Photographs from the Polaroid Collection

Transcription

New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649
LOT 1
WILLIAM WEGMAN
B. 1943
'AVALANCHE'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink on the reverse, framed, a Polaroid Collection label on
the reverse, 1982 (Fay, pp. 6 and 11; William Wegman Polaroids, p. 37; Man's Best Friend, pl. 24; Wegman's World, p. 61;
William Wegman, p. 92, and Funney/Strange, p. 114, all variants)
24 1/8 by 21½ in. (61.3 by 54.6 cm.)
ESTIMATE 7,000 - 10,000 USD
EXHIBITION
DeLand, Florida, Museum of Art, It's a Dog's Life: Photographs by William Wegman from the Polaroid Corporation,
January - March 2004, and traveling to 13 other venues through 2009 (see Appendix 1)
CATALOGUE NOTE
William Wegman began his association with Polaroid in 1978, when he was invited by the Corporation to use its
new large-format 20-by-24-inch camera. This massive camera, in residence in Cambridge, Massachusetts, used
the same instant film technology as Polaroid's consumer cameras which produced snapshot-sized images. The 20by-24-inch camera provided an opportunity to produce instant images on a much larger scale. As all Polaroid
photographs are direct positives, and not enlargements from smaller negatives, larger Polaroid images require a
larger camera one whose ground-glass is the actual size of the desired image. The desire for large-scale Polaroid
images resulted in the construction of a huge view camera that produced unique instant images of striking color and
clarity.
Until his first encounter with the Polaroid camera, Wegman was known primarily for his black-and-white
photography and for his video work, both of which combined the self-referentiality of conceptual art with the artist's
own brand of sly visual humor. The subject of the photograph offered here (and in a number of other Wegman lots
that appear in the present catalogue) is Wegman's beloved Weimaraner, Man Ray, the photographer's first canine
muse. Wegman acquired Man Ray as a puppy in 1970. The dog first became Wegman's constant companion, and
then a frequent subject of his work. Indeed, Man Ray serves as a bridge between Wegman's earlier minimalist
conceptual work and his increasingly refined and stage-managed color Polaroid work that began in the late 1970s.
Color, which had heretofore not been an element in Wegman's work, comes to the fore with the Polaroid images,
and Man Ray, with his rich black/dusky-blue coat, was the ideal subject of many of these early efforts.
Despite the unwieldiness of the large-format Polaroid camera, which required technicians to assist the
photographer, Wegman found it perfectly suited to his imagination. He wrote, 'Polaroid photography, with its instant
feedback feature, was closer to the way I worked in video, where I could review the "take" before moving ahead,
than it was to traditional photography. It became possible to stay with an idea and spin off in directions I never
thought I would go' (Polaroids, p. 36). Avalanche, for instance, and the related image Dusted were taken during a
session that began with a very different intent. Wegman wrote that he 'was heading in a very different direction in
the Polaroid Studio on the day Dusted came to be. I was transforming Man Ray into a raccoon when I noticed that
the white flour I was sprinkling on the top of his nose as a highlight shimmered in a beautiful way. I climbed high up
on a stepladder and began pouring the flour over Ray on the black set paper' (ibid., p. 36).
In the now-famous body of work that followed which featured other canine and occasional non-canine subjects
Wegman fully explored, and exploited, the possibilities presented by the large-format Polaroid camera. Wegman's
complete incorporation of the process into his aesthetic has made him along with David Levinthal and Lucas
Samaras one of the artists most associated with Polaroid's technology, specifically the 20-by-24 camera.
Many of the Wegman Polaroids offered in this catalogue, including Avalanche, were exhibited in It's a Dog's Life:
Photographs by William Wegman from the Polaroid Collection, originating at the Deland Museum of Art in Florida,
and traveling to 12 other venues. The exhibition offered a definitive account of Wegman's explorations with the
Polaroid camera, and showcased his tireless inventiveness as a photographer.
LOT 2
LUCAS SAMARAS
B. 1936
UNTITLED (SELF-PORTRAIT WITH HANDS)
unique large-format Polaroid Polacolor print, mounted, framed, a Selections 6 exhibition label on the reverse, 1990
24 by 20¾ in. (61 by 52.7 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Cologne, Photokina, Selections 6: Works from the Polaroid Collection, September 1992, and traveling to 16 other
venues through 1999 (see Appendix 1)
New York, Whitney Museum of American Art, Unrepentant Ego: The Self-Portraits of Lucas Samaras, November
2003 - February 2004
LITERATURE
Marla Prather, Unrepentant Ego: The Self-Portraits of Lucas Samaras (Whitney Museum of American Art, 2003), p.
293 (this print)
CATALOGUE NOTE
Throughout his career, the artist Lucas Samaras has found in Polaroid materials ready tools to serve his restless
and omnivorous appetite for invention. His first use of Polaroid materials was in 1969, when he acquired a Polaroid
360 camera and began his series of transformational AutoPolaroids. In the early 1970s, the advent of the Polaroid
SX-70 allowed him to further push the bounds of transformation. In the 1980s, Samaras was granted use of
Polaroid's 20-by-24-inch camerawhich at one point in 1980 was loaned to him at his New York apartmentand the
massive room-sized 40-by-80-inch Polaroid camera housed in Boston's Museum of Fine Arts.
The multi-talented Samaras, whose explorations in sculpture, painting, drawing, and film in the 1960s and 1970s
marked him as one of the most fundamentally experimental artists of his generation, was untrained as a
photographer. The Polaroid camera, with its instant delivery of a finished print, initially allowed him to work alone in
his home studio and see the results immediately. The confrontational immediacy of his earliest photographic work
persists throughout his career and is very much present in the arresting 20-by-24-inch self-portrait offered here.
Among Samaras's talents is his adept use of lighting to transform his subject. Utilizing colored gels intended for
theatrical use, Samaras creates in this image dramatic modulations and saturated passages of color, all enhanced
by the Polacolor process. The concentrated impact of his much smaller SX-70s explodes here with an even greater
force in the oversized 20-by-24-inch format. As can be seen in the Samaras images present within the pages of this
catalogue, he was able to find and exploit the creative leverage offered by all of the Polaroid formats with which he
experimented.
LOT 3
CHUCK CLOSE
B. 1940
'9 PART SELF PORTRAIT'
a composition of 9 unique large-format Polaroid Polapan flush-mounted prints, signed, titled, and dated in ink in the lower margins,
affixed to a mount, framed, 1987
70 by 61½ in. (177.8 by 156.2 cm.)
ESTIMATE 50,000 - 70,000 USD
EXHIBITION
Tokyo Metropolitan Museum of Photography, American Perspectives: Photographs from the Polaroid Collection,
September - November 2000, and traveling to 3 other venues through 2001 (see Appendix 1)
Boston University Art Gallery, American Perspectives: Photographs from the Polaroid Collection (a continuation of a
portion of the original American Perspectives exhibition), November 2002 January 2003
LITERATURE
This object:
American Perspectives: Photographs from the Polaroid Collection (Tokyo Metropolitan Museum of Photography,
2000), pl. 32
The Polaroid Book (Köln, 2008), p. 283
CATALOGUE NOTE
In 1979, the artist Chuck Close was invited by Kathy Halbreich, director of the Hayden Gallery at the Massachusetts
Institute of Technology, to use Polaroid's large-format 20-by-24-inch camera. Photography had always been integral
to Close's work, providing the starting point for his painting and work in other media, and his understanding of the
medium was considerable. However, photography had never previously served as the end-point for him, but was
instead a part of his multi-step artistic process. Working with the Polaroid 20-by-24-inch camera, however, changed
his thinking about photography and its place in his work. He commented about this experience that, 'It was the first
time I considered myself a photographer . . . From that point on, I began to make photographs that deal with the
kind of issues I deal with in my paintings' (Lyons and Storr, Chuck Close, p. 38).
Since the late 1960s, when Close abandoned abstract work, photography has been intrinsic to his process. Instead
of preparing for a painting with a preliminary sketch or study, Close took photographs of his subjects. He described
his use of photographs this way: 'I wanted something very specific to do where there were rights and wrongs, and
so I decided to just use whatever happened in the photograph . . . I was constructing a series of self-imposed
limitations that would guarantee that I could no longer make what I had been making' (Grynsztejn and Engberg,
Chuck Close: Self Portraits, 1967-2005, p. 118). Since that time, Close's work across all of his chosen media has
constituted either an embrace of photographic realism, or a calculated deviation from it.
While the large and unwieldy 20-by-24-inch camera was not easy to use, Close found it liberating. As was his
customary working method, Close originally intended to use these Polaroids as the basis for other works, but found
instead that the Polaroids possessed sufficient presence to stand on their own as finished works. Close worked with
the camera on a number of occasions into the 1980s, primarily in color. The resulting images were sometimes
conceived as singular works, while others, like the work offered here and that in Lot 26, were combined into multiimage compositions.
The 9 Part Self Portrait offered here, executed in 1987, shows the rare instance of Close's choice of black-andwhite Polapan film as opposed to Polacolor. In its grand scale and black/gray/white palette, it bears a strong
resemblance to Close's monochrome work in other media. It is, nonetheless, completely photographic in conception
and impact.
LOT 4
WILLIAM WEGMAN
B. 1943
'SILVER TILT'
a diptych of unique large-format Polaroid Polacolor prints, each annotated with orientation and 'A1' or 'A2' in ink in the margin,
signed, dated, and alternately titled 'Left Curve' or 'Right Curve' in ink on the reverse, framed together, 2 Polaroid Collection labels
on the reverse, 1982
Each 24½ by 20¼ in. (62.2 by 51.4 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
LOT 5
ROBERT RAUSCHENBERG
1925-2008
JAPANESE SKY I (FROM THE BLEACHER SERIES)
a composition of 4 unique bleached Polaroid Polapan prints, mounted to aluminum, signed and dated in silver ink on the mount, in
a frame designed to the artist's specifications, an Innovation/Imagination exhibition label on the reverse, 1988
51¾ by 42¼ in. (131.4 by 107.3 cm.)
ESTIMATE 40,000 - 60,000 USD
EXHIBITION
San Francisco, The Friends of Photography, Innovation/Imagination: 50 Years of Polaroid Photography, May - July
1999, and traveling to 11 other venues through 2007 (see Appendix 1)
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 91 (this object)
CATALOGUE NOTE
The critic Jonathan Green observed in the 1980s, 'Perhaps the most important, and least acknowledged,
photographer of the past decade is Robert Rauschenberg. Rauschenberg's position in the world of painting has so
overshadowed his role as a photographic innovator that he is usually overlooked in discussions of the history of
photography. Yet his achievement as a painter is essentially photographic in method. His painting recapitulates the
sensibility of the major photographers of the fifties, parallels photography's preoccupations of the sixties, and
anticipates the ''mixed-media'' and conceptual work of the 1970s' (American Photography: A Critical History, 1945
to the Present, p. 131).
The two Rauschenberg works in this catalogue (the present lot, and Lot 195), illustrate the inventiveness with which
the artist approached photography, specifically Polaroid photography, and his desire to push past the normal
bounds of the camera and combine elements of other media into his work. Rauschenberg had incorporated
photographs, many taken from the mass media, into his paintings from the very beginning, as photo-transfers, silkscreens, or photolithographs. Rauschenberg also took his own photographs, and his portraits of his famous
colleagues at Black Mountain College, his 1980 Rauschenberg/Photographs portfolio and 1981 Photographs book,
show his talent, and appreciation, for the straight photographic approach.
In 1988, Rauschenberg was given the opportunity to work with Polaroid's massive 20-by-24-inch camera, which
was brought to him in Florida. The Bleacher series has its genesis in this first encounter with the large format
camera. The large sheets of Polapan film Rauschenberg used during these sessions required, like Polaroid's
smaller consumer-market black-and-white film, a coating after development that arrested the action of the
developing agent and created a hard protective surface for the print. Curious about what would happen if this
coating were not applied, or was only selectively applied, Rauschenberg asked Polaroid technician John Reuter
what the results would be. Reuter replied that the uncoated areas would become effectively bleached.
Rauschenberg subsequently experimented with selectively coating his prints and leaving them in the sun to hasten
the effect of his treatment. Frustrated that this did not result in an immediate or sufficient change in the appearance
of his photographs, Rauschenberg devised a strategy that was wholly new. Using a paintbrush, he selectively
applied bleach to the surface of the prints. This had the effect of altering the appearance of certain areas, creating a
multi-layered image that operates as both a literal depiction of its subject and an abstract riff upon it.
The present image, Japanese Sky I, consists of four 20-by-24-inch Polapan prints treated with bleach. They are
mounted to aluminum, and placed within the same type of metal frame Rauschenberg used at that time for his
paintings.
Sotheby's wishes to thank Peter MacGill for sharing his knowledge about the creation of the Bleacher series.
LOT 6
DAVID HOCKNEY
B. 1937
'IMOGEN + HERMIANE. PEMBROKE STUDIOS, LONDON, 30TH JULY 1982'
a composition of 63 unique Polaroid SX-70 prints, initialed, titled, and dated in ink across the lower margins, mounted, framed,
exhibition labels and Polaroid Collection stamps on the reverse, 1982
30 by 22½ in. (76.2 by 57.2 cm.)
ESTIMATE 30,000 - 50,000 USD
EXHIBITION
London, Hayward Gallery, Hockney's Photographs, November 1983 February 1984
Cologne, Photokina, Selections 4, October 1988, and traveling to 7 other venues through 1990 (see Appendix 1)
London, Tate Gallery and the Arts Council of Great Britain, David Hockney: A Retrospective, 1989
LITERATURE
This composition:
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 73
Lawrence Weschler, David Hockney: Cameraworks (New York, 1984), pl. 49
CATALOGUE NOTE
The assemblage offered here is one of a number of compositions comprised of Polaroid SX-70 prints that were
taken in David Hockney's Pembroke Studios in London in 1982. The sitters are the daughters of Paul CornwallJones, owner of Petersburg Press, who published many Hockney-related works.
Hockney is one of the most influential contemporary artists to have explored, in practice and in words, the
relationship between photography and painting. His long career in painting and the graphic arts has been
interspersed at regular intervals with camera-based works, among them a published portfolio of photographs,
photographic assemblages of SX-70s, and photographic collages of snapshots. In his writings and his lectures,
Hockney has returned again and again to an exploration of the fundamental questions of vision: how one sees
through the lens of the eye and through the lens of a camera; and, as a result, how time that is experienced in a
painting or drawing differs from time experienced in a photograph.
Hockney's Polaroid SX-70 assemblages were one response to what he felt was the static quality of a single
photograph. 'It's hard for me to look at a photograph for more than thirty seconds,' he once wrote. 'You get it very
quickly, and when you look at it again it's exactly the same. These Polaroid portraits are different; there are so many
relationships created by juxtaposing each photo, and the permutations of these relationships seem so numerous,
that you can continue gazing at it, and seeing it in many different ways' (David Hockney Photographs, p. 26).
Hockney has aligned his multiply-perceived reality with Cubism, an art which, he has observed, more truthfully
reflects one's constantly-shifting perception of the world. In his Polaroid SX-70 compositions, and in his later
collages of snapshots made with traditional cameras, the passage of time is created through the multiplicity of
viewpoints in the assembled images.
The experience of creating SX-70 portraits in 1982 propelled Hockney into a new realm of thinking about
photography and experimenting with cameras in a way that he had not previously. 'The reason I never took
photography too seriously,' he wrote in that year, 'is because it was never vivid enough to give a true sense of the
experience of reality. But these recent assemblages are so exciting that while I had intended to paint, I instead
bought myself twelve thousand dollars worth of Polaroid film; it would be hard to do these without a Polaroid
camera, because you must be able to quickly see the result of what you are doing in order to proceed with the
picture' (ibid., p. 27).
Each of Hockney's SX-70 assemblages is unique, and rare in the marketplace. Unlike his later snapshot collages,
the SX-70 portraits were never produced in multiple editions.
LOT 7
LUCAS SAMARAS
B. 1936
PHOTO-TRANSFORMATION
unique manipulated Polaroid SX-70 print, dated in ink and credit in pencil on the reverse, framed, a Polaroid Collection stamp and
label on the reverse, 1973
3 by 3 in. (7.6 by 7.6 cm.)
LITERATURE
This print:
Lucas Samaras: Photo-Transformations (Long Beach, 1975), pl. 15
Variants of this image:
Lucas Samaras: Photo-Transformations (The Pace Gallery, 1974), unpaginated
Samaras: The Photographs of Lucas Samaras (Aperture, 1987), p. 57
171
CATALOGUE NOTE
In 1973, Polaroid employee John Holmes arranged for artist Lucas Samaras to receive one of the company's new
SX-70 cameras. The result of years of research, the SX-70 was the realization of Polaroid founder Edwin Land's
original impulse: to create a truly instant one-step camera that produced images in full color. The SX-70 in the
hands of Samaraswhose career had already established its tone of fearless experimentationbecame a powerful tool
for transformation. Earlier, in 1969, Samaras had undertaken a series of self-portrait studies with the Polaroid 360,
producing a series of black-and-white images that the artist then altered with drawing. These AutoPolaroids, as
Samaras called them, laid the groundwork for a new self-portrait series with the SX-70, the Photo-Transformations.
The unique properties of the SX-70 allowed Samaras to pursue this transformation in a wholly new way. Within the
multi-layer complex of the SX-70 print, the emulsion remained soft and malleable during, and even after,
development. Samaras exploited this peculiarity of the process to manipulate the emulsionpushing, pulling, and
even scrambling itto create transformations that range from the surreal to the phantasmagoric.
In the present Photo-Transformation, Samaras has executed considerable delicate handwork upon the print after it
was ejected from the camera and the automatic development commenced. As the image formed, Samaras used a
stylus or other tool to create the dart-like lines that seem to either pierce or radiate from his torso. Other examples
of Samaras's manipulative effects with the SX-70 can be seen in Lots 123 and 124. Les Krims was another master
of the manipulated SX-70, and his work in this vein can be seen in Lots 23, 122, and 142. Both Samaras and Krims
are two of the dedicatees of Robert Heinecken's Polaroid Drawing Triptych, an instructional guide to the art of
manipulating SX-70 prints (Lot 179).
LOT 8
LUCAS SAMARAS
B. 1936
unique Polaroid SX-70 print, dated in ink on the reverse, framed, a Polaroid Collection stamp and label and Innovation/Imagination
and Unrepentant Ego exhibition labels on the reverse, 1974
3 by 3 in. (7.6 by 7.6 cm.)
EXHIBITION
New York, Whitney Museum of American Art, Unrepentant Ego: The Self-Portraits of Lucas, Samaras, November
LITERATURE
This print:
Samaras: The Photographs of Lucas Samaras (Aperture, 1987), p. 55
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, San Francisco, 1999), p.
63
Barbara Hitchcock, ed., Emerging Bodies: Nudes from The Polaroid Collection (Zurich, 2000), p. 166
167
Variant:
Lucas Samaras: Photo-Transformations (Long Beach, 1975), pl. 22
LOT 9
ROBERT MAPPLETHORPE
1946-1989
SAM WAGSTAFF ASLEEP
unique Polaroid Type 52 print, 1973-75
3½ by 4½ in. (8.9 by 11.4 cm.)
LITERATURE
Polaroids: Mapplethorpe (Whitney Museum of American Art, 2007), pl. 56 (this print)
CATALOGUE NOTE
This unique Polaroid photograph of Sam Wagstaff, Robert Mapplethorpe's lover and patron, dates to the early years
of their relationship and of Mapplethorpe's engagement with photography.
Mapplethorpe's first serious work with a camera was done with a Polaroid, and his first exhibition of photographs, in
1973, consisted solely of Polaroid photographs. As a student at Pratt in the 1960s, he had encountered traditional
photography but did not pursue it. Until photography became his sole artistic output, Mapplethorpe's artwork
consisted of collages and assemblages that frequently employed photographic or photomechanical elements. In
1971, the artist and filmmaker Sandy Daley loaned him her Polaroid camera, and Mapplethorpe began
experimenting.
In Patti Smith's recent memoir of her friendship with Mapplethorpe in New York City in the 1960s and '70s, she
describes the young photographer's handling and approach to this camera:
'The Polaroid camera in Robert's hands. The physical act, a jerk of the wrist. The snapping sound when pulling the
shot and the anticipation, sixty seconds to see what he got. The immediacy of the process suited his temperament.
At first he toyed with the camera. He wasn't totally convinced that it was for him. And film was expensive, ten
pictures for about three dollars, a substantial amount in 1971' (Just Kids, p. 154).
While the cost of Polaroid film initially limited Mapplethorpe's use of the camera, he received a grant of film from the
company in 1972 through the auspices of John McKendry, then curator of photographs at the Metropolitan Museum
of Art. This allowed Mapplethorpe to work more freely with the Polaroid camera and hone his skills as a
photographer and provocateur. The invitation for his first photographic exhibition, at Light Gallery in 1973, was a
self-portrait of the photographer's nude midsection, with a Polaroid 360 camera held just above his genitalia, which
were obscured by the application of a white adhesive label.
The tender, domestic portrait of Wagstaff offered here differs from much of the Polaroid work Mapplethorpe was
doing at the time, and this is no doubt the result of their close relationship, begun in 1972. The intellectually
cultivated Wagstaff was gifted with an eye for photography, and was one of the first collectors to realize the intrinsic
aesthetic importance of the medium, as well as its relationship to other arts. This sensitivity allowed him to create
one of the greatest photography collections of the 20th century, now housed at the Getty Museum. Wagstaff
pioneered an eclectic style of collecting that in many ways set a template that would be followed by other collectors
of photography.
Wagstaff's patronage of Mapplethorpe allowed the young photographer the freedom and means to fully pursue his
photographic work at a time when he encountered resistance from galleries. The two met when Mapplethorpe and
Patti Smith lived together on Manhattan's 23rd Street. Smith notes that it was Wagstaff's immediate interest in
Mapplethrope's work that cemented their bond:
'Love his work. That was the only way to Robert's heart. But the only one who truly grasped this, who had the
capacity to love his work completely, was the man who was to become his lover, his patron, and his lifelong friend .
. . Sam was attractive to Robert for more than his looks. He had a positive and curious nature and, unlike others
Robert had met in the art world, did not seem tormented about the complexity of being a homosexual' (ibid., p. 204).
Mapplethorpe and Wagstaff shared a birthday, albeit 25-years apart, and on their first shared birthday as a couple,
Mapplethorpe gave Wagstaff a photograph, and Wagstaff gave the young photographer a Hasselblad camera
equipped with a Polaroid back.
LOT 10
ROBERT MAPPLETHORPE
1946-1989
PATTI SMITH
a diptych of unique Polaroid Type 58 prints, each flush-mounted, annotated 'Left' and 'Right,' respectively, possibly by the
photographer, in pencil on the reverse, framed, an Innovation/Imagination exhibition label on the reverse, circa 1979
Each approximately 4½ by 3½ in. (11.4 by 8.9 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 61 (these prints)
Polaroids: Mapplethorpe (Whitney Museum of American Art, 2007), pl. 5 (variant)
CATALOGUE NOTE
Patti Smith was Mapplethorpe's first subject in his early experiments with the Polaroid camera. Along with himself,
Smith would prove to be one of Mapplethorpe's most constant subjects, and he photographed her until the end of
his life. It is difficult to overestimate the importance of Smith in Mapplethorpe's development as an artist. Along with
Sam Wagstaff (see Lot 9), Smith was a key provider of encouragement and emotional and financial support during
Mapplethorpe's formative years. Just Kids, Smith's recent memoir of the years she spent living with Mapplethorpe in
New York Cityin the Chelsea Hotel, and later in a barebones loft on 23rd Streetis an informative and evocative
account of these early days in both artists' careers.
Mapplethorpe, in his turn, played just as significant a role for Smith as she did for him. He pushed her to pursue her
drawing and poetry, encouraged her stage-writing and acting (although he disapproved of her relationship with Sam
Shepherd), and became her biggest fan when she transformed herself into a rock-and-roll musician. Mapplethorpe
photographed the majority of Smith's album covers, including the iconic image on her debut, Horses. The two
artists' mutual belief in each other enabled them to create the iconic artistic personae that we know today.
After Mapplethorpe had settled upon photography as métier, he began to move beyond his immediate circle of
friends and associates for subject matter. Smith writes, 'He began to branch out, photographing those he met
through his complex social life, the infamous and the famous, from Marianne Faithful to a young tattooed hustler.
But he always returned to his muse. I no longer felt that I was the right model for him, but he would wave my
objections away. He saw in me more than I could see in myself. Whenever he peeled the image away from the
Polaroid negative, he would say, ''With you I can't miss''' (Just Kids, p. 192).
It is unusual to see an early Mapplethorpe in color. Mapplethorpe deliberately overexposed the two images offered
here, accentuating the paleness of Smith's skin. Starkly visible in both images is the 'lightning-bolt' tattoo on Smith's
knee. Smith was fascinated with the nineteenth-century Lakota warrior Crazy Horse, who tattooed lightning bolts
onto his horses' ears as an admonition to himself to leave the battlefield swiftly rather than gather spoils and expose
himself to counterattack. Smith, besieged by offers of recording and publishing contracts after a wildly successful
poetry reading at St. Marks in the Bowery, felt that the lightning-bolt motif held a similar admonition for her.
LOT 11
ROBERT FRANK
B. 1924
BRATTLEBORO VERMONT - FIFTH AVENUE NEW YORK CITY
large-format, from Polaroid Type 665 negatives, signed, dated, and inscribed 'FOR SANDY AND PABLO IN BRATTLEBORO
VERMONT AND THE MEN AND WOMEN - ANGELS - HORSES EVERYWHERE NEW-YORK-CITY - BRATTLEBORO' in ink on
the image, framed, 1978, printed in 1980
23½ by 18 in. (59.7 by 45.7 cm.)
ESTIMATE 25,000 - 35,000 USD
LITERATURE
Constance Sullivan, ed., Legacy of Light (New York, 1987), p. 135 (this print)
Other prints of this image:
Robert Frank, The Lines of My Hand (New York, 1989), unpaginated
Sarah Greenough and Philip Brookman, Robert Frank: Moving Out (Washington, D. C.: National Gallery of Art,
1994), p. 245
CATALOGUE NOTE
Following the publication of The Americans in 1955, and his From the Bus series of 1958, Robert Frank began to
move away from still photography to concentrate on filmmaking. In 1959, Frank collaborated with Alfred Leslie on
his first film, Pull My Daisy, one of the most influential independent films ever made. The more fluid narrative of film
was a logical next step for an artist sensitive to the relationships between images, a photographer who had always
sequenced his images to enhance their meaning.
Soon after moving to Mabou, Nova Scotia, in the early 1970s, however, Frank returned to still photography, but with
a difference. Informed by his experiences as a filmmaker, his visually autobiographical Lines of My Hand of 1972
utilized film negatives to create photographs comprised of multiple images. In 1974, he began to work with a
Polaroid Land 196 camera and Type 655 positive/negative film, immediately grasping Polaroid's creative potential
for improvisation and spontaneity. His experiments with Polaroid cameras and film produced a series of intensely
personal images and photographic assemblages that Philip Brookman has referred to as 'rough-and-ready
statements about loss and illness, hope and absolution' (Looking In, p. 237). As Sean O'Hagan reported in The
Observer in 2009, Frank once said that the focus of his later work 'had shifted from being about what I saw to being
about what I felt.'
To that end, Frank photographed familiar and personally meaningful subjectsMabou landscapes (Lot 12), his
domestic surroundings in Mabou and New York (Lot 13), and his wife June Leaf and son Pablo, among others. He
often shot into mirrors and through windows, then hand-worked the Polaroid negatives, scratching words and
thoughts directly on them, or combining images from several negatives to create layered, almost dream-like
narrative montages, such as the prints offered here and in Lot 172.
LOT 12
ROBERT FRANK
B. 1924
'MABOU' (POUR LA FILLE)
from a Polaroid Type 665 negative, signed, titled, and dated in ink in the margin, with printing notations in pencil on the reverse,
framed, an Innovation/Imagination exhibition label on the reverse, 1980
14 by 18¼ in. (35.6 by 46.4 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Cologne, Photokina, Polaroid 50: Art + Technology, September 1996, and traveling to 4 other venues through 1998
(see Appendix 1)
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 48 (this print)
Constance Sullivan, ed., Legacy of Light (New York, 1987), p. 55
Sarah Greenough and Philip Brookman, Robert Frank: Moving Out (Washington, D. C.: National Gallery of Art,
1994), p. 244
CATALOGUE NOTE
about what I felt.'
thoughts directly on them, or combining images from several negatives to create layered, almost dream-life
narrative montages, such as the one offered here.
LOT 13
ROBERT FRANK
B. 1924
NEW YORK
from a Polaroid Type 665 negative, signed and dated in ink in the margin, signed 'Frank' in ink on the reverse, 1972
19 7/8 by 15 in. (50.5 by 38.1 cm.)
ESTIMATE 10,000 - 15,000 USD
LITERATURE
The Polaroid Book (Köln, 2008), p. 296 (this print)
Robert Frank: Story Lines (Tate Modern, 2004), p. 169
CATALOGUE NOTE
about what I felt.'
LOT 14
WILLIAM WEGMAN
B. 1943
'RAY &AMP;MRS. LUBNER IN BED V.3'
unique large-format Polaroid Polacolor print, signed, titled, and dated in pencil on the reverse, framed, a Polaroid Collection label
on the reverse, 1981 (Fay, p. 22; Man's Best Friend, pl. 8; William Wegman Polaroids, p. 35, all variants)
24 by 20½ in. (61 by 52.1 cm.)
EXHIBITION
LOT 15
WILLIAM WEGMAN
B. 1943
FAY AND ANDREA
unique large-format Polaroid Polacolor print, signed and dated in pencil on the reverse, framed, a Polaroid Collection label on the
reverse, 1987 (Fay, p. 33; William Wegman Polaroids, p. 60, and Funney/Strange, p. 113, all variants)
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 16
VALERIY GERLOVIN (B. 1945)/RIMMA GERLOVINA (B. 1951)/MARK BERGHASH (B. 1935)
'EDGE'
unique large-format Polaroid Polacolor print, signed and dated in ink in the margin, framed, 1988
25 by 20¾ in. (63.5 by 52.7 cm.)
CATALOGUE NOTE
Rimma Gerlovina and Valeriy Gerlovin, married artistic collaborators, were founding members of Soviet Russia's
underground conceptual art movement in the 1970s. Known as Samizdat ('self-publishing'), the group's subversive
activities included conceptual and performance art, as well as poetry, prose, and the first magazine of contemporary
Russian art, A-Ya. As public exhibitions and performances of Samizdat's works were forbidden, performances and
gatherings took place underground, in private homes. A number of Gerlovina/Gerlovin's works were eventually
smuggled abroad, including the important Zoo: Homo Sapiens of 1977. This photograph of the artists behind bars, a
comment on censorship by Soviet authorities, made its way to the Eastern Europe Biennial of that year, the
'Biennial of Dissent' in Venice, where it caused a stir. The exhibition of this work eventually led to Gerlovina's and
Gerlovin's emigration to the United States in 1980.
The images offered here, from Gerlovina/Gerlovin's Photems series, were made with the 20-by-24-inch camera in
Polaroid's New York studio in lower Manhattan. Begun in 1986 in collaboration with photographer Mark Berghash,
the photographs are both individual and paired close-ups of the artists with words and symbols applied to their
bodies. The couple has used the term 'anthropomorphic poetry' to describe these works, in which facial expressions
are combined with painted messages to convey both meaning and humor.
The duo commented on the importance of words in their photographs as follows:
'Words themselves are symbols of thoughts. Breathing new life into old portrayals, they propel into action as "still
performances." Often, lasting impact is produced by contemplation. Our "still performances" become the em-bodyment of our thought projections in real figures of speech. Language conceals more than it reveals until we reduce
words to their hidden meanings so that the word can be heard behind the words' (Photoglyphs, unpaginated).
Sotheby's wishes to thank Rimma Gerlovina and Valeriy Gerlovin for their contribution to this entry.
LOT 17
'@®T$' (HAND)
unique large-format Polaroid Polacolor print, signed and dated in silver ink in the margin, 1988
24½ by 20¾ in. (62.2 by 52.7 cm.)
LOT 18
GUY BOURDIN
1928-1991
GLOVE
unique large-format Polaroid Polacolor print, circa 1979
24¼ by 20½ in. (61.6 by 52.1 cm.)
LOT 19
HELMUT NEWTON
1920-2004
STANDING NUDE
unique Polaroid SX-70 print, framed, an Innovation/Imagination exhibition label on the reverse, 1976
3 1/8 by 3 in. (7.9 by 7.6 cm.)
EXHIBITION
LITERATURE
LOT 20
CHRISTIAN BOLTANSKI
B. 1944
LES MONUMENTS I, II, III
a triptych of unique Polaroid Polacolor prints, each framed, Polaroid Collection stamps and Innovation/Imagination and The Art of
Caring exhibition labels on the reverse, 1985 (3)
Each approximately 26½ by 21¾ in. (67.3 by 55.2 cm.)
ESTIMATE 10,000 - 20,000 USD
EXHIBITION
New Orleans Museum of Art, The Art of Caring: A Look at Life Through Photography, May - October 2009
LITERATURE
These prints:
Cynthia Goodman, The Art of Caring: A Look at Life Through Photography (New York, 2009), pp. 248-49
LOT 21
LORNA SIMPSON
B. 1960
HE HE, SHE SHE, HE SHE, HE SHE, SHE HE
a sequence of 5 unique large-format Polaroid Polacolor prints, each flush-mounted, framed to the artist's specifications, with
plastic title plaques, 1992 (5)
Each 24 by 20½ in. (61 by 52.1 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
LITERATURE
2000), pl. 47 (these prints)
CATALOGUE NOTE
By limiting or eliminating visual cues relating to race and gender in her photographs, Lorna Simpson inhibits the
viewer's inclination to stereotype based on physical characteristics. The text plaques that typically accompany her
work, with words and phrases that are not descriptive or informational, create additional ambiguity. Assumptions are
unraveled, and the viewer is forced to free-associate, to complete the story for him- or herself. Simpson delights in
'dismantling' gender identity, saying 'I like to play with gender and with associations [about] what is masculine and
what is feminine and what is correct, choosing the correct attire or object for the correct gender and playing with
them or putting them where they shouldn't be, or making associations that shouldn't be made, or that are outside
the norm' (Saidiya V. Hartman, Lorna Simpson: For the Sake of the Viewer, p. 65).
In an extensive interview with Ann Temkin, currently chief curator of painting at The Museum of Modern Art, for the
2005 Contemporary Voices: Works from the UBS Art Collection, Simpson discussed her workincluding her source
for engraved text plaques from the Williamsburg section of Brooklyn; her purchase of shoes as objects from thrift
stores throughout America in the 1980s; and her use of Polaroid film and the Polaroid studio in downtown
Manhattan. While Simpson originally worked with a 4-by-5-inch camera, she began to use Polaroid film and
cameras for her 1988 series Stereo Styles, describing the work as 'black and white Polaroids, which are really
beautiful, luscious, amazing images.' When Temkin asked what had drawn Simpson to the medium, she responded,
'I loved the idea that it was instant. You could just do it and be done, you didn't have to go develop the film and print
it. And I liked the visual quality of Polaroid, whether in black and white or colora lot of my stuff was either
monochromatic or very strong color. And because a lot of that work was compartmentalized or sectionedit has all
these different partsthe Polaroid gave me a format to work with compositionally, these twenty-by-twenty-four-inch
segments making up a series that in turn makes up a work . . . Being instant is a beautiful quality. It lets you see
what you're doing, that your exposures are correct and so on, as opposed to working with regular film' (p. 120).
LOT 22
PETER BEARD
B. 1938
SELECTED IMAGES
2 unique large-format Polaroid Polacolor prints, comprising Hog Ranch, March 19-20 and Iman, the first signed, titled, and dated
in ink in the margin, the second with credit, title, and date in pencil on the reverse, 1987-88 and 1992 (2)
25 1/4 by 21 1/2 in. (64.1 by 54.6 cm.)
26 1/4 by 20 3/4 in. (66.7 by 52.7 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Iman:
LITERATURE
Iman, this print:
2000), pl. 101
Barbara Hitchcock, ed., Emerging Bodies: Nudes from The Polaroid Collection (Zurich, 2000), p. 15
CATALOGUE NOTE
Iman was was one of Peter Beard's earliest subjects when he began making large-format Polacolor prints in 1985.
In 1986, Beard began his collaboration with Polaroid Corporation's Artists Support Program, which he continued
into 1987 and then again during 1992-93. Nine large-format Polaroids from this collaboration were added to the
Polaroid Collection, of which 8 are present in this sale (see lots 107, 115, and 116).
LOT 23
LES KRIMS
B. 1943
SELECTED NUDES
2 unique manipulated Polaroid SX-70 prints, each with multi-colored marbleized margins, signed and dated with a stylus on the
reverse, 1977 (2)
3 1/8 by 3 in. (8 by 7.6 cm.)
EXHIBITION
Paris, Centre Georges Pompidou, Musée National d'Art Moderne, Instantanés, May - July 1980
LITERATURE
Instantanés (Centre Georges Pompidou, 1980), pp. 84-5 (these prints)
CATALOGUE NOTE
Les Krims is one of the masters of the manipulated Polaroid photograph. Working with Polaroid's SX-70 camera
from the time of its introduction in the early 1970s, Krims discovered quickly how malleable a tool it was and, like
Lucas Samaras, worked upon the surfaces of its photographs as they developed to alter, mutate, or otherwise
accentuate the images. Krims has further enhanced the presentation of the two SX-70 prints offered here by
painting their borders in bright swirling psychedelic colors.
Many of Krims's SX-70s were collected in his volume Fictcryptokrimsographs, published in 1975. His manipulated
SX-70 prints have no corollary, even among the handful of artists and photographers working in a similar vein.
Krims's images, with their adept combination of the surreal, the political, the sensual, and the obsceneto say
nothing of Krims's attention to craftmake them unique. Both Samaras and Krims are two of the dedicatees of Robert
Heinecken's Polaroid Drawing Triptych, an instructional guide to the art of manipulating SX-70 prints (Lot 179).
Krims's eagerness to tackle taboo subject matter makes him, in many ways, a seminal figure in Post-War
photography. Yet, unlike other divisive figures in the world of contemporary photography, Krims's work is built upon
the bedrock of his razor-edged sense of humor. And while much of the controversial photography of the last 50
years has been darkly themed or tinged with menace, Krims maintains a consistent level of almost joyous ribaldry.
Other photographs by Krims are present in this catalogue as Lots 122, 142, and 143).
LOT 24
LUCAS SAMARAS
B. 1936
ULTRA-LARGE (HANDS)
unique mural-sized Polaroid Polacolor print, framed, 1983
72 5/8 by 40 5/8 in. (184.6 by 103.3 cm.)
ESTIMATE 20,000 - 30,000 USD
LITERATURE
Samaras: The Photographs of Lucas Samaras (New York, 1987), p. 143 (variant)
CATALOGUE NOTE
In 1983, Lucas Samaras was among a handful of artists invited by Polaroid to use its immense 40-by-80-inch
camera housed at the Museum of Fine Arts, Boston. The camera essentially comprised its own light-tight room,
measuring 12 by 12 feet, and 16 feet in height. Known as the Museum Camera, it was developed initially to make
actual-size, highly detailed, full-color photographs of paintings. Like the large-format 20-by-24-inch camera, the
Museum Camera used the same Polacolor technology as Polaroid's consumer cameras. The use of the camera
required the assistance of a number of technicians, one of whom was positioned inside it to advance the film and
operate the shutter. Pre-exposure focus was achieved through the use of powerful lights which illuminated the
subject sufficiently to project a pale image through the lens and onto the focal plane of the camera. Exposure
required banks of synchronized strobes.
With this camera, Samaras began his aptly-named Ultra-Large series, each image of which was executed with the
artist's characteristic inventiveness. In the two Ultra-Large studies by Samaras present in this catalogue, his talent
for lighting is evident. In the image offered here, Samaras focuses tightly on his hands, bathing them in
hummingbird ruby, green, and yellow. This astonishingly large photograph delivers a great deal of detail, and the
artists' hands are rendered in all of their corporeal reality. Yet, through its immense size and inventive use of color,
the image transcends the documentary and incorporates, instead, a far more evocative study of an artist's principal
tools.
Other images made with the Museum Camera, by Samaras, Chuck Close, and Robert Heinecken, are present in
this catalogue as Lots 25, 35, and 37.
LOT 25
LUCAS SAMARAS
B. 1936
ULTRA-LARGE (SELF-PORTRAIT)
unique mural-sized Polaroid Polacolor print, framed, 1983
93 1/8 by 40¾ in. (236.5 by 103.5 cm.)
ESTIMATE 25,000 - 35,000 USD
EXHIBITION
LITERATURE
This print:
2000), p. 35
Selections 2 (Verlag Photographie, 1984), unpaginated
Variant:
Aperture 96, Fall 1984, p. 51
Samaras: The Photographs of Lucas Samaras (New York, 1987), p. 145
253
LOT 26
CHUCK CLOSE
B. 1940
'5 C' (SELF PORTRAIT)
a composition of 5 unique large-format Polaroid Polacolor prints, signed, titled, dated, and numbered 'I' in ink in the margin, affixed
to a mount with pushpins, framed, 1979
50 by 51½ in. (127 by 130.8 cm.)
ESTIMATE 50,000 - 70,000 USD
EXHIBITION
Amherst, University of Massachusetts, Herter Art Gallery, Fantasies, Fables, and Fabrications: Photo-Works from
the 1980's, November - December 1987, and traveling to 6 other venues through 1989
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 2 (this object)
CATALOGUE NOTE
The unique large-scale composition offered here represents one of Chuck Close's earliest efforts with the 20-by-24inch Polaroid camera. He made this work in 1979, when he was first invited by Kathy Halbreich, director of the
Hayden Gallery at the Massachusetts Institute of Photography, to use Polaroid's large-format camera. Close's
experience with this camera fundamentally changed his view of photography, which heretofore had maintained a
vital but subordinate role in his artistic process. With the 20-by-24 images, Close found himself as a photographer
and began producing photographs that were meant to stand alone as finished works of art. Some of the Polaroids
were conceived as singular works, while others, like the work offered here and the later portrait in Lot 3, were
combined into multi-image compositions.
Aside from the notable exceptions of Cindy Sherman and Lucas Samaras, few artists have explored self-portraiture,
to such great effect, as Close. From the very start of his career, he has served as his own subject throughout his
oeuvre, in paintings, drawings, prints, paper-pulp constructions, daguerreotypes, and other hybrid media. It is a
preoccupation that persists to the current day. Siri Engberg writes that in Close's career-long concentration on selfportraiture 'we see not only a single face changing over time but also witness an artist's evolution in his constant
quest to reinvent the means by which an image can be built, always pushing the pictorial possibilities of the
photographic essence' (Chuck Close: Self Portraits, 1967-2005, p. 119).
The present composition demonstrates not only Close's persistent dedication to craft, but his full embrace of the
photographic medium.
LOT 27
WILLIAM WEGMAN
B. 1943
'RAILING'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, a Polaroid Collection label on the
reverse, framed, 1991
24 1/2 by 20 3/4 in. (62.1 by 52.7 cm.)
EXHIBITION
LOT 28
DAVID LEVINTHAL
B. 1949
COWBOY WITH LASSO (FROM WILD WEST)
24¼ by 20½ in. (61.2 by 52.1 cm.)
CATALOGUE NOTE
David Levinthal is an artist whose body of work is largely defined by Polaroid technology. His first experiments with
Polaroid SX-70 prints culminated in the 1984-86 series Modern Romance (Lot 29). Around 1987, Levinthal was
invited by the Polaroid Corporation to use the 20-by-24-inch camera housed in its downtown Manhattan studio. Of
his initial experience working with large-format Polacolor film, Levinthal writes, '. . . my original idea was just to
translate my SX-70 ideas to 20x24s . . . I realized that I couldn't mimic the SX-70s, that it was a different way of
looking at things. What I discovered over time is that the scenes with fewer figures . . . were much more interesting.
The first really successful piece was the cowboy with a lasso on a white horse. I shot it and thought: This is exactly
what I want to do. It captures my feelings about it' (The Wild West, p. 9).
LOT 29
DAVID LEVINTHAL
B. 1949
SELECTED STUDIES FROM MODERN ROMANCE
5 unique Polaroid SX-70 prints, each signed and dated in pencil in the margin, 1983-85 (5)
Each approximately 3 1/8 by 3 in. (7.9 by 7.6 cm.)
LITERATURE
Other prints of these images:
Modern Romance: David Levinthal (Los Angeles, 2000), fig. 30, p. 26, and pp. 74 and 110
CATALOGUE NOTE
In his Modern Romance series, Levinthal evokes both the sensual and hyper-stylized scenarios of old Hollywood
Film Noir narratives and the loneliness of Edward Hopper paintings. The tiny figures pictured in seedy hotel rooms,
all-night diners, and dimly lit alleyways are often grainy and composed of closeups, suggesting scenes from the
silver screen put on pause and brought into the miniature format of Polaroid SX-70 prints.
LOT 30
DAVID LEVINTHAL
B. 1949
SELECTED IMAGES FROM DESIRE
8 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/3,' '2/5,' or '1/2' in ink in the margin, one
framed, an Innovation/Imagination exhibition label on the reverse, 1990-91 (8)
Each approximately 24¼ by 20¾ in. (61.6 by 52.7 cm.)
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
Female in Bondage (Face Down on Floor) with Dominatrix:
LITERATURE
Female in Bondage (Face Down on Floor) with Dominatrix:
LOT 31
LUCAS SAMARAS
B. 1936
PANORAMA, 1983-1986
a unique composition comprised of 40 ½- to 1-inch strips of Polaroid Type 808 prints, initialed and dated in pencil on the reverse,
mounted, a Polaroid Collection label and Polaroid Collections stamp on the reverse, framed, 1983-86
33¼ by 9½ in. (84.5 by 24.1 cm.)
EXHIBITION
LITERATURE
This composition:
Selections 2: From Polaroid Collection (Verlag Photographie, 1984), unpaginated
2000), pl. 37
CATALOGUE NOTE
This unique composition is one of a series of Panoramas Samaras began in 1983. These compositions utilized
multiple 8-by-10-inch color Polaroid prints that Samaras cut into strips and meticulously reassembled. This
deconstruction and subsequent reconstruction of a scene creates an image that is simultaneously expanded and
segmented, and produces a visual effect similar to David Hockney's collages (see Lot 6).
LOT 32
ROBERT HEINECKEN
1931-2006
UNTITLED NEWSWOMEN (SUITE C#1)
a sequence of four unique Polaroid Polacolor prints, comprising Jane Pauley, Joan Lunden, Diane Sawyer, and a Composite,
each framed, an Innovation/Imagination exhibition label on the reverse, 1983 (4)
Each approximately 20¾ by 25 in. (52.7 by 63.5 cm.)
ESTIMATE 12,000 - 18,000 USD
EXHIBITION
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), pp. 84-5 (these
prints)
CATALOGUE NOTE
A fighter pilot who later trained as a printmaker, Robert Heinecken is one of the seminal artists of his generation
working in photography's conceptual realm. Heinecken's printmaking background, with its emphasis on handwork,
gave him the freedom to see photographs not as inviolate objects, but rather as raw material to be cut,
superimposed, altered, and collaged. An influential teacher, Heinecken was a pioneer in the postmodernist
techniques of appropriation, especially from magazines and advertising; the use of found photographs from a
plethora of sources; and the combining of text and photographs as an artistic statement. Heinecken's work in these
genres began in the 1960s, long before Richard Prince, Cindy Sherman, and the rest of the 'Pictures Generation'
arrived on the scene. '[Heinecken's] conceptual advance quickly transcended the photography world,' Lynne
Warren has written, 'and today it seems almost quaint to point out how radical Heinecken's methods were' (Robert
Heinecken: Photographist, p. 15).
The photographs offered here are from the artist's series of photographs made from television screens. Like other
forms of mass media whose cultural influence was pervasive, television inspired Heinecken to alter and combine
images into a sharp comment on the medium. The earliest of these television photographs, called videograms by
the artist, were made by placing film directly onto a television screen. The Ronald Reagan Inauguration series of
1981 (ibid., plates 74-77) is perhaps best known, with its blurry, ghost-like shapes and the characteristic blue
coloration of light emanating from the screen.
In 1983, Heineken was invited to use the 20-by-24-inch Polaroid camera at The Museum of Photographic Arts in
San Diego, and at the School of the Museum of Fine Arts, Boston. It is almost certain that the unique Polaroid
images offered here were made directly from a television screen with one or both of these cameras; no other
images in the Heinecken Archive duplicate these photographs. The direct positive format of the Polaroid 20-by-24inch prints gave Heinecken the opportunity to capture the screens' images in greater detail than the earlier
videograms; the special quality of these Polaroid pictures, made with no intervening negatives, preserves
something of the immediacy of the television moment.
Later, Heinecken would continue the television series with a 35mm camera, making negatives and multiple prints
for his satirical Case Study in Finding an Appropriate TV Newswoman of 1984 (ibid., plates 78-82). The unique
Polaroids offered here are the prototypes for this series, both in technical approach and content. Three of the
present Polaroids document the faces of the top newswomen of the day, while the final image is a muddled
composite of all of them. It is a suite of images that comments upon the growing ubiquity of television and the bland
homogeneity it promulgates.
For two other unique Polaroid newswomen images by Heinecken, made with the 20-by-24-inch Polaroid camera,
please see Lot 194.
Sotheby's wishes to thank Luke Batten, Director of the Robert Heinecken Trust, for his generous response to
questions regarding the Robert Heinecken material in this catalogue.
LOT 33
ROBERT HEINECKEN
1931-2006
'LESSONS IN POSING SUBJECTS'
a group of 28 plates from the series Lessons in Posing Subjects, comprising a total of 212 unique Polaroid SX-70 prints mounted
to 28 sheets of BFK Rives deckle-edged paper, each signed, dated, and editioned '3/10' in pencil and with letterpress series title
and text on the mount, 1981-82, each no. 3 from the edition of 10 (28)
Each Polaroid print approximately 3 1/8 by 3 in. (7.9 by 7.6 cm.)
ESTIMATE 15,000 - 25,000 USD
CATALOGUE NOTE
The Lessons in Posing Subjects series is Robert Heinecken's examination of the language and imagery of
presentation as derived from a variety of contexts, among them sociology, psychology, pornography, and the
commercial world of advertising. Using SX-70s of the uncannily repetitive mass-media images of men, women, and
children, as well as specific poses and clothing, Heinecken creates a trenchant comment on the steady and
homogenous diet force-fed to America's consumer culture.
Luke Batten, Director of the Robert Heinecken Trust, has observed that Heinecken was inspired in part by Erving
Goffman's landmark study, The Presentation of Self in Everyday Life (1959). Heinecken was fascinated by the
sometimes surprising similarities in language used by Goffman, a sociologist, and the language of other disciplines,
among them advertising and pornography. Heinecken's own text accompanying Lessons morphs from the quasiscientific to the prurient, from the dry language of an instructional photo manual to the glib language of ad copy.
Throughout, the language is undermined or enhanced by his sophisticated tongue-in-cheek sense of humor.
Heinecken produced 41 different plates for the Lessons in Posing Subjects series. A complete list of the titles of the
28 plates offered here is available on sothebys.com.
LOT 34
LARRY SULTAN (1946-2009) AND MIKE MANDEL (B. 1950)
'YOU'RE SO EASILY INFLUENCED' (BILLBOARD MOCK-UP AND DOCUMENTATION)
a composition of 4 unique Polaroid prints including one Polaroid Type 809 print and 3 Polaroid Type 600 HS prints, matted
together, credit, title, and date on the reverse, 1983 (4)
7½ by 9½ in. (19.1 by 24.1 cm.)
3 1/8 by 3 1/8 in. (7.9 by 7.9 cm.)
CATALOGUE NOTE
The photographers Larry Sultan and Mike Mandel, both raised in Los Angeles's San Fernando Valley, met as
graduate students at the San Francisco Art Institute in the early 1970s. Each was fascinated by the influence of the
media upon society, and their shared fascination with visual culture led to a series of fascinating collaborations that
produced work unlike anything that had come before. The first of these began in 1973, when the two collaborated
on a series of billboards that employed photography, painting, or a combination of both. Sultan and Mandel
displayed these images in the most public of spaces, on commercial roadside billboards, ensuring that they would
reach a wide and varied audience. Mike Mandel commented, 'Using the language of advertising and the
expectation of billboard content we were able to create unexpected socially charged imagery informed by the
context of the space.' The four unique Polaroid prints offered here relate to the creation of a Sultan/Mandel billboard
design originally erected in Mahwah, New Jersey, in 1983.
Many of Sultan's and Mandel's billboardssuch as the one pictured in the images offered here: You're So Easily
Influencedcommented directly upon the nature and aims of the advertising industry. Others were more enigmatic,
such as the one featuring an illustration of a pair of hands holding flaming oranges accompanied by the bold text,
Oranges on Fire. Still others were more political, such as the billboard featuring the words Ooh La La! emblazoned
over an atomic bomb's mushroom cloud.
Sultan and Mandel would collaborate in 1977 on Evidence, a project that involved a selection of images from the
photographic archives of industrial, government, and news organizations. The project, and the associated book,
stand today as one of the most significant post-modern assessments of the nature of the photographic medium.
LOT 35
ROBERT HEINECKEN
1931-2006
UPPER MIDDLE CLASS NUCLEAR FAMILY
a series of 4 unique mural-sized Polaroid Polacolor prints, each framed, 1988 (4)
Various sizes to 82 3/8 by 35¼ in. (209.2 by 89.5 cm.)
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
Photographic Resource Center at Boston University, American Perspectives: Photographs from the Polaroid
Collection (a continuation of a portion of the original American Perspectives exhibition), November 2002 January
2003
LITERATURE
CATALOGUE NOTE
The unique work presented here is taken from an original Robert Heinecken relief collage of cut, crumpled, and
crushed magazine advertisements placed strategically on black mounts to create four figures: a father, a mother, a
teenaged daughter, and a baby. The brand names and consumer goods featured so prominently in the composition
undermine the much-touted integrity of the cherished nuclear family unit. With its emphasis on consumer culture,
the Upper Middle Class Nuclear Family points a finger at the fractured values of contemporary society.
In 1988, Robert Heinecken received a Polaroid Corporation grant to use the giant 40-by-80-inch Polaroid camera at
the Museum of Fine Arts, Boston, a camera developed initially to copy paintings. This 12-foot-by-12-foot, 16-foot
high, room-sized camera was also perfect for the large scale of Heinecken's Upper Middle Class Nuclear Family,
and its direct-positive images were able to capture perfectly both the breadth and detail of Heinecken's collage. The
suite of giant Polaroids offered here, comparable to the scale of the original work, was made in 1988, the year after
the collage was created, and as such, preserves the freshness and vivid colors of the ephemeral magazine pages.
The original relief collage of the Upper Middle Class Nuclear Family is owned by the Robert Heinecken Trust,
Chicago, Illinois.
LOT 36
LUCAS SAMARAS
B. 1936
SITTING 8X10 (7B) [STILL LIFE WITH BEADS]
unique Polaroid Type 808 print, dated in pencil on the reverse, framed, an Unrepentant Ego exhibition label and Polaroid
Collection stamps on the reverse, 1978
9½ by 7½ in. (24.1 by 19.1 cm.)
EXHIBITION
New York, Whitney Museum of American Art, Unrepentant Ego: The Self-Portraits of Lucas Samaras, November
LITERATURE
This print:
Instantanés (Centre Georges Pompidou, 1980), p. 80
207
LOT 37
CHUCK CLOSE
B. 1940
'SELF PORTRAIT'
unique mural-sized Polaroid Polacolor print, signed, titled, and dated in ink in the margin, flush-mounted, framed, 1980
76½ by 40¼ in. (194.3 by 102.2 cm.)
ESTIMATE 50,000 - 70,000 USD
CATALOGUE NOTE
In 1979, while working in Cambridge with Polaroid's 20-by-24-inch camera (see Lots 3 and 26), Chuck Close heard
about another, even larger, Polaroid camera housed in Boston's Museum of Fine Arts. Developed initially to take
actual-size photographs of paintings, the massive 40-by-80-inch camera was essentially its own light-tight room.
Close lobbied for access to this camera, known as the Museum Camera, and was granted it in 1980. The
monumental self-portrait offered here is one of the photographs Close made with the camera in that year.
During his first sessions with this massive camera, Close concentrated on portrait subjects. Frequently he took his
position inside the camera, wearing night-vision goggles, to assist in positioning the film and manipulating the
exposure mechanism. The unwieldiness of the process did nothing to stifle his creativity, and the work he created
with the camera is consistently inventive. He would go on, in 1984, to produce with this camera a series of multiimage compositions of nude dancers, each 40-by-80-inch photograph comprising a segment of an immense
composite. While these works are impressive, none conveys the monumentality or impact of the Self Portrait
offered here, or bears as strong a relationship to the rest of Close's oeuvre.
LOT 38
CARRIE MAE WEEMS
B. 1953
SELECTED IMAGES
a group of 9 unique large-format Polaroid Polacolor prints, comprising 8 from the series 'And 22 Million Very Tired and Angry
People' and one entitled 'See No Evil,' 4 trimmed to the image and flush-mounted, each signed and dated in ink on the reverse of
the print or mount, 1991 (9)
Each 24 by 20½ in. (61 by 52.1 cm.)
ESTIMATE 12,000 - 18,000 USD
LITERATURE
Andrea Kirsh and Susan Fisher Sterling, Carrie Mae Weems (The National Museum of Women in the Arts, 1993),
pls. 38, 39, 42, cropped, and 43
CATALOGUE NOTE
In 1990, Carrie Mae Weems was invited by Polaroid to use the mammoth 20-by-24-inch camera. The resulting
images represented Weems's first use of color in her photographic work, and she chose to temper the saturated
colors typical of Polacolor film by shooting the images through a filter. This approach gave the resulting
photographs a muted, almost sepia, color. Several bodies of work emerged from Weems's association with
Polaroid, two of which are represented in this lot.
Eight of the photographs in this lot are from the series And 22 Million Very Tired and Angry People, which was fully
realized as an installation at the New Museum of Contemporary Art in 1991. Andrea Kirsch reports that Weems
'referred to the installation as her ''kitchen piece,'' an attempt to get certain issues on the table' (Kirsch and Sterling,
Carrie Mae Weems, p. 15). The constituent photographs stand for the requirements and contextual elements of
cultural and political change. The full installation consisted of 15 images, each accompanied by an allusive,
evocative, or representational title. The titles for the eight images offered here are An Informational System
[typewriter]; Hot Spot in a Corrupt World [globe]; A Little Black Magic [Orisha figure]; An Armed Man; A Veiled
Woman; A Cool Drink of Water [water glass]; A Dagger; and A Precise Moment in Time [alarm clock]. The New
Museum installation included banners, hung amidst the photographs, that were silk-screened with text by Malcolm
X, Fannie Lou Hamer, Ntozake Shange, Gabriel Carcia Marquez, Anton Chekhov, and others.
The remaining photograph in this lot, of a young African-American man covering his eyes and entitled See No Evil,
is from a triptych whose other images were Hear No Evil and Speak No Evil.
LOT 39
ROBERT HEINECKEN
1931-2006
FOODGRAM #4
unique large-format Polaroid Polacolor print, signed, dated, and numbered '4' in ink in the margin, 1983
20 5/8 by 26 5/8 in. (52.3 by 67.6 cm.)
LITERATURE
Selections 2: From Polaroid Collection (Verlag Photographie, 1984), unpaginated (this print)
CATALOGUE NOTE
Robert Heinecken made his first photograms of food in 1970. These early works, on traditional black-and-white
silver gelatin paper with hand-coloring, were conceived of conceptually as a record of the sustenance Heinecken
received when a collector or institution made a purchase of his work.
In 1983, Heinecken was invited to use the 20-by-24-inch Polaroid cameras at the Museum of Photographic Arts in
San Diego, and at the School for the Museum of Fine Arts, Boston. The present 'foodgram,' as well as those offered
in Lots 196 and 197, were made in that year. According to Luke Batten, Director of the Robert Heinecken Trust, the
arrangement of food into two distinct groups provides a commentary on the art world: the meal on the left, with a
hamburger, shows the kind of food Heinecken, as a visiting artist, would eat with students in a cafeteria during
lunch; the more sophisticated food on the right, with pasta and a variety of vegetables and condiments, comprised
the kind of meal he would have with gallerists, or at museum dinners in the evenings. 'Robert had a good sense of
humor,' Batten has related, 'and was poking fun at the working class moments of the artist, and conversely, the
more elegant moments of one's career.'
Examples of these 'divided' foodgrams in the Robert Heinecken Trust have captioning in the artist's hand that
outlines the narrative content described above.
LOT 40
CARRIE MAE WEEMS (B. 1953) AND JEFFREY HOONE
UNTITLED DIPTYCH (DOLLS)
a diptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, framed,
Innovation/Imagination exhibition labels on the reverse, 1993 (2)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
Atlanta, Fay Gold Gallery, Mosaic Rhythms, February 1993
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 103 (these prints)
LOT 41
DEBORAH TURBEVILLE
B. 1938
SELECTED FASHION STUDIES
6 photographs, comprising 3 Polaroid Type 107 prints and 3 toned gelatin silver prints from Polaroid Type 665 negatives, 2
framed, Innovation/Imagination exhibition labels on the reverse, 1970s (6)
Various sizes to 10½ by 14 in. (26.7 by 35.6 cm.)
EXHIBITION
American Vogue Shoe Editorial and Forgotten Girl:
LITERATURE
Tannenbaum Hair Stylists Poster for Salon:
Dayton's Oral Room:
American Vogue Shoe Editorial:
Forgotten Girl:Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 37
(this print)
LOT 42
LUIGI GHIRRI
1943-1992
FROM 'STILL LIFE' (WORLD NO. 2)
unique large-format Polaroid Polacolor print, signed, titled, dated, and with technical notations in ink in the margin, 1980
24 by 20½ in. (61 by 52.1 cm.)
LITERATURE
Germano Celant, William Eggleston, and Paola Ghirri, It's Beautiful Here, Isn't It. . .Luigi Ghirri (Aperture, 2008), p.
104 (this print, herein titled Amsterdam)
A variant of this image:
Luigi Ghirri: Polaroid (Milan, 2008), cover and p. 119
CATALOGUE NOTE
Inspired by images of the earth photographed by Apollo 11 in the summer of 1969, Italian draftsman and surveyor
Luigi Ghirri began to plan a photographic project he described as 'the grand adventure of gaze and thought. . . the
voyage into the inextricable hieroglyph of reality through PLANS and MAPS that are simultaneously
PHOTOGRAPHS.' The initial results were produced on weekends and during family vacations and presaged the
works he would produce throughout his career: they were in color ('I photograph in color because the real world is
not in black and white.'), and he incorporated found objectssigns, posters, fragments, and the postcards he began
collecting as a childin their making to create conceptual images utilizing the real and the imaginary.
Ghirri's first published works were in Time-Life's Photography Year 1975 in the 'Discoveries' chapter, as well as
those of fellow Modenese, Franco Fontana. They were two of the five finalists selected from among 26
photographers by a panel of judges that included Helen Johnston, Nathan Lyons, and Lorraine Monk. At the time of
his selection, Ghirri was a member, along with Fontana, of Dimensione, a group of dedicated amateur
photographers, founded by Il Diaframma gallery (Milan) director Lanfranco Colombo.
In 1980 and 1981, Manfred Heiting, director of Polaroid International, invited Ghirri to use the large-format 20 x 24
camera in the company's Amsterdam studio. The results were a continuation of his Still-Life series of the mid1970s, when he prowled the antique stalls in Modena, gathering a variety of objects, including manuscripts, old
photographs, paintings, catalogues, prints, and three-dimensional objects such as toys. The camera technician in
Amsterdam offered Ghirri a catalogue of models from which other photographers had selected to create their
Polacolor images, but the photographer chose to bring suitcases filled with his own found treasures.
During a 2005 interview with Melissa Harris, William Eggleston spoke about Ghirri's work,
'It is the variety of Luigi Ghirri's work, the eclectic aspect, that most surprises and excites me. I cannot necessarily
tell that they are all taken by the same personwhich is a compliment! With a Friedlander, you can always tell it's a
Friedlander. . . and probably with an Eggleston, too. With Ghirri, it's not simply the subject matter that distinguishes
each of his series, it's the whole idea of the whole picture. Everything. His work is remarkably disparate, and there
are momentsmanywhen it just hits.
'In general, I like Ghirri's use of color and the fact that the work feels empathetic . . . I like the play among reality and
mystery, the constructed. Everybody thinks this is new, but Ghirri was doing it more than thirty years ago. And the
photographs of maps . . . are so simple but exactly right.
'There's a lot that Ghirri did that I don't do, and that I probably won't dobut I'm sure glad he did it' (It's Beautiful here,
isn't it . . .: Photographs by Luigi Ghirri, pp. 9-11 and 132-134).
No Polaroid Polacolor prints by Luigi Ghirri have been offered previously at auction.
LOT 43
RALPH GIBSON
B. 1939
SELECTED NUDE STUDIES OF LISA
2 unique large-format Polaroid Polacolor prints, one signed in ink on the image, framed, and with an Innovation/Imagination label
on the reverse, 1979 (2)
Each approximately 23¾ by 20 in. (60.3 by 51 cm.)
EXHIBITION
Lisa (Nude in Profile):
LITERATURE
These prints:
Barbara Hitchcock, ed., Emerging Bodies: Nudes from the Polaroid Collection (Zurich, 2000), p. 92
LOT 44
WILLIAM WEGMAN
B. 1943
'BLACK TRIPTYCH'
a triptych of unique large-format Polaroid Polacolor prints, one signed and dated in ink on the image, 1979 (William Wegman
Polaroids, pp. 12-13, Funney/Strange, p. 107, and William Wegman, pp. 72-3, all variants) (3)
ESTIMATE 10,000 - 15,000 USD
LOT 45
WILLIAM WEGMAN
B. 1943
FAY IN A BOX
unique large-format Polaroid Polacolor print, framed, an Innovation/Imagination exhibition label on the reverse, 1987 (cf. Fay, p.
46, from the same series)
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LITERATURE
Innovation/Imagination: 50 Years of Photographs from the Polaroid Collection (The Friends of Photography, 2000),
p. 89 (this print)
LOT 46
WILLIAM WEGMAN
B. 1943
'PARALLELOGRAM'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, framed, a Polaroid Collection label on
the reverse, 1993
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LITERATURE
2000), pl. 107 (this print)
LOT 47
WILLIAM WEGMAN
B. 1943
'GAME PRESERVE'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, mounted, framed, 1990
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 48
WILLIAM WEGMAN
B. 1943
'ELKS CLUB'
unique large-format Polaroid Polacolor print, signed, titled, dated, and numbered 'AP 1/10' in ink in the margin, framed, a Polaroid
Collection label on the reverse, 1980
24½ by 20 5/8 in. (62.2 by 52.4 cm.)
EXHIBITION
LOT 49
ANDY WARHOL
1928-1987
BIANCA JAGGER
unique Polaroid Polacolor Type 108 print, the photographer's blindstamp in the margin, framed, 1979
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
EXHIBITION
LITERATURE
Instantanés (Centre Georges Pompidou, 1980), p. 42, (this print)
LOT 50
ANDY WARHOL
1928-1987
SYLVESTER STALLONE
unique Polaroid Polacolor Type 108 print, the photographer's blindstamp in the margin, circa 1979
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
LOT 51
ANDY WARHOL
1928-1987
FARRAH FAWCETT
unique Polaroid Polacolor Type 108 print, the photographer's blindstamp in the margin, framed, circa 1979
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
EXHIBITION
LITERATURE
Andy Warhol Polaroids, 1971-1986 (New York, 1992), p. 87 (variant from same sitting)
CATALOGUE NOTE
Photography played an integral role in Warhol's oeuvre and provided the starting point for much of his large-scale
work in the 1970s, ´80s and ´90s. The Polaroid camera, with its instant delivery of a finished print, was an ideal tool
for the artist, and allowed him to see right away the results of his sessions; this was especially useful in the series of
portraits, such as the one offered here, that Warhol began in the early 1970s. At that time he discovered the
Polaroid Big Shot camera, acquiring several at a time and traveling with as many as possible. Debuted in 1971, the
bulky Big Shot had a fixed-focus and was intended for indoor portrait flash-photography with Polaroid Type 108 film.
Vincent Fremont, close friend, assistant, and eventual agent for the Warhol estate, recounts Warhol's process of
staging portraits in his 860 Broadway studio: 'The [sitter] would sit on a simple side chair against a white wall in the
front of the studio facing the windows which overlooked Union Square. Andy would direct the [sitter] to pose her
head in various positions: profile, three-quarter view, etc.' (Andy Warhol Polaroids, 1971-1986, p. 6). In this manner,
Warhol photographed a phenomenal range of people, from Farrah Fawcett to Edward Kennedy, from Truman
Capote to Sylvester Stallone essentially anyone who possessed a sufficient degree of 'celebrity.' Polaroids from
such sittings were often then transferred to acetates for Warhol's well-known silkscreens and paintings.
LOT 52
ANDY WARHOL
1928-1987
SELF-PORTRAIT (GRIMACE)
unique large-format Polaroid Polacolor print, framed, Instant Likeness and Innovation/Imagination exhibition labels and a Polaroid
Collection stamp on the reverse, 1979
24 by 20¾ in. (61 by 52.7 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Washington, D. C., The National Portrait Gallery, The Instant Likeness: Polaroid Portraits, August - December 1988
LITERATURE
This print:
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 41 and back
cover
LOT 53
ANDY WARHOL
1928-1987
SELF-PORTRAIT (EYES CLOSED)
unique large-format Polaroid Polacolor print, 1979
24 by 20½ in. (61 by 52.1 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
LITERATURE
This print:
2000), pl. 1
LOT 54
ANSEL ADAMS
1902-1984
'EL CAPITAN - WINTER, YOSEMITE NATL. PARK, CALIFORNIA'
from a Polaroid Type 55 negative, mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title and
annotation in ink on the reverse, framed, an Ansel Adams &Edwin Land exhibition label and a Polaroid Collection stamp on the
reverse, 1968, probably printed between 1973 and 1977 (Polaroid Land Photography, p. 202; Singular Images, p. 53; 400
Photographs, p. 411)
15¼ by 12¼ in. (38.7 by 31.1 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Quito, Pontificia Universidad Católica del Ecuador, From the Polaroid Collection: Ansel Adams, sponsored by the
Embassy of the United States, October - November 2001, and traveling to 3 other venues through 2003 (see
Appendix 1)
Naples, Florida, Museum of Art, Ansel Adams &Edwin Land: Art, Science and Invention, Photographs from the
Polaroid Collection, May - July 2004, and traveling to 8 other venues through 2007 (see Appendix 1)
CATALOGUE NOTE
The history of Polaroid, its cameras, and its photography collection are linked in innumerable ways to the figure of
Ansel Adams. Ansel Adams met Edwin Land in 1948, the year that the first Polaroid camera was marketed to the
public, and in the decades that followed, Adams became Land's professional colleague, personal friend, and one of
the earliest proponents of Polaroid's photographs collection. For over 30 years, the technically-gifted Adams tested,
critiqued, and helped to shape Polaroid cameras and film. Delighted by Polaroid's responsiveness to
photographers, and by the many innovations of Polaroid productsits 'instant' images, its superb Type 55
positive/negative filmAdams became a champion of Polaroid to the public and to his friends. In 1963, he published
his own guide and manual to the Polaroid process, Polaroid Land Photography. And in 1974, the Metropolitan
Museum of Art included a whole section of Adams's Polaroids in its retrospective Adams exhibition, with an
accompanying catalogue, Singular Images.
The collection of Ansel Adams photographs owned by the former Polaroid Corporation was the largest and most
important collection of Adams's work in private hands. The collection's over 400 Adams images include works from
both traditional cameras and Polaroid cameras and film. Among the over 30 murals of classic Adams photographs
that hung in Polaroid's corporate offices were Moonrise, Hernandez; Clearing Winter Storm; Winter Sunrise; and
the Snake River and Tetons. These Adams classics, and many other images in the 16-by-20-inch size in the
collection, from both conventional and Polaroid film, are too numerous to list. Along with these works in traditional
and mural formats, the collection includes several of Adams's published portfolios and dozens of small unique
Polaroids. Even seasoned Adams aficionados will be surprised by the variety and quality of the Adams work
presented in this catalogue, some of it unpublished and little known.
Adams's role as first 'curator' of Polaroid's Library Collection provides a fascinating look at Adams's own tastes in
the photography of his time. (The genesis of the Library Collection is outlined in the entry for Lot 74 in the present
catalogue.) In a series of memos to Edwin Land and other Polaroid employees in 1956 and 1957, the first years of
the Library acquisitions, Adams targets a group of photographers whose works were 'must-haves' for Polaroid's
nascent collection. Somesuch as Edward Weston and Imogen Cunninghamwere already giants in the field. But
others, such as Minor White, Harry Callahan, and William Garnett, were photographers whose reputations were just
beginning, and with an assured and practiced eye, Adams picked out works by this younger generation of
photographers that were destined to become classics.
The image offered here, El CapitanWinter, made with Polaroid Land film, has been called by Adams's biographer
Mary Alinder the photographer's 'last great photograph.' About this image, Adams wrote:
'Many of my most successful photographs from the 1950s onward have been made on Polaroid film. A favorite
image is El Capitan, Winter, Sunrise, made in 1968 with Polaroid Type 55 P/N material. The greatest glory of
Yosemite is witnessed during the dawn following a snowstorm. On this snowy morning, I urgently searched the
valley for a photograph, for soon after sunrise the trees and valley walls lose their white frosting of snow in the
growing warmth of the day. I found El Capitan, the largest single piece of granite in the world, heroically revealed as
the clouds and mist flowed about its huge form in wreaths and ribbons. One look at the tonal quality of the print I
achieved should convince the unintiated of the truly superior quality of Polaroid film' (Autobiography, p. 302).
LOT 55
ANSEL ADAMS
1902-1984
ROCK IN SNOW
unique Polaroid Type 42 print, with printing notations on the reverse, framed, Polaroid Collection and Ansel Adams &Edwin Land
exhibition labels and a Polaroid Collection stamp on the reverse, 1956
2 7/8 by 3¾ in. (7.3 by 9.5 cm.)
EXHIBITION
Pittsburgh, Ansel Adams at Silver Eye Center for Photography, November 1999 - January 2000
Appendix 1)
LITERATURE
John Wolbarst, Polaroid Portfolio #1 (New York, 1959), p. 26 (this print)
LOT 56
ANSEL ADAMS
1902-1984
'HALF DOME, MERCED RIVER, WINTER, YOSEMITE VALLEY'
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8), titled in ink, on the
reverse, framed, an Ansel Adams &Edwin Land exhibition label and Polaroid Collection stamp on the reverse, 1938, probably
printed between 1963 and 1970 (Yosemite and the Range of Light, pl. 21; Yosemite: Ansel Adams, p. 71; Classic Images, pl. 22)
15 by 19¼ in. (38.1 by 48.9 cm.)
ESTIMATE 35,000 - 50,000 USD
EXHIBITION
Appendix 1)
LOT 57
ANSEL ADAMS
1902-1984
ICE BREAKING UPON HIGH SIERRA LAKE
unique Polaroid Type 52 print, framed, circa 1968
4½ by 3½ in. (11.4 by 8.9 cm.)
LOT 58
ANSEL ADAMS
1902-1984
'SIERRA NEVADA FROM LONE PINE, CALIFORNIA' (WINTER SUNRISE)
reverse, 1944, probably printed between 1963 and 1970 (400 Photographs, p. 245; Morgan &Morgan, pl. 77; Examples, p. 162;
Ansel Adams at 100, pl. 85; Classic Images, pl. 38; Yosemite and the Range of Light, pl. 99; Eloquent Light, unpaginated; An
Autobiography, p. 262)
15 3/8 by 19 1/2 in. (39.1 by 49.5 cm.)
ESTIMATE 40,000 - 60,000 USD
LOT 59
ANSEL ADAMS
1902-1984
MERCED RIVER, CLIFFS OF CATHEDRAL ROCK, AUTUMN
mural-sized, flush-mounted, framed, Ansel Adams &Edwin Land exhibition and Polaroid Collection labels and Polaroid Collection
stamps on the reverse, 1939, probably printed in the 1950s or 1960s
39¾ by 49 in. (101 by 124.5 cm.)
ESTIMATE 150,000 - 250,000 USD
EXHIBITION
Appendix 1)
LITERATURE
Ansel Adams (Morgan &Morgan, 1972), pl. 70
James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1985), pl. 24
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 140
Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 40
The Porfolios of Ansel Adams (Boston, 1977), p. 42
LOT 60
ANSEL ADAMS
1902-1984
'PINE BRANCHES, YOSEMITE VALLEY'
unique Polaroid Type 55 print, titled and dated in ink, 'Polaroid Land Photograph by Ansel Adams' and handling information
stamps on the reverse, framed, a 'Property of Polaroid Corporate Archives' stamp on the reverse, 1961
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LITERATURE
Ansel Adams, Polaroid Land Photography, p. 25 (likely this print)
Edwin Land, David H. McAlpin, et al., Singular Images (New York, 1974), p. 51
Andrea G. Stillman, Ansel Adams: 400 Photographs (Boston, 2007), p. 384
CATALOGUE NOTE
This print was made with Polaroid's Type 55 positive/negative film, a product that provided the photographer, after
exposure, with both a unique positive print and a negative from which conventional photographic prints could be
made. Adams championed this film in his Polaroid manuals, stating that Type 55 produced 'negatives of very high
quality, equal to almost any conventional fine-grained negative in their capacity for great enlargement' (Polaroid
Land Photography, p. 46). It is likely that the unique print offered here was used for reproduction in Polaroid Land
Photography. The prints reproduced in Singular Images and 400 Photographs were gelatin silver prints made from
the resultant negative. The prints offered as Lots 295 and 376 in the present sale were made from this negative,
and demonstrate the extent to which Type 55 negatives could be enlarged without noticeable degradation of the
image.
LOT 61
ANSEL ADAMS
1902-1984
'RAIL FENCE - TETON'
from a Polaroid Type 55 negative, mounted on Crescent illustration board, signed in ink on the mount, Carmel studio stamps
(BMFA 5, 6, and 10), titled, dated, and annotated in ink, on the reverse, framed, 1965
17 3/4 by 13 5/8 in. (45.1 by 34.6 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 62
ANSEL ADAMS
1902-1984
'MT. MCKINLEY AND WONDER LAKE, ALASKA'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title and notations in ink, on the reverse, framed,
1948, probably printed between 1973 and 1977 (400 Photographs, p. 233; Morgan &Morgan, pl. 47; Classic Images, p. 54;
Examples, p. 74; Ansel Adams at 100, pl. 110; Portfolio I, pl. 1)
15½ by 19¼ in. (39.4 by 48.9 cm.)
ESTIMATE 30,000 - 50,000 USD
EXHIBITION
Appendix 1)
LOT 63
ANSEL ADAMS
1902-1984
'GRAND TETONS AND THE SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and annotation in ink on the reverse, 1942,
probably printed between 1973 and 1977 (400 Photographs, cover and p. 205; Our National Parks, cover and p. 31; Classic
Images, p. 35; Morgan &Morgan, pl. 56; Autobiography, p. 192; The Mural Project, p. 73)
15 1/2 by 19 in. (39.4 by 48.3 cm.)
ESTIMATE 50,000 - 70,000 USD
LOT 64
ANSEL ADAMS
1902-1984
'WHITE HOUSE RUIN, CANYON DE CHELLY NATIONAL MONUMENT'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title in ink, and a Display Print stamp on the
reverse, 1942, probably printed between 1973 and 1977 (400 Photographs, p. 165; Examples, p. 128)
19 1/8 by 13¾ in. (48.7 by 34.9 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 65
ANSEL ADAMS
1902-1984
'CANYON DE CHELLE NATIONAL MONUMENT, ARIZONA'
reverse, framed, an Ansel Adams &Edwin Land exhibition label and a Polaroid Collection stamp on the reverse, 1942, probably
printed between 1963 and 1970 (400 Photographs, p. 166; Our National Parks, p. 96; The Mural Project, dust jacket; Photographs
of the Southwest, pl. 30)
15½ by 19 3/8 in. (39.4 by 49.2 cm.)
ESTIMATE 35,000 - 50,000 USD
EXHIBITION
Appendix 1)
LOT 66
ANSEL ADAMS
1902-1984
TENAYA LAKE, MOUNT CONNESS, YOSEMITE NATIONAL PARK
mural-sized, flush-mounted, framed, a Polaroid Collection label on the reverse, circa 1946, probably printed in the 1950s or 1960s
29¾ by 38 7/8 in. (75.6 by 98.7 cm.)
ESTIMATE 120,000 - 180,000 USD
LITERATURE
Ansel Adams and Mary Street Alinder, Ansel Adams: An Autobiography (Boston, 1985), p. 155
LOT 67
ANSEL ADAMS
1902-1984
OCEAN AND TIDAL STREAM
unique Polaroid Type 40-series print, annotated '#6' and with other technical notations in ink on the reverse, framed, late 1940s or
1950s
2 7/8 by 3 7/8 in. (7.4 by 9.7 cm.)
CATALOGUE NOTE
The photograph in this lot, made on Polaroid's Type 40-series film, is among the earliest Polaroid photographs in
the Collection.
LOT 68
ANSEL ADAMS
1902-1984
'BEACH, EVENING, N. CAL. COAST'
(BMFA 5, 6, and 10), titled and annotated 'Polaroid Corp.' in ink, on the reverse, 1964
14¼ by 18 in. (36.2 by 45.7 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 69
ANSEL ADAMS
1902-1984
SODIUM SULFITE CRYSTALS (EVAPORATED IN TRAY)
unique Polaroid Type 55 print, inscribed 'Hypo Chrystals [sic]' in ink and the 'Polaroid Land Photograph by Ansel Adams' and
handling instruction stamps on the reverse, signed in ink on the mat, titled and with the 'Polaroid Land Photograph by Ansel
Adams' stamp on the mat interior, framed, Polaroid Collection and Ansel Adams &Edwin Land exhibition labels and a Polaroid
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
EXHIBITION
Appendix 1)
LITERATURE
Ansel Adams, Polaroid Land Photography (Boston, 1978), p. 20 (this print)
CATALOGUE NOTE
The subject matter of this photograph, crystalline sodium sulfite, has a direct relationship to the Polaroid Type 55
positive/negative film used to make this image. After exposure and development, a solution of sodium sulfite was
required to 'clear' the negative, i. e., wash away the opaque backing on the reverse of the acetate film. Of this
photograph, Adams wrote, 'The crystals were photographed at 1:1; the lens was thus extended to twice its focal
length and the extension factor was 4' (Polaroid Land Photography, p. 20). For a gelatin silver print enlarged from
the corresponding negative, see Lot 248.
LOT 70
ANSEL ADAMS
1902-1984
'SHINGLES'
(BMFA 5 and 6), titled and annotated in ink, 'Polaroid Land Photograph by Ansel Adams' and printing information stamps, with
annotation in ink, on the reverse, 1962, probably printed between 1962 and 1963 (Singular Images, pl. 28; Polaroid Land
Photography Manual, fig. 59, p. 116, variant)
14 by 18 5/8 in. (35.6 by 47.2 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 71
ANSEL ADAMS
1902-1984
EL CAPITAN AND VALLEY VIEW TO HALF DOME, YOSEMITE
unique Polaroid Type 55 print, inscribed with technical data in red ink in the margin, a San Francisco studio stamp (BMFA 4) on
the reverse, framed, Polaroid Collection and Ansel Adams &Edwin Land exhibition labels and Polaroid Collection stamps on the
reverse, 1950s or early 1960s
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
EXHIBITION
Appendix 1)
LITERATURE
LOT 72
ANSEL ADAMS
1902-1984
BRIDAL VEIL FALL AND CATHEDRAL PEAKS, YOSEMITE
unique Polaroid Type 55 print, inscribed 'A' in red ink in the margin, framed, Polaroid Collection and Ansel Adams &Edwin Land
exhibition labels and a Polaroid Collection stamp on the reverse, 1962
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
EXHIBITION
Appendix 1)
LITERATURE
LOT 73
ANSEL ADAMS
1902-1984
CEDAR TREES IN SNOW, WINTER, YOSEMITE NATIONAL PARK
mural-sized, from a Polaroid Type 55 negative, flush-mounted, framed, a typed Polaroid Collection label on the reverse, 1949,
probably printed in the 1950s or 1960s
40 by 30½ in. (101.6 by 77.5 cm.)
ESTIMATE 30,000 - 50,000 USD
LITERATURE
Janet Swan Bush, ed., Ansel Adams: Trees (Boston, 2004), p. 74
LOT 74
HARRY CALLAHAN
1912-1999
'TREES AND MIST' (CHICAGO, TREES IN SNOW)
mounted, signed in ink and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit and title and
accession information in ink, on the reverse, 1950, printed no later than 1958
7 1/2 by 9 3/8 in. (19.1 by 23.8 cm.)
ESTIMATE 70,000 - 100,000 USD
PROVENANCE
Acquired from the photographer in December 1958 for the Library Collection
LITERATURE
Photographs: Harry Callahan (Santa Barbara: El Mochuelo Gallery, 1964), pl. 84
Harry Callahan (The Museum of Modern Art, 1967), p. 65 and rear cover
Sarah Greenough, Harry Callahan (Washington: National Gallery of Art, 1996), p. 73
Katherine Ware, Elemental Landscapes: Photographs by Harry Callahan (Philadelphia Museum of Art, 2001), pl. 4
Britt Salvesen, Harry Callahan: The Photographer at Work (Center for Creative Photography and Yale University,
2006), pl. 21
David Travis and Elizabeth Siegel, Taken by Design: Photographs from the Institute of Design, 1937-1971 (The Art
Institute of Chicago, 2002), p. 62
CATALOGUE NOTE
The photograph by Harry Callahan offered here was purchased by Ansel Adams on behalf of the Polaroid
Corporation for inclusion in a group of photographs that would come to be known within Polaroid as 'the Library
Collection.' In the spring of 1956, Adams and Edwin Land began to discuss the idea of expanding Polaroid's
growing collection of images beyond those made with Polaroid technology; as Adams wrote in a memo to Land in
March of that year,
'I am much pleased that this idea has been brought up . . . I have always felt that Polaroid should interest itself in
photography-in-general, thereby associating itself with the art in its entirety and avoiding "compartmentization." The
association of fine Polaroid-Land pictures with the best photographs in other media will only enhance the value and
importance of the Polaroid process.'
Adams was given approximately $1,200 for the first year's acquisitions, and he proceeded with care and
deliberation. The collection would officially be named the 'Photography Collection of the Polaroid Corporation,' and
the letterpress label placed on the mount of each photograph carries this title. As the prints were originally stored
and installed in Polaroid's library, however, the collection came to be known, simply, as the Library Collection.
Callahan was one of a number of contemporary photographers whose work Adams considered exemplary of 'true
excellence and achievement.' Others ranked high by Adams, and whose prints he purchased for the Collection,
were Imogen Cunningham, Edward Weston, Dorothea Lange, Margaret Bourke-White, Laura Gilpin, Brett Weston,
Minor White, Aaron Siskind, William Garnett, Walter Chappell, and Pirkle Jones, all of whose work is offered in the
present catalogue. Paul Strand was among the very first on Adams's initial 'want list,' but, regrettably, Strand's
prices, in the context of Adams's budget, turned out to be prohibitive.
In a series of memos from 1956 and 1957 to Land, his assistant Meroë Morse, and Polaroid's librarian Jacquelin
Sykes, Adams gives detailed instructions for labeling, handling, displaying, and storing the Library Collection
photographs. The superb condition of many of the Library Collection prints is due to Adams's foresight in this
regard. Of special interest to photographs collectors and historians is the meticulous recording on each label of the
print's title, as well as the month and year the photograph entered the Collection. The titles and printing dates for
several of the classic images offered here, including Callahan's Trees in Mist, are the most definitive statement of
each photographer's interpretation of the negative at the time the print was acquired by Polaroid.
LOT 75
HARRY CALLAHAN
1912-1999
'WOMAN AND CHILD (CITYSCAPE)' (ELEANOR AND BARBARA)
mounted, signed in ink and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit and title, and
7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
ESTIMATE 30,000 - 50,000 USD
PROVENANCE
LITERATURE
Photographs: Harry Callahan (Santa Barbara: El Mochuelo Gallery, 1964), pl. 5
Harry Callahan (The Museum of Modern Art, 1967), p. 27
Eleanor (Carmel: The Friends of Photography, 1984), p. 49
Harry Callahan, Aperture Masters of Photography (1999), p. 2
Britt Salvesen, Harry Callahan: The Photographer at Work (Center for Creative Photography and Yale University,
2006), pl. 93
Julian Cox, Eleanor (Atlanta: High Museum of Art, 2007), pl. 61
LOT 76
IMOGEN CUNNINGHAM
1883-1976
'UNMADE BED'
mounted, signed and dated in pencil on the mount, the photographer's '1331 Green Street, San Francisco' studio label, with typed
title and date, and a 'Photography Collection of the Polaroid Corporation' label, with typed title and date and accession information
in ink, on the reverse, 1957, printed no later than 1960
7½ by 9 5/8 in. (19.1 by 24.2 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
Acquired from the photographer in February 1960 for the Library Collection
LITERATURE
Richard Lorenz, Imogen Cunningham: 1883-1976 (Köln: Taschen, 2001), p. 241
Richard Lorenz, Imogen Cunningham: Ideas without End, A Life in Photographs (San Francisco, 1993), pl. 104
Robert Doty, ed., Photography in America (New York, 1974), pp. 178-9
Drew Heath Johnson, Capturing Light: Masterpieces of California Photography, 1850 to the Present (Oakland
Museum, 2001), pl. 142
CATALOGUE NOTE
The photograph offered here, Imogen Cunningham's classic Unmade Bed, is one of the few demonstrably early
prints of the image to have appeared at auction. Taken in 1957, the present photograph was acquired by Ansel
Adams for Polaroid's Library Collection in February 1960.
Aside from certain portrait studies, the Unmade Bed was the most contemporary of Cunningham's work to be
selected by Adams for Polaroid. The Rubber Plant of 1930 (Lot 321) and the Frida Kahlo of 1931 (Lot 447) were
already established icons in Cunningham's long career when Adams's selection was made. As with his Callahan
choices for the Collectionespecially the Trees and Mist (Lot 74) and the Woman and Child (Cityscape) (Lot
75)Adams selected this Cunningham image that, although recent when chosen, has proved over time to be among
the photographer's most enduring.
LOT 77
MINOR WHITE
1908-1976
'POINT LOBOS, CALIFORNIA' (TWISTED TREE)
mounted, signed and dated in ink on the mount, a 'Photography Collection of the Polaroid Corporation' label, with typed title,
credit, and process and accession information in ink, on the reverse, 1951, printed no later than 1957 (MMM, p. 80; The Eye That
Shapes, cover and p. 125; Rites and Passages, p. 33)
9 1/4 by 6 1/4 in. (23.5 by 15.9 cm.)
PROVENANCE
Acquired from the photographer in September 1957 for the Library Collection
LOT 78
MINOR WHITE
1908-1976
'BARNS' (TWO BARNS, DANSVILLE, NEW YORK)
mounted, signed and dated in pencil on the mount, a 'Photography Collection of the Polaroid Corporation' label, with typed title,
credit, and process and accession information in ink, on the reverse, 1954, printed no later than 1957 (The Eye That Shapes, p.
144; Image, Vol. 19, No. 3, September 1976, p. 32)
7 3/8 by 9 1/2 in. (18.7 by 24.1 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LOT 79
DOROTHEA LANGE
1895-1965
'END OF AN ERA'
mounted, signed and titled in pencil on the mount, the photographer's 'Dorothea Lange, 1163 Euclid Avenue, Berkeley, 8,
California' studio label and a 'Photography Collection of the Polaroid Corporation' label, with typed credit, title, and process and
9 1/2 by 8 in. (24.1 by 20.3 cm.)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
Acquired from the photographer in June 1958 for the Library Collection
LITERATURE
John Szarkowski, Dorothea Lange (The Museum of Modern Art, 1966), p. 23
Robert Coles and Therese Heyman, Dorothea Lange: Photographs of a Lifetime (Aperture, 1982), p. 55
Keith F. Davis and Kelle A. Botkin, The Photographs of Dorothea Lange (Kansas City, 1995), p. 52
Pierre Borhan, Dorothea Lange: The Heart and Mind of a Photographer (Boston, 2002), p. 148
John Szarkowski, The Photographer's Eye (The Museum of Modern Art, 1966), p. 64
LOT 80
DOROTHEA LANGE
1895-1965
'PEAPICKERS FAMILY' (MIGRANT MOTHER, NIPOMO)
mounted, signed and dated in pencil on the mount, the photographer's 'Dorothea Lange, 1163 Euclid Avenue, Berkeley, 8,
California' studio label and a 'Photography Collection of the Polaroid Corporation' label, with typed credit, title, and process and
12 7/8 by 10 in. (32.7 by 25.4 cm.)
ESTIMATE 60,000 - 80,000 USD
PROVENANCE
LITERATURE
John Szarkowski, Dorothea Lange (The Museum of Modern Art, 1966), p. 25
Therese Thau Heyman, Celebrating a Collection: The Work of Dorothea Lange (The Oakland Museum, 1978), p. 61
Dorothea Lange: Photographs of a Lifetime (Aperture, 1982), p. 77
Therese Thau Heyman, Sandra S. Phillips, and John Szarkowski, Dorothea Lange: American Photographs (San
Francisco Museum of Modern Art, 1994), pl. 1
Keith F. Davis, The Photographs of Dorothea Lange (Kansas City, 1995), p. 45
Peter Galassi, American Photography 1890-1965 (The Museum of Modern Art, 1995), p. 148
Dorothea Lange: The Human Face (Aosta, 1998), p. 99
Pierre Borhan, Dorothea Lange: The Heart and Mind of a Photographer (Boston, 2002), p. 133
Barbara Haskell, The American Century: Art and Culture 1900-1950 (Whitney Museum of American Art, 1999), pl.
481
Weston Naef, Photographers of Genius at the Getty (The J. Paul Getty Museum, 2004), pl. 101
LOT 81
MILTON HALBERSTADT
1919-2000
'SAN FRANCISCO (1)'
Kodalith line print, signed in ink on the image, flush-mounted, the photographer's 'm. halberstadt/243 vallejo st/san francisco 11'
studio stamp and and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and process, and
accession information in ink, on the reverse, 1959
18 1/2 by 15 1/8 in. (47 by 38.3 cm.)
PROVENANCE
Acquired from the photographer in May 1959 for the Library Collection
CATALOGUE NOTE
Milton Halberstadt is known primarily for his groundbreaking advertising photographs and campaigns for food
companies that included Paul Masson Vineyards, Almaden Vineyards, Del Monte Foods, Dole, Foremost Brands,
and Spice Islands. In 1945, he opened his M. Halberstadt Illustration Photography Studio in San Francisco after his
service in the U. S. Army. He had extensive photographic experience prior to that time, having worked as a studio
assistant and photographing for the WPA in the 1930s. In 1940, he received a scholarship to study at Chicago's
Institute of Design. There he assisted László Moholy-Nagy and György Kepes, overseeing the photography studio
and darkrooms, while experimenting. Halberstadt was also responsible for printing Moholy's photographs for MoMA
to sell.
After closing his studio in 1973, Halberstadt continued to photograph and taught photography at the University of
California, Berkeley; San Francisco State; and the University of Oregon.
The present print, and that in Lot 467, are Kodalith line prints, or tone-line prints, as named by Halberstadt. The
photographer discovered the process in 1947 an Eastman Kodak book while designing his studio's new letterhead.
He used it frequently from the 1950s on, intrigued by the abstract results he could achieve with the process.
The process began with a low-contrast original negative, from which an underexposed positive was made. These
were then sandwiched in register, placed in a contact printing frame, and exposed on Kodalith (clear) film to make a
low-contrast negative. Halberstadt then exposed both negatives with a sliver of light set at 45 degrees from vertical.
The film was processed in a high-contrast litho developer. The appearance of the resulting images was determined
by the length of the exposure. Some variations, as seen in the present print, were made when the film was reexposed to create a 'solarized' version. (Susan Ehrens, "Halberstadt," B&W, 5 February 2000, pp. 63-4)
LOT 82
PIRKLE JONES
1914-2009
'SURF-SPRAY AND SUN'
mounted, signed in pencil and with the photographer's '2279 - 40th Avenue, San Francisco 16, Calif.' studio stamp and a
'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and process and accession information in ink, on
the reverse, 1952, printed no later than 1957 (California Photographs, frontispiece)
6 1/4 by 8 1/8 in. (15.9 by 20.7 cm.)
PROVENANCE
CATALOGUE NOTE
The photographer Pirkle Jones was long an associate of Ansel Adams, who selected several of Jones's images for
the Library Collection. Initially Adams's student at the California School of Fine Arts in 1946, Jones later served as
Adams's assistant from 1947 to 1953. In 1956, Jones collaborated with Dorothea Lange on a photographic essay of
the Berryessa Valley, and with Adams in 1958 on a series of photographs of the Paul Masson Vineyards. Early
prints of Jones's now-classic photographs of San Francisco, several of which are offered in this catalogue, are
scarce.
LOT 83
WILLIAM GARNETT
1916-2006
'PLOWED FIELD, ARVIN, CALIF. (VERTICAL AERIAL 500 FT.)'
mounted, signed and dated in pencil on the mount, titled in pencil and with the photographer's '3777 El Sereno, Altadena,
California, Sycamore 78483' studio stamp and a 'Photography Collection of the Polaroid Corporation' label, with typed credit and
title and accession information in ink, on the reverse, framed, a Polaroid Collection stamp on the reverse, 1952, printed no later
than 1957 (Aerial Photographs, pl. 48)
13 3/8 by 10¼ in. (34 by 26 cm.)
PROVENANCE
LOT 84
WILLIAM GARNETT
1916-2006
'NUDE DUNE, DEATH VALLEY, CALIF. (VERTICAL AERIAL ABOUT 500 FT.)' (SAND DUNE #1)
13 3/8 by 10¼ in. (34 by 26 cm.)
PROVENANCE
LOT 85
ANSEL ADAMS
1902-1984
SIESTA LAKE, YOSEMITE NATIONAL PARK, CALIFORNIA
mural-sized, flush-mounted, framed, a Polaroid Collection label on the reverse, circa 1958, probably printed in the 1960s
31¾ by 39 7/8 in. (80.6 by 101.3 cm.)
ESTIMATE 80,000 - 120,000 USD
LITERATURE
John Szarkowski, The Portfolios of Ansel Adams (Boston, 1977), p. 72
LOT 86
ANSEL ADAMS
1902-1984
STEEL TANKS
unique Polaroid Type 52 print, framed, an Ansel Adams &Edwin Land exhibition label on the reverse, circa 1968
3½ by 4½ in. (8.9 by 11.4 cm.)
EXHIBITION
Appendix 1)
LOT 87
ANSEL ADAMS
1902-1984
'WATER-TOWER' (SAN FRANCISCO)
unique Polaroid Type 55 print, titled and dated in ink and with 'Polaroid Land Photograph By Ansel Adams' and technical stamps,
annotated in ink, on the reverse, signed in ink on the mat, Carmel studio and 'This is the original POLAROID LAND PRINT and
cannot be be duplicated. THANK YOU!' Polaroid stamps on the inside of the mat, framed, a Polaroid Collection label, exhibition
labels, and a Polaroid Collections stamp on the reverse, 1961
4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
Appendix 1)
LITERATURE
Likely this print:
Ansel Adams, Polaroid Land Photography Manual (New York, 1963), p. 104
Ansel Adams, Polaroid Land Photography (Boston, 1978), fig. 2-1
Another print of this image:
Edwin Land, Ansel Adams, et al., Singular Images (New York, 1974), pl. 42 and back cover
LOT 88
ANSEL ADAMS
1902-1984
ASPENS, NORTHERN NEW MEXICO
mural-sized, flush-mounted, framed, 1958, probably printed in the 1960s
30½ by 38 7/8 in. (77.5 by 98.7 cm.)
ESTIMATE 150,000 - 250,000 USD
LITERATURE
Andrea G. Stillman, Ansel Adams: 400 Photographs (Boston, 2007), cover and p. 375
John Szarkowski, Ansel Adams at 100 (Boston, 2001), pp. 104-05
Mary Street Alinder and Andrea Gray Stillman, eds., Ansel Adams: Letters and Images 1916-1984 (Boston, 1988),
p. 314
Jane Swan Bush, ed., Ansel Adams: Trees (New York and Boston, 2004), p. 9
Andrea G. Stillman, ed., The Grand Canyon and the Southwest (Boston, 2000), p. 85
LOT 89
ANSEL ADAMS
1902-1984
'BIG SUR COAST, CALIFORNIA'
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8), with title in ink, on the
reverse, 1951, probably printed between 1963 and 1970 (400 Photographs, p. 326; California, p. 55; Examples, p. 86)
19 by 14¼ in. (48.3 by 36.2 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 90
ANSEL ADAMS
1902-1984
'THUNDERSTORM, LAKE TAHOE, CALIFORNIA'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title in ink, and annotation in ink on the reverse, 1938,
probably printed between 1973 and 1977 (400 Photographs, p. 139)
19 5/8 by 15½ in. (49.8 by 39.4 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 91
ANSEL ADAMS
1902-1984
THE TETONS AND SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING
mural-sized, flush-mounted, framed, 1942, probably printed in the 1950s or 1960s
39 by 50 7/8 in. (99.1 by 129.2 cm.)
ESTIMATE 250,000 - 350,000 USD
LITERATURE
Andrea G. Stillman and William A. Turnage, eds., Our National Parks (Boston, 1992), cover and p. 31
Peter Wright and John Armor, The Mural Project: Photographs by Ansel Adams (Santa Barbara, 1989), p. 73
James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1985), p. 35
LOT 92
ANSEL ADAMS
1902-1984
EL CAPITAN AND TREES
unique Polaroid Type 52 print, inscribed '52' and with other technical notations in black and red ink in the margin, framed, Polaroid
Collection and Ansel Adams &Edwin Land exhibition labels and a Polaroid Collection stamp on the reverse, 1969
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
EXHIBITION
Appendix 1)
LOT 93
ANSEL ADAMS
1902-1984
'MOON AND HALF DOME, YOSEMITE NATIONAL PARK'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and annotation in ink, on the reverse, 1960,
probably printed between 1973 and 1977 (400 Photographs, p. 379; Yosemite and the Range of Light, pl. 115; Yosemite: Ansel
Adams, pl. 55; Classic Images, cover and pl. 74; Examples, p. 132; Illustrated Guide to Yosemite, page 6)
19 5/8 by 15 1/8 in. (49.8 by 38.4 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 94
ANSEL ADAMS
1902-1984
MOONRISE, HERNANDEZ, NEW MEXICO
39¼ by 56 in. (99.7 by 142.2 cm.)
ESTIMATE 300,000 - 500,000 USD
LITERATURE
Karen E. Haas and Rebecca A. Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005, in
conjunction with the exhibition), pl. 37
John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001, in conjunction with the
exhibition), pl. 96
Andrea Gray Stillman, ed., Ansel Adams: The Grand Canyon and the Southwest (Boston, 2000), frontispiece
James Alinder and John Szarkowski, Ansel Adams: Classic Images, (Boston, 1985), pl. 32
Robert Doty, ed., Photography in America (Whitney Museum of American Art, New York, 1974), pp. 130-31
Therese Mulligan and David Wooters, Photography from 1839 to Today, George Eastman House (Köln, 2000), p.
643
Martha A. Sandweiss, Masterworks of American Photography: The Amon Carter Museum Collection (Birmingham,
1982), pl. 125
LOT 95
ANSEL ADAMS
1902-1984
SEQUOIA ROOTS, MARIPOSA GROVE, YOSEMITE NATIONAL PARK
unique Polaroid Type 41 print, framed, an Ansel Adams &Edwin Land exhibition label on the reverse, circa 1950
3 3/4 by 2 7/8 in. (9.7 by 7.4 cm.)
EXHIBITION
Appendix 1)
LOT 96
ANSEL ADAMS
1902-1984
FERN SPRING, YOSEMITE
unique Polaroid Type 55 print, framed, a Polaroid Collection label, an Ansel Adams &Edwin Land exhibition label, and a Polaroid
4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
LITERATURE
Ansel Adams, Polaroid Land Photography (Boston, 1978), fig. 4-3, likely this print
Edwin Land, Ansel Adams, et al., Singular Images (New York, 1974), pl. 48
Andrea Gray Stillman, ed., Yosemite: Ansel Adams (Boston, 1995), p. 47
Andrea Gray Stillman, Ansel Adams: 400 Photographs (New York, 2007), p. 380
LOT 97
ANSEL ADAMS
1902-1984
WINTER SUNRISE, SIERRA NEVADA, FROM LONE PINE, CALIFORNIA
mural-sized, flush-mounted, framed, Polaroid Collections stamps on the reverse, 1944, probably printed in the 1950s or 1960s
38¾ by 59¼ in. (98.4 by 150.5 cm.)
ESTIMATE 300,000 - 500,000 USD
LITERATURE
exhibition), pl. 85
Nancy Newhall, Ansel Adams: The Eloquent Light, Photographs 1923-1963 (San Francisco, 1963, in conjunction
with the exhibition originating at the M. H. De Young Memorial Museum), unpaginated
Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), p. 262
LOT 98
ANSEL ADAMS
1902-1984
SUN AND CLOUDS
4½ by 3½ in. (11.4 by 8.9 cm.)
LOT 99
ANSEL ADAMS
1902-1984
'NORTHERN CALIFORNIA COAST' (SUN AND FOG, POINT ARENA)
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8) titled in ink, on the
reverse, 1964, probably printed no later than 1970
19 3/8 by 14 7/8 in. (49.2 by 37.8 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 100
ANSEL ADAMS
1902-1984
CLEARING WINTER STORM, YOSEMITE NATIONAL PARK
38¾ by 52 in. (98.4 by 132.1 cm.)
ESTIMATE 300,000 - 500,000 USD
LITERATURE
Ansel Adams: Yosemite and the Range of Light (Boston, 1979), cover
Mary Street Alinder and Andrea Gray Stillman, Ansel Adams: Letters and Images 1916-1984 (Boston, 1988), p. 369
Andrea Gray Stillman, ed., Yosemite: Ansel Adams (Boston, 1995), pl. 1
John Szarkowski, Ansel Adams at 100 (Boston, 2001), p. 89
LOT 101
WILLIAM WEGMAN
B. 1943
'TWO SISTERS'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, 1996
23 5/8 by 20 7/8 in. (60 by 53 cm.)
LOT 102
WILLIAM WEGMAN
B. 1943
'FOUR FRONT'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, framed, 1986
24 by 20½ in. (61 by 52.1 cm.)
EXHIBITION
LOT 103
WILLIAM WEGMAN
B. 1943
'PRESIDENT'S DOGS'
23 7/8 by 20 7/8 in. (60.6 by 53 cm.)
LOT 104
WILLIAM WEGMAN
B. 1943
'HOLY STATE'
the reverse, 1991
23½ by 21 in. (59.7 by 53.3 cm.)
EXHIBITION
LOT 105
PETER BEARD
B. 1938
SELECTED IMAGES
2 unique large-format Polaroid Polacolor prints, comprising September 11th-12th, 1993, Diary Page and Self-Portrait with Model,
the first signed and dated in ink in the margin, the second framed, 1987 and 1993 (2)
27 by 20 3/4 in. (68.6 by 52.7 cm.)
23 7/8 by 20 1/4 in. (60.7 by 51.4 cm.)
LOT 106
HELMUT NEWTON
1920-2004
COUPLE WITH MOTORCYCLE
unique Polaroid SX-70 print, credit in ink on the reverse, circa 1974
3 1/8 by 3 in. (7.9 by 7.6 cm.)
LOT 107
HELMUT NEWTON
1920-2004
NUDE IN PUMPS
unique Polaroid SX-70 print, credit in pencil on the reverse, circa 1975
3 1/8 by 3 in. (7.9 by 7.6 cm.)
EXHIBITION
LITERATURE
This print:
SX-70 Art (New York, 1979), p. 21
Another image from this sitting:
Helmut Newton - Pola Woman (Munich, 1995), p. 58
LOT 108
ROBERT MAPPLETHORPE
1946-1989
KEN MOODY (WITH PALM LEAF)
unique large-format Polaroid Polacolor print, annotation 'International Polaroid Collection' in ink in the margin, circa 1984
24¼ by 20 in. (61.6 by 51 cm.)
LITERATURE
A variant from the same sitting:
Germano Celant, Arkady Ippolitov, and Karole Vail, Robert Mapplethorpe and the Classical Tradition: Photographs
and Mannerist Prints (Guggenheim Museum, 2004), pl. 108
LOT 109
ROBERT MAPPLETHORPE
1946-1989
KEN MOODY (RED BRIEFS)
unique large-format Polaroid Polacolor print, annotation 'International Polaroid Collection' in ink in the margin, circa 1984
24¼ by 20 in. (61.6 by 51 cm.)
LOT 110
ROBERT MAPPLETHORPE
1946-1989
KEN MOODY
unique large-format Polaroid Polacolor print, framed, an Innovation/Imagination exhibition label on the reverse, 1984
24 1/8 by 20½ in. (61.3 by 51.4 cm.)
EXHIBITION
LITERATURE
This print:
LOT 111
LAURIE SIMMONS
B. 1949
TREE WITH CLOTHES ORNAMENTS DIPTYCH, FROM THE EDUCATION PROJECT
a diptych of unique large-format Polaroid Polacolor prints, each signed and dated in ink in the margin, framed together, 1992
LITERATURE
Carole Kismaric, ed., Art Works: Teenagers and Artists Collaborate on the Polaroid 20" x 24" Camera (The
Education Project, 1993), pp. 34-5 (likely these prints)
CATALOGUE NOTE
In the early 1990s, Janeil Engelstad, director of Public Programs and Development for The Education Project,
conceived of Art Works, a not-for-profit program that would pair at-risk teenagers from New York who showed an
interest in photography with professional photographers. Funded in part by the Polaroid Corporation, Art Works
engaged its young participants with the use of the large-format Polaroid camera in efforts to promote learning and
self-expression. Among others, participating artists included Chuck Close, Andres Serrano, and William Wegman.
The photographs offered here, and in Lots 170 and 224, come from these student-artist collaborations.
LOT 112
WILLIAM WEGMAN
B. 1943
'FLORA AND FAUNA'
unique large-format Polaroid Polacolor print, 1987 (Fay, p. 31, William Wegman Polaroids, p. 52, and Funney/Strange, p. 118, all
variants)
24 by 20¾ in. (61 by 52.7 cm.)
LOT 113
WILLIAM WEGMAN
B. 1943
'CHOW'
a diptych of unique large-format Polaroid Polacolor prints, framed together, a Polaroid Collection label on the reverse, 1980
Each approximately 24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 114
WILLIAM WEGMAN
B. 1943
DOG COVERED IN GRAY CLOTH
unique large-format Polaroid Polacolor print, signed and dated in ink in the margin, 1987
24 1/8 by 20¾ in. (61.3 by 52.7 cm.)
LOT 115
PETER BEARD
B. 1938
SELECTED IMAGES
2 unique large-format Polaroid Polacolor prints, comprising May 28-29, 1993 Diary Page and Desirée, the first signed and dated in
ink in the margin and the second with credit, title, and date in pencil on the reverse, 1988 and 1993 (2)
25 7/8 by 20 7/8 in. (65.7 by 53 cm.)
26 5/8 by 20 3/4 in. (67.6 by 52.7 cm.)
EXHIBITION
Desirée:
LITERATURE
Desirée:
LOT 116
PETER BEARD
B. 1938
SELECTED IMAGES
2 unique large-format Polaroid Polacolor prints, comprising September 7th-8th and Untitled, the first signed and dated in ink in the
margin, 1987 and 1993 (2)
20 7/8 by 24 in. (53 by 60.9 cm.)
24 by 20 3/4 in. (61 by 52.7 cm.)
LOT 117
DAVID LEVINTHAL
B. 1949
SELECTED IMAGES FROM AMERICAN BEAUTIES
4 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/2' in ink in the margin, 1989-90 (American
Beauties, unpaginated, variants) (4)
Each 24¼ by 20¾ in. (61.6 by 52.7 cm.)
CATALOGUE NOTE
Reflecting on his American Beauties series, Levinthal comments, 'I found figures here and there at flea markets. . .
one day I brought them into the Polaroid studio just to see how they would look. . . Fortuitously, all I had was sand. I
stuck one of them in the sand, and I was stunned by how elegant it looked against the bare background. I knew I
wanted to isolate them, to photograph them as sculpture. But they looked so good with the background fading to
black, that's how I shot the whole series' (The Wild West, p. 12).
LOT 118
WILLIAM WEGMAN
B. 1943
'FAY'S SPHERE'
the reverse, 1994
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 119
WILLIAM WEGMAN
B. 1943
'STEEPLES'
24 1/8 by 20 7/8 in. (61.3 by 53 cm.)
LITERATURE
The Polaroid Book (Köln, 2008), p. 295 (therein titled Related, this print)
LOT 120
DAVID BAILEY
B. 1938
SELECTED IMAGES
2 photographs, Rabbit Mask and Nude and Mirror, comprising a unique Polaroid SX-70 print and a gelatin silver print from a
Polaroid Type 105 negative, the second mounted, 1978 (2)
3 1/8 by 3 in. (7.9 by 7.6 cm.)
13 1/8 by 10 in. (33.3 by 25.4 cm.)
LOT 121
HELMUT NEWTON
1920-2004
SELF-PORTRAIT
unique Polaroid SX-70 Time Zero print, orientation notations in red crayon in the margin, credit twice in pencil on the reverse,
1976
3 1/8 by 3 1/8 in. (7.9 by 7.9 cm.)
LITERATURE
LOT 122
LES KRIMS
B. 1943
SELECTED IMAGES
2 unique manipulated Polaroid SX-70 prints, comprising Chicken Pisher Pitcher Picture and Nude with Watermelon Slices, each
mounted, signed and dated in pencil and the first with the photographer's 'FICTCRYPTOKRIMSOGRAPH' stamp and each with
date stamps in red ink in the margin, the mounts with credit and number stamps, 1974 (2)
3 1/8 by 3 in. (7.9 by 7.6 cm.)
EXHIBITION
Chicken Pisher Pitcher Picture:
LITERATURE
Chicken Pisher Pitcher Picture:
LOT 123
LUCAS SAMARAS
B. 1936
PHOTO TRANSFORMATION
unique manipulated Polaroid Time-Zero print, dated in ink on the reverse, a Polaroid Collection stamp and label on the reverse of
the mat, framed, another Polaroid Collection label on the reverse, 1974
3 1/8 by 3 in. (7.9 by 7.6 cm.)
EXHIBITION
(see Appendix 1)
LITERATURE
LOT 124
LUCAS SAMARAS
B. 1936
unique manipulated Polaroid SX-70 print, dated in ink on the reverse, framed, a Polaroid Collection stamp and
Innovation/Imagination and Unrepentant Ego exhibition labels on the reverse, 1973
3 by 3 in. (7.6 by 7.6 cm.)
EXHIBITION
New York, Whitney Museum of American Art, Unrepentant Ego: The Self-Portraits of Lucas, Samaras, November
LITERATURE
This print:
62
157
Polaroids: Mapplethorpe (Whitney Museum of American Art, 2008), fig. 15, p. 36
Variant:
Gretchen Garner, Disappearing Witness: Change in Twentieth-Century American Photography (Baltimore and
London, 2003), fig. 7.8, p. 124
LOT 125
WILLIAM WEGMAN
B. 1943
'MANTLE'
the reverse, 1990
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 126
WILLIAM WEGMAN
B. 1943
'RUSTIC INN'
24 1/8 by 20¾ in. (61.3 by 52.7 cm.)
LOT 127
WILLIAM WEGMAN
B. 1943
'ENTRANCE'
23¾ by 20 7/8 in. (60.3 by 53 cm.)
LOT 128
WILLIAM WEGMAN
B. 1943
'SERVING TROUT'
the reverse, 1981
23½ by 20¾ in. (59.7 by 52.7 cm.)
EXHIBITION
LOT 129
ROBERT MAPPLETHORPE
1946-1989
'OZZIE CLARK'
a diptych of unique Polaroid Type 52 prints, one with technical annotations in pencil in the margin, in a tri-fold paper mat, signed,
titled, and dated in pencil and Polaroid Collection stamps, with annotations in ink, on the mat, 1974 (2)
CATALOGUE NOTE
Raymond 'Ossie' Clark (1942 - 1996) was one of the most important British fashion designers of London's 'Swinging
Sixties.' He and his wife, the designer Celia Birtwell, are portrayed in the well-known David Hockney painting Mr.
and Mrs. Clark and Percy, now in the collection of the Tate Gallery, London.
LOT 130
ROBERT MAPPLETHORPE
1946-1989
UNTITLED (SPANISH WOMAN)
unique Polaroid Type 52 print, framed, a Polaroids: Mapplethorpe exhibition label on the reverse, early 1970s
4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
New York, Whitney Museum of American Art, Polaroids: Mapplethorpe, May - September 2008, and traveling to 3
other venues through 2010 (see Appendix 1)
LITERATURE
Polaroids: Mapplethorpe (Whitney Museum of American Art, 2008), pl. 111 (this print)
LOT 131
ROBERT MAPPLETHORPE
1946-1989
DRESSED AND UNDRESSED (ROBE SERIES)
2 photographs after Polaroid Type 55 prints, 1973 (2)
Each 8½ by 6¾ in. (21.6 by 17.1 cm.)
LITERATURE
Undressed:
LOT 132
ROBERT MAPPLETHORPE
1946-1989
'BANANA'
from a Polaroid Type 55 negative, signed, titled, dated, and annotated in pencil in the margin, 1974 (Polaroids: Mapplethorpe, pl.
181)
13¼ by 10¼ in. (33.6 by 26 cm.)
LOT 133
RALPH GIBSON
B. 1939
SELF-PORTRAIT (WITH WOMAN'S FOOT)
unique Polaroid SX-70 print, credit in pencil on the reverse, circa 1978
3 1/8 by 3 in. (7.9 by 7.6 cm.)
ESTIMATE 800 - 1,200 USD
LOT 134
JOYCE TENNESON
B. 1945
SUZANNE (IN CHAIR)
unique large-format Polaroid Polacolor print, 1986
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LITERATURE
Joyce Tenneson: Transformations (Boston, 1993), pl. 15 (variant)
LOT 135
LUCAS SAMARAS
B. 1936
TSIARAS BROTHERS
unique large-format Polaroid Polacolor print, dated in pencil on the reverse, framed, 1980
24¼ by 20½ in. (61.6 by 52.1 cm.)
EXHIBITION
LITERATURE
LOT 136
LUCAS SAMARAS
B. 1936
UNTITLED (SEATED MAN FACING FORWARD)
unique large-format Polaroid Polacolor print, date and annotations in pencil on the reverse, 1980
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 137
LUCAS SAMARAS
B. 1936
SITTING (NUDE WOMAN WITH ARMS RAISED)
unique large-format Polaroid Polacolor print, signed and dated twice in pencil on the reverse, framed, an Innovation/Imagination
exhibition label on the reverse, 1981
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LITERATURE
218 (variant)
LOT 138
LUCAS SAMARAS
B. 1936
SITTING - TSIARIS [TSIARAS]
unique large-format Polaroid Polacolor print, signed and dated twice in pencil on the reverse, 1980
24¼ by 20½ in. (61.6 by 52.1 cm.)
LOT 139
WILLIAM WEGMAN
B. 1943
'FLOOR PIECE II'
unique large-format Polaroid Polacolor print, signed, dated, and annotated 'WW 644' in pencil on the reverse, framed, a Polaroid
Collection label on the reverse, 1980 (cf. William Wegman, p. 75, and Wegman's World, p. 41)
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 140
WILLIAM WEGMAN
B. 1943
'RED FOILED'
unique large-format Polaroid Polacolor print, 1987 (cf. Fay, p. 36, from the same series)
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 141
DAVID LEVINTHAL
B. 1949
2 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/3' in ink in the margin, 1989 (American
Beauties, unpaginated, variants) (2)
Each 24¼ by 20¾ in. (61.6 by 52.7 cm.)
CATALOGUE NOTE
Reflecting on his American Beauties series, Levinthal comments, 'I found figures here and there at flea markets. . .
one day I brought them into the Polaroid studio just to see how they would look. . . Fortuitously, all I had was sand. I
stuck one of them in the sand, and I was stunned by how elegant it looked against the bare background. I knew I
wanted to isolate them, to photograph them as sculpture. But they looked so good with the background fading to
black, that's how I shot the whole series' (The Wild West, p. 12).
LOT 142
LES KRIMS
B. 1943
UNTITLED (PIGS)
unique manipulated Polaroid SX-70 print, signed and dated in pencil in the margin, signed with a stylus on the reverse, mounted
along the top edge only, 1978
3 1/8 by 3 in. (7.9 by 7.6 cm.)
LITERATURE
Belinda Rathbone, ed., One of a Kind: Recent Polaroid Color Photography (Boston, 1979), p. 40 (this print)
LOT 143
LES KRIMS
B. 1943
'BUFFALO, N. Y.' (SELF-PORTRAITS)
a diptych of unique Polaroid SX-70 prints, one signed and dated in pencil in the margin and signed, titled, dated, and copyrighted
in pencil on the reverse, the second with credit in pencil on the reverse, 1978 (2)
Each 3 1/8 by 3 in. (8 by 7.6 cm.)
LOT 144
BILL OWENS
B. 1938
SELECTED IMAGES OF SUBURBIA
29 chromogenic prints, after Polaroid Type 808 prints, each mounted, circa 1973 (Suburbia, pp. 43, 91-4, and 108) (29)
Each 8 by 10 in. (20.3 by 25.4 cm.) or the reverse
ESTIMATE 15,000 - 25,000 USD
LOT 145
MARY ELLEN MARK
B. 1940
SELECTED NEW YORK PORTRAITS
a group of 17 unique Polaroid Spectra (Image) System photographs, 6 with credit in pencil on the reverse, 6 mounted, 1986-90
(17)
Each 2 7/8 by 3 5/8 in. (7.3 by 9.3 cm.)
LITERATURE
(Bridesmaids) First Communion Girls:
LOT 146
WILLIAM WEGMAN
B. 1943
ROLLAMER
unique large-format Polaroid Polacolor print, framed, a Polaroid Collection label on the reverse, 1987
24 by 21 in. (61 by 53.3 cm.)
EXHIBITION
LOT 147
WILLIAM WEGMAN
B. 1943
UNTITLED (SOCKS)
24 1/8 by 20 7/8 in. (61.3 by 53 cm.)
LOT 148
WILLIAM WEGMAN
B. 1943
'STUFFED ANIMALS'
a diptych of unique large-format Polaroid Polacolor prints, the first initialed and dated and the second signed, titled, and dated in
ink in the margin, 1991 (2)
Each approximately 24 1/8 by 21 in. (61.3 by 53 cm.)
LOT 149
WILLIAM WEGMAN
B. 1943
'PINK ELEPHANT'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, framed, a Polaroid Collection stamp on
the reverse, 1991
24 by 20¾ in. (61 by 52.7 cm.)
LOT 150
ANDY WARHOL
1928-1987
TRUMAN CAPOTE
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
EXHIBITION
LITERATURE
This print:
2000), pl. 3
Variants:
Andy Warhol: Polaroids 1971-1986 (New York, 1992), p. 57
Andy Warhol - Photography (The Andy Warhol Museum, 1999), p. 185
LOT 151
ANDY WARHOL
1928-1987
ANDY BEING CHOKED
unique Polaroid SX-70 print, annotation '1/1' in pencil in the margin, credit 'A Warhol' in pencil on the reverse, circa 1978
3 1/8 by 3 in. (7.9 by 7.6 cm.)
LOT 152
ANDY WARHOL
1928-1987
ANDY SNEEZING (DIPTYCH)
a diptych of unique Polaroid SX-70 prints, each with credit in pencil on the reverse, matted together, circa 1978 (The Polaroid
Book, p. 80 and back cover, variant) (2)
LOT 153
ANDY WARHOL
1928-1987
EDWARD M. KENNEDY
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
EXHIBITION
LITERATURE
This print:
Instantanés (Centre Georges Pompidou, 1980), p. 43American Perspectives: Photographs from the Polaroid
Collection (Tokyo Metropolitan Museum of Photography, 2000), pl. 4
LOT 154
ANDY WARHOL
1928-1987
MARTHA GRAHAM
unique Polaroid Type 108 print, the photographer's blindstamp in the margin, circa 1979
3 5/8 by 2 7/8 in. (9.2 by 7.3 cm.)
EXHIBITION
LITERATURE
Instantanés (Centre Georges Pompidou, 1980), p. 43, this print
LOT 155
BERT STERN
B. 1929
SELECTED STUDIES OF LOUIS ARMSTRONG
8 Polaroid Type 53 prints, 7 signed and dated in pencil on the reverse, one framed, a typed label on the reverse, 1958 (8)
Each 4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
One print:
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (Friends of Photography, 1999), p. 12 (one print)
CATALOGUE NOTE
These Type 53 prints of jazz legend Louis Armstrong by photographer Bert Stern were made for a Polaroid
advertisement produced by the Doyle Dane Bernbach agency. DDB landed the Polaroid account in 1954, and this
ad appeared on page 3 of the 12 May 1958 issue of LIFE magazine, with the following caption:
'First Showing of a New Polaroid Land Film. This is an enlargement of an actual 60-second picture of Louis
Armstrong. It was taken with a new film, just introduced, which is twice as sharp as the previous film. With this latest
development, the Polaroid Land Camera not only gives you pictures in 60 seconds, but pictures of exceptional
clarity and brilliance. Polaroid Land Cameras start at $72.75. The new film can be identified by a star on the box.'
This image of Armstrong was made the same year as Jazz on a Summer's Day, Stern's film about the Fifth Annual
Jazz Festival in Newport, Rhode Island, in which Armstrong appeared, along with Thelonious Monk, Sonny Stitt,
Gerry Mulligan, Dinah Washington, Chuck Berry, Anita O'Day, and Mahalia Jackson, among others. Stern financed
the film with $70,000 of his own money, and is acknowledged to be the first to make a concert film.
LOT 156
WILLIAM WEGMAN
B. 1943
'NOT DOG FOOD'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink on the reverse, framed, a Polaroid Collection label on
the reverse, 1982
24¼ by 20½ in. (61.6 by 52.1 cm.)
EXHIBITION
LOT 157
WILLIAM WEGMAN
B. 1943
UNTITLED (BEACH BALL)
24¼ by 21 in. (61.6 by 53.3 cm.)
LOT 158
WILLIAM WEGMAN
B. 1943
'SAD FILM'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, mounted, a printed Polaroid Collection
label on the reverse, framed, 1990
23 7/8 by 20 3/4 in. (60.7 by 52.7 cm.)
EXHIBITION
LOT 159
WILLIAM WEGMAN
B. 1943
'BASKETRY'
the reverse, 1993
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 160
CARRIE MAE WEEMS
B. 1953
UNTITLED TRIPTYCH (CERAMICS)
a triptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, 1993 (3
photographs on one mount)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
LOT 161
CARRIE MAE WEEMS (B. 1953) AND JEFFREY HOONE
UNTITLED DIPTYCH
a diptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, framed, 1993 (2
photographs in one frame)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
LOT 162
CARRIE MAE WEEMS
B. 1953
AUNT JEMIMA DIPTYCH
a diptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, 1993 (2
photographs on one mount)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
LOT 163
CARRIE MAE WEEMS
B. 1953
MALE STATUARY DIPTYCH
a diptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, framed, a Polaroid
Collection label on the reverse, 1993 (2 photographs in one frame)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
LOT 164
JAN SAUDEK
B. 1935
UNTITLED (7-PART STORY)
a sequence of 7 unique Polaroid Type 668 prints, each signed and numbered sequentially in ink in the margin, the first with credit
and '/12' in ink on the reverse, matted together, 1981 (7 photographs in one mat)
Each 2 7/8 by 3¾ in. (7.3 by 9.5 cm.)
LOT 165
JAN SAUDEK
B. 1935
THE STORY OF FLOWERS (IN 6 PARTS)
a sequence of 6 unique Polaroid Type 668 prints, each signed and numbered sequentially in ink in the margin, matted together,
1981 (6 photographs in one mat)
Each 2 7/8 by 3¾ in. (7.3 by 9.5 cm.)
LOT 166
WILLIAM WEGMAN
B. 1943
MAN RAY AS PIRATE
24¼ by 20½ in. (61.6 by 52.1 cm.)
EXHIBITION
LOT 167
WILLIAM WEGMAN
B. 1943
'SECRET SAYING'
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 168
CARRIE MAE WEEMS
B. 1953
'AMERICAN ICON,' 1, 2, 3 (TRIPTYCH)
a triptych of unique Polaroid PC PRO 100 prints, each signed and dated in ink in the margin, mounted together, a Polaroid
Collection stamp and with a typed label on the reverse, framed, a Polaroid Collection label on the reverse, 1993 (3 photographs in
one frame)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
LITERATURE
LOT 169
CARRIE MAE WEEMS
B. 1953
UNTITLED (TRIPTYCH)
a triptych of unique Polaroid PC PRO 100 prints, each signed and one dated in ink in the margin, mounted together, framed, a
Polaroid Collection stamp on the reverse, 1993 (3 photographs in one frame)
Each approximately 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
EXHIBITION
LOT 170
LAURIE SIMMONS
B. 1949
SELECTED PHOTOGRAPHS FROM THE EDUCATION PROJECT
3 unique large-format Polaroid Polacolor prints, each signed and dated in ink in the margin, 1992 (3)
Each 24¼ by 20¾ in. (61.6 by 52.7 cm.)
CATALOGUE NOTE
The sitter pictured in the lot offered here is Kenlly Rodriguez, a young participant of the not-for-profit program, Art
Works. Developed in the early 1990s by Janeil Engelstad, Art Works paired at-risk teenagers from New York who
showed an interest in photography with professional photographers. Of her time and partnership with Laurie
Simmons, Rodriguez commented, 'To me my picture is about the beauty of nature, the tree. The clothing represents
the great fashion in our world. The Polaroid 20 x 24 camera made the pictures seem real' (Art Works, p. 33). The
realization of their collaboration is a diptych offered in Lot 111.
LOT 171
ROBERT FRANK
B. 1924
'FOR DAVID HEATH' (SELF-PORTRAIT ONE)
large-format Polacolor print after a Polaroid original, technical notations in ink in the margins, 1985
23 by 18¾ in. (58.4 by 47.6 cm.)
CATALOGUE NOTE
The present print and that in Lot 181 are from a unique and unorthodox collaboration among Frank, Robert
Heinecken, Dave Heath, and John Wood funded by Polaroid and intended 'to explore their shared interest in words
and images and establish a creative community across the miles' (Amy Rule in Robert Heinecken: A Material
History, p. 99).
Initiated in 1983 by Eelco Wolf, Polaroid's Director of Worldwide Communications, the group's correspondence was
published in a series of newsletters titled The Knute Rockne Oasis Newsletter and Journal of Critical Opinion that
was administered by Susan E. Cohen and William S. Johnson. Copies now reside in the Robert Heinecken Archive
in Chicago.
When funding ceased in 1985, Cohen and Johnson published a limited number of copies of Horses, Sea Lions, and
Other Creatures: Robert Frank, Dave Heath, Robert Heinecken, and John Wood for the project participants. The
volume included biographies, interviews, and original transparencies. A copy resides at the George Eastman House
library.
Sotheby's wishes to thank Amy Rule and Leslie Calmes of the Center for Creative Photography, Tucson, whose
information forms the basis of this entry.
LOT 172
ROBERT FRANK
B. 1924
'MABOU, WINTER'
from a Polaroid Type 665 negative, signed, titled, and dated in ink in the margin, framed, 1975 (Moving Out, p. 143)
18 1/4 by 14 1/4 in. (46.3 by 36.2 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
CATALOGUE NOTE
about what I felt.'
LOT 173
LUCAS SAMARAS
B. 1936
SELECTED STILL LIFE STUDIES
2 unique Polaroid Type 808 prints, each dated in pencil on the reverse, 1978-79 (2)
9½ by 7½ in. (24.1 by 19.1 cm.)
EXHIBITION
LITERATURE
Instantanés (Centre Georges Pompidou, 1980), pp. 81 and 86 (these prints)
LOT 174
LUCAS SAMARAS
B. 1936
STILL LIFE WITH SELF-PORTRAIT
unique Polaroid Type 808 print, dated in pencil on the reverse, framed, an Innovation/Imagination exhibition label and Polaroid
Collection stamps on the reverse, 1978
9½ by 7½ in. (24.1 by 19.1 cm.)
EXHIBITION
LITERATURE
This print:
LOT 175
JAN GROOVER
B. 1943
STILL LIFE STUDIES
4 unique large-format Polaroid Polacolor prints, each numbered and 2 with technical notations in ink in the margin, one framed,
circa 1978 (4)
Each approximately 24 by 20½ in. (61 by 52.1 cm.)
EXHIBITION
Crossed Knives exhibited:
LITERATURE
2000), pl. 129 (Crossed Knives)
LOT 176
WALTER CHAPPELL
1925-2000
SELECTED IMAGES
a group of 3 unique Polaroid Type 55 prints, comprising Cut Cabbage, Forks, and Abstraction, the first signed, dated, and
annotated, the others with credit and date, in pencil, on the reverse, 1962 (Heliography, p. 13, variant) (3)
3 1/2 by 4 1/2 in. (8.9 by 11.4 cm.) or the reverse
CATALOGUE NOTE
Walter Chappell trained as a photographer under Minor White and became part of a circle of noted artists that
included White, Ansel Adams, Paul Caponigro, Imogen Cunningham, and Edward Weston. Together with White,
Chappell often contributed articles to Aperture magazine on the mystical meaning behind photographs. Their beliefs
were heavily influenced by the writings of noted spiritual philosopher G. I. Gurdjieff.
While curator of exhibitions and prints at the George Eastman House, Chappell helped establish the short-lived
photographers' cooperative, Association of Heliographers Archive Gallery. In 1963, the Heliographers, named after
Niépce's 1829 sun-print invention, opened on Lexington Avenue in Manhattan, and was the only gallery at that time
devoted to creative photography in America.
LOT 177
DAVID LEVINTHAL
B. 1949
SELECTED IMAGES FROM WILD WEST
2 unique large-format Polaroid Polacolor prints, each signed in pencil or ink on the reverse or in the margin, one framed, 1986-87
(2)
Each 24½ by 20¾ in. (62.2 by 52.7 cm.)
EXHIBITION
Soldier on Horseback with Bugle:
LITERATURE
Soldier on Horseback with Bugle:
2000), pl. 151
LOT 178
DAVID LEVINTHAL
B. 1949
CAVALRY (FROM WILD WEST)
unique mural-sized color photograph on canvas, after a Polaroid SX-70 print, framed, 1988
47 by 47 in. (119.4 cm. by 119.4 cm.)
LOT 179
ROBERT HEINECKEN
1931-2006
'POLAROID DRAWING TRIPTYCH/[1-3] IN DEFERENCE TO THE PRACTITIONERS: KRIMS, LOCKS, SAMARAS
AND SICILIA'
4 unique Polaroid SX-70 prints, tipped to 3 sheets of BFK Rives deckle-edged paper with printed text, each sheet signed, dated,
and editioned 'Special Artists' Proof - #7 of 14' in pencil, 1978, no. 7 of the Special Artists' Proof edition of 14, aside from the
regular edition of 50 (4 photographs on 3 mounts)
Each mount 16 by 16 in. (40.6 by 40.6 cm.)
CATALOGUE NOTE
In the Polaroid Drawing Triptych offered here, Robert Heinecken sets forth his philosophy of, and instructions for,
manipulating Polaroid SX-70 prints, which he refers to as 'Polaroid drawing.' Included in his manuscript text,
reproduced at length on three sheets of BFK Rives, are his suggestions on what subjects to choose, how to alter
the malleable SX-70 surface with pencils, and what results may be obtained. He commends the speed of working
with Polaroids for the purposes of training one's eye: 'The ability to create, see, and further manipulate images, then
to simulate "drawing" in just minutes,' he writes, 'allows rapid and concentrated trial and error learning. You will be
able to cram years of eye training into a few weekswith your Polaroid camera.' The four SX-70s that comprise the
illustrations supposedly trace the evolution of one 'Polaroid drawing' from beginning to end result, although it is
clear that, with a wink to his audience, Heinecken uses four different images.
The Polaroid Drawing Triptych is dedicated to four masters of the manipulated SX-70: Les Krims and Lucas
Samaras, both of whose work is featured in this catalogue; Dominic Sicilia, author of the definitive 1977 volume,
Instant Photo/Instant Art: The New Simple Technique that Turns SX-70 Polaroid Photos into Beautiful Frameable
Paintings; and California photographer Norman Locks, whose work with the SX-70 won him considerable fame in
the 1970s. Locks is now a Professor of Art at the University of California at Santa Cruz.
LOT 180
ROBERT HEINECKEN
1931-2006
'HE:/SHE: [SPECIAL EDITION]'
(Chicago, Illinois: A Chicago Book, 1980, a Special Edition of 15 copies), a book illustrated with 8 unique Polaroid SX-70 prints,
each mounted, with text by the photographer. Small oblong quarto, spiral-bound black wrappers with a unique Polaroid SX-70
print affixed to the front wrapper and another affixed to the back wrapper, signed, titled, dated, and numbered '#3 of 15' in ink on
the title page, slipcased, no. 3 from the Special Edition of 15
The photographs approximately 3 1/8 by 3 1/8 in. (7.9 by 7.9 cm.)
CATALOGUE NOTE
In the 1970s, Robert Heinecken began the first of an extensive group of SX-70 photographs and corresponding
dialogues that would come to be known as the He:/She: series. These early SX-70s, mounted two or more to a
board, were juxtaposed with dialogue composed by Heinecken in the voices of the universal 'He' and 'She.' Among
the SX-70 He:/She: images were ones of men, women, bedrooms and other interiors, body parts, ordinary objects
such as wine glasses and toy figurines, and even Heinecken himself. Precisely arranged and carefully scripted, the
He:/She: vignettes function as miniature narratives of the tension between the sexes.
In 1980, Heinecken published as a book eight of these He:/She: dialogues using as illustrations SX-70s of couples
from mass-market advertising. For Heinecken, this was a one-two punch: the falsity of advertising's perfect couples
are emphasized by the man-woman dialogues simmering just below the surface. As Heinecken wrote in his
introduction to the work,
'When a woman and a man converse in relative isolation, it is rare that some sort of sexual game is not stirring . . .
These impromptu, and at the same time, worn, oral exercises serve to veil the uncultivated and much more
dynamic meanings conveyed by the expression of the eyes, the attitude of the bodies, the explicit use of the hands,
and the immutable context.'
The He:/She: volume offered here is one of 15 copies of the Special Edition of the work illustrated with original
mounted SX-70s.
LOT 181
ROBERT FRANK
B. 1924
'FOR DAVID HEATH' (SELF-PORTRAIT TWO)
large-format Polacolor print after a Polaroid original, an asterisk in ink in the margin, 1985
24 by 20¾ in. (61 by 52.7 cm.)
LITERATURE
CATALOGUE NOTE
The present print and that in Lot 171 are from a unique and unorthodox collaboration among Frank, Robert
Heinecken, Dave Heath, and John Wood funded by Polaroid and intended 'to explore their shared interest in words
and images and establish a creative community across the miles' (Amy Rule in Robert Heinecken: A Material
History, p. 99).
Initiated in 1983 by Eelco Wolf, Polaroid's Director of Worldwide Communications, the group's correspondence was
published in a series of newsletters titled The Knute Rockne Oasis Newsletter and Journal of Critical Opinion that
was administered by Susan E. Cohen and William S. Johnson. Copies now reside in the Robert Heinecken Archive
in Chicago.
When funding ceased in 1985, Cohen and Johnson published a limited number of copies of Horses, Sea Lions, and
Other Creatures: Robert Frank, Dave Heath, Robert Heinecken, and John Wood for the project participants. The
volume included biographies, interviews, and original transparencies. A copy resides at the George Eastman House
library.
Sotheby's wishes to thank Amy Rule and Leslie Calmes of the Center for Creative Photography, Tucson, whose
information forms the basis of this entry.
LOT 182
JIM DINE
B. 1935
SELECTED SELF-PORTRAITS
2 unique large-format Polaroid Polacolor prints, each signed, titled, and dated in ink in the margin, 1979 (2)
24 by 20½ in. (61 by 52.1 cm.)
22½ by 20¾ in. (57.2 by 52.7 cm.)
ESTIMATE 10,000 - 15,000 USD
LITERATURE
'Self Portrait' (light):
LOT 183
WILLIAM WEGMAN
B. 1943
FAY ROSE
24 by 21 in. (61 by 53.3 cm.)
EXHIBITION
LITERATURE
LOT 184
WILLIAM WEGMAN
B. 1943
'JUMP'
24 by 20 7/8 in. (61 by 53 cm.)
LOT 185
DAVID LEVINTHAL
B. 1949
2 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/5' or '2/5' in ink in the margin, 1989-90
(American Beauties, unpaginated, variants) (2)
Each 24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 186
'@®T$' (ARM RAISED)
24½ by 20¾ in. (62.2 by 52.7 cm.)
LOT 187
'WINGS'
24½ by 20¾ in. (62.2 by 52.7 cm.)
LOT 188
'MYSELF'
unique large-format Polaroid Polacolor print, signed and dated in silver ink in the margin, framed, 1988
24½ by 21 in. (62.2 by 53.3 cm.)
EXHIBITION
LITERATURE
LOT 189
WILLIAM CHRISTENBERRY
B. 1936
METAMORPHOSIS (POLAPAN)
a suite of 4 unique large-format Polaroid Polapan prints, each signed, dated, and numbered sequentially '1A' to '1D' in ink in the
margin, 1984 (4)
CATALOGUE NOTE
The American South has provided photographer and multi-media artist William Christenberry with the themes that
have occupied his work for the past decades. In addition to his examination of vernacular structures and the
Southern landscape, he has focused, too, on the darker elements of Southern culture, including the Ku Klux Klan.
Christenberry became interested in studying the Klan as a graduate student in the early 1960s and attended three
Klan rallies, filling notebooks with sketches and observations. In 1962, he transformed these experiences into The
Klan Room, a constantly changing installation in his Washington, D. C., studio, of sculptures, photographs,
drawings, and ephemera. In the Metamorphosis seriespresented in variant color and black-and-white versions in
this and the following lota child's doll evolves, over a sequence of four images, into a menacing hooded and robed
Klu Klux Klan figure. The series illustrates an objective Christenberry articulated this way: 'There is a line to explore
here, between beauty and evil' (Christenberry Reconstruction, p. 24).
LOT 190
B. 1936
METAMORPHOSIS (POLACOLOR)
a suite of 4 unique large-format Polaroid Polacolor prints, each signed, dated, numbered '*2/10' and sequentially '2A' to '2D' in ink
in the margin, 1984 (4)
Each approximately 26 by 20¾ in. (66 by 52.7 cm.)
LOT 191
'I AM MORTAL'
24½ by 20¾ in. (62.2 by 52.7 cm.)
LOT 192
'MIRAGE'
unique large-format Polacolor Polaroid print, signed and dated in silver ink in the margin, framed, 1988
25 by 20¾ in. (63.5 by 52.7 cm.)
LOT 193
'WINDDD'
unique large-format Polaroid Polacolor print, signed and dated in silver ink in the margin, framed, 1988
24 by 21 in. (61 by 53.3 cm.)
EXHIBITION
LITERATURE
LOT 194
ROBERT HEINECKEN
1931-2006
UNTITLED NEWSWOMEN
2 unique large-format Polaroid Polacolor prints, each signed and dated in ink in the margin, 1983 (2)
Each approximately 20¾ by 23¾ in. (52.7 by 60.3 cm.)
LOT 195
ROBERT RAUSCHENBERG
1925-2008
NORTH CAROLINA (FROM THE BLEACHER SERIES)
unique bleached Polaroid Polapan print, mounted to aluminum, signed and dated in silver ink on the mount, in a frame designed
to the artist's specifications, a Selections 6 exhibition label on the reverse, 1991
21½ by 26 in. (53.9 by 66 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
LOT 196
ROBERT HEINECKEN
1931-2006
FOODGRAM #5
unique large-format Polaroid Polacolor print, signed, dated, and numbered '5' in ink in the margin, 1983
20 5/8 by 26 1/2 in. (52.4 by 57.3 cm.)
CATALOGUE NOTE
Like the Foodgram #4 of Lot 39, the photogram offered here presents two separate meals in one image: on the left,
what appears to be a hamburger and French fries that Heinecken, as a visiting artist, might have eaten in a school
cafeteria with students; and a more elegant dish of pasta that would have comprised a meal with gallerists or
museum notables.
LOT 197
ROBERT HEINECKEN
1931-2006
FOODGRAM ('ICONOGRAPHIC ART LUNCH')
unique large-format Polaroid Polacolor print, credit in pencil on the reverse, 1983
20 3/4 by 24 in. (52.7 by 61 cm.)
LITERATURE
CATALOGUE NOTE
The photogram offered here uses food that is standard fare in a typical art world lunch: fresh leafy greens and other
vegetables, parsley, pasta, chopped olives, lemons slices, cherry tomatoes, grapes, and a glass of wine. In contrast
to the more proletarian meals that comprise part of Foodgrams #4 and #5 (Lots 196 and 39), the art world lunch is a
gourmet repast signaling aspirations to sophistication and status.
The title 'Iconographic Art Lunch' is taken from similar foodgrams in the Robert Heinecken Trust.
LOT 198
DAVID LEVINTHAL
B. 1949
UNTITLED (FROM SPACE)
unique large-format Polaroid Polacolor print, signed and dated in ink on the reverse, framed, 1988
25 by 20¾ in. (63.5 by 52.7 cm.)
EXHIBITION
LITERATURE
LOT 199
WILLIAM WEGMAN
B. 1943
'ROADWORK'
the reverse, 1997
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 200
DAVID LEVINTHAL
B. 1949
ABSOLUT LEVINTHAL
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LITERATURE
LOT 201
LORNA SIMPSON
B. 1960
'5 CANDLES'
a sequence of 5 unique large-format Polaroid Polacolor prints, each signed, titled, dated, and numbered sequentially twice in the
margin, 1993, each one in an edition of 5 (5)
Each approximately 24 by 20¼ in. (61 by 51.4 cm.)
LITERATURE
Other prints from this series:
Andrew Wilkes, 'Lorna Simpson,' Aperture, No. 133, Fall 1993, p. 17
CATALOGUE NOTE
Lorna Simpson's 5 Candles is the result of an arrangement that Aperture made with the Polaroid Corporation for the
photographer to receive a grant to use Polaroid's 20-by-24-inch Polaroid camera, one of only five in the world, in its
New York City studio.
The present lot is an abbreviated version of the final twenty-five-panel work titled Twenty-five Candles, which uses
candles as a visual metaphor for the passing of time to explore loss, death, and absence. (Andrew Wilkes, "Lorna
Simpson," Aperture 133, Fall 1993, p. 14)
LOT 202
LORNA SIMPSON
B. 1960
SHOE LOVER (TRIPTYCH)
a sequence of 3 unique large-format Polaroid Polacolor prints, each signed and dated in pencil on the reverse, 1992; with 2
original Plexiglas text plaques designed to accompany the work (3 photographs and 2 plaques)
Each approximately 24¼ by 20 7/8 in. (61.6 by 53 cm.)
ESTIMATE 15,000 - 25,000 USD
LITERATURE
CATALOGUE NOTE
By limiting or eliminating visual cues relating to race and gender in her photographs, Lorna Simpson inhibits the
viewer's inclination to stereotype based on physical characteristics. The text plaques that typically accompany her
work, with words and phrases that are not descriptive or informational, create additional ambiguity. Assumptions are
unraveled, and the viewer is forced to free-associate, to complete the story for kim- or herself. Simpson delights in
'dismantling' gender identity, saying 'I like to play with gender and with associations [about] what is masculine and
what is feminine and what is correct, choosing the correct attire or object for the correct gender and playing with
them or putting them where they shouldn't be, or making associations that shouldn't be made, or that are outside
the norm' (Saidiya V. Hartman, Lorna Simpson: For the Sake of the Viewer, p. 65).
In an extensive interview with Ann Temkin, currently chief curator of painting at The Museum of Modern Art, for the
2005 Contemporary Voices: Works from the UBS Art Collection, Simpson discussed her workincluding her source
for engraved text plaques from the Williamsburg section of Brooklyn; her purchase of shoes as objects from thrift
stores throughout America in the 1980s; and her use of Polaroid film and the Polaroid studio in downtown
Manhattan. While Simpson originally worked with a 4-by-5-inch camera, she began to use Polaroid film and
cameras for her 1988 series Stereo Styles, describing the work as 'black and white Polaroids, which are really
beautiful, luscious, amazing images.' When Temkin asked what had drawn Simpson to the medium, she responded,
'I loved the idea that it was instant. You could just do it and be done, you didn't have to go develop the film and print
it. And I liked the visual quality of Polaroid, whether in black and white or colora lot of my stuff was either
monochromatic or very strong color. And because a lot of that work was compartmentalized or sectionedit has all
these different partsthe Polaroid gave me a format to work with compositionally, these twenty-by-twenty-four-inch
segments making up a series that in turn makes up a work . . . Being instant is a beautiful quality. It lets you see
what you're doing, that your exposures are correct and so on, as opposed to working with regular film' (p. 120).
LOT 203
WILLIAM WEGMAN
B. 1943
'SAD - BORED'
23½ by 20 7/8 in. (59.7 by 53 cm.)
LOT 204
WILLIAM WEGMAN
B. 1943
STARNED
unique large-format Polaroid Polacolor print, signed and dated in pencil on the reverse, framed, a Polaroid Collection label on the
reverse, 1987
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 205
WILLIAM WEGMAN
B. 1943
'ALL EYES'
unique large-format Polaroid Polacolor print, signed, titled, dated, and annotated 'for Polaroid' in ink in the margin, framed, a
Polaroid Collection label on the reverse, 1998 (Strange But True, p. 13, variant)
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 206
WILLIAM WEGMAN
B. 1943
SELECTED CIRCUS POSTER STUDIES
2 unique large-format Polaroid Polacolor prints, each annotated in ink in the margins, one framed, a Polaroid Collection stamp on
the reverse, circa 1998 (2)
Each 24½ by 20¾ in. (62.2 by 52.1 cm.)
LOT 207
LUIGI GHIRRI
1943-1992
'ALBUM' (N. 1, 2, AND 3)
a sequence of 3 unique large-format Polaroid Polacolor prints, each signed, titled, and dated in ink in the margin, 1981 (3)
LOT 208
LUIGI GHIRRI
1943-1992
'TOUR EIFFEL'
unique large-format Polaroid Polacolor print, signed, titled, dated, and with technical notations in ink in the margin, 1980 (Luigi
Ghirri: Polaroid, p. 118, variant)
20½ by 24¼ in. (52.1 by 61.6 cm.)
LOT 209
GYÖRGY KEPES
1906-2002
SELECTED STILL LIFE STUDIES
5 unique large-format Polaroid Polacolor prints, one signed and dated in the margin, 1986-87 (5)
Each 24 by 20¾ in. (61 by 52.7 cm.)
LOT 210
LUIGI GHIRRI
1943-1992
'FROM ''STILL LIFE''' (3-D GLASSES)
unique large-format Polaroid Polacolor print, signed, titled, dated, and with technical notations in ink in the margin, 1980
23¾ by 20¾ in. (60.3 by 52.7 cm.)
LOT 211
LUIGI GHIRRI
1943-1992
STILL LIFE (PLANETS)
unique large-format Polaroid Polacolor print, signed and dated in ink in the margin, 1981 (Luigi Ghirri: Polaroid, p. 151, variant)
24 by 20¾ in. (61 by 52.7 cm.)
LOT 212
LUIGI GHIRRI
1943-1992
STILL LIFE (BAG OF TOYS)
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LITERATURE
Germano Celant, William Eggleston, and Paola Ghirri, It's Beautiful Here, Isn't It. . .Luigi Ghirri (Aperture, 2008), p.
104 (this print, herein titled Amsterdam)
Luigi Ghirri: Polaroid (Milan, 2008), p. 53, variant
LOT 213
LUIGI GHIRRI
1943-1992
'STILL LIFE' (FLOWERS)
23½ by 20 in. (59.7 by 51 cm.)
LOT 214
GYÖRGY KEPES
1906-2002
SELECTED COMPOSITIONS
a group of 6 unique large-format Polaroid Polacolor prints, including Fragments and Emblems, 4 signed and dated in ink in the
margin, 1984-87 (6)
Each approximately 23 7/8 by 20 1/8 in. (60.7 by 51.2 cm.)
LITERATURE
Constance Sullivan, ed., Legacy of Light (New York, 1987), pp. 244-45 (two of these prints)
LOT 215
LUIGI GHIRRI
1943-1992
SELECTED ITALIAN IMAGES
4 unique Polaroid SX-70 prints, each signed, titled, and dated in ink on the reverse, the photographer's credit and numerical
stamps on the mats, 1981 (4)
LOT 216
B. 1936
SELECTED IMAGES FROM THE KKK SERIES
3 photographs, including a large-format Polapan and 2 Polaroid Type 809 prints, each signed and dated in the margin or on the
reverse, framed, 2 with Polaroid Collection labels and one with an Innovation/Imagination exhibition label, with printed credit and
titles, on the reverse, 1982-84 (3)
24 by 20¾ in. (61 by 52.7 cm.)
9½ by 7½ (24.1 by 19.1 cm.) or the reverse
EXHIBITION
'KKK I' and 'KKK II':
'KKK':
LITERATURE
American Perspectives: Photographs from the Polaroid Collection, pls. 83 and 84 ('KKK I' and 'KKK II'); and
Innovation/Imagination: 50 Years of Polaroid Photography, p. 59 ('KKK') (these prints)
LOT 217
STEPHEN SHORE
B. 1947
SWIMMING POOL, SOUTHERN FRANCE
2 unique Polaroid Type 808 prints, circa 1976 (2)
Each 7½ by 9½ in. (19.1 by 24.1 cm.)
LITERATURE
Eelco Wolf, ed., Faces and Facades (Cambridge, 1977), unpaginated (one print)
LOT 218
JOEL MEYEROWITZ
B. 1938
SELECTED IMAGES
2 unique Polaroid prints, including Porch, Provincetown and Redhead, the second signed in ink in the margin, 1977 and late
1980s (2)
9½ by 7½ in. (24.1 by 19.1 cm.) and
3½ by 3 in. (8.9 by 7.6 cm.)
LOT 219
JOEL MEYEROWITZ
B. 1938
3 unique Polaroid SX-70 prints, including 'Window Light and Mirror,' 'On Route Between Cape Cod &N. Y.,' and 'Driving Between
Cape Cod &N. Y.,' each titled and dated in ink in the margin, signed in ink on the reverse, 2 signed in pencil on the reverse of the
mats, 1978 (3)
Each 3¼ by 3¼ in. (8.3 by 8.3 cm.)
LOT 220
DAVID LEVINTHAL
B. 1949
SELECTED IMAGES FROM WILD WEST
5 unique Polaroid SX-70s prints, each signed and dated in pencil in the margin, 4 framed, 1986-2002 (5)
3 1/8 by 3 in. (7.9 by 7.6 cm.)
LOT 221
DAVID LEVINTHAL
B. 1949
GUNSLINGER (FROM WILD WEST)
unique large-format Polaroid Polacolor print, signed and dated in ink in the margin, 1996 (Wild West, p. 17, variant)
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 222
WILLIAM WEGMAN
B. 1943
'RUSTLER'
unique large-format Polaroid Polacolor print, signed, titled, and dated in ink in the margin, a Polaroid Collection label on the
reverse, framed, 1993
23 7/8 by 20 3/4 in. (60.7 by 52.7 cm.)
EXHIBITION
LOT 223
AARON SISKIND
1903-1991
SELECTED MEXICAN PORTRAITS
4 unique Polaroid SX-70 prints, each signed in ink in the margin or on the reverse, 3 framed, Polaroid Collection labels on the
reverse, 1980s (4)
Each 3 1/8 by 3 in. (7.9 by 7.6 cm.)
EXHIBITION
Three exhibited at:
LITERATURE
2000), pls. 18-20 (three of these prints)
Boy:
LOT 224
ANDRES SERRANO
B. 1950
PAUL MCGINNIS TRIPTYCH, FROM THE EDUCATION PROJECT
a suite of 3 unique large-format Polaroid Polacolor prints, each signed on the reverse, 1993 (3)
Each approximately 24¼ by 20½ in. (61.6 by 52.1 cm.)
EXHIBITION
LITERATURE
Carole Kismaric, ed., Art Works: Teenagers and Artists Collaborate on the Polaroid 20" x 24" Camera (The
Education Project, 1993), pp. 28-31 (variants)
CATALOGUE NOTE
In the early 1990s, Janeil Engelstad, director of Public Programs and Development for The Education Project,
conceived of Art Works, a not-for-profit program that would pair at-risk teenagers from New York who showed an
interest in photography with professional photographers. Funded in part by the Polaroid Corporation, Art Works
engaged its young participants with the use of the large-format Polaroid camera in efforts to promote learning and
self-expression. Among others, participating artists included Chuck Close, Laurie Simmons, and William Wegman.
The photographs offered here, and in Lots 111 and 170, come from these student-artist collaborations.
LOT 225
WILLIAM WEGMAN
B. 1943
INDICATION
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 226
WILLIAM WEGMAN
B. 1943
FAY ON TABLE
24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 227
DAVID LEVINTHAL
B. 1949
4 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/2,' '2/2,' '2/3,' or '1/4' in ink in the margin,
1989-90 (American Beauties, unpaginated, variants) (4)
Each 24¼ by 20¾ in. (61.6 by 52.7 cm.)
LOT 228
WILLIAM WEGMAN
B. 1943
'OPERA IN GENERAL' (I, III, AND IV)
3 unique large-format Polaroid Polacolor prints, each signed, titled, and dated in ink in the margin, 1982 (3)
LOT 229
DAVID LEVINTHAL
B. 1949
SELECTED IMAGES FROM NETSUKE AND HITCHHIKER
5 unique photographs, comprising 4 Polaroid SX-70s from Netsuke and one large-format Polaroid Polacolor print of a Hitchhiker,
each signed and dated in pencil or ink in the margin or on the reverse, one framed, 1986-2002 (5)
3 1/8 by 3 in. (7.9 by 7.6 cm.)
24¼ by 20½ in. (61.6 by 52.1 cm.)
EXHIBITION
Hitchhiker:
LITERATURE
Hitchhiker:American Perspectives: Photographs from the Polaroid Collection (Tokyo Metropolitan Museum of
Photography, 2000), pl. 152, this print
LOT 230
WILLIAM WEGMAN
B. 1943
'STUD CC2000'
the reverse, 1990
24 by 20¾ in. (61 by 52.7 cm.)
EXHIBITION
LOT 231
WILLIAM WEGMAN
B. 1943
'3 UP'
the reverse, 1993
24¼ by 20¾ in. (61.6 by 52.7 cm.)
EXHIBITION
LOT 232
WALTER CHAPPELL
1925-2000
SELECTED NUDES FROM HUMAN METAPHOR SERIES
a group of 4 unique large-format Polaroid Polapan prints, each signed and dated in ink in the margin, 1989 (4)
Each 26 by 21 in. (55 by 53.3 cm.)
LITERATURE
Barbara Hitchcock, ed., Emerging Bodies: Nudes from the Polaroid Collection (Zurich, 2000), pp. 72-3 (these prints)
LOT 233
JAN SAUDEK
B. 1935
BEAUTY TO BEAST TRIPTYCH
a triptych of unique Polaroid Type 668 prints, each signed and numbered sequentially in ink in the margin, matted together, circa
1981 (3)
Each 3¾ by 2 7/8 in. (9.5 by 7.3 cm.)
LITERATURE
Selections 2: From Polaroid Collection (Verlag Photographie, 1984), unpaginated (these prints)
LOT 234
WILLIAM WEGMAN
B. 1943
SELECTED FIGURE STUDIES
a group of 4 unique large-format Polaroid Polacolor prints, including a diptych, each signed, dated, and annotated in pencil or ink
in the margin or on the reverse, 1982 (4)
LOT 235
WALTER CHAPPELL
1925-2000
SELECTED NUDES FROM IMMEDIATE MYTHOLOGY
a group of 4 unique large-format Polaroid Polacolor prints, each signed, titled, and dated in ink in the margin, 1989 (4)
LITERATURE
Barbara Hitchcock, ed., Emerging Bodies: Nudes from the Polaroid Collection (Zurich, 2000), pp. 72-3 (these prints)
LOT 236
JOEL-PETER WITKIN
B. 1939
'DOMINATRICE, NEW YORK'
unique large-format Polaroid Polapan print, signed, titled, dated, and annotated 'From a Joel-Peter Witkin sitting of Five
Photographs' in ink on the reverse, framed, 1988
23 1/4 by 20 7/8 in. (59 by 53 cm.)
EXHIBITION
LITERATURE
63 (this print)
LOT 237
JAN SAUDEK
B. 1935
'2 BIG 4 YOU'
unique Polaroid Type 668 print, signed in ink in the margin, 1981
2 7/8 by 3¾ in. (7.3 by 9.5 cm.)
LITERATURE
Barbara Hitchcock, ed., Emerging Bodies: Nudes from the Polaroid Collection (Zurich, 2000), p. 154 (this print)
A variant of this image:
Jan Saudek (Köln, 1998), pp. 74-5
LOT 238
ANSEL ADAMS
1902-1984
'EL CAPITAN - WINTER, YOSEMITE NATIONAL PARK, CALIFORNIA'
from a Polaroid Type 55 negative, mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and annotation
in ink on the reverse, 1968, probably printed between 1973 and 1977 (Polaroid Land Photography, p. 202; Singular Images, p. 53;
400 Photographs, p. 411)
15 1/4 by 12 1/4 in. (38.7 by 31.1 cm.)
ESTIMATE 10,000 - 15,000 USD
CATALOGUE NOTE
Ansel Adams wrote about the making of this image in his An Autobiography,
'Many of my most successful photographs from the 1950s onward have been made on Polaroid film. A favorite
image is El Capitan, Winter, Sunrise, made in 1968 with Polaroid Type 55 P/N material. The greatest glory of
Yosemite is witnessed during the dawn following a snowstorm. On this snowy morning, I urgently searched the
valley for a photograph, for soon after sunrise the trees and valley walls lose their white frosting of snow in the
growing warmth of the day. I found El Capitan, the largest single piece of granite in the world, heroically revealed as
the clouds and mist flowed about its huge form in wreaths and ribbons. One look at the tonal quality of the print I
achieved should convince the unintiated of the truly superior quality of Polaroid film' (p. 302).
LOT 239
ANSEL ADAMS
1902-1984
'SENTINEL ROCK, WINTER, YOSEMITE VALLEY'
mounted on Hi-Art illustration board, signed in green ink on the mount, Carmel studio stamps (BMFA 7 and 8), titled and
annotated in ink, on the reverse, framed, Polaroid Collection stamps on the reverse, 1944, probably printed between 1963 and
1970
17½ by 14 5/8 in. (44.5 by 37.1 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 240
ANSEL ADAMS
1902-1984
SNOW BANKS, NEVADA
from a Polaroid Type 55 negative, mounted on Crescent illustration board, signed in ink on the mount, 'Polaroid Land Photograph
By Ansel Adams' and 'Polaroid Collection' stamps, annotated in ink, on the reverse, framed, probably 1960s
17½ by 12 7/8 in. (44.5 by 32.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 241
ANSEL ADAMS
1902-1984
'EAGLE PEAK AND THE MIDDLE BROTHER, YOSEMITE NTNL. PARK, CALIFORNIA'
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8), titled and annotated in
ink, on the reverse, framed, an Ansel Adams &Edwin Land exhibition label and Polaroid Collection stamps on the reverse, circa
1960, probably printed between 1963 and 1970 (Yosemite and the Range of Light, pl. 68; Classic Images, pl. 65; Yosemite: Ansel
Adams, p. 68)
13 by 16¾ in. (33 by 42.5 cm.)
ESTIMATE 25,000 - 35,000 USD
EXHIBITION
LOT 242
ANSEL ADAMS
1902-1984
'WINTER SUNRISE FROM LONE PINE, CALIFORNIA'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11) and title and annotation in ink on the reverse, 1944,
probably printed between 1973 and 1977 (400 Photographs, p. 245; Morgan &Morgan, pl. 77; Examples, p. 162; Ansel Adams at
100, pl. 85; Classic Images, pl. 38; Yosemite and the Range of Light, pl. 99; Eloquent Light, unpaginated; An Autobiography, p.
262)
15 by 19 1/4 in. (38.1 by 48.9 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 243
ANSEL ADAMS
1902 - 1984
'THE GRAND TETONS AND THE SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title, date, and annotation in ink, on the reverse, 1942,
probably printed between 1973 and 1977 (400 Photographs, cover and p. 205; Our National Parks, cover and p. 31; Classic
Images, p. 35; Morgan &Morgan, pl. 56; Autobiography, p. 192; The Mural Project, p. 73)
15 1/2 by 19 in. (39.3 by 48 cm.)
ESTIMATE 50,000 - 70,000 USD
LOT 244
ANSEL ADAMS
1902-1984
SELECTED TYPE 40 IMAGES
a group of 3 unique Polaroid Type 40-series prints comprising Seashore and Sky; Yosemite Valley; and Clouds; and Rock
Formations, each framed, likely late 1940s or early 1950s (3)
Each 2 7/8 by 3 3/4 in. (7.5 by 9.8 cm.)
CATALOGUE NOTE
The photographs in this and the following lot, made on Polaroid's Type 40-series film, are among the earliest
Polaroid photographs in the Collection.
LOT 245
EDWARD WESTON
1886-1958
PORTRAIT OF ANSEL ADAMS
unique Polaroid Type 41 print, credit, date, and annotations in pencil on the reverse, framed, 1950
3 7/8 by 2 7/8 in. (9.8 by 7.3 cm.)
LITERATURE
CATALOGUE NOTE
The photograph in this lot, and those in Lot 244, are made on Polaroid's Type 40-series film and are among the
earliest Polaroid photographs in the Collection.
LOT 246
ANSEL ADAMS
1902-1984
'MT. WILLIAMSON FROM MANZANAR'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title and annotation in ink on the reverse, 1945,
probably printed between 1973 and 1977 (400 Photographs, p. 261; Morgan &Morgan, pl. 80; Yosemite and the Range of Light,
pl. 46; Examples, p. 66)
15 3/8 by 18 3/8 in. (39.1 by 46.7 cm.)
ESTIMATE 25,000 - 35,000 USD
EXHIBITION
Appendix 1)
LOT 247
ANSEL ADAMS
1902-1984
'MOONRISE, HERNANDEZ, NEW MEXICO'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and annotation in ink, on the reverse, 1941,
probably printed between 1973 and 1977 (400 Photographs, p. 175; Classic Images, pl. 32; Ansel Adams at 100, pl. 96; Morgan
&Morgan, pl. 63; Examples, p. 40)
15½ by 19½ in. (39.4 by 49.5 cm.)
ESTIMATE 30,000 - 50,000 USD
EXHIBITION
Appendix 1)
LOT 248
ANSEL ADAMS
1902-1984
'SULFITE CRYSTALS' (SODIUM SULFITE CRYSTALS EVAPORATED IN TRAY)
(BMFA 5 and 6), titled and annotated in ink, and 'Polaroid Land Photograph by Ansel Adams,' Polaroid Collection, and printing
information stamps, annotated in ink, on the reverse, framed, 1962 (Polaroid Land Photography, p. 20; Lane Collection, pl. 77)
17 3/8 by 13 1/8 in. (44.1 by 33.3 cm.)
ESTIMATE 10,000 - 15,000 USD
CATALOGUE NOTE
The subject matter of this photograph, crystalline sodium sulfite, has a direct relationship to the Polaroid Type 55
positive/negative film used to make this image. After exposure and development, a solution of sodium sulfite was
required to 'clear' the negative, i. e., wash away the opaque backing on the reverse of the acetate film. Of this
photograph, Adams wrote, 'The crystals were photographed at 1:1; the lens was thus extended to twice its focal
length and the extension factor was 4' (Polaroid Land Photography, p. 20). For the original Polaroid print of this
image, see Lot 69.
LOT 249
ANSEL ADAMS
1902-1984
'SCINTILLATION MERCED RIVER, WAWONA, CAL'
mounted on Crescent illustration board, with traces of the photographer's original signature in ink on the mount, Carmel studio
stamps (BMFA 5, 6, and 10), titled in ink, on the reverse, framed, a Polaroid Collection stamp on the reverse, 1950s, probably
printed between 1962 and 1963
19¼ by 14 3/8 in. (48.9 by 36.5 cm.)
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
Appendix 1)
LOT 250
ANSEL ADAMS
1902-1984
mural-sized, flush-mounted, framed, credit in pencil, Ansel Adams &Edwin Land exhibition label and various Polaroid Collection
labels and stamps on the reverse, 1944, probably printed in the 1950s or 1960s
28 5/8 by 39 in. (72.7 by 99.1 cm.)
ESTIMATE 150,000 - 250,000 USD
EXHIBITION
Appendix 1)
LITERATURE
exhibition), pl. 85
LOT 251
ANSEL ADAMS
1902-1984
ROCKS AND LICHEN
unique Polaroid print, inscribed with technical notations in black and red ink in the margin, framed, 1960s
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 252
ANSEL ADAMS
1902-1984
MERCED RIVER AND SNOW, YOSEMITE
unique Polaroid Type 55 print, framed, an Ansel Adams &Edwin Land exhibition label on the reverse, 1959 (Legacy of Light, p. 23,
variant)
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
EXHIBITION
Naples Museum of Art, Ansel Adams &Edwin Land: Art, Science and Invention, Photographs from the Polaroid
Collection, May - July 2004, and traveling to 8 other venues through 2007 (see Appendix 1)
LOT 253
ANSEL ADAMS
1902-1984
'FOREST, CASTLE ROCK STATE PARK, CALIF.'
(BMFA 5, 6, and 10), titled and annotated in ink, on the reverse, 1962, probably printed between 1962 and 1963 (California, p. 35;
Trees, p. 57; Singular Images, pl. 49)
15 by 18 7/8 in. (38.1 by 47.9 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 254
ANSEL ADAMS
1902-1984
'LICHENS AND ROCK'
(BMFA 5 and 6), titled in ink, and Polaroid Collection and 'Polaroid Land Photograph by Ansel Adams' stamps with processing
notations in ink, on the reverse, circa 1962, probably printed between 1962 and 1963
18 3/4 by 14 5/8 in. (47.6 by 37.1 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 255
ANSEL ADAMS
1902-1984
'MANLEY BEACON, DEATH VALLEY'
reverse, framed, an Ansel Adams &Edwin Land exhibition label on the reverse, 1952, probably printed between 1963 and 1970
19½ by 14¾ in. (49.5 by 37.5 cm.)
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
Appendix 1)
LOT 256
ANSEL ADAMS
1902-1984
'IN THE ALABAMA HILLS, OWENS VALLEY, CALIFORNIA' (ROCK FORMS)
from a Polaroid Type 55 negative, mounted on Crescent illustration board, annotation 'V' in crayon on the mount, Carmel studio
stamps (BMFA 5, 6, and 10), titled in ink, Polaroid Collection and Proof stamps and annotation in pencil on the reverse, 1962,
probably printed between 1962 and 1963
19 1/4 by 15 3/8 in. (48.8 by 39 cm.)
LOT 257
ANSEL ADAMS
1902-1984
'CANYON DE CHELLE NATIONAL MONUMENT, ARIZONA'
reverse, 1942, probably printed between 1963 and 1970 (400 Photographs, p. 166; Our National Parks, p. 96; Photographs of the
Southwest, pl. 30; The Mural Project, dust jacket)
15½ by 19½ in. (39.4 by 49.5 cm.)
ESTIMATE 35,000 - 50,000 USD
LOT 258
ANSEL ADAMS
1902-1984
SELECTED LANDSCAPE STUDIES
a group of 3 unique Polaroid Type 55 prints, comprising Fruit Tree, Cliffs, Yosemite; Rock Pillar and Trees; and Rapids and
Rocks, each framed, 1960s (3)
Each 4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.) or the reverse
LOT 259
ANSEL ADAMS
1902-1984
'THE GOLDEN GATE HEADLANDS, SAN FRANCISCO, CA.'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title in ink, and a Display Print stamp on the
reverse, 1952, probably printed between 1973 and 1977 (Our National Parks, p. 59)
15½ by 18¼ in. (39.4 by 46.3 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 260
ANSEL ADAMS
1902-1984
'EVENING CLOUDS, EAST SIDE OF THE SIERRA NEVADA, CALIFORNIA'
probably from a Polaroid Type 55 negative, mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps
(BMFA 7 and 8), titled in ink, and 'Property of Polaroid' and 'Photography by Photographic Service Group' stamps on the reverse,
1962, probably printed between 1963 and 1970 (Portfolio IV, pl. 15)
19 3/4 by 15 1/4 in. (50.2 by 38.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 261
ANSEL ADAMS
1902-1984
'BIG SUR COAST, CALIFORNIA'
reverse, 1951, probably printed between 1963 and 1970 (400 Photographs, p. 326; California, p. 55; Examples, p. 86)
19 by 14 3/8 in. (48.3 by 36.5 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 262
ANSEL ADAMS
1902-1984
SURF AND ROCKS
from a Polaroid Type 55 negative, mounted on Harvey illustration board, 'Polaroid Land Photograph by Ansel Adams,' printing
information, and Polaroid Collection stamps on the reverse, 1961
13 by 9¾ in. (33 by 24.7 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 263
ANSEL ADAMS
1902-1984
'SUNSET, PRARIE CREEK BEACH, CALIF.'
(BMFA 5, 6, and 10), titled, dated, and annotated in ink on the reverse, 1965 (Autobiography, p. 3, variant)
18¾ by 14½ in. (47.6 by 36.8 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 264
ANSEL ADAMS
1902-1984
'SIESTA LAKE, YOSEMITE NATIONAL PARK'
mounted on Strathmore illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8), titled in ink, on the
reverse, circa 1958, probably printed between 1963 and 1970 (400 Photographs, p. 351; Yosemite and the Range of Light, pl. 78;
Classic Images, pl. 56; Portfolio IV, pl. 12)
15¼ by 19¼ in. (38.7 by 48.9 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 265
ANSEL ADAMS
1902-1984
'STUMP - (YOSEMITE)'
(BMFA 1, 5, and 6), titled and annotated in ink, on the reverse, framed, an Ansel Adams &Edwin Land exhibition label and a
Polaroid Collection stamp on the reverse, 1962, probably printed between 1962 and 1963
18 by 13¾ in. (45.7 by 34.9 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Appendix 1)
LOT 266
ANSEL ADAMS
1902-1984
'EL CAPITAN, YOSEMITE VALLEY'
mounted on Crescent illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 5 and 6), titled in ink, on the
printed between 1962 and 1963 (400 Photographs, p. 300; California, p. 93)
19 5/8 by 15 in. (49.8 by 38.1 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Polaroid Collection, May - July 2004, and travelling to 8 other venues through 2007 (see Appendix 1)
LOT 267
ANSEL ADAMS
1902-1984
SELECTED WATER STUDIES
3 unique photographs, including 2 Polaroid Type 55 prints and one Polaroid Type 52 print, each framed, one with an Ansel Adams
&Edwin Land exhibition label on the reverse, 1965-75 (3)
Each 4½ by 3½ in. (11.4 by 8.9 cm.) or the reverse
EXHIBITION
Bridalveil Fall, Yosemite:
Appendix 1)
LOT 268
ANSEL ADAMS
1902-1984
'TETONS, SNAKE RIVER - VERTICAL'
from a Polaroid Type 55 negative, mounted on Flaxon illustration board, signed in ink on the mount, Carmel studio stamps (BMFA
5, 6, and 10), titled, dated, and annotated in ink, on the reverse, 1965
19½ by 15¼ in. (49.5 by 38.7 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 269
ANSEL ADAMS
1902-1984
'RAIL FENCE - TETON'
from a Polaroid Type 55 negative, mounted on Crescent illustration board, annotation in ink on the mount, a Carmel studio stamp
(BMFA 5), with title in pencil, on the reverse, 1965
17 3/4 by 13 5/8 in. (45.1 by 34.6 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 270
ANSEL ADAMS
1902-1984
THE TETONS AND SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING
mural-sized, flush-mounted, framed, 'Property of Polaroid Corporate Archives' stamp on the reverse, 1942, probably printed in the
1950s or 1960s
39½ by 51½ in. (100.3 by 130.8 cm.)
ESTIMATE 200,000 - 300,000 USD
LITERATURE
Andrea G. Stillman and William A. Turnage, eds., Our National Parks (Boston, 1992), cover and p. 31
Peter Wright and John Armor, The Mural Project: Photographs by Ansel Adams (Santa Barbara, 1989), p. 73
James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1985), p. 35
LOT 271
ANSEL ADAMS
1902-1984
'PORTFOLIO TWO: THE NATIONAL PARKS &AMP;MONUMENTS'
(San Francisco: self published, 1950, an edition of 100 and 5 presentation copies), a portfolio of 15 photographs, each mounted,
signed and numbered sequentially in pencil on the mount, the portfolio stamp, sequential numbers and '84' in red pencil, and a
'Photography Collection of the Polaroid Corporation' label, with typed credit, title, and process and accession information in ink, on
the reverse, 1942-49, printed in 1950; together with the letterpress title/colophon/plate list, and introductory text from Walt
Whitman, in duplicate. Folio, silver-stamped black and white cloth portfolio with flaps and ties, no. 84 in a total edition of 105 (15)
Each 12 by 8 5/8 in. (30.5 by 21.9 cm.) or the reverse
ESTIMATE 40,000 - 60,500 USD
PROVENANCE
LOT 272
ANSEL ADAMS
1902-1984
'COLD LIGHT'
from a Polaroid Type 55 negative, mounted on Harvey illustration board, a 'Polaroid Land' stamp, technical information stamp,
dated and annotated in ink, and a 'Polaroid Collection' stamp, annotations in ink, on the reverse, 1961
10¼ by 12¾ in. (26 by 32.4 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 273
ANSEL ADAMS
1902-1984
'OAK TREE, SNOWSTORM, YOSEMITE NATIONAL PARK'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title in ink, on the reverse, framed, an Ansel
Adams &Edwin Land exhibition label and Polaroid Collection stamps on the reverse, 1948, probably printed between 1973 and
1977 (400 Photographs, p. 275; Yosemite: Ansel Adams, pl. 56; Classic Images, p. 45; Trees: Ansel Adams, p. 70)
13¾ by 10½ in. (34.9 by 26.7 cm.)
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
Appendix 1)
LOT 274
ANSEL ADAMS
1902-1984
'MOUNT MCKINLEY AND WONDER LAKE, ALASKA'
probably printed between 1973 and 1977 (400 Photographs, p. 233; Morgan &Morgan, pl. 47; Classic Images, p. 54; Examples, p.
74; Ansel Adams at 100, pl. 110; Portfolio I, pl. 1)
15 3/8 by 19 3/8 in. (39.1 by 49.2 cm.)
ESTIMATE 30,000 - 50,000 USD
LOT 275
ANSEL ADAMS
1902-1984
'ROCKS AND LIMPETS, POINT LOBOS, CALIFORNIA'
(BMFA 5, 6, and 10), titled in ink, on the reverse, 1960, probably printed between 1962 and 1963 (Morgan &Morgan, pl. 92)
14 by 18 in. (35.6 by 45.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 276
ANSEL ADAMS
1902-1984
'SUNDOWN, THE PACIFIC'
from a Polaroid Type 55 negative, mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title in ink, a
'Display Print' stamp and a typed label on the reverse, framed, 1946, probably printed between 1973 and 1977 (400 Photographs,
p. 242; This Is the American Earth, p. 50)
18½ by 14½ in. (47 by 36.8 cm.)
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
LITERATURE
LOT 277
ANSEL ADAMS
1902-1984
POINT SUR, STORM, CALIFORNIA
from a Polaroid Type 55 negative, mounted on Crescent illustration board, signed and annotated 'D' in ink on the mount, 'Polaroid
Land Photograph by Ansel Adams' and Polaroid Collection stamps and annotated in ink on the reverse, 1962
17 by 13 in. (43.1 by 33 cm.)
ESTIMATE 25,000 - 35,000 USD
LITERATURE
Ansel Adams, Polaroid Land Photography Manual (New York, 1963), pl. 36 (likely this print)
LOT 278
ANSEL ADAMS
1902-1984
CLEARING WINTER STORM, YOSEMITE NATIONAL PARK
mural-sized, flush-mounted, framed, a Polaroid Collection label, an Ansel Adams &Edwin Land exhibition label, and Polaroid
Collection stamp on the reverse, 1938, probably printed in the 1950s or 1960s
35 1/8 by 39 5/8 in. (89.2 by 39.7 cm.)
ESTIMATE 200,000 - 300,000 USD
EXHIBITION
Appendix 1)
LITERATURE
Ansel Adams: Yosemite and the Range of Light (Boston, 1979), cover
Mary Street Alinder and Andrea Gray Stillman, Ansel Adams: Letters and Images 1916-1984 (Boston, 1988), p. 369
Andrea Gray Stillman, ed., Yosemite: Ansel Adams (Boston, 1995), pl. 1
John Szarkowski, Ansel Adams at 100 (Boston, 2001), p. 89
LOT 279
ANSEL ADAMS
1902-1984
CEDAR TREE, CLIFFS, YOSEMITE VALLEY
mural-sized, mounted, framed, 1939, probably printed in the 1950s or 1960s
40 by 30¼ in. (101.6 by 76.8 cm.)
ESTIMATE 30,000 - 50,000 USD
LOT 280
ANSEL ADAMS
1902-1984
CEDAR TREES IN SNOW, WINTER, YOSEMITE NATIONAL PARK
mural-sized, from a Polaroid Type 55 negative, flush-mounted, framed, an Ansel Adams &Edwin Land exhibition label on the
reverse, 1949, probably printed in the 1960s
48¼ by 38 in. (122.5 by 96.5 cm.)
ESTIMATE 60,000 - 90,000 USD
EXHIBITION
Appendix 1)
LITERATURE
Janet Swan Bush, ed., Ansel Adams: Trees (Boston, 2004), p. 74
LOT 281
ANSEL ADAMS
1902-1984
'NEVADA FALL, YOSEMITE NATIONAL PARK, CALIFORNIA' (RAINBOW)
mounted, signed in pencil on the mount, Display Print and Carmel studio (BMFA 11) stamps titled in ink on the reverse, circa
1947, probably printed between 1973 and 1977 (Examples, p. 120; Yosemite and the Range of Light, pl. 102)
18 3/4 by 14 1/8 in. (47.6 by 35.9 cm.)
ESTIMATE 12,000 - 18,000 USD
LOT 282
ANSEL ADAMS
1902-1984
'PINE TREE - ROCKS - YOSEMITE VALLEY'
5, 6, and 10), titled, annotated, and dated in ink, on the reverse, framed, an Ansel Adams &Edwin Land exhibition label on the
reverse, 1965
19 1/8 by 14¼ in. (48.6 by 36.2 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Appendix 1)
Polaroid Collection, May - July 2004, and travelling to 8 other venues through 2007 (see Appendix 1)
LOT 283
ANSEL ADAMS
1902 - 1984
EL CAPITAN
unique Polaroid Type 40-series print, inscribed with technical notations in ink on the reverse, framed, early to mid-1950s
3 7/8 by 2 7/8 in. (9.8 by 7.4 cm.)
EXHIBITION
Appendix 1)
LOT 284
ANSEL ADAMS
1902-1984
HALF DOME, REFLECTIONS, MERCED RIVER, YOSEMITE
unique Polaroid Type 55 print, the 'Polaroid Land Photograph by Ansel Adams' and handling instruction stamps on the reverse,
framed, a Polaroid Collection label and a Polaroid Collection stamp on the reverse, 1960 (Polaroid Land Photography, p. 135,
variant)
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
LOT 285
ANSEL ADAMS
1902-1984
'PORTFOLIO THREE: YOSEMITE VALLEY'
(San Francisco: Sierra Club, 1960, an edition of 200 numbered copies and 8 artist's proofs), a portfolio of 16 photographs, each
mounted, signed in ink on the mount, the portfolio stamp, sequential numbers and '20' in red ink, and a 'Photography Collection of
the Polaroid Corporation' label, with typed credit, title, and accession information, on the reverse, 1926-59, printed in 1959;
together with the letterpress title/colophon/plate list and introduction by Adams, number '20' in ink, and a typed description by
Adams of the photographic and developing technique employed. Folio, gilt-lettered green cloth portfolio with flaps and ties, no. 20
in a total edition of 208 (16)
Various sizes to 11 1/2 by 8 1/4 in. (29.2 by 21 cm.)
ESTIMATE 35,000 - 50,000 USD
PROVENANCE
Acquired from the photographer November 1960 for the Library Collection
LOT 286
ANSEL ADAMS
1902-1984
TENAYA LAKE
unique Polaroid Type 52 print, 1970s
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 287
ANSEL ADAMS
1902-1984
FALLEN ROCK, YOSEMITE
unique Polaroid Type 53 print, framed, a Polaroid Collection label and a Polaroid Collection stamp on the reverse, circa 1962
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 288
ANSEL ADAMS
1902-1984
GRAND TETONS AND THE SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING
flush-mounted, 'Property of Polaroid' and 'Photographic Service Group' stamps, with number and annotation in ink, on the reverse,
1942, printed later (400 Photographs, cover and p. 205; Our National Parks, cover and p. 31; Classic Images, p. 35; Morgan
&Morgan, pl. 56; Autobiography, p. 192; The Mural Project, p. 73)
19 3/4 by 25 1/8 in. (50.2 by 63.8 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 289
ANSEL ADAMS
1902-1984
'NEVADA FALLS, YOSEMITE NATIONAL PARK, CALIFORNIA' (RAINBOW)
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), titled and annotated in ink, on the reverse, circa 1947,
probably printed between 1973 and 1977 (Examples, p. 120; Yosemite and the Range of Light, pl. 102)
19 1/4 by 14 7/8 in. (48.9 by 37.8 cm.)
ESTIMATE 12,000 - 18,000 USD
LOT 290
ANSEL ADAMS
1902-1984
SEQUOIA ROOTS, MARIPOSA GROVE, YOSEMITE NATIONAL PARK, CALIFORNIA
mural-sized, flush-mounted to wood, framed, stamped 'Property of Polaroid Corporate Archives' twice on the reverse, circa 1950,
probably printed in the 1950s or 1960s (400 Photographs, p. 344; Yosemite and the Range of Light, pl. 22; Trees: Ansel Adams,
p. 28; Portfolio IV, pl. 2)
39 1/8 by 30 7/8 in. (99.4 by 78.4 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 291
ANSEL ADAMS
1902-1984
ROCKS AND LIMPETS, POINT LOBOS
mural-sized, from a Polaroid Type 55 negative, flush-mounted, framed, 1960, probably printed in the 1960s (Morgan &Morgan, pl.
92)
30 by 40½ in. (76.2 by 102.9 cm.)
ESTIMATE 30,000 - 50,000 USD
LOT 292
VARIOUS PHOTOGRAPHERS
SELECTED PORTRAITS OF ANSEL ADAMS
a group of 5 unique Polaroid Type 50 prints by MARGARET BOURKE-WHITE, IMOGEN CUNNINGHAM, MILTON
HALBERSTADT, and PIRKLE JONES, each with typed or stamped credit and captions in the margins or on the reverse, one
framed, 1960s (5)
EXHIBITION
Ansel Adams with Cats and Adams in Profile:
Appendix 1)
LOT 293
ANSEL ADAMS
1902-1984
2 unique Polaroid SX-70 prints, including Ansel Adams in Mirror and Ansel Adams in Shadow, the first signed and dated in ink on
the reverse, the second mounted, each framed, the first with a Polaroid Collection label and the second with Ansel Adams &Edwin
Land exhibition and Polaroid Collection labels and a Polaroid Collection stamp on the reverse, 1971 and 1978 (2)
Each 3 1/8 by 3 1/8 in. (7.9 by 7.9 cm.)
EXHIBITION
Ansel Adam in Mirror:
September - November 2000, and traveling to 4 other venues through 2001 (see Appendix 1):
Ansel Adams in Shadow:
LITERATURE
Ansel Adams in Mirror:
LOT 294
ANSEL ADAMS
1902-1984
SNOW BANK DETAIL, YOSEMITE NATIONAL PARK
47 7/8 by 38 5/8 in. (121.6 by 98.1 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 295
ANSEL ADAMS
1902-1984
SUGARPINE BOUGHS AND LICHEN, YOSEMITE NATIONAL PARK, CALIFORNIA
mural-sized, from a Polaroid Type 55 negative, flush-mounted, framed, 'Property of Polaroid Corporate Archives' stamps on the
reverse, 1962, probably printed in the 1960s
37½ by 47½ in. (95.3 by 120.7 cm.)
ESTIMATE 40,000 - 60,000 USD
LITERATURE
Edwin Land, David McAlpin, Jon Holmes, and Ansel Adams, Ansel Adams: Singular Images (Dobbs Ferry, 1974),
pl. 51
LOT 296
ANSEL ADAMS
1902-1984
SELECTED STUDIES OF WATER
a group of 3 unique Polaroid Type 50-series prints, comprising Merced River, Rocks and Foam; Rock, Dogwood Blossoms, and
River, Yosemite; and Water Pooled Between Rocks, each framed, circa 1963 and 1975 (Polaroid Land Photography, p. 73,
variant) (3)
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 297
ANSEL ADAMS
1902-1984
'EVENING CLOUDS, EAST SIDE OF THE SIERRA NEVADA, CALIFORNIA'
from a Polaroid Type 55 negative, mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA
7 and 8), with title in ink, on the reverse, 1962, probably printed between 1963 and 1970 (Yosemite and the Range of Light, pl. 42)
15¾ by 19½ in. (40 by 49.5 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 298
ANSEL ADAMS
1902-1984
SCINTILLATION, MERCED RIVER, WAWONA, CALIFORNIA
from a Polaroid Type 55 negative, mounted, signed in ink on the mount, a Polaroid Collection stamp on the reverse, 1950s,
probably printed in the 1960s
17 3/4 by 13 1/2 in. (45.1 by 31.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 299
ANSEL ADAMS
1902-1984
'ASPENS, NORTHERN NEW MEXICO'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and date in ink, and a 'Display Print' stamp on the
printed between 1973 and 1977 (400 Photographs, cover and p. 375; Ansel Adams at 100, pp. 104-5; Examples, p. 116; Ansel
Adams: Trees, p. 9; Grand Canyon and the Southwest, p. 85)
15 by 19 in. (38.1 by 48.3 cm.)
ESTIMATE 25,000 - 35,000 USD
EXHIBITION
Appendix 1)
LOT 300
ANSEL ADAMS
1902-1984
'BRIDALVEIL FALL, YOSEMITE'
mounted, signed in pencil on the mount, 'Display Print' and Carmel studio (BMFA 11) stamps, titled in ink on the reverse, circa
1927, probably printed between 1973 and 1977 (400 Photographs, p. 41; Classic Images, pl. 3; Yosemite and the Range of Light,
pl. 66; Yosemite: Ansel Adams, p. 33; Illustrated Guide to Yosemite, p. 56)
19 1/2 by 14 7/8 in. (49.5 by 37.8 cm.)
ESTIMATE 40,000 - 60,000 USD
LOT 301
ANSEL ADAMS
1902-1984
BRIDALVEIL FALL, YOSEMITE
mural-sized, from a Polaroid Type 55 negative, flush-mounted, framed, probably 1950s-60s
84 by 48 in. (213.4 by 121.9 cm.)
ESTIMATE 70,000 - 100,000 USD
LOT 302
ANSEL ADAMS
1902-1984
'RIVER, CLIFFS, AUTUMN, YOSEMITE NATIONAL PARK, CALIFORNIA'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), with title in ink, and a 'Display Print' stamp on the
reverse, 1939, probably printed between 1973 and 1977 (Examples, p. 140; Yosemite and the Range of Light, pl. 40; Classic
Images, pl. 24; Morgan &Morgan, pl. 70; Portfolio III, plate 2)
15¼ by 19½ in. (38.7 by 49.5 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 303
ANSEL ADAMS
1902-1984
'REDWOODS, RICHARDSON GROVE, CALIFORNIA'
reverse, circa 1964, probably printed before 1970 (The Pageant of History, pl. 20)
19½ by 13¾ in. (49.5 by 34.9 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 304
ANSEL ADAMS
1902-1984
'TETON RANGE, SNAKE RIVER'
(BMFA 5, 6, and 10), titled and with annotations in ink, on the reverse, 1965
15½ by 18¾ in. (39.4 by 47.6 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 305
ANSEL ADAMS
1902-1984
YOSEMITE TREES
2 photographs from Polaroid Type 55 negatives, comprising 'Pine Tree Rocks, Yosemite' and 'Tree Stump, Yosemite National
Park,' each mounted to illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 5, 6, and 10), titled in ink, on
the reverse, 1965 and 1962 (2)
19 1/2 by 14 3/4 in. (49.5 by 37.5 cm.)
18 7/8 by 14 3/4 in. (47.8 by 37.5 cm.)
ESTIMATE 15,000 - 20,000 USD
LOT 306
ANSEL ADAMS
1902-1984
MOON AND HALF DOME, YOSEMITE NATIONAL PARK
mounted, signed in pencil on the mount, flush-mounted to foamcore, 'Polaroid Corporate Archives' and Ansel Adams &Edwin
Land exhibition labels on the reverse, 1960, probably printed in the 1970s (400 Photographs, p. 379; Yosemite and the Range of
Light, pl. 115; Yosemite: Ansel Adams, pl. 55; Classic Images, cover and pl. 74; Examples, p. 132; Illustrated Guide to Yosemite,
page 6)
19½ by 15 in. (49.5 by 38.1 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Appendix 1)
LOT 307
ANSEL ADAMS
1902-1984
'ORCHARD, PORTOLA VALLEY, CALIFORNIA'
mounted, signed in pencil on the mount, 'Display Print' and Carmel studio (BMFA 11) stamps, titled and dated in ink on the
reverse, circa 1953, probably printed between 1973 and 1977 (400 Photographs, p. 328; Portfolio IV, pl. 11; Classic Images, pl.
48; Trees: Ansel Adams, p. 79)
14 1/2 by 18 3/4 in. (36.8 by 47.6 cm.)
LOT 308
ANSEL ADAMS
1902-1984
ORCHARD, SANTA CLARA, CALIFORNIA
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title and annotated in ink, on the reverse, circa 1954,
probably printed between 1973 and 1977 (400 Photographs, p. 332; This is the American Earth, p. 65)
13 3/4 by 19 1/2 in. (34.9 by 49.5 cm.)
LOT 309
ANSEL ADAMS
1902-1984
HALF DOME FROM VALLEY FLOOR
unique Polaroid Type 53 print, inscribed with technical notations in red ink in the margin, the photographer's name stamp on the
mat, 1959
3½ by 4½ in. (8.9 by 11.5 cm.)
LOT 310
ANSEL ADAMS
1902-1984
NEAR UNIVERSITY OF SANTA CRUZ
unique Polaroid Type 42 print, inscribed with technical notations in the margin and 'USC' in ink on the reverse, framed, circa 1964
2 7/8 by 3 7/8 in. (7.4 by 9.7 cm.)
LOT 311
EDWARD WESTON
1886-1958
SELECTED PLATES FROM THE 'FIFTIETH ANNIVERSARY PORTFOLIO'
11 (of 12) photographs from the Fiftieth Anniversary Portfolio (Carmel: self-published, 1951), printed by BRETT WESTON from
negatives by EDWARD WESTON under the latter's supervision, each mounted, initialed and dated in pencil on the mount, the
portfolio stamp and sequential number in pencil and a 'Photography Collection of the Polaroid Corporation' label, with typed title
and annotations and accession information in ink, on the reverse, 1924-46, printed in 1951; one in an edition of 100 (11)
Each approximately 9 1/2 by 7 1/2 in. (24.1 by 19.1 cm.) or the reverse
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
LOT 312
MINOR WHITE
1908-1976
'PORTRAIT, YOUNG MAN AND MOON'
mounted, signed and dated in pencil on the mount, a 'Photography Collection of the Polaroid Corporation' label, with typed credit,
title, and process and accession information in ink, on the reverse, 1948, printed no later than 1957 (MMM, p. 47; Rites and
Passages, p. 83)
6¾ by 8¾ in. (17.1 by 22.2 cm.)
PROVENANCE
LOT 313
MINOR WHITE
1908-1976
ATTIC DOOR (THE PHOTOGRAPHER'S HOME, ROCHESTER, NY)
title, and process and accession information in ink, on the reverse, 1956, printed no later than 1957 (MMM, p. 11; The Eye that
Shapes, pl. 112, variant)
9½ by 7 in. (24.1 by 17.8 cm.)
PROVENANCE
LOT 314
ANSEL ADAMS
1902-1984
'MINOR WHITE'
unique Polaroid Type 52 print, typed title, date, and technical information in the margin, signed in pencil on the mat, framed, a
Polaroid Collection label, an Ansel Adams &Edwin Land exhibition label, and a Polaroid Collection stamp on the reverse, 1956
(Morgan &Morgan, pl. 110; Autobiography, p. 320, variants)
3½ by 4½ in. (8.9 by 11.4 cm.)
EXHIBITION
Pittsburgh, Pennsylvania, Ansel Adams at Silver Eye Center for Photography, November 1999 - January 2000
Appendix 1)
LOT 315
ANSEL ADAMS
1902-1984
RUNDEL PARK THROUGH WINDOW SCREEN, ROCHESTER, NEW YORK
Type 53 Polaroid print, inscribed with the photographer's San Francisco address and 'Copy,' possibly by the photographer, in ink
and with a handling instruction stamp on the reverse, 1960 (Singular Images, pl. 13; Polaroid Portfolio #1, pp. 32-33)
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 316
WALTER CHAPPELL
1925-2000
'PHOTOGRAPH 114-58'
mounted on Strathmore board, signed and dated in ink on the mount, initialed and titled in ink and with a 'Photography Collection
of the Polaroid Corporation' label, with typed title and credit and accession information in ink, on the reverse, 1958, printed no later
than 1959
7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
PROVENANCE
Acquired from the photographer in August 1959 for the Library Collection
LOT 317
WALTER CHAPPELL
1925-2000
'STONE CARVING'
mounted, signed and dated in ink on the mount, a 'Photography Collection of the Polaroid Corporation' label, with typed title,
credit, and date and accession information in ink, on the reverse, 1958, printed no later than 1959 (Under the Sun, pl. 28)
9 1/2 by 6 1/2 in. (24.1 by 16.5 cm.)
PROVENANCE
LOT 318
MINOR WHITE
1908-1976
AXE IN PLOWED FIELD
mounted, signed and dated in pencil on the mount, a 'Photography Collection of the Polaroid Corporation' label, with typed credit
and title and process and accession information in ink, on the reverse, 1947, printed no later than 1957 (MMM, p. 50)
7 1/8 by 9½ in. (18.1 by 24.1 cm.)
PROVENANCE
LOT 319
WALTER CHAPPELL
1925-2000
'PICKET FENCE (PHOTOGRAPH 10/1958)'
mounted, signed and dated in ink on the mount, initialed and numbered in ink and with a 'Photography Collection of the Polaroid
Corporation' label, with typed title and credit and accession information in ink, on the reverse, 1958, printed no later than 1959
(Aperture 95, p. 20; Photography in America, p. 196; Mirrors and Windows, p. 2)
7 5/8 by 9 5/8 in. (19.4 by 24.4 cm.)
PROVENANCE
LOT 320
IMOGEN CUNNINGHAM
1883-1976
'LEAVES'
title and date, and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and process and accession
information, on the reverse, 1947, printed no later than 1960 (Photographs, pl. 42; Flora, pl. 88; Photography Year 1977, p. 203)
7 3/8 by 9 3/8 in. (18.7 by 23.8 cm.)
PROVENANCE
LOT 321
IMOGEN CUNNINGHAM
1883-1976
'RUBBER PLANT'
mounted, signed in pencil on the mount, the photographer's '1331 Green Street, San Francisco' studio label, with typed title and
date, and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, process and accession information,
on the reverse, before 1930, printed no later than 1960 (Flora, pl. 37; Photographs, pl. 14; Modernist Years, unpaginated;
Frontiers, unpaginated; Seeing Straight, pl. 26)
13 1/8 by 10 1/8 in. (33.3 by 25.7 cm.)
PROVENANCE
LOT 322
HARRY CALLAHAN
1912-1999
'FIGURE DETAIL (PREGNANT WOMAN)' (ELEANOR)
mounted, signed by the photographer in ink and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit
and title and accession information, in ink, on the reverse, 1949, printed no later than 1958 (Emerging Bodies, p. 64, this print;
MoMA, p. 16; Eleanor, p. 39; Cox, pl. 35; Callahan, Siskind, Sommer: At the Crossroads of American Photography, p. 16)
7 7/8 by 7 1/2 in. (20 by 19 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LOT 323
WALTER CHAPPELL
1925-2000
'GESTURES OF INFINITY'
(Rochester: self-published, 1957, a proposed edition of 25), a book of 23 mounted photographs, with accompanying printed text
by Chappell and introduction by Minor White, 1954-57, printed in 1957. Small folio, accordion-bound Strathmore boards, covers
signed, titled, and dated in ink, a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and accession
information on the front pastedown, signed and editioned '#VI' of 25 in ink on the rear pastedown, accompanied by a fragment of a
cardboard box with a Wittenborn and Company, New York, mailing label addressed to Chappell, and a Polaroid Collection label
on the reverse
The plates various sizes to 7 1/2 by 9 1/2 in. (19.1 by 24.1 cm.)
PROVENANCE
Acquired from the photographer in January 1958 for the Library Collection
LITERATURE
Peter C. Bunnell and Robert Creeley, Walter Chappell: Vintage Photographs, 1954 - 1978 (Roth Horowitz, 2000), p.
4
CATALOGUE NOTE
This extremely scarce book was created when Walter Chappell lived in Rochester, New York, and studied with
Minor White. It is believed that only eight copies of the projected edition of 25 exist, due to the photographer's
Wingdale (Rochester) studio fire in 1961.
LOT 324
PAUL CAPONIGRO
B. 1932
SELECTED ABSTRACT STUDIES
3 photographs from Polaroid Type 55 negatives, including Screen and Water, Tree Stumps, Ipswich, Massachusetts, and Leaf on
Screen, Ipswich, Massachusetts, each mounted, the third mounted on Bainbridge board, the first signed in pencil on the mount,
the second and third with Polaroid Collection stamps, credit and annotations in ink, on the reverse, 1961-62 (Landscape, p. 50) (3)
Various sizes to 7 5/8 by 9½ in. (19.4 by 24.1 cm.) or the reverse
LOT 325
PAUL CAPONIGRO
B. 1932
LEAF, WINTHROP, MASSACHUSETTS
from a Polaroid Type 55 negative, mounted, signed in pencil on the mount, a Polaroid Collection stamp, credit and annotation in
ink, on the reverse, circa 1961
9½ by 6½ in. (24.1 by 16.5 cm.)
CATALOGUE NOTE
In 1960, Paul Caponigro was hired by the Polaroid Corporation as a technical consultant. The position lasted for six
years, and during this time Caponigro conducted numerous photographic tests, and produced a large body of work
that included both unique Polaroid prints and gelatin silver prints made from Polaroid negatives. In 1961, he led a
workshop on creative photography sponsored by the Polaroid Corporation.
LOT 326
HARRY CALLAHAN
1912-1999
'CHICAGO BUILDING FACADE' (DEARBORN STREET)
flush-mounted, mounted again, signed by the photographer in ink and with a 'Photography Collection of the Polaroid Corporation'
label, with typed credit and title and accession information in ink, on the reverse, 1948, printed no later than 1958
7 5/8 by 9 1/2 in. (19.3 by 24.1 cm.)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
LITERATURE
Peter C. Bunnell, Harry Callahan (Venice, 1978), pl. 44
Britt Salvesen, Harry Callahan: Photographer at Work (Center for Creative Photography and Yale University, 2006),
p. 35, fig. 31
Time-Life Books: Photography Year 1977 (Alexandria, 1977), p. 87
LOT 327
HARRY CALLAHAN
1912-1999
'PLANT DETAIL' (WEED AGAINST SKY)
mounted, signed by the photographer in ink and with the 'Photography Collection of the Polaroid Corporation' label, with typed
credit and title and accession information in ink, on the reverse, 1948, printed no later than 1958
7 7/8 by 7 3/4 in. (20 by 19.7 cm.)
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
LITERATURE
The Polaroid Book, (Köln, 2008), p. 224 (this print)
Harry Callahan (Aperture, 1999), p. 27
Britt Salvesen, Harry Callahan: Photographer at Work (Center for Creative Photography and Yale University, 2006),
fig. 4
Sarah Greenough, Harry Callahan (Washington: National Gallery of Art, 1996), p. 66
Katherine Ware, Elemental Landscapes: Photographs by Harry Callahan (Philadelphia Museum of Art, 2001), cover
and fig. 16
Harry Callahan: Nature (Gottingen, 2007), cover
Britt Salvesen and Keith F. Davis, Callahan, Siskind, Sommer: At the Crossroads of American Photography (Santa
Fe, 2009), pl. 3
LOT 328
PAUL CAPONIGRO
B. 1932
'OXIDIZED METAL, CHIMNEY, BEACON HILL, BOSTON, MASSACHUSETTS'
from a Polaroid Type 55 negative, mounted, signed and dated in pencil on the mount, title in pencil and a 'Photography Collection
of the Polaroid Corporation' label, with typed credit, title, and process and accession information in ink, on the reverse, 1959
7 by 9 5/8 in. (17.8 by 24.4 cm.)
PROVENANCE
LOT 329
AARON SISKIND
1903-1991
'CHICAGO 85'
mounted, titled and dated twice in pencil and a 'Photography Collection of the Polaroid Corporation' label, with typed credit and
title and accession information in ink, on the reverse, 1953, printed no later than 1959 (Fragmentation of Language, p. 26; Aaron
Siskind 100, unpaginated; Pleasures and Terrors, p. 145; and Daiter, p. 19, all cropped variants)
13 1/4 by 10 1/4 in. (33.6 by 26 cm.)
PROVENANCE
LOT 330
AARON SISKIND
1903-1991
'CHICAGO 30'
mounted, titled and dated twice in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit
and title and accession information in ink, on the reverse, 1949, printed no later than 1959 (Pleasures and Terrors, pl. 140; Aaron
Siskind 100, unpaginated; Aaron Siskind, p. 35; Disappearing Witness, fig. 3.9, p. 40)
10 1/2 by 13 3/8 in. (26.7 by 34 cm.)
PROVENANCE
LOT 331
AARON SISKIND
1903-1991
'CHICAGO 9'
mounted, titled and dated (twice) in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit
and title and accession information in ink, on the reverse, 1948, printed no later than 1959 (Siskind, Photographs, cover; Interior
Drama, p. 50; Aaron Siskind 55, p. 47)
13 3/8 by 9 1/4 in. (34 by 23.5 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
CATALOGUE NOTE
This image was used as the cover illustration for Aaron Siskind's first monograph, Photographs, published in 1959.
LOT 332
ANSEL ADAMS
1902-1984
SONOMA LANDSCAPES
2 photographs, comprising 'Oak Trees and Fence in Rain, Sonoma County, California' and 'Hills and Rain, Sonoma County,
California,' the first from a Polaroid Type 55 negative, each signed in ink on the mount, with Carmel studio stamps (BMFA 7 and
8), titled in ink, and the second with 'Photographic Service Group Technical Control Center Research Division, Polaroid' and
'Property of Polaroid Return to Polaroid Print Library' stamps on the reverse, 1951, probably printed between 1963 and 1970 (400
Photographs, pp. 330-31 and Classic Images, pl. 67-8, both reproductions of Oak Trees variants; Portfolio IV, pl. 7) (2)
15 1/8 by 19 1/4 in. (38.3 by 48.9 cm.)
14 1/4 by 19 in. (36.2 by 48.3 cm.)
ESTIMATE 18,000 - 22,000 USD
LOT 333
ANSEL ADAMS
1902-1984
'BEACH, EVENING, NORTHERN CALIFORNIA COAST'
(BMFA 5, 6, and 10), titled and annotated in ink, on the reverse, circa 1962, probably printed between 1962 and 1963
15¼ by 19 in. (38.7 by 48.3 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 334
ANSEL ADAMS
1902-1984
'EUCALYPTUS TREE, FORT ROSS, CALIFORNIA'
from a Polaroid Type 55 negative, mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA
8 and 10), titled and dated in ink, and a 'Polaroid Land Photograph by Ansel Adams' stamp on the reverse, 1968, probably printed
no later than 1970 (400 Photographs, p. 392)
18 7/8 by 15 in. (47.9 by 38.1 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 335
ANSEL ADAMS
1902-1984
SELECTED STUDIES OF TREES
2 photographs, including Tree Trunks, Rocks, Yosemite Valley and Redwoods, Richardson Grove, California, the first from a
Polaroid Type 55 negative, each mounted, one on Crescent and one on Hi-Art illustration board, signed in ink on the mount, titled
in ink and with Carmel Studio stamps (BMFA 5 and 6 and BMFA 7 and 8, respectively), and 'Polaroid Land Photograph by Ansel
Adams,' or Polaroid Collection stamps, on the reverse, 1960s (The Pageant of History, pl. 20) (2)
18 7/8 by 14 1/2 in. (47.9 by 36.8 cm.)
19 1/2 by 14 in. (49.5 by 35.6 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 336
ANSEL ADAMS
1902-1984
'ASPENS, NORTHERN NEW MEXICO'
large-format, mounted, credit and title in pencil on the reverse, 1958, printing date unknown (400 Photographs, cover and p. 375;
Ansel Adams at 100, pp. 104-05; Letters &Images, p. 314; Examples, p. 116; Trees, p. 9; Grand Canyon and the Southwest, p.
85)
20 1/4 by 25 3/4 in. (51.4 by 65.4 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 337
ANSEL ADAMS
1902-1984
'LEAVES (SCREEN SUBJECT) MILLS COLLEGE, CA'
mounted, signed in pencil on the mount, a Carmel studio stamp (BMFA 11), title in ink, and a 'Display Print' stamp on the reverse,
framed, an Ansel Adams &Edwin Land exhibition label and a Polaroid Collection stamp on the reverse, 1931, probably printed
between 1973 and 1977 (400 Photographs, p. 64)
11¾ by 14¼ in. (29.8 by 36.2 cm.)
ESTIMATE 10,000 - 15,000 USD
EXHIBITION
Appendix 1)
LOT 338
ANSEL ADAMS
1902-1984
MOUNTAINS AND GLACIER
unique Polaroid print, inscribed with technical notations in ink in the margin, framed, 1960s-70s
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 339
ANSEL ADAMS
1902 - 1984
MERCED RIVER AND SNOW 2
unique Polaroid Type 55 print, framed, a Polaroid Collection label and a Polaroid Collection stamp on the reverse, 1959
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
EXHIBITION
Appendix 1)
LITERATURE
LOT 340
ANSEL ADAMS
1902-1984
MOUNTAIN LANDSCAPE
unique Polaroid Type 55 print, inscribed with technical notations in ink and typed reprographic instructions in the margins, the
photographer's Carmel address on a typewritten label and a partial 'exhibit print' stamp on the reverse, framed, a Polaroid
Collection label and a Polaroid Collection stamp on the reverse, circa 1961 (Polaroid Land Photography, p. 203)
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm)
LOT 341
ANSEL ADAMS
1902 - 1984
HALF-DOME AND PINE BRANCHES FROM GLACIER POINT, YOSEMITE
unique Polaroid Type 52 print, inscribed with numerical notations in red ink in the margin, framed, an Ansel Adams &Edwin Land
exhibition label on the reverse, circa 1960
4 1/2 by 3 1/2 in. (11.4 by 8.8 cm.)
EXHIBITION
Appendix 1)
LOT 342
ANSEL ADAMS
1902-1984
SELECTED STUDIES OF ROCK FORMS
a group of 3 unique Polaroid Type 52 prints, comprising Boulders and Crevice; Ocean-Worn Rock; and Boulders and Lichen, each
framed, the first two with Polaroid Collection and Ansel Adams &Edwin Land exhibition labels and a Polaroid Collection stamp on
the reverse, 1975-77 (3)
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.) and the reverse
EXHIBITION
Boulders and Crevice and Ocean-Worn Rock:
Appendix 1)
Naples, Florida, Museum of Art, Ansel Adams and Edwin Land: Art, Science and Invention, Photographs from the
LOT 343
ANSEL ADAMS
1902-1984
SELECTED ROCK DETAILS
two unique Polaroid Type 50-series prints comprising 'Rock Detail, Marin County, California' and Metamorphic Rock, the first
inscribed with technical notations in ink in the margins, titled in ink, and with handling instructions and 'Polaroid Land Photograph
by Ansel Adams' stamp, inscribed with technical data in ink, on the reverse, each framed, Polaroid Collection and Ansel Adams
&Edwin Land exhibition labels and the first with a Polaroid Collection stamp on the reverse, 1960 and 1969 (2)
Each 3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
EXHIBITION
Appendix 1)
CATALOGUE NOTE
Both prints offered here demonstrate the creative uses to which Adams put Polaroid materials, as well as his ability
to push the company's various film types to suit his creative needs. On the reverse of 'Rock Detail, Marin County,
California' Adams has written, in addition to information about his lens choice and development time and
temperature, 'Held for 18 hours before coating to improve color and clear the whites.' Adams refers here to the
hand-coating most black-and-white Polaroid prints required, which both stopped the action of the developing agent
and hardened to protect the print. While the film's instructions prescribed coating a print directly after development,
Adams in this instance manipulated the process by delaying coating, thus allowing further development of the print's
highlights and enhancing its tonality.
LOT 344
ANSEL ADAMS
1902-1984
SELECTED NATURE STUDIES
2 unique Type 52 Polaroid prints, comprising Rocks, Pt. Lobos and Tree Trunk and Shadow, the second inscribed '#5 without
reflection' in red ink in the margin, with credit and date 'June 23, 1961' in pencil on the reverse, each framed, circa 1975 and 1961
Each 4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.) and the reverse
LOT 345
ANSEL ADAMS
1902-1984
TWISTED TREE AND BOULDER
unique Polaroid Type 52 print, framed, a Polaroid Collection label and a Polaroid Collection stamp on the reverse, 1975
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LOT 346
MINOR WHITE
1908-1976
'ERODED ROCK'
and title and process and accession information in ink, on the reverse, 1952, printed no later than 1957
9½ by 7½ in. (24.1 by 19.1 cm.)
PROVENANCE
LOT 347
ANSEL ADAMS
1902-1984
SELECTED CLOSE-UP STUDIES OF ROCK FORMATIONS
a group of 4 unique Polaroid Type 55 prints of Close-Up Studies of Rock Formations, each framed, 3 with Ansel Adams &Edwin
Land exhibition labels on the reverse, 1963-72 (4)
EXHIBITION
Rock Wall Detail and Wavy Boulder:
Rock Wall Detail; Wavy Boulder; Rocks (rectangular rock center):
Appendix 1)
LOT 348
ANSEL ADAMS
1902-1984
PHOTOGRAPHS OF YOSEMITE
2 unique Polaroid Type 52 prints, comprising Lower Cathedral Rock, Yosemite, and Rocks and Oak Tree, Yosemite, the first
inscribed with technical notations in ink in the margin, each framed, the first with the 'Property of the Polaroid Corporate Archives'
stamp on the reverse, 1956 and circa 1977 (2)
LOT 349
PAUL CAPONIGRO
B. 1932
'PORTFOLIO II'
(Redding, Connecticut: self-published, 1973, an edition of 100), a portfolio of 8 photographs from Polaroid Type 55 negatives,
each mounted, signed in pencil on the mount, numbered in pencil on the reverse, 4 framed, 1957-70, printed in 1973; together
with the printed title and plate list, editioned 'forty one' in ink. Folio, gilt-lettered brown cloth folding case, ties, no. 41 in an edition
of 100 (8)
Various sizes to 8½ by 12½ in. (21.6 by 31.8 cm.)
LOT 350
PAUL CAPONIGRO
B. 1932
WEST HARTFORD, CONNECTICUT
mounted, signed in pencil on the mount, framed, Photography in Boston exhibition labels and a Polaroid Collection stamp on the
reverse, 1959 (The Wise Silence, pl. 19; Caponigro, pl. 10)
7½ by 9 3/8 in. (19.1 by 23.8 cm.)
EXHIBITION
Lincoln, Massachusetts, DeCordova Museum and Sculpture Park, Photography in Boston: 1955-1985, September
2000 - January 2001
LOT 351
ANSEL ADAMS
1902-1984
SELECTED CLOUD STUDIES
a group of 3 unique Polaroid Type 50-series prints, comprising Rocks, Sierra Foothills, California; Ocean and Clouds; and Hills
and Clouds, the first signed in pencil on the mat, each framed, the first with a Polaroid Collection label and a Polaroid Collection
stamp on the reverse, 1960s-70s (3)
3 1/2 by 4 1/2 in. (8.9 by 11.4 cm.)
EXHIBITION
Rocks, Sierra Foothills, California and Ocean and Clouds:
Appendix 1)
LOT 352
MINOR WHITE
1908-1976
'SURF, PACIFIC OCEAN, CALIFORNIA COAST'
title, and process and accession information in ink, on the reverse, 1949, printed no later than 1957
5 by 9½ in. (12.7 by 24.1 cm.)
PROVENANCE
LOT 353
MINOR WHITE
1908-1976
'GRASSES AND MIST' (SWAMP, MENDOCINO, CA)
title, and process and accession information in ink, on the reverse, 1948, printed no later than 1957 (Eye That Shapes, p. 166)
7½ by 9 1/8 in. (19.1 by 23.2 cm.)
PROVENANCE
LOT 354
ANSEL ADAMS
1902-1984
'WINTER SUNRISE FROM LONE PINE, CALIFORNIA'
probably printed between 1973 and 1977 (400 Photographs, p. 245; Morgan &Morgan, pl. 77; Examples, p. 162; Ansel Adams at
100, pl. 85; Classic Images, pl. 38; Yosemite and the Range of Light, pl. 99; Eloquent Light, unpaginated; An Autobiography, p.
262)
15 by 19 1/4 in. (38.1 by 48.9 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 355
ANSEL ADAMS
1902-1984
ICE ON TIOGA LAKE, YOSEMITE NATIONAL PARK
from a Polaroid Type 55 negative, mounted, signed in ink on the mount, framed, an Ansel Adams &Edwin Land exhibition label
and Polaroid Collection stamps on the reverse, 1965
18½ by 14¼ in. (47 by 36.2 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Appendix 1)
LOT 356
ANSEL ADAMS
1902-1984
SELECTED YOSEMITE VIEWS
2 unique Polaroid prints, comprising Yosemite Fall and Split Tree, Yosemite, the first with 'Polaroid Land Photograph by Ansel
Adams' and printing information stamps, titled and with technical data in ink, on the reverse, each framed, a Polaroid Collection
label and a Polaroid Collection stamp on the reverse, 1966 and circa 1962 (2)
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
3 3/4 by 2 7/8 in. (9.6 by 7.3 cm.)
LITERATURE
Yosemite Fall:
LOT 357
PAUL CAPONIGRO
B. 1932
SELECTED WOODLAND SCENES
a group of 8 unique photographs, including 6 Polaroid Type 52 prints and 2 Polaroid Type 55 prints, 3 signed and dated in ink on
the reverse, 2 framed, 1960s (8)
LOT 358
FRANK GOHLKE
B. 1942
SELECTED STUDIES OF GRAIN ELEVATOR
4 unique Polaroid Type 52 prints, one signed in pencil on the reverse, one framed, a Polaroid Collection stamp on the reverse,
1973 (The Polaroid Book, p. 124, one print) (4)
LOT 359
ANSEL ADAMS
1902-1984
INDUSTRIAL LANDSCAPES
2 photographs, comprising Industrial Location, San Francisco and 'No Parking Sign,' the first from a Polaroid Type 55 negative,
each mounted on Crescent illustration board, the first signed in ink on the mount and the 'Polaroid Land Photograph by Ansel
Adams' stamp and an exhibition placard, the second titled in ink, and both with Polaroid Collection stamps on the reverse, circa
1962, the first probably printed in the 1960s (2)
13 1/2 by 17 1/4 in. (34.3 by 43.8 cm.)
19 1/2 by 15 3/8 in. (49.5 by 39.1 cm.)
ESTIMATE 15,000 - 20,000 USD
EXHIBITION
Industrial Location, San Francisco:
Appendix 1)
LOT 360
ANSEL ADAMS
1902-1984
'MISSION SAN XAVIER DEL BAC, ARIZONA'
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 5, 6, and 10), titled in ink, on the
reverse, 1968 (400 Photographs, p. 404)
15 by 19¼ in. (38.1 by 48.9 cm.)
LOT 361
ANSEL ADAMS
1902-1984
MARY MARTHA CHAPEL, SUDBURY, MASSACHUSETTS
mural-sized, mounted, framed, a letterpress collection label and a Polaroid Collection stamp on the reverse, probably 1960s
28¾ by 21¼ in. (73 by 54 cm.)
EXHIBITION
Appendix 1)
LOT 362
ANSEL ADAMS
1902-1984
ARCHES, MISSION SAN XAVIER DEL BAC, TUCSON, ARIZONA
unique Polaroid Type 55 print, framed, 1968
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
LITERATURE
LOT 363
ANSEL ADAMS
1902-1984
DECORATIVE COLUMN
unique Polaroid Type 52 print, framed, Polaroid Collection and Ansel Adams &Edwin Land exhibition labels, and a Polaroid
4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
Appendix 1)
LOT 364
MARGARET BOURKE-WHITE
1904-1971
'SEA BIRDS (AERIAL)'
mounted, a 'Photography Collection of the Polaroid Corporation' label, with typed title and credit and accession information in ink,
on the reverse, 1952, printed no later than 1957 (The Photographs of Margaret Bourke-White, p. 200)
15 1/2 by 19 3/8 in. (39.3 by 49.2 cm.)
PROVENANCE
LOT 365
LAURA GILPIN
1891-1979
'ASPENS'
mounted on Winsor &Newton illustration board, signed and dated in pencil on the mount, a typed label, with credit, title, and
publication information, and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and process and
8¾ by 12 7/8 in. (22.2 by 32.7 cm.)
PROVENANCE
LOT 366
LAURA GILPIN
1891-1979
'THE RIO GRANDE YIELDS ITS SURPLUS TO THE SEA'
mounted on Winsor &Newton illustration board, signed and dated in pencil on the mount, a typed label, with credit, title, and
publication information, and a 'Photography Collection of the Polaroid Corporation' label, with typed credit, title, and process and
accession information in ink, on the reverse, 1947, printed no later than 1957 (Enduring Grace, pl. 115)
8¾ by 13 in. (22.2 by 33 cm.)
PROVENANCE
LITERATURE
This image appears in Gilpin's 1949 volume, The Rio Grande: River of Destiny; an Interpretation of the River, the
Land, and the People (Duell, Sloan &Pearce, Inc.), page 236.
LOT 367
WILLIAM GARNETT
1916-2006
'SUNSET OVER COAST RANGE, CALIF. (OBLIQUE AERIAL)'
California, Sycamore 7-8483' studio stamp and a 'Photography Collection of the Polaroid Corporation' label, with typed title and
credit and process and accession information in ink, on the reverse, 1956, printed no later than 1957
10½ by 13 3/8 in. (26.7 by 34 cm.)
PROVENANCE
LOT 368
PIRKLE JONES
1914-2009
'PACIFIC OCEAN, SAN FRANCISCO' (SUNSET DISTRICT)
mounted, the photographer's '2279 - 40th Avenue, San Francisco 16, Calif.' studio stamp and a 'Photography Collection of the
Polaroid Corporation' label, with typed title, credit, and process and accession information in ink, on the reverse, 1951, printed no
later than 1957 (California Photographs, pp. 22-3; Capturing Light, pl. 134)
7 1/4 by 9 1/4 in. (18.4 by 23.5 cm.)
PROVENANCE
LOT 369
MINOR WHITE
1908-1976
'ROCK AND SURF'
and title and process and accession information in ink, on the reverse, 1948, printed no later than 1957 (Eye that Shapes, p. 165)
7½ by 9 5/8 in. (19.1 by 24.5 cm.)
PROVENANCE
LOT 370
PAUL CAPONIGRO
B. 1932
SELECTED MEGALITHS
2 photographs, including Inner Trilithon Through Circle Stones, Stonehenge and Pentre-Ifan Dolman, Pembrokeshire, Wales,
each mounted, signed in pencil on the mount, matted, signed again in pencil on the mat, 1970 (Megaliths, pls. 6 and 96) (2)
14¼ by 19 in. (36.2 by 48.3 cm.)
LOT 371
AARON SISKIND
1903-1991
'STONE WALL, MARTHA'S VINEYARD, VR 111B'
mounted, titled in pencil, and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit and title and
accession information in ink, on the reverse, 1954, printed no later than 1959 (Pleasures and Terrors, pl. 152; Aperture 95,
Summer 1984, p. 15)
10 1/2 by 13 3/8 in. (26.7 by 34 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LOT 372
FRANK GOHLKE
B. 1942
SELECTED IMAGES
a group of 8 unique Polaroid Type 50-series prints, one signed and dated in pencil on the mat, 1971-72 (8)
Each 4½ by 3½ (11.4 by 8.9 cm.) or the reverse
LOT 373
WALTER CHAPPELL
1925-2000
'PHOTOGRAPH 2-55'
mounted, signed and dated in ink on the mount, initialed and titled in pencil and with a 'Photography Collection of the Polaroid
Corporation' label, with typed title and credit and accession information in ink, on the reverse, 1955, printed no later than 1959
7 5/8 by 9 1/2 in. (19.4 by 24.1 cm.)
PROVENANCE
CATALOGUE NOTE
According to Walter Chappell authority David Scheinbaum, vintage prints by Chappell are scarce. In 1961, when
the photographer was living and working in Rochester, New York, a fire destroyed virtually all of his early prints and
early negatives. After this loss, Chappell considered his early prints unique.
LOT 374
ANSEL ADAMS
1902-1984
'FOREST - YOSEMITE VALLEY'
(BMFA 5, 6 and 10), titled, dated, and annotated in ink, on the reverse, 1964
14½ by 18¾ in. (36.8 by 47.6 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 375
ANSEL ADAMS
1902-1984
'DETAIL, JUNIPER TREE, YOSEMITE NATIONAL PARK'
5, 6, and 10), titled, dated, and annotated in ink, on the reverse, 1965
19½ by 14¾ in. (49.5 by 37.5 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 376
ANSEL ADAMS
1902-1984
'PINE BRANCHES, YOSEMITE VALLEY'
(BMFA 5, 6, and 10), titled in ink, on the reverse, framed, a Polaroid Collection stamp on the reverse, 1961, probably printed
between 1962 and 1963 (Singular Images, pl. 51; 400 Photographs, p. 384)
15¼ by 19½ in. (38.7 by 49.5 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Appendix 1)
LOT 377
WILLIAM GARNETT
1916-2006
'BUTTE, MARBLE CANYON, ARIZONA (VERTICAL AERIAL 1000 FT.)'
13 3/8 by 10¼ in. (34 by 26 cm.)
PROVENANCE
LOT 378
WILLIAM GARNETT
1916-2006
'HILL PROJECTING THROUGH ALLUVIAN FAN. DEATH VALLEY, CALIF. (OBLIQUE AERIAL)'
than 1957
13 3/8 by 10¼ in. (34 by 26 cm.)
PROVENANCE
LOT 379
BRETT WESTON
1911-1993
'DUNES'
mounted, signed, titled, and dated in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed title
and credit and accession information in ink, on the reverse, 1946, printed no later than 1957
7 5/8 by 9½ in. (19.4 by 24.1 cm.)
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
LITERATURE
Kurt Markus, ed., Dune: Edward &Brett Weston (Kalispell, 2003), p. 15
LOT 380
PIRKLE JONES
1914-2009
'COMPOSITION, BACK YARD, SAN FRANCISCO, CALIFORNIA' (GARDEN DETAIL)
mounted, signed in pencil, the photographer's '2279 - 40th Avenue, San Francisco 16, Calif.' studio stamp and a 'Photography
Collection of the Polaroid Corporation' label, with typed title, credit, and process and accession information in ink, on the reverse,
1947, printed no later than 1957 (California Photographs, p. 89)
6 1/4 by 8 1/8 in. (15.9 by 20.7 cm.)
PROVENANCE
CATALOGUE NOTE
Another print of this image, in the collection of Paul Hertzmann and Susan Herzig, bears the alternative title,
'Outside Ansel Adams's Darkroom, San Francisco.'
LOT 382
MINOR WHITE
1908-1976
FRONT STREET, SAN FRANCISCO (ARCHITECTURAL DETAIL)
title, and process and accession information in ink, on the reverse, 1951, printed no later than 1957 (The Eye that Shapes, pl. 118)
7¼ by 9¼ in. (18.4 by 23.5 cm.)
PROVENANCE
LOT 383
MINOR WHITE
1908-1976
'BARN DETAIL, WINTER'
and title and process and accession information in ink, on the reverse, 1954, printed no later than 1957
7¼ by 9 1/8 in. (18.4 by 23.2 cm.)
PROVENANCE
LOT 384
BRETT WESTON
1911-1993
'FLORIDA SWAMP'
mounted, signed, titled, and dated in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit,
title, and process and accession information in ink, on the reverse, 1947, printed no later than 1957
7½ by 9½ in. (19.1 by 24.1 cm.)
PROVENANCE
LOT 385
BRETT WESTON
1911-1993
'PLASTIC PAINT'
mounted, signed, titled, and dated in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed credit,
title, and process and accession information in ink, on the reverse, 1953, printed no later than 1957 (Voyage of the Eye, p. 69)
9½ by 7½ in. (24.1 by 19.1 cm.)
PROVENANCE
LOT 386
BRETT WESTON
1911-1993
'GARRAPATA BEACH'
mounted, signed, titled, and dated in pencil and with a 'Photography Collection of the Polaroid Corporation' label, with typed title
and notations and accession information in ink, on the reverse, 1953, printed no later than 1957 (Voyage of the Eye, cover and
unpaginated; Out of the Shadow, pl. 54; Capturing Light, pl. 137)
7½ by 9½ in. (19.1 by 24.1 cm.)
PROVENANCE
LOT 387
BRETT WESTON
1911-1993
SELECTED POLAROIDS
30 unique Polaroid prints, including 14 Type 58, 11 Type 52, 3 Type 57, and 2 Type 40 prints, 14 flush-mounted, one mounted,
most with annotations or attribution on the reverse of the print or mount, one framed, an Innovation/Imagination exhibition label on
the reverse, 1950s-60s (30)
Various sizes to 4½ by 3½ in. (11.4 by 8.9 cm.) or the reverse
ESTIMATE 15,000 - 25,000 USD
EXHIBITION
1999, and traveling to 11 other venues through 2007 (see Appendix 1) (one print)
LITERATURE
Innovation/Imagination: 50 Years of Polaroid Photography (The Friends of Photography, 1999), p. 28 (one print)
LOT 388
ANSEL ADAMS
1902-1984
SELECTED PLATES FROM 'PORTFOLIO THREE: YOSEMITE VALLEY'
14 (of 16) photographs from Portfolio Three: Yosemite Valley (San Francisco: Sierra Club, 1960), each mounted, signed in pencil
on the mount, the portfolio stamp, sequential numbers and '65' in red ink, and a 'Photography Collection of the Polaroid
Corporation' label, with typed credit, title, accession information, and plate number, on the reverse, 1926-59, printed in 1960;
together with duplicate letterpress title/colophon/plate list and introduction by Adams, each with number '65' in red ink or pencil,
no. 65 in an edition of 208 (14)
Various sizes to 11½ by 8¼ in. (29.2 by 21 cm.) or the reverse
ESTIMATE 30,000 - 50,000 USD
PROVENANCE
LOT 389
MINOR WHITE
1908-1976
SELECTED ABSTRACT STUDIES
5 unique Polaroids, comprising 2 Type 53 prints and 3 Type 52 prints, one with the photographer's '72 N. Union, Rochester 7, N.
Y.' stamp on the reverse, one framed, an Innovation/Imagination exhibition label on the reverse, 1960-75 (5)
EXHIBITION
Pole with Ivy Growing Behind It:
(see Appendix 1)
LITERATURE
Pole with Ivy Growing Behind It:
LOT 390
MINOR WHITE
1908-1976
PEELED PAINT, ROCHESTER, NEW YORK
unique Polaroid Type 52 print, dated and annotated in red ink and with the photographer's '72 North Union St., Rochester 7, N. Y.'
studio stamp on the reverse, 1959; accompanied by a typed letter on Aperture letterhead from White to Miss Meroe Morse of
Polaroid Corporation
4½ by 3½ in. (11.4 by 8.9 cm.)
LITERATURE
Ansel Adams, Polaroid Land Photography, p. 89 (likely this print)
Other prints of this image (variant croppings):
Mirrors Messages Manifestations (Millerton, 1969), p. 40
Peter Bunnell, Minor White: The Eye That Shapes (Princeton, 1989), pl. 150
CATALOGUE NOTE
The letter, dated 9 June 1959, that accompanies this photograph reads:
'Dear Meroe:
SINAR makes a grand new back that takes the POLAROID 4 x 5 back. It arrived yesterday evening. So I tried
everything out at once this morning at 6 AM!
What a joy to work with and what a pleasure to behold -- the pictures that emerge pristine and beautiful from my
own camera!
The first pack was used up on the subject matter of which a sample for you is enclosed.
Thank you very much for a magnificent material!
Cordially,
Minor White'
LOT 391
PAUL CAPONIGRO
B. 1932
5 photographs from Polaroid Type 55 negatives, each mounted, 4 signed and 3 dated in pencil on the mount, each with a
'Polaroid Collection' stamp, with credit and annotations in ink, on the reverse, framed, 1962-67 (Heliography, p. 3; Mirrors and
Windows, p. 33) (5)
Each approximately 16½ by 13½ in. (41.9 by 34.3 cm.) or the reverse
LOT 392
MINOR WHITE
1908-1976
'TOM SCHULER, LAKEVILLE, CONNECTICUT'
unique Polaroid Type 52 print, signed, titled, and dated in pencil on the reverse, 1973
4½ by 3½ in. (11.4 by 8.9 cm.)
LITERATURE
Barbara Hitchcock, ed., Emerging Bodies (Zurich, 2000), p. 131 (this print)
LOT 393
DOROTHEA LANGE
1895-1965
SELECTED IMAGES FROM THE SERIES ON JUSTICE
2 photographs, including 'The Defendant' and 'The Witness,' each mounted, signed, titled, and dated in pencil on the mount, the
photographer's 'Dorothea Lange, 1163 Euclid Avenue, Berkeley, 8, California' studio label and a 'Photography Collection of the
Polaroid Corporation' label, with typed credit, title, and process and accession information in ink, on the reverse, 1955, printed no
later than 1958 (MoMA, p. 78; Photographs of a Lifetime, p. 150; Photography in America, p. 145; Davis, pp. 52 and 96, cropped
variant; Heart and Mind of a Photographer, pp. 148 and 213, cropped variant) (2)
10 7/8 by 8¾ in. (27.6 by 22.3 cm.)
10 7/8 by 9 3/8 in. (27.6 by 23.8 cm.)
PROVENANCE
Each acquired from the photographer in June 1958 for the Library Collection
LOT 394
MARGARET BOURKE-WHITE
1904-1971
'SOUTH AFRICAN DIAMOND MINERS'
mounted, a 'Photography Collection of the Polaroid Corporation' label, with typed title and credit and annotations in ink, on the
reverse, 1950, printed no later than 1957 (The Photographs of Margaret Bourke-White, cover and p. 176; Faces, p. 16; LIFE,
September 18, 1950)
19 3/8 by 15 3/8 in. (49.2 by 39.5 cm.)
PROVENANCE
LOT 395
ANSEL ADAMS
1902-1984
'ROCK + SAND'
unique Polaroid Type 41 print, initialed, titled, and dated in pencil and ink on the reverse, framed, Polaroid Collection labels and
stamps, and an Ansel Adams &Edwin Land exhibition label on the reverse, 1954
3 by 3¾ in. (7.6 by 9.5 cm.)
EXHIBITION
Appendix 1)
LOT 396
ANSEL ADAMS
1902-1984
MOUNTAIN AND SAGUARO CACTUS
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm)
LOT 397
PAUL CAPONIGRO
B. 1932
REDDING WOODS
2 unique Polaroid Type 52 prints of Redding Woods, Connecticut, one flush-mounted, credit and date in pencil on the reverse of
each, 1968 (The Wise Silence, pl. 60 and 25 Years, fig. 68, p. 41, variants) (2)
3 1/2 by 4 1/2 in. (8.9 by 11.4 cm.)
LOT 398
PAUL CAPONIGRO
B. 1932
SELECTED PLATES FROM PORTFOLIO ONE
9 (of 12) photographs from Portfolio One (Boston: self-published, 1962), each mounted, signed in pencil on the mount,
sequentially numbered and with edition number in pencil, and a 'Polaroid Collection' stamp, with credit and annotations in ink, on
the reverse, one framed, 1958-61, printed in 1962; together with the printed title/colophon and plate list. Folio, black and gray cloth
portfolio with title label, flaps and ties, no. one in a total edition of 50 (9)
Various sizes to 10 by 7 1/2 in. (25.4 by 19.1 cm.) or the reverse
LOT 399
PAUL CAPONIGRO
B. 1932
SELECTED LANDSCAPES
a group of 7 photographs from Polaroid Type 55 negatives, each mounted, all signed and 4 dated in pencil on the mount, 6 with
'Polaroid Collection' stamps, credit and annotations in ink, on the reverse, each framed, 1960-69 (Landscape, pl. 10) (7)
Various sizes to 9¼ by 12¾ in. (23.5 by 32.4 cm.)
LOT 400
ANSEL ADAMS
1902-1984
ASPENS, NORTHERN NEW MEXICO
large-format, flush-mounted, a 'Photographic Service Group Technical Control Center Research Division, Polaroid' stamp, credit
and number '116' in ink, on the reverse, framed, 1958, printing date unknown (400 Photographs, cover and p. 375; Ansel Adams
at 100, pp. 104-5; Examples, p. 116; Ansel Adams: Trees, p. 9; Grand Canyon and the Southwest, p. 85)
20 1/8 by 25 3/8 in. (51.1 by 64.5 cm.)
ESTIMATE 20,000 - 30,000 USD
LOT 401
ANSEL ADAMS
1902-1984
'FERN, SPRING, YOSEMITE VALLEY'
from a Polaroid Type 55 negative, mounted, signed in ink on the mount, Carmel studio stamps (BMFA 5, 6, and 10), titled in ink,
on the reverse, 1961, probably printed in 1962-63 (400 Photographs, p. 380; Yosemite: Ansel Adams, p. 47; American
Perspectives, pl. 146; Polaroid Land Photography, fig. 4-3, p. 48; Singular Images, pl. 48)
18 1/4 by 14 1/4 in. (46.3 by 36.2 cm.)
LOT 402
ANSEL ADAMS
1902-1984
CALIFORNIA CEMETERIES
2 photographs from Polaroid Type 55 negatives, comprising 'Little Asa, Mariposa Cemetery' and Iron Grave Marker, Monterey,
each mounted, the second on Crescent illustration board, each signed in ink on the mount, the first with Carmel Studio stamps
(BMFA 5 and 6), titled in ink, both inscribed with technical notations in ink and with Polaroid Collection and the 'Polaroid Land
Photograph by Ansel Adams' stamps on the reverse, 1962 (2)
14 7/8 by 18 1/4 in. (37.8 by 46.4 cm.)
13 1/4 by 15 5/8 in. (33.6 by 39.6 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 403
ANSEL ADAMS
1902-1984
mural-sized, flush-mounted, framed, a Polaroid Collection label and stamped 'Property of Polaroid Corporate Archives' on the
reverse, 1944, probably printed in the 1950s or 1960s
29 1/8 by 39½ in. (73.9 by 100.3 cm.)
ESTIMATE 150,000 - 250,000 USD
LITERATURE
exhibition), pl. 85
LOT 404
ANSEL ADAMS
1902-1984
'CHURCH, BODEGA, CALIFORNIA'
reverse, circa 1953, probably printed between 1963 and 1970 (Pageant of History, pl. 29; Classic Images, pl. 60; Examples, p.
138)
19 1/8 by 13 7/8 in. (48.6 by 35.3 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 405
ANSEL ADAMS
1902-1984
'STONE SPHERE, MARIPOSA CEMETERY'
(BMFA 5, twice, and 6), titled and annotated in ink, a printing information stamp, annotated in ink, and a 'Polaroid Collection'
stamp, with credit and annotations in ink, on the reverse, framed, an Ansel Adams &Edwin Land exhibition label and a Polaroid
Collection stamp on the reverse, 1962, probably printed between 1962 and 1963
17 7/8 by 14 in. (45.4 by 35.6 cm.)
EXHIBITION
Appendix 1)
LOT 406
ANSEL ADAMS
1902-1984
'OLD STORE FRONT, CLAYTON , CALIFORNIA'
from a Polaroid Type 55 negative, mounted on Crescent illustration board, number 'VIII' in pencil on the mount, Carmel studio
stamps (BMFA 5, 6 and 10), titled in ink, and a Polaroid Collection stamp, on the reverse, circa 1962
14 7/8 by 19 1/4 in. (37.8 by 48.8 cm.)
LOT 407
ANSEL ADAMS
1902-1984
'NO PARKING SIGN'
from a Polaroid Type 55 negative, mounted on Crescent illustration board, number 'III' in pencil on the mount, Carmel studio
stamps (BMFA 5, 6, and 10), titled in ink, and a Polaroid Collection stamp on the reverse, circa 1962
19 1/4 by 15 1/4 in. (48.9 by 38.7 cm.)
LOT 408
ANSEL ADAMS
1902-1984
TETON LANDSCAPES
a group of 3 unique Polaroid prints, comprising The Tetons and Split Rail Fence; The Tetons, Meadow and Fog; and The Snake
River and The Tetons, the first and second inscribed with technical data in ink in the margin or on the reverse, each framed, the
last with Polaroid Collection and Ansel Adams &Edwin Land exhibition labels and a Polaroid Collection stamp on the reverse,
circa 1965 (3)
EXHIBITION
The Snake River and The Tetons:
Appendix 1)
LITERATURE
The Snake River and the Tetons:
Ansel Adams, Polaroid Land Photography (Boston, 1978), p. 56 (likely this print)
LOT 409
ANSEL ADAMS
1902-1984
SELECTED TETON IMAGES
a group of 3 photographs, 2 from Polaroid Type 55 negatives, comprising Rail Fence - Tetons; Tetons - Cunningham Cabin; and
Detail, Cunningham Cabin, Grand Teton National Park, each mounted on Crescent or Flaxon illustration board, the first with a
Carmel studio stamp (BMFA 5) and titled in pencil on the reverse; the second and third signed in ink on the mount, Carmel studio
stamps (BMFA 5, 6, and 10) and titled, dated, and annotated in ink on the reverse, 1965 (3)
Various sizes to 19 1/8 by 14 1/2 in. (48.5 by 36.8 cm.) or the reverse
ESTIMATE 25,000 - 35,000 USD
LOT 410
ANSEL ADAMS
1902-1984
PARADISE VALLEY
mural-sized, flush-mounted to Gatorfoam, negative and printing date unknown
32¾ by 26¼ in. (83.2 by 66.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 411
ANSEL ADAMS
1902-1984
HALF DOME, MERCED RIVER
mural-sized, mounted, framed, negative and printing date unknown
47½ by 47½ in. (120.6 by 120.6 cm.)
ESTIMATE 30,000 - 50,000 USD
LOT 412
ELIOT PORTER
1901-1990
SELECTED PLATES FROM 'PORTFOLIO ONE: THE SEASONS'
10 (of 12) dye-transfer prints from 'Portfolio One: The Seasons' (San Francisco: Sierra Club, 1964), each mounted, the portfolio
stamp, edition and sequential numbers in red ink, and a 'Photography Collection of the Polaroid Corporation' label, with typed
credit, title, and accession information on the reverse, 1953-60, printed in 1963; together with printed plate
list/colophon/introduction, number '28' in red ink, in duplicate. Folio, gilt-lettered linen portfolio with flaps and ties, no. 28 in a total
edition of 105 (10)
Each approximately 8½ by 10½ in. (21.6 by 26.7 cm.) or the reverse
PROVENANCE
Acquired from the photographer in November 1964 for the Library Collection
LOT 413
ELIOT PORTER
1901-1990
3 photographs, 1 dye-transfer and 2 gelatin silver prints, including 'Aspens, Autumn N.M.,' 'Fog, Maine Woods,' and 'Bird in Flight,'
each mounted, the 'Photograph by Eliot Porter' stamp and a 'Photography Collection of the Polaroid Corporation' label, with typed
title and annotations and accession date in ink, on the reverse, 1950s, printed no later than 1957 (3)
Various sizes up to 10¾ by 8¼ in. (27.3 by 21 cm.)
PROVENANCE
LITERATURE
Aspens:
LOT 414
ANSEL ADAMS
1902 - 1984
SELECTED SX-70 STUDIES
a group of 4 unique Polaroid SX-70 prints comprising San Xavier del Bac; Leaves and Flowers; Stone Archway; and Natural Pool,
each inscribed with technical data in ink, the last two with 'Exhibit Print' stamps on the reverse, framed together, 1972-73 (4
photographs in one frame)
Each 3 1/8 by 3 1/8 in. (8 by 8 cm.)
LOT 415
ANSEL ADAMS
1902-1984
EARLY COLOR WORK
a group of 4 unique Polacolor photographs, each inscribed with technical data in ink in the margin, flush-mounted, a printed
Polaroid Corporation information label, credit in ink or pencil, on the reverse, circa 1963 (4)
2 7/8 by 3 5/8 in. (7.4 by 9.4 cm.)
CATALOGUE NOTE
These four photographs were likely made with Polaroid Type 48 film, the first instant color film that Polaroid
introduced in 1963.
LOT 416
ANSEL ADAMS
1902-1984
SELECTED COLOR STUDIES
a group of 4 unique Polaroid SX-70 prints, comprising Cherubs, Interior of Mission San Xavier del Bac; Rusted Blue Metal;
Orange Flowers; and Red Rock, one with a typewritten data label affixed to the margin, each inscribed with technical data in ink
and one stamped 'Exhibit Print' on the reverse, one framed, 1972-73 (Polaroid Land Photography, pp. 102, 103, and 269,
variants) (4)
3 1/8 by 3 1/8 in. (8 by 8 cm.)
LOT 417
ANSEL ADAMS
1902-1984
'HOUSE, GLOUCESTER, MASSACHUSETTS'
(BMFA 5, 6, and 10), titled and annotated in ink, on the reverse, circa 1962
15 5/8 by 19 1/4 in. (39.7 by 48.9 cm.)
LOT 418
ANSEL ADAMS
1902-1984
'FERN, SPRING, YOSEMITE VALLEY'
from a Polaroid Type 55 negative, mounted, signed in ink on the mount, Carmel studio stamps (BMFA 5 and 6), titled in ink, and
Polaroid Collection and 'Polaroid Land Photograph by Ansel Adams' stamps with processing notations, on the reverse, 1961,
probably printed in 1962-63 (400 Photographs, p. 380; Yosemite: Ansel Adams, p. 47; American Perspectives, pl. 146; Polaroid
Land Photography, fig. 4-3, p. 48; Singular Images, pl. 48)
19 1/4 by 15 1/8 in. (48.9 by 38.3 cm.)
LOT 419
ANSEL ADAMS
1902-1984
SELECTED PORTRAITS
a group of 3 photographs from Polaroid Type 55 negatives, comprising 'Portrait [Dennis Purcell], Stack of Rails' and 2 portraits
entitled 'G. S. [Gerry Sharpe] Reflections in Glass,' each mounted, the first on Crescent illustration board and signed in ink on the
mount, each with the 'Polaroid Land Photograph by Ansel Adams' and Polaroid Collection stamps, and the last 2 titled and one
annotated 'Proof Print' in ink on the reverse, 1960 (Morgan &Morgan, pl. 12) (3)
Each approximately 14 by 18 in. (35.5 by 45.7 cm.) and the reverse
ESTIMATE 10,000 - 15,000 USD
LOT 420
ANSEL ADAMS
1902-1984
'MIRROR LAKE, CALIFORNIA'
mural-sized, flush-mounted on Masonite, framed, negative and printing date unknown; accompanied by a title label on black board
with white ink
47 5/8 by 49 in. (121 by 124.5 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 421
ANSEL ADAMS
1902-1984
HALF DOME FROM GLACIER POINT, YOSEMITE
mural-sized, on a Masonite box mount, negative and printing date unknown
60 by 47 in. (152.4 by 119.4 cm.)
ESTIMATE 25,000 - 35,000 USD
LOT 422
ANSEL ADAMS
1902-1984
SELECTED PLATES FROM 'PORTFOLIO FOUR: WHAT MAJESTIC WORD, IN MEMORY OF RUSSELL VARIAN'
14 (of 15) photographs from Portfolio Four (San Francisco: Sierra Club, 1963, an edition of 260), each mounted, signed in ink on
the mount, the printed portfolio label, number '70' in red ink, and a 'Photography Collection of the Polaroid Corporation' label, with
typed credit, title, and accession information, on the reverse, in individual letterpress wrappers, 1943-63, printed in 1963; together
with duplicate letterpress title/colophon/plate list and introduction by Adams, each with the number '70' in red ink. Folio, giltlettered gray linen portfolio with flaps and ties, each no. 70 in an edition of 260 (14)
Various sizes to 9 by 11½ in. (22.9 by 29.2 cm.) or the reverse
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
Acquired from the artist in December 1963 for the Library Collection
LOT 423
ANSEL ADAMS
1902-1984
MISSION SAN XAVIER DEL BAC, TUCSON, ARIZONA
Polaroid Type 55 print, inscribed 'Copy,' possibly by the photographer, in ink on the reverse, framed, a Polaroid Collection and
Ansel Adams &Edwin Land exhibition labels and a Polaroid Collection stamp on the reverse, 1968 (Singular Images, p. 43; 400
Photographs, p. 404)
3 1/2 by 4 1/2 in. (8.9 by 11.5 cm.)
EXHIBITION
Appendix 1)
LOT 424
ANSEL ADAMS
1902-1984
ARCHITECTURAL DETAIL
unique Polaroid Type 53 print, inscribed with technical notations in ink in the margin, framed, circa 1969
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
LOT 425
ANSEL ADAMS
1902-1984
BALUSTRADE
unique Polaroid Type 55 print, framed, an Ansel Adams &Edwin Land exhibition label on the reverse, 1966
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
EXHIBITION
Appendix 1)
LOT 426
ANSEL ADAMS
1902-1984
PORCH COLUMN AND ROSE BUSH
unique Polaroid Type 52 print, 1970s
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.)
EXHIBITION
Appendix 1)
LOT 427
ANSEL ADAMS
1902-1984
HOLY CROSS CHURCH, SANTA CRUZ
mural-sized, flush-mounted, framed, stamped 'Property of Polaroid Corporate Archives' twice on the reverse, no later than 1963,
probably printed in the 1960s (Polaroid Land Photography, fig. 8-1, variant)
37 3/8 by 30¼ in. (94.9 by 76.8 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 428
ANSEL ADAMS
1902-1984
MISSION JOSÉ DE LA LAGUNA, LAGUNA PUEBLO, NEW MEXICO
mural-sized, flush-mounted, framed, Polaroid Collection and Ansel Adams &Edwin Land exhibition labels on the reverse, circa
1968
31¼ by 38¾ in. (79.4 by 98.4 cm.)
ESTIMATE 20,000 - 30,000 USD
EXHIBITION
Appendix 1)
LOT 429
ANSEL ADAMS
1902-1984
BEAUMONT NEWHALL
3 unique Polaroid Type 50-series prints, including Beaumont Newhall Cooking; Beaumont Newhall in His Study; and Beaumont
Newhall in Doorway, each signed in pencil on the mat and framed, circa 1963 (Beaumont's Kitchen, cover) (3)
Each 4½ by 3½ in. (11.4 by 8.9 cm.)
LOT 430
ANSEL ADAMS
1902-1984
PHOTOGRAPHERS
a group of 7 Polaroid Type 50-series prints, comprising portraits of Dr. Edwin Land; William Garnett and Son; Eliot Porter; Laura
Gilpin (seated); Laura Gilpin (standing in doorway); Pirkle Jones; and Unidentified Man Seated on Rocks, several annotated in ink
in the margin or on the reverse, two stamped, 5 framed, 2 with Ansel Adams &Edwin Land exhibition labels and several with other
Polaroid Collections labels or stamps, on the reverse, 1960s; accompanied by the negative for the Garnett portrait and associated
collection catalogue card (7 photographs, one negative, and one card)
EXHIBITION
Edwin Land and Laura Gilpin (seated):
Edwin Land and both Laura Gilpin portraits:
Appendix 1)
Edwin Land and Laura Gilpin (standing):
LOT 431
DOROTHEA LANGE
1895-1965
SELECTED PORTRAITS OF WOMEN
2 photographs, including 'Native Californian' and 'God Bless Nora Kennedy,' each mounted, signed, titled, and dated in pencil on
the mount, the photographer's 'Dorothea Lange, 1163 Euclid Avenue, Berkeley, 8, California' studio label and a 'Photography
Collection of the Polaroid Corporation' label, with typed credit, title, and process and accession information in ink, on the reverse,
1954, printed no later than 1958 (MoMA, p. 68; Photographs of a Lifetime, p. 105; Heart and Mind of a Photographer, p. 197;
Meltzer, p. 266; Human Face, p. 91; Country Woman, p. 15, cropped variants) (2)
Each approximately 9 by 11¾ in. (22.8 by 29.8 cm.)
PROVENANCE
Each acquired from the photographer in June 1958 for the Library Collection
LOT 432
IMOGEN CUNNINGHAM
1883-1976
'ALFRED STIEGLITZ IN AMERICAN PLACE'
2 photographs, each mounted, signed and dated in pencil on the mount, the photographer's '1331 Green Street, San Francisco'
studio label, with typed title and date, and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit,
process, and accession information, on the reverse, 1934, printed no later than 1960 (Photographs, pl. 26; Modernist Years,
unpaginated; Portraiture, pl. 82; Frontiers, fig. 80; Taschen, p. 156; Ideas without End, pl. 80, p. 140, cropped variant) (2)
Each approximately 9½ by 7¼ in. (24.1 by 19.1 cm.)
EXHIBITION
Each acquired from the photographer in February 1960 for the Library Collection
LOT 434
LAURA GILPIN
1891-1979
SELECTED PHOTOGRAPHS
2 photographs, comprising 'Navajo Weaver' and 'Studio of Boardman Robinson,' each mounted on Winsor &Newton illustration
board, signed and dated in pencil on the mount, a typed label, with credit, title, and negative information, and a 'Photography
Collection of the Polaroid Corporation' label, with typed title, credit, and process and accession information in ink, on the reverse,
1939 and 1952, each printed no later than 1957 (2)
13 3/8 by 10¼ in. (34 by 26 cm.) or the reverse
PROVENANCE
Each acquired from the photographer in May 1957 for the Library Collection
LOT 435
ANSEL ADAMS
1902-1984
GLOUCESTER, MASSACHUSETTS
2 photographs from Polaroid Type 54 negatives, including Hull, Gloucester, Massachusetts and House, Gloucester,
Massachusetts, each mounted on Crescent illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 5, 6, and
10), titled and annotated in ink, on the reverse, circa 1962 (Singular Images, pl. 41) (2)
15 1/4 by 19 7/8 in. (38.6 by 50.5 cm.)
15 5/8 by 19 1/4 in. (39.7 by 48.9 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 436
ANSEL ADAMS
1902-1984
SELECTED COASTAL STUDIES
2 photographs from Polaroid Type 55 negatives, including Sunset Ranch, Creek Beach, California, and Rocks and Limpets, Pt.
Lobos State Reserve, California, each mounted, the first signed in ink and the second with credit and annotation in pencil on the
mount, and Carmel studio stamps (BMFA 5, 6, and 10 and BMFA 11, respectively), the first titled, dated, and annotated and the
second with title and date, in ink, on the reverse, 1960-64, the second probably printed in 1974 (An Autobiography, p. 3; Morgan
&Morgan, pl. 92) (2)
14 1/4 by 18 1/2 in. (36.8 by 47 cm.)
19 1/2 by 15 3/8 in. (49.5 by 39 cm.)
LOT 437
ANSEL ADAMS
1902-1984
SELECTED PLATES FROM 'PORTFOLIO ONE'
10 (of 12) photographs from Portfolio One (San Francisco: self-published, 1948), each mounted, signed in pencil on the mount,
the portfolio stamp, sequential numbers and '72' in red ink, and annotation in ink 'Acquired June 1957' on the reverse, 1938-48,
printed in 1948; together with the letterpress title/colophon/plate list and introduction by Adams, number '72' in red ink, and a copy
of a 2 June 1948 letter from Land to Adams. Folio, white lettered cloth portfolio with flaps and ties, no. 72 in a total edition of 75
(10)
Various sizes to 9 1/2 by 7 3/8 in. (24.1 by 18.7 cm. or the reverse)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
LOT 438
ANSEL ADAMS
1902-1984
OAK TREE AND FENCE IN RAIN, SONOMA COUNTY, CALIFORNIA
from a Polaroid Type 55 negative, mounted, signed in ink on the mount, framed, an Ansel Adams &Edwin Land exhibition label
and a Polaroid Collection stamp on the reverse, 1951, probably printed in the 1960s (400 Photographs, p. 331, variant)
15¼ by 19¼ in. (38.7 by 48.9 cm.)
ESTIMATE 12,000 - 18,000 USD
EXHIBITION
Appendix 1)
LOT 439
ANSEL ADAMS
1902-1984
'HILLS AND RAIN, SONOMA COUNTY, CALIFORNIA'
reverse, 1951, probably printed between 1963 and 1970 (400 Photographs, p. 330; Classic Images, pl. 68; California, pp. 40-41;
Portfolios, p. 67)
13 1/4 by 18 7/8 in. (33.6 by 47.9 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 440
ANSEL ADAMS
1902-1984
'HILLS, SONOMA COUNTY, CALIFORNIA'
from a Polaroid Type 55 negative, mounted on Strathmore illustration board, signed in pencil on the mount, Carmel studio stamps
(BMFA 7 and 8), with title in ink, on the reverse, 1951, probably printed between 1963 and 1970 (400 Photographs, p. 329; This is
The American Earth, pp. 48-9; California, p. 38; The Pageant of History, pl. 24, all variants)
14½ by 19½ in. (36.8 by 49.5 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 441
ANSEL ADAMS
1902-1984
'STUMP AND FERNS, REDWOODS, BULL CREEK FLAT, CALIFORNIA'
reverse, 1964, probably printed before 1970 (400 Photographs, p. 397)
15 1/8 by 18 3/8 in. (38.4 by 46.7 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 442
ANSEL ADAMS
1902-1984
SELECTED GRAVESTONE CARVING IMAGES
3 unique Polaroid Type 50-series prints, one signed in pencil and with a Carmel Studio stamp (BMFA 11), title and date in ink, on
the mat, each framed, one with an Ansel Adams &Edwin Land exhibition label and one with a Polaroid Collection label and stamp
on the reverse, 1969-76 (3)
Each 4½ by 3½ in. (11.4 by 8.9 cm.)
EXHIBITION
Stone Carving of Face:
Appendix 1)
LOT 443
PAUL CAPONIGRO
B. 1932
SELECTED ABSTRACT COMPOSITIONS
a group of 6 unique photographs, including 3 Polaroid Type 52 prints and 3 Polaroid Type 42 prints, 3 signed in pencil on the
mats, probably early 1960s (6)
3½ by 4½ in. (8.9 by 11.4 cm.) or the reverse
3¼ by 4¼ in. (8.3 by 10.8 cm.) or the reverse
LOT 444
ANSEL ADAMS
1902-1984
PORTRAIT STUDIES
a group of 4 unique Polaroid prints, comprising Liliane de Cock, Yosemite National Park; Self Portrait in Reflection with Gerry
Sharpe; Gerry Sharpe; and Julia Orejinski Light, the first signed in ink on the mat, the last two titled and inscribed with the
photographer's San Francisco address and 'Copy' in ink and with a handling instruction stamp on the reverse, 3 framed, the first
with a Polaroid Collection label and a Polaroid Collection stamp on the reverse, 1958-63 (4)
3 3/4 by 2 3/4 in. (9.5 by 7.3 cm.)
EXHIBITION
Liliane De Cock:
Appendix 1)
LOT 445
VARIOUS PHOTOGRAPHERS
a group of 4 photographs and one 4-part collage, including unique Polaroid Type 52, Type 55 and SX-70 prints and a gelatin silver
print after a Type 665 negative, comprising LISETTE MODEL, JEANLOUP SIEFF, MANUEL ÁLVAREZ BRAVO, and BILL
BRANDT, the collage and one print signed in ink and pencil on the reverse or in the margin, circa 1978 (5)
Various sizes to 12 by 11¾ in. (30.5 by 29.8 cm.)
EXHIBITION
Jeanloup Sieff and Lisette Model 4-Part Self Portrait:
LITERATURE
Lisette Model 4-Part Self-Portrait:
Instantanés (Centre Georges Pompidou, 1980), p. 65 (this collage)
Jeanloup Sieff:
Instantanés (Centre Georges Pompidou, 1980), p. 38 (this print)
LOT 446
IMOGEN CUNNINGHAM
1883-1976
SELECTED PORTRAITS
6 photographs, comprising Morris Graves; Mrs. Pabst of Wisconsin; Theodore Roethke; John Winkler; Roberta Boynton; and My
Father at Ninety, each mounted, signed and dated in pencil on the mount, the photographer's '1331 Green Street, San Francisco
9' studio label, with typed title and date, and a 'Photography Collection of the Polaroid Corporation' label, with typed credit, title,
process and accession information, on the reverse, 1936-59, printed no later than 1960 (Photographs, pls. 33, 44, 58, and 61;
Portraiture, pls. 105, 145, 170, variant, and 172, and p. 27, fig. 38) (6)
Various sizes to 12¾ by 10 in. (32.4 by 25.4 cm.)
PROVENANCE
LOT 447
IMOGEN CUNNINGHAM
1883-1976
'FRIDA KAHLO RIVERA'
title and date, and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, process, and accession
information, on the reverse, 1931, printed no later than 1960 (Photographs, pl. 34; Modernist Years, unpaginated; Ideas without
End, pl. 64, p. 125; Portraiture, pl. 57)
9 3/8 by 7 1/4 in. (23.8 by 18.4 cm.)
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
LOT 448
ANSEL ADAMS
1902-1984
PRESIDENT JAMES E. CARTER AND VICE PRESIDENT WALTER MONDALE
2 dye-transfer copies from unique large-format Polaroid Polacolor prints of President James E. Carter and Vice President Walter
Mondale, the first annotated in ink in the margin, the second framed, 1979 (2)
Each approximately 23 by 19 1/4 in. (58.4 by 48.9 cm.)
EXHIBITION
Appendix 1)
CATALOGUE NOTE
In 1979, the National Portrait Gallery commissioned official portraits of President Jimmy Carter and Vice President
Walter Mondale, the first by a photographer.
Concerned because he had not made a professional portrait for years and worried about logistics and striking the
right balance of smile versus repose with Mr. Carter's sitting, Adams considered the problem for a few days and
contacted Polaroid for help. He wrote in his Autobiography,
'I telephoned my good friend John McCann at Polaroid and inquired if they would be interested in cooperating with
me in this complicated job. If so, I would at least have immediate feedback in terms of acceptable likeness on
sheets of Polacolor material. They enthusiastically agreed; the 20x24-inch camera would be at my disposal with all
the lighting equipment required and a staff of four to assist! Fortified with those happy answers and knowing I would
have my own very capable assistant John Sexton with me, I accepted the assignment' (p. 305).
Adams studied a variety of possible sites for the portrait in the White House, and having made his decision, did
several trial runs over a period of days with the equipment and a stand-in. Calling the assignment 'exciting and
successful,' Adams shared the credit with Polaroid founder Edwin Land.
'I give a good share of the credit for the success of this project to Edwin Land and Polaroid. Land's extremely active
mind encompasses the worlds of science, art, and human values. A mutual friend once said to me, "Land is not only
one of the great minds of the age but he has also one of the great hearts." His prime concern rests in people and
everything he has accomplished relates to ideals of civilized man. He truly believes that everyone possesses
creative potentials and that in only a few rare instances of genius has this potential been partially revealed' (ibid., p.
306).
LOT 449
ANSEL ADAMS
1902-1984
SELECTED PORTRAITS
a group of 4 portraits, comprising Charles Sheeler, Clarence Kennedy, Roger Kent, and Alfred Glass, the third from a Polaroid
Type 55 negative, 3 mounted, 2 signed in pencil on the mount, 3 with Polaroid Collection stamps, credit and annotations in ink,
and the second with credit, title, and annotations in pencil, on the reverse, 1956-59 (Polaroid Land Photography, p. 32, An
Autobiography, p. 296) (4)
Various sizes to 17 7/8 by 14 1/8 in. (45.4 by 35.9 cm.)
LOT 450
ANSEL ADAMS
1902-1984
DR. EDWIN LAND
from a Polaroid Type 55 negative, mounted on Crescent illustration board, a Carmel studio stamp (BMFA 5) on the reverse, circa
1962
16 7/8 by 13 1/4 in. (42.8 by 33.6 cm.)
LOT 451
ANSEL ADAMS
1902-1984
SELECTED COLOR STUDIES (METAL, LEAVES, ROCK)
a group of 3 unique Polaroid SX-70 prints, comprising Rusted Metal; Leaves; and Red Rock, the last with a typewritten data label
affixed to the margin, each inscribed with technical data in ink on the reverse, framed together, an Ansel Adams &Edwin Land
exhibition label on the reverse, circa 1972 (3 photographs in one frame)
3 1/8 by 3 1/8 in. (8 by 8 cm.)
EXHIBITION
Appendix 1)
Naples, Florida, Museum of Art, Ansel Adams and Edwin Land: Art, Science and Invention, Photographs from the
LOT 452
ANSEL ADAMS
1902-1984
SELECTED COLOR STUDIES OF TREES
a group of 4 unique Polaroid SX-70 prints, comprising Cypress Tree Point Lobos; Standing Tree; Trees in Grove; and Tree Branch
in Waterfall, one with number '1.' and credit in ink in the margin and signed and titled, all inscribed with technical data, in ink, and 2
with the 'Exhibit Print' stamp on the reverse, 3 framed, circa 1972 (4)
3 1/8 by 3 1/8 in. (8 by 8 cm.)
LOT 453
ANSEL ADAMS
1902-1984
ARCHITECTURAL STUDIES
a group of 4 photographs, comprising 'Church, Bodega, California'; 'House, Gloucester, Massachusetts'; 'Old Store Front, Clayton,
California'; and Farmhouse Near Carson City, Nevada, 3 from Polaroid Type 54 or 55 negatives, each mounted on illustration
board, 3 signed in ink and one inscribed with technical notations on the mount, with various Carmel studio stamps and/or Polaroid
Collection stamps on the reverse, 1950s-60s (Pageant of History, pl. 29; Classic Images, pl. 60; Examples, p. 138) (4)
Each approximately 15 1/2 by 19 1/4 in. (30.3 by 48.8 cm.) or the reverse
ESTIMATE 20,000 - 30,000 USD
LOT 454
ANSEL ADAMS
1902-1984
BARN AND RAILROAD TRACKS
mural-sized, flush-mounted, framed, 1936-60, probably printed in the 1960s
30¾ by 38½ in. (78.1 by 97.8 cm.)
ESTIMATE 15,000 - 25,000 USD
CATALOGUE NOTE
Dating for this image is unclear. According to the Center for Creative Photography, Tucson, Adams himself ascribed
three different dates to this image: 1936, 1958, and 1960.
LOT 455
ANSEL ADAMS
1902-1984
SELECTED STUDIES OF GRAVESTONES (HANDS)
a group of 4 unique Polaroid Type 50-series prints of Gravestone Carvings with Hands, one inscribed with technical notations in
ink in the margin, one with the 'Polaroid Land Photograph by Ansel Adams' stamp on the reverse, each framed, 2 with Polaroid
Collection and Ansel Adams &Edwin Land labels and Polaroid Collection stamps on the reverse, 1962-75 (4)
EXHIBITION
Clasped Hands with Olive Leaf; Pointing Hand with Scroll; and Hand with Oddfellows Linked Rings:
Appendix 1)
Clasped Hands with Olive Leaf and Pointing Hand with Scroll:
LOT 456
CLARENCE KENNEDY (1892-1972)/ANSEL ADAMS (1902-1984)
SELECTED IMAGES FROM 'STUDIES IN THE HISTORY AND CRITICISM OF SCULPTURE'
a group of 20 photographs, comprising Sculptural Studies, each mounted on Strathmore illustration board, 6 framed, circa 192832, printed later by Ansel Adams (20)
Various sizes to 14 by 11 in. (35.5 by 27.9 cm.)
CATALOGUE NOTE
Clarence Kennedy was a professor of art at Smith College when his friend Edwin Land began the development of
light-polarizing film. According to Peter Wensberg, in his Land's Polaroid: A Company and the Man Who Invented It
(Boston, 1987), it was Kennedy, in fact, who coined the name Polaroid. Kennedy had long had an interest in optics
and cameras; a scholar of classical and Renaissance art, he was renowned as a photographer who could bring
sculpture to life in his numerous camera studies. The photographs gallery at Polaroid's headquarters in Cambridge
was named in his honor.
It is not known why Adams made the present prints from Kennedy's negatives, but his admiration for Kennedy, and
the magical quality of his prints, is well-documented.
LOT 457
WALKER EVANS
1903-1975
JUNKED CARS, CONNECTICUT
a group of 4 Polaroid Type 105 prints, 1973-74 (Hungry Eye, p. 348, color variant) (4)
Each approximately 2 1/4 by 2 1/8 in. (5.7 by 5.4 cm.)
LOT 458
WALKER EVANS
1903-1975
JUNKED CAR, OLD LYME, CONNECTICUT
from a Polaroid Type 105 negative, flush-mounted, 1973-74 (Rosenheim, pl. 170 and Hungry Eye, p. 349, color variants)
10 3/8 by 10 1/4 in. (26.3 by 26 cm.)
LOT 459
WALKER EVANS
1903-1975
UNTITLED (DOOR)
from a Polaroid Type 105 negative, mounted on brown board, sink-mounted, with credit and number stamps on the mount, circa
1973
10 1/2 by 10 in. (26.7 by 25.4 cm.)
LOT 460
ANONYMOUS (20TH CENTURY)/ ANSEL ADAMS (1902-1984)
SELECTED X-RAY IMAGES
a group of 13 photographs printed by Ansel Adams, comprising X-Ray images of Hand, Lungs, Spine, and Kidneys, each
mounted on Crescent illustration board, a Carmel studio stamp on the reverse, 1960s (13)
Various sizes to 19 by 14¼ in. (48.3 by 35.6 cm.)
CATALOGUE NOTE
A letter from Adams to Meroe Morse and Edwin Land at Polaroid, written in January 1965, refers to the 'X-Ray
tests' that Adams had just completed; a copy of this typed letter accompanies the lot. In his letter, Adams discusses
the technical aspects of the prints, and makes the interesting observation that 'there is no reason why positive XRay images would not be usefulin fact, sometimes more revealingbut . . . the habit of reading negative images is
rather firmly established.'
The reason for Adams's printing of these images is unknown, although it can be speculated that they were initiated
in some way by Adams's and Land's shared interest in all things scientific. Given the many technical and industrial
applications for Polaroid materials, these photographs may also possibly represent a foray into medical
photography.
LOT 461
ANSEL ADAMS
1902-1984
SELECTED STUDIES OF EGYPTIAN STATUARY IN THE MUSEUM OF FINE ARTS, BOSTON
a group of 12 photographs from Polaroid Type 55 negatives, 9 of Colossal Statue of King Menkaura (Mycerinus) and 3 of King
Menkaura, the Goddess Hathor, and the Deified Hare Nome, each mounted on Hi-Art illustration board, 11 signed in ink in the
margin, each with 'Polaroid Land Photograph by Ansel Adams' or Polaroid Collection stamps, with credit in ink, on the reverse,
early 1960s (Polaroid Land Photography, p. 55, fig. 4-8) (12)
Each 19¾ by 14½ in. (50.2 by 36.8 cm.)
ESTIMATE 12,000 - 18,000 USD
CATALOGUE NOTE
Annotations on the reverse of the photographs in the present lot indicate that various prints from the same or similar
negatives in the group were likely undertaken as experiments in toning and different papers.
In his capacity as a technical advisor to Polaroid, Adams would frequently provide to the company groups of
photographs like those in the present lot, each print processed in a slightly different way to demonstrate the
properties of certain photographic materials. These photographs of Egyptian statuary, however, rise above the level
of simple technical tests; with their skillful and subtle account of the figures' carved stone surfaces, they illustrate
Adams's great capacity for finding enthusiasm for his subject matter, even if it deviated substantially from his
customary oeuvre.
LOT 462
DANNY LYON
B. 1942
SELECTED IMAGES
3 photographs from Polaroid Type 665 negatives, including 'Nancy w. Noah at the ant farm's cadallac [sic] ranch,' 'Potatoes,
Barclay Rd., NY,' and 'Raphe in New Mexico,' each signed, titled, and dated in ink in the margin, dated again and annotated in
pencil and with the photographer's 'Black Beauty' stamp on the reverse, 1979-88, printed between 1981 and 1990 (Eat Right on
Dirt, unpaginated) (3)
Various sizes to 8¼ by 6¼ in. (21 by 15.8 cm.) or the reverse
LITERATURE
'Raphe in New Mexico':
LOT 463
MICHAEL KENNA
B. 1953
'SWINGS - CATSKILL MTS - U. S. A.'
from a Polaroid Type 665 negative, mounted, signed and dated in pencil on the mount, the photographer's copyright stamp, dated
and titled in ink, on the reverse, 1977, printed in 1978 (Retrospective, pl. 68; Night Walk, pl. 13; Night Work, pl. 10)
4¼ by 6 7/8 in. (10.8 by 17.5 cm.)
LOT 464
EMMET GOWIN
B. 1941
SELECTED STUDIES
a group of 3 photographs, including 2 of 'Matera, Italy' and one of Edith, the first 2 from Polaroid Type 55 negatives, each signed,
titled, and dated in pencil on the reverse, and the third a chromogenic print after a Polaroid SX-70, one framed, 1974 and 1985 (3)
Various sizes to 6 1/8 by 7 7/8 in. (15.5 by 20 cm.)
LOT 465
PIRKLE JONES
1914-2009
SAN FRANCISCO VIEWS
2 plates from Portfolio Commemorating the Tenth Anniversary of the Founding of the United Nations at San Francisco (San
Francisco, 1955), each mounted, signed in pencil on the mount, the portfolio and 'Photography Collection of the Polaroid
Corporation' labels, the second with typed title, credit and process and accession information in ink, on the reverse, 1952 and
1955, printed in 1955, from an edition of 150 (2)
Each approximately 10 by 13¼ in. (25.4 by 33.6 cm.)
PROVENANCE
Each acquired from the photographer in May 1957 for the Library Collection
CATALOGUE NOTE
These images were included in a portfolio commemorating the 10th anniversary of the founding of the United
Nations at San Francisco. The Bank of America sponsored the production of the portfolio, which was given in 1955
to delegates who were present at the organization's founding in Jones's adopted city.
LOT 467
MILTON HALBERSTADT
1919-2000
'SAN FRANCISCO (2)' (FROM TWIN PEAKS, NOE VALLEY)
Kodalith line print, signed in ink on the image, flush-mounted, the photographer's 'm. halberstadt/243 vallejo st/san francisco 11'
studio stamp and and a 'Photography Collection of the Polaroid Corporation' label, with typed title, credit, and process and
accession information in ink, on the reverse, 1954, printed no later than 1959 (Facing Eden: 100 Years of Landscape Art in the
Bay Area, p. 176)
12 1/2 by 18 7/8 in. (31.7 by 47.7 cm.)
PROVENANCE
CATALOGUE NOTE
Milton Halberstadt is known primarily for his groundbreaking advertising photographs and campaigns for food
companies that included Paul Masson Vineyards, Almaden Vineyards, Del Monte Foods, Dole, Foremost Brands,
and Spice Islands. In 1945, he opened his M. Halberstadt Illustration Photography Studio in San Francisco after his
service in the U. S. Army. He had extensive photographic experience prior to that time, having worked as a studio
assistant and photographing for the WPA in the 1930s. In 1940, he received a scholarship to study at Chicago's
Institute of Design. There he assisted László Moholy-Nagy and György Kepes, overseeing the photography studio
and darkrooms, while experimenting. Halberstadt was also responsible for printing Moholy's photographs for MoMA
to sell.
After closing his studio in 1973, Halberstadt continued to photograph and taught photography at the University of
California, Berkeley; San Francisco State; and the University of Oregon.
The present print, and that in Lot 81, are Kodalith line prints, or tone-line prints, as named by Halberstadt. The
photographer discovered the process in 1947 in an Eastman Kodak book while designing his studio's new
letterhead. He used it frequently from the 1950s on, intrigued by the abstract results he could achieve with it..
The process began with a low-contrast original negative, from which an underexposed positive was made. These
were then sandwiched in register, placed in a contact printing frame, and exposed on Kodalith (clear) film to make a
low-contrast negative. Halberstadt then exposed both negatives with a sliver of light set at 45 degrees from vertical.
The film was processed in a high-contrast litho developer. The appearance of the resulting images was determined
by the length of the exposure. Some variations, as seen in Lot 81, were made when the film was re-exposed to
create a 'solarized' version. (Susan Ehrens, "Halberstadt," B&W, 5 February 2000, pp. 63-4)
LOT 468
PIRKLE JONES
1914-2009
2 unique Polaroid Type 52 prints, including William Westerfeld House, San Francisco and High-Rise Building, each with credit or
the photographer's initials, date, and notations in pencil or ink, and number stamps, on the reverse, 1958 (2)
Each 4½ by 3½ in. (11.4 by 8.9 cm.)
ESTIMATE 500 - 1,000 USD
CATALOGUE NOTE
The Victorian house pictured in one of the photographs offered here was built in 1889 by German-born confectioner
William Westerfeld at the corner of Fulton and Scott Streets in San Francisco. This house is listed on the National
Register of Historical Places. In its various incarnations since Mr. Westerfeld's death in 1895, it has been home to
John Mahoney, who built the St. Francis and Palace Hotels; a nightclub named Dark Eyes by its owners, a group of
Czarist Russians; and an apartment building where John Handy and other African-American jazz musicians lived. In
the 1960s, a commune of 50 known as The Calliope Company occupied the building, and it became home to
underground filmmaker Kenneth Anger and Manson family member Bobby BeauSoleil, as well as rock promoters,
Family Dog. The building is mentioned in Tom Wolfe's Electric Kool-Aid Acid Test. Today, Westerfeld House
belongs to Jim Siegel, who has completely restored it to its original condition.
LOT 469
ANSEL ADAMS
1902-1984
SELECTED ARCHITECTURAL AND MARINA STUDIES
a group of 3 unique Polaroid Type 55 prints, 2 with 'Polaroid Land Photograph by Ansel Adams' stamps and technical notations in
red and black ink, on the reverse, 1961; accompanied by the original negatives and collection information cards, with credit, date,
and technical notations in ink (3 photographs, 3 negatives, and 3 cards)
LOT 470
ANSEL ADAMS
1902-1984
THE WELLS FARGO BANK AMERICAN TRUST COMPANY BUILDING, SAN FRANCISCO
a group of 4 unique Polaroid Type 55 prints of the Wells Fargo Bank American Trust Company Building at Crown Zellerbach
Plaza, San Francisco, each with the 'Polaroid Land Photograph by Ansel Adams' and printing information stamp, inscribed with
technical date in red ink, on the reverse, 1961; accompanied by the corresponding negatives, and one additional negative, and
collection catalogue cards (4 photographs, 5 negatives, and 4 cards)
LOT 471
ANSEL ADAMS
1902-1984
a group of 4 unique Polaroid Type 50-series prints, comprising New England Barn, Peterborough, New Hampshire; Le Conte
Memorial Lodge, Yosemite; Church, Las Trampas, New Mexico; and Martha Mary Chapel, Sudbury, the first inscribed with
technical notations in ink in the margin and on the reverse, the second titled and with the 'Polaroid Land Photograph by Ansel
Adams' and handling instruction stamps on the reverse, signed in ink on the mat, the 'Polaroid Land Photograph' Carmel stamp on
the mat interior, each framed, 1960s (4)
4 1/2 by 3 1/2 in. (11.5 by 8.9 cm.) or the reverse
LITERATURE
New England Barn, Peterborough, New Hampshire:
LOT 472
ANSEL ADAMS
1902-1984
'TIMBER COVE, NORTHERN CALIFORNIA COAST'
mounted on Hi-Art illustration board, signed in ink on the mount, Carmel studio stamps (BMFA 7 and 8), titled in ink, and a
'Property of Polaroid' stamp on the reverse, circa 1960, probably printed between 1963 and 1970 (cf. Portfolio IV, pl. 13, variant)
15 3/8 by 19 3/8 in. (39.1 by 49.2 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 473
ANSEL ADAMS
1902-1984
'STREAM AND OCEAN, MARIN COUNTY, CALIF.'
(BMFA 5, 6, and 10), with title in ink, on the reverse, 1962, probably printed between 1962 and 1963 (Polaroid Land Photography,
frontispiece; 400 Photographs, p. 386; Singular Images, pl. 46; The Eloquent Light, unpaginated; Our National Parks, p. 57)
19 by 15 in. (48.3 by 38.1 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 474
ANSEL ADAMS
1902-1984
SELECTED PLATES FROM 'PORTFOLIO FIVE'
8 (of 10) photographs from Portfolio Five (New York: Parasol Press, 1970), each mounted to Strathmore board, signed, with
sequential numbers and edition '92/110' in pencil on the mount, the portfolio stamp, title and plate number in ink, on the reverse,
1936-60, printed in 1970; together with the printed colophon, introduction, and statement by Nancy Newhall, no. 92 in an edition of
110 (8)
Each approximately 14 by 18½ in. (35.6 by 47 cm.) or the reverse
ESTIMATE 15,000 - 25,000 USD
LOT 475
ANSEL ADAMS
1902-1984
SELECTED ROCK FORMS
a group of 3 photographs, comprising North Fork of Bridge Creek, Northern Cascades, Washington; Rock Forms, Alabama Hills,
Owens Valley, California; and Rocks and Limpets, Pt. Lobos, California, the first flush-mounted and accompanied by a label
signed in ink, the second and third from Polaroid Type 55 negatives, mounted, the second with Polaroid Collection, 'Polaroid Land
Photograph by Ansel Adams,' and 'For Reproduction Only' stamps titled and annotated in ink, on the reverse, and the third signed
in ink on the mount, Carmel studio stamps (BMFA 5, 6, and 10), titled and annotated in ink, on the reverse, 1958-62, probably
printed in the early 1960s (Morgan &Morgan, pl. 92) (3)
Various sizes to 20 1/8 by 26 1/2 in. (51.1 by 67.3 cm.) or the reverse
ESTIMATE 12,000 - 18,000 USD
LOT 476
ANSEL ADAMS
1902-1984
PETROGLYPHS, MONUMENT VALLEY, UTAH
mural-sized, flush-mounted, 1958, probably printed in the late 1950s or 1960s
31 3/4 by 40 1/8 in. (78.4 by 101.8 cm.)
ESTIMATE 10,000 - 15,000 USD
LOT 477
ANSEL ADAMS
1902-1984
SELECTED PLATES FROM 'PORTFOLIO VI'
8 (of 10) photographs from Portfolio VI (New York: Parasol Press, 1974), each mounted, signed and sequential numbers and
'83/110' in pencil on the mount, the portfolio stamp on the reverse, 1932-53, printed in 1974; together with the printed title/plate
list/colophon and introduction by Beaumont and Nancy Newhall. Elephant folio, beige linen clamshell box, no. 83 in a total edition
of 110 (8)
Each approximately 19¾ by 15¼ in. (50.2 by 38.7 cm.) or the reverse
ESTIMATE 15,000 - 25,000 USD
LOT 478
ANSEL ADAMS
1902-1984
STUDIES OF EUCALYPTUS TREES
2 photographs from Polaroid Type 55 negatives, comprising 'Eucalyptus Tree, Fort Ross, California' and 'Eucalyptus Grove,
Clayton, Calif.,' each mounted on illustration board, the first signed in ink on the mount, each with various Carmel studio stamps,
with title in ink, and the second with 'Proof' and Polaroid Collection stamps on the reverse, 1960s (400 Photographs, p. 392) (2)
18 7/8 by 15 1/8 in. (47.9 by 38.4 cm.)
15 3/4 by 19 3/4 in. (40 by 50.2 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 479
ANSEL ADAMS
1902-1984
VINEYARDS, NORTHERN CALIFORNIA
mural-sized, mounted, framed, a letterpress collection label and a Polaroid Collection stamp on the reverse, 1960s
26 1/8 by 33¼ in. (66.4 by 84.5 cm.)
ESTIMATE 15,000 - 25,000 USD
LOT 480
ANSEL ADAMS
1902-1984
SELECTED IMAGES
a group of 3 unique large-format Polaroid Polacolor prints, comprising Field and Stream and 2 Saugus Iron Works, one flushmounted to paper with credit and title in ink on the reverse, circa 1980 (3)
Each approximately 24 by 20 in. (61 by 50.8 cm.)
CATALOGUE NOTE
Saugus Iron Works is a National Historic Site located on the Saugus River, ten miles northeast of Boston,
Massachusetts. Opened in 1646 in what was the Massachusetts Bay Colony, it was the first integrated ironworks in
North America. The current site includes the restored 17th century house pictured here and reconstructed blast
furnace, forge, and rolling mill.
LOT 481
ANSEL ADAMS
1902-1984
SENTINEL ROCK, YOSEMITE
24 by 20 1/2 in. (61 by 52 cm.)
LOT 482
ANSEL ADAMS, ATTRIBUTED TO
1902-1984
HALF DOME, YOSEMITE
unique large-format Polaroid Polacolor print, mounted, circa 1979
15 1/4 by 19 3/8 in. (38.7 by 49.3 cm.)
LOT 483
ANSEL ADAMS
1902-1984
YOSEMITE FALLS
unique large-format Polaroid Polacolor print, mounted, credit in pencil on the reverse, circa 1979
24 by 20 1/2 in. (61 by 52 cm.)
LOT 484
ANSEL ADAMS, ATTRIBUTED TO
1902-1984
EL CAPITAN, VALLEY VIEW TO HALF DOME, YOSEMITE
24 by 20 5/8 in. (61 by 52.5 cm.)
LOT 485
ANSEL ADAMS
1902-1984
SENTINEL ROCK, YOSEMITE
24 1/4 by 20 5/8 in. (61.6 by 52.4 cm.)

Photographs from the Polaroid Collection

Transcription

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