Sarah Krueger
\nHead of Department, Photographs
\n
\nVanessa Hallett
\nWorldwide Head of Photographs and Deputy Chairwoman, Americas
\n
\n+212 940 1245
\n

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Auction 13 July 2020

\n\n

10am (lots 1-109) EDT

\n\n

2pm (lots 110-236) EDT

\n\n

450 Park Avenue, New York (map)

\n\n

In-Person and Remote Viewings will be available by appointment only.

\n\n

Viewing by appointment

\n\n

AppointmentsNewYork@phillips.com

\n\n

+1 (212) 940-1200

\n\n

Gallery Hours

\n\n

Thursday-Saturday, 10am-6pm

\n\n

Sunday, 12-6pm

\n\n

VR Walkthrough >

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EDWARD WESTON Pepper II, 1929

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ROBERT ADAMS Longmont, Colorado, 1979

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ROBERT FRANK Rodeo - New York City, 1954

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HANNAH HÖCH Clown, 1924

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HANNAH WILKE So Help Me Hannah, Performalist Self-Portrait with Donald Goddard, 1978

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RICHARD MISRACH Untitled, 2007

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Robert Frank Newburgh, New York, 1955. Estimate: $60,000-80,000.
\nPhotographs, New York.

\n\n

Robert Frank’s photographs of America, made over the course of several cross-country car trips and funded by a series of Guggenheim grants between 1955 and 1956, show the contradictions and complexities of the nation during that decade. Frank’s full selection of 83 images was first published in Paris in 1958 and shortly thereafter in America as The Americans. Highly controversial at the time, The Americans has become one of the most important and influential photographic books of the 20th century. Predating the publication of The Americans was a portfolio of Frank’s images published within the pages of the 1958 U. S. Camera Annual. With a preface by Robert Frank’s mentor and champion Walker Evans, and a statement by Frank himself, the 33 images constitute a declaration of purpose and serve as an overture to the masterwork yet to come. Phillips is pleased to offer four photographs featured in the Annual’s portfolio in our 13 July auction, granting an opportunity to reflect upon the importance of this early publication of Frank’s work.

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1958 U. S. Camera Annual.

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It’s important to acknowledge that in the 1950s Robert Frank had yet to achieve any measure of status in the pantheon of great photographers. He made his living, like most photographers, through a blend of editorial and commercial work and pursued his personal work on his own time. Guggenheim grants, earned with the support of two great eminences in the photography world, Edward Steichen and Walker Evans, allowed Frank freedom to travel and to capture on film a vision of the country that was unsettling to some and revelatory to others.

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Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love.
\n– Robert Frank
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1958 U. S. Camera Annual featuring works by Robert Frank.

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U. S. Camera magazine was a publication geared toward both professional and serious amateur photographers. It was popular, prestigious, and ultimately conservative in its pictorial approach, with an emphasis on equipment and technique. U. S. Camera produced an Annual each year, a yearbook that summed up the achievements in the field. The fact that Robert Frank, whose work was temperamentally and aesthetically at odds with the magazine’s usual fare, was selected for the Annual owes much to the clear-eyed vision of the magazine’s editor Thomas J. Maloney who wrote that “Frank is a fine photographer, perhaps because of his philosophy. To it he adds an eye that knows what is effective and reaches a climax in picture after picture that mounts to a penetrating whole.”

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Robert Frank U.S. 285, New Mexico, 1956. Estimate: $30,000-50,000.

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One of the four photographs in Phillips’ 13 July auction is Frank’s iconic road image, U. S. 285, New Mexico [Lot 128]. In his introduction, Walker Evans writes, “In this picture, instantly you find the continent. The whole page is haunted with American scale and space.” Indeed, the photograph is of-a-piece with On the Road, the seminal 1957 novel of youthful American wanderlust by Jack Kerouac, who also wrote the introduction to The Americans.

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Newburgh, New York [Lot 87] shows Frank’s interest in the many subcultures burgeoning in postwar America, in this case biker culture. Later photographers, filmmakers, and authors – Richard Prince, Kenneth Anger, Danny Lyon, and Hunter S. Thompson among them – would also explore this world, but Frank’s treatment predates them all.

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Robert Frank Rodeo - New York City, 1954. Estimate: $30,000-50,000.

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Frank explored, and in some instances exploded, American archetypes, as in Rodeo - New York City [Lot 56], in which a classic American cowboy strikes a laconic pose and lights up a cigarette while leaning against a trash bin on a busy Manhattan street.

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Robert Frank Chattanooga, Tennessee, 1955. Estimate: $15,000-25,000.

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Frank’s quietly tender photograph of a young couple on the street, Chattanooga, Tennessee [Lot 68] rounds out our quartet of images from the Annual. It is one of the few images in which he used a telephoto lens to blur the figures in the background. The couple stands out against the amorphous urban backdrop, alone but together.

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Seen nearly 65 years after their making, the Robert Frank images presented in U. S. Camera Annual 1958, and the four photographs from this selection on-offer in our 13 July auction, retain all their descriptive and aesthetic rigor, their relevance and power undiminished by the passing years.

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\n","publishDate","2020-07-06T17:44:03.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/60188363/robert-frank-us-camera-photographs-new-york-auction","auctionEditorialID",888,"editorialID",3072,"flocklerID",60188363,{"_4564":4585,"_4566":109,"_4567":4586,"_4521":4587,"_4570":4588,"_4572":4589,"_4574":1459,"_4575":410,"_4576":4590,"_402":175,"_4578":4591,"_4580":4592,"_4582":4593},"https://flockler.com/thumbs/sites/889/portrait-8a1710af-b023-4068-854c-4d74f1bdb3ac_s600x0.jpg","We're excited to partner with the biophilic artist on a specially-curated section of landscape photography within our New York Photographs exhibition.","Meet Lily Kwong","

Lily Kwong photographed by Gesi Schilling.
\nProject: "Moongates" at Bal Harbour Shops, Miami. Art Basel Miami Beach 2019.

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This season, Phillips Photographs is proud to present a selection of landscape photography curated for our pre-sale exhibition in partnership with artist Lily Kwong. The San Francisco-Bay Area native has extensive experience as a landscape artist, work that has taken her across the country and indeed around the world. We had the chance to speak with Lily and find out more about her work, process and passion for photography.

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PHILLIPS: Tell us about your background as a creator. What was your journey to becoming a landscape artist?

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LILY KWONG: My journey began in the Redwood trees of Northern California. I grew up in the green cathedral of Muir Woods in Marin County, and spent most of my time running around the Headlands & Mount Tamalpais State Park. My mother is a true genius with her hands - weekends were spent with her leading some ambitious craft project that often involved painting, sewing or collaging - and one of my favorite pastimes was building these elaborate forts in the woods. My entry point into a formal arts practice was through photography, and I spent my high school years taking SFAI’s pre-college courses. By the time I landed at Columbia University after a couple of years traveling and working in the fashion industry, I had locked into urban studies research and my first job out of school put me at a landscape design studio in Miami. It was in South Florida that I fell into a deep love with tropical plants, and spent several years as a project director traveling the world facilitating large-scale landscape master-planning projects from Central West Africa to the LVMH Design District. Once I got a handle on the operational and logistical demands of my industry, I began to revisit my more experimental early days of art-marking. I founded Studio Lily Kwong in 2016, and since then we have created large-scale botanical art pieces on the High Line, Grand Central Station, the Whitney Museum shops and more. Our mission is to reconnect people to nature, and our team works tirelessly to make cities greener and more soulful places to live in.

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"Highland Park Orkadia" at Grand Central Station, New York. Photography by Kevin Fabrizi.

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P: When creating a new biophilic installation, where do you begin? How would you describe the process of working with a living medium?

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LK: I live between New York and Los Angeles, but try to deeply immerse myself in nature as much as possible. I’ve done ecological research around the American West, New Zealand, Singapore and beyond, and at this point, I have a pretty strong library of natural forms in my archive. I’m a big believer in ‘first idea, best idea’ and have grown to trust my intuitive relationship to the natural world the further I’ve delved into my practice. I’m usually playing with a couple big themes or forms - for example, mountain ranges or a concept I’m calling ‘landscape biographies’ - and the vision will hit me pretty immediately when I walk into a new project space. The 15’ mountains we built in Grand Central Station in 2018 were from the first sketch I drew in my notebook at our initial site visit, and our “Moongates” piece for this Art Basel Miami came a from renewed examination of my personal ethnic identity and Chinese landscape architectural forms. I read a lot of philosophy and books on ecology, and along with my travels, it all weaves into the installation work we are exploring as a studio.

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"Moongates" at Bal Harbour Shops, Miami. Photography by Gesi Schilling.

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P: Who are some artists, of any discipline, that inspire you?

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LK: There are so many land artists who paved the way for what I do, and I have a lot of respect and gratitude for figures like Agnes Denes, Maya Lin and Andy Goldsworthy. I have always felt very moved by great painters like Cézanne, Hilma af Klint and O’Keefe. Contemporary landscape designers like Luciano Giubbilei, Raymond Jungles, Topiairis Landscape and Walter Hood give me something to aspire to. David Byrne is one of my original heroes for his fearlessness to explore all forms of creativity, and I feel very inspired by my art-making friends and contemporaries like Curtis Talwst Santiago, collaborators Aya Rodriguez-Izumi & Gary Gunn, and my photographer pals like Shaniqwa Jarvis, John Chiara and Erica Deeman. I rely heavily on books and literature for my creative spark - some books that have impacted me recently: Braiding Sweetgrass by Robin Wall Kimmerer, Lo-TEK. Design by Radical Indigenism by Julia Watson, Stand Still Like the Hummingbird by Henry Miller and The Life and Death of American Cities by Jane Jacobs. A journalist just pointed out that my work is very cinematic, and I grew up watching the greats with my filmmaker dad - so as you can see, the inspiration pool is pretty wide.

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Lot 36: Robert Adams On Signal Hill Overlooking Long Beach, 1983.
\nEstimate: $15,000-25,000.
\nPhotographs, New York.

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P: You’ve had an interest in photography from an early age. How did this come about?

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LK: My passion for photography traces back to curator Chris McCall. He is my first true art teacher, and a dear friend and collaborator to this day. Chris was my photography teacher starting at 14-years-old at the Urban School of San Francisco and went on to become the curator of the celebrated Pier 24 Photography. In many ways, I feel like Chris gave me my way of seeing - he inspired a whole generation of young photography students & creators. He had a non-traditional way of teaching photography (and eventually, a non-traditional way of curating it) - he demanded we understand photography through the lens of visual literacy, and contextualize images in a greater ecology of sociological and cultural forces. We were expected to not only make work in high school, but curate full art shows that often involved mixed-media and language. I remember creating a Jim Goldberg-inspired oral history and portrait project for my senior thesis that involved capturing images of my teenage friends and our middle-aged parents & teachers, and then inviting them to write directly about age & the passing of time on the photographs. Chris took a personal interest in my work and became a close family friend - he urged me to study photography at SF Art Institute, and helped me secure my first internship at the renowned Fraenkel Gallery, where partner Frish Brandt became an early mentor of mine. I remember handwriting & mailing a fan letter to Todd Hido at 18-years-old, and Todd eventually took photographs of me on a moody Bay Area day - I still cherish those images. I was truly obsessed with photography, and meticulously collected the books of Richard Misrach, Paul Graham, Katy Grannan, Robert Adams and more. Some of these photographers you even see in the auction today - my love for this medium remains strong in my heart. It was a real return to my roots to curate this show, and having Chris’ guidance and support felt like a full circle.

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"Summer in Winter" at Cadillac House, New York. Photography by Plamen Petkov.

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P: What draws you to photography today? In what way does the medium continue to influence your work?

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LK: Photography is fundamentally about light, and so is landscape design. A photographic image directly captures reflected light, and how the light moves across a garden giving the space its beauty and power. Quite literally, plants are constantly turning light into energy and then giving it away - in that sense, they can be our greatest teachers for reciprocity and generosity. My artistic impulse was shaped by photography, where I was trained to consider light, color, proportion and texture. These are still my primary concerns as a landscape artist, but I have this wonderful and challenging additional dimension of designing with a living medium. With landscape, you are also designing in a fourth dimension: time. You have to think about what a garden will look like Day 1, and also in 10 or 20 years. Similarly, I see photography as being in direct conversation with time and human perception - you are capturing a moment, and re-calibrating your relationship with time and your environment, just as a garden does.

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Lot 217: Ryan McGinley Kudzu, 2014. Estimate: $15,000-25,000.
\nPhotographs, New York.

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P: Without giving too much away, what can you tell us about the selection of works you’ve curated in our Photographs auction? What are some of the common threads?

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LK: All the photographs for this auction capture different dimensions of the natural world, with a special attention on trees. All of the images suggest a human touch, as if man is just out of the frame. Legible images of human beings are nowhere, and yet they’re felt everywhere in the photographs. Even the images of ‘unadulterated’ nature feel impacted somehow by mass development and human progress. Ultimately this show is about the Anthropocene epoch, or the dawn of the human-influenced age on nature. For the first time, human beings have had a significant impact on the Earth's geology and ecosystems -- the acceleration since the mid-20th century of carbon dioxide emissions and sea-level rise, the global mass extinction of species, and the transformation of land by deforestation marks the end of the previous era. We exist in a new landscape where the earth is now completely responsive to our actions, sadly mostly for the worse. There are many landscapes that feel abandoned, and ultimately I hope this show will inspire people to reconnect with nature and become stewards of the land again before it is too late.

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"Shou Sugi Ban House" at Water Mill, New York. Photography by Fredrika Stjarne.

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P: What’s next for you--are there any big projects we can look forward to seeing in 2020?

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LK: Sadly many of our big projects were postponed due to the pandemic - we had been slotted to open a major public art piece for the 5th Ave BID this summer & had exciting development projects coming down the pike. So much of our work was around public art & community gathering, so we had to adapt and re-strategize. In April, we launched the “Freedom Gardens” initiative as our studio’s direct response to the most harrowing public health crisis of our lifetime. Drawing from the WW2-era ‘Victory Gardens’ movement, our initiative aims to help our community grow thriving edible gardens to support physical and mental health, and safeguard people from a volatile centralized food system. To learn more visit freedom-gardens.com or @freedom_gardens on Instagram.

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\n","2020-07-02T16:56:57.000000Z","https://www.phillips.com/article/60055094/lily-kwong-artist-new-york-photographs-auction",882,3068,60055094,{"_4564":4595,"_4566":109,"_4567":4596,"_4521":4597,"_4570":4598,"_4572":4599,"_4574":1459,"_4575":410,"_4576":4600,"_402":108,"_4578":4198,"_4580":4601,"_4582":4602},"https://flockler.com/thumbs/sites/889/2020_sp_photo_install-188-7d7e3681-a347-45c3-9ea9-06b2d4fcdb07_s600x0.jpg","The landscape artist shares her thoughts on a selection of seven works of landscape photography coming to auction at Phillips. ","Curated by Lily Kwong","

Lily Kwong's selected photographs on view at 450 Park Avenue.
\nPhotographs, New York.

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Now on view by appointment at 450 Park Avenue, learn more about a special section of our installation curated by landscape artist and photography enthusiast Lily Kwong.

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Robert Adams

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Robert Adams On Signal Hill Overlooking Long Beach, 1983. Estimate: $15,000-25,000.

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Adams is one of the most prolific chroniclers of the evolving American landscape - this photograph appeared in the extraordinary body of work spanning four decades, What Can We Believe Where? Photographs of the American West. His striking meditations on humankind’s relationship with the natural world captures the ecological devastation of suburbanization and mass deforestation, but somehow this solemn photograph gives me hope. We cannot change what we cannot see.

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Matthew Brandt

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Matthew Brandt Lake Tapps, WA 3, 2012. Estimate: $7,000-9,000.

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You can feel the hand of Mother Nature in this print - the alchemy of a photograph of Lake Tapps soaked in the waters from the lake itself - it’s just haunting!

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Art Sinsabaugh

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Art Sinsabaugh Untitled (Midwest landscape), circa 1965. Estimate: $4,000-6,000.

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Panoramic vision has always captured my imagination - it expands the possibilities of the human eye, and this elegant black-and-white composition of flat Midwest farmland feels like it stretches back to a forgotten, simpler moment in American history.

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Richard Mosse

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Richard Mosse Seen and Not Seen, 2012. Estimate: $20,000-30,000.

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Mosse’s psychedelic landscapes from the war-torn regions of the Democratic Republic of the Congo give me chills. Using a large-format camera and now-discontinued aerial surveillance film, the infrared technology registers an invisible spectrum of light that renders green landscapes in vivid hues of plum, hot pink and crimson. Developed for military reconnaissance, it’s disorienting to be struck with the image's electric beauty & the implied violence and tragedy simultaneously.

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Ryan McGinley

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Ryan McGinley Kudzu, 2014. Estimate: $15,000-25,000.

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As a landscape artist, I am well aware that much ink has been spilled on the “sinister” growth of kudzu - America’s most infamous and devastating invasive vine that has swallowed literally millions of acres of our country’s great landscape. McGinley’s Kudzu shows four fragile, vulnerable naked bodies also partially consumed by the killer weed. As I sometimes like to say, “Nature bites back.”

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Jeanette Klute

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Jeannette Klute Maquette for Woodland Portraits, 1954. Estimate: $10,000-15,000.

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Klute was a groundbreaking figure for her innovations that led to the rise of color photography as an art form, and a pioneer for women in the industry. Her Woodland Portraits series are quiet, poetic and landmark prints that I could stare at for eternity.

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Todd Hido

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Todd Hido Untitled, #6097 from A Road Divided, 2007. Estimate: $8,000-12,000.

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I fell in love with photography in high school when I was studying with the curator of Pier 24 Photography, Chris McCall, and interning at Fraenkel Gallery. I was heavily influenced by Bay Area photography, and felt so connected to Hido’s evocative and arresting work that I gathered up the courage to write him a fan letter. We struck up a correspondence and Todd ended up photographing me a couple of times in my 20s, and I continue to cherish the prints and books I’ve collected from him over the years. He brings a narrative power to the landscape, and captures nature so beautifully in all its dreamlike wonder.

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\n","2020-07-06T17:35:49.000000Z","https://www.phillips.com/article/60189324/lily-kwong-landscape-photography-auction-new-york",3073,60189324,{"_4564":4604,"_4566":109,"_4567":4605,"_4521":4606,"_4570":4607,"_4572":4608,"_4574":1459,"_4575":410,"_4576":4609,"_402":265,"_4578":4610,"_4580":4611,"_4582":4612},"https://flockler.com/thumbs/sites/889/48_001-9ae1346b-570b-48b0-9899-b9f9402a9723_s600x0.jpg","The American landscape has provided fertile subject matter for photographers throughout the medium’s history. ","The Landscape Exposed","

Edward Weston Dunes, Oceano, 1936. Estimate: $60,000-80,000.
\nPhotographs, New York.

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The American landscape is a defining factor in the national identity of the country, representing both an aesthetic ideal and the idea of possibility. The land has been a focus for photographers from the medium’s early history when Carleton Watkins made his revelatory views of Yosemite. Since then, many American photographers have followed in Watkins’ footsteps and explored the beauty and drama of the terrain while also examining man’s influence upon it. Phillips’ upcoming Photographs auction in New York includes a selection of American landscape photography which allows us to see how photographers have searched for meaning in the country’s diverse terrain.

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Edward Weston first visited the unique sand dunes at Oceano, California, in 1934 and was immediately captivated by their forms. In the coming years he created an unprecedented record of the ever-shifting landscape. Dunes, Oceano, frequently referred to as Black Dunes, is one of the most celebrated and distinctive from the series. It is remarkable for its preponderance of shadows which add depth and drama to the image, and for Weston’s meticulous handling of sunlight to enhance the detail in the foreground and to delineate the ridge lines that recede into the distance.

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Ansel Adams Winter Sunrise, Sierra Nevada from Lone Pine California, 1944. Estimate: $300,000-500,000.

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Ansel Adams was an ardent conservationist and became a major proponent for the preservation of the country’s wilderness areas. His understanding of the drama inherent in the American western landscape can be seen his mural-sized print of Winter Sunrise, Sierra Nevada from Lone Pine, California.

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Ernst Haas White Sands, New Mexico, 1950. Estimate: $7,000-9,000.

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Just as dramatic is the interplay between sunlight, clouds, and sand in Ernst Haas’ White Sands, New Mexico, which captures a lone automobile traversing a landscape that is simultaneously alien and beautiful. This print was exhibited in The Museum of Modern Art’s retrospective of Haas’s work in 1962.

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Robert Adams Longmont, Colorado, 1979. Estimate: $40,000-60,000.

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Robert Adams brings a deep concern for the environment into his work. Photographing primarily in Colorado and California, and working with medium and large-format film cameras, he has created an oeuvre of images perfectly balanced between activism and poetry. He wrote that the “main business” of landscape photography “is a rediscovery and revaluation of where we find ourselves.”

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Robert Frank View from hotel window - Butte, Montana, 1956. Estimate: $65,000-85,000.

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Robert Frank’s view from a hotel room in Butte, Montana, gives us a glimpse of a landscape completely upended by the quest for mineral wealth. Frank visited Butte in 1956 on his epic series of cross-country trips funded by several Guggenheim grants. Butte was a classic Western town and home to one of the largest mineral mining operations in the world. In this photograph, Frank captures the town’s close proximity to the diggings, with Montana’s mountains rising in the background; the manmade landscape encroaching into the natural world.

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Alec Soth Peter's Houseboat, Winona, Minnesota, 2002. Estimate: $60,000-80,000.

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Alec Soth’s austere and fascinating Peter’s Houseboat, Winona, Minnesota, documents a more organic relationship between the human and natural words. Like Frank, Soth is a traveler and the photographs he has made across the country, many along the expanse of the Mississippi River, provide an eloquent editorial comment on our relationship to the environment.

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Richard Misrach Untitled, 2007. Estimate: $40,000-60,000.

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Since the 1970s, Richard Misrach has concentrated on the American landscape and man’s impact upon it, creating a body of work characterized by technical rigor and an unerringly ethical approach to his subject matter. His transition to digital photography in the first decade of the 2000s was both a departure from, and continuation of, his longstanding photographic concerns. He leveraged the new medium’s ability to capture minute detail, and to maintain its resolution in large print sizes. Misrach’s masterstroke was to render these prints as negatives, with reversed coloration and tonality. Unlike analog photography, in which a negative is a necessary intermediary between exposure and final print, digital photography requires no negative. The large-scale negative print offered here presents an entirely new vision of the American landscape while offering Misrach’s commentary on the ever-changing medium of photography

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Richard Prince Untitled (Cowboy), 1993. Estimate: $200,000-300,000.

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Pairing appropriation with a finely-tuned sense of American icons, Richard Prince brings the American landscape into Post-Modern territory with Untitled (Cowboy), in which a cowboy rides, lasso in-hand, amidst a herd of stallions. The sun-drenched scene is reminiscent of countless western movies in which the rugged and beautiful landscape shapes the destiny of the characters. Prince’s photograph offers a characteristically subversive commentary on how the distinct appeal of the American landscape persists through time.

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\n","2020-07-02T16:04:34.000000Z","https://www.phillips.com/article/60053839/the-landscape-exposed-photographs-auction-new-york",883,3067,60053839,{"_4564":4614,"_4566":109,"_4567":4615,"_4521":4616,"_4570":4617,"_4572":4618,"_4574":1459,"_4575":410,"_4576":4619,"_402":565,"_4578":4620,"_4580":4621,"_4582":4622},"https://flockler.com/thumbs/sites/889/60_001-3e84d80c-7d81-42d3-9bed-2224ec7ca606_s600x0.jpg","\"There is one thing the photography must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough – there has to be vision, and the two together can make a good photograph.\" – Robert Frank","Realism Is Not Enough","

Aaron Siskind Terrors and Pleasures of Levitation, 1972. Estimate: $30,000-50,000.
\nPhotographs, New York.

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One especially rich subset within Phillips’ upcoming Photographs auction in New York is a group of images, composed by a single collector, which shows the diversity of American photography in the post-war era. At the heart of the collection is Aaron Siskind’s Terrors and Pleasures of Levitation, a portfolio of 10 photographs, each capturing a diver in mid-air, floating exuberantly in space. Siskind’s career is, in many ways, a template for post-war photography. He began as a social documentarian and created a significant body of work on Harlem. Beginning in the late 1940s, his work took a more formal turn as he began to use photography as a tool for personal expression, incorporating abstraction into his images while at the same time holding true to the reality in front of his camera. A similar progression can be seen in the work of Harry Callahan, whose two views of telephone lines stretched across a blank sky are simultaneously abstract and purely photographic. This application of photography’s documentary nature to a personal vision is a trend we see again and again in the 1950s and beyond.

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Robert Frank Rodeo - New York City, 1954. Estimate: $30,000-50,000.

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In the early 1950s, Robert Frank won a Guggenheim grant to create a photographic document of America. Much of Frank’s work from this project was created in reaction to the sanitized view of the country to be found in the many picture magazines of the day. Frank’s view of America was highly personal and he focused on those subjects not addressed by other photographers —the interstitial aspects of American life that, to Frank, made the country truly distinctive. For this reason, his images have a timeless, sometimes uncanny quality. This is apparent in Rodeo—New York City in which a lanky cowboy strikes a classic pose and lights up a cigarette, seemingly unaware that he is on the busy streets of New York City. Frank’s photograph of a doll maker, Benny on 11th Street, is a rare example of his pre-Americans work.

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It is of course true that all good pictures contain unfinished meanings: only perfect clichés are perfectly complete. Nevertheless, good photographs are often more richly unfinished than other pictures, are wilder, in the sense that they have in them more elements that are not fully understood and domesticated.
\n– John Szarkowski, 'Photography Until Now'
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Garry Winogrand’s Fort Worth, Texas, and Bruce Davidson’s Brooklyn Gang, Coney Island, can be seen as extensions of Frank’s work, and show two distinct takes on post-war America, as does Stephen Shore’s Sunset Avenue, Palm Beach, which shifts the commentary into color. Steve McCurry used color to great effect in his now-famous portrait of Sharbat Gula, Afghan Girl, an image that graced the cover of National Geographic magazine and set the standard for journalistic portraiture.

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Alex Prager Molly from Week-End, 2009. Estimate: $12,000-18,000.

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Alex Prager’s hyper-saturated images document a dramatic narrative seemingly in mid-flow. Prager acts as a master director and stylist and is utterly in control of what’s happening in front of her lens and how it is captured by her camera. Prager’s Molly from Week-End harnesses photography’s unique documentary and creative facets and represents a fascinating and enigmatic progression from the work of the other photographers in this grouping.

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\n","2020-07-02T16:06:08.000000Z","https://www.phillips.com/article/60052112/realism-is-not-enough-photographs-auction-new-york-robert-frank-aaron-siskind",884,3066,60052112,{"_4564":4624,"_4566":109,"_4567":4625,"_4521":4626,"_4570":4627,"_4572":4628,"_4574":1459,"_4575":410,"_4576":4629,"_402":200,"_4578":4630,"_4580":4631,"_4582":4632},"https://flockler.com/thumbs/sites/889/11_001-942a0ae9-668f-44c3-908e-42668eff8a39_s600x0.jpg","We take a closer look at photographs that push the technical and aesthetic limits of the medium, highlighting its endless creative possibilities.","Photographers: Thinking Beyond the Box","

Man Ray Le Bouquet (Fireworks), 1935

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The malleable science behind photography has long afforded artists the creative freedom to explore image-making through a variety of techniques and practices. While traditional lens-based photography, and the idea that a photograph is a document of the real world, has been the dominant trend in the history of the medium there is much to be said about those photographers working outside the parameters of orthodox camera or developing processes, producing images that push photography’s visual and conceptual boundaries.

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Man Ray

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Man Ray’s experimentation with photography propelled the medium in exciting ways and continues to influence new generations of artists. Le Bouquet (Fireworks), 1934, shows Man Ray’s deft use of solarization, the technique of introducing light during the development process which yielded a variety of visual effects, including the selective reversal of tones. In Le Bouquet, it creates an image that pivots between dream and reality.

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Matthew Brandt

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Matthew Brandt Lake Tapps, WA 3, 2012, and Stepping Stone Falls 9 C2M1Y2, 2016

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Like Man Ray, Matthew Brandt also experiments with modifications to the development process. In both Lake Tapps, WA 3, 2012, and Stepping Stone Falls 9 C2M1Y2, 2016, Brandt collected water from the sites shown in his photographs, introducing it during development. The water samples, each with its own unique blend of minerals and impurities, create dynamic surface abstractions resulting in self-referential works in which the object and the subject become one.

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Mariah Robertson & James Welling

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Mariah Robertson 66, 2011

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In 66, 2011, and Feb (10) c. 2014, 2014, Mariah Robertson and James Welling, respectively, take Man Ray and Brandt’s exploration of development one step further by entirely removing the initial camera-based image. Instead, they both use photographic chemistry and materials in new ways to create abstract and unanticipated images.

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James Welling Feb (10) c. 2014, 2014

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Sheila Pinkel & Walead Beshty

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Sheila Pinkel Untitled from Folded Paper Series, 1974-1982

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In Sheila Pinkel’s Lightworks from the 1970s and Walead Beshty’s Three Color Curl diptych from 2012, the artists work without a camera to create images of light and form, and—in the case of Beshty, color—by exposing photosensitive paper directly to light, manipulating both to produce visually dazzling work.

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Walead Beshty Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C) and Abstract (Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C)), 2012

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Adam Fuss

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Adam Fuss Untitled, 2005, and Untitled, 2003

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Adam Fuss is known for his incorporation of 19th-century techniques into his 21st-century practice, utilizing pinhole cameras, and experimenting with cameraless images and daguerreotypes. Untitled, 2005, and Untitled, 2003, show Fuss working without a camera, manipulating light onto the surface of both color and black-and-white photographic paper, yielding images that acknowledge the medium’s history while moving it into the future.

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\n","2020-07-01T18:17:00.000000Z","https://www.phillips.com/article/55558558/outside-the-box-alternative-photography-new-york-auction",765,2891,55558558,{"_4564":4634,"_4566":109,"_4567":4635,"_4521":4636,"_4570":4637,"_4572":4638,"_4574":1459,"_4575":410,"_4576":4639,"_402":610,"_4578":4640,"_4580":4641,"_4582":4642},"https://flockler.com/thumbs/sites/889/35_002-f87b772b-7344-4895-a743-4f079dab0e47_s600x0.jpg","Adams' large-scale photographs both preceded and predicted contemporary trends in the medium.","Ansel Adams: The Photograph as Mural ","

Installation view of Ansel Adams' Winter Sunrise, Sierra Nevada from Lone Pine California, 1944.
\n39 x 63 1/4 in. (99.1 x 160.7 cm).
\nEstimate: $300,000-500,000.
\nPhotographs at Phillips New York.

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The majestic mural-sized photograph offered in our Photographs auction is distinguished by the presence of Ansel Adams’ signature label, which was sent to the current owner in 1969. Adams typically did not sign his murals; the flush-mounted presentation left no border for him to sign, and he was unwilling to write directly on the surface of a print. After acquiring this photograph, the owner reached out to Adams to ask for a signature and a statement of value for insurance purposes. Adams replied with a boldly signed and titled label to be placed on the reverse of the mural’s mount, and a typically genial letter, both of which accompany this lot.

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Ansel Adams provided this signature label for the present work.

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No other photographer of his generation experimented as adventurously or successfully as Adams with larger print sizes. The technical challenges of producing a compelling print in this size were considerable, and few photographers in the first half of the 20th-century had thought of making images beyond the standard formats. Adams’ success with larger print sizes was trailblazing in his own time and was prescient of the current trend in photography in which larger prints by contemporary artists predominate.

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Adams’ murals have their origin in the desire for public art in the 1930s. The first notable display of photographs in this format was The Museum of Modern Art’s Murals by American Painters and Photographers exhibition in 1932. In his introduction to that show’s catalogue, Julian Levy identified the difficulties of creating a photograph in grand format: "A good photo-mural is not merely the mechanical enlargement of a small photograph. The enlarged mural is a new and independent production, and the photographer who does not visualize in advance the final scale of his picture will usually be surprised and dismayed by the results." Adams met these challenges head-on with a characteristic combination of enthusiasm and technical virtuosity.

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Ansel Adams Winter Sunrise, Sierra Nevada from Lone Pine California, 1944.

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Adams created his first murals in 1935 when he received a commission to produce wall-sized prints of Yosemite National Park for the Yosemite Park & Curry Company. He continued to refine his technique through the following decades as other commissions and opportunities arose. In 1941 he was hired by the United States Department of the Interior to produce a series of murals for the Department’s Washington, D.C., offices, although World War II prevented the completion of the project. Making large prints was time-consuming and costly, and most of his mural work was produced for corporations such as The American Trust Company (later Wells Fargo) and Polaroid.

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A good photo-mural is not merely the mechanical enlargement of a small photograph. The enlarged mural is a new and independent production, and the photographer who does not visualize in advance the final scale of his picture will usually be surprised and dismayed by the results.
\n— Juian Levy
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In 1940 Adams published an article entitled "Photo-Murals" in U.S Camera magazine, establishing himself as an authority on the subject. With characteristic humor, he dubbed mural-sized prints "enlargements with a vengeance," and further stated, "Apart from optical and technical considerations, the size of the photograph has an expressive relationship with the subject." Adams was particularly attuned to the effect a print’s scale would have on a viewer, no matter the format he worked in. His 1944 image, Winter Sunrise, Sierra Nevada from Lone Pine—with its sweeping horizontal bands of light and dark tonal values—made an especially successful transition to the mural format yielding an impressive and immersive print. It is arguably the ideal expression of this dramatic image.

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Adams made Winter Sunrise, Sierra Nevada from Lone Pine while photographing the Japanese relocation camp at Manzanar. Adams’ photographs of the encampment of over 10,000 Japanese Americans who had been forced from their homes by the War Relocation Authority were published in his 1944 book Born Free and Equal: The Story of Loyal Japanese-Americans. One December morning during this project, Adams awoke before dawn and drove with his wife to nearby Lone Pine. After setting up his 8-by-10-inch camera on the specially-built platform atop his car, he waited for the right moment. As the sun rose behind him and began to illuminate the Sierras’ peaks, he made one exposure. "Within seconds," he wrote, "the tonal variety that created the mood of the scene was destroyed by a flood of even sunlight." Winter Sunrise served as a kind of coda for Adams’ work at Manzanar and he chose it as the final illustration in Born Free and Equal.

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A 1969 letter from Ansel Adams to Roger Poyner, the current owner, accompanies this lot.

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Adams printed the mural offered here in 1967 for the Schwabacher Brokerage Company. It hung in the company’s Monterey office until its closure in 1969, when it was purchased by the current owner, Roger Poyner. A lawyer and photography enthusiast, Poyner served as Assistant City Manager for Monterey in the 1960s and knew Adams from the tight-knit Monterey/Carmel community. After taking possession of the mural, and hanging it in a place of honor in his law office, Poyner approached Adams for the documentation which now accompanies the print.

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\n","2020-07-03T19:25:00.000000Z","https://www.phillips.com/article/54957858/photographs-ansel-adams-sierra-nevada-new-york-auction",758,2880,54957858,{"_4564":4644,"_4566":109,"_4567":4645,"_4521":4646,"_4570":4647,"_4572":4648,"_4574":1459,"_4575":410,"_4576":4649,"_402":629,"_4578":4650,"_4580":4651,"_4582":4652},"https://flockler.com/thumbs/sites/889/138_001-214cc893-32ba-41fe-a6fc-0ff51f404d19_s600x0.jpg","Two of New York's most famous artists produced a pair of works that set the stage for further collaboration.","Warhol and Basquiat","

Andy Warhol Self-Portrait with Basquiat, October 4, 1982. Estimate: $30,000-50,000.
\nPhotographs at Phillips New York.

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On 4 October 1982, Andy Warhol turned his Polaroid camera on Jean-Michel Basquiat for a series of portraits of the young artist. At the end of the session, Basquiat requested a portrait with Warhol who stepped into the frame and assumed the now famous pose seen here. Of the Polaroids Warhol took that day, this is the only one where Basquiat is seen grinning from ear to ear. Warhol gave the double portrait to Basquiat who then quickly returned to his studio with the still-developing print in hand, pinned it to his wall and created Dos Cabezas, a rendering of the double portrait painted in his characteristic visual language. Warhol recalled the day in his diary: "Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He’s the kid who used the name 'Samo' when he used to sit on the sidewalk in Greenwich Village and paint T-shirts . . . And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together" (Hackett, The Andy Warhol Diaries, p. 462).

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It was like some crazy art-world marriage and they were the odd couple. The relationship was symbiotic.
\n— Ronnie Cutrone, Warhol's studio assistant
\n1972-1980
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That day, immortalized in these two iconic works of art, marked the beginning of a friendship and artistic collaboration that would shape the course of Basquiat’s short career while providing Warhol a heralded final chapter of his. Days after their meeting, Basquiat gave the Polaroid to his close friend Anna Taylor. The surface features of the object are artifacts of this celebrated first encounter.

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1958 U. S. Camera Annual.

1958 U. S. Camera Annual featuring works by Robert Frank.

Robert Frank U.S. 285, New Mexico, 1956. Estimate: $30,000-50,000.

Robert Frank Rodeo - New York City, 1954. Estimate: $30,000-50,000.

Robert Frank Chattanooga, Tennessee, 1955. Estimate: $15,000-25,000.

"Highland Park Orkadia" at Grand Central Station, New York. Photography by Kevin Fabrizi.

"Moongates" at Bal Harbour Shops, Miami. Photography by Gesi Schilling.

Lot 36: Robert Adams On Signal Hill Overlooking Long Beach, 1983.\nEstimate: $15,000-25,000.\nPhotographs, New York.

"Summer in Winter" at Cadillac House, New York. Photography by Plamen Petkov.

Lot 217: Ryan McGinley Kudzu, 2014. Estimate: $15,000-25,000. \nPhotographs, New York.

"Shou Sugi Ban House" at Water Mill, New York. Photography by Fredrika Stjarne.

Robert Adams

Robert Adams On Signal Hill Overlooking Long Beach, 1983. Estimate: $15,000-25,000.

Matthew Brandt

Matthew Brandt Lake Tapps, WA 3, 2012. Estimate: $7,000-9,000.

Art Sinsabaugh

Art Sinsabaugh Untitled (Midwest landscape), circa 1965. Estimate: $4,000-6,000.

Richard Mosse

Richard Mosse Seen and Not Seen, 2012. Estimate: $20,000-30,000.

Ryan McGinley

Ryan McGinley Kudzu, 2014. Estimate: $15,000-25,000.

Jeanette Klute

Jeannette Klute Maquette for Woodland Portraits, 1954. Estimate: $10,000-15,000.

Todd Hido

Todd Hido Untitled, #6097 from A Road Divided, 2007. Estimate: $8,000-12,000.

Ansel Adams Winter Sunrise, Sierra Nevada from Lone Pine California, 1944. Estimate: $300,000-500,000.

Ernst Haas White Sands, New Mexico, 1950. Estimate: $7,000-9,000.

Robert Adams Longmont, Colorado, 1979. Estimate: $40,000-60,000.

Robert Frank View from hotel window - Butte, Montana, 1956. Estimate: $65,000-85,000.

Alec Soth Peter's Houseboat, Winona, Minnesota, 2002. Estimate: $60,000-80,000.

Richard Misrach Untitled, 2007. Estimate: $40,000-60,000.

Richard Prince Untitled (Cowboy), 1993. Estimate: $200,000-300,000.

Robert Frank Rodeo - New York City, 1954. Estimate: $30,000-50,000.

Alex Prager Molly from Week-End, 2009. Estimate: $12,000-18,000.

Man Ray

Matthew Brandt

Matthew Brandt Lake Tapps, WA 3, 2012, and Stepping Stone Falls 9 C2M1Y2, 2016

Mariah Robertson & James Welling

Mariah Robertson 66, 2011

James Welling Feb (10) c. 2014, 2014

Sheila Pinkel & Walead Beshty

Sheila Pinkel Untitled from Folded Paper Series, 1974-1982

Walead Beshty Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C) and Abstract (Four Magnet, Three Color Curl (CMY: Irvine, California, September 13th 2009, Fuji Crystal Archive Type C)), 2012

Adam Fuss

Adam Fuss Untitled, 2005, and Untitled, 2003

Ansel Adams provided this signature label for the present work.

Ansel Adams Winter Sunrise, Sierra Nevada from Lone Pine California, 1944.

A 1969 letter from Ansel Adams to Roger Poyner, the current owner, accompanies this lot.

Jean-Michel Basquiat Dos Cabezas, 1982.\n© Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

Lot 36: Robert Adams On Signal Hill Overlooking Long Beach, 1983.
\nEstimate: $15,000-25,000.
\nPhotographs, New York.

Lot 217: Ryan McGinley Kudzu, 2014. Estimate: $15,000-25,000.
\nPhotographs, New York.

Jean-Michel Basquiat Dos Cabezas, 1982.
\n© Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.