NEW YORK, NY.- The Thursday, February 13 Fine Photographs auction brings together twentieth-century masters in a curated selection of diverse and rare highlights.

The house is set to offer a signed example of Roy DeCarava’s iconic Hallway, New York, 1953, a vintage print that was acquired directly from the artist ($40,000-60,000). The sale also includes Robert Mapplethorpe’s stunning Double Jack in the Pulpit, 1988 ($40,000-60,000), as well as August Sander’s Handlanger [Bricklayer], 1928, printed 1976 (6,000-9,000), Robert Adams’ Out a Front Window, Longmont, Colorado, from The New West, 1968-71 ($10,000-15,000), and Minor White’s striking Moon and Wall Encrustations, Pultneyville, NY, 1964, printed 1970s ($6,000-9,000).

Paul Strand’s Wall Street, New York, 1915, printed 1984 ($6,000-9,000), and Lee Friedlander’s New York City (Father Duffy, Times Square), 1974, printed 1980s ($4,000-6,000), offer perspectives on New York City, and William Eggleston’s Untitled (In Case of Emergency), 1974 ($10,000-15,000), showcases the groundbreaking ways color photography altered the artistic landscape.

Additional works by Bill Brandt, Graciela Iturbide, Josef Koudelka, Diane Arbus, Henri Cartier-Bresson include Brandt’s Campden Hill, London, 1953, printed 1969 ($6,000-9,000); Iturbide’s Mujer Angel, Mexico, 1979, printed 1987 ($3,000-4,500); Koudelka’s Roma, near Tours, France, 1970s, printed ($6,000-9,000); Arbus’s Photographer Posing Communion Boy, N.Y.C., 1968, printed 20023 by Neil Selkirk ($7,000-10,000); and Cartier-Bresson’s Behind the Gare St. Lazarre, 1932, printed 1980s ($12,000-18,000). Rare color photographs by Danny Lyon from his Bikeriders series: Run to Springfield Illinois and Cal, on the Springfield Run, both 1966, printed 2003 ($6,000-9,000), further add to examinations of the social landscape.

Two color photographs by Gordon Parks and work by Clarence John Laughlin and Abelardo Morell showcase innovative approaches to the medium. Finally, iconic landscapes by Ansel Adams and studies by photographers such as Josef Sudek, Edward Weston, and Yousuf Karsh help provide a full perspective on the many approaches to image-making.