THE NEW YORK SALE

Lot: 1 - JACQUES-NICOLAS BELLIN (1703-1772) Ville de Manathe ou Nouvelle-Yorc. 1764.

JACQUES-NICOLAS BELLIN (1703-1772) Ville de Manathe ou Nouvelle-Yorc. 1764. Engraved map of lower Manhattan with a 12-point reference key. 22¼x17 cm, 8¾x6¾ inches sight; framed; original wash color. Paris. ". . . the earliest printed plan of the city acquirable by the collector today" (Augustyn & Cohen, Manhattan in Maps, pages 50-51).

Lot: 2 - VARIOUS CARTOGRAPHERS Group of 5 nineteenth-to-twentieth-century maps. 1835-1939.

VARIOUS CARTOGRAPHERS Group of 5 nineteenth-to-twentieth-century maps. 1835-1939. Henry Schenck Tanner. City of New York. Lithograph with original hand-color. 38¾x31 cm, 15¼x12¼ inches sight; matted and framed. Philadelphia, 1835. Samuel Augustus Mitchell. Plan of New York, &c. Lithograph with original hand-color. 33½x28 cm, 13¼x11 inches sight; matted and framed. Philadelphia, 1860. Matthew Dripps; for Valentine's Manual. New-York City, County, and Vicinity. Lithograph with original hand-color. 66x49½ cm, 26x19½ inches sheet size; float-mounted and framed. New York, 1864. Gustav Kobbe. Map of the City of New York with Index. Color-printed folding pamphlet. 56½x17¾ cm, 22¼x7 inches sight; matted and framed. New York, 1891. Richard Edes Harrison. The City of New York . . . is 310 square miles of rock-bottom land, criss-crossed by 5,000 miles of streets and largely bounded by its 580 miles of waterfront. Color-printed lithograph. 68½x57 cm, 27x22½ inches sheet size; float-mounted and framed. New York: Fortune Magazine,1939.

Lot: 3 - DESIGNER UNKNOWN South Interior View of the New York Post Office . . . Martin E. Thompson, Architect. [1845.]

DESIGNER UNKNOWN South Interior View of the New York Post Office . . . Martin E. Thompson, Architect. [1845.] Hand-colored tinted lithographed view showing the interior of the converted Middle Dutch Church on Nassau Street as the city's mail-sorting hub in 1845. 40½x52 cm, 16x20½ inches sheet size; mounted on card, creases and light soiling. Endicott's Lithography, New York. Stokes, vol. III, page 297.

Lot: 4 - JOHN BACHMANN (1817-1899) Birds Eye View of New-York & Brooklyn. 1850.

JOHN BACHMANN (1817-1899) Birds Eye View of New-York & Brooklyn. 1850. Large hand-colored tinted lithographed panorama of Manhattan and Brooklyn. 70x89 cm, 26¾x35 inches sheet size, wide margins; original hand-color; light foxing and toning, a few small scrapes or scuffs within the image, several repaired tears mainly keeping to the margins. "No finer artist of city views worked in America than John Bachmann. Unfortunately, there is no artist about whom less is known, for information concerning his life appears to be nonexistent . . . Bachmann chose to portray New York and his other subjects as if seen from imaginary viewpoints far above even the loftiest office building or church steeple . . . Bachmann's views offer a rich sample of lithographic achievement in this country and in France during the third quarter of the last [19th] century. Those he executed during the decade of the 1850s are particularly outstanding and are justifiably regarded by collectors and curators as among the finest American views to be found" (Reps, pages 160-161; entry 2647).

Lot: 5 - SOLYMAN BROWN, editor. The Citizen and Strangers' Pictorial and Business Directory, for the City of New-York and its Vicinity. 1853.

SOLYMAN BROWN, editor. The Citizen and Strangers' Pictorial and Business Directory, for the City of New-York and its Vicinity. 1853. 3 [of 4] chromolithograph advertising plates, profusely illustrated throughout. 186, 195-293 [of 300], [1] pages. Octavo, publisher's gilt cloth, moderate wear; minor foxing and dampstaining, lacking rear free endpaper, lacking one advertising plate and the final 3 ad leaves. In addition to the expected business directory, contains essays on the city's universities, parks and especially the Croton Aqueduct; and numerous illustrated ads for New York institutions such as Delmonico's (page 40) and Mathew Brady's photo studio (page 42). Sabin 8560. No complete copies traced at auction since a Swann sale, 17 November 1977, lot 368.

Lot: 6 - SIGISMUND HIMELY; after JOHN W. HILL (1812-1879) New York. 1855.

SIGISMUND HIMELY; after JOHN W. HILL (1812-1879) New York. 1855. Large aquatint and engraved panorama of lower Manhattan and a vessel-clad East River. 86x137 cm, 34x54 inches sheet size, wide margins; period linen backing, scattered stains. New York, London, and Paris.

Lot: 7 - CHARLES MOTTRAM; after JOHN W. HILL (1812-1879) New York. 1855 [but 20th century].

CHARLES MOTTRAM; after JOHN W. HILL (1812-1879) New York. 1855 [but 20th century]. Large hand-colored aquatint and engraved view of lower Manhattan with various vessels in the forefront East River. 85x138 cm, 33¾x54½ inches, sheet size, wide margins, mounted on foam core board; New York: F. & G.W. Smith. Later restrike of the original nineteenth-century copper plate with "Proof" and "Printed by McQueen, London" burnished out of the lower margin.

Lot: 8 - WILLIAM WELLSTOOD; after BENJAMIN FRANKLIN SMITH, JR. New York, 1855. From the Latting Observatory. 1855.

WILLIAM WELLSTOOD; after BENJAMIN FRANKLIN SMITH, JR. New York, 1855. From the Latting Observatory. 1855. Large engraved bird's-eye view of lower Manhattan and Brooklyn seen from the heights of the city's tallest structure at 42nd Street and Fifth Avenue. 86x120 cm, 34x47½ inches sheet size; tears, stains, and other damages but a worthy candidate for restoration. Deak 694. New York, 1855.

Lot: 9 - VARIOUS CARTOGRAPHERS Group of 10 lithographed folding maps and plans taken from various editions of Valentine's Manual. 1860s.

VARIOUS CARTOGRAPHERS Group of 10 lithographed folding maps and plans taken from various editions of Valentine's Manual. 1860s. Various sizes; creases and occasional small losses. Central Park Guide; City of Manhattan or New York (Bellin); Bay & Port of New York, Capital of New York (Bellin); Map of New York I. with the Adjacent Rocks and Other Remarkable Parts of Hell Gate (Kitchin/London Magazine); Map of New Netherlands, With a View of New Amsterdam (Now New York) A.D. 1656 (van der Donck); [Powder horn engraving of New York and the Hudson River]; Plan of the City of New York in North America Surveyed in the Years 1766 & 1767 (Ratzer); A Plan of the City and Environs of New York as They Were in the Years 1742, 1743 and 1744 (David Grim); Plan of the City of New York & Its Environs (Montresor); Plan of the City of New York Showing the Wards and Senate Districts, Congressional Districts, School Districts, Justices Districts, 1869 (Shannon's).

Lot: 10 - OTTO EBBINGHAUS & SWIFT, photographers Photograph of Hudson River Rail Road station in Manhattan. 1864.

OTTO EBBINGHAUS & SWIFT, photographers Photograph of Hudson River Rail Road station in Manhattan. 1864. Albumen photograph, 18x25 cm, 7x9¾ inches; on original stiff paper mount, with early captions and photographers' embossed stamp; minimal wear and tack holes in mount, and light period retouching in image. New York, 1864. This photograph was taken from West Broadway looking south toward the intersection with Chambers Street. The low-slung building to the left at the corner bears the sign "1861 Hudson River Rail Road Passenger Station," with a rail car faintly visible inside, and the tracks heading diagonally up toward what is now Hudson Street to the right. As the 19th-century pencil caption explains, "cars were drawn by horses up to 30th St. & 10th Ave, where the train was made up & engine attached." The image was taken the same year as Cornelius Vanderbilt took control of the railroad. This route has been in continuous service as a rail line; the site is now the Chambers Street subway station on the 1-2-3 line. The small triangle where the horse-drawn carts are parked is now known as Bogardus Plaza.

Lot: 11 - HENRY F. WALLING (1825-1889) Map of the City of New York and Its Vicinity. 1866.

HENRY F. WALLING (1825-1889) Map of the City of New York and Its Vicinity. 1866. Hand-colored lithographed wall map of metropolitan New York, centered on lower Manhattan. 162x162 cm, 64x64 inches overall, segmented, mounted on original linen backing, and folding into publisher's gilt-blocked cloth portfolio case; strong original hand-color in full; small stains, light age toning and foxing but generally well-preserved. New York.

Lot: 12 - EGBERT L. VIELE; and G.W. & C.B. COLTON Map of the City of New York Showing the Proposed Route of the "Arcade" Underground Railway. Cir

EGBERT L. VIELE; and G.W. & C.B. COLTON Map of the City of New York Showing the Proposed Route of the "Arcade" Underground Railway. Circa 1868. Large lithographed map of Manhattan taken from Viele's "Arcade Under-Ground Railway," a report consulting the first seriously proposed plan for a New York City Subway train. 26½x115½ cm, 10½x45½ inches sheet size; touches of original hand-color; mounted flat to an acidic backing board with concomitant toning; framed, 17x51 inches overall. New York.

Lot: 13 - AUGUST WILL (1834-1910) Proposed Arcade Railway Under Broadway, View Near Wall Street. 1870.

AUGUST WILL (1834-1910) Proposed Arcade Railway Under Broadway, View Near Wall Street. 1870. Color-tinted lithograph. 51x65 cm, 20¼x25¾ inches sheet size; light age toning, small repairs. New York: Ferd. Mayer & Sons. A beautifully composed scene depicting a planned underground railway designed to alleviate the congestion of lower Broadway, already becoming problematic in the late 19th century. Construction for the project was authorized in April 1870, however it was vetoed by Governor John Thompson Hoffman and production ceased. The print is a fascinating view of an unbuilt prototype of New York's modern day subway system. Deak 828.

Lot: 14 - VARIOUS PHOTOGRAPHERS A vast photographic archive of circa 142 photographs documenting activity at Ellis Island by Augustus F. Sherman

VARIOUS PHOTOGRAPHERS A vast photographic archive of circa 142 photographs documenting activity at Ellis Island by Augustus F. Sherman (1866-1925), The Brown Bros. (active 1900s-1940s), and others. 1890-1940s. Other photographers include Perry A. Glick (active 1910s-1920s), Edwin Levick (1868-1929), Underwood & Underwood (active 1880s-1940s), as well unknown photographers. Albumen

Lot: 15 - PHOTOGRAPHER UNKNOWN Croton Reservoir. 1875; printed circa 1930s.

PHOTOGRAPHER UNKNOWN Croton Reservoir. 1875; printed circa 1930s. Silver print, the image measuring 14x18½ cm, 5½x7¼ inches; with a Keystone View Co. of New York stamp, and the title and location in blue pencil, on verso.

Lot: 16 - DESIGNER UNKNOWN New York in 1876.

DESIGNER UNKNOWN New York in 1876. 18 miniature tinted lithographed vignettes of New York City architecture folding into an embossed metallic-paper card case resembling a Liberty dollar; 4½ cm, 1¾ inches circular; minor wear. Rand, McNally & Co., Chicago, 1876. A darling little piece of Centennial ephemera, the diminutive leporello unfolds from very realistic-looking coin covers to reveal tiny views of: Broadway at the corner of Grand Street; Panorama from Brooklyn Bridge Pier; Terrace Bridge Arch Central Park; City Hall; Astor Library Lafayette Place; Panorama from New Post Office; High Bridge from the East; Park and Chatham St. from New Post Office; Broadway Near Post Office; Park Bank and Knox Buildings; Equitable Life Ins. Building; View in Fifth Avenue; Entrance to Greenwood Cemetery; Union Square & Everett House; View in Central Park; Broadway Corner Broome Street; Bow Bridge Central Park; Auld Lang Syne. OCLC locates one example, University of Virginia.

Lot: 17 - DESIGNER UNKNOWN Bird's-Eye View of the Great Suspension Bridge, Connecting the Cities of New York and Brooklyn - From New York Lookin

DESIGNER UNKNOWN Bird's-Eye View of the Great Suspension Bridge, Connecting the Cities of New York and Brooklyn - From New York Looking South-East. 1883. Large color-tinted lithographed panoramic view celebrating the completion of the Brooklyn Bridge May 24th, 1883. 55¼x92¼ cm, 21¾x37½ inches sheet size; archivally lined on verso with thin tissue stabilizing several repairs. Franklin Square Lithographic Company, New York. Deak 868.

Lot: 18 - ARCHITECT UNKNOWN Sketches of Roof Trusses, Buildings & Piers for Pennsylvania Railroad facilities in New York City. 1883-1893 and unda

ARCHITECT UNKNOWN Sketches of Roof Trusses, Buildings & Piers for Pennsylvania Railroad facilities in New York City. 1883-1893 and undated. 50 blueprint leaves on paper, a few of them folding. Oblong octavo, 13x26 cm, 5x10 inches; original blueprint wrappers on architectural vellum, minor wear; minimal wear to contents, plate 14 apparently not issued. Sites include a Williamsburg freight shed; Piers 4 and 5; the ferry entrance at Courtlandt Street; 37th Street Yard; Brooklyn's Wallabout Pier; and New Jersey facilities in Jersey City, Harsimus Cove, Hoboken, and Greenville. None traced in OCLC or at auction.

Lot: 19 - BENJAMIN CHAMBERLAIN (1833-?) Produce Exchange from Broad Street. Circa 1884.

BENJAMIN CHAMBERLAIN (1833-?) Produce Exchange from Broad Street. Circa 1884. Oil on canvas mounted to panel. 24¼x30½ cm, 9½x12 inches. Signed lower left. Provenance: The artist, New York, with a handwritten label bearing the title and his address; private collection, New York. Chamberlain offers a view of daily life surrounding the New York Produce Exchange Building, formally located on Broadway, opposite Bowling Green. This building opened in 1884, and operated as a trading floor and headquarters for the petroleum, wheat, and corn markets, which were driving factors in New York's economy at the time. At its peak, it did $15 million a day in business, but by the mid 20th century, membership had drastically declined, and the building was demolished in 1957. The building was designed by George B. Post, who went on to design the New York Stock Exchange Building, which still stands today.

Lot: 20 - PHOTOGRAPHER UNKNOWN Herald Square. 1890.

PHOTOGRAPHER UNKNOWN Herald Square. 1890. Albumen print, the image measuring 26x35¼ cm, 10¼x13⅞ inches, the sheet slightly larger; flush mounted.

Lot: 21 - JOHN S. JOHNSTON (1839-1899) On the Brooklyn Bridge. 1894.

JOHN S. JOHNSTON (1839-1899) On the Brooklyn Bridge. 1894. Albumen print, the image measuring 25½x33 cm, 10x13 inches; with Johnston's credit, title, date, and numeric notation in the negative.

Lot: 22 - [F.E. WACHSMUTH, publisher] New-York. Circa late 1890s.

[F.E. WACHSMUTH, publisher] New-York. Circa late 1890s. Large chromolithographed birds-eye view of Manhattan with a 13-point reference key below, unsigned, but attributed to Mathieu Molitor. 63x85 cm, 24¾x33½ inches sheet size; mounted to original linen backing with wooden display rods; several cracks and creases, dampstain to the verso not visible in image. [F.E. Wachsmuth, Leipzig 1890s].

Lot: 23 - JOSEF KLEMM (1868-1916) New York. circa 1908.

JOSEF KLEMM (1868-1916) New York. circa 1908. Spectacular oversize chromolithographed panorama of Manhattan and adjacent parts of New York City. 2 sheets mounted to linen-hinged heavy cards with cloth hanging cords as issued; 67x173 cm, 26½x68¼ inches overall, wide margins; minor edge wear. Leipzig: F.E. Wachsmuth (but with printed paper label of P.A. Norstedt & Soner, Stockholm, pasted on).

Lot: 24 - JOSEPH PENNELL (1857-1926) [New York.] Two etchings. 1904 & 1915.

JOSEPH PENNELL (1857-1926) [New York.] Two etchings. 1904 & 1915. Forty-Second Street, 1904. 30x21¼ cm, 11⅞x8½ inches; wide margins. Edition of approximately 75. Signed in pencil, lower margin. * The Woolworth Building, 1915. 30x18.8 cm, 11¾x7⅜ inches; full margins. Edition of approximately 100. Signed and inscribed "imp." in pencil, lower right. Wuerth 350 and 675.

Lot: 25 - JOSEPH PENNELL (1857-1926) Hail America. 1908.

JOSEPH PENNELL (1857-1926) Hail America. 1908. Mezzotint. 21½x37¾ cm, 8½x14⅞ inches; wide margins. Edition of approximately 70. Signed and inscribed "imp" in pencil, lower margin. Wuerth 503.

Lot: 26 - EDWARD STEICHEN (1879-1973) The Flatiron - Evening, from Camera Work XIV. 1904; printed 1906.

EDWARD STEICHEN (1879-1973) The Flatiron - Evening, from Camera Work XIV. 1904; printed 1906. Three-color halftone print, the image measuring 21¼x16½ cm, 8⅜x6½ inches; double mounted to Japan tissue and the original page mount 30½x21½ cm, 12x8½ inches. Designed by Daniel Burnham at the turn of the 20th century, the Flatiron Building was considered a groundbreaking skyscraper in the United States due to its early steel skeleton structure and triangular design. Today, it remains one of the most iconic buildings in New York. Upon completion in 1902 it was one of the tallest buildings in the city and its magnificence has been beautifully recorded by Steichen in this evocative photograph in 1904. With its atmospheric yet modernist aura, the photograph captures the interplay between the tree branches in the foreground, the carioles on the rainy streets, and the newly built Flatiron that we can distinguish in the background at dusk. Until today, this image stands as an iconic depiction of the building and a groundbreaking image in terms of pictorialist aesthetic. Steichen made three color variations in brown, blue-green, and yellow-green-black by using different proportions of pigments in each gum process over platinum. These prints are extremely rare on the market. The best-known greenish variation was popularized as a tritone photogravure by Alfred Stieglitz in the publication Camera Work XIV in 1906. The Flatiron - Evening is not only a strong testimony of modern New York but also a subtle chromatic study of twilight with its undoubtedly Japanese influence. The composition itself integrates natural and modern features that cohabit harmoniously and unlike other photomechanical processes such as half-tone, which rely upon dot patterns to reproduce an image, the photogravure produces a finely nuanced continuous-tone image and renders beautiful color effects through the use of tinted inks. And like Japanese woodblock prints, this colored photogravure was printed with multiple inks in the days before practical color photographic processes became available.

Lot: 27 - JESSIE TARBOX BEALS (1870-1942) The Washington Arch at Midnight, New York City. 1910.

JESSIE TARBOX BEALS (1870-1942) The Washington Arch at Midnight, New York City. 1910. Silver print, the image measuring 23¾x18½ cm, 9⅜x7¼ inches, flush mounted; with Beals' signature and the numeric notation "6," in pencil on recto.

Lot: 28 - JESSIE TARBOX BEALS (1870-1942) Brooklyn Bridge at dusk. Circa 1910.

JESSIE TARBOX BEALS (1870-1942) Brooklyn Bridge at dusk. Circa 1910. Silver print, the image measuring 17x22½ cm, 6¾x8⅞ inches, the mount 25½x30½ cm, 10x12 inches; with Beals' signature in pencil on print recto, and her signature and title in pencil on mount recto; in the original period frame.

Lot: 29 - DESIGNER UNKNOWN The Streets of New York. 1913.

DESIGNER UNKNOWN The Streets of New York. 1913. Lithograph poster. 105½x70 cm, 41½x27½ inches; Morgan Litho. Co., Cleveland. A poster for the first of three film and one musical adaptations of The Streets of New York, originally a French melodrama, Les Pauvres de Paris (1856), transposed into a New York play. The American version of the story revolves around a middle-class family, newly impoverished by the financial panic of 1857, struggling to survive against a villainous banker.

Lot: 30 - ABRAHAM WALKOWITZ (1878-1965) Coney Island. 1908.

ABRAHAM WALKOWITZ (1878-1965) Coney Island. 1908. Color monotype. 15x23 cm, 6x9 inches; full margins. Signed, titled, dated and inscribed "color monotype" in ink, lower margin.

Lot: 31 - ABRAHAM WALKOWITZ (1878-1965) City Abstraction. 1912.

ABRAHAM WALKOWITZ (1878-1965) City Abstraction. 1912. Watercolor and pencil on laid paper. 48¼x31¼ cm, 19x12¼ inches. Initialed in pencil, lower center. Provenance: the artist; private collection, New York; Sid Deutsch Gallery, New York, with the label; private collection, New Hampshire; Owings-Dewey Fine Art, Santa Fe, New Mexico, with the label; private collection, New Mexico and Texas; Owings-Dewey Fine Art, Santa Fe, New Mexico; sold Christie's, New York, April 21, 2023, lot 25; private collection, Massachusetts.

Lot: 32 - JOHN SLOAN (1871-1951) The Little Bride. 1906.

JOHN SLOAN (1871-1951) The Little Bride. 1906. Etching. 13½x18 cm, 5¼x7 inches; full margins. Edition of 85 (from an intended edition of 100). Signed, titled and inscribed "100 proofs" in pencil, lower margin. From New York City Life. Morse 138. In his diary, Sloan commented, "Back in 1906 there was a considerable French population north of 23rd Street [New York], and the church near Proctor's Theatre [141 West 23rd Street] was known as the French Church. The stone steps down which these newlyweds are escaping have since been removed. I hope the couple lived happy ever after."

Lot: 33 - JOHN SLOAN (1871-1951) Copyist at the Metropolitan Museum. 1908.

JOHN SLOAN (1871-1951) Copyist at the Metropolitan Museum. 1908. Etching printed in dark brownish black. 19x22¾ cm, 7½x9 inches; full margins. Eighth state (of 8). Edition of 75 (from an intended edition of 100). Signed in pencil, lower right. Morse 148. A bespectacled Sloan and his wife, Dolly, are pictured standing in the lower left of the image observing a female artist working on a copy of a painting in the Metropolitan Museum of Art, New York.

Lot: 34 - JOHN SLOAN (1871-1951) Bandit's Cave. 1920.

JOHN SLOAN (1871-1951) Bandit's Cave. 1920. Etching. 17½x12¾ cm, 6⅞x5 inches; full margins. Edition of approximately 500. Signed in pencil, lower right margin. From the New Republic. Morse 195. According to a diary kept by Sloan, this etching represents, "Uptown thrill seekers during the period of Prohibition about to venture into a basement 'tea room' in Bohemia . . . one of the cafes in the Village." This scene of New York, Prohibition-era nightlife shows a group of cheerful revelers entering an underground, Greenwich Village speakeasy, advertising "tea and dance" on their sign. These downtown New York "tea rooms" were well known to patrons for serving illegal liquor.

Lot: 35 - GEORGE BELLOWS (1882-1925) The Jury. 1916.

GEORGE BELLOWS (1882-1925) The Jury. 1916. Lithograph. 30½x41¼ cm, 12x16¼ inches; full margins. Second state (of 3). Edition of approximately 50 (in all three states combined). Signed in pencil, lower right. Mason 17. Members of the jury judging works of art, at the National Arts Club, New York, include Bellows himself (right rear, smoking a cigar), Robert Henri (far right with his hand on his chin) and Childe Hassam (right center in profile).

Lot: 36 - KARL STRUSS (1886-1981) Busy street scene. Circa 1910.

KARL STRUSS (1886-1981) Busy street scene. Circa 1910. Silver print, the image measuring 9½x7 cm, 3¾x2¾ inches, the sheet slightly larger; with Struss' Hollywood, California stamp on verso.

Lot: 37 - PHOTOGRAPHER UNKNOWN Columbus Circle. Circa 1910; printed circa 1930s.

PHOTOGRAPHER UNKNOWN Columbus Circle. Circa 1910; printed circa 1930s. Silver print, the image measuring 15¼x21 cm, 6x8¼ inches, the sheet 20¼x24¾ cm, 8x9¾ inches; with a Seidman Photo Service stamp on verso.

Lot: 38 - WURTS BROTHERS PHOTOGRAPHERS (1894-1979) Packet of photos from construction of the Woolworth Building. 1910-1913.

WURTS BROTHERS PHOTOGRAPHERS (1894-1979) Packet of photos from construction of the Woolworth Building. 1910-1913. 185 photographs, each 24x19 cm, 7½x9½ inches; mounted on linen with linen stubs; generally minor wear. When completed in 1913, the Woolworth Building in Lower Manhattan was the tallest building in the world, a distinction it retained until 1930. These dramatic photographs document every phase of construction, from the preparation of the foundation to the completion of the interiors. Many of these photos are variously credited to Wurts Bros., Architectural Photographers. Many are stamped on verso as received by the architect Cass Gilbert. Almost all have a dated credit caption in the negative listing Gilbert as the architect, usually naming the Thompson-Starrett Company or the Foundation Company as the contractors.

Lot: 39 - DESIGNER UNKNOWN Woolworth Building / New York. Circa 1913.

DESIGNER UNKNOWN Woolworth Building / New York. Circa 1913. Lithograph poster. 90¼x38 cm, 35½x15 inches.

Lot: 40 - BURTON FREDERICK WELLES (1872-1926) Fifth Avenue, New York from Start to Finish. 1911.

BURTON FREDERICK WELLES (1872-1926) Fifth Avenue, New York from Start to Finish. 1911. 57 leaves: 50 mostly double-sided leaves with photographic panorama illustrations, interspersed with 5 ad leaves and 2 double-sided index leaves. Oblong folio, 20x56 cm 8x22 inches; publisher's gilt pictorial wrappers, minor wear, rebacked with paper; minor wear to contents including a few short tears. Welles & Co., New York. First edition of this impressive panoramic undertaking. It follows one of the city's most famous streets from its southern terminus at Washington Square Park, through crowded storefronts, past Madison Square Park, and skirting Central Park up through the grand mansions of the Upper East Side just past 93rd Street. The last two plates show the residences of Andrew Carnegie, New York Yankees owner Jacob Ruppert, and philanthropist Felix Warburg (now the home of the Jewish Museum). Some blocks have since been entirely replaced by new construction, but the research branch of the New York Public Library and the Metropolitan Museum of Art are here in all their glory. One other traced at auction since 1956, at a Swann sale, 14 September 2000, lot 101.

Lot: 41 - KARL STRUSS (1886-1981) Columbia College. 1911.

KARL STRUSS (1886-1981) Columbia College. 1911. Platinum print, the image measuring 18.7x9.5 cm, 7⅜x3¾ inches; with Struss' signature and date in red pencil and the title also in pencil in an unknown hand.

Lot: 42 - KARL STRUSS (1886-1981) New York Public Library. 1914.

KARL STRUSS (1886-1981) New York Public Library. 1914. Silver print, the image measuring 34x25.7 cm, 13⅜x10⅛ inches; with Struss' signature, title, and date in pencil on verso.

Lot: 43 - EUGENE DE SALIGNAC (1861-1943) Painters on Brooklyn Bridge. 1914; printed 1980s.

EUGENE DE SALIGNAC (1861-1943) Painters on Brooklyn Bridge. 1914; printed 1980s. Silver print, the image measuring 35.6x41.3 cm, 14x16¼ inches, the sheet 40.6x50.8 cm, 16x20 inches; with Salignac's numeric notation in the negative, and the "New York City Municipal Archives" stamp with the collection notation "Dept. of Bridges" and negative number in pencil on verso. Born in Boston in 1861 into an eccentric family of exiled French nobility, de Salignac had no formal training in photography. In 1903, at the age of 42, his brother-in-law found him a job as an assistant to the photographer for the Department of Bridges, Joseph Palmer. After 3 years of apprenticeship, Palmer suddenly died, and in October 1906, de Salignac assumed his duties. As the sole photographer for the department from 1906 to 1934 (in 1916 it changed its name to the Department of Plant & Structures), he documented the creation of the city's modern infrastructure—including bridges, major municipal buildings, roads and subways. Most notably, he documented the construction of the Manhattan Bridge and the Queensboro Bridge, and the Manhattan Municipal Building but his most famous image is that of painters posing nonchalantly on the cables of the Brooklyn Bridge. Using a large-format camera and 8x10 inch glass-plate negatives, he shot over 20,000 images in his career. Most of these negatives and over 15,000 vintage prints are held by the New York City Municipal Archives. Into his 70s de Salignac was still climbing bridges and actively working, but he was forced to retire in 1934 despite a petition to Mayor La Guardia. [Courtesy of Wikipedia].

Lot: 44 - EDGAR E. RUTTER (1883-1964) and others Group of Brooklyn industrial and neighborhood photographs. 1916-1966 and undated.

EDGAR E. RUTTER (1883-1964) and others Group of Brooklyn industrial and neighborhood photographs. 1916-1966 and undated. 169 photographs, all approximately 20x25 cm, 8x10 inches; almost all mounted on linen with looseleaf binder stubs, with caption and photographer name in negative, generally minimal wear with three having more wear. Most of these photographs relate to construction projects in Brooklyn, and break down into several main categories. Most of the photos are credited to E.E. Rutter, Commercial Photographer; or simply "Rutter." The earliest are 16 photos dated from 1916 to 1919, all on slightly different stock than the later photos and without binding holes. Some of these are street views of a stretch of Ralph Avenue just north of Fulton Street in Bed-Stuy. These were possibly taken for a sidewalk project, but many show storefronts, private residences, horse-drawn carriages, and pedestrians. While the later photos are all by the Rutter agency, these are uncredited or from Russell & Co. of Brooklyn. 43 photos are from a Coney Island boardwalk project in 1922, with heavy industrial shots interspersed with picturesque beach views. 61 photos are from Brooklyn sewer projects dated 1922 to 1925. This includes 23 shots of the Flatbush Relief Sewer, 27 of the 26th Ward Disposal Plant, 7 from a Wythe Avenue project, and two each from projects on Patchen and Maspeth Avenues. Many of these are "before" streetscapes showing storefronts and pedestrians, although with the sewer grates featured front and center. The 26th Ward Disposal Plant was at the foot of Hendrix Street on the border with Queens; these are all gritty construction photos, including one unfortunate man wading through a sludge pit with a gas lamp. 26 shots show a major road construction on Meeker Street in the Greenpoint neighborhood, 1938-1939. Storefronts, demolished buildings, and vacant lots abound--possibly in preparation for the construction of the Brooklyn–Queens Expressway? Among the remaining miscellaneous photos are of the cornerstone ceremonies at the Snyder Avenue courthouse and the Williamsburg Baths, 1922; the laboratory of the Highway Engineering Laboratory, 1936; an extremely muddy unpaved road near Sheepshead Bay in 1922; and 20 later photos from circa 1949-1966 including street views of Lafayette Avenue and Flatbush Avenue.

Lot: 45 - EUGENIE DE LAND SAUGSTAD (1872-1961) Before Sunset / Buy a U.S. Government Bond of the 2nd Liberty Loan of 1917. 1917.

EUGENIE DE LAND SAUGSTAD (1872-1961) Before Sunset / Buy a U.S. Government Bond of the 2nd Liberty Loan of 1917. 1917. Lithograph poster. 73x48 cm, 28¾x19 inches; Sackett & Wilhelms, New York. Theofiles 132.

Lot: 46 - CHARLES EDWARD CHAMBERS (1883-1941) [Food Will Win the War]. 1917.

CHARLES EDWARD CHAMBERS (1883-1941) [Food Will Win the War]. 1917. Lithograph poster. 76x51 cm, 30x20 inches; Rusling Wood Litho., New York. This poster was issued in English, Yiddish, Spanish, Lithuanian, Italian and Hungarian to bring its message to immigrant communities. The English text reads: "Food will win the war. You came here seeking Freedom. You must now help to preserve it. Wheat is needed for the Allies. Waste nothing." The art by Charles Edward Chambers prominently features the Statue of Liberty, and was distributed by the United States Food Administration. New York p. 31 (var), Magnes p. 49, Rawls p. 113, Theofiles p. 94, Borkan p. 60, Gallo p. 92.

Lot: 47 - COURT COMMERCIAL PHOTO Group of early aerial views of Manhattan and beyond. 1920 and undated.

COURT COMMERCIAL PHOTO Group of early aerial views of Manhattan and beyond. 1920 and undated. 24 photographs, each 13x18 cm, 5x7 inches; some captioned in the negative, with one crediting the photographer; moderate wear. 8 of the views show New York City, including the Cunard Line piers at New York Harbor; the Hell Gate Bridge; the Statue of Liberty; the Washington Heights bridge (now known as the High Bridge pedestrian path) and the Washington Heights Reservoir; a parade at the Soldiers & Sailors Monument in Brooklyn; the 27th Division parade at the northeast corner of Central Park circa 1919; and a view of Lower Manhattan looking east including the Equitable Building. Also included are 7 views from near the photographer's home base in Hempstead, Long Island: 4 of airplanes and aviators at Mitchell Field; and shots of Roosevelt Field and the Mineola Fair Grounds. Finally, 9 shots show the sights in Washington, DC.

Lot: 48 - JOSEPH PENNELL (1857-1926) The Bridges, from Brooklyn. 1921.

JOSEPH PENNELL (1857-1926) The Bridges, from Brooklyn. 1921. Etching and drypoint. 25x17¾ cm, 9⅞x6⅞ inches; wide margins. Edition of approximately 75. Signed, dedicated, and inscribed "imp" in pencil, lower right. Wuerth 782.

Lot: 49 - JOHN TAYLOR ARMS (1887-1953) Early Morning, North River. 1921.

JOHN TAYLOR ARMS (1887-1953) Early Morning, North River. 1921. Color etching and aquatint. 24¼x19¼ cm, 9½x7½ inches; full margins. Second state (of 2). Edition of 25. Signed in pencil, lower right margin. Fletcher 100.

Lot: 50 - BOARD OF ESTIMATE Boxed set of contract drawings for the abandoned Narrows Tunnel project. 1922-1925.

BOARD OF ESTIMATE Boxed set of contract drawings for the abandoned Narrows Tunnel project. 1922-1925. 7 volumes, including 2 duplicates, each with 3 or 4 leaves of printed front matter and between 17 and 64 printed contract drawings (many of them folding). Quarto, 28x20 cm; 11x8 inches, original cloth, minor wear; minor wear to contents; most with inked or perforated library stamps. In a later slipcase. Most New Yorkers know the Verrazzano-Narrows Bridge, completed in 1964, which connects Brooklyn with Staten Island. Less well known is the never-completed Narrows Tunnel, a.k.a. the Saint George Tunnel or Staten Island Tunnel or Hylan Tunnel, which would have been the first crossing of the Narrows. It was designed for rail freight and/or subway passengers. The sand hogs began their work in 1923, and the tunnel extended 150 feet west from Brooklyn before squabbling between the freight and subway factions scuttled the project forever. The sealed tunnel mouth is located beneath Owl's Head Park in Bay Ridge. Included here are the printed drawings for Contract No. 2 (Shore Road Shaft, Borough of Brooklyn); Contract No. 3 (South Street Shaft at St. George, Borough of Staten Island); Contracts 4-A, 4-T, and 4-C, superseded (New York Bay Section--Trench Method); Contract No. 4 (New York Bay Section--Shield Method), plus a duplicate; and Contract No. 4A (New York Bay Section--Trench Method), plus a duplicate.

Lot: 51 - WILLIAM SAMUEL HORTON (1865-1936) Wintery View of New York. Circa 1925.

WILLIAM SAMUEL HORTON (1865-1936) Wintery View of New York. Circa 1925. Oil on canvas. 42x51 cm, 16½x20 inches; Signed lower left. Provenance: Private collection, New York.

Lot: 52 - RALPH STEINER (1899-1986) Fisheye, New York Trinity Church. Circa 1925.

RALPH STEINER (1899-1986) Fisheye, New York Trinity Church. Circa 1925. Silver print, the image measuring 20¼x25½ cm, 8x10 inches; with Steiner's credit, title, and notation "nd" in pencil on verso.

Lot: 53 - (UNDERWOOD & UNDERWOOD) Trinity Chuch and New York Financial District. 1925.

(UNDERWOOD & UNDERWOOD) Trinity Chuch and New York Financial District. 1925. Toned silver print, the image measuring 21.9x19.1 cm, 8⅝x7½ inches; with the Underwood & Underwood copyright stamp on verso.

Lot: 54 - D.N.A. (INITIALS UNKNOWN) New York from Glasgow by the Anchor Line. Circa 1910.

D.N.A. (INITIALS UNKNOWN) New York from Glasgow by the Anchor Line. Circa 1910. Lithograph poster. 100x63cm, 39½x 24¾ inches; McCorquodale & Co., Glasgow. An exquisitely-detailed rendering of some of "Manhattan's early skyscrapers, including the Singer Building, the tallest building in the city from its completion in 1908 until the following year, when it was surpassed in height by the Metropolitan Life Tower. This sweeping southern view from the intersection of Maiden Lane and Broadway also shows the Washington Life Insurance Building, the Trinity and United States Realty Buildings, and the City Investing Building" (New York p. 22). In the distance, passing by the Statue of Liberty, once can see the Anchor Line's single-funnel SS Furnessia. This poster can be dated based on the shipping company being acquired by Cunard in 1911, and the fact that the ship was scrapped that same year. New York p. 22.

Lot: 55 - EARL HORTER (1883-1940) Grand Central Terminal / The Gateway to a Continent. 1927.

EARL HORTER (1883-1940) Grand Central Terminal / The Gateway to a Continent. 1927. Lithograph poster. 102¾x68 cm, 40½26¾ inches; Latham Litho. & Ptg. Co., Long Island City. The interior of the Main Concourse in New York City's Grand Central Terminal, looking east. In the background, on the East Balcony, is a model of the DeWitt Clinton, the first steam powered locomotive to operate in New York State, and its three carriages; it ran from 1831 to 1833 and was then scrapped. The model was built by the New York Central Railroad for display at the 1876 Philadelphia Centennial and then was showcased at the Columbian Exposition (World's Fair) in Chicago in 1893. In 1920, it was installed in Grand Central Terminal. Since 1934 the model has resided at the Henry Ford Museum in Dearborn, Michigan. New York City architecture history buffs will notice that there is not yet a stairway leading up to the East Balcony; this was only added when the station was redesigned in the 1990s. Zega 89, Affiches Chemin de Fer p. 64, New York p. 65.

Lot: 56 - ADOLPH TREIDLER (1886-1981) New York / The Wonder City of the World. 1927.

ADOLPH TREIDLER (1886-1981) New York / The Wonder City of the World. 1927. Lithograph poster. 104¼x68½ cm, 41x27 inches; Latham Litho. & Ptg. Co., Long Island City. An evocative and dramatic nighttime view of the tip of Manhattan seen past the Statue of Liberty. The "city that never sleeps" is depicted full of life and light, as seen in skyscrapers, ferries, tugboats and a spotlight. Treidler's extensive career as a poster designer began during the First World War and carried on through the 1960s, when he was the in-house designer for Furness Cruise Lines. Treidler, "arguably the nation's most outstanding poster artist," considered this image to be one of his two best-known works (Zega p. 68). Zega 88, Posters & Publicity 1927 p. 18, New York p. 39.(cond info in box - put into Photo format)

Lot: 57 - DESIGNER UNKNOWN Holland - America Line / Rotterdam - New York. 1928.

DESIGNER UNKNOWN Holland - America Line / Rotterdam - New York. 1928. Lithograph poster. 116¾x76¼ cm, 46x30 inches; L. Van Leer & Co., Amsterdam. A head-on view of the American northeast (stretching out behind the Statue of Liberty as far west as Chicago and as far south as Philadelphia), seen in exaggerated perspective as if from the deck of an arriving ocean liner. The Volendam sailed the Rotterdam-New York route from its maiden voyage in 1922 until its final run back to Rotterdam in 1951, with a brief hiatus as a British troop ship during World War II.

Lot: 58 - CHARLES TURZAK (1899-1986) Liberty.

CHARLES TURZAK (1899-1986) Liberty. Woodcut on Japan paper. 32.6x23.1 cm, 12⅞x9⅛ inches; full margins. Signed, titled, and numbered 9/50 in pencil, lower margin.

Lot: 59 - MARTIN LEWIS (1881-1962) Fifth Avenue Bridge. 1928.

MARTIN LEWIS (1881-1962) Fifth Avenue Bridge. 1928. Drypoint. 25¼x30¼ cm, 9¾x11⅞ inches; full margins. Edition of 108. Signed in pencil, lower right. McCarron 72.

Lot: 60 - MARTIN LEWIS (1881-1962) East Side Night, Williamsburg Bridge. 1928.

MARTIN LEWIS (1881-1962) East Side Night, Williamsburg Bridge. 1928. Drypoint. 25x30¼ cm, 9⅞x11⅞ inches; full margins. Edition of approximately 69. Signed in pencil, lower right. McCarron 71. The restroom sign reads "MEN / MANNER," reflecting the heavy German immigrant demographic of the Lower East Side at the time.

Lot: 61 - MARTIN LEWIS (1881-1962) Rainy Day, Queens. 1931.

MARTIN LEWIS (1881-1962) Rainy Day, Queens. 1931. Drypoint. 27x30 cm, 10⅝x11⅞ inches; full margins. Edition of 70. Signed in pencil, lower right. McCarron 94.

Lot: 62 - CHESLEY BONESTELL (1888-1986) New York Central Building / At the Gateway to a Continent. Circa 1929.

CHESLEY BONESTELL (1888-1986) New York Central Building / At the Gateway to a Continent. Circa 1929. Lithograph poster. 103½x68½ cm, 40¾x27 inches; Latham Litho. & Ptg. Co., Long Island City. California-born Bonestell "was an American pioneer of space art who helped popularize manned space travel. He is well known for his cover art for science fiction magazines . . . as well as many books such as The Conquest of Space, The Exploration of Mars, and Beyond the Solar System" (https://www.bonestell.org/). In the 1920s, he lived in New York, and helped design some of the iconic Art Deco facades and architectural elements for the Chrysler building, the New York Central Building, and many office and apartment buildings around the city. He also collaborated on the designs for the Plymouth Rock Memorial, the U.S. Supreme Court Building, and various state capitols. It is not too surprising then, that he could render this mesmerizing and dramatic nighttime view down Park Avenue of the New York Central Building, a modern ziggurat, in all its glory. Construction on the building began in 1927 and was completed in 1929, at which point it was the tallest building in "Terminal City," the developed area that covered all of the tracks in the terminal. Zega p. 75, New York p. 67.

Lot: 63 - J.F. NOLAN (DATES UNKNOWN) Large architect’s rendering of the Rolls Royce Building on East 57th Street. Circa 1929.

J.F. NOLAN (DATES UNKNOWN) Large architect's rendering of the Rolls Royce Building on East 57th Street. Circa 1929. Ink and watercolor on artist's board, 96x53 cm, 38x21 inches; 3 closed tears on left edge; laid into modern mat and not examined outside it. This rendering was executed by J.F. Nolan for architects Buchman & Kahn; the builder was Joseph P. Siegel, Inc. It shows a Rolls Royce automobile showroom occupying the first two floors of the building. The building was completed in 1930. Although it no longer bears the Rolls Royce name, it still stands today at 32-34 East 57th Street, a block east of Trump Tower and three blocks south of the Grolier Club.New York, circa 1929

Lot: 64 - MARGARET BOURKE-WHITE (1904-1971) The Chrysler Building under construction. 1930.

MARGARET BOURKE-WHITE (1904-1971) The Chrysler Building under construction. 1930. Toned silver print, the image measuring 33¾x23¾ cm, 13¼x9⅜ inches, the mount 53¼x36¼ cm, 21x14¼ inches; with Bourke-White's signature in pencil on mount recto. A fearless trailblazer, Margaret Bourke-White was among the first photographers (and the first female photographer) hired for Fortune and Life magazines, the first female accredited as a war photographer, and the first woman to fly on a bombing mission. Her ambition in a male-dominated world pushed her to test her own limits and the limits of what a camera could capture (her colleagues at Life nicknamed her Maggie the Indestructible). Bourke-White's imagery was unique, powerful, and innovative, witnessing much of the 20th century's beauty and brutality. In 1930, Bourke-White was commissioned by the Chrysler Corporation to photograph their new skyscraper while it was still under construction (it would briefly become the tallest structure in New York). This image documents the iconic terraced crown with its sunburst pattern partially covered in scaffolding. In this series, Bourke-White portrays a city that is powerful, reaching further and further into the sky and the future. In her autobiography, Portrait of Myself, Bourke-White says of her first glimpse of the Chrysler Building gargoyles, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute. I was ready to close my studio in Cleveland in order to be nearer Fortune, but it was the gargoyles which gave me the final spurt to New York" (p. 78).

Lot: 65 - WALKER EVANS (1903-1975) The Brooklyn Bridge Portfolio. 1928-29; printed 1994.

WALKER EVANS (1903-1975) The Brooklyn Bridge Portfolio. 1928-29; printed 1994. Together, 9 hand-pulled photogravures, the images each measuring 25x15 cm, 9⅞x5⅞ inches, and the reverse, the sheets 43¼x35½ cm, 17x14 inches; each with The Estate of Walker Evans and the publisher's debossed credit, and the edition notation 72/100 in pencil, on recto. New York: The Eakins Press Foundation, 1994.

Lot: 66 - HAROLD COSTAIN (1897-1994) The Williamsburg, Brooklyn, and Manhattan Bridges * Bird's-eye view of Manhattan. 1930.

HAROLD COSTAIN (1897-1994) The Williamsburg, Brooklyn, and Manhattan Bridges * Bird's-eye view of Manhattan. 1930. Together, 2 silver prints, the images measuring 23x50¾ cm, 9x20 inches, and slightly smaller, the first sheet slightly larger; each with Costain's Illustrative Photography stamp on verso.

Lot: 67 - LUIGI KASIMIR (1881-1962) New York, Brooklyn Bridge. Circa 1930.

LUIGI KASIMIR (1881-1962) New York, Brooklyn Bridge. Circa 1930. Color etching and aquatint. 30x43¼ cm, 11¾x17 inches; wide margins. Signed in pencil, lower center.

Lot: 68 - LUIGI KASIMIR (1881-1962) New York, AM East River. 1936.

LUIGI KASIMIR (1881-1962) New York, AM East River. 1936. Color etching and aquatint. 32x38¼ cm, 12½x15 inches; full margins. Signed in pencil by the estate, lower margin, with the estate stamp verso. Lorenz 70.

Lot: 69 - CLARE LEIGHTON (1898-1989) Skyscrapers. 1929.

CLARE LEIGHTON (1898-1989) Skyscrapers. 1929. Wood engraving on Japan paper. 14¼x11 cm, 5⅝x4¼ inches; wide margins. Signed, titled, and numbered 20/30 in pencil, lower margin. Fletcher 148.

Lot: 70 - HOWARD COOK (1901-1980) The New Yorker. 1930.

HOWARD COOK (1901-1980) The New Yorker. 1930. Wood engraving on Japan paper. 44¾x21¾ cm, 17⅝x8⅝ inches; full margins. Signed, dated, inscribed "imp." and numbered 36/50 in pencil, lower margin. Duffy 135.

Lot: 71 - HOWARD COOK (1901-1980) New York Night. 1931.

HOWARD COOK (1901-1980) New York Night. 1931. Lithograph. 25¼x30½ cm, 9⅞x12 inches; full margins. Edition of 35 (from an intended edition of 75). Signed and dated in pencil, lower right. Duffy 162.

Lot: 72 - LOUIS LOZOWICK (1892-1973) Winter Fun. 1940.

LOUIS LOZOWICK (1892-1973) Winter Fun. 1940. Lithograph. 24x32½ cm, 9½x13 inches; full margins. Edition of 250. Signed in pencil, lower right. Printed by George Miller, New York. Published by Associated American Artists, New York. Flint 188.

Lot: 73 - THOMAS MAITLAND CLELAND (1880-1964) River House. 1931.

THOMAS MAITLAND CLELAND (1880-1964) River House. 1931. Double gate fold lithograph prospectus for the legendary Manhattan residence. 31¾x24¼ cm, 12½x9½ inches closed, 96½x31¾, 38x9½ inches opened; Bartlett-Aldus Press, [New York.] With - original bi-fold list of apartment prices; business card of William A. Zeigler, Douglas L. Elliman and Co. representative of River House; envelope in which the prospectus was sent to a perspective cleint in Brooklyn. The original artwork is part of the River House Club permanent collection.

Lot: 74 - PAUL WOLFF (1887-1951) Unemployed people in front of the central offices, New York (near Rockefeller Center). Circa 1932.

PAUL WOLFF (1887-1951) Unemployed people in front of the central offices, New York (near Rockefeller Center). Circa 1932. Silver print, the image measuring 23¾x17¾ cm, 9⅜x7 inches; with Wolff's credit stamp and credit label and his title and other notations in pencil, on verso.

Lot: 75 - WALKER EVANS (1903-1975) The New School for Social Research. Circa 1930.

WALKER EVANS (1903-1975) The New School for Social Research. Circa 1930. Silver print, the image measuring 16¾x12 cm, 6⅝x4¾ inches, the sheet slightly larger; with the Lunn Archive stamp with the notation XIV and 56 in pencil, and the title and date in an unknown hand, also in pencil, on verso.

Lot: 76 - MARGARET BOURKE-WHITE (1904-1971) Hats in the Garment District, New York. 1930; printed 2000s.

MARGARET BOURKE-WHITE (1904-1971) Hats in the Garment District, New York. 1930; printed 2000s. Silver print, the image measuring 37¾x40½ cm, 14⅞x20 inches, the sheet 40.6x61 cm, 20x24 inches; with Bourke-White facsimile signature blind stamp and edition notation 106/250 in ink on recto, and the "LIFE Gallery of Photography and Estate of Margaret Bourke-White limited edition" stamp with her credit, title, and negative date in pencil, on verso.

Lot: 77 - BEDRICH GRUNZWEIG (1910-2009) On the way home from work, seen from Third Avenue El, at Canal Street (Heim von der Arbeit). 1948.

BEDRICH GRUNZWEIG (1910-2009) On the way home from work, seen from Third Avenue El, at Canal Street (Heim von der Arbeit). 1948. Silver print, the image measuring 23x19 cm, 9x7½ inches; with Grunzweig's signature, location, and date in pencil, his credit stamp, and his title in ink in German, on verso.

Lot: 78 - FREDERIC KIMBALL MIZEN (1888-1964) Fifth Avenue New York / Travel by Train. 1932.

FREDERIC KIMBALL MIZEN (1888-1964) Fifth Avenue New York / Travel by Train. 1932. Lithograph poster. 100¼x64¾ cm, 39½x25½ inches; Latham Litho & Ptg. Co., Long Island City. Mizen was a prominent illustrator, painter and art teacher who worked for the Sears, Roebuck & Co. Catalog, Coca-Cola and contributed work to the Saturday Evening Post, Collier's and other magazines. During the 1930s, "out West, a coalition of nearly thirty railroads pooled their resources against the auto and introduced the 'Travel By Train' campaign. Their cooperative effort produced nearly a dozen posters portraying a range of national destinations, of which this one of the "most notable" (Zega p. 109). The Empire State Building was constructed in record time, 18 months from start to finish, and opened in May, 1931. It wasn't until 1951 that the now-recognizable antenna was added to the building's spire, bringing its total height to 1472 feet. This poster was printed very shortly after the completion of the famed skyscraper and may well be its earliest appearance in lithograph form. Rare. Furness vol 8, 268, New York p. 68.

Lot: 79 - THURMAN ROTAN (1903-1991) Skyscrapers. 1932; printed 1970s.

THURMAN ROTAN (1903-1991) Skyscrapers. 1932; printed 1970s. Silver print, the image measuring 25½x49 cm, 10x19¼ inches, the sheet 40.6x50.8 cm, 16x20 inches; with Rotan's blind stamp on recto.

Lot: 80 - ALFRED STIEGLITZ (1864-1946) From My Window at An American Place, Southwest. 1932; printed circa 1983.

ALFRED STIEGLITZ (1864-1946) From My Window at An American Place, Southwest. 1932; printed circa 1983. Silver print, the image measuring 21x16 cm, 8¼x6¼ inches; with a label on verso. These prints were made for the Japanese edition of the 1983 title Alfred Stieglitz: Photographs and Writings that accompanied the exhibition at the National Gallery of Art (Sarah Greenough and Juan Hamilton, National Gallery of Art/Callway Editions, 1983). The title and page number are referenced on the label on verso.

Lot: 81 - ALFRED STIEGLITZ (1864-1946) Water Tower and Radio City, New York. 1933; printed circa 1983.

ALFRED STIEGLITZ (1864-1946) Water Tower and Radio City, New York. 1933; printed circa 1983. Silver print, the image measuring 20½x16 cm, 8⅛x6¼ inches; with a label on verso. These prints were made for the Japanese edition of the 1983 title Alfred Stieglitz: Photographs and Writings that accompanied the exhibition at the National Gallery of Art (Sarah Greenough and Juan Hamilton, National Gallery of Art/Callway Editions, 1983). The title and page number are referenced on the label on verso. According to the National Gallery, this photograph and Key Set number 1498 were made after the RKO Building at Rockefeller Center was completed in late June 1932. According to the Stieglitz–O'Keeffe correspondence, these two photographs were probably made in January 1933 (YCAL).

Lot: 82 - SAMUEL GOTTSCHO (1875-1971) New York Hospital from 59th St. and Sutton Pl., framed by Queensborough Bridge. 1932.

SAMUEL GOTTSCHO (1875-1971) New York Hospital from 59th St. and Sutton Pl., framed by Queensborough Bridge. 1932. Silver print, the image measuring 23x31¾ cm, 9x12½ inches, the sheet 34.3x41.3 cm, 13½x16¼ inches; with Gottscho's signature in pencil on recto, and his credit stamp on verso.

Lot: 83 - DESIGNER UNKNOWN Along the Way of TWA . . . New York City . . . Lights of Manhattan. Circa 1958.

DESIGNER UNKNOWN Along the Way of TWA . . . New York City . . . Lights of Manhattan. Circa 1958. Photo-offset poster. 31¾x42½ cm, 12½x16¾ inches; "Colorfoto by Trans World Airlines."

Lot: 84 - BERENICE ABBOTT (1898-1991) New York at Night. 1932; printed 1980s.

BERENICE ABBOTT (1898-1991) New York at Night. 1932; printed 1980s. Silver print, the image measuring 59x46¾ cm, 23¼x18⅜ inches, the mount 91.4x76.2 cm, 36x30 inches; with Abbott's block-lettered signature in pencil on mount recto, and her Abbott, Maine stamp on mount verso.

Lot: 85 - BERENICE ABBOTT (1898-1991) View of Exchange Place from Broadway. 1934; printed 1980s.

BERENICE ABBOTT (1898-1991) View of Exchange Place from Broadway. 1934; printed 1980s. Silver print, the image measuring 48¼x12 cm, 19x4¾ inches, the mount 76.2x35.6 cm, 30x14 inches; with Abbott's block-lettered signature in pencil on mount recto.

Lot: 86 - BERENICE ABBOTT (1898-1991) New York street scene. Circa 1935.

BERENICE ABBOTT (1898-1991) New York street scene. Circa 1935. Silver print, the image measuring 24x19 cm, 9½x7½ inches, the mount 43¼x35½ cm, 17x14 inches; with Abbott's block-lettered signature in pencil on mount recto, and her Maine credit stamp on mount verso.

Lot: 87 - PAUL J. WOOLF (1899-1985) Looking Down on Grand Central. 1935.

PAUL J. WOOLF (1899-1985) Looking Down on Grand Central. 1935. Silver print, the image measuring 24½x19 cm, 9⅝x7½ inches; with Woolf's credit stamp and his title and additional shooting notation in pencil on verso.

Lot: 88 - ARMIN LANDECK (1905-1984) Manhattan Vista. 1934.

ARMIN LANDECK (1905-1984) Manhattan Vista. 1934. Drypoint. 25¼x21½ cm, 10x8½ inches; full margins. Edition of 100. Signed, dated, and inscribed "Ed 100" in pencil, lower margin. Kraeft 47. This is a detail of Landeck's (1905-1984) View of New York lithograph, 1932; the large, tiered-base of the structure in the center is the Chrysler Building.

Lot: 89 - ARMIN LANDECK (1905-1984) Manhattan Nocturne. 1938.

ARMIN LANDECK (1905-1984) Manhattan Nocturne. 1938. Drypoint. 18x30¼ cm, 7⅛x11⅞ inches; full margins. Edition of 100. First state (of 2). Signed in pencil, lower right. Kraeft 70. This is a view from Landeck's window when he lived on the corner of University Place and 8th Street. The bank was located on University Place.

Lot: 90 - GEORGE GROSZ (1893-1959) Washington Square Outdoor Art Exhibition. 1934.

GEORGE GROSZ (1893-1959) Washington Square Outdoor Art Exhibition. 1934. Lithograph poster. 35½x28 cm, 14x11 inches; Interstate Printing Company, New York. The Washington Square Outdoor Art Exhibition began in 1931 when Jackson Pollack tried to sell some of his painting on the street to help him raise money to pay rent. He was soon joined by Willem de Kooning. The following year, it was formalized and has been held ever since. For the first few years, the show was promoted via small posters designed by some of the most prominent American cartoonists.Condition A-: minor water stains at edges. Printed on card, tipped to mat. Framed.

Lot: 91 - BERTRAM HARTMAN (1882-1960) Approach to Washington Bridge, New York City. 1934.

BERTRAM HARTMAN (1882-1960) Approach to Washington Bridge, New York City. 1934. Watercolor over pencil on paper. 49x61 cm, 19¼x24 inches; Signed and dated in pencil, lower right and signed, titled, and dated in pencil, verso. Provenance: Parke-Bernet Galleries, New York, April 7, 1971, sale 3185, lot 92; private collection, New York.

Lot: 92 - ARTHUR D. FULLER (1889-1966) Street Scene.

ARTHUR D. FULLER (1889-1966) Street Scene. Watercolor and ink on paper. 12½x16 cm, 4⅞x6¼ inches; Signed in ink, lower left. Provenance: Private collection, New York.

Lot: 93 - IDA ABRAMOVICH (1898-?) New York Skyline. 1935.

IDA ABRAMOVICH (1898-?) New York Skyline. 1935. Watercolor on paper. 38x54 cm, 14⅞x20⅞ inches; Signed and dated, lower right. Provenance: Private collection, New York.

Lot: 94 - LESLIE RAGAN (1897-1972) New York / The Upper Bay from Lower Manhattan. 1935.

LESLIE RAGAN (1897-1972) New York / The Upper Bay from Lower Manhattan. 1935. Lithograph poster. 100½x66 cm, 39½x26 inches; Latham Litho. Co., Long Island City. An intriguing and dramatic bird's-eye view of Battery Park, with New York harbor, the Statue of Liberty, Ellis Island and New Jersey visible in the background. The view is, in fact, based on a photograph taken by Percy Loomis Sperr from the Observation Deck of the Cities Service Building, 70 Pine Street, in Manhattan's financial district. The building, also referred to as 60 Wall Tower, was constructed between 1930 and 1932. "[Ragan's] work exemplified the American taste for realistic depiction while highlighting the natural environment for dramatic effect . . . Ragan's sense of composition and refined wash technique made his best images burst with reflected light. . . [his] cityscapes were particularly noteworthy for their dramatic perspective and powerful massing of Deco-styled skyscrapers. Appropriately, his New York City images best communicated the sense of dynamic rhythm and energy emblematic of the skyscraper age" (Zega, p. 95ff). An early 1940s photograph by Andreas Feininger was also shot from virtually this exact vantage point (see next lot). Zega 127, Metzl p. 157, New York p. 70.

Lot: 95 - ANDREAS FEININGER (1906-1999) Financial District. 1940s; printed circa 1990.

ANDREAS FEININGER (1906-1999) Financial District. 1940s; printed circa 1990. Silver print, the image measuring 55¼x45½ cm, 21¾x17⅞ inches, the sheet 61x50¾ cm, 24x20 inches; with Feininger's signature in pencil on verso.

Lot: 96 - ANDREAS FEININGER (1906-1999) 42nd Street, New York as Viewed from Weehawken, N.J. 1942; printed 1997.

ANDREAS FEININGER (1906-1999) 42nd Street, New York as Viewed from Weehawken, N.J. 1942; printed 1997. Silver print, the image measuring 26.4x33.3 cm, 10⅜x13⅛ inches, the sheet 40.6x50.8 cm, 16x20 inches; with Feininger's signature in ink on recto, and his credit, title, negative and print dates, and the Time Inc. copyright in pencil, and an edition stamp with the edition notation 33/50 + 10, also in pencil, on verso.

Lot: 97 - (AERIAL EXPLORATIONS, INC.) A selection of 10 aerial views of New York City, including Williamsburg, the West Side Highway, bridges, Qu

(AERIAL EXPLORATIONS, INC.) A selection of 10 aerial views of New York City, including Williamsburg, the West Side Highway, bridges, Queens, Manhattan, and more. Circa 1935-38. Silver prints, the images measuring 17¾x23 cm, 7x9 inches, and slightly smaller, the sheets slightly larger, one flush mounted, each with an Aerial Explorations credit in the negative, and 7 with an Aerial Explorations copyright and/or an Aerial Explorations address stamp and each with a caption and most with a date in pencil or ink, on verso. Spuyten Duyvil, Henry Hudson Parkway Bridge, Bronx, 1938 * World's Fair, Flushing (2), nd * Radio City, Palazzo d'Italia, Manhattan, 1935 * West Side Highway, 1936 * Williamsburg Housing Project, Brooklyn, 1937 * Williamsburg, McCormick, 1936 * North Beach Airport in foreground, Rikers Island in background, nd * Grand Central Parkway Extension, 1935 * Kew Gardens, Grand Central Parkway, 1935.

Lot: 98 - BERENICE ABBOTT (1898-1991) Penn Station, Interior. 1936; printed 1980s.

BERENICE ABBOTT (1898-1991) Penn Station, Interior. 1936; printed 1980s. Silver print, the image measuring 489x38½ cm, 19¼x15⅛ inches, the mount 66x50¾ cm, 26x20 inches; with Abbott's block-lettered signature in pencil on mount recto, and the Abbott/Commerce Graphics stamp on mount verso.

Lot: 99 - BERENICE ABBOTT (1898-1991) Manhattan Bridge (looking up). 1936.

BERENICE ABBOTT (1898-1991) Manhattan Bridge (looking up). 1936. Silver print, the image measuring 24¾x19¾ cm, 9¾x7¾ inches, the sheet slightly larger; with Abbott's Commerce St. and her Federal Art Project "Changing New York" stamps, and the title, location, date, and negative number in pencil on verso. Berenice Abbott's multi-year documentary project photographing New York City's built environment and its material culture remains one of the most enduring and influential bodies of work from the 20th century. Though she began the project in 1929, it wasn't until 1935 that Abbott was accepted by the WPA Federal Art Project, working as a 'supervisor' for the government program meant to employ artists and other related workers. The project resulted in a 1939 traveling exhibition and book called Changing New York, the latter of which reproduced 97 photographs and included text by Elizabeth McCausland.

Lot: 100 - BERENICE ABBOTT (1898-1991) Washington Square with Statue of Garibaldi. 1936.

BERENICE ABBOTT (1898-1991) Washington Square with Statue of Garibaldi. 1936. Silver print, the image measuring 24x19¾ cm, 9½x7¾ inches, the sheet slightly larger; with Abbott's Federal Art Project "Changing New York" stamp with the title, location, date, and negative number in pencil, on verso.

Lot: 101 - WILLIAM SHARP (1900-1961) Evening Repast, East River. 1936.

WILLIAM SHARP (1900-1961) Evening Repast, East River. 1936. Oil on canvas. 48½x60½ cm, 24x19 inches; Initialed lower left, and with the estate stamp twice verso, and titled, dated and inscribed "Old Meat Packing Warehouses, around 43-50 Sts." on the tacking edge verso. Provenance: Estate of the artist; private collection, New York.

Lot: 102 - CECIL BEATON (1904-1980) Ice Delivery Cart. 1937.

CECIL BEATON (1904-1980) Ice Delivery Cart. 1937. Silver print, the image measuring 25½ cm, 10 inches square, the sheet slightly larger; with Beaton's signature, location, and numeric notations in pencil, his credit stamp, a numeric stamp (B 2113), and the Beaton Studio / Sotheby Parke Bernet stamp with the edition notation 1/1 in ink, on verso. Reproduced: Cecil Beaton's New York (London: B. T. Batsford, 1938), p. 46.

Lot: 103 - BARBARA MORGAN (1900-1992) Spring on Madison Square (Photomontage). 1938; printed 1980.

BARBARA MORGAN (1900-1992) Spring on Madison Square (Photomontage). 1938; printed 1980. Silver print, the image measuring 35½x43½ cm, 14x17⅛ inches, the sheet 40½x50¾ cm, 16x20 inches; with Morgan's signature, title, and negative date in ink on recto, and her signature, title, and negative and print dates in ink on verso.

Lot: 104 - BERENICE ABBOTT (1898-1991) Charles Lane, between West and Washington Streets. 1938.

BERENICE ABBOTT (1898-1991) Charles Lane, between West and Washington Streets. 1938. Silver print, the image measuring 23¼x17½ cm, 9⅛x6⅞ inches; with Abbott's Federal Art Project "Changing New York" stamp with the title, location, date, and negative number in pencil on verso.

Lot: 105 - ARTHUR ZAIDENBERG (1908-1990) Downtown District of Manhattan. 1938.

ARTHUR ZAIDENBERG (1908-1990) Downtown District of Manhattan. 1938. Offset lithograph illustrated map. 64¼x96½ cm, 25¼x38 inches; Gardner Osborn, [New York]. Teacher, printmaker, sculptor and artist, Zaidenberg is best remembered for his seminal work Anyone Can Draw, published the same year that he designed this map. Throughout his career, he designed over 100 murals for hotels in Miami, New York and for the cruise ship Rotterdam. Most likely, this map was created for the New York World's Fair.Condition A-: repaired tears and restoration in margins; minor abrasions and slight overpainting along vertical and horizontal folds.

Lot: 106 - RUTH ORKIN (1921-1985) Trylon and Perisphere, Times Square. 1939; printed before 1985.

RUTH ORKIN (1921-1985) Trylon and Perisphere, Times Square. 1939; printed before 1985. Silver print, the image measuring 26¾x33¼ cm, 10½x13⅛ inches, the sheet slightly larger; with Orkin's "Lifetime Print" Estate stamp with Mary Engel's signature in pencil on verso.

Lot: 107 - LESLIE RAGAN (1897-1972) The Scenic Route to New York World's Fair / New York Central System. 1939.

LESLIE RAGAN (1897-1972) The Scenic Route to New York World's Fair / New York Central System. 1939. Lithograph poster. 101x66 cm, 39¾x26 inches; Forbes, Boston. An assemblage of scenic, captioned snapshots that travelers might see on a trip to New York City to visit the World's Fair, with the iconic Trylon and Perisphere prominently in the foreground. Many of the little views roughly correspond with pre-existing New York Central Line posters, while the other images were actually used on brochures published by the railroad. New York p. 81.

Lot: 108 - SASCHA MAURER (1897-1961) World's Fair New York / Straight to the Gate / Pennsylvania Railroad. 1939.

SASCHA MAURER (1897-1961) World's Fair New York / Straight to the Gate / Pennsylvania Railroad. 1939. Lithograph poster. 102¼x63 cm, 40¼x25 inches. A young couple observes the ease and convenience of getting to the World's Fair on the Pennsylvania Railroad; the red trains shoot through the nighttime cityscape to the bright World's Fair station. Visible among New York's newly completed architectural details are the Empire State and Chrysler buildings, Rockefeller Center, a larger-than-life Pennsylvania Station and the Fair's Trylon and Perisphere. One of two posters the artist designed for the Pennsylvania Railroad promoting travel to the Fair. New York p. 118.

Lot: 109 - RUSSELL PATTERSON (1893-1977) A Map of New York. 1939.

RUSSELL PATTERSON (1893-1977) A Map of New York. 1939. Offset lithograph illustrated map. 56x70½ cm, 22x27¾ inches; R.H. Macy & Co., New York. A map self-described as "A Chart neither too Literal nor too Emotional, shewing the city New York replete with the wondrous Spectacles, Mysteries, and Pastimes of the natives . . . Done in the year of the New York World's Fair - 1939." Patterson's design was published by Macy's department store, as a promotional keepsake for the 1939 World's Fair. Patterson was a well-known illustrator, finding his stride when he moved back to the US from his studies in France, at the start of the Jazz Age. His pin-up-esque flappers graced the pages of College Humor magazine, and he was a succesful costume and set designer in Hollywood in the 1930s. This map design came out of his return to New York and collaboration with Macy's in the late '30s.Condition A-: minor abrasions and slight overpainting along vertical and horizontal folds; minor creases, abrasions and repaired tears in margins.

Lot: 110 - EZRA STOLLER (1915-2004) A pair of photographs of the Finnish Pavilion, New York World's Fair. 1939; printed 1990s.

EZRA STOLLER (1915-2004) A pair of photographs of the Finnish Pavilion, New York World's Fair. 1939; printed 1990s. Together, 2 silver prints, the images measuring 33¾x27 cm, 13¼x10⅝ inches, and slightly smaller, the sheets slightly larger; each with an Esto Photographs Inc. label with Stoller's printed credit, title, and negative date, and his initials and negative date in pencil, on verso.

Lot: 111 - LOU STOUMEN (1917-1991) Times Square, Sunrise, The New York Times Building. 1940; printed 1980s.

LOU STOUMEN (1917-1991) Times Square, Sunrise, The New York Times Building. 1940; printed 1980s. Silver print, the image measuring 45¾x35.6 cm,18x14 inches, the sheet slightly larger; with Stoumen's "Certified Negative and Print made by Lou Stoumen From the Artist's Estate" stamp, and the title and negative date in pencil in an unknown hand, on verso.

Lot: 112 - OTTO NIELSEN (1916-2000) Scandinavian Airlines System / New York by SAS. 1952.

OTTO NIELSEN (1916-2000) Scandinavian Airlines System / New York by SAS. 1952. Offset lithograph poster. 100¼x61 cm, 39½x24 inches; The Aller Press, Ltd., [Copenhagen]. The style, glamour, hustle and bustle of New York's Times Square, visible in the form of fashionable multitudes thronging the area beneath the Times Building from which the area derives its name. At least one neon sign is partially visible on the left side, the "ENEX," which was part of the larger "Kleenex" advertisement. "This is one of a few posters that highlight the area's architecture, most notably through the inclusion in the background of the Continental Building, completed in 1931 at Forty-First Street and Broadway" (New York p. 163). New York p. 163.

Lot: 113 - KEITH HOWLAND (1925-2004) Fly BCPA to America / [Times Square]. Circa 1947.

KEITH HOWLAND (1925-2004) Fly BCPA to America / [Times Square]. Circa 1947. Offset lithograph poster. 72½x47½ cm, 28½x18¾ inches; The British Commonwealth Pacific Airlines were formed in 1947, a joint venture between the Australian, New Zealand and British Governments. In 1954, the company was taken over by Qantas. Howland designed several posters for the company during their brief seven years of existence. When Times Square's famous neon sign advertising the Bond Clothing Store was erected in 1940, it was topped by another enormous neon sign advertising Wrigley's Gum featuring fish blowing bubbles (depicted here). The Wrigley's portion was removed in 1948 and replaced by the Bond Clothing Store's waterfall by Douglass Leigh. New York p. 160.

Lot: 114 - WILLIAM KLEIN (1928-2022) Bond, Apparel for Women. 1954; printed 1980s.

WILLIAM KLEIN (1928-2022) Bond, Apparel for Women. 1954; printed 1980s. Silver print, the image measuring 29½x44½ cm, 11⅝x17½ inches, the sheet 39½x50¼ cm, 15½x19¾ inches; with Klein's signature, title, and negative date in pencil on verso.

Lot: 115 - HARRY ROGERS (1929-2012) New York / Fly there by Qantas. Circa 1958.

HARRY ROGERS (1929-2012) New York / Fly there by Qantas. Circa 1958. Lithograph poster. 96x70 cm, 37¾x27½ inches; Posters Pty Ltd., Australia. "Qantas began it's 'Round-the-World service' in 1958, with Super Constellations leaving from Melbourne flying both to the East and to the West. It was the only international airline at the time that had the right to operate across the United States" (New York p. 167). Australian-born Rogers studied art in his native Sydney before moving to California for three years to study animation at UCLA. Returning to Australia as a freelance artist, Rogers' primary client was Qantas, for whom he designed a number of different poster series between the 1950s and 1970s. In addition to designing posters for the firm, he was also involved in other aspects of their corporate identity, from brochures to typefaces. New York p. 167.

Lot: 116 - FRANK WOOTTON (1914-1998) Vuele a Los EE - UU Por BOAC. 1950.

FRANK WOOTTON (1914-1998) Vuele a Los EE - UU Por BOAC. 1950. Offset lithograph poster. 76¾x52¾ cm, 30¼x20¾ inches. This poster "provides an evocative glimpse of the countless illuminated windows of Midtown office buildings and the glow of streetlights on a rainy night" (New York p. 162). "At the upper right, a Boeing 377 Stratocruiser, recognizable by its bulbous nose, speeds through the night sky. The aircraft, which went into service in 1950, was based on the design for the B-29 Superfortress used during World War II, and was designed to compete with the Lockheed Constellation and the Douglass DC-6" (Ibid.). This is the Spanish version. New York p. 162.

Lot: 117 - DICK NEGUS (1927-2011) & PHILIP SHARLAND (1923-1986) Fly by BOAC / USA. 1954.

DICK NEGUS (1927-2011) & PHILIP SHARLAND (1923-1986) Fly by BOAC / USA. 1954. Silkscreen poster. 100x62½ cm, 39½x24½ inches. "In what might be seen as a precursor to David Klein's poster for TWA showing Times Square, this composition, filled with abstract representations of buildings, lights, neon signs, and rapidly flowing traffic, is the first to apply rudimentary Atomic Era design principles to an adverstisment for travel to america. Although it does not mention New York by name, the visual connection to Times Square is obvious" (New York, p. 165). New York p. 164.

Lot: 118 - DAVID KLEIN (1918-2005) New York Fly TWA. Circa 1960.

DAVID KLEIN (1918-2005) New York Fly TWA. Circa 1960. Offset lithograph and silkscreen poster. 102¾x63½ cm, 40½x25 inches. Originally issued in 1956, the poster featured a detailed image of a TWA Constellation. The image was so popular that the airline reused it when it fully entered the Jet Age, changing the image to feature the silhouette of a jet plane. A year after it was first issued, a copy of this poster was acquired by the Museum of Modern Art for their permanent collection. This is the larger version, with the silhouetted jet plane. Huhne p. 59 (var), Metzl p. 166 (var), Airways p. 148 (var), MoMA 329.1957 (var), Taschen p. 444, New York p. 166 (var).

Lot: 119 - CHARLES ROBERT PERRIN (1915-1999) New York / Northeast Airlines. Circa 1961.

CHARLES ROBERT PERRIN (1915-1999) New York / Northeast Airlines. Circa 1961. Offset lithograph poster. 87½x60 cm, 34½x23½ inches; "Northeast Airlines was formed in 1940, ultimately merging with Delta Air Lines in 1972. It began using Convair 880 jets in 1960, indicating that this poster, which features one in the upper register, could not have been printed before that date. By 1966, Northeast Airlines had changed its livery to yellow and white, and its planes became known as the Yellowbirds" (New York p. 169). Perrin highlights the bustling city streets filled with busy shoppers, a hot dog cart, pigeons blurred by their movement, and a historical, bishop's crook, twin-lamp post. New York p. 169.

Lot: 120 - LEE FRIEDLANDER (1934- ) New York City (Father Duffy, Times Square). 1974; printed before 1978.

LEE FRIEDLANDER (1934- ) New York City (Father Duffy, Times Square). 1974; printed before 1978. Silver print, the image measuring 19½x28½ cm, 7⅝x11¼ inches, the sheet 28x35½ cm, 11x14 inches; with Friedlander's signature, title, and negative date in pencil, and his copyright stamp on verso.

Lot: 121 - LEE FRIEDLANDER (1934- ) New York City [flag]. 1965; printed circa 1973.

LEE FRIEDLANDER (1934- ) New York City [flag]. 1965; printed circa 1973. Silver print, the image measuring 16¼x24½ cm, 6⅜x9⅝ inches, the mount 39½x50¾ cm, 15½x20 inches, with Friedlander's signature and edition notation 63/75 in pencil on mount recto. From the portfolio Fifteen Photographs published by Double Elephant in 1974. The photographs were printed by Friedlander.

Lot: 122 - NOEL MAHAFFEY (1944- ) Times Square. 1980.

NOEL MAHAFFEY (1944- ) Times Square. 1980. Oil on canvas. 92x107½ cm, 36¼x42¼ inches; Initialed lower right. Provenance: OK Harris, New York, with the label; private collection, Pennsylvania.

Lot: 123 - FRED CONWAY (1900-1972) New York New York / American Airlines. Circa 1965.

FRED CONWAY (1900-1972) New York New York / American Airlines. Circa 1965. Offset lithograph poster. 101½x75 cm, 40x29½ inches. In this energetic composition of a rainy Times Square, "many of the signs in this poster did not actually exist or were situated elsewhere in the neighborhood . . . Two pop-culture references help to determine the date of this poster: Hello Dolly premiered on Broadway in 1964, and the headline 'Gemini Pilots in Orbit' that appears on the news 'zipper' would have been announced between 1965 and 1966" (New York p. 171). Additionally, the AA and eagle logo in the red circle was in use from 1962-1967. New York p. 171.

Lot: 124 - ERNST HAAS (1921-1986) Times Square Reflection, NYC. 1962; printed 1999.

ERNST HAAS (1921-1986) Times Square Reflection, NYC. 1962; printed 1999. Silver print, the image measuring 21½x33 cm, 8½x13 inches, the sheet 28x35½ cm, 11x14 inches; with the Haas Studio stamp with Alexander Haas' signature, the title, negative and print dates, edition notation "NE (2)," and printer's credit in pencil, on verso.

Lot: 125 - LISETTE MODEL (1901-1983) Running Legs, 42nd Street, New York. 1940-41; printed circa 1970.

LISETTE MODEL (1901-1983) Running Legs, 42nd Street, New York. 1940-41; printed circa 1970. Silver print, the image measuring 34½x42¼ cm, 13⅝x16⅝ inches, the sheet slightly larger; with Model's Estate stamp with the Archive Number C34 in pencil on verso.

Lot: 126 - SID GROSSMAN (1913-1955) New York - the Eight Avenue "El" goes down. Circa 1941.

SID GROSSMAN (1913-1955) New York - the Eight Avenue "El" goes down. Circa 1941. Silver print, the image measuring 20x24¾ cm, 7⅞x9¾ inches; with Grossman's credit stamp and his title in ink on verso.

Lot: 127 - DESIGNER UNKNOWN New York Town. 1941.

DESIGNER UNKNOWN New York Town. 1941. Offset lithograph poster. 104¼x69¾ cm, 41x27½ inches; Morgan Litho. Corp., Cleveland. A romantic comedy film directed by Charles Vidor, notable for its long "one-take" opening scene.

Lot: 128 - DESIGNER UNKNOWN Tales of Manhattan. 1942.

DESIGNER UNKNOWN Tales of Manhattan. 1942. Lithograph poster. 102¾x67¼ cm, 40½x26½ inches; Tooker Litho. Co., New York. An impressive roll call of actors such as Charles Boyer, Rita Hayworth, Ginger Rogers, Paul Robeson and Jane Fonda were featured in this multi-story anthology film. Thirteen writers collaborated on this film based on the Mexican writer Francisco Rojas González's novel, Historia de un frac.

Lot: 129 - DESIGNER UNKNOWN Greenwich Village. 1944.

DESIGNER UNKNOWN Greenwich Village. 1944. Offset lithograph poster. 104¼x69¾ cm, 41x27½ inches; Tooker Litho. Co., New York. A comedy-drama musical film from Twentieth Century Fox starring Carmen Miranda, Don Ameche, William Bendix and Vivian Blaine in the top-billed roles.

Lot: 130 - ISABEL BISHOP (1902-1988) Three etchings. 1940s.

ISABEL BISHOP (1902-1988) Three etchings. 1940s. Reaching For the Coat Sleeve, 1943 * In the Bus, 1947 * Double Date Delayed, 1948. Each signed in pencil, lower right. Various sizes and conditions. Teller 32, 41, and 43.

Lot: 131 - HERBERT MATTER (1907-1984) Radio City Music Hall, interior * Rockefeller Center Parking Garage. 1940s.

HERBERT MATTER (1907-1984) Radio City Music Hall, interior * Rockefeller Center Parking Garage. 1940s. Together, 2 silver prints, the images measuring 33x24¾ cm, 13x9¾ inches and 26x34¼ cm, 10¼x13½ inches; the first flush mounted, the second mount slightly larger, each with "The Estate of Herbert Matter" credit stamp on mount verso.

Lot: 132 - JEANNE EBSTEL (1905-2000) Men reading newspapers on the El. Circa 1945.

JEANNE EBSTEL (1905-2000) Men reading newspapers on the El. Circa 1945. Silver print, the image measuring 15¼x12 cm, 6x4¾ inches, the sheet slightly larger; with Ebstel's signature in pencil on verso. Ebstel began working in the visual arts in the 1930s while recovering from an illness. She studied at the Art Student's League of New York, and her artworks include sketches, paintings, and photographs. In 1947, she married John Ebstel, a painter and photographer, and fellow Photo League member. Both were closely involved in the New York artistic, cultural, and political scene.

Lot: 133 - BEDRICH GRUNZWEIG (1910-2009) Home Town Papers (Times Square). 1969; printed circa 1990.

BEDRICH GRUNZWEIG (1910-2009) Home Town Papers (Times Square). 1969; printed circa 1990. Silver print, the image measuring 77¾x26½ cm, 30⅝x10⅜ inches, the sheet slightly larger; with Grunzweig's signature, title, and negative date in pencil, and his copyright stamp, on verso.

Lot: 134 - SUMIHARU WATANABE (1928- ) Face of Washington Square. 1965.

SUMIHARU WATANABE (1928- ) Face of Washington Square. 1965. Text in Japanese. Illustrated with full-page reproductions of Watanabe's photographs of New York City's architecture and inhabitants in and around the famous landmark. 4to, black wrappers; photo-pictorial jacket; lightly worn. FIRST JAPANESE EDITION. Tokyo: Hashimoto Yuyodo. Sumiharu Watanabe was one of the few Japanese photographers to travel to New York in the 1960s. He worked at Nikon USA between 1962 and 1964, and as a newcomer to the city, wandered the streets with his camera, capturing a changing city landscape through fresh eyes. One of the more underappreciated documents of 1960s New York, Watanabe masterfully documents Greenwich Village, specifically Washington Square Park, and the people who spent time there. He records daily life: people playing in the fountain, playing music, playing chess, working in storefronts and restaurants, participating in actions and demonstrations, partying, and more. Shots progress from Spring to Winter, giving a naturalistic and lyrical tone to the work.

Lot: 135 - TODD WEBB (1905-2000) 7th Avenue near 23rd Street (Cabby's Dress Center). November 1946; printed 1960s.

TODD WEBB (1905-2000) 7th Avenue near 23rd Street (Cabby's Dress Center). November 1946; printed 1960s. Silver contact print, the image measuring 25½x20¼ cm, 10x8 inches; with Webb's signature in ink, and the title, negative date, and inventory number in pencil, on verso.

Lot: 136 - TODD WEBB (1905-2000) Mr. Perkins Pierce Arrow, Harlem. 1946.

TODD WEBB (1905-2000) Mr. Perkins Pierce Arrow, Harlem. 1946. Silver print, the image measuring 26½x33¾ cm, 10⅜x13¼ inches, the sheet slightly larger; with Webb's signature, title, location, and date in pencil on verso.

Lot: 137 - TODD WEBB (1905-2000) Corner of 6th Avenue & 47th Street, with Rockefeller Center building in the background. June 1948.

TODD WEBB (1905-2000) Corner of 6th Avenue & 47th Street, with Rockefeller Center building in the background. June 1948. Silver print, the image measuring 24x19½ cm, 9½x7⅝ inches, the sheet slightly larger; with Webb's credit and date in pencil, a Standard Oil Company stamp, and a typed title label, on verso.

Lot: 138 - TED CRONER (1922-2005) Taxi - New York - Night. 1947-48; printed 1990s.

TED CRONER (1922-2005) Taxi - New York - Night. 1947-48; printed 1990s. Silver print, the image measuring 39¾x39 cm, 15⅝x15⅜ inches, the sheet 50¾x40½ cm, 20x16 inches; with Croner's signature in pencil on verso.

Lot: 139 - TED CRONER (1922-2005) Central Park South. 1947-48; printed 1999.

TED CRONER (1922-2005) Central Park South. 1947-48; printed 1999. Silver print, the image measuring 38¾x49 cm, 15¼x19¼ inches, the sheet slightly larger; with Croner's signature in pencil and his copyright stamp with the title, negative and print dates, and print number 27 in pencil in an unknown hand on verso.

Lot: 140 - DESIGNER UNKNOWN USA Flugreisen Mit BOAC. 1957.

DESIGNER UNKNOWN USA Flugreisen Mit BOAC. 1957. Lithograph poster. 93x62¼ cm, 39½x24½ inches. "This is one of the British Overseas Airways Corporation's last posters promoting transatlantic travel prior to its entry into the jet age. . . The frenetic street scene, in which cars appear to be going in every direction, perfectly captures the chaotic traffic of Manhattan as experienced by someone unfamiliar with it" (New York p. 188). This is the German version. New York p. 189.

Lot: 141 - HARRY WARNECKE (1900-1984) New York, as seen from the Staten Island Ferry * Queensborough Bridge. 1948.

HARRY WARNECKE (1900-1984) New York, as seen from the Staten Island Ferry * Queensborough Bridge. 1948. Together, 2 tri-color carbro prints, the images each measuring 32x42½ cm, 12⅝x16¾ inches, the sheets 40½x50¾ cm, 16x20 inches, and slightly smaller, the first one flush mounted, the second mount 45¾x56 cm, 18x22 inches; each with Warnecke's signature in pencil, and one with the title, date, and additional notation, also in pencil, on mount verso.

Lot: 142 - WEEGEE [ARTHUR FELLIG] (1899-1968) Prisoners leaving the Armory for Court at 94th St. and Madison Ave. August 1943.

WEEGEE [ARTHUR FELLIG] (1899-1968) Prisoners leaving the Armory for Court at 94th St. and Madison Ave. August 1943. Silver press print, the image measuring 19x24 cm, 7½x9½ inches, the sheet slightly larger; with Weegee's credit stamp, a Culver Pictures Press stamp, a typed caption label, a date stamp, and the title in pencil, on verso.

Lot: 143 - DIANE ARBUS (1923-1971) Pin-Up Collection at a Barber Shop. 1963; printed 1980 by Neil Selkirk.

DIANE ARBUS (1923-1971) Pin-Up Collection at a Barber Shop. 1963; printed 1980 by Neil Selkirk. Silver print, the image measuring 37½ cm,14¾ inches square, the sheet 50¾x40½ cm, 20x16 inches; with the "A Diane Arbus Photograph" stamp with the title, negative date, printer's credit, Doon Arbus' signature, and edition notation 9 of 75 in ink, and the Estate reproduction and copyright stamps with date (1980) also in ink, on verso.

Lot: 144 - CORNELL CAPA (1918-2008) Pitching Ball, New York. 1948; printed before 2001.

CORNELL CAPA (1918-2008) Pitching Ball, New York. 1948; printed before 2001. Silver print, the image measuring 36¾x35½ cm, 14½x14 inches, the sheet 50¾x40½ cm, 20x16 inches; with Capa's credit and copyright label with his signature, title, negative date, and negative number in ink, on verso.

Lot: 145 - IRVING PENN (1917-2009) New York Cartoonists. 1947.

IRVING PENN (1917-2009) New York Cartoonists. 1947. Silver print, the image measuring 33¾x45½ cm, 13¼x17⅞ inches, the mount 47x50¾ cm, 18½x20 inches; with Penn's signature, partial title, and date in ink on mount recto, and his credit stamp and a copyright stamp on mount verso. Provenance: Christie's, October 17, 2007, sale 2086, lot 119; to the Present Owner.

Lot: 146 - NORMAN PARKINSON (1913-1990) Lisa Fonssagrives for Vogue, New York. 1949; printed later.

NORMAN PARKINSON (1913-1990) Lisa Fonssagrives for Vogue, New York. 1949; printed later. Chromogenic print, the image measuring 90¼x71½ cm, 35½x28⅛ inches, the sheet slightly larger, with the Norman Parkinson Archive credit, copyright, and reproduction limitation stamp, and the title, negative date, edition notation 2/21, and the signature of a representative in ink, on verso. Reproduced: Norman Parkinson, Always in Fashion (ACC Art Books, 2019), p. 54.

Lot: 147 - WILLIAM KLEIN (1928-2022) Dolores wants a Taxi, New York (Vogue). 1958; printed 2021.

WILLIAM KLEIN (1928-2022) Dolores wants a Taxi, New York (Vogue). 1958; printed 2021. Chromogenic print, the image measuring 151x117 cm, 59½x46⅛ inches; the sheet 172½x127 cm, 67⅞x49⅞ inches; number 14 from an edition of 30. Provenance: William Klein, Paris; Private Collection, New York; Christie's Paris, online sale 21071 lot 65, October 25, 2022 - November 8, 2022; to a Private Collection, New York.

Lot: 148 - ERNST HAAS (1921-1986) Yellow Cab. 1952; printed 2017.

ERNST HAAS (1921-1986) Yellow Cab. 1952; printed 2017. Chromogenic print, the image measuring 44x66 cm, 17⅜x26 inches, the sheet 50¾x76¼ cm, 20x30 inches; with the Estate of Ernst Haas credit, partial title, negative date, and edition notation 3/40 in ink on verso, and the Ernst Haas Studio label with Alexander Haas' signature, title, negative and print dates, edition notation 3/40, and printer's credit in ink on frame verso; framed.

Lot: 149 - RUTH ORKIN (1921-1985) White cars, snow, West 88th Street, New York * From My Window, 53 West 88th Street, Manhattan. Circa 1952.

RUTH ORKIN (1921-1985) White cars, snow, West 88th Street, New York * From My Window, 53 West 88th Street, Manhattan. Circa 1952. Together, 2 silver prints, the images measuring 16x23¾ cm and 22¼x34 cm, 6¼x9⅜ and 8¾x13⅜ inches; each with two of Orkin's address stamps and the first with her copyright stamp, and both with her title in ink, on verso. "From Horatio Street, I moved to 53 West 88th Street in 1950. It was a second story brownstone apartment with a beautiful bay window. I took black and white pictures from that window for four years. I loved watching the life on the street." - RUTH ORKIN.

Lot: 150 - LOUIS FAURER (1916-2001) Orchard Street, New York. Circa 1947; printed circa 1980.

LOUIS FAURER (1916-2001) Orchard Street, New York. Circa 1947; printed circa 1980. Silver print, the image measuring 20¼x30½ cm; 8x12 inches, the sheet 28x35½ cm, 11x14 inches; with Faurer's signature and negative date in ink on recto.

Lot: 151 - LOUIS FAURER (1916-2001) Home of The Brave. 1949; printed circa 1980.

LOUIS FAURER (1916-2001) Home of The Brave. 1949; printed circa 1980. Silver print, the image measuring 18x26¾ cm, 7⅛x10½ inches, the sheet 28x35½ cm, 11x14 inches; with Faurer's signature and negative date in ink on recto.

Lot: 152 - FRED ZINNEMANN (1907-1997) The Champ, Astor Theater, Times Square. 1931.

FRED ZINNEMANN (1907-1997) The Champ, Astor Theater, Times Square. 1931. Silver print, the image measuring 20¼x34 cm, 8x13⅜ inches; with Tim Zinnemann's signature and credit notation "The Estate of Fred Zinnemann" in pencil on verso. Provenance: Grisebach, Berlin, sale 256, lot 2172, 2016; to the Present Owner.

Lot: 153 - ROY SCHATT (1919-2002) Mc Dougal St., Greenwich Village. 1950s.

ROY SCHATT (1919-2002) Mc Dougal St., Greenwich Village. 1950s. Silver print, the image measuring 27½x35 cm, 10⅞x13¾ inches, the sheet slightly larger; with Schatt's signature in ink, and his credit and copyright stamps on verso.

Lot: 154 - FRITZ HENLE (1909-1993) New York Building study. Circa 1950; printed 1980s.

FRITZ HENLE (1909-1993) New York Building study. Circa 1950; printed 1980s. Silver print, the image measuring 21x33¾ cm, 8¼x13¼ inches; with Henle's signature and location in pencil on verso.

Lot: 155 - LEON DOLICE (1892-1960) Empire State Building.

LEON DOLICE (1892-1960) Empire State Building. Color pastels on paper. 51x22 cm, 20⅛x8⅝ inches; Signed in pencil, lower left. Provenance: Private collection, New York.

Lot: 156 - JEAN EVEN (1910-1986) Air France / Amerique Du Nord. 1950.

JEAN EVEN (1910-1986) Air France / Amerique Du Nord. 1950. Offset lithograph poster. 100x63 cm, 39¾x24¾ inches; Havas, [Paris]. "In addition to his work for Air France, Jean Even produced posters for Evian, the Moroccan tourism board, and Crédit Agricole. He was also the official artist for the French navy during the 1950s" (New York p. 140). This is the larger of two versions. Air France 50, New York p. 140.

Lot: 157 - FREDERICK "FRITZ" SIEBEL (1913-1991) Wonderful Way to Get There / Farrell Lines / Cape Town New York. Circa 1951.

FREDERICK "FRITZ" SIEBEL (1913-1991) Wonderful Way to Get There / Farrell Lines / Cape Town New York. Circa 1951. Offset lithograph poster. 107¼x71 cm, 42¼x28 inches. "In 1948, American South African Lines was renamed Farrell Lines, providing passenger and cargo service between South Africa and New York. By the early 1950s, two single-funnel sister ships - the African Enterprise and the African Endeavor plied the route between Cape Town and Manhattan," one of which is illustrated here (New York p. 105). For this exceptional image, "Siebel created an imaginary, collaged cityscape and urban portrait, incorporating iconic monuments, buildings and neighborhoods like the Brooklyn Bridge, the United Nations, and Times Square. In vibrant, stained glass tones he showcases the city simultaneously dappled in sun and lit up at night" (ibid). New York p. 105.

Lot: 158 - HENRI OTT (1919-2009) New York / Swissair. 1951.

HENRI OTT (1919-2009) New York / Swissair. 1951. Linocut poster. 98x59½ cm, 38½x23½ inches. Ott designed a series of linocut posters for Swissair, including images of a boat under the Brooklyn Bridge, as well as landmarks in Hamburg, Copenhagen, London, Rome and more. "Ott's colorful interpretation of New York City at night is one of the earliest mid-century modernist views of the city's skyline in a poster. . . The neon Pepsi sign is the only recognizable landmark behind the Statue of Liberty - an unexpected and likely unsolicited product placement" (not to mention, it is shown in the wrong borough (New York p. 46). New York p. 46.

Lot: 159 - BRUCE DAVIDSON (1933- ) Statue of Liberty at Night. 1958; printed 1980s.

BRUCE DAVIDSON (1933- ) Statue of Liberty at Night. 1958; printed 1980s. Silver print, the image measuring 47¼x36½ cm, 18⅝x14⅜ inches, the sheet slightly larger; with Davidson's signature in pencil on verso.

Lot: 160 - STANLEY WALTER GALLI (1912-2009) New York / United Air Lines. Circa 1960.

STANLEY WALTER GALLI (1912-2009) New York / United Air Lines. Circa 1960. Offset lithograph poster. 101½x63½ cm, 40x25 inches. Galli was a California painter, illustrator and printmaker. Although a member of the New York and California Society of Illustrators, and the designer of 26 stamps for the United States Postal Service, he is best remembered for the series of posters he designed for United Air Lines in the 1950s and 60s. New York p. 52.

Lot: 161 - "OPPY"(AMELIA OPDYKE JONES, 1913-1993) I Am An American Day. 1951.

"OPPY"(AMELIA OPDYKE JONES, 1913-1993) I Am An American Day. 1951. Lithograph poster. 28x53½ cm, 11x21 inches. "I Am an American Day" became a holiday at the 1939 New York World's Fair. Congress, under President Truman, changed the name to Citizenship Day in 1952, and moved the date to September 17th. Vincent R. Impellitteri was the 101st Mayor of New York City, from 1950 to 1953. Amelia Jones was an American cartoonist who sometimes signed her work "Oppy." She is best known for taking over the "The Subway Sun" comic strip posters from artist Fred Cooper - a series promoting good manners and an anti-littering campaign on the Subway. Oppy claimed credit for introducing the word "litterbug," an adaptation of the term "jitterbug."Condition B+: restoration in margins; repaired tears at edges, some into image; slight overpainting along creases in image; minor creases and abrasions in margins and image.

Lot: 162 - DESIGNER UNKNOWN Martin Luther King, Jr. / New York State Holiday Commission. 1986.

DESIGNER UNKNOWN Martin Luther King, Jr. / New York State Holiday Commission. 1986. Lithograph poster. 55¼x43¼ cm, 21¾x17 inches. January 20, 1986 marked the first national Martin Luther King Jr. holiday, three years after the holiday was signed into law.

Lot: 163 - HARLEY WOOD (DATES UNKNOWN) New York / Go By Train / Pennsylvania Railroad. 1952.

HARLEY WOOD (DATES UNKNOWN) New York / Go By Train / Pennsylvania Railroad. 1952. Offset lithograph poster. 64x102¾ cm, 25¼x40½ inches. From the top of the Empire State Building, "the lighted avenues below seem to mimic rail lines like those in many classic French railway posters, turning the terrace of the building into a romantic caboose at the back of the train" (New York p. 77). One of the rarest and most spectacular of the mid century New York travel posters. The image was also used on the cover of train timetables. New York p. 76 & cover.

Lot: 164 - WILLIAM KLEIN (1928-2022) Atomic Sky. 1955; printed later.

WILLIAM KLEIN (1928-2022) Atomic Sky. 1955; printed later. C-print, the image measuring 100¼x150 cm, 39½x59 inches, flush mounted; with Klein's signature, title, and negative date in ink on mount verso.

Lot: 165 - WILLIAM KLEIN (1928-2022) Wall Street from Below. 1954; printed 1990s.

WILLIAM KLEIN (1928-2022) Wall Street from Below. 1954; printed 1990s. Silver print, the image measuring 36½x56 cm, 14⅜x22 inches, the sheet 50¾x61 cm, 20x24 inches; with Klein's signature, title, and negative date in pencil on verso.

Lot: 166 - DESIGNER UNKNOWN The Metropolitan Savings Bank. Circa 1940s.

DESIGNER UNKNOWN The Metropolitan Savings Bank. Circa 1940s. Silkscreen poster. 28x53¼ cm, 11x21 inches. In 1935, The Metropolitan Savings Bank moved from its original home on East 7th Street to its new offices at 754 Broadway at 8th Street. Wanamaker's department store burned down in 1955.

Lot: 167 - ALBERT BRENET (1903-2005) New York Par La "Transat." Circa 1955.

ALBERT BRENET (1903-2005) New York Par La "Transat." Circa 1955. Offset lithograph poster. 58½x49½ cm, 23x19½ inches. This is the smaller of two versions. New York p. 106.

Lot: 168 - DESIGNER UNKNOWN Voyagez Vers Les U.S.A. Par PAA / Pan American World Airways. Circa 1955.

DESIGNER UNKNOWN Voyagez Vers Les U.S.A. Par PAA / Pan American World Airways. Circa 1955. Lithograph poster. 102¾x63½ cm, 40½x25 inches. Erected in 1937 on Fifth Avenue as part of Rockefeller Center, Lee Lawrie's two-ton statue of Atlas rises 45 feet into the air. On the shoulder of the giant is an armillary sphere (a skeletal celestial sphere), which rests on a curved beam bearing the symbols of the planets (all except Pluto). The magnificent bronze Art Deco statue remains a prominent and important tourist site. This is the French version. New York p. 180 (var).

Lot: 169 - DESIGNER UNKNOWN New York Via United Air Lines. Circa 1963.

DESIGNER UNKNOWN New York Via United Air Lines. Circa 1963. Photo-offset poster. 100½x64 cm, 39½x25¼ inches. Rockefeller Center's International Building, seen from a worm's-eye-view, through Lee Lawrie's statue of Atlas. The Art Deco masterpiece sits directly opposite St. Patrick's Cathedral, in front of 630 Fifth Avenue (between 50th and 51st streets). Many assume Atlas is carrying the world on his shoulders, but in fact it is the heavens, or in the particular case of this statue, the heavenly vault. New York p. 202.

Lot: 170 - BOB PEAK (1927-1992) New York World's Fair 1964-1965. 1962.

BOB PEAK (1927-1992) New York World's Fair 1964-1965. 1962. Offset lithograph poster. 39¼x26½ cm, 15½x10½ inches. A lively image of a young family in front of the Unisphere - the symbol of the 1964-5 World's Fair, designed by Gilmore D. Clarke. Conceived to represent the fair's theme of "Peace Through Understanding," the globe was constructed by American Bridge Company, a division of U.S. Steel. Bob Peak was a commercial illustrator best known for his developments in the design of the modern film posters; he worked on posters for films such as West Side Story, My Fair Lady, and the first five Star Wars movies. His artwork has also been featured on the covers of Time magazine, TV Guide, and Sports Illustrated.

Lot: 171 - ROLAND PLETERSKI (1920-2000) #4 Railscape, New York. Circa 1955; printed 1970s.

ROLAND PLETERSKI (1920-2000) #4 Railscape, New York. Circa 1955; printed 1970s. Silver print, the image measuring 34½x42¼ cm, 13⅝x16⅝ inches; with Pleterski's credit, title, and address in ink on verso. Reproduced: Peter Coeln, ed., Roland Pleterski, Drawn by the Light (Vienna 2007), p. 20.

Lot: 172 - MELVIN SOKOLSKY (1933-2022) Over New York, from the Bubble series. 1963; printed 1996.

MELVIN SOKOLSKY (1933-2022) Over New York, from the Bubble series. 1963; printed 1996. Silver print, the image measuring 25¼x20¼ cm,10x8 inches, the sheet 35½x28 cm,14x11 inches; with Sokolsky's signature, title, negative date, and edition notation "Portfolio APs" in pencil on verso. This print, the only one taken from Weehawken, New Jersey, on January 14th, 1963, was included in Sokolsky's portfolio Paris, 1963 published by Leafcar Editions, Los Angeles, in 1996. This portfolio was published as an edition of 25 plus 5 artist's proofs.

Lot: 173 - DESIGNER UNKNOWN To All North America / Greyhound. 1957.

DESIGNER UNKNOWN To All North America / Greyhound. 1957. Offset lithograph poster. 95¼x61 cm, 37½x24 inches.

Lot: 174 - DESIGNER UNKNOWN New York Airways / Boeing - Vertol 107 Turbocopter. Circa 1961.

DESIGNER UNKNOWN New York Airways / Boeing - Vertol 107 Turbocopter. Circa 1961. Photo-offset poster. 87¾x61½ cm, 34½x24¼ inches.

Lot: 175 - STANLEY WALTER GALLI (1912-2009) United Air Lines New York. Circa 1957.

STANLEY WALTER GALLI (1912-2009) United Air Lines New York. Circa 1957. Offset lithograph poster. 102¼x64 cm, 40¼x25¼ inches. Galli was a California painter, illustrator and printmaker. New York p. 190.

Lot: 176 - PHILIP REISMAN (1904-1992) Grants Bar and Grill. 1958.

PHILIP REISMAN (1904-1992) Grants Bar and Grill. 1958. Oil on masonite. 58½x68½ cm, 22¾x26¾ inches; Signed, Philip Reisman, lower left. Signed, Philip Reisman, dated, 1958, numbered, #357, and inscribed as titled on verso.

Lot: 177 - VARIOUS ARTISTS Signature book kept at Ye Olde Tavern. 1905-1917.

VARIOUS ARTISTS Signature book kept at Ye Olde Tavern. 1905-1917. Illustrated and signed guest register for a New York City drinking establishment. [118] manuscript and scrapbook leaves. Folio, original paneled gilt calf, worn, backstrip detached; minor wear to contents. Ye Olde Tavern was a conspicuously old-fashioned early 20th-century English-style pub at 161 Duane Street in lower Manhattan, on the ground floor of an old-fashioned whalebone workshop, run by partners Vidal & Thompson. This house autograph book is filled erratically, skipping pages and moving forward and backward in time, as might be expected in a volume compiled collectively by large numbers of intoxicated people over a period of years. It is filled with elaborate drawings, crude doodles, aphorisms, bits of drinking doggerel, signatures, clippings, menus, and pages devoted to fraternities, social clubs and private parties such as the annual dinner of the "Gravesend Bay Knockabout Assn." We find a surprising number of women among the entries. We have not checked all of the many hundreds of names. Among the minor celebrities noted are pianist Max Liebling and his son, musical critic and composer Leonard Liebling, in 1911. Author Elbert Hubbard in 1914, a year before his death on the Lusitania, wrote a cheeky review: "This is the place that has capitalized on its cockroaches, banked on its bacteria, and makes money out of its must. Like the place, and its grub." One portrait purports to be of John D. Rockefeller, "with his consent"; we would wager it actually depicts a random barhound with a passing resemblance to Rockefeller. We could say much more about this charming volume, but it has inspired us to instead knock off for the evening and enjoy a cold beverage.New York, 1905-1917

Lot: 178 - STOW WENGENROTH (1906-1978) High Arches, Brooklyn Bridge. 1960.

STOW WENGENROTH (1906-1978) High Arches, Brooklyn Bridge. 1960. Lithograph. 37½x29½ cm, 14½x11½ inches; full margins. Edition of 50. Signed and inscribed "Ed/50" in pencil, lower margin. Stuckey 260.

Lot: 179 - RICHARD HAAS (1936- ) Brooklyn Bridge. 1994.

RICHARD HAAS (1936- ) Brooklyn Bridge. 1994. Color etching and aquatint. 121¾x60¼ cm, 47⅞x23¾ inches; full margins. Signed, titled, dated and inscribed "AP 1/20" in pencil, lower margin. Printed by Bruce Cleveland, New York. Published by John Szoke Graphics, New York. Szoke 124.

Lot: 180 - ROBERT INDIANA (1928-2018) The Bridge. 1983.

ROBERT INDIANA (1928-2018) The Bridge. 1983. Screenprint on BFK Rives paper. 82x58¾ cm, 32⅛x23⅛ inches; full margins. Edition of 250. Signed, dated, and inscribed "AP 5/25" in pencil, lower margin. Printed by Alexander Heinrici, New York. Published by The New York Graphic Society, Greenwich, Connecticut. From New York, New York. Sheehan 132.

Lot: 181 - BEN SHAHN (1898-1969) Lincoln Center / Philharmonic Hall. 1962.

BEN SHAHN (1898-1969) Lincoln Center / Philharmonic Hall. 1962. Lithograph poster. 116¾x75½ cm, 46x29¾ inches.

Lot: 182 - SAUL BASS (1921-1996) 2nd New York Film Festival / Philharmonic Hall / Lincoln Center. 1964.

SAUL BASS (1921-1996) 2nd New York Film Festival / Philharmonic Hall / Lincoln Center. 1964. Lithograph poster. 115½x75½ cm, 45½x29¾ inches. Saul Bass became famous in the 1950s, thanks to his collaboration with Otto Preminger and Alfred Hitchcock, for each of whom he designed movie posters and title sequences. During his 40-year career, Bass worked for some of Hollywood's other most renowned filmmakers as well - Billy Wilder, Stanley Kubrick and Martin Scorsese. He revolutionized film poster design, thanks to his dropping the "big head" theory, prevalent in movie poster advertising throughout that decade, and the latter by redefining film's visual language. Whether using graphics or photography, his work is always highly symbolic and minimal, living up to his credo, "symbolize and summarize." MoMA 146.1977.

Lot: 183 - FRANK STELLA (1936-2024) 9th New York Film Festival. 1971.

FRANK STELLA (1936-2024) 9th New York Film Festival. 1971. Lithograph poster. 114¼x76¼ cm, 45x30 inches.

Lot: 184 - DESIGNER UNKNOWN American Airlines / New York. Circa 1980.

DESIGNER UNKNOWN American Airlines / New York. Circa 1980. Photo-offset poster. 101½x77½ cm, 40x30½ inches. New York p. 225.

Lot: 185 - DESIGNER UNKNOWN Continental to New York. Circa 1970s.

DESIGNER UNKNOWN Continental to New York. Circa 1970s. Photo-offset poster. 101½x64 cm, 40x25¼ inches. The stripes at the bottom of this poster represent the airline's new orange, red and gold livery designed by Saul Bass in 1967, in addition to the new logo.

Lot: 186 - DESIGNER UNKNOWN New York / National Airlines. Circa 1970s.

DESIGNER UNKNOWN New York / National Airlines. Circa 1970s. Photo-offset poster. 106¾x72½ cm, 42x28½ inches.

Lot: 187 - DESIGNER UNKNOWN Pan Am USA. Circa 1973.

DESIGNER UNKNOWN Pan Am USA. Circa 1973. Photo-offset poster. 107¼x71 cm, 42¼x28 inches. New York p. 231.

Lot: 188 - DESIGNER UNKNOWN New York / Pan Am. Circa 1975.

DESIGNER UNKNOWN New York / Pan Am. Circa 1975. Photo-offset poster. 106¾x71 cm, 42x28 inches. Pan Am p. 401, New York p. 233.

Lot: 189 - DESIGNER UNKNOWN Trans World Airlines / New York. Circa 1976.

DESIGNER UNKNOWN Trans World Airlines / New York. Circa 1976. Photo-offset poster. 101½x63½ cm, 40x25 inches. "This poster shows how the towers dwarfed the surrounding architectural landscape, and points to the evolution of the Financial District by including the old and the new side by side. . . While the poster is undated, it had to be printed prior to the installation of an enormous antenna on top of the North Tower in 1979" (New York p. 235). "The most curious aspect of this design is the unexpected use of the Peignot typeface to spell out New York. Designed by A.M. Cassandre in 1937, it does not have a lower case" (ibid.). New York p. 234.

Lot: 190 - SPECTOR (DATES UNKNOWN) New York Summer Days Begin and End at the World Trade Center. Circa 1970.

SPECTOR (DATES UNKNOWN) New York Summer Days Begin and End at the World Trade Center. Circa 1970. Photo-offset bus stop poster. 175¼x122 cm, 69x48 inches; The Port Authority of NY & NJ.

Lot: 191 - DESIGNER UNKNOWN Lufthansa. Circa 1985.

DESIGNER UNKNOWN Lufthansa. Circa 1985. Photo-offset poster. 83¾x59 cm, 33x23¼ inches. New York p. 235.

Lot: 192 - GEORGE FORSS (1941-2021) Queen Elizabeth II in New York (with the Twin Towers). 1977; printed 1982.

GEORGE FORSS (1941-2021) Queen Elizabeth II in New York (with the Twin Towers). 1977; printed 1982. Silver print, the image measuring 25¾x33¾ cm, 10⅛x13¼ inches, the sheet slightly larger; with Forss' signature, title, negative and print dates with a stylus, on recto.

Lot: 193 - ENOC PEREZ (1967- ) 1 World Trade Center. 2015.

ENOC PEREZ (1967- ) 1 World Trade Center. 2015. Oil on canvas. 61x45¾ cm, 24x18 inches; Signed, titled and dated in ballpoint pen verso. Provenance: Galerie Nathalie Obadia, Paris, 2015, with the label; private collection, Florida. Exhibited: "Enoc Perez," Galerie Nathalie Obadia, Paris, June 10-July 25, 2015.

Lot: 194 - CIGANER (DATES UNKNOWN) Last Time in New York / French Line. 1982.

CIGANER (DATES UNKNOWN) Last Time in New York / French Line. 1982. Offset lithograph poster. 86¼x50¼ cm, 34x19¾ inches; Dorgeval, France. In 1974, after 377 transatlantic crossings, the SS France sailed into New York City for the last time. This poster was printed in 1982 to commemorate this last trip. Ciganer designed other posters for French ocean liners, in this same series.

Lot: 195 - TONY PALLADINO (1930-2014) Triborough Bridge.Circa 1970s.

TONY PALLADINO (1930-2014) Triborough Bridge.Circa 1970s. Spray paint, pastel, and color pencil on smooth wove paper. 76¼x101¾ cm, 30x40 inches. Signed in pencil, upper right, and inscribed "Triboro Bridge H3 NYC" in pencil, upper left. Provenance: Private collection, New York.

Lot: 196 - ERNST HAAS (1921-1986) New York City, N.Y. 1970; printed 2020.

ERNST HAAS (1921-1986) New York City, N.Y. 1970; printed 2020. Chromogenic print, the image measuring 30½x45¾ cm, 12x18 inches, the sheet 40½x50¾ cm, 16x20 inches, with Haas' credit, the title, and edition notation 1/25 in ink on verso; accompanied by the Haas Studio label with Alexander Haas' signature, the title, negative and print dates, edition notation, and printing notations in ink.

Lot: 197 - RED GROOMS (1937- ) Taxi Pretzel. 1971.

RED GROOMS (1937- ) Taxi Pretzel. 1971. Color lithograph on Arches Cover paper. 71x55½ cm, 28x22 inches (sheet); full margins. Signed, dated, and numbered 18/75 in white pencil, lower right. Printed at Bank Street Atelier, New York, with the blind stamp lower center. Published by Abrams Original Editions, New York. From No Gas. Knestrick 33.

Lot: 198 - PETER TEUBNER (1935-?) Harlem / New York 125th Street / Apollo. 1968.

PETER TEUBNER (1935-?) Harlem / New York 125th Street / Apollo. 1968. Offset lithograph poster. 115x74¼ cm, 45¼x29½ inches; Seaward-Edison Corporation, [New York]. One in a series of images called "Aspects of New York City," designed on behalf of the Container Corporation of America. "In a clever integration of the letter H, Peter Teubner captures the liveliness of Harlem's 125th Street in fluorescent pink, including the neon marquee of the Apollo Theater and an electric symphony of traffic and streetlights" (New York p. 214). Images of an Era 99, Modern American 130, MoMA 494.1978, New York p. 214.Condition B+: restoration along lower left edge and corner; replaced top corners; minor repaired tears and abrasions at edges.

Lot: 199 - ANTHONY BARBOZA (1944- ) Harlem (for Essence Magazine). 1971.

ANTHONY BARBOZA (1944- ) Harlem (for Essence Magazine). 1971. Silver print, the image measuring 24x16¾ cm, 9½x6⅝ inches, the sheet 35½x28 cm, 14x11 inches; with Barboza's signature, title, and date in ink, and his credit stamp, on verso. Barboza's editorial fashion shot for Essence in August 1971 marks a radical shift in the field as it was the first time a photographer would organize a fashion shoot in the streets of Harlem that he coined "Rappin." "This was about our culture - how we pick up women we've never met by waiting outside clubs. It's the first fashion shoot ever done in Harlem for a magazine. It's history, in a sense." - Anthony Barboza.

Lot: 200 - ANTHONY BARBOZA (1944- ) Harlem. 1971.

ANTHONY BARBOZA (1944- ) Harlem. 1971. Silver print, the image measuring 33¾x23 cm, 13¼x9 inches, the sheet 35½x28 cm, 14x11 inches; with Barboza's signature, title, and date in ink on verso. Barboza is largely self-taught with a stylistic intuitive vision that he refers to as "eye dreaming," or "a state of mind that's almost like meditation." Both his commercial work, including fashion campaigns for Essence and Ebony magazines and celebrity portraits (Miles Davis, Aretha Franklin, James Baldwin, and Romare Bearden, to name but a few), and his personal projects embrace Black American Culture and celebrate his dedication to its communities.

Lot: 201 - DESIGNER UNKNOWN The Heartbreakers at Max's Kansas City. 1976.

DESIGNER UNKNOWN The Heartbreakers at Max's Kansas City. 1976. Photocollage and offset typography maquette. 31½x24½ cm, 12½x9¾ inches. Maquette for a flyer promoting The Heartbreakers at Max's Kansas City, with Blondie and The Fast performing afterwards. The Heartbreakers were Johnny Thunders' second band after leaving the New York Dolls; two years later they would return to Max's Kansas City for a farewell show, and record their performance for a record that's become a classic of the early punk era.

Lot: 202 - DESIGNER UNKNOWN Max's Kansas City Presents New York Rock. 1979.

DESIGNER UNKNOWN Max's Kansas City Presents New York Rock. 1979. Offset mailer. 28x42 cm, 11x16½ inches, folds into 8¼x 3½ inches; Max's Kansas City, New York. Fold-out promotional mailer for the 1979 Max's Easter Rock Festival at Max's Kansas City, featuring performances by Miki Zone, Lydia Lunch (Teenage Jesus), Suicide, James Chance (Contortions), Invaders, Sapho, Peroxide, Blessed, Senders, Victims, Neon Leon, Mumps, Ruby, Teenage Jesus, Martin Rev, Lester Bang's band Birdland, and others. The festival also featured a screening of The Offenders, a film serial by Beth B and Scott B.

Lot: 203 - PAT BATES (DATES UNKNOWN) Entrance to Paradise Garage. Circa 1980.

PAT BATES (DATES UNKNOWN) Entrance to Paradise Garage. Circa 1980. Photostat, the image measuring 28x26¾ cm, 11x10½ inches, the sheet slightly larger. This photostat print by the artist Pat Bates is a unique glimpse of the empty entrance to the vaunted discotheque Paradise Garage. This is the only photograph of Paradise Garage salvaged by Bates after her studio burned and she lost her entire artistic output. Paradise Garage was an epochal New York City nightclub, central to developments in modern dance, pop music, club culture, and gay life in New York in the late 1970s and 1980s. The Garage, as it was also known, has been credited for its influence on the development of the modern dance club; unlike other clubs of its time, Paradise Garage was the first to prioritize dancing, and put the DJ at the center of attention. Performers included Diana Ross and a young Madonna. The club's name derives from its origins as a parking garage. Its business model was largely inspired by David Mancuso's private invitation-only DJ parties at The Loft in New York, which was not open to the public, and served no liquor or food. Paradise Garage's DJ Larry Levan and his contemporaries, Frankie Knuckles and Nicky Siano, were early proponents of the genre that became known as House music.

Lot: 204 - DESIGNER UNKNOWN N.Y.C.'s Only Rock N' Roll Nightclub / The Peppermint Lounge. 1985.

DESIGNER UNKNOWN N.Y.C.'s Only Rock N' Roll Nightclub / The Peppermint Lounge. 1985. Offset lithograph poster. 35½x51cm, 14x20 inches; [New York]. Poster promoting a weekend of shows at the Peppermint Lounge, featuring performances by Personal Effects, Sing Sing, Rough Trade, and Johnny Thunders and the Heartbreakers in their last U.S. date of an international tour. The Peppermint Lounge's first incarnation was on 45th street, where it operated from 1958 until 1965 and garnered international fame as the birth place of the Twist, a dance craze which swept the world. It was reopened in 1980 on 5th Avenue and 15th Street by Danceteria founders Jim Fouratt and Rudolf Pieper as a rock and roll venue. Some of the venue's regular featured acts included The Cramps, X, the Raybeats, the Go-Gos, Duran Duran, Marshall Crenshaw, Grandmaster Flash and the Furious Five, Big Country, Billy Idol, Afrika Bambaataa, The Bangles, and the Waitresses and Joan Jett; David Bowie and Mick Jagger were regular guests. Although unsigned, earlier, similar posters for the venue were designed by Marlene Weisman.

Lot: 205 - VARIOUS DESIGNERS Collection of 89 Black Disco Flyers. Circa 1978-1986.

VARIOUS DESIGNERS Collection of 89 Black Disco Flyers. Circa 1978-1986. Offset and xerox flyers. Sizes vary, from 11¼x7 cm, 4¼ x 2¾ inches to 21½x27¾ cm, 8½x11 inches; various places, New York. Group of 89 Black disco flyers from New York, including flyers from Leviticus, Crystal Room, Nemo's, Design, 59 Murray St, Starbucks, Justine's, East 58th Street Disco, Xenon, Total Experience, Limelight (1983 grand opening when it was a black club) and more.

Lot: 206 - CYNTHIA & JEROME RUBIN New York Game. 1977.

CYNTHIA & JEROME RUBIN New York Game. 1977. Sealed board game. 52¾x27¼ cm, 20¾x 10¾ inches; box with materials inside including a 20x29½ inches fold-out playing board, six playing pieces, dice, playing cards, and instructions, as issued, in original shrink-wrap. Cynthia & Jerome Rubin / Emporium Publications of South America, Inc., Charlestown, Massachusetts. "New York Game" is a board game about taking the subway home in Manhattan; first player to get home wins. The playing board is a subway map that interacts with the various pieces and playing cards. The game was conceived and designed by Cynthia and Jerome Rubin, who previously released the "Boston Game."

Lot: 207 - DESIGNER UNKNOWN Up In Central Park. 1948.

DESIGNER UNKNOWN Up In Central Park. 1948. Offset lithograph poster. 104¼x69¾ cm, 41x27½ inches; Morgan Litho. Corp., Cleveland. Up in Central Park is a 1948 musical comedy film starring Deanna Durbin, Dick Haymes and Vincent Price, based on the play by Herbert Fields. The film is about a newspaper reporter and the daughter of an immigrant maintenance man who help expose political corruption a la Boss Tweed in New York City in the 1870s. One of the songs from the musical is entitled "May I Show You My Currier and Ives."

Lot: 208 - RUTH ORKIN (1921-1985) Tavern Lights. 1976.

RUTH ORKIN (1921-1985) Tavern Lights. 1976. Chromogenic print, the image measuring 32½x48¼ cm, 12¾x19 inches, the sheet 40½x50¾ cm, 16x20 inches; with Orkin's signature and title in ink on recto.

Lot: 209 - RUTH ORKIN (1921-1985) Sheep Meadow in Fall, Central Park. 1980; printed 1983.

RUTH ORKIN (1921-1985) Sheep Meadow in Fall, Central Park. 1980; printed 1983. Chromogenic print, the image measuring 103x179 cm, 40½x70½ inches, the sheet slightly larger, flush mounted; with the "Estate of Ruth Orkin" label with Mary Engel's signature, title, and negative and copyright dates in ink, on frame verso.

Lot: 210 - DESIGNER UNKNOWN Pan Am / New York. 1980.

DESIGNER UNKNOWN Pan Am / New York. 1980. Photo-offset poster. 106¾x71 cm, 42x28 inches. One from the first series of advertisements featuring Pan Am's new abbreviated name. "In 1970, Pan American hired the New York design firm of Chermayeff & Geismar to revitalize its brand identity;" shortening the company's name to its most used nickname was a successful move (New York p. 225). Pictured here, with the view down Park Avenue, is Pan Am's headquarters, designed by Walter Gropius and completed in 1963. Now, this iconic structure is the MetLife building, with the Helmsley building (once the New York Central Building) in front of it. New York p. 224.

Lot: 211 - BRUCE DAVIDSON (1933- ) A pair of photographs depicting the interior of the Guggenheim Museum. 1980s.

BRUCE DAVIDSON (1933- ) A pair of photographs depicting the interior of the Guggenheim Museum. 1980s. Silver prints, the images measuring 41x40¼ cm, 16⅛x15⅞ inches and 37½x47½ cm, 14¾x18¾ inches, one sheet slightly larger, one mount 61x50¾ cm, 24x20 inches, this one with Davidson's credit in ink on mount verso.

Lot: 212 - R.O. BLECHMAN (1930- ) Museum Mile 5th Ave. New York. 1981.

R.O. BLECHMAN (1930- ) Museum Mile 5th Ave. New York. 1981. Offset lithograph poster. 59¾x51½ cm, 23½x20¼ inches. Blechman is an award-winning animator, illustrator, children's book author, graphic novelist and editorial cartoonist.

Lot: 213 - R.O. BLECHMAN (1930- ) The New Yorker. 1979.

R.O. BLECHMAN (1930- ) The New Yorker. 1979. Offset lithograph poster. 106¾x72½ cm, 42x28½ inches. Between 1974 and 1996, R.O. Blechman created fifteen New Yorker covers. This poster uses his design that was printed on the October 1, 1979 issue. New York p. 222.

Lot: 214 - MILTON GLASER (1929-2020) New York Is About New York. 1976.

MILTON GLASER (1929-2020) New York Is About New York. 1976. Offset lithograph poster. 94x59¾ cm, 37x23½ inches; Darien House, Inc., New York. Glaser p. 213.

Lot: 215 - MILTON GLASER (1929-2020) "I Love New York." Design revision submitted to Glaser, May 27, 1983.

MILTON GLASER (1929-2020) "I Love New York." Design revision submitted to Glaser, May 27, 1983. Illustration board with tracing paper overlay, and letter. 17½x20 cm, 7x7¾ inches; With pen and ink circle and small printed "I Love New York" logo laid down within; inked address of New York State Commerce Department on verso. With tracing paper overlay bearing inked notes; masking tape remnant across the top edge of both. Also with related typed letter to Milton Glaser on New York Division of Tourism letterhead. Graphic designer Milton Glaser sketched the original "I Love New York" logo in the back of a taxi in 1976, and the tourism campaign was officially launched the following year. Here, in 1983, the state's Division of Tourism sent Glaser the current version of the logo in black and white, scaled for use in a pinback button. An overlay of the heart in red notes the proper shading: "PMS warm red or 4-color combination." The accompanying 27 May 1983 letter from the division's group program manager Peggy Bendel reads "Dear Milton: I'm enclosing a repro sheet of the ILNY Logo with the registration mark. According to our Counsel, we must now use this format for all posters and publications."

Lot: 216 - MILTON GLASER (1929-2020) "I Love NY." 1983.

MILTON GLASER (1929-2020) "I Love NY." 1983. Folding fan. Paper strip, 13½ cm, 5¼ inches wide; printed in red and black and mounted on 19 balsa sticks (26 cm, 10¼ inches), fastened with a single screw; minor wear and foxing. B. Shackman & Co., New York. B. Shackman Company, was a manufacturer and wholesaler of vintage-inspired European- and American-made fine paper goods, established in 1898. The store, which moved locations several times over the decades, sold reproductions of vintage valentines, paper masks, mechanical toys, old-fashioned paper dolls, children's books, and souvenirs like this I Love NY fan.

Lot: 217 - MILTON GLASER (1929-2020) 26th New York Film Festival. 1988.

MILTON GLASER (1929-2020) 26th New York Film Festival. 1988. Silkscreen poster. 76¼x114¼ cm, 30x45 inches; hand-signed by the artist. Glaser p. 418-9, V&A E.868-2023.Hand-signed by the artist. Silkscreen. Paper. Framed.

Lot: 218 - LEWIS RAMPINO (1942-1990) Lavinia and Palace Guard. 1989.

LEWIS RAMPINO (1942-1990) Lavinia and Palace Guard. 1989. Costume designs for the performance of Titus Andronicus, New York Shakespeare Festival. Mixed media including watercolor and ink on board. 44x35 cm, 17x13 inches each; both signed in lower right image.

Lot: 219 - HENK VAN DER VET (1939-2016) Fotografiek / Comes to Vista in the Big Apple. 1990.

HENK VAN DER VET (1939-2016) Fotografiek / Comes to Vista in the Big Apple. 1990. Offset lithograph poster. 53¼x29¾ cm, 21x11¾ inches. World Trade Center 3 was originally built in 1981 as the Vista International Hotel, New York. Hilton International operated hotels in the U.S. under the name "Vista" during the decades they were a separate company from Hilton. The hotel was then sold to Host Marriott in 1995 and converted to the Marriott World Trade Center Hotel. The Vista International was the first major hotel to open in Lower Manhattan south of Canal Street since 1836.

Lot: 220 - CRAIG MCPHERSON (1948- ) Girders. 1986.

CRAIG MCPHERSON (1948- ) Girders. 1986. Mezzotint. 60¼x90¼ cm, 23¾x35½ inches; full margins. Signed, titled, dated, and numbered 26/90 in pencil, lower margin. Hartley J1.

Lot: 221 - ARNOLD GOLDSTEIN (1937-2018) "The Bonfire of the Vanities" Frieze. 1991.

ARNOLD GOLDSTEIN (1937-2018) "The Bonfire of the Vanities" Frieze. 1991. Plaster and wood molding. 47¼x111x14½ cm, 18⅝x43¼x5¾ inches; With the artist's signature and date incised on the four center panels. Provenance: Private collection, New York. This frieze was commissioned by author Tom Wolfe, based off of his 1987 satirical novel The Bonfire of the Vanities, which acted as a snapshot of New York City in the '80s. This frenzied city scene featuring figures trampling over each other, cars with license plates emblazoned with dollar signs, and figures hanging off the edge, depicts the themes of social classism, greed, and politics highlighted in Wolfe's novel.

Lot: 222 - KAMIL KUBIK (1930-2011) 55 Wall Street. 1998.

KAMIL KUBIK (1930-2011) 55 Wall Street. 1998. Oil on canvas. 91x61 cm, 35⅞x24 inches; Signed and dated, lower right. Provenance: The artist; private collection, New York; sold Sotheby's, New York, March 28, 2018, lot 169; private collection, Pennsylvania.

Lot: 223 - TOM BARIL (1952- ) Woolworth Building. 1997; printed 2001.

TOM BARIL (1952- ) Woolworth Building. 1997; printed 2001. Toned silver print, the image measuring 59x46½ cm, 23¼x18¼ inches, the mount 66x50¾ cm, 26x20 inches; with Baril's signature and negative date in pencil on mount recto, and his copyright stamp with the edition limitation (one of 25) and his signature, title, and negative and print dates in ink on mount verso.

Lot: 224 - TOM BARIL (1952- ) Met Life Building. 1999.

TOM BARIL (1952- ) Met Life Building. 1999. Toned silver print, the image measuring 59½x47 cm, 23⅜x18½ inches, the mount 66x50¾ cm, 26x20 inches; with Baril's signature and date in pencil on mount recto, and his copyright stamp with his signature, title, negative and print dates, and edition notation 1/25 in ink on mount verso.

Lot: 225 - TOM BARIL (1952- ) Flatiron Building. 1999; printed 2000.

TOM BARIL (1952- ) Flatiron Building. 1999; printed 2000. Toned silver print, the image measuring 59x45¾ cm, 23¼x18 inches, the mount 66x50¾ cm, 26x20 inches; with Baril's signature and negative date in pencil on mount recto, and his copyright stamp with his signature, partial title, negative and print dates, and negative notation 651 in ink, on mount verso.

Lot: 226 - MICHAEL KENNA (1953- ) Chrysler Building. 2000; printed 2007.

MICHAEL KENNA (1953- ) Chrysler Building. 2000; printed 2007. Silver print, the image measuring 20½x19¾ cm, 8⅛x7¾ inches, the mount 50¾x40¼ cm, 20x16 inches; with Kenna's signature, negative date, and edition notation 13/45 in pencil on mount recto, and his copyright stamp with his signature, title, negative and print dates, and edition number 13 in pencil, on mount verso.

Lot: 227 - ROBERT M. CUNNINGHAM (1924-2010) & JOHN MCVICKER Big, bold, Beautiful - Big A & The Big A Will Hold Its July 4th Celebration. Two poste

ROBERT M. CUNNINGHAM (1924-2010) & JOHN MCVICKER Big, bold, Beautiful - Big A & The Big A Will Hold Its July 4th Celebration. Two posters. Circa 1965-1970. Offset lithograph posters. 115½x151 cm, 45½x59½ inches. Two images from a series of posters designed for the New York Racing Association to promote the horse races at Aqueduct Raceway.

Lot: 228 - DESIGNER UNKNOWN New York City Bus Token Fare Box. Circa 1986-1989.

DESIGNER UNKNOWN New York City Bus Token Fare Box. Circa 1986-1989. Metal and plastic token fare box with affixed rate stickers from a New York City bus. 61x30½x20¼ cm, 24x12x8 inches. New York City public transit fare went up to $1 in 1986. In 1990, the fare jumped to $1.15.

Lot: 229 - PAUL RAND (1914-1996) Subway Posters Score / 24 Hours a Day They Never Miss. 1947.

PAUL RAND (1914-1996) Subway Posters Score / 24 Hours a Day They Never Miss. 1947. Lithograph poster. 111x73 cm, 43¾x28¾ inches. A playful and colorful Paul Rand commission for the New York Subways Advertising Co. In 1947 the New York Subways Advertising Company launched a prominent campaign to help glorify the efficiency of advertising in the subway. Rand was among the pre-eminent artists chosen to contribute designs. The roster of participants involved in the project were the most prominent practitioners of the craft ever assembled, many of whom had immigrated from Europe, and included Erik Nitsche, Otis Shepard, Joseph Binder, Jean Carlu, Herbert Bayer, McKnight Kauffer, Lester Beall, Sascha Maurer and Lucian Bernhard. MoMA 810.1983.

Lot: 230 - MASSIMO VIGNELLI (1931-2014) New York City Subway Diagram. 2012.

MASSIMO VIGNELLI (1931-2014) New York City Subway Diagram. 2012. Offset lithograph poster. 114x91½ cm, 45x36 inches; Vignelli Associates, New York; signed by Vignelli, Beatriz Cifuentes and Yoshiki Waterhouse. Vignelli studied architecture in his native Italy before moving to New York City in the 1960s. Having first worked for a larger design company, Unimark, he and his wife started their own firm, Vignelli Associates, in the early 1970s. His clients included some of the largest and most recognized brands including Bloomingdales, IBM, Knoll and American Airlines. This is one of two smaller, later printings; the other was an updated diagram for the May 2008 issue of Men's Vogue. MoMA 131.2015.

Lot: 231 - RICHARD ESTES (1932- ) The L Train. 2017.

RICHARD ESTES (1932- ) The L Train. 2017. Color woodcut on MM7 paper. 53¼x41 cm, 21x16¼ inches (sheet); full margins. Signed and numbered 1/49 in pencil, lower margin.