Fine Jewelry

En émail bleu bicolore, rehaussé d'une ligne de demi-perles et de diamants taille ancienne.

En émail bleu bicolore, rehaussé d'une ligne de demi-perles et de diamants taille ancienne. Dimensions 83 x 65 mm environSigné BoucheronPoinçon français pour l'or 18K (750°/00) et le platine (950°/00), poinçon de maîtreVers 1900 Poids brut 130.80 g

View 1 of Lot 116: Cadre photo perles, émail et diamants 

cadre photo perles, émail et diamants

Formant un chevalet à trois pieds décoré de volutes et agrémenté d'un décor végétal ciselé.

Formant un chevalet à trois pieds décoré de volutes et agrémenté d'un décor végétal ciselé. Dimensions 160 x 100 mm environNumérotéPoinçon français d'import pour l'or 18K (750°/00)Vers 1880Poids brut 518.5 g

cadre photo or

An extensive photo album compiled by and documenting the career of aviation pioneer Wilhelm Heinrich Evers.<ul><li>Wilhelm Heinrich Evers (German).</li><li>80 black paper leaves with approximately 367 black and white photographs (all but a few gelatin silver prints) mounted to rectos and versos in dry corner mounts, 3 additional prints laid-in.&nbsp;</li><li>Prints frequently annotated in white album pen in both English and German.</li><li>Commercial album, black textured strong-tied leather over flexible stiff card wrappers.&nbsp;</li></ul> Evers was among the first wave of intrepid pilots to take to the skies following the Wright Brothers' 1903 flight. Active in both Germany and the United States, Evers's Fédération Aéronautique Internationale license number was 190, and he was a member of the Early Birds of Aviation (founded in 1928, limited only to the first 600 or so pilots who flew prior to December 16, 1916). Within the first decade of flight, Evers not only designed, built and flew his own planes in Germany, but was a pilot for the first commercial airline in the United States (The St. Petersburg–Tampa Airboat Line, 1913). Later, he would help develop some of the first high altitude aircraft (for Fokker Aircraft and others), held a number of aviation patents, and was among the main designers of the Junkers Ju 88—one of the most important German fighters of the Second World War. Most of these portions of his career are documented in this album with more than 350 original photographs. The album spans about 1910 through 1929 and covers his earliest flights in Germany (1910-1911); his foundational work with Thomas W. Benoist on the world's first passenger airline in Tampa, Florida (1913-1914); his work with Fokker in the 1920s and more. The first approximately 85 photographs document different iterations of Evers's early German flyers of his own design, designated E-I through E-VI and dated 1910-1913. The album then moves to Evers's close work with early aviators Tony Janus and Thomas W. Benoist in St. Louis, Missouri, including another about 85 photographs focusing on Benoist's St. Petersburg-Tampa Airboat Line, for which Evers was one of three original pilots. Roughly the final half of the album provides a highly technical glimpse into his work, largely in New Jersey with the Fokker Aircraft Corporation on various projects—including its failed F-32.

Photo Album of Aviator Wilhelm Heinrich Evers

A collection of <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Photographs" rel="noopener noreferrer" target="_blank">photographs</a> documenting attendees of the <a href="https://www.sothebys.com/en/search?query=woodstock&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Woodstock Festival</a> of July and August, 1969.<ul><li>Sold as a set of 115 photographs.</li><li>10 are in black and white and 105 in color.</li><li>Each is presented unframed.</li></ul> Wonderful and sizeable collection of over 100 photographs documenting a small group's road trip to Woodstock and weekend there. From road to campsite to town to wilderness, a well-ordered document of one group's Woodstock Festival experiences. While including several shots of stage construction and obligatory views of the immense festival crowds, as well as shots of vendors and close-ups of concert-goers, this collection is compelling for its personal focus. In a small number of pre-Woodstock photos dated July '69, a musical ensemble performs with trumpet, flute, keyboards, and guitar; in August, at the festival itself, the same ensemble plays on a small stage away from the main action (though not the official second stage). There are trips to the falls to frolic nude in the splendor of Nature; tents put up; drugs smoked; several attempts, finally successful, to light a fire; the Earthlight Theater's Aquarian Expo; a geodesic dome is erected; the town of Woodstock itself. And most importantly, loving photographs of every dog they brought along or met on the way, one local goat, and one counterculture kitten. The images also capture many of the festival's most iconic images and moments: the Merry Prankster Bus, Jimi Hendrix performing (from close vantage and several points-of-view), the imposing scaffolding of the sound and light towers, etc. A remarkable collection, taken by an active participant, capturing both the epic scope and smaller daily realities of this generation-defining event.

Woodstock Festival Photograph Collection

Photographs Part II

Property of The Museum of Modern Art, New York, Sold to Benefit the Development of MoMA's Collection

Property of The Museum of Modern Art, New York, Sold to Benefit the Development of MoMA's Collection Eugène Atget 1857 - 1927 Parc de Saint-Cloud (birches) printing-out-paper print, numbered 1279 in the negative, titled and numbered in pencil and with the photographer's Rue Campagne-Première studio stamp, annotated 17 bis in pencil, on the reverse image: 8 ¾ by 7 in. (22.2 by 17.8 cm.) Executed in 1926.

View 1 of Lot 947: Parc de Saint-Cloud (birches)

parc de saint-cloud (birches)

Property of The Museum of Modern Art, New York, Sold to Benefit the Development of MoMA's Collection Eugène Atget 1857 - 1927 Cour, 22 rue Quincampoix albumen print, mounted, the Photo E. Atget / Collection Berenice Abbott / 1 W. 67th St. stamp and with title in pencil on the reverse image: 8 ½ by 6 ¾ in. (21.6 by 17.1 cm.) Executed in 1912.

View 1 of Lot 943: Cour, 22 rue Quincampoix

cour, 22 rue quincampoix

Germaine Krull 1897 - 1985 Erotic Nude gelatin silver print, credit in pencil on the reverse, framed image: 9 by 6 ½ in. (22.9 by 16.5 cm.) Executed circa 1930.

erotic nude

Peter Beard 1938 - 2020 Heart Attack City a unique assemblage of a Polaroid of Marilyn Monroe Diary Page with blood and red paint; a gelatin silver print of 756 Elephants @ Mkomazi Border of Tsavo, initialed, titled, dated, and annotated P. B. w/Ian Parker in the margin and collaged with six images of elephant bones; and a contact sheet signed and annotated in ink on the image and with a segment of a fishbone affixed to the image, framed overall: 10 by 11 in. (25.4 by 27.9 cm.) Executed in 1972-76, printed and assembled later.

heart attack city

Property of The Museum of Modern Art, New York, Sold to Benefit the Development of MoMA's Collection Eugène Atget 1857 - 1927 Étang, Ville-d'Avray matte albumen print, numbered 1217 in the negative, titled and numbered 1217 in pencil, with the photographer's Rue Campagne-Première studio stamp, annotated 17 bis in pencil, on the reverse image: 7 by 9 in. (17.8 by 22.9 cm.) Executed in 1923-25.

étang, ville-d'avray

William Eggleston b. 1939 Eudora Welty’s Kitchen Chromogenic print, signed in ink and with the photographer’s title, date, Ektacolor-Professional and edition stamps, numbered four of 9 in ink, on the reverse, framed image: 33 by 22 ⅝ in. (83.8 by 57.5 cm.) Executed in 1983.

View 1 of Lot 928: Eudora Welty’s Kitchen

eudora welty’s kitchen

Robert Mapplethorpe 1946 - 1989 Carlton gelatin silver print, flush-mounted, framed, a Robert Miller Gallery label on the reverse image: 40 by 40 in. (101.6 by 101.6 cm.) Executed in 1987, this print is number 2 from an edition of 2.

carlton

Helmut Newton 1920 - 2004 Arielle Portfolio the complete group of 10 gelatin silver prints from Arielle (Berlin: Camera Work, 1999, an edition of 10 plus 5 artist's proofs), each signed, titled Arielle I-X, Monte Carlo dated and editioned AP1/5 in pencil and three with the photographer's copyright, credit, and reproduction rights stamps, each framed images approximately 9 ½ by 14 ¼ in. (24.1 by 36.2 cm.) or the reverse

arielle portfolio

Chris McCaw b. 1971 Sunburned GSP #825 (Strait of Juan de Fuca/full day) four unique gelatin silver paper negatives, each signed, titled, dated and sequenced 1/4 through 4/4 in pencil on the reverse, framed together, a Yossi Milo Gallery, Inc., New York, label on the reverse images: 10 by 8 in. (25.4 by 20.3 cm.) overall: 10 by 32 ⅛ in. (25.4 by 81.6 cm.) Executed in 2014, this work is unique.

View 1 of Lot 957: Sunburned GSP #825 (Strait of Juan de Fuca/full day)

sunburned gsp #825 (strait of juan de fuca/full day)

Contemporary Curated featuring the Collection of Robert A.M. Stern

Between Memory and Invention: The Collection of Robert A.M. Stern

Between Memory and Invention: The Collection of Robert A.M. Stern Annie Leibovitz b. 1949 Philip Johnson, Glass House, New Canaan, Connecticut signed in pencil (on the reverse); signed in ink on the photographer's label (on the reverse of the frame) archival pigment print 14 ⅝ by 21 ½ in. 37.1 by 54.6 cm. Executed in 2000, this print is number 10 from an edition of 25.

View 1 of Lot 125: Philip Johnson, Glass House, New Canaan, Connecticut

philip johnson, glass house, new canaan, connecticut

Property from a Prestigious American Collection

Property from a Prestigious American Collection Helmut Newton 1920 - 2004 'Brescia Dressed, 2pm with Plumed Hat' and 'Brescia Nude, 3:30 pm' (2 photographs) a diptych of gelatin silver prints, each signed, titled dated and numbered 7/10 in pencil on the reverse, framed images: 23 by 19 in. (58.4 by 48.2 cm.) Executed in 1981.

View 1 of Lot 1024: Brescia Dressed, 2pm with Plumed Hat and Brescia Nude, 3:30 pm (Two Photographs)

brescia dressed, 2pm with plumed hat and brescia nude, 3:30 pm (two photographs)

Elixir of Life: Photographs from The Olbricht Collection

Elixir of Life: Photographs from The Olbricht Collection William Eggleston b. 1939 Untitled (Nehi Bottle on Car Hood) dye-transfer print, signed in ink in the margin, the Los Alamos copyright/credit/reproduction limitation stamp, editioned 6/7 and annotated EAT#0204.081 in ink, on the reverse, framed image: 20 by 16 in. (50.8 by 40.6 cm.) Executed in the mid-1960s-early 1970s, printed in 2001 by Guy Stricherz, this print is number 6 from an edition of 7 plus 1 printer's proof and 3 lettered hors-commerce examples.

View 1 of Lot 926: Untitled (Nehi Bottle on Car Hood)

untitled (nehi bottle on car hood)

Lillian Bassman: Elegance in Light, 1949 - 1996

Lillian Bassman: Elegance in Light, 1949 - 1996 Lillian Bassman 1917 - 2012 More Fashion Mileage Per Dress, Barbara Vaughn, Harper's Bazaar, New York platinum-palladium print, signed and editioned 4/15 in pencil on the reverse, framed, a Peter Fetterman Gallery, Santa Monica, label on the reverse image: 20 by 26 in. (50.8 by 66 cm.) Executed in 1956, printed later.

View 1 of Lot 1016: More Fashion Mileage Per Dress, Barbara Vaughn, Harper's Bazaar, New York

more fashion mileage per dress, barbara vaughn, harper's bazaar, new york

František Drtikol 1883 - 1961 Selected Cartes Postales (3 photographs) a group of 3 gelatin silver prints on warm-toned carte postale stock, each with the photographer’s blindstamp in the image or margin, framed images: 4 by 3 ¼ in. (10.2 by 8.3 cm.) or the reverse Executed in 1925-29

View 1 of Lot 973: Selected Cartes Postales (3 photographs)

selected cartes postales (3 photographs)

Property from a Prestigious American Collection Helmut Newton 1920 - 2004 'Lisa Lyon in her Studio, Venice, California' gelatin silver print, signed, titled and dated in pencil and with the photographer's Monte-Carlo copyright and reproduction rights stamps on the reverse, framed image: 22⅜ by 14⅞ in. (59.4 by 37.8 cm.) Executed in 1981, printed in 1994, this print is from an edition of 10.

View 1 of Lot 1023: 'Lisa Lyon in her Studio, Venice, California'

'lisa lyon in her studio, venice, california'

Minor White 1908 - 1976 Windowsill Daydreaming, Rochester, New York gelatin silver print, the photographer’s 203 Park Ave., Arlington, Mass. 02174 studio stamp, with title and date in pencil, on the reverse image: 10 ¾ by 8 ¼ in. (27.3 by 21 cm.) Executed in 1958.

View 1 of Lot 985: Windowsill Daydreaming, Rochester, New York

windowsill daydreaming, rochester, new york

André Kertész 1894 - 1985 Distortion #49 gelatin silver print, initialed, numbered and annotated in pencil on the reverse image: 3 ¼ by 4 ¼ in. (8.3 by 10.8 cm.) Executed in 1933.

distortion #49

Lillian Bassman: Elegance in Light, 1949 - 1996 Lillian Bassman 1917 - 2012 Barbara Mullen (Flat Hat Bare Back) gelatin silver print, signed and with edition 6/25 in pencil on the reverse, framed, a Peter Fetterman Gallery, Santa Monica, label on the reverse image: 22 ⅝ by 17 ⅜ in. (57.5 by 44.1 cm.) Executed circa 1950, printed later.

View 1 of Lot 1010: Barbara Mullen (Flat Hat Bare Back)

barbara mullen (flat hat bare back)

Erwin Blumenfeld 1897 - 1969 Nude under Wet Silk, Paris ferrotyped gelatin silver print, the photographer’s estate stamp on the reverse, framed image: 11 ¾ by 9 ½ in. (29.8 by 24.1 cm.) Executed in 1937.

View 1 of Lot 969: Nude under Wet Silk, Paris

nude under wet silk, paris

Lillian Bassman: Elegance in Light, 1949 - 1996 Lillian Bassman 1917 - 2012 Across the Restaurant at Le Grand Vefour, Barbara Mullen, Dress by Jacques Fath, Harper's Bazaar, Paris platinum-palladium print, signed and editioned 5/15 in pencil on the reverse, framed, a Peter Fetterman Gallery, Santa Monica, label on the reverse image: 25 ⅞ by 22 ⅛ in. (65.7 by 59.2 cm.) Executed in 1949, printed later.

View 1 of Lot 1014: Across the Restaurant at Le Grand Vefour, Barbara Mullen, Dress by Jacques Fath, Harper's Bazaar, Paris

across the restaurant at le grand vefour, barbara mullen, dress by jacques fath, harper's bazaar, paris

Vik Muniz b. 1961 The Night Fire, after Goya (from Pictures of Pigment) mural-sized chromogenic print, flush-mounted, framed image: 96 by 69 ½ in. (243.8 by 176.5 cm) Executed in 2007, this print is number 6 from an edition of 6 plus 4 artist’s proofs.

View 1 of Lot 990: The Night Fire, after Goya (from Pictures of Pigment)

the night fire, after goya (from pictures of pigment)

Helmut Newton 1920 - 2004 Veruschka, Nice gelatin silver print, a plate from Private Property Suite II (New York, 1984), signed in pencil and with the portfolio stamp, annotated 12, II, and editioned 5 in pencil, on the reverse, framed, a Holden Luntz Gallery, Palm Beach, label on the reverse image: 9 ½ by 14 ¼ in. (24.1 by 36.2 cm.) Executed in 1975, printed in 1984, this print is number 5 from an edition of 75.

veruschka, nice

Property of The Museum of Modern Art, New York, Sold to Benefit the Development of MoMA's Collection Eugène Atget 1857 - 1927 Parc de Saint-Cloud (horizontal fountain) printing-out-paper print, partially numbered 64 in the negative, titled and numbered 6499 in pencil and with the photographer's Rue Campagne-Première studio stamp, annotated 17 bis in pencil, on the reverse image: 7 by 8 ¾ in. (17.8 by 22.2 cm.) Executed in 1904.

View 1 of Lot 945: Parc de Saint-Cloud (horizontal fountain)

parc de saint-cloud (horizontal fountain)

William Eggleston b. 1939 Outskirts of Morton, Mississippi, Halloween dye-transfer print, signed and editioned Ed. of 15 in pencil on the reverse image: 11 ⅞ by 17 ¾ in. (30.2 by 45 cm.) Executed in 1971.

View 1 of Lot 904: Outskirts of Morton, Mississippi, Halloween

outskirts of morton, mississippi, halloween

Property from a Prestigious American Collection Helmut Newton 1920 - 2004 Untitled I, Bel Air, California mural-sized gelatin silver print, flush-mounted to aluminum, signed, titled, dated and editioned 1/3 in ink and a de Pury & Luxembourg label on the reverse, framed image: 53 ⅞ by 47 ¼ in. (137 by 120 cm.) Executed in 1981, printed in 2001, this print is number one from an edition of 3 plus one artist’s proof.

View 1 of Lot 1029: Untitled I, Bel Air, California

untitled i, bel air, california

Bill Brandt 1904 - 1983 Nude, Sussex Coast gelatin silver print, dated twice and the photographer’s credit stamp on the reverse, framed image: 9 by 7 ¾ in. (22.9 by 19.7 cm.) Executed in 1959, probably printed in the 1960s.

nude, sussex coast

František Drtikol 1883 - 1961 Nude pigment print, framed image: 11 ¾ by 9 ½ in. (29.8 by 24.1 cm.) Executed circa 1925.

nude

Lillian Bassman: Elegance in Light, 1949 - 1996 Lillian Bassman 1917 - 2012 Margie Cato (Test Shoot), New York gelatin silver print, signed and with edition 3/25 in pencil on the reverse, framed, a Peter Fetterman, Santa Monica, label on the reverse image: 35 ⅜ by 27 ⅛ in. (89.9 by 68.9 cm.) Executed circa 1950, printed later.

View 1 of Lot 1011: Margie Cato (Test Shoot), New York

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