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| 1. |  | Brian Duffy 1960s (early, taken) Jean Shrimpton Digital fibre print 14 x 14 ins Chris Beetles Modern print. Signed and stamped with embossed archive stamp below mount. Archive ink stamp and numbered on reverse. |
| 2. |  | Brian Duffy 1965 (taken) Veruschka, for "Queen" magazine Gelatin silver print 18 x 18 ins Chris Beetles Modern print. Signed and stamped with embossed archive stamp below mount. Archive ink stamp and numbered on reverse. Client: Queen magazine. |
| 3. |  | Brian Duffy 1965 (taken) Fashion for "Queen" magazine Gelatin silver print 17 3/4 x 12 ins Chris Beetles Modern print. Signed and stamped with embossed archive stamp below mount. Archive ink stamp and numbered on reverse. Client: Queen magazine. |
| 4. |  | Brian Duffy 1960 (taken) Advertisement for Aquascutum Gelatin silver print 18 x 18 ins Chris Beetles Modern print. Signed and stamped with embossed archive stamp below mount. Archive ink stamp and numbered on reverse. |
| 5. |  | Philippe Halsman 1962 Joan Diener, Stripper II Gelatin silver print 35 x 28 cm (14 x 11 ) Galerie Johannes Faber |
| 6. |  | Malick Sidibé 1967 Karim Keita, the Gentleman Gelatin silver print 20 x 24 HackelBury Fine Art Ltd |
| 7. |  | Henri Cartier-Bresson 1968 Coco Chanel [Paris] Gelatin silver print 30.2 x 20.1 cm (12 x 8 ) Galerie Johannes Faber |
| 8. |  | Cecil Beaton 1965 (ca) Coco Chanel Gelatin silver print 30 x 20.5 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 9) Wetstamps and printed caption of Camera Press London to verso. |
| 9. |  | Terence Donovan 1966 (ca) (taken) Celia Hammond Gelatin silver print 18 x 18 ins Chris Beetles Numbered 1/50, Photographer's Copyright and Estate Stamp on reverse Literature: Diana Donovan & David Hillman (Editors), 'Terence Donovan: The Photographs', London: Little Brown & Co, 2000, (Unpaginated) Provenance: The Estate of Terence Donovan |
| 10. |  | Brian Duffy 1964 (taken) Fashion For 'Vogue', Florence Gelatin silver print 18 x 18 ins Chris Beetles Signed and Stamped with Embossed Archive Stamp below mount, Archive Ink Stamp and numbered 1/50 on reverse. |
| 11. |  | Frances McLaughlin-Gill 1962 Jeanne Shrimpton, London Gelatin silver print 13.5 x 16.5 Staley+Wise Gallery |
| 12. |  | Bert Stern 1967 Twiggy (Vogue) C-print 48 x 48 Staley+Wise Gallery |
| 13. |  | Rico Puhlmann 1965, December Op-Art Evening, Brigitte Bauer Gelatin silver print Staley+Wise Gallery |
| 14. |  | Rico Puhlmann 1965 Winter Dream, Bettina Lauer, Berlin Gelatin silver print Staley+Wise Gallery |
| 15. |  | Rico Puhlmann 1968 Gloria Friedrich, Berlin Gelatin silver print Staley+Wise Gallery |
| 16. |  | Guy Bourdin 1969 (ca) Model in striped coat (for Ken Scott) Gelatin silver print 398 x 237mm Source requested |
| 17. |  | Lillian Bassman 1963 (ca) Carmen, Harper's Bazaar, New York Gelatin silver print 16 x 20 Staley+Wise Gallery |
| 18. |  | Horst 1962 Park Avenue Fashion Gelatin silver print Staley+Wise Gallery |
| 19. |  | Melvin Sokolsky 1963 Over New York Cibachrome 16 x 20 Staley+Wise Gallery |
| 20. |  | Melvin Sokolsky 1967 Twiggy, FAO Schwartz, New York C-print 16 x 20 Staley+Wise Gallery |
| 21. |  | Melvin Sokolsky 1967 Parade, Twiggy, Tickertape, NY Color 16 x 20 Staley+Wise Gallery |
| 22. |  | Melvin Sokolsky 1967 Twiggy, Face C-print 16 x 20 Staley+Wise Gallery |
| 23. |  | Melvin Sokolsky 1964 Rocket, Veronica Hamill & Jean Shrimpton, New York C-print 16 x 20 Staley+Wise Gallery |
| 24. |  | Irving Penn 1967 Verushka for Vogue Gelatin silver print 42.7 x 35.2 cm (17 x 14 ) Galerie Johannes Faber |
| 25. |  | Bert Stern 1967 Twiggy, Paris (Vogue) Gelatin silver print 16 x 20 Staley+Wise Gallery |
| 26. |  | Cecil Beaton 1966 Twiggy (Foale and Tuffin Fashion) Gelatin silver print 29 x 19.8 cm Victoria and Albert Museum © Cecil Beaton Archive, Sotheby's - Victoria and Albert Museum, London (Ph.975-1978) |
| 27. |  | Norman Parkinson 1960 Coming, St Martins Lane Hamiltons Gallery |
| 28. |  | Norman Parkinson 1960 Going, St Martins Lane Hamiltons Gallery |
| 29. |  | Norman Parkinson 1960 Traffic Hamiltons Gallery |
| 30. |  | David Bailey 1968 Catherine Deneuve Gelatin silver print 25.4 x 24.4 cm Victoria and Albert Museum © David Bailey - Victoria and Albert Museum, London (Ph.186-1983) |
| 31. |  | David Bailey 1961 Jean Shrimpton at 91 Heigham Road Gelatin silver print 30 x 20.2 cm Victoria and Albert Museum © David Bailey - Victoria and Albert Museum, London (Ph.140-1983) |
| 32. |  | William Klein 1960 Simone and Nina, Piazza di Spagna, Rome Gelatin silver print 16 x 20 Staley+Wise Gallery |
| 33. |  | Helmut Newton 1969 Chanel-Fashion for Vogue Gelatin silver print 42.8 x 35.5 cm (17 x 14 ) Galerie Johannes Faber |
| 34. |  | Elliott Erwitt 1964 New York City Gelatin silver print 11 x 14 Staley+Wise Gallery |
| 35. |  | Rico Puhlmann 1963 Paris Gelatin silver print Staley+Wise Gallery |
| 36. |  | Norman Parkinson 1960 Celia Hammond Gelatin silver print Staley+Wise Gallery |
| 37. |  | Irving Penn 1967 Hell's Angels, San Francisco Source requested © 1967 by Irving Penn; Courtesy Christie's Images Ltd Photo Synthesis Colin Westerbeck A platinum-palladium print of Penn's image will be included in the fall auction preview at Christie's Beverly Hills Oct. 3-6. (2006) Condé Nast, the parent company of Vogue, still provides a full-time studio for Irving Penn because the fashion magazine publishes new work by him regularly. Now approaching his 90th birthday, Penn has photographed for Vogue continuously since 1943. This longevity is the result of an equilibrium Penn has maintained throughout his career. To balance the fickle worlds of celebrity portraiture and fashion photography, he has also made pictures of anonymous people wearing their everyday clothes. The portrait above is of this sort. Warehouse space was rented as a studio because reinforced floors were needed to support the no-seam that Penn wanted. A no-seam is a curved surface from the studio wall to the floor that eliminates the right angle at which the two meet. Its purpose is to make the photograph's background neutral and indefinite. Though usually cloth or paper, Penn wanted this one to be poured concrete so his subjects could park their motorcycles on it. The Hells Angels were not a fun group. They demanded a considerable fee for the privilege of being immortalized by Penn. "They were like coiled springs ready to fly loose," he recalled. An unexpected benefit was that the concrete no-seam later served as a perfect setting on which to photograph a nude dance troupe. [Originally published in West Magazine : October 1, 2006 p.13] |