Lee Friedlander b. 1934

(New York: Q. E. D. Editions, 1983, an edition of 50 numbered copies and 7 artist's proofs), a portfolio of 7 photographs, dye-transfer prints, each signed, titled and numbered 'AP/1' by the photographer in pencil and with his copyright/credit and date stamps on the reverse, each within an individual wrapper, 1959-73, printed in 1983; together with the printed title/plate list/colophon, numbered 'AP/1' in an unidentified hand in ink.  Folio, rust-colored cloth portfolio with flaps and ties and printed label, an artist's proof in a total edition of 57

The plates, on double-weight paper with a high gloss, are all in generally excellent condition. Pete Williams: The top center edge, in the margin, is very lightly bumped. The portfolio case is in generally excellent condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The plates include:

Miles Davis

Robert Pete Williams

John Coltrane

Aretha Franklin

Joe Turner

Ray Charles

Milt Jackson

A long-time fan of jazz and blues, Friedlander began his career as a photographer in the early 1950s, when this music was emerging from the marginalization of 'race' music into the musical mainstream.  Friedlander's first commercial photographs were taken in Los Angeles, where he socialized with artists and musicians and shot his first album covers.  In 1955, he moved to New York and worked freelance for Atlantic Records and RCA, creating some of the most recognized album covers of the day.  Friedlander's work for these companies continued into the 1960s, in which decade he also embarked upon his series on New Orleans jazz.