"Photography for me has always been about feeling and instinct, not just technique or composition." Sam Haskins

This exceptional group of five archival pigment prints from Sam Haskins’ personal master set represents the pinnacle of the photographer’s revolutionary work during the early to mid-1960s. Each print, produced in 2005, measures approximately 28 x 35.5 cm (or reversed) on a 32.5 x 49 cm sheet, and carries the unmistakable hallmarks of authenticity: signed and dated in ink on the front, accompanied by a pencil signature and hand-numbered Haskins Estate stamp on the verso.

These prints are more than images; they are fragments of photographic history, capturing Haskins’ daring exploration of mood, narrative, and the female form. The works hail from a period when Haskins was redefining fashion and nude photography, imbuing his compositions with cinematic flair and an unapologetic sensuality that continues to influence artists today.

Collectors recognize the rarity and significance of such master sets, reflected in their increasing value on the auction market. Signed pieces from this era, especially those with the full estate authentication, have consistently appreciated over the past decade, making them not only prized aesthetic objects but also sound investments. Their provenance, condition, and direct link to Haskins’ personal archive make them coveted treasures for serious collectors of 20th-century photography.

Available individually, they include:

Kate Dressing in Front of Mirror, Cowboy Kate (1963):
A quietly intimate moment revealing strength and vulnerability in equal measure. The reflection captures not just a woman preparing but a study in self-possession and cinematic elegance.

Killer Tied to Kate’s Horse, Cowboy Kate (1963):
A provocative tableau blending narrative intrigue with erotic tension, this image blurs the line between myth and reality, showcasing Haskins’ flair for storytelling through composition.

Girl and Pillow, Five Girls (1961):
Softness meets strength in this domestic portrait, where relaxed vulnerability and confident gaze combine to create a timeless study of feminine presence.

November Girl with Postcards (1966):
A hauntingly still composition, this print evokes memory and longing, as the subject is enveloped by fragments of past and place, captured with delicate nuance.

Shadow Figure (1963):
A masterful play of light and shadow, this image dances on the edge of abstraction, inviting viewers to explore the mysterious interplay of form and emptiness.