481,000

CHRISTIE'S, "Photographs By Ansel Adams",

April 11, 2008

lot #1058

Illustration courtesy: CHRISTIE'S IMAGES LTD., 2008

 

 

By far, the largest group of privately owned Ansel Adams photographs ever to be introduced at auction, “Photographs By Ansel Adams”, found buyers for 89% of its lots.  With a very rare mural size “Clearing Winter Storm, Yosemite Valley, 1944” leading the sale with a staggering $481,000 payout, the 108 lots that found buyers (about 200 gelatin silver prints) produced sales that handily surpassed the house’s expectations of $3 million to $4 million.  Laura Paterson, Christie’s able specialist in charge of the sale could boast that the house’s final tally of $4.7 million included five prints that landed in the top 20 for the spring season. 

 

“Clearing Winter Storm, Yosemite Valley”, measuring a seldom seen 40 by 54 inches, captures a storm as the weather begins to change with a high definition of surface detail that is rare in such a large print.  The photograph tied another Christie’s offering from earlier in the day – Irving Penn’s “Black and White Vogue Cover, 1950” – putting both images on an equal footing in 6th place overall for the auction season.

 

IRVING PENN

Cuzco Children, 1948

platinum-palladium print (printed 1971) ed.: '16/60'

19 1/8 by 19 3/4 inches

pre-sale est.: $250,000-$350,000  price realized: $529,000

CHRISTIE'S, "Photographs",

April 11, 2008

Lot #454

Illustration courtesy: CHRISTIE'S IMAGES, 2008

 

Christie’s various owners “Photographs” sale (which brought home just under $5,000 more than the Adams sale), showed collectors and dealers can’t seem to get enough of Irving Penn’s lush, radically minimalist images.  “Black and White Vogue Cover, 1950”, (printed 1976, ed.:’23/34’) a platinum-palladium print of Penn’s wife, the model Lisa Fonssagrives-Penn, grabbed the top lot in the morning session with $481,000 setting a new world auction record for the artist.  Shattered just hours later in the afternoon session with another platinum-palladium masterwork, Penn’s “Cuzco Children”, a meticulously crafted ethnographic study of two Quechuan Indian children from 1948 (printed 1971, ed.: ‘16/60’) re-set his world auction record at $529,000.  This was the top lot of the sale as well the highest price received by Christie’s this season.

 

WILLIAM EGGLESTON

Southern Suite, 1981

Washington, D.C.: Lunn Gallery, 1981 (ed.: '3/12')

10 dye-transfer prints (ed.: '3/12')

each approx. 9 7/8 by 15 inches

pre-sale est.: $80,000-$120,000   price realized: $289,000

CHRISTIE'S, "Photographs",

April 11, 2008

lot #511

Illustration courtesy: CHRISTIE'S IMAGES LTD., 2008

 

 

One of the highlights of the $4.7 million sale was William Eggleston’s sublime, seemingly banal suite of 10 dye-transfer prints from 1981 entitled “Southern Suite” (ed.: ‘3/12’).  It set a world record for the artist realizing a whopping $289,000.  The previous record for the edition was set on October 18th, 2006, also at Christie’s, where (ed.:‘7/12’) sold to Santa Monica gallery owner Rose Shoshana, for $108,000.

 

Another milestone was met in the guise of a vintage Henri Cartier-Bresson photograph entitled “Hyeres, France”.  A perfect example of the artist’s renown ability to freeze life’s most ‘fleeting instants’, the image records a cyclist racing through the street as seen from the camera’s elevated viewpoint at the top of a winding wrought-iron staircase.  The gelatin silver print – exposed in 1932 and printed before a 1933 exhibition – set a new world auction record for the artist at $265,000.  The same image, but printed “no later than 1979”, sold at Sotheby’s three days earlier for $13,750.

 

 

Phillips de Pury & Company

Phillips de Pury & Company stumbled badly this April with a drop of $7.1 million from their spring 2007 totals due in part to concerns about a recent lawsuit which ended a rare, 27 vintage print Diane Arbus auction.  The black-and-white photographs, which came with a pre-sale high estimate of $2.5 million, explored an extended “family” of freak-show performers at a place called Hubert’s Dime Museum in a basement at 228-232 West 42nd Street just off Times Square.  Taken by Arbus between 1958 and 1963, these macabre photographs “... captured the indomitable spirit she found in the personalities of that surreal realm” creating a gateway to the masterpiece images she was to take like “Russian midget friends in a living room on 100th Street, N.Y.C.”, and “Jewish giant at home with his parents in the Bronx, N.Y., 1970”.

Reached by e-mail in London last week where he was in final preparations for the upcoming sale of the second half of the Gert Sander collection on May 17th, Joseph Kraeutler, the Director of Photography at Phillips in New York could not comment on the affair because of the pending lawsuit but said a buyer had indeed been found.

What is unclear at this time is why Phillips cannot go ahead with the “private sale” of photographs from the consignor. There is every indication that Bob Langmuir, a Philadelphia book dealer and collector, who acquired the images in 2003, did so legally.  Stephen Perloff, the editor and publisher of “The Photograph Collector” has confirmed that Phillips was not directly involved in the lawsuit. 

The lawsuit was filed by Mr. Bayo Ogunsanyo, a collector of African-American art, who claims he was unaware of the value of the images and was “duped into selling a cache of previously unknown Diane Arbus photographs” for a total of only $3,500.  Mr. Ogunsanyo is suing because he feels he was never made aware of the enormous monetary potential of the images. 

Mr. Langmuir’s lawyer has been quoted in “The Art Law Blog”, http://theartlawblog.blogspot.com/2008/03/mistakes-were-made.html as saying the suit is “frivolous.”  However, sources close to the lawsuit suggest that if the plaintiff can show that the buyer did in fact know the works were by Arbus, he would seem to have a pretty good claim of “unilateral mistake.”

Phillips de Pury & Company also had a tough act to follow.  Last spring’s totals for the house ballooned to a remarkable $10.4 million due in part to the “27 Exceptional Photographs” sale on April 24th, 2007 which totaled $3.6 million for the 19 lots sold.  The Rick Wester/Lisa Newlin-led house recorded a never-seen-before (at any auction house) average of $190,358 per lot with new records set at the time for Edward Steichen, Robert Frank, and Alexander Rodchenko.

Spring 2008 sales at Phillips were shaky at $3.3 million with a $21,230 overall lot average (154 lots sold) as compared to last spring’s $39,745 overall lot average (262 lots sold).

Phillips’ morning sale, a collection assembled by Gerd Sander the grandson of the master photographer August Sander, was a disappointment for the house with a final sales total of $1.5 million against presale low/high estimates of $2.1 and $3.2 million.  Only 102 out of the 206 lots offered (49.51%) found buyers.

AUGUST SANDER

Maler Heinrich Hoerle (Painter Heinrich Hoerle), 1928

gelatin silver print (printed c. 1933-1935)

22 3/4 by 18 3/8 inches

pre-sale est.: $150,000-$250,000  price realized: $157,000

PHILLIPS de PURY & CO., "Collection of Corbeau et Renard",

April 9, 2008

Lot #140

Illustration courtesy: PHILLIPS de PURY & CO., 2008

 

 

August Sander’s “Maler Heinrich Hoerle (Painter Heinrich Hoerle)”, a larger-than-life headshot of the founder of the “Group of Progressive Artists” printed circa 1933-1935 from a negative executed in 1928 was the sale’s top lot.  It edged out the second highest lot by a commanding $78,000.  The image, part of the artist’s great work of portraiture, “Face of Our Time”, brought $157,000 with a pre-sale low/high estimate of $150,000-$200,000.  A preview of Sander’s important comprehensive photographic index of the German population, the 22 ¾ by 18 3/8 inch gelatin silver print was the crowning glory of the Sander’s sale in New York.

Josef Sudek’s moody still life, “Glass and Egg” a pigment print from 1950 (printed in 1954) took the second spot with a $79,000 take home.

The morning sale, which carried the smallest per lot average ($14,999) of any of the nine print sales during the spring photo auction season, failed to ignite the imagination of the modest grouping of collectors and dealers at their Chelsea showroom.

Phillips de Pury & Company’s buyers – who have come to be seen as younger and edgier with a penchant for the work of artists whose focus is on ideas that critique contemporary culture – seemed indifferent to many of the lots offered.

The afternoon various owners “Photographs” sale did much better with a $33,453 per lot average – but only 52 lots found buyers.  It failed to reach its low estimate of $2.2 million.

PETER BEARD

Giraffes in Mirage On the Taru Desert. Kenya, 1960

toned gelatin silver print with margin painting by Mwangi and Kivoli (printed 1998)

49 3/4 by 94 1/4 inches

pre-sale est.: $80,000-$120,000  price realized: $325,000

PHILLIPS de PURY & CO., "Photographs",

April 9, 2008

Lot #352

Illustration courtesy: PHILLIPS de PURY & CO., 2008

 

 

The top seller at $325,000 was Peter Beard’s “Giraffes in Mirage On the Taru Desert, Kenya” from 1960 (printed 1998) with a margin painting by Mwangi and Kivoli.  The 50 inch high, toned gelatin silver print, set a new world auction record for the artist who had a strong showing at all three houses this spring.

A signed, dated and annotated Diane Arbus vintage print of “Child With a Toy Hand Grenade in Central Park, N.Y.C.” from 1962 (printed 1963) captured second place at $181,000 but would have realized somewhere in the vicinity of $400,000-$500,000 if the print would have been in pristine condition.

CHUCK CLOSE

Kate Moss, 2003

six digital inkjet pigment prints, comprising nine images (printed 2005)

varying sizes from 8 7/8 by 6 7/8 inches to 14 by 10 1/2 inches

pre-sale est.: $120,000-$180,000  price realized: $121,000

PHILLIPS de PURY & CO., "Photographs",

April 9, 2008

Lot #384

Illustration courtesy: PHILLIPS de PURY & CO., 2008

 

 

Chuck Close’s mesmerizing study of supermodel Kate Moss without make-up (ed.: ‘23/25’) realized $121,000 with a low/high estimate of $120,000-$180,000.

 

 

Re-cap

Last year marked the seventh consecutive year of price increases in the photography sector, but caught in the lurch of an uncertain economy and plummeting consumer confidence, nervous collectors and dealers could trigger a cooling off period for second tier works in the months ahead.

Not so with works of exceptional quality and rarity however, (the Quillan Collection struck home plate with a $141,291 per lot average).

The photography market is reaching deeper and deeper into its pockets for the rare, historically pivotal trophies – watch Peter MacGill on his cell during the more prestigious evening sales – there are many more of the better informed elite class of buyer (often tutored by art advisors) ready and willing to pay whatever it takes to capture the best of the best.

Thanks go out to www.artnet.com for extending their Price Database to track previous prices on some of the photographs referenced in this article.

PLEASE NOTE: Final prices for the 2008 Spring sales include the commission paid to the auction house: 25% of the hammer price up to and including $20,000, 20% in excess of $20,000 up to and including $500,000 and 12% thereafter.  Estimates do not reflect commissions.

TOP 20 PHOTOGRAPHS/ NEW YORK

SPRING / 2008

1) EDWARD WESTON, Nude, 1925, gelatin silver print, 5 1/8 by 9 ¼ inches, est.: $600,000-$900,000, realized: $1,609,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #19  *World Auction Record for the Artist

2) PAUL STRAND, Rebecca, 1925, platinum print, 9 ¾ by 7 5/8 inches, est.: $600,000-$900,000, realized: $645,800, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #7  *World Auction Record for the Artist

3) DIANE ARBUS, A Family On The Lawn One Sunday in Westchester, N.Y., 1968, gelatin silver print, 15 3/8 by 15 3/8 inches, est.: $200,000-$300,000, realized: $553,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #264  *World Auction Record for the Artist

4) IRVING PENN, Cuzco Children, 1948, platinum-palladium print (printed 1971-ed.:‘16/60’), 19 1/8 by 19 ¾ inches, est.: $250,000-$350,000, realized: $529,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #454  *World Auction Record for the Artist

5) AUGUST SANDER, Werkstudenten, 1926, gelatin silver print, 5 ¾ by 7 ¾ inches, est.: $150,000-$250,000, realized: $493,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #11  *World Auction Record for the Artist

2-WAY TIE

6) ANSEL ADAMS, Clearing Winter Storm, Yosemite Valley, 1944, gelatin silver mural print (printed 1970-1975), 40 ½ by 54 5/8 inches, est.: $250,000-$350,000, realized: $481,000, “Photographs By Ansel Adams”, #2120, CHRISTIE’S, April 11, lot #1058

6) IRVING PENN, Black and White Vogue Cover 1950, platinum-palladium print (printed 1976, ed.: ‘23/34’), 17 by 15 inches, est.: $200,000-$300,000, realized: $481,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #343

7) RICHARD AVEDON, Marilyn Monroe, May 6, 1957, New York City, 1957, gelatin silver print, 15 5/8 by 15 3/8 inches, est.: $70,000-$100,000, realized: $457,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #32

*World Auction Record for the Artist

8) ALBERT SANDS SOUTHWORTH (1811-1894) & JOSIAH JOHNSON (1808-1901), Portrait of Samuel Appleton, circa 1850, half-plate daguerreotype, in the original push-button leather case half-plate, est.: $60,000-$90,000, realized: $409,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #168  *World Auction Record for the Artists

3-WAY TIE

9) PETER BEARD, Giraffes in Mirage On the Taru Desert, Kenya, 1960, toned gelatin silver print with margin painting by Mwangi and Kivoli (printed in 1998), 49 ¾ by 96 ¼ inches, est.: $80,000-$120,000, realized: $325,000, “Photographs”, NY040408, PHILLIPS de PURY & COMPANY, April 9, lot #352  *World Auction Record for the Artist

9) HANS BELLMER, La Poupee (The Doll), circa 1935, gelatin silver print, 11 ¼ by 15 ½ inches, est.: $200,000-$300,000, realized: $325,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #15  *World Auction Record for the Artist

9) EDWARD WESTON, Nude on Sand, Oceano, 1936, gelatin silver print, 7 ½ by 9 5/8 inches, est.: $120,000-$180,000, realized: $325,000, “Edward Weston’s Gifts to His Sister”, N08409, SOTHEBY’S, April 8, lot #81

2-WAY TIE

10) CINDY SHERMAN, Untitled (Film Still #53), 1980, gelatin silver print (ed.: ‘3/10’), 6 3/8 by 9 ½ inches, est.: $60,000-$90,000, realized: $313,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #34

10) KARL STRUSS (1886-1981), Metropolitan Tower – Twilight, 1909, platinum print, 12 ¼ by 9 ¼ inches, est.: $30,000-$50,000, realized: $313,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #157  *World Auction Record for the Artist

11) LASZLO MOHOLY-NAGY, Photogram, circa 1920s, printing-out paper (unique), 4 7/8 by 6 7/8 inches, est.: $150,000-$250,000, realized: $301,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #39  *World Auction Record for the Artist

2-WAY TIE

12) WILLIAM EGGLESTON, Southern Suite, 1981, 10 dye-transfer prints (ed.: ‘3/12’), each approximately 9 7/8 by 15 inches, est.: $80,000-$120,000, realized: $289,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #511  *World Auction Record for the Artist

12) DOROTHEA LANGE, San Francisco Waterfront, 1933, gelatin silver print, 9 ½ by 7 ½ inches, est.: $50,000-$70,000, realized: $289,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #51

13) ANSEL ADAMS, Bridal Veil Fall, Yosemite Valley, 1927, gelatin silver mural print (printed 1970-1975), 53 ¼ by 38 ¾ inches, est.: $150,000-$250,000, realized: $277,000, “Photographs by Ansel Adams”, #2120, CHRISTIE’S, April 11, lot #1085

4-WAY TIE

14) BILL BRANDT, Van Gogh’s Room in the Asylum of St. Paul-De-Mausole (St.-Remy), 1950, gelatin silver print, 8 7/8 by 7 5/8 inches, est.: $50,000-$70,000, realized: $265,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #21  *World Auction Record for the Artist

14) HENRI CARTIER-BRESSON, Hyeres, France, 1932, gelatin silver print, 7 7/8 by 11 5/8 inches, est.: $60,000-$90,000, realized: $265,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #363  *World Auction Record for the Artist

14) ROBERT MAPPLETHORPE, Calla Lily, 1988, platinum print (ed.: ‘4/5’), 18 ¾ by 19 inches, est.: $100,000-$150,000, realized: $265,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #432

14) CARLETON E. WATKINS, Tasayac, Half Dome from Glacier Point, Yosemite, 1865-1866, mammoth-plate albumen print, 15 1/8 by 20 ¼ inches, est.: $150,000-$250,000, realized: $265,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #58

3-WAY TIE

15) ANSEL ADAMS, Aspens, Northern New Mexico, 1958, gelatin silver mural print (printed 1970-1975), 30 by 40 inches, est.: $150,000-$250,000, realized: $241,000, “Photographs by Ansel Adams”, #2120, CHRISTIE’S, April 11, lot #1064

15) HELMUT NEWTON, Sie Kommen (Naked and Dressed), Paris, 1981, 2 gelatin silver prints, each 14 ½ by 14 ½ inches, est.: $140,000-$180,000, realized: $241,000, “Photographs from the Collection of Gert Elfering”, #2113, CHRISTIE’S, April 10, lot #120

15) PAUL OUTERBRIDGE, Kandinsky, 1937, color carbo print, 15 ½ by 10 3/8 inches, est.: $150,000-$250,000, realized: $241,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #214

16) EDWARD WESTON, Leeks, 1927, gelatin silver print (#7 in a projected edition of 50 / 4 prints are known), 7 ½ by 9 ½ inches, est.: $80,000-$120,000, realized: $229,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #188

2-WAY TIE

17) PETER BEARD, Self Portrait for Centre Nationale de la Photographie, Paris, 1996, collage of gelatin silver prints, chromogenic prints and morphine drip exhibition label (affixed to the rear of the frame), 84 by 53 ½ inches, est.: $150,000-$200,000, realized: $217,000, “Photographs”, #1985, CHRISTIE’S, April 11, lot #307

17) MAN RAY, Champs Delicieux: Album de Photographies, 1922, 12 gelatin prints (re-photographs of original rayographs / ed.: ‘12/40’), 8 ¾ by 6 ¾ inches, est.: $200,000-$300,000, realized: $217,000, “Photographs”, N08424, SOTHEBY’S, April 8, lot #207

3-WAY TIE

18) ANSEL ADAMS, Tenaya Creek, Dogwood, Rain, Yosemite Valley, 1948, gelatin silver mural print, (printed 1970-1975), 26 ½ by 33 7/8 inches, est.: $50,000-$70,000, realized: $205,000, “Photographs by Ansel Adams”, #2120, CHRISTIE’S, April 11, lot #1091

18) ROBERT FRANK, Mississippi River, from “The Americans”, 1956 (printed 1958-1960), oversize gelatin silver print, 12 ½ by 18 5/8 inches, est.: $50,000-$70,000, realized: $205,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #27

18) IRVING PENN, Mouth for L’Oreal, New York, 1986, dye-transfer print (printed 1992, from an edition of 28), 18 5/8 by 18 ¼ inches, est.: $50,000-$70,000, realized: $205,000, “Photographs from the Collection of Gert Elfering”, #2113, CHRISTIE’S, April 10, lot #91

3-WAY TIE

19) ANSEL ADAMS, Lake Precipice, ‘Frozen Lake and Cliffs’, Kaweah Gap, Sierra Nevada, 1932, gelatin silver mural print (printed 1970-1975), 24 ½ by 31 ¼ inches, est.: $90,000-$120,000, realized: $193,000, “Photographs by Ansel Adams”, #2120, CHRISTIE’S, April 11, lot #1004

19) JAROMIR FUNKE, Kompozice (Composition), 1923, gelatin silver print, 8 3/8 by 11 ½ inches, est.: $60,000-$90,000, realized: $193,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #5

19) IRVING PENN, Gisele, New York, April 1, 1999, 1999, gelatin silver print (from an edition of 20), 15 ½ by 15 ½ inches, est.: $30,000-$40,000, realized: $193,000, “Photographs from the Collection of Gert Elfering”, #2113, CHRISTIE’S, April 10, lot #125

4-WAY TIE

20) DIANE ARBUS, Child with a Toy Hand Grenade in Central Park, N.Y.C., 1962, gelatin silver print (printed 1963), 12 by 11 ¾ inches, est.: $100,000-$150,000, realized: $181,000, “Photographs”, NY040408, PHILLIPS de PURY & COMPANY, April 9, lot #327

20) RICHARD AVEDON, Brigette Bardot, 1959, gelatin silver print (printed later, ed.: ‘12/35’), 23 by 19 7/8 inches, est.: $80,000-$120,000, realized: $181,000, “Photographs from the Collection of Gert Elfering”, #2113, CHRISTIE’S, April 10, lot #33 

20) CHRISTIAN SCHAD, Renseignements, 1919, unique photogram on printing-out-paper, 2 ¼ by 3 3/8 inches on a sheet 4 ½ by 5 ¾ inches, est.: $200,000-$300,000, realized: $181,000, “Quillan Collection”, N08425, SOTHEBY’S, April 7, lot #13  *World Auction Record for the Artist

20) EDWARD WESTON, Dunes, Oceano, 1936, gelatin silver print, 7 ½ by 9 ½ inches, est.: $120,000-$180,000, realized: $181,000, “Edward Weston’s Gifts to His Sister”, N08409, SOTHEBY’S, April 8, lot #80

SPRING 2008 / GROSS SALES

$35,577,525 [Spring 2007 / $37,503,905] NB: Does not include “Fine Photobooks” sale at Christie’s on April 10 which grossed: $2,602,450

 

Sotheby’s

$17,302,050 gross print sales (incl. buyer’s premium)

274 lots sold

$63,146 per lot average

[Spring 2007 / $15,915,500 gross (incl. buyer’s prem.) / $55,455 per lot av.]

 

Christie’s

$15,006,075 gross print sales (incl. buyer’s premium)

412 lots sold

$36,423 per lot average

 [Spring 2007 / $11,175,240 gross (incl. buyer’s prem.) / $31,929 per lot av.]

NOTE: “Fine Photobooks From an Important Private Collection”, #2110 / $2,602,450 (incl. buyer’s premium)

 

Phillips de Pury & Co.

$3,269,400 gross print sales (incl. buyer’s premium)

154 lots sold

$21,230 per lot average

[Spring 2007 / $10,413,165 gross (incl. buyer’s prem. / $39,745 per lot av.]



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