Phillips begins its Fall photography season in New York with a single owner sale from the collection of the Art Institute of Chicago on October 1st; a companion sale will occur in London later in November. Mass deaccessions like this one are typically filled with duplicates, later prints, and lesser known images, and this selection fits that usual model. While there are a handful of vintage gems available (mostly 20th century black and white), this healthy thinning of the permanent collection frees up some work that would, at this point, never have made it onto the walls of the museum and will going forward provide some capital for new acquisitions. Overall, there are a total of 117 lots on offer, with a Total High Estimate of $1659800.
Here’s the statistical breakdown:
|Total Low Lots (high estimate up to and including $10000)||82|
|Total Low Estimate (sum of high estimates of low lots)||$483800|
|Total Mid Lots (high estimate between $10000 and $50000)||29|
|Total Mid Estimate||$616000|
|Total High Lots (high estimate above $50000)||6|
|Total High Estimate||$560000|
The top lot by High estimate is tied between two lots: lot 36, Henri Cartier-Bresson, Cordoba, Spain, 1933 (image above, left, via Phillips), and lot 79, Irving Penn, Mermaid Dress (Rochas), Lisa Fonssagrives-Penn, 1950/1979, both estimated at $80000-120000.
Here’s the list of photographers with five or more lots in the sale, along with the number of lots on offer:
|Multiple Lots For Sale|
|Ralph Eugene Meatyard||5|
Other lots of interest include lot 12, Lewis Hine, Sadie, a Cotton Mill Spinner, Lancaster, South Carolina, 1908, estimated at $60000-80000 (image above, middle, via Phillips) and lot 41, André Kertész, Untitled (Distortion #167), 1933, estimated at $30000-40000 (image above, right, via Phillips).
The complete lot by lot catalog can be found here.