Books, Manuscripts & Music, from Medieval to Modern

Aymard de Banville Album photographique de la mission remplie en Égypte par le vte Emmanuel de Rougé, accompagné de M. le vte de Banville et de M. Jacques de Rougé, attachés à la mission, 1863-1864. Paris: Samson, 1865 Folio (502 x 395 mm). Title-page, nine text leaves including the Avertissement, 155 albumen prints (various sizes and orientations, approximately 41 x 178 mm to 195 x 251 mm), mounted on card (some out of order), printed captions mounted below images, tissue guards; some prints with toning to sky or foxing, heaviest to final prints, but generally very clean, some mounts foxed, a few tears to tissue guards, one or two detached, rippling to final few mounts. Brown three-quarter pebble-grained morocco and brown cloth covered boards, spine with raised bands in six compartments, second and fourth gilt-lettered; light rubbing to extremities. AN EXCEPTIONALLY RARE WORK FROM THE EARLIEST DAYS OF TRAVEL PHOTOGRAPHY. Emmanuel Rougé (1811-1864), Honorary Curator of Egyptian Antiquities at the Louvre and Professor of Egyptian Archaeology at the Collège de France, was officially commissioned to decipher hieroglyphic texts in Egypt between October 1863 and June 1864. He was accompanied by his son Jacques, as well as the amateur photographer (and gentleman farmer) Viscount Amyard de Banville (1837-1917). By pioneering the use of wet collodion glass plate negatives, the expedition captured Egyptian monuments with a hitherto unprecedented degree of sharpness. de Banville's work received strong recognition in its day. The photographer was duly awarded the Légion d'Honneur and examples of the photographs were included in the Société Française de Photographie exhibition of 1865. LITERATURE: Nissan Perez, Focus East (Jerusalem, 1988), p. 128 PROVENANCE: Honoré d'Albert, duc de Luynes (1802–1867), art collector, archaeologist, and scientist; by descent to the present owner. The Duc de Luynes played an important role in the photography, especially in terms of the chemistry involved. As a member of the Société Française de Photographie, he established a prize for the photographer who succeeded in reproducing photographic images using ink mixed with carbon, as well as a secondary award concerning the printing and preservation of positive prints. As an archaeologist, he took an interest in the relationship between the Phoenicians and Egypt—and the traces they left there—a topic revisited by the Viscount de Rougé in light of discoveries made along the banks of the Nile. He travelled to Egypt himself, though he was soon forced to cut short his trip due to ill health. He also contributed to the funding of Mariette’s excavations around the Great Sphinx.

View 1 of Lot 50: Aymard de Banville | Album photographique de la mission remplie en Égypte..., Paris, 1865, an exceptionally rare work from the earliest days of travel photography

aymard de banville | album photographique de la mission remplie en égypte..., paris, 1865, an exceptionally rare work from the earliest days of travel photography

Modern & Contemporary Discoveries including Works from the former Claude and Georges Pompidou Collection

Timm Rautert n. 1941 Blinky Palermo, Krefeld (2 photographs) signées, intitulées et datées, et l'image d'installation portant le numéro 1/5 (au verso de chacune) 2 tirages argentiques à la gélatine image: 40 x 29,9 cm.; 15¾ x 11¾ in. (chacune) Exécuté en 1973.

View 1 of Lot 223: Blinky Palermo, Krefeld (2 photographs)

blinky palermo, krefeld (2 photographs)

India and the Himalayas Album of photographs titled 'Simla and Kashmir 1879'. [negatives c.1863-1870s] Oblong folio (346 x 465mm.), containing 74 albumen prints (56 approx. 227 x 290mm., 2 prints 220 x 182mm., 16 prints 100 x 140mm., or the reverse), signed and numbered in the negative by Bourne (46), Bourne & Shepherd (1), and Shepherd & Robertson (4), mounted on card, recto only, each neatly captioned in ink on the mount, contemporary crimson calf gilt, upper cover titled in gilt, gilt edges, brass clasp and catch, slight spotting in some images and a little fading, spine worn, binding rubbed A FINE ALBUM of views in Simla, Sutlej, Chini, Wang Valley, Kulu, Spiti, Murree, and Kashmir, together with portraits of a group of Kashmir females, Hill Coolies, Tibetan women, Udasees (Fakeers), A Tibetan Llama, the Maharajah of Kashmir, another of his court, Government house Lahore, the viceroy's elephants, polo players, a Nautch girl and musicians, Gujur sirdars, and others. The majority of the photographs were taken by Bourne during his journeys in the Himalayas and Kashmir between 1863 and 1870. PROVENANCE: By repute from the Curzon family

View 1 of Lot 68: India and the Himalayas--Album of photographs titled 'Simla and Kashmir 1879'

india and the himalayas--album of photographs titled 'simla and kashmir 1879'

Timm Ulrichs n. 1940 Ich kann keine Kunst mehr sehen signé et numéroté 46/50 à l'encre (au verso) photo sur toile, avec une touche d'aquarelle sur l'image 125 x 110 cm.; 49¼ x 39 in. Exécuté en 1975, imprimé en 2002.

View 1 of Lot 224: Ich kann keine Kunst mehr sehen

ich kann keine kunst mehr sehen

Maxime du Camp Égypte, Nubie, Palestine et Syrie. Dessins Photographiques recueillis pendant les années 1849, 1850 et 1851. Paris: par J. Claye et Cie. [for] Gide et J. Baudry, 1852 Folio (435 x 295 mm). Half-title, 125 salted prints (each approximately 165 x 220 mm, or the reverse) printed by Blanquart-Evrard, being 112 views of Egypt, 6 of Jerusalem, and 7 of Baalbek, each individually mounted on card with engraved title, number, and imprint, and 3 engraved plans, one of which double-page, and 55 pages of text, near-contemporary red half morocco, mounts spotted (as often), occasional slight spotting to prints, extremities slightly rubbed “Photography absorbs and consumes Max’s days…” (Flaubert). FIRST EDITION OF A PIONEERING PHOTOBOOK ON EGYPT, PALESTINE, AND SYRIA. In November 1849 Maxime Du Camp, the twenty-seven year old son of a successful surgeon, set out for Egypt with his friend, Gustave Flaubert. Each longed to explore the Near East and had secured government commissions to fulfil their ambitions. Du Camp was to photograph and study archaeological sites while Flaubert was to gather information on the local commerce, agriculture, and industries. Du Camp had experience documenting ruins on past journeys, but found their documentation by sketching frustrating—it took too long to be precise and his drawing skills were lacking. So, he turned to the new invention of photography as a more accurate method. He trained in photography with Gustave Le Gray, who taught him the waxed paper negative process; this method proved challenging for the novice and he did not have much success. Fortunately, he met Baron Alexis de La Grange in Cairo who taught him Louis-Désiré Blanquart-Evrard’s improved process, which helped given the arduous circumstances. The task of photographing in the desert was a difficult one, especially for an amateur, requiring distilled water and a dark room to fix the chemicals. The transport of the necessary equipment was by mule, camel or a legion of local porters. “Photography absorbs and consumes Max’s days. He succeeds but gets upset every time he ruins a proof or a plate is badly wiped... I don't know how Max doesn’t kill himself with the photographic mania he has” (Flaubert in a letter to his mother, sent from Cairo). Du Camp persevered and captured 214 negatives of 60 different monuments and sites. Of those, 125 were selected to be published resulting in the present work, which was the first French book to be illustrated entirely with photographs and was Blanquart-Évrard’s biggest commercial success. Its precedents were William Henry Fox Talbot’s The Pencil of Nature in England and a few less significant brochures in France. The photographs that illustrate those publications have not survived as well the examples in Du Camp’s volume, which retain good contrast and detail. Sold by subscription in 25 parts, each containing 5 plates, the total number of complete sets distributed is unknown, but based on a payment made to Du Camp at the time and its present rarity, it likely that no more than 200 copies were printed. The work earned Du Camp the prestigious award of Officer of the Legion of Honour. Despite of the positive reception his photographs received, Du Camp never photographed again. When Du Camp and Flaubert arrived in Beirut at the end of their voyage, the former exchanged all of his photographic equipment for fine wool and silk embroidered with gold so that the two could commission upholstered furniture when they returned home. It remains Du Camp’s first and last foray into photography. The present copy was owned by Honoré d'Albert, duc de Luynes (1802–1867), art collector and archaeologist. Interested in the Phoenicians and Egyptology, the duc's contributions to Egyptological research were numerous. He travelled to Egypt himself, and also helped fund Auguste Mariette's infamous archaeological excavations around the Great Sphinx. REFERENCES: Parr and Badger, The Photobook: A History (2004), I: 23 PROVENANCE: Honoré d'Albert, duc de Luynes (1802–1867), art collector, archaeologist, and scientist; by descent to the present owner. The Duc de Luynes played an important role in the photography, especially in terms of the chemistry involved. As a member of the Société Française de Photographie, he established a prize for the photographer who succeeded in reproducing photographic images using ink mixed with carbon, as well as a secondary award concerning the printing and preservation of positive prints. As an archaeologist, he took an interest in the relationship between the Phoenicians and Egypt—and the traces they left there—a topic revisited by the Viscount de Rougé in light of discoveries made along the banks of the Nile. He travelled to Egypt himself, though he was soon forced to cut short his trip due to ill health. He also contributed to the funding of Mariette’s excavations around the Great Sphinx.

View 1 of Lot 54: Maxime du Camp | Égypte, Nubie, Palestine et Syrie. Dessins Photographiques..., Paris, 1852, first edition of a pioneering photobook, the duc de Luynes' copy

maxime du camp | égypte, nubie, palestine et syrie. dessins photographiques..., paris, 1852, first edition of a pioneering photobook, the duc de luynes' copy

Modern & Contemporary Discoveries including Works from the former Claude et Georges Pompidou Collection

Pieter Hugo n. 1976 Portrait #7, Rwanda, 2014 (de 1994) signé à l'encre (sur un certificat d'authenticité au dos du cadre) impression chromogène, montage arrière 90 x 120 cm; 35 ½ x 47 ¼ in. Exécutée en 2014, ce tirage est le numéro 9 d'une édition en 9 exemplaires. Cette oeuvre est accompagnée d'un certificat d'authenticité signé par l'artiste.

View 1 of Lot 216: Portrait #7, Rwanda, 2014 (from 1994)

portrait #7, rwanda, 2014 (from 1994)

Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

Gertrude Stein Autograph letter signed, to [Duncan?] Grant, making an appointment ("...come to lunch at one o'clock Friday and we will go out to Picassos afterwards..."), 1 page, 8vo, headed stationery of 27 Rue de Fleurus, n.d., creased [with:] Photographic portrait postcard, depicting Stein and Alice B. Toklas on an aircraft steps in 1934, photographer's stamp of Carl Van Vechten, with postcard text on the reverse dated 29 November 1962 27 Rue de Fleurus was the site of Stein's salon, which was a huge influence on the development of modernism in art and literature and brought together such figures as Picasso, Fitzgerald, Matisse, Apollinaire, Joyce, and Pound. She was also the owner of a highly important collection of Picassos. This letter is probably addressed to Duncan Grant, who first visited Stein in Paris in 1909.

View 1 of Lot 136: Gertrude Stein | Autograph letter signed, inviting Grant to visit her and Picasso, with a related photograph

gertrude stein | autograph letter signed, inviting grant to visit her and picasso, with a related photograph

Pieter Hugo n. 1976 Portrait #22, Rwanda, 2014 (de 1994) signé à l'encre (sur un certificat d'authenticité au dos du cadre) impression chromogène, montage arrière 90 x 120 cm; 35 ½ x 47 ¼ in Exécuté en 2014, ce tirage est le numéro 9 d'une édition en 9 exemplaires. Cette oeuvre est accompagnée d'un certificat d'authenticité signé par l'artiste.

View 1 of Lot 215: Portrait #22, Rwanda, 2014 (de 1994)

portrait #22, rwanda, 2014 (de 1994)

Lewis Carroll (Charles Lutwidge Dodgson).

Lewis Carroll (Charles Lutwidge Dodgson). Photographic portrait of Alice, Ina, and Edith Liddell, full length, dressed as gypsy girls, playing ukeleles, probably taken in the summer of 1858, vintage albumen print, 151 x 176mm, framed and glazed (frame size 220 x 250mm), image slightly faded, c.15mm tears at bottom centre and bottom left corner both with some loss, 20mm tear at top centre without loss, small chip to right edge and small chip to top left corner A CHARMING IMAGE OF THE LIDDELL SISTERS BY LEWIS CARROLL, FROM THE COLLECTION OF THE ORIGINAL ALICE. Wakeling's Catalogue Raisonné of Carroll's photographs dates the present composition to summer 1858 and locates the scene depicted to the Deanery Garden, Christ Church, Oxford. PROVENANCE: Alice Liddell (1852-1934); her son Caryl Liddell Hargreaves (1887-1955); his daughter Mary Jean Alice St Clair (b.1931) LITERATURE: Reproduced in: Pre-Raphaelite Photography (1972), plate 65; A Liddell Family Album (1973), plate 11; Wakeling, ed.,The Photographs of Lewis Carroll: A Catalogue Raisonné (2015), item IN-0357 (reproduced on p. 70)

View 1 of Lot 55: Lewis Carroll | Photograph of Alice, Ina and Edith Liddell as gypsy girls, playing ukeleles, c.1858

lewis carroll | photograph of alice, ina and edith liddell as gypsy girls, playing ukeleles, c.1858

Wolfgang Tillmans n. 1968 Faltenwurf (dry) tirage chromogène, dans un cadre de l'artiste 50,5 x 61 cm; 20 x 24 in. Exécuté en 2009, ce tirage est le numéro 2 d'une édition de 3, plus 1 épreuve d'artiste.

faltenwurf (dry)

Wolfgang Tillmans n. 1968 Munuwata Sky tirage chromogène, dans un cadre de l'artiste 40,5 x 30 cm; 16 x 12 in. Exécuté en 2011, ce tirage est le numéro 1 d'une édition de 10, plus 1 épreuve d'artiste.

munuwata sky

Thomas Struth n. 1954 Huanghe Lu Shanghai signé à l'encre (sur étiquette au dos) tirage chromogène contrecollé sur acrylique 93.3 x 116.2 cm.; 36 ¾ by 45 ¾ in. cadre: 131 x 153 cm; 51 ½ by 60 ¼ in. Executé en 1997, ce tirage et le numéro 6 d'une édition de 10.

huanghe lu shanghai

Bill Brandt 1904 - 1983 Henry Moore in His Studio tirage gélatino-argentique 26 x 20 cm; 10 ¼ by 8 in. Executé en 1946.

View 1 of Lot 222: Henry Moore in His Studio

henry moore in his studio

Bill Brandt 1904 - 1983 Pablo Picasso titré et daté 1956 à l'encre (dans la marge); le cachet du photographe (au dos) tirage gélatino-argentique 25,5 x 20,5 cm; 10 x 8 in. Exécuté en 1956.

pablo picasso

Andres Serrano n. 1950 McKinley (from Nomads) signé à l'encre (sur l'étiquette au dos du cadre) tirage chromogène et plexiglass 50 x 41 cm; 19 ¾ x 16 ⅛ in. Exécutée circa 1990 - 2006, cette oeuvre est le numéro 25 d'une édition de 50.

View 1 of Lot 214: McKinley (from Nomads)

mckinley (from nomads)

Wim Delvoy n. 1965 Marble Floor #35 signé à l'encre (sur une étiquette au verso) tirage chromogène, monté à fleur sur aluminium 125 x 166,5 cm; 49 ¼ x 65 ½ in. Exécutée en 1999, cette estampe porte le numéro 1 d'une édition unique.

marble floor #35

The Beautiful Game

View 1 of Lot 19: Pelé Signed Photograph

pelé signed photograph

Bernd et Hilla Becher 1931 - 2007 et 1934 - 2015 Kohlesilos [Coal Silos] signé au crayon (au dos, à gauche de l'image); signé, titré et daté 1973 au crayon (sur le montage) diptyque de tirages gélatino-argentiques gauche: 40,5 x 31 cm; 16 x 12 ¼ in. droite: 40,5 x 31 cm; 16 x 12 ¼ in. ensemble: 86 x 64,5 cm; 33 ⅞ x 25 ⅜ in. Exécuté en 1973, cette oeuvre est unique.

View 1 of Lot 210: Kohlesilos [Coal Silos]

kohlesilos [coal silos]

Prints & Photographs Part I

Pablo Picasso 1881 - 1973 Les Pipeaux (Bloch 1347; Baer 731) inscribed in red crayon 2e ETAT 2/2 etching on Arches wove paper plate: 10 ⅝ by 13 ⅞ in. 270 by 352 mm. sheet: 15 by 22 in. 380 by 560 mm. Executed in 1946, this impression is one of five proofs of the second state (of six) (there was no published edition).

View 1 of Lot 48: Les Pipeaux (Bloch 1347; Baer 731)

les pipeaux (bloch 1347; baer 731)

Pablo Picasso 1881 - 1973 Les Pipeaux (Bloch 1347; Baer 731) inscribed in red crayon 1st ETAT 2/2 etching on Arches laid paper plate: 10 ⅛ by 13 ⅞ in. 269 by 352 mm. sheet: 12 ¾ by 19 ⅝ in. 324 by 500 mm. Executed in 1946, this impression is one of four proofs of the first state state (of six) (there was no published edition).

View 1 of Lot 47: Les Pipeaux (Bloch 1347; Baer 731)

An oversize silver gelatin studio publicity <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Brigitte%20Bardot&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Brigitte Bardot</a> from the film <a href="https://www.sothebys.com/en/search?query=Les%20Novices&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Novices</a>.<ul><li>Gianni Bozzacchi (Italian, b.1943).</li><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing photographer's stamp and information together with a news agency stamp.&nbsp;

Brigitte Bardot Les Novices Movie Studio Photograph

An archive of more than 1100 photos from the service of a single soldier before, during, and immediately after World War II.<ul><li>Sold as a set of over 1100 photos, contained in 5 albums.</li><li>Peter R. Betz (American).</li><li>Various places, (1927-1946). </li></ul> Contents and Condition Notes: Oblong string-tied commercial album, imitation leather titled "Photographs" with small portrait photo, cut to the shape of a key-hole, fixed to front cover.<ul><li>163 photographs of various snapshot sizes, corner-mounted to leaves recto and verso, most with holograph captions and several small doodles. </li><li>Approximately half are colorized. </li><li>Photographs depict family vacations, bicycle racing, aviation, scouting, and other subjects, dated from 1927 to 1935. </li><li>Five photographs and a bicycle race program laid-in. </li><li>Four hand-made title pages dividing album into sections. </li><li>Album is generally in good condition, with some rubbing and wear and a tear at the front cover to which tape has been applied. </li><li>"Aviation Section" of nine leaves is lacking most photographs. </li><li>First painted title page adhered to the cover opposing it. </li><li>Most photos about fine.</li></ul> Oblong commercial photo album, lacquer cover with surfing scene and "Aloha Hawaii" at rear; lacking front cover. <ul><li>226 black and white photographs, most with captions, corner mounted to 25 leaves recto and verso. </li><li>Photos primarily military scenes in Hawaii and Panama from 1937-1938 with several family photographs.</li><li>Album in poor condition: lacking the front cover, rear cover and leaves edge-worn and many photographs loose from their mounts. </li><li>Still most photographs about fine. </li></ul> Oblong string-tied commercial album titled "Photographs," hand-lettered title page "G.I./ Memories/Feb. 6 1942-Nov. 17 1945" (above right) with domestic and Pacific theatre place names listed. <ul><li>202 photographs, various sizes.</li><li>Photos primarily from Hawaii and New Guinea. </li><li>Laid in at rear is a promotional calendar for 1944, upon which a rendering of a B-2 has been drawn. </li><li>Album generally good. </li><li>Front cover detached but present. </li><li>Covers edge-worn.</li><li>Leaves suffer some chipping to edges. </li><li>Some photographs have come loose from their mounts, but most in fine condition. </li></ul> Oblong string-tied album, brown imitation leather with "Photographs" printed at front cover. <ul><li>252 photographs of various snapshot sizes, a handful larger, mounted recto and verso to 36 leaves plus leaf of photo-strips with a total of 50 images. </li><li>Most photos with holograph captions from Oahu, New Guinea, and various locations throughout the Philippines. </li><li>Dated 1945. </li><li>Album suffers some edge-wear, front joint starting. </li><li>Several pages disbound. </li><li>Some photographs dismounted, most generally fine. </li></ul> Oblong string-tied commercial album, imitation leather embossed with a horse bust design and "Photographs" at front cover. <ul><li>Hand-lettered title page "Nanking China/Nov. 9th 1945/ to/ Feb. 12th 1946". </li><li>Approximately 290 black and white photos, corner-mounted to 14 leaves recto and verso, most with hand-written captions. </li><li>Photographs depict scenes from an airfield, the city of Nanking (Nanjing,) Shanghai, aboard the transport ship USS General Scott, arrival in Seattle, train journey, domestic family scenes and a welcoming parade in Buffalo, NY. </li><li>Laid in are four photographs of various sizes. </li><li>Album lightly edge-worn. </li><li>Some pages disbound but present.</li></ul> Collection by Peter R. Betz with detailed and captioned photographs of the Philippines Campaign, as well as many other experiences of a soldier's life during the WWII. Peter R. Betz (identified by his name and postwar address in the rear of two of the albums) served with the U.S. Army in the Pacific, and his photographs document that theater and the Philippines Campaign in detail. Nearly every photograph features Betz's neat, holograph captions, and the albums in general are highly organized, making for an incredibly thorough photographic biography of a soldier. The earliest photographs are dated 1927 and feature images of a Boy Scout troop and camping trip. Two of the albums also contain several images of the Betz's family, including parents, siblings, and cousins. Many of these family portraits are hand tinted. Betz's documentation of his Army career begins in 1937 and '38, with his service in Hawaii and Panama. The photographs regarding this time are casual and candid: soldiers relaxing in barracks and off-base in Honolulu and Waikiki beach, hiking trips in the mountains of Hawaii, native Hawaiians in traditional dress, a visit from President Roosevelt, as well as (separately) from Gracie Allen and George Burns. And photographs of the Panama Canal lock system in action reveal a keen interest in mechanics and engineering. Wartime photographs are contained primarily in two albums. The first, titled "G.I. Memories, Feb. 6, 1942 - Nov. 17, 1945" (above) features over 200 images. These include stateside images of Camp Croft and Sand Hill, SC. A second deployment to Hawaii also features heavily, including many of the same kinds of images as appeared earlier. The album contains a notable series of 28 photographs taken in New Guinea, identified by Betz as "Native dance...started Friday thru Sunday night." 47 photos from December 1944 to January 1945 in Leyte, Philippines show US Army barracks and soldiers, native Filipinos (mostly children), countryside, numerous aircraft and ships, and the aftermath of one or more unidentified battles (as left). The second album focuses almost entirely on operations in the Philippines. These include eighteen photographs, with aerial shots, labeled "Air Drop," eleven photographs "taken from" and of Japanese soldiers, and six showing a Japanese surrender on an unidentified airfield. Most importantly, however, over 60 photos that trace the U.S. effort to retake islands from the Japanese, including the January 29, 1945 beach landing at San Narciso, which marked the beginning of the Battle of Bataan. Also noteworthy: Mariveles and the aftermath of fighting in Zig Zag Pass, preparing for the detonation of Fort Drum in Manila Bay on April 12, 1945, followed by images of a beach landing on and aerial shots of Carabao Island on April 16. Additionally: 100 photos, dated January-October 1946, of Luzon after the liberation of the island. The photographs show soldiers and native Filipinos, including Negrito resistance fighters armed with bow and arrow, as well as villages and buildings, many showing the effects of the war. A final album documents, in over 200 images, Betz's experience immediately after the end of hostilities, where he served out his enlistment in Nanking and Shanghai, China. Dated Now. 9, 1945 - Feb. 12, 1946, these photographs show various aspects of the city, soldiers, and people, as well as US and Japanese planes, ships, and like. The album concludes with photographs taken from the deck of the USS General Scott during Betz's return voyage to the United States. Betz was a serious student of photography, and his images demonstrate a keen eye for framing and documentary. As comprehensive an archive of a soldier's WWII service as we've encountered. While vernacular albums from this era do turn up, we aren't aware of any as large, or as comprehensively-captioned, that focuses on a single person as this one. Indeed, both circumstances of life in the Pacific theater, as well as formal censorship policies and security restrictions made assembling such a large collection extraordinarily difficult. A rare, compelling, and significant collection.

Photograph Archive of a WWII Soldier's Life In The Pacific Theater

A <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> from the production of the film <a href="https://www.sothebys.com/en/search?query=Breakfast%20At%20Tiffany%27s&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Breakfast At Tiffany's</a>.<ul><li>Photographic production still.</li><li>Conservation framed with UV plexiglass.</li></ul>

Breakfast at Tiffany's Movie Production Photograph

A <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a>&nbsp;from the production of the film&nbsp;<a href="https://www.sothebys.com/en/search?query=Babette%20Goes%20to%20War&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Babette Goes to War</a>.<ul><li>Alan Clifton (dates unknown).</li><li>Silver gelatin photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This photograph was taken on set in London by Alan Clifton for Camera Press Ltd., and used to promote the film in France. There is a perspex window on the back of the frame showing film information, copyright stamp and a couple of press agency stamps. Formerly in the collection of Michel Giniès. Giniès is a French press photojournalist.

British Babette s'en va-t-en Guerre / Babette Goes to War Movie Photograph

Original silver gelatin gloss photograph of Alan Ladd for The Blue Dahlia film.<ul><li>Philippe Halsman (American, 1906–1979).</li><li>Paramount Pictures.</li><li>Copyright stamp, photographer's signature and "Alan Ladd '45" to reverse</li><li>Paper framed with obeche wood, card mount and UV plexiglass.</li></ul>

The Blue Dahlia Movie Photograph

Panoramic school photograph of pupils, including John Lennon at Quarry Bank High School, Liverpool, May 1957.<ul><li>John Lennon attended the school between 1952 and 1957 and can be seen in the second row from the top, towards the center.</li><li>Rolled and unframed.</li></ul>

 John Lennon High School Class Photograph

'Fela in Detroit' photograph by Leni Sinclair, shot in 1986 and printed later.<ul><li>Signed. titled, and dated by the photographer.</li><li>Shot at Detroit's historic Fox Theater just one year after Fela's release from prison.</li><li>Archival Inkjet print.</li></ul>

Fela Kuti Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Photographs" rel="noopener noreferrer" target="_blank">photograph</a> taken on the set of the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film, Dr. No.<ul><li>Photographed by Herman Leonard (American, 1923-2010).</li><li>Oversized candid double-weight photograph.</li><li>With a perspex window on the back that displays the original information, along with measurements indicating the required printing size for the press.</li><li>This work is presented framed.</li></ul> This oversized, candid double-weight photograph of the legendary Sean Connery was taken on the set of the first James Bond film,&nbsp;Dr. No. Captured by Herman Leonard, a highly sought-after jazz photographer known for his dramatically lit, smoky images, Leonard’s unique background makes this photograph particularly intriguing. The image of Connery relaxing with a cigarette between takes is nothing short of iconic and represents a truly unique find.

Photograph Of Sean Connery On the Set of James Bond: Dr. No

A <a href="https://www.sothebys.com/en/search?query=movie%20production%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">movie production photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=A%20Matter%20of%20Life%20and%20Death&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">A Matter of Life and Death / Stairway to Heaven</a>.<ul><li>Photographic production still.</li><li>Conservation framed with UV plexiglass.</li></ul>

A Matter of Life and Death / Stairway to Heaven Movie Production Photograph

Behind the scenes photographs by Fernando Natalici from the sets of the films 'Unmade Beds' and 'The Foreigner.'<ul><li>Sold as a set of 43 prints.</li><li>Each is hand signed on the reverse by the photographer.</li><li>Director of both 'The Foreigner' and 'Unmade Beds,' Amos Poe's iconic films were connected heavily to the birth of American punk, the New York New Wave and No Wave cinema movement, and the downtown New York art scene. </li><li>The films feature Debbie Harry, Patti Astor, Eric Mitchell, Duncan Hannah, Eric Mitchell and more. These never before seen candid black and white behind the scenes photographs by Fernando Natalici showcase what it was like shooting on set on set for both films.</li></ul>

The Foreigner and Unmade Beds Behind the Scenes Photographs

A French photograph from the production of the film&nbsp;<a href="https://www.sothebys.com/en/search?query=A%20Bout%20de%20Souffle%20%28Breathless%29&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">A Bout de Souffle&nbsp;(Breathless)</a>.<ul><li>Silver gelatin photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This photograph is of Jean-Paul Belmondo and Jean Seberg on the terrace of the café 'Au vrai Sancerre' in Paris. There is a perspex window on the back of the frame showing handwritten information and press agency stamps. Formerly in the collection of Michel Giniès, born in 1952. Giniès is a French press photojournalist.

French A Bout de Souffle / Breathless Movie Production Photograph

A collection of photographs and film transparencies of Fela Kuti and his live performances.<ul><li>Sold as a set of over 17.</li><li>Includes 2 darkroom publicity photos, circa the early to mid 1980s.</li><li>Also includes over 15 35 mm transparencies of Fela performing live, and 6 transparencies of Fela Kuti's dancers.</li><li>Fela Kuti, byname of Olufela Olusegun Oludotun Ransome-Kuti, also called Fela Anikulapo-Kuti, was a Nigerian musician and activist who launched a modern style of music called Afro-beat, which fused American blues, jazz and funk with traditional Yoruba music.</li></ul>

Fela Kuti Photographs and Film Transparencies

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