excellent eye, and real ability; this is an attractive and highly evocative group of images. Portfolio of 54 original black and white photographs, 29 different images with multiple prints of a number showing variations of cropping, enlargement, tone; most photos are c .355 × 255 mm, with several 255 × 200 mm and 230 × 305 mm, several mounted on board and signed, a few with wet stamps verso; together with 7 contact sheets and accompanying negatives, many of the images not represented among the printed images. Occasional surface scuffs, a few creases and chips, but overall very good. £3,500 [142000]
short To L.A … With Lust, co-starring Andy Warhol favourite Taylor Mead. In 1965 she relocated to NYC and began taking photography classes at Parsons and New York School of Photography, studying with George A. Tice and Lisette Model, whose influence is clear in the present collection. By 1980 she was exhibiting her work quite extensively, not just at The East Gallery, NYU, and the Parsons School Gallery, but also giving several shows at the Soho Photo Gallery and slideshows at the United Nations Photography Club, featuring images from a tour among the Berbers in Tunisia, and at Studio 54 and Magique Disco. The photographs are accompanied by a strikingly beautiful publicity shot of Ingrid maybe in her 30s, several photocopy posters/flyers for productions of Albert Maurits’s Carnival and Otto Dijk’s The Photographer at La Mama Experimental Theatre Club; these feature a photomontage by Ingrid, one signed in red ink. One of the flyers helpfully has a résumé of Ingrid’s photographic education and exhibitions verso, and a separate sheet lists theatrical engagements, film and TV work. Another handbill with the same art work advertises simultaneous shows of Ingrid’s photography at SPG, O’Neals W 43 St., and Times Square. Lothigius-Walder had an
and scratches to discs but overall in excellent condition. ¶ Riccardo Di Filippo, enciclopediadeljazz, available online; Clarence Bernard Henry, Quincy Jones: His Life in Music , 2013. £3,500 [149141] 23 HARLEM JAZZ FESTIVAL; LOTHIGIUS- WALDER, Ingrid (photo.) Harlem Jazz Festival, 1981 – a collection of original photos, contact sheets and negatives. New York: 1983 a scandinavian in harlem Lothigius-Walder (1920–1998) was a Swedish born actress and poet who settled in New York in 1965 and took up street photography. Ingrid shot the present images at the 1981 Harlem Jazz Festival, in the main turning her camera on the concert-goers and passers- by rather than the artists themselves, and by so doing she captured a wonderful glimpse of 1980s Black street style. Ingrid Lothigius emigrated to Los Angeles and in 1961 starred in the Vernon Zimmerman experimental
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22 HAMPTON, Lionel. Group of two publicity photographs warmly inscribed by Hampton and a copy of “Hamp’s Boogie Woogie” signed by Hampton and other band members. New York: Decca, 1947 signed by hamp, a young quincy jones, and a generous assemblage of hampton band members Wonderful small group of inscribed pieces lovingly assembled by a fan of the great vibraphonist and bandleader Lionel Hampton, the Decca set inscribed on the inner sleeves by no less than 17 members of his orchestra, including a young Quincy Jones. The teenage Jones makes the most appealing inscription of all the band members, writing “To Bree, Always be the same little chick that dug us at the R + D, Musically, Quincy Jones” and underlining his name with a thumbnail sketch of a trumpet. Hamp gave Jones his big break and his presence nicely dates this to 1951–3, when he was with Hampton as trumpeter and arranger; more accurately, the band lineup suggests the year was 1951. Regrettably, we have not been able to identify “Bree” but she may have been a
Roy Johnson (bass); Ellis Bartee (drums). A number of these autographs are notably scarce. “Hampton was at the center of change and racial integration in jazz and popular music. He was well known in both white and African American communities because he and pianist Teddy Wilson had been the first African Americans to play regularly with Benny Goodman’s small ensembles … Hampton had the ability to attract large audiences with his music. He was a musician who could think outside the box and innovate compositions that excited both musicians and audiences. In his autobiography Hampton notes that the first out-of-town booking that Joe Glaser of the Associated Booking Corporation arranged for his group was at the Trianon Ballroom, a popular social club in Seattle that mainly catered to a white clientele” (Henry, p. 11). A highly engaging memento of one of the most exciting bands of the post-war years. Four 10-inch shellac discs (Decca A–523), each housed in integral plain manila sleeves within a gatefold book-form album cover, gilt- lettered black cloth spine, pictorial front cover, green reticulated wave-pattern back. With two “10 × 8” glossy publicity photographs, captioned with the name and address of Joe Glaser’s Associated Booking Corp. Spine of album set a little rubbed and frayed, other signs of light shelfwear, otherwise very good; a few light abrasions
native of Oakland, California, as the first inner sleeve carries the stamp of the Yerba Buena Music Shop, a popular Oakland fixture that was famously supportive of the jazz community. The Hampton band played the 1951 Cavalcade of Jazz in LA, so the signatures may have been gathered on that occasion. Whatever her connection, she clearly made a big impression on the band, a number of Hamp alumni signing generously: Jerome Richardson writes “Lots of Happiness”, and Johnny Board “Loads of Luck”. A portrait of Hamp mounted on the inside back cover is inscribed by him, “Thanks a Million for your Kindness Bree, Always the Best of Luck, Lionel Hampton”; this is supplemented with another portrait cut from a magazine and neatly attached. The front cover carries her name at each corner and is also inscribed by Hampton, “Hello to Sweet Bree, Lionel Hampton”. The two publicity photographs are inscribed respectively, “Take it Easy Bree, Sincerely, Lionel Hampton” and punningly, “Sweet as the Evening Bree? Always, Hamp”. The musicians who have autographed the Decca set comprise: Quincy Jones, Benny Bailey, Walter Williams, Leo Sheppard (trumpet); Al Hayse, Paul Higaki, Jimmy Cleveland (trombone); Bobby Plater, Jerome Richardson, Leroy Thomas (alto); Johnny Board (tenor); Curtis Lowe (saxes); Ben Kynard (reeds); Billy Makel (guitar); Milt Buckner (piano);
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JAZZ
All items are fully described and photographed at peterharrington.co.uk
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