Posts Tagged ‘Henri-Cartier Bresson’

Photography | The Fine Art of Protest

Friday, October 10th, 2014

Gilles Caron
Daniel Cohn Bendit in front
of the Sorbonne
, Paris, 6th May, 1968

Silver print on barium-coated paper, 2014
Estimate €3000 > 4ooo



Protest! Art+Design 1960-1980
PIASA
Paris | France
Exhibition 24th > 28th October 2014
Sale 28th October 2014



The Magnum co-operative was founded in Paris, in 1947, by a small group of gifted and sought after documentary photographers, who wanted to continue working independently, but recognised the negotiation advantages of being part of a group. The accepted norm, at the time, was that the copyright for commissioned photography belonged to the clients. Magnum protested vociferously and set out to change all that. Insisting that the copyright of their members must remain their own property, the group triggered a worldwide resistance movement among photographers. Succeeding years saw the re-drafting of international copyright laws that nowadays guarantee statutory protection for the copyright of a photographer’s work.

Jean-Pierre Laffont
Wanted, Washington, 9th August, 1974
Digital print, 2014
Estimate €1000 > 1500

Who, in the immediate post-WW II years, having lived through a prolonged period of conflict, strife, death and destruction would have imagined that the great expansion of the art market that arrived with the economic boom years of the 1980s, would see contemporary reportage photography – scenes of conflict, of strife, even of death and destruction – become seriously accepted as an art form, and sold as such for substantial sums of money, through galleries and auction houses across the globe? Magnum’s efforts of some three decades before, ensured that a significant part of the money earned from these images was paid to those responsible for their creation, and the same is true now.

Jürgen Schadeberg
Demonstration against the
Falklands War, London, 1982
Ink-jet print on Hahnemühle
paper,
made by the photographer, 2014

Estimate €2000 > 3000

Patrick Chauvel
Girls of the IRA, Belfast,
Northern Ireland, 1969

Digital print on Hahnemühle paper
Estimate €2000 > 2500

Dominated by sculpture, ceramics, posters and prints, cartoons and drawings, and including magazines, books, and furniture, the 295-item list of lots included in Paris-based PIASA’s forthcoming Protest! Art+Design 1960-1980 auction, also contains a number of documentary photographs from the era.

The 1960s and 1970s were periods of profound political and social change, prompted by a new libertarian élan and a burning desire to change the world. These years saw the rise of the feminist, ecology and anti-militarist movements, as well as the emergence of postmodernist ideas in design and architecture. In what is in essence a curated sale, PIASA have brought together a diverse collection of lots representing French and international political radicalism to anti-design, taking in along the way, punk, the feminist movement, and nouveaux realism.

Patrick Chauvel
The beginning of the end, Tehran,
Iran, 11th December, 1978
Digital print on Hahnemühle paper, 2014
Estimate €2000 > 2500

Doàn Tinh Cong
Pathfinders, Vietnam, 1970
Digital print, 2014, on Hahnemühle paper
Estimate €2000 > 2500

Sharing protest as inspiration, but not always immediately recognisable as such, work by artists such as Christo, Christian Boltanski, Yoko Ono, and Joseph Beuys are just a few of those represented. French artist, Annette Message’s Le barbu d’Annette Messager, la femme tatouée, 1975, consists of four photographs of female pubic hair with cartoon-like male faces seemingly tattooed onto the area of the belly above. Tawaraya, is a scaled-down boxing ring designed by Masanori Umeda for the Italian postmodern Memphis group in 1981, estimated price €15,000 > 20,000.

A loose selection of powerful, and almost entirely black and white documentary photographs by, for example, Ian Berry, Gilles Caron and Jean Pierre Laffont, falls somewhere in the middle of the catalogue. Hemmed in by the ironic and the arcane, these images, created by those with a mission to show the world what protest in many of its forms actually looked like, were never produced as art, but are certainly fine, and well worthy of the high prices attached to them by the copyright holders.

Sadly Magnum’s strict copyright policy, prevents us from using any of their photographers’ images with this post.

Images courtesy PIASA



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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier



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Exhibition | Saul ‘The New Yorker’ Steinberg

Friday, September 12th, 2014

Chest of Drawers Cityscape, 1950
Gelatin silver print


Saul Steinberg
100th Anniversary Exhibition
Pace + Pace / MacGill Gallery
New York City | USA
Until 18th October 2014


What is a cartoonist? What is an illustrator? Where does one draw the line between illustration and fine art? What happens when you mix illustration with photography; is the end product an illustration or a still life photograph? If you draw something on a 3D object and photograph it; is the result an illustration, or a photograph? And, what if the person who did the drawing, wasn’t the photographer? Whose work is the final image? Does any of these questions matter? Certainly not to Saul Steinberg whose unique creations, equally at home on the pages of magazines and on gallery walls, can’t be confined to a single category or movement, nor did he allow his palette to be bound by any restrictions. His art, if that is how we choose to refer to it, informed by cubism, surrealism, dadaism and pop – indeed he fraternised with many key figures across all areas of the arts, including Pablo Picasso, Alexander Calder, Marcel Breuer, Le Corbusier, Vladimir Nabakov, Simone de Beauvoir and Jean-Paul-Satre, to name but a few – is both catholic and democratic, his influences from high art as well as from low, his subject areas from Wall Street to the gutter.


Girl in Tub, 1949
Gelatin silver print


I first came across Steinberg’s View of the World from 9th Avenue, 1976, reproduced as a poster, hung on the kitchen wall of some illustrator friends, at the Royal College of Art halls of residence in London, in 1977. They’d just returned from New York – which I was yet to visit – bringing the poster back as a souvenir. Having up to that point only ever seen the city in photographs or films, its colossal architecture dominating everything else, leaving me daunted at the thought of ever going there, I was struck by the simplistic, friendly Steinberg depiction of New York as a place in which the people at street level just carried on as they might in any European city – going to work, shopping, wandering around the broad pavements of Manhattan, oblivious to events elsewhere in their country, and beyond. And later, when I’d seen a few Woody Allen films, it occurred to me that here were some life-size characters, who might have been the miniature people that populated Steinberg’s illustration.

Even so, I didn’t consciously go looking for Steinberg’s work – as I had done for that of Milton Glaser and Seymour Chwast, the Push Pin Studios design and illustration heroes of my early college years. And when I started working for a living, I knew that behind the cover of the The New Yorker – which a few of my journalist colleagues at The Sunday Times Magazine studiously read, toting the latest issue around the office as symbols of their literary status and aspirations – there were great swathes of words, which to me, as a ‘visual journalist’, held little appeal. So, although I was certainly aware of his fame and that he was held in high regard, I never knew, until now, that over six decades, Steinberg’s work featured on the cover of The New Yorker no less than 90 times and appeared 1,200 times on its inside pages, before he ended his collaboration with the magazine in 1987 (recommenced, 1993), or that his View of the World from 9th Avenue is regarded by connoisseurs as one of his most notable creations for the magazine – ripped off, adapted, its text changed to suit many major cities across the country, his lawyers were constantly in pursuit of the perpetrators.

Up until I first visited New York in 1997, some nineteen years after seeing the poster, despite what had become my almost daily contact with photographers and sometimes with illustrators based there and elsewhere in the United States, the city remained for me remote, beyond my horizon. And a few more years would pass before I stumbled across a fascinating little book called Saul Steinberg Masquerade (Viking Press, 2000, a reprint, or perhaps re-design of the original Steinberg: The Mask, 1966). It contained The Mask series, an inspired collaboration by Steinberg and the photographer, Inge Morath, between 1959 and 1963, in which Steinberg’s friends posed anonymously in group and individual photographs, having donned paper bags drawn with plain or fantastic faces. Morath had become fascinated by Steinberg and his ‘Steinbergian universe’, whilst living in Vienna in the 1940s, long before she came into contact with him; it wasn’t until she joined Magnum and moved to Paris, where she met Henri Cartier-Bresson, who had taken a portrait of Steinberg, that she even knew what he looked like. Cartier-Bresson described him as ‘un homme délicieux, d’une si grande intelligence’. Irving Penn, too, would create a studio portrait of Steinberg wearing one of his nose masks, in 1966 – during his long career, he sat for many famous photographers, including Arnold Newman and Lee Miller.


Untitled, c 1950
Gelatin silver print


Saul Steinberg (1914 > 1999) was a Jewish Romania-born American. He studied philosophy and literature at the University of Bucharest, and trained as a draughtsman during the 1930s, in Milan. Fleeing Italy’s new anti-semitic laws, in 1941, he arrived in the United States the following year, and had his first one-man show there a year later. He married the only prominent abstract expressionist artist, Hedda Sterne, in 1951, but left her and took up with a German photography and design student in 1960. His work has been the subject of dozens of exhibitions around the globe and produced numerous publications. Saul Steinberg 100th Anniversary Exhibition at Pace + Pace / MacGill Gallery includes work from five decades of Steinberg’s career, exploring the man who himself explored the world and adapted his medium to suit whatever he found in it. Saul Steinberg: A Biography by Deirdre Blair was published by Nan A Talese / Doubleday in 2012. The Musees Strasbourg website has a useful and succinct Steinberg biography in list form.

The Saul Steinberg Foundation is a nonprofit organisation established as a result of the artist’s will. His collection of his own works was divided between the Foundation and Yale University, which also received Steinberg’s archives. The Foundation holds the copyrights to Steinberg’s artworks and writings.

While Steinberg remains for many ‘The man who did that poster’, The New York Times called him ‘a veritable Leonardo of graphic drollery,’ in 2006. On the Magnum Photos site, in the credit for an Inge Morath portrait of him, shot as part of the Mask series, it might have amused him to see himself still quaintly referred to as a ‘draughtsman’, which is perhaps as good a description as any.

All images by Saul Steinberg, © The Saul Steinberg Foundation / Artists Rights Society (ARS), New York, USA. Courtesy Pace and Pace / MacGill Gallery, New York, USA


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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier


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Photography | Phi(Leap!) Halsman

Friday, January 24th, 2014

Like Two Erect Sentries,
My Mustache Defends the Entrance to My Real Self

From Dalí’s Mustache, 1954
©2013 Philippe Halsman Archive / Magnum Photos
Exclusive rights for images of Salvador Dalí:
Fundació Gala-Salvador Dalí, Figueres, 2014




Philippe Halsman, Astonish Me!
Musee de l’Elysee
Lausanne, Switzerland
29th January – 11th May, 2014

Murderer! The anti-semitic Austrian locals shouted at Philippe Halsman falsely accusing the 22-year-old of murdering his father who had accidentally perished while the Jewish pair were on a hiking holiday, far away from their Latvian home, in 1928. He was subsequently sentenced to ten years solitary confinement with hard labour.

Destined to become one of the leading experimental and portrait photographers of the 20th century, born Filips Halsman, aged fifteen he had found his dentist father’s old camera and spoke of ‘a miracle’ happening as he developed his first pictures of family and friends in the bathroom sink. A miracle certainly occurred when, due to the efforts of his sister Liouba, who launched a campaign for his release from prison, gathering support from leading European intellectuals like Albert Einstein, Thomas Mann, and Sigmund Freud, he was pardoned in 1930. French minister Paul Painlevé intervened, spiriting Halsman away to asylum in Paris. There the minister’s son, Jean, a scientific filmmaker, immediately gave his new photographer friend the best camera then available, a version of the Kodak 9×12, and began introducing him to the thriving Paris scene. Two years later, Halsman opened his first portrait studio in Montparnasse, where he photographed Marc Chagall, Le Corbusier and other writers and artists, using an innovative twin-lens reflex camera he had designed himself. Staying in the city for ten years, where he worked in fashion for Vogue, he also produced images for the early reportage magazines,Vu and Voilà, in 1940 as Paris was about to fall he fled the Nazis and moved to New York having obtained an emergency visa through the intervention of Albert Einstein.

Cover of the magazine Life with a
portrait of Marilyn Monroe jumping

November 9, 1959
©2013 Philippe Halsman Archive / Magnum Photos

Another image from the Life session
Marilyn Monroe, 1959

©2013 Philippe Halsman Archive / Magnum Photos



Working for Life – for which he shot 101 covers, before the magazine ceased publication in 1972 – and most major magazines in America and elsewhere, including Look, Esquire, The Saturday Evening Post and Paris Match, Halsman came into contact with famous celebrities such as Marilyn Monroe, Rita Hayworth, Duke Ellington, the Duke and Duchess of Windsor, Frank Sinatra, and Richard Nixon, to name but a few. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics, NBC, Simon & Schuster, and Ford. Having been elected as first president of the American Society of Magazine Photographers, he led the fight for photographers’ creative and professional rights, his photographic work winning him international recognition, in 1951 he was invited to join Magnum Photos to join as a ‘contributing member’, allowing the agency to syndicate his work outside the United States. A poll conducted by Popular Photography, in 1958, named Halsman one of the ‘World’s Ten Greatest Photographers’ alongside Ansel Adams, Richard Avedon, Henri Cartier-Bresson, Alfred Eisenstaedt, Ernst Haas, Yousuf Karsh, Gjon Mili, Irving Penn, and Eugene Smith.

In Paris, Halsman had studied the work of other artists and photographers, especially the surrealists, from whom he learned to make images that surprised his viewers. On meeting Salvador Dali In New York, in 1941, he embarked on what would become a thirty-seven-year collaboration with the artist that resulted in a continuos flow of highly creative, experimental, and often bizarre images up until the year before his death in 1979. These included some of Halsman’s most celebrated pictures: Dalí Atomicus and the Dalí’s Mustache series – technical masterpieces that not only challenged him, but pushed the boundary of photography to its limits. But often his simplest inventions such as ‘jumpology’ – in the early 1950s, he began asking his subjects to leap in the air for his camera at the conclusion of each sitting – would generate unique and equally surprising pictures. Witty and energetic images, offering a natural, spontaneous portrait of his subjects are an important part of his photographic legacy.

Dalí Atomicus, 1948
©2013 Philippe Halsman Archive / Magnum Photos
Exclusive rights for images of Salvador Dalí:
Fundació Gala-Salvador Dalí, Figueres, 2014



The Versatile Jean Cocteau, 1949
©2013 Philippe Halsman Archive / Magnum Photos



Artists, Dali, Dance, Entertainers / Men, Entertainers / Women, The Frenchman, Jumps, Marilyn Monroe, Musicians, New Year’s Cards, Nudes / Experimental, Paris 1930s, Politicians, Writers… the categories listed on the Halsman website bear witness to the vast range of the photographer’s work. Each image featured is testimony to the thought, the humour, and the hard work he invested in everything he produced. His picture books, among them, Unknown Halsman, Dali’s Moustache, Halsman at work, Portraits, Halsman on the Creation of Photographic Ideas and Jump Book serve to illustrate the photographer’s prodigious output.

The exhibition Philippe Halsman, Astonish Me! retrospective showcases the photographer’s entire career for the first time, from his beginnings in Paris in the 1930s to the tremendous success of his New York studio between 1940 and 1970. It includes 300 images and original documents, and is intended to shed new light on the work of the photographer. Produced by the Musée de l’Elysée, Lausanne, in collaboration with the Philippe Halsman Archive, it will afterwards be installed at Paris’s Jeu de Paume (13th October 13, 2015 – 14th February, 2016), and presented at the Kunsthal Rotterdam (24th February – 5th June , 2016), before being shown in venues in Barcelona and Madrid.

Two versions of the exhibition catalogue are being published: Philippe Halsman, Etonnez-moi!, in French from Editions Photosynthèses, and Philippe Halsman, Astonish Me!, in English version from Prestel Publishing.

All photographs by Philippe Halsman
Courtesy Musée de l’Elysée


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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Photography | Auctions | Portraits of Women

Friday, November 9th, 2012

Modern & Contemporary Photographs
Yann Mouel
Drout
Paris, France
Sale: 9th November, 2012

Photographies
Sotheby’s
Paris, France
Sale: 16th November, 2012

Photographies
Christie’s
Paris, France
Sale: 16th & 17th November, 2012

Modern & Contemporary Photography
Villa Grisebach
Berlin, Germany
Exhibition: 23rd–27th November, 2012
Sale: 28th November, 2012

Are real women, as portraiture subjects for photography under-represented? Maybe. A glance through the catalogue of today’s Yann Le Mouel auction of Modern & Contemporary Photographs in Paris – one of four major European photography auctions this month – reveals that of the 261 lots some 42 are portraits of well-known 20th century male figures or groups, among them: politician Fidel Castro, artists Pablo Picasso and Andy Warhol, musicians Johnny Hallyday, Serge Gainsbourg, The Rolling Stones and The Beatles, Billy Idol, fashion designer Yves Saint Laurent, and photographer Donald McCullin. Although many unidentified females appear, often nude, partially-clothed or in a couple of instances, pornographic poses, famous or even identified women are rather less in evidence. Of the few labeled ladies, Princess Diana in tiara and pearls, photographed by Patrick Demarchelier, Colette by Janine Niepce and Weegee’s Norma Devine at Sammy’s Bar, New York, 4 December, 1944, strike a bold presence.

To mark the 65th anniversary of Magnum Photos, Sotheby’s Paris is offering a unique set of 65 images dedicated to the nude – an unusual subject for this co-operative, whose photographers are better known for chronicling world events – a very mixed bag of works in which images by Henri Cartier-Bresson and Eve Arnold are included alongside those from the younger generation of Magnum photographers, such as Paolo Pellegrin and Harry Gruyaert. Jane Mansfield and Marylin Monroe are amongst the mainly female subjects, of whom few others are identified. Elsewhere in the same sale, there’s an unusual full length photograph of Lizica Conreanu, Romanian dancer and member of Diaghilev’s Ballet Russes posed in a dance position, in the artist’s studio, by sculptor Constantin Brancusi, together with a stark, asymmetrical, untitled head and shoulders portrait of a woman by Dora Maar. Diane Arbus offerings include Woman with a Briefcase and Pocketbook, N.Y.C., 1962 and topless, Waitress, Nudist Camp, N.J., 1963. Bold, explicit images from Helmut Newton’s Big Nudes series, each identified by first name only, are also on offer.

A print of Peter Lindbergh’s The Wild Ones, shot in New York in 1991 that features super-models, Cindy Crawford, Tatjana Patiz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour is included in the Christie’s sale in Paris, next weekend. There’s a couple of pictures of Kate Moss, too, and hot American art photographer Alex Prager’s Eva, from the series Week-end, 2009. All beautiful, but do models really count as famous people? Perhaps a few, like Kate Moss, transcend their clothes-horse role and become celebrities, in the process taking on tangible personality. Striking close-ups by Man Ray of mannequins push female anonymity to the limit, however his striking, uncompromising profile of the surrealist artist, Bona, 1955 – who, with a little research, it was possible to discover is Bona de Mandiargues – has profound substance. Peter Beard’s Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961 is up close and feels very personal. Here too, Cecil Beaton’s multiple-exposure, portrait of actress Beatrice Lillie, shot around 1930, makes a strong statement. Interestingly, (always referred to as ‘first wife of László Moholy-Nagy‘) Lucia Moholy’s 1926 portrait of artist Lily Hilderbrandt, is one of the few images of named women, in these four November auctions, photographed by a woman. Another is Annie Liebovitz’s remarkable Louise Bourgeois, New York, from 1997, being sold at Berlin’s Villa Grisebach, where 184 lots are on offer, varying in content from recent architectural photography by minimalist photographer Hiroshi Sugimoto, Boring Photographs, 2000, 468 C-type prints by Martin Parr, and works by Daido Moriyama, to 1950s and 60s images by Will McBride and much earlier stuff from photography pioneers such as Karl Blossfeldt. Images of identifiable women, again, are few in number but there is a very sensuous, sexually-liberated, colour portrait of Marilyn Monroe, shot in 1962, from the man who surely captured her character and vivacity better than any other, Bert Stern – a snip at an estimated €1.000-1.500. There’s also a characterful and beguiling, 1976 close-up by Robert Lebeck of Romy Schneider in a tweed flat cap, smiling, with a cigarette in the corner of her mouth. Jackie Kennedy and her Sister at the Funeral of Robert Kennedy, New York, 1968, by the same photographer and showing the grieving sisters, kneeling side by side, hands clasped in prayer, draws the emotions in another direction. Milton H Greene’s 1952 portrait of Marlene Dietrich – recognisable from her swathe of blonde hair and perfectly-shaped legs – whose face isn’t shown, cleverly turns the negative aspect of anonymity on its head.

Anonymity itself is of course compelling and single names – probably often invented, sometimes with the intention of obscuring the the identity of the sitter or of adding exotic cachet – tantalising. Full, real names, however, lift the veil and bring the viewer into direct contact with the subject, whatever the sex, allowing us the privilege of intimacy and them the dignity of existence and perhaps a deserved place in history.

Images from top
From the Villa Griesbach sale:
Louise Bourjois, New York, 1997
Annie Leibovitz
Gelatin silver print

Marylin Monroe, From ‘The Last Sitting’, 1962
Bert Stern
C-Print, 1978. Kodak-Paper

Marlene Dietrich, 1952
Milton H Greene
Vintage gelatin silver print with gouache

From the Christie’s sale:
Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961
Peter Beard
Gelatin silver print mounted on cardboard, enhanced with ink, gouache
and blood

Kate Moss, Little Nipple, 2001
Rankin
Archive Lambda print

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Photography | For Sale: 11 Ansel Adams Prints

Tuesday, December 13th, 2011


Photographs including Crossing America: Photographs from
The Consolidated Freightways Collection, Part II

Viewing: Christie’s Special Exhibition Gallery, until 18th December
Auctions: Christie’s Special Exhibition Gallery, 19th December.
Christie’s, New York City, USA. 19th December, 2011

The brief was simple and the great variety of works on view and on offer were created by many of America and the rest of the world’s finest photographers, among them: Bruce Davidson, Diane Arbus and Henri-Cartier Bresson. Over the years, Consolidated Freightways, which ceased operations in 2002, amassed an impressive array of images dating from the 1920s to the 1990s with the aim of reflecting the the American landscape as seen from the cab of a truck.

If you want to start a collection of prints, this is the place to begin. Not that you can buy anything for a song but the photographs are astonishing and many of the prices are not outlandish. The great advantage of buying anything from a corporate collection, as in this case the USA’s freight transportation giant, The Consolidated Freightways Collection, is that you can be absolutely sure of the distinguished provenance of the goods on sale.

Ansel Adams (1902-1984) chose the diverse and spectacular fabric of the vast American landscape as his subject and somehow gets closest to the objective of the collection. The eleven images above are all on offer and include an original and unique group of Adams Polaroids.

Images from top
1 Sequoia Gigantea Roots, Yosemite National Park, California, circa 1950
Gelatin silver print, printed 1970s
Estimate 3,000 – 5,000 U.S. dollars

2 Mormon Temple, Manti, Utah, 1948
Gelatin silver print, printed 1970s
Estimate $3,000 – 5,000

3 El Capitan and Trees, Yosemite, 1955
Unique Polaroid Type 52 print
Estimate $5,000 – 7,000

4 Fern Spring, Yosemite, 1961
Unique Polaroid Type 55 print
Estimate $5,000 – 7,000

5 Zabriskie Point, Death Valley National Monument, 1942
Gelatin silver portfolio print, printed 1950
Estimate $3,000 – 5,000

6 Untitled (Lake with mountains), circa 1961
Unique Polaroid Type 55 print
Estimate $2,000 – 3,000

7 Untitled (Rapids), c. 1950s
Unique Polaroid Type 55 print
Estimate $2,000 – 3,000

8 Forest at Patrick’s Point State Park, California, 1959
Unique Polaroid Type 55 print
Estimate $3,000 – 5,000

9 Cement machinery, Crescent City, California, circa 1960
Unique Polaroid Type 55 print
Estimate $1,500 – 2,500

10 Merced River and Snow, Yosemite, 1959
Unique Polaroid Type 55 print
Estimate $5,000 – 7,000

11 Winter Sunrise from Lone Pine, Sierra Nevada, circa 1944
Gelatin silver print, printed 1970s
Estimate $20,000 – 30,000

All photographs courtesy Christie’s Images Limited, 2011

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