Julius Shulman, Kaufmann House, Palm Springs, 1947. Photographs New York.
Julius Shulman
Kimberly Sørensen, Specialist, Design
If I had to choose one photograph to epitomize modern California living, it would have to be Julius Shulman’s Kaufmann House, Palm Springs. With the soft layers of the San Jacinto mountains rising behind Neutra’s careful geometric architecture, the image captivates me. The manicured lawn feels cool and verdant and the pair of Van Keppel and Green chaises draws my eye towards the house. It’s dusk: the exterior lights have come on; the pool light glows; and Mrs. Kaufmann sits up because it’s probably time to come inside and think about dinner and a cocktail. What a life. Shulman wrote, “I sell architecture better and more directly and more vividly than the architect does.” I’m sold.
Massimo Vitali
Massimo Vitali, Rosignano Sea 2 #0079, 1998. Photographs New York.
Tobias Sirtl, Specialist, Modern & Contemporary Art, Germany
Have you ever been to an Italian public beach? I love them, but they do take some getting used to. Even now, when I arrive, I try to find a spot away from others. But when I get out of the water, I have a neighbor on one side whose towel almost touches mine, and after my nap, an even closer one on the other side. Soon enough, conversations begin over my head, coconuts and granitas are sold, slices of watermelon are exchanged, a speeding football only just misses my face and quick apologies follow. Slowly, the beach towels empty, and the crowds begin to float waist-deep in the water with waves of pleasantly animated chatter emerging. It culminates on 15 August, Ferragosto, when there are so many people on the beach that you can hardly see any sand. No other photographer has captured this experience as beautifully as Massimo Vitali.
Anne Collier
Left: Anne Collier, Mirror, 2020. Right: Anne Collier, What Are The Effects, 2018. Photographs New York.
Martin Schott, International Head of Creative, Production & Proposals
When I stumbled across these two Anne Collier works near each other in Phillips’ galleries, I was immediately intrigued. Looking closer at What Are the Effects, I was drawn to its bold typographic nature and amused by its subject matter. We’ve all been there — anxiously looking at a prescription’s description. However, upon closer inspection of these two works together, they appear to be a profound commentary on the world at large.
Nick Brandt
Nick Brandt, Elephant with Exploding Dust, Amboseli, 2004. Photographs New York.
Jaime Israni, Head of PR & Corporate Communications, Americas
Every time I see Nick Brandt’s work, it stops me in my tracks, and Elephant with Exploding Dust, Amboseli is no exception. The photograph is captivating — not just for its striking composition, but also for the unexpected beauty he captured in a moment he almost dismissed. In discussing the photo, Brandt has reflected on how he initially saw the clear sky and midday light as unworkable conditions, only to be proven wrong when the elephant’s dust created an almost dreamlike effect. Fortunately for all of us, he was ready with his finger on the shutter button. That openness to the unexpected makes this image even more compelling — it feels both powerful and ethereal, as if the elephant is walking through the clouds. Beyond its visual impact, as an animal lover, I also admire how Brandt’s work brings visibility to Africa’s conservation efforts in a way that’s both moving and urgent. The more you learn about this image, the more there is to love.
Hiroshi Sugimoto
Hiroshi Sugimoto, Brush Impression 0916 (Water), 2023. Photographs New York.
Sarah Browne, Specialist, Head of Sale, Editions New York
It might be surprising to hear, but amidst the breadth of material we offer in our Editions auctions, I can still gravitate to works that have unique characteristics — something that makes them special and stand out on their own amongst other prints. For that reason, I find Hiroshi Sugimoto’s Brush Impression 0916 (water) completely enthralling. There is somehow a lush movement present in the static black and white brushstroke, which in itself is painterly and messy and perfect. Just like the monotypes and works on paper in our sales, it’s always a pleasant surprise to find a unique work in the world of multiples and editions.
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