A <a href="https://www.sothebys.com/en/search?query=photo&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=Charlie%20Parker&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Charlie Parker</a>, <a href="https://www.sothebys.com/en/search?query=Thelonious%20Monk&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Thelonious Monk</a>, Charles Mingus, and Roy Haynes at the Open Door, photographed by <a href="https://www.sothebys.com/en/search?query=Bob%20Parent&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Bob Parent</a>.<ul><li>Bob Parent (Canadian, 1923-1987).</li><li>Photograph taken in 1953, and printed circa the 1970s.</li><li>Photographer's studio stamp to verso, with reproduction rights stamp below and presumed inventory number penciled above.&nbsp;</li><li>Double-weight black-and-white gelatin silver photograph.</li><li>This work is presented unframed.</li></ul> A rare image — considered by many "the greatest photo in jazz history" (The New York Times) — of Charlie Parker, Thelonius Monk, Charles Mingus, and Roy Haynes performing at NYC's Open Door on September 13, 1953. "One photo from the Open Door that night has since become a jazz icon. It shows Parker standing out front, wearing a light suit, two-toned loafers, his arms thrust forward, blowing what appears to be his famous King brass alto saxophone. To Parker's left is Monk on upright piano, microphone slung over the instrument. Two drinking glasses and a dinner plate perched on top. At Monk's right is Mingus, slouched over his bass. Along the back wall is Mr. Haynes, his eyes fixed on his bandmates [...] It has since been called by many 'the greatest photo in jazz.'" Robert Parent (1923-1987) was one of the pioneers of jazz photography. He combined a keen eye and appreciation for his subjects with a technical know-how that allowed him to capture images that eluded lesser practitioners. Determined not to disrupt performances, he developed a technique that became known as "available light photography," which allowed him to work in the dark environments of clubs and theaters. Using his Pressman Speed Graphic camera, Parent was able to quietly snap pictures without disturbing the performers, a technique on display in this iconic image. Parent had received a tip that Parker might be sitting in with Monk's trio, and his photos from that night (the only known of this event) capture the only time these four giants would play together. This photo would soon appear in LIFE, but over the decades has since gone on to legendary status, perfectly capturing the improvisational, intimate, and collaborative nature of jazz. It was most recently the subject of a 2019 New York Times article by Peter Facini entitled "Is This the Greatest Photo in Jazz History?" During his life, Parent's images appeared regularly in Downbeat and Metronome as well as more mainstream books and publications. He also provided images for numerous album covers (designing many himself) for labels like Mingus's Debut. His photos are among the most influential of postwar jazz, capturing it at the height of its cultural and artistic importance. A rare and defining photograph.

Photograph of Charlie Parker, Thelonious Monk, Charles Mingus, and Roy Haynes at the Open Door

A collection of photographic negatives of rock band <a href="https://www.sothebys.com/en/search?query=the%20doors&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Doors</a>.<ul><li>Sold as a set of 46 35mm black and white negatives.</li><li>Each bears an image of The Doors taken during a performance at the Roundhouse, London on the 7th September 1968. </li><li>The images are sold with full copyright.&nbsp;</li><li>Presented unframed.</li></ul>

The Doors Photographic Negatives

Books, Manuscripts & Objects from Three Important Collections

A Bohemian carved walnut and ebonized wood cabinet

A Bohemian carved walnut and ebonized wood cabinet Eger, mid-17th century the doors each with a male figure standing depicting the four seasons, opening to a total arrangement of seven drawers around a central hinged door, above a further long drawer 35 cm high, 38.5 cm wide, 23 cm deep Together with: a total of fifteen relief-impressed maple and ebonized wood gaming counters (spielmarken): (i) two pieces with fruits and simply turned to the reverse, 5.7 cm diameter (ii) six pieces with a flower to one side and a portrait in profile to the reverse, 4.8 cm diameter (iii) seven pieces in ebonized wood with a flower to one side and a portrait in profile to the reverse, 4.8 cm diameter This cabinet fully embodies the technical finesse and aesthetic vocabulary associated with Eger craftsmanship, distinguished by their intricate low‑relief carving and the subtle interplay of differently coloured woods. From the first half of the 17th century, the city of Eger in Bohemia (now Cheb in the Czech Republic) became renowned for producing highly elaborate furniture and decorative panels executed in this distinctive technique. Commonly depicting a wide range of mythological and historical subjects circulated at the time via prints and engravings, this art was carried on in the same family across generations and some of the most popular workshops were those of Johann Georg Fischer (1587–1669) and Adam Eck (1604–1664). Several cabinets and panels attributed to Eck, preserved in public and private collections, show close stylistic and thematic similarities to this piece. See for example two smaller caskets with a combination of florals and figures illustrated in Reliefintarsien aus Eger: für die Kunstkammern Europas, Stekovics, 1999, p.243 and p.254 and a larger cabinet from the Hohenlohe Museum within Schloss Neuenstein on p.261. A group of counters made in Eger and from the E.W. Pasold Collection is illustrated in Heribert Sturm, Egerer Reliefintarsien, 1961, p.113, fig.3 and p.241, fig.97. Gaming equipment from boards to counters is further discussed in the same book pp.204–236.

View 1 of Lot 77: Gaming Counters—Cabinet | A wood cabinet, Eger, mid- 17th century, with fifteen gaming pieces

Results for "the doors"