Photography Quarterly #64

The Polaroid 20x24 Studio

Kate Menconeri

Peter Hay Halpert

WHATIS A BENEFIT AUCTION!

The Center for Photography, a nan-profit 501 (c)(3) charitable organization, offers its annual sale of fine photographic prints. All of our Auction prints by living artists are donated. This is a gesture of support from the artistic community for the quality programs the Center has sponsored over the past eighteen years and for future programming. Founded by Howard Greenberg in 1977, the Center provides contemporary photographers with programs in education, exhibition, publication, fellowship, and servicesthat create accessto professionalworkspace, nourishing responses and new audiences. You can begin a personal collection, add to an existing one, or buy a present for a friend. Some of these artists' names are not yet household names, but they are exciting innovators. Your gesture of support comes from your Auction purchases. All funds acguired at this Benefit go to support our creative programs.

Please help us to assure our future by making a bid at the Auction.

AUCTIONTHANKSTO:

The participating Artists, Galleries, Center Board Members, Advisory Board Members, Staff and Volunteers who generously donated art and/or time to this Benefit. Special thanks to 292 Gallery, Jane Corkin Gallery, Fotofolio, Howard Greenberg Gallery, HalstedGallery, Charles IsaacsPhotographs, LedelLimited, Pace/MacGill Gallery, Scheinbaum & Russek Gallery, Staley-Wise Gallery, Wessel O'Connor Gallery, Town of Woodstock, Vasco Pini, Digital Design Studio and Lith Art Press.

OURARTISTICHOME:

The property chosen as the Center's permanent home (purchased in 1987) is a two-story building located at 59TinkerStreet, in the heart of Woodstock. The building, which dates back to 1825, has a venerable history, muchof it with artistic associations. Phase 2 of our Capital Fund Campaign Drive of $300,000 is designed to pay off the mortgage and for renovation.

is publishedby the Centerfor Photographyat Woodstock(CPW),59 TinkerStreet,Woodstock,NV

The Woodstock Town Hall, 7 pm

Center Gallery, Sept. 22 - Oct.

Admissionto the Auction is free with catalog. ABSENTEE & BID FORMSARE AT BACKOf CATALOG:

Prospective buyers are encouraged to personally view work for sale or call the Center (914-679-77 47) and speak with the Executive Director, Colleen Kenyon BENEflTAUCTIONEER: Barbara Strongin

Centerfor Photographyat Woodstock.All

part of the contentsmay be reproducedwithoutwrittenpermissionof the publisher.All works illustratedin the Quarterlyare copyrightedby the individualartists who producedthem; copyrightfor essaysbelongsto the authors. All opinions,ideasand illustrationsare thoseof the writersand artiststhemselvesanddo not in any way representofficialpolicyof CPWor its membership.ISSN0890-4634.Printed by Kenner Printing Co., Inc., NewYork City. Distributed by Bernhard De Boers, Inc., 113 East Centre Street, Nutley, NewJersey 07110.Editor, KathleenKenyon;Assistant Editor, KateMenconeri;Copy Editors, JoanMunkacsiandTeri Roiger;Ad Manager, LawrenceP. Lewis;Typesetting, DigitalDesignStudio,Ruby,NY.TO SUBSCRIBETO THE PHOTOGRAPHYQuarterly:Join the Centeras a SubscribingMember.For$25/year,you'll receivefour issuesof ourphotography magazine; Canada/Mexico$40 year, International$45 year. Membershipis tax deductible to the extent of the law. Cover:© Louise Dahl-Wolfe, Italian Silk Sash, c. 1950, courtesy Staley-WiseGallery, NYC, NY.

CLASSIC & CONTEMPORARY PHOTOGRAPHS

BERENICE ABBOTT

IMOCEN CUNNINCHAM

FRANTISEK DRTIKOL

WALKER EVANS

ROBERT FRANK

EIKOH HosoE

KENRo lzu

ANDRE KERTESZ

WILLIAM KLEIN

DOROTHEA LANCE

LEON LEVENSTEIN

RALPH EUCENE MEATYARD

GJON MILi

MARTIN MUNKAC:SI

NEW YORK SCHOOL

DOROTHY NORMAN

GORDON PARKS

GILLES PERESS

ARTHUR ROTHSTEIN

W. EUCENE SMITH

ALFRED STIECLITZ

JOSEF SUDEK

JAMES VAN DER ZEE

ROMAN VISHNIAC

WEECEE

EDWARD WESTON

MINOR WHITE

HOWARD GREENBERG GALLERY

MARK YOUR CALENDAR FOR:

The World's Largest Exposition

Devoted to Fine Art Photography

FEBRUARY 23 to FEBRUARY 25, 1996

NEW YORK HILTON HOTEL, NEW YORK CITY

View the art of photography from the rarest early works to cutting edge contemporary-all for sale, at exhibitions by 80 of the finest international galleries and private dealers

DETAILS OF SCHEDULE & EVENTS TO FOLLOW IN THE COMING MONTHS FOR ADDITIONAL INFORMATION, CONTACT:

THE ASSOCIATION OF INTERNATIONAL PHOTOGRAPHY ART DEALERS 1609 CONNECTICUT AVENUE, N.W WASHINGTON, D.C. 20009

TEL: 202-986-0105 • FAX: 202-986-0448

·MoreThanJustPhotographs:ServiceDonations

auction bidding begins here / information for buyers

The Center publishes, in the Auction Catalog (next to the description of each photograph) the opinion of its staff as to the estimated price range for each photograph ("lot"). These estimates represent an opinion of the approximate price expected to be realized at our Benefit. They are not a prediction or guarantee of the actual selling price or retail gallery price. Results at benefit auctions do not necessarily follow commercial sale patterns, nor necessarily estabfish current market value for an artist's work. We reserve the right to withdraw any property before sale.

aphotography books & magazines

Life Library of Photography ( 15 books, 1970s, approximately 230 pages, color and b&w illustrations): Photographing Nature, The Print, Caring for Photographs,TravelPhotography,Photographyas a Tool, Frontiers of Photography,The Studio, TheAri of Photography,Color, The Camera, Lightand Film, PhotographingChildren, Special Problems,the Great Themes, Great Photographers.Catalor: LatvianPhotographers:Mother Jones DocumentaryAwards, Andre Kertesz, Alvin Langdon Coburn, Three Visions: Baltz, De Lappa, Labrot,two issues o Camero Obscura, Yousuf Karsh, BritishPhotographyfrom the Thatcher Years, Arizona Photographers,Wynn Bullock.(Value: $100 - $200).

bphotography books & magazines

Time Life (series) PhotographYear 73, 74, 75, 76, 77, 78, 79, 80 Editions (8 hardcover books approximately 235 pages color and b&w illustrations)Catalogs: In Spite of Everything:Yes, Young Japanese Photographers, The Photo Gallery Workshop Handbook, Contemporary Photography from the Soviet Union, Image Bank, RobertCummingPolaroidSelections, The Crowded Vacancy, ContemporaryCanadian Photographers(book), Light/Color, 30 Works by Michael Snow, PanoramicPhotography.(Value: $100 - $200).

Ca gift certificate to mat & frame a print bought at this auction Vasco Pini Frame Shop, 33 Rock City Road (Woodstock, New York) 914-679-9428. (Value: $100 - $200).

da portrait of your children (8x10" b&w)

LAWRENCE LEWIS, CPW's Executive Assistant, creates portraits of families with an 8xl Oview camera. Lewis is an Adjunct Professor of Photography at Mari st College (Poughkeepsie, NY). A custom printer, he has worked for such renowned photographers as Wendy Ewald and Rosalind Solomon. (Value: $100 -$200).

ean individual rortfolio review

KATHLEEN KENYON, the Center's Associate Director, assumes charge of al Center creative programs: education, exhibition, publication, fellowship, and services. She has had her images reproduced in Esquire, Beach Culture, Photo Design, Health, Men's Fitness, and Ray-Gun. Kenyon receives hundreds of applications each year at the Center and will give her advice on the "do's and don'ts" of how to put together your portfolio for gallery and magazine review. (Value: $100 - $200).

findividual darkroom photography classes (five one hour sessions)

BEN CASWELL, CPW Darkroom Manager, is a freelance photographer who has worked as a gallery assistant at the Photofind Gallery (Woodstock, NY) and the Howard Greenberg Gallery (New York City, NY). Caswell studied at the Rochester Institute of Technology. (Value: $100 -$200).

gyour portrait (8x10"platinum)

STEVE WEST, a Workshop Intern Program Assistant at the Center, has been a professional drummer and a graphic designer. Steve is a freelance portrait photographer who produces large format platinum prints. Being social with a camera is companionable, leading to friendships and who knows? What drama! What excitement! It's like scaling Everest. (Well, maybe not.) But it's fun and you won't need an oxygen mask. (Value: $100 - $200).

han individual lesson in toning & hand coloring the b&w photograph

COLLEEN KENYON, the Center's Executive Director, had her photographs shown at the Museum of Modern Art in Terrorsand Pleasuresof DomesticComfort. Her work is in the collection of the Museum of Modern Art, the Metropolitan Museum of Art, and the George Eastman House. Kenyon's images have been pub Ii shed in TheArt and Techniqueof 70 Modern Masters, Flesh& Blood:Photographers'Images of TheirOwn Families,and Marshall's HandcoloringGuide. (Value: $100 - $200).

a rewrite (or write) of your resume & artist's statement

KATE MENCONERI, CPW Program Assistant, manages projects in education, exhibition, publication, services, and archives. Menconeri received a B.A. in English at SUNY Albany (NY), has been a photography lab assistant at SUNY Albany, and a provider of information at Schenectady YWCA Families in Violence. (Value: $100 -$200).

I typesetting for your business or personal needs

TERI ROIGER, CPW Computer Specialist, has experience in graphic design and editing. Previously she worked at the American Federation of Arts in New York City as the Education Coordinator. She will design your letterhead, business card, invitation, flyer whatever your needs are. Roiger has had extensive experience as a professional musician and concert producer. (Value: $100 -$200).

Lot numbers read right to left across page

]. Ward,Frank,Black Hat Dancer, signedinpencilon back of print, 1991. l0x8". S200/400.

2. Siegel,Alan,Reflection, signed in pencil on back of print, l994. 13'/,x9". S200/400.

3. Jaffee,N. Jay,Eiffel Tower, Paris, France, signed in pencil on back of print, ed. 18/25, 12x71/,", $250/500.

4.West,Steven, Micl1iyo,platinum-paUad.ium,signedin pencil on back of print, 1995, 10x8", S200/400.

5. Woijick,James,Untitled, (cardboard). platinumpalladium.signedinpencilonfrontandbackofprint. 1995. 12½x9½". 300/500.

6. Crowe,MaryjeanViano,Doll Cake, contact print of mixed media collage, signed in pen, 1994, l4xll". $200/400.

7. Roth, Harold,Williamsburg Bridge - 1947, signed in pencil on back of print, 1995, 13"/ulO"/,", S400/600.

8. Landy,Elliot,Bob Dylan, 1968, 1990s, 14xll', S750/JOOO.

9.Chernewski,Anita,Ugolirw, signedinµenciJonbackof print.1986, l5xl0 1/,', S200/400.

10. Bonfils,Untitled (three archways. two women), albumen c. 1880s, signed in negative, 10'hx8", 8200/400.

l l. Kellner,Tatana,Untitled, {pear), altered CSP. signed in pencil on back of wood board, 12'/,x9'¼', SJ 50/300.

12. Maschas,Theo,Unt.itled (woman on beach). signed in pencil on back of print, ] 995, 9 1/,x6 1/,". 200/400.

13. Halsman,Philippe,Carmen Dellofiore, stamp on back of print, 1950s, 13"/ixlO·'/,",8400/600.

14. Nash,Annie,Nvestra Senora de Los Dolores, mixed mediacollage,signedinpenonfrontandpencilonbackof print.1994, 131hxlO'h", 8200/400.

l5. Kasebier,Gertrude,Pastoral, April 1905, Camera Work, photogravure. c.1905 vintage. 8 1/,x6 1h". S500/700.

16. Hunter, Kathryn,Bannerman's Arsenal on the Hudson, tonedcyanotype,signedinpencilonfrontofprint,stamp on mat. ed. 2/25, 1995, 7x5", 8150/300.

17. Stock,Dennis,Untitled, (meadow and tree), color dye transfer,signedinpencilonfrontofmount.1986.ll 1h,J8\ 500/750.

18. Montanari,Marie-Claire,Lying Torso on Tapestry, signedinpenonfrontofprint,ed.l/10,1987,7-1/ixI0l/4", 8200/400.

19. Anon,Two C/uirches, photo-engraving, lot of 2, c. 1850 - 1890s. vintaee, 7'hx9¼". 8200/400.

20.Baer,David, Self Portrait, seleniumtoned,signedin pencil on front of print, 1994, 9xl3'/,', S300/600.

21. Kratochvil,Anton,Poland, signed in pencil on back of print, 1990s, 8½xl2¾", S300/600.

22. Roth,Harold,Bowery at Houston Street -1946, signed in pencil on back of print, 1995, IO½xl3½", S400/600.

23. Jouve,A., Two Algerian Women, toned,mattesurface, stamped on back of print, c. 1910, 8'hxll", 8300/500.

24.Barret,Joan, Benedicit.e, signedinpenonfrontofprint, 1994, 10¼xl3¼', S200/400.

25.Badura,John, Patience, signedinpenonmount.and pencil on front of print, 1989, 7'/,x9 1h", S200/400.

26. Granados,Carl,Extinct Species, Ektacolor, signed in penonfrontofprintandpencilonfrontofmount,1995, 8'/ixl2'h", 8200/400.

27. Gatewood,Charles,Untitled, (couple in bed with child), signed in pencil on back of print. 1969, 7x!O". S300/600.

28.Anon, Untitled, (architecturalviewsandclassgroupsof Harvard & St. Paul's), 6 Albumen prints, back-lo-back, c. 1880s, 7 1/«9'/.", S300/600.

29. Ruwedel,Mark, 1'hirteenAmerica11 Bison, signed in pencil on front of print, 1992/93. 6½" l'ircle. S300/600.

30. Scowen, Ceylon (Cacoa), alhumen. signr<l in negative, c. 1880s. S150/300.

31. Dater,Judy,\Valki11'The Dog, signed in pen on back of print, I 994, 4x3", S300/600.

32. Forss,George,Untitwd, (wooly sheep with baby lamb), signed in pen on hal'k of print, 1990s. ll 'hx9'/,", S150/300.

33. Morgan,Barbara,Doris Humphrey- Passacnglia1938, signr<l in pen on front & back of print, r. 1980, 151/,xl3 1/z", S750/1000.

34. Mayes,Elaine,Waipio Valley, lsla11dof Hawaii, signed in pen on back of print. 1990. 22xl5". S400/600.

35. Picayo,Jose,Sag Harbor, Nl', split toned selenium print, signed in pencil on back of print. ed. 5/5, 1994, 14x LI'. S300/600.

36. Cohen,John,Pull My Daisy (Dody Mueller, Jc,c~· Kerovac, and Denise Parker, 1959), signed in prncil on hack of print, 1987, 9'hx6'/,", S600/800.

37. Marcuse,Tanya,Metropoliuui, platinum-palladium, signed in pencil on front of mount. 1994, 4 11:!x3 1/z", 300/600.

38. Picayo,Jose,U111itled,(woman with hat), toned GSP, signed in pencil on back of print, 1994. 6x4"/,". S300/600.

39. Stock,Dennis,Tintype wit.h Sow, 1950s, 13x9", 8400/800.

40. Serbin,Vincent,The Essence of Nature, signed in pen on front of print, ed. 12, 1994, 161/,x 131/,", S500/700.

41. Chernewski,Anita,Magnolia, signed in pencil on back of print, 1980s, 15xl0", 5200/300.

42. Pynan,Dana,Mother and Chile/, st•pia toned, signed in pencil on back of print, 1989, 131/ix9", 5200/400.

43. Fink,Larry,Boxing, Blue Horizon, Phi/.adelphia, l'A, signed in pencil on back of print. 1991. 18xl3-¼". 8500/800.

44. Lambray,Maureen,Tiny Bird, Dye sublimation. signed in pen on back ofprint.1995. 9x9". 5800/1000. Courtesy G. Ray Hawkins Gallery. Los Angeles, CA.

45. Hanna,Forman,Ont.he l'ueblo St.eps, toned, stamped on back of print, 1920s, l 0'hx 13'!,", S700/1200. Courtesy Charles Isaacs, Malvern, PA.

46. Raymond,Lilo, Until.led, (ll'a cup on mantlt>), signed in pencil on front of print, 1974, 5 1hx8 1/,". 8500/700.

47. Richards,Patricia,l'lanoettes and Thunderbirds, signed in pencil on back ofprint.1993. 8xl0", 150/300.

48. Cavanaugh,Phillip,Morning - Hotel de l 'A11gleterre, signed in pencil on back of print, 1995, 6'/ex7'/.,", 8200/400.

49. Tice,George,Buggy, Farmhouse and Windmill, signed in p<'nl'ilon mount, 1965, 4'hx9'/z, 8400/700.

50. Traub, Charles,Fran, si:,rne<lin pencil on front of print, 1983, 5"/ix7". 3300/600.

51. TarboxBeals,Jessie,Gardens, Short Hills, NJ, stamped on back of print, c. 1910, vintage. 6'/,x8W', 8700/900.

52. Komroff,Manuel,Untit.wd, (nude torso), artist stamp, vintage, 9"/,x7, 8500/800. Courtesy Odette Komroff.

53. Michals,Duane,Untitwd, (three women on bed), signed in pen on front of print, eel. 12/75. c. 1970s. vintage, 6'/,x9't,". 5800/ 1000.

54. Khornak,Lucille,Cherished Moments, toned, signed in pencil on back of print, 1993. 9xl3'/z", 8300/600.

55. Lippman,Marcia,Bat.u.bulan, Bali, toned, signed in pen on back of print. ed. 2/20, 1993, 6x8¼", 3300/600.

56. Bullock,Edna,'/'186, Rte. 6A, Near Brewst.er, signed in pencil on mount, 1984/85, 7'/,x9"/,", S300/500.

85. Seeley,George,H., The Black Bowl, Camera Worh· photogravure, 1907. 8x6'/,". S400/800.

86. Curtis,Edward,S., The Prayer, photogravure from The Nort.h Americnn /11dia11,1907. vintage, 7"/,x51/,". S300/600. Courtesy L,·e Male, Ledel, CT.

87. Cramer,Konrad,Unt.itled, (bouqut·t), notated by his daughter, 10x8", S500/JOOO.Courtesy Aileen Cranwr.

88. Adams,Ansel,El Capitan, Winter Yosemit.e National Park:,California, (special edition) signed in p<'ncil on front of mount, 9 1/,x7 1/,". $750/1000.

89. Savage,Naomi,Tags of Gold (Silver Trio, etc.), lot of 4, earh titled. blank spiral bound _n9-1-ebookswith drawing, painting. and embossing (from photographs) on covers. signed in pen on front cover.1995. l3 1/~xl0 1/t". 200/400.

90. Cruz, Levi,Unt.itled, (nude at windows). signed in pencil on back of print. 1994. lOx!O". $200/400.

91. Woolf,Paul,J., Fireworks Over River, stamped on back of print, c. 1932. vintage, 8"/sx71/,", S600/800.

92. Shear,Jack,Untitled, (male and female nude), signed in p<'ncil on baek of print. 1993, 7x7". 8400/600.

93. Siskind,Aaron,Chicago, sibri1e<l in pencil on back of print, 1948, 18xl3", S1500/2500.

94. Steichen,Edward,Henri Matisse, Camera Work photogravure, 1909, 8·1/,x6 1/,", S700/900.

95. Stieglitz,Alfred,The City of Ambition, Camera Work photogravure, 1910, vintage, 8-1/ix6'/,", $1200/1500.

96. Coniglio,Antoinette,S1tmmerflowers, laser photograph on glass, water color, and charcoal signed in pen on mount, 1994, 13x91//", $200/400.

97. Fruitman,Sheva,Big Lily, platinum-palladium, signed in pencil on print, ed. of7.1994, 4 1/,x3 1/,", 8400/600.

98. Atget,Eugene,54 Rue tie Frances, Bourgeois, stamped on hack of mount, 8x6'/,", Sl200/1800.

99. Halsman,Philippe,Seamstress, signed in pen on back of print. c. 1950s. 13'/,xJO'/,", 500/800.

100. Bernhard,Ruth,Two Leaves, signed in pencil on back and front of mount, 1952. 13'/,xJO". 1000/2000.

IOI. Jenshel,Len,Porcelain Basin, Yellowstone National Park, Ektacolor, signed in pen, l2 1hx19", S600/800.

102. Richards,Eugene,St.ill House Hollow, Tennessee, signed in pencil on print, 1986, 10'/,xl3 1/,", S400/800.

103. Salgado,Sebastio,Brasil, signed in pencil on hack of print, 1983, 6"/,xlO'/.,", $700/900.

104. Lewis,LawrenceP., Untitled, (man in the moon), signed in pencil on back of print, 1995, 7'hx9'!,", S200/400.

105. Roth,Harold,Water Street, 1948, signed in pencil & stamped on back of print, I 994, 10 1/,x 13"/.'', S400/600.

106. Heyman,Abigail,Untitled, (family group), signed in pencil & stamped on back of print, 1990s, 9xl3 1/,", $300/600.

107. Levitt,Helen,New Hampshire, signed in pencil on back of print, 1987, vintage, T'/,xll", 8500/800.

108. Anonymous,Garden at flikone, Oni, hand colored Albumen print with second image on back, 19th Century, 7"/ixlO'/,", ·150/300. Courtesy Gallery 292 NYC, NY.

109. Raymond,Lilo,Untitled, (table and chair), signed in pencil on front of print. 1984. 8¾xl3¼", S500/800.

llO. Rubenstein,Eva,Untitled, (nude). initialed on front of mount, 1969, vintage, 2·¼x4", S400/600.

111. Burkhardt,Rudy,Rings (Brooke Alexander, NYC 1940), signed in pencil on front of mount, negative 1940, print date 1976, 7x9", S400/600.

112. Tuckerman,Jane,Angkor Wat, signed in pen on front of print, L990s, 121/ixl8 1/-,", S300/600.

113. Edgerton,Harold,Rodeo Cowboy 011 Buch·ing Horse, 1940, signf'fl in pencil on back of print. 1981, 17xl4 1/1", S 1500/2000.

114. Uelsmann,Jerry,Tree With Root. signed in 1wnon mount. 1966, 131/xx8'/,", S1200/1800.

115. Harold-Steinhauser,Judith,Silence, sig,wd in pt'ncil on front of print, 1993, 131/oxl0'/1", S300/600.

116. Adams,Ansel,Half Dome and Moon, Yosemite Nlltional. Park, California. signed in pencil on front of mount. stampPd on Lack. special ed .. 9"/,x7½". 8600/1000.

117. Jaffe,Jay, U11tit.led,(A. Altman Storefront. NYC), sig1wd in pl'ncil on back of print. ed. 24/25, c. 1940s. T1/1x6·1/1". 8200/400.

118. Kane, Dency,Lettuce. signed in pen on front of print. 1990. 9x9". "250/500.

IJ9. James,Christopher,Wicker Chair, Bretto11 Woods, torwd & hand colored. signed in prncil on print. 1981. 8x8". $400/800.

120. Ross,Richard,Arts Market Santa Barbara CA, Ektacolor. sign,·d in pen on print. 1995. l0xlO", 8300/600.

121. Birdsall,Jeanne,Self l'ort.rait, (Wet), platinumpalladium, signed in pPncil. 1995, 9'h7 1/,", 8200/400.

122. Siskind,Aaron,Untitled, (seagrass in beach sand), signed in peneil on back of print, 1943, 19xl5", 81500/2000.

123. Weegee, Frank Sinatra, (from ''Distortion Series"), stamped on back of print, c. 1950, 9"/ax71/,", 8900/1200.

124. McCarty,Mark, Kate and Vicki, signed in pencil on back of print, 1994, 19xl5", S200/400.

125. Feldman,Sandi,Sunflower, B&W Polaroid, signed in pencil on back of print, 1995, 2Jxl7", S600/1000.

126. Pluschow,Guglielmo,Italian Nude, Albumen, stamped on back of print, c. 1850-1890. 8½x6", S400/600.

127. Hine,Lewis,Untitled, (Child in Doorway c. 1910). signed on front of print, c. 1941. 6-;/,x4½". Sl000/1500.

128. Menconeri,Kate,Joshua, signed in pencil on back of print. 1994. l2 1hx8 1/,". S200/400

129. Esmond,Judi,l'ortmit (Ribbons and Hands, blue phot.ograms),series of 5 Ek1acolor prints. signed in pen on back of print. 1993, 15x80", 200/400.

130. Meyerowitz,Joel, Untitled, (Dunes), Ektacolor, signed in pen on back of print, ]976, 7 1h9 1h", S500/700.

131. Steichen,Edward,In Memoriwn, NY 1902, platinumpalladium, from Aperture portfolio, signed in pen on fronl of print, 1902, 6'hx8"/,". "500/700.

132. Scheinbaum,David,Tumacacori Mission,Arizona 1993, signed in pencil on front, stamped on back of mount, 1995, 3 1/,x4"/1". 400/600.

133. Fujihara,Michiyo,Sacred l'laces, Cibachrome, signed in pencil on back of print, 1993, 8xll", S400/600.

134. Charry,Myrna,Eye On Man, signed in pencil on front of mount, 1994, J0 1/-1xl3'/:i",S200/400.

135. Tice,George,Leo Cooper, Hannibal, MO 1984, signed in pencil on front of print, 1989, 10½xl3", 8500/1000.

136. RayJones,Tony, Untitled, (picnic in the rocks), stamped on front of print. 1987, 6 1hx10", 8400/600.

137. Gohlke,Frank,Haze Near Lebec, California, 1979, signed in pencil on back of print. 1989, 14xl8". 1200/2000

138. Orkin,Louise,St. Thomas Church, NYC, 5th Avenue (three views), unique color gum triptych, signed in pencil on front of print, 1992. 4xl0½". 8200/400.

139. Jenshel,Len, Best Western Mammoth Hot Spring, Gardiner MT, Ektacolor. signed in pen on back of print, 1992, 15x19", S600/800.

140. Ellis,Loren,Untitled, (Central Park), hand colored collage, signed in pen on front of print, 1994, 17x20", S300/600.

filj)

141. Rosenstock, Ron, St.one Henge #2, signr<l in pencil on front of mount, 1971. 9 1/,xl2 1/,". S300/600.

142. Picayo,Jose, Lips, Taxi Magazine, Ektarolor. 1988/ 1994, 24x20", 8400/600.

143. Harrell, Thom, Adumbration and Orchid, signed in p<'n.-ilon mount. !'fl. 3/40. 1994, 9 1/,x7 1h", $200/400.

144. Riboud, Marc, Ecumenical Landscape, Cih,whrome. signed in pencil on front of mount. 1973. 14x9". S300/600.

145. Larouk,Mary,Aladdin's Flying Carpet. split toned. sig,wd in penril on print, 1995, 15xl5", S400/600.

146. Larouk,Mary,Lynn (woman with veil), split toned. signed in pencil on bark of print. 1995. 15x15". S400/600.

147. Ockenfels',Frank,Michael Stipe, B&W Polaroid, sigrn'd in penril on print, ed. 10/100. 1995, 8'hx6 1/,". $300/600.

148. Siskind, Aaron, Rome: Arch oJConsta,ttin.e, signed in pen on front of print. 1967. 17'/,x 14'/,". Sl000/1800.

149. Rothstein, Arthur, Du.stStorm. signed in pPncil. f'd. 197/300. r. 1940s printed later. 19xl9", S1200/1500.

150. Deschin,Jacob, Tl,e EL, sig,wd in pencil on front of mount. c. 1935, vintage. 8'!.x6 1/,". 8500/700.

151. Edgerton,Harold,Atomic Bomb Explosion, 1952, signed in penril.1952, 18xl4'/,". 81800/2500.

152. Duey,Jim, Cleaning t.lie C,11.chat Midnight, Canon color copy on rice paper signed in pe-non back of mount and pencil on front of print. 1994. ll '/,x7 1/,", S200/500.

153. Cartier-Bresson,Henri,Cordoba, Spain, 1933, stamped on bark of print, J960s. 95/ax61/,", 81200/1800.

154. Carter, Keith, Boy with Birds, signed in pPnciJ on back of print. ed. 7/50. 1989. 15xl5". S500/IOOO.

155. Montanari,MarieClaire,Untit.led, (flowers), sigm'd in pen on front of print, 1990s. 9x8'/,", 8250/500.

156. White,Minor,Silt Pool and BlacJ.·Shndows Capstol Reef Utah, signed in penf'il on front of print. 1963. vintage, 9 1/,x6'/,", S3000/4000.

157. Morgan,Barbara,Pearl Primis - Speak to Me of Rivers, 1944, signed in pen on front and back of print, 1980. 13'/,xl7"/,". S500/1000.

158. Stock,Dennis, Untitled. (lavender). eolor dye transfer. signt•<lin pencil on front of mount, 1986, ll'hl8, 400/600.

159. Wilson, Mickey, House of Dream #2, signed in pencil of front of mount. 1993. 8x 121/1". S200/400.

160. McCormack, Dan, Reta, toned, signrd in penci.l on front of mat, 1993, 4x6 1/,", S200/400.

161. Edgerton,Harold,Bullet Through Balloons. signed in pencil on back of print. 1959. 111/,x 19", S1000/2000.

162. Lav,Brian,Schoolgirls, 1976, signed in pencil on back of mount and front of print, 1980, lOx13", 8300/600.

163. Kenyon, Kathleen, Home at Last., from ''Improvement Era Series." one of a kind collage on wood with acetate & plexiglas, signed in pencil. 1993, 12xl8", 300/600.

164. Waligore,Marilyn,Watching the Clock, Chromogenic reversal print from computer digitizrd photograph, signed in pen on back of mount, ed. 1/5.1994. 24x30". 8400/800.

165. Luck,Owen,Apple Bwssoms, Ektacolor, signed in pencil on front of mount, 1995, 14xl9'h", 8250/500.

166. Kethum,RobertGlenn,Curra #63, (fall foliage), Ektacolor, signed in pencil on front of mount, e,I. 9/27, 1986. l8"/ix23'/,". S500/1000.

16i. Curtis,EdwardS., A Blackfoot Tmvois, from "The North American Indian series'', photogravure, 1926, vintage, I l 1hxl5·'/"",2000/3000.

168. Krims, Les, A Marxist View, Ektacolor. signed in penf'il 011 front of print, 1983, l 9x23". 8700/900.

169. Metzner,Sheila,Untitkd, (abstraet), one of a kind Fresson. signed in pencil. 1992. 19xl3". Sl000/2000.

170. Kenyon,Colleen,Composition (lemo11s), hand colored, signed in pencil on mount. ed. 1/6.1995. llx7", S300/600.

171. Dahl-Wolfe,Louise,Italian Silk Sash, signed in pencil on back of print, c. 1950. IO½x9½", Sl500/2500. Courtesy Staley-Wis,• Gallery, NYC. NY.

172. Boubat,Edward,Lella, 1947, signed in pen on front and pencil on back ofprint.14xl0 1/1", S900/1200.

173. Heiken,Dan,Art. VI, Ektacolor, signed in pen 011 front of print. 1992. l41/,xl4", S300/600.

174. Smith,Gordon,R.,Harman and Parents, Jamaica, signed in pencil on mount.1989, 101/,xll", $200/400.

175. Haviland,Paul,8., Passing Steamer, Camera Work photogravure. 1912, vintage, fr'>/11xT',600/800.

176. McNeil,Dean,New Yori·, unique toned Ektacolor. signed in pen 011 back ofprint.1992. 71/,x7½". S200/400.

177. Porcella,Philip,Untitled, (nude entwined in trees), signed in pencil on back of print, 1993, 9x7 1/1", S.200/400.

178. Steichen,EdwardJ., Balzac, The Open Sky, Camera Work photogravun• printed in green ink, 34/35:7. 1911, vintage. 8 1/1x61/1", S400/600.

179. Akin,GwenandLudwig,Allan,The Women Series, lot of 2. both sib01edin pen on back of blark oval frames. 1992/ 94. 13½x10-¼", 500/1000.

180. Edgerton,Harold,Peter Desjardin Diving, 1940, l8xl3", SI000/2000.

181. Fleming,Debbie,Maria (Mexico 1994), signed in pencil on back of print, ed. 4/25, 1995, 20 1/1xl5", S750/ 1000. Courtesy lloward Greenberg Gallery, NYC. NY.

182. Ockenfels',Frank,Natali£ Merchant., signed and stamped 011 back of print. 1995. 8½x6½", S400/600.

183. Rubenstein,Raeanne,Looking Forward Looking Back (John Lennon cmd Yoko Ono), signed in pt•n on back of print. 1993. 9 1hx6½", 400/600.

184. Siskind,Aaron,Pleasures and Terros of /,evitation, signed in pencil on back of print, 1956, 131hx14\ S1000/2500.

185. Cartier-Bresson,Henri,Brussels, /932, stamped on back of print. 1960s. 6x9". Sl200/1800.

186. Ferris,Susan,Daisies, signed in pen('il on back of print, 1994. 2x2"/,", 200/400.

187. Landy,Elliot,Janis Joplin with Big Brother, NYC 1968, Ektacolor. 1995. 15xl9", S750/I000.

188. Edited& PublishedbyRobertBowen,Richard Edelman& JoanAdes,Eye 13/Space Digest 1'oday, single photos in artist's book, ed 130/151. 9xllx3 1/,", 300/600

189. McCarthy,Joanna,Iris, color electronic image, signed in pen on front of print, 1994, 6 1/,xl0", 8400/600.

190. Post-Wolcott,Marion,Dirt. Road and Fence Through Farm, Fairfax County, VA, stamped on back of print, 1941, vintage, 7¼x9½", S900/1200.

191. Daniell,George,Sophia Loren at Cinecit.ta, Rome, 1955, signed in pencil on back of print and stamped on back ofprint.1990. l0 1/1xl3 1h". S400/600. Courtesy Vincent Cianni Photography. NYC, NY.

192. Hugo,Leopold,Unti.t.kd, (Seascape), artist stamp on back of print, c. 1950s, 6"/1x8½", S200/400.

193. LaRocca,Isabella,Untitkd, {still life), lot of 2, Ektacolor, signed in pen on print~ 71hx9½ 11 • S200/400. [94. Stieglitz,Alfred,The Swimming Lesson, Camera Work photogravure, 1911, 5;/,x9", S700/900.

195. Lav,Brian,School Buses 1979, Westfield, NJ, signed in pencil on front of mat, 1979, 9'1/.,xl2·1/,", 8200/400.

196. Frith,Francis,Village of Siloam, Albumen, 1860s, 6 1/,x8 1/.", S250/400.

197. Weiner,Greg,Unt.it.kd, (Male Nude), signed in pen on front of print, 1990s, 4x2·¼", S200/400.

198. Oner,Metin,Being There (Cent.ral Park, NYC), Ektacolor, signed in pPn on front of print, 1994, l J3/1x811 S200/400.

199. M.Frankenstein& Co.,Unt.itkd, (scenes of Vi,·nna), lot of 11, A.lhumen, stamped on front of mount. 19th Century. approx. 9·'/ix71h". S200/400.

200. Reynaud,Leonce(editor),Phare de Calais, Phare de la Point.e de Barfkur, Pluire de la Corne, 3 collotypes from "'L~•sTravaux Publics de la France" (original mounts), l870s, l2 1/ix9". 700/1000.

201. Taka,Rei,Still Life #141, platinum-palladium, signed in pencil on back of print, ed. 1/25, 1990s, 5x4, S300/600. 202. Kuehn,Henrich,St.udy, Camera IVork photogravure, 191I, 7"/,x5'h", 400/800.

203. Maschas,Theo,Untitkd, (red sheets), color digital image, signed in pencil on print, 1993, l50x300", 200/400.

204. Morse, Ann, Tuscony, Italy, sigm!d in pen on front of print and pencil on mount, 1992, 10x61/,", S200/400.

205. Metzker,RayK., U11titkd, ("Fcste di Fuglie"), signed in pencil on print. ed. 3/25, 1994.13 1hx13'/,". S750/l000.

206. Lomeo,Angelo,Black Socks (Venice). Cihaehrome, signed in pencil on back of print. 1981, 15xl0", S300/600.

207. Bullaty, Sonja, Window, Cibachrome. signed in pencil on front of print, 15xl0". $300/600.

208. M.Frankenstein& Co., View~ofVie111u,,alhumen, lot of 4, stamped on mount. 9'/ix7'/,", 8200/400.

209. Fink, Larry, Greet.ingsfrom Jean Sabatine, signed in pencil on print, ed. 7/20.1983, 15xl4'h", 1000/1500.

210. Lartique,JacquesHenri,Solange, c. 1920, signed in pen on back of print, 1970s, 4'/,x3 1h", S2500/3500.

211. Cianni,Vincent,Salvo East Village, NYC, signed in perll'il on back of print. ed. 2/25.1994. 12x9", 250/400.

212. Anderson,Joel,First Snow, Harrisburg, PA, color dye transfer, signed in pencil on mount, 1990, 10x8\ 8250/500.

213. Abbott,Berenice,Department of Docks and Police Station, 1936, stamp on reverse. 7'•/,x9'ls''. S2500/3500.

214. Hofmeister,Theodore& Oscar,The Solitary Horsemen, Camera, Work photogravure, 1904, 4x7", S250/ 500.

215. lzu,Kenro,St.ill Life #119, platinum-palladium, signed in pen on mount and print. 1991, 9'hx7'h". S800/1200.

216. Raymond,Lilo,Unt.it.kd, (oysters), signed in 1wncilon front of print. 1971, 9 1/ix 13'!,". S700/l000.

2li. Hall,David,Siphon of Giant Clam, Egypt, tire Red Sea, Ciba,·hrorne. signNI in pencil on front of mount. J989, l5'hxl9 1/,'', S400/600.

218. Abbott,Berenice,Minella Street #4,5.6, New York City, stamped on back of print. 1935. vintage. 7'/,x9·'/.". Sl500/2500.

219. Skoff,Gail,Utah Blues, hand colored. sib~iedin pen on front of print, 1983/4, l5x22", SI000/1500.

220. Cohen,John,Bob Dylan Portmit, 1962, signed in pencil on back of mount. 1995. llxl4". 600/800.

221. Kleinhans,John,The Valley of Dyffrydan, Ireland, Ektacolor, signed in pen on front of mount and front of print, 12'/,x 191/,", S200/400.

222. Jargow,Mark,Ou/ House, color Polaroid transfer. sib'lled in peneil on front of print. 1993. 4x5". SJ50/300.

223. Wagner, Catherine,/rom "American Classroom'" series, sigrwd in pencil on back ofµrint, 1984, 141/txJ8 1/t", 8500/700.

224. Morgan, Barbara, Fossil in Formal.ion, sib1ned in pen on front of print. 1965, 13xl7 1h". S750/l000.

225. Model,Lisette,Man Sitting at Seaside, stamped and signed in pencil on back of print, ed. #7/50, 1980, 19'bl5"/,", S500/700.

226. Phelan,Alan,Bu1111yLake is Missing, offset color lithograph on plexiglass, 1995, 27x27", 8300/600.

227. Cramer,Konrad,Untit.led, (reading room, rocker and ciog), signed by his daughter in pencil on back of print, c. 1936, l0x8", S500/800.

228. Guidalevitch,Victor,Still Life, (Tulips), signed in pencil on front of mount. 193:3,vintage. ?·"/xxfr~/111S]000/ 1500.

229. Kenna,Michael,The Rouge, St.udy 8, Dearborn, Michigan, sepia toned, signed in pencil on front of mount, 1993. 7·'/,x7'/,", S600/800. Courtesy Robert Klein Gallery, Boston, MA.

230. Gruen,Bob,Jerry Ga.rein, 1992, 20xl 6", S500/700. 231. Uzzle,Burk,Untitled, (boat de!'k). signed in pencil on back of print, 1970s. llx7 1/,". S400/600.

232. Fink,Larry,Selfwit.h Molly, signed in pencil on back of print, 1982, 14"/.,xl4'!,", Sl000/2000.

·233. Carey,Ellen,Self-Portrait. (series), four color photo screPnprints, signed in pencil on front of print, '1987, 24x20" ea .. S400/600 ea.

234. Shung,Ken,Marie anti Sailors, signed in pen on front and hack of print, 1987, 7x7", S200/400.

235. Phillips,L, Woodstock Beauty, signed in pen!'il on back of print, 1995. 13'/ix9", S200/400.

236. Gohlke,Frank,Grain Ewvator, Belleport. Kansas, 1973, signed in pencil on back of print, ed. 11/30, 1989 print. 14xl4", Sl200/2000.

237. Rosenstock,Ron,Stnne Henge #1, signed in pencil on front of mount, 1971, 13'1,xl0", S500/700.

238. Barret,Byron,Image #24, framed diskette with text. signed in pencil on back of mount. 1995, 9 1/1x81/1", S150/ 300.

239. DavePowersfromPageantApril109, Courtship (John and Jackie Kennedy, Hyannis), 1950s. vintage, 101/ixl0: 1/1\ S200/300.

240. Komroff,Manuel,/let.um 1.0 Life, 11.s., c. 1940, 131/exl0", 5300/500.

241. Indiana,Robert,Sifo,,r/Suu. photo screenprinl, 5igned in pencil on front of print. 1987. :~:?,.:.?:!",S400/600. Courtt~sy Lilo Raymond.

242. Sekaer, Peter, 10th 11·,•nu, ., ) C. i.,ignedon front of mount, c. 1935, vintage, i'/ H·/1'.s;.l(I0/600.

243. Rosamund,Purcell,f, ,,,, """" · n>lor polaroid. 1980s. 10x8". '300/600.

244. T-shirts,PostersandCardsdonatedbyFotofolio.

245. T-shirts,Postersand ( JI ds donatedbyFotofolio.

246. T-shirts,PostersandCa1ds,donatedbyFotofolio.

247. Forss,George,Acee.,;,.,Se, ie.,;(/ouwr Manhatum), signed in pencil on back ol pr I I 111118,8x7 1/,". S200/400.

248. White,Clarence,Nud . I '/rli C'amera Work photogravure, 1908, vinl..t!!t'.6 1/f\ 1 /. 11 • ~600/800.

249. Prazmowski,Wojcicch,lnuer l'ortrait, sepia toned. si.gnrd in pencil on back nf p11111, 1·11. 1:!/35. 1979, 13xlP/1 11 Si50/1000. Courtesy Jark,,,11 Fin,· Ari, -\tlanta, GA.

536 Broadway • New York, NY 10012

staff

executivedirectorcolleenkenyon

associatedirectorkathleenkenyon

assistantdirectorkiwrence p. lewis

programassistantkatemenconeri

board of directors

shevafruitman rollinhill kenroizu colleenkenyon ellenk. levy

JamesLuciana tanyamarcuse elliottmeisel maremiller

Josepicayo liloraymond kenshung akinsiege!

workshops

lecture series classes exhibitions artists' fellowships community darkroom professional outreach information hotline

workshop & arts administration internships library permanent print collection membership patron print program portfolio review slide registry gallery talks quarterly magazine auction

advisory board

nortonbatkin ellencarey philipcavanaugh susanferris cherylfinley Juliegakint bethgates-warren howardgreenberg suehartshorn

w. m. hunt gregkandel peterkenner kiuriekratochvil susanatorruelkiLeval petermacgill

annmorse

sandras.phil!ips j. randallplummer ernestineruben kathyruttenberg Juliesau!

The Permnent Print C lection: urvey

•te Menconeri I

Julia MargaretCameri,n,Tr.eEcho,c. 1868CourtesyGernsheimCollection, TheUniversityof Texasat Austin

And there it un , "hidden" in a back corridor, a foyer leading tot e service entrance. Monumental -a symphony of co ors cascading down over the wall, a swell of energy rico hetting into the cramped cubical space - there . ng my favorite Kandinsky painting. It was pure music. L p n my first visit to the Hermitage, in what was then Leniri rod, I had searched for the paintings of the Russian artist who had such a profound affect on

me, but I found no evidence of his work gracing the walls in major museums. Kandinsky had been involved in reconstructing cultural policy and art programs in Russia prior to the revolution. His reforms, however, were met with great hostility and he left his mother country in 1921. Little did I know that his work, though undisplayed, was nevertheless preserved in the Collection, and on my second visit, post-Perestroika, it had re-emerged. I will never forget finding it there.

We have created much art over the centuries, and while photography is one of the youngest mediums, there is a plethora of images floating-unfound or unclaimed. Yet the history of our visual expression is partially preserved within collections. A survey of various photographic Permanent Print Collections reveals some answers. Who holds the first photograph from nature? Where could one witness images of a ceremony for freeing slaves and outmoded medical practices, including blood letting? Where is a definitive collection of "post modern" photography? Where can one find a comprehensive ensemble of not only fine prints, but corresponding journals, letters, contacts, and negatives? Photographic collections serve to document not only a history of artistic expression, but intrinsic in the medium's presumed "realism," some photographic collections record a literal history of events and experience, illuminating visual testimony of past attitudes and perceptions. Some of the larger Museum and University Collections provide a wealth of educational resources, sustaining art literacy and affording scholars a multidisciplinary approach. Embracing and maintaining such collections to exhibit and interpret fosters dialogue and expansion of understanding.

Beyond issues of conservation and education, maintaining such collections affirms photography's role as an art and reveals the genesis of current artistic expression. Much like finding photos of relatives you never knew in grandmother's attic, the preservation of such pieces allows one to see the self with deeper clarity. Artists are working from a long history of artistic development and ideas, and thus, many collections can serve to encourage and inspire current creative endeavors: "guidance by example." In the midst of threats to phase out the National Endowment for the Arts, it is crucial that Collections be preserved, acting as a proclamation of photography's inherent significance.

On the individual level, collecting photography, as voiced by those who responded to the survey, is not so much an issue of ownership or prestige, rather, an act of passion and intrigue. To surround the self with fine art photography nourishes this ongoing affair-art is not simply our connection to society, but as perceived by Andre Malraux and Marieluise Hessel, art is humanity.

Looking at a reproduction is not a substitute for actual engagement with a work of art. Experiencing the original object in and of itself is, at times, akin to the elation I felt upon finally finding the Kandinsky. The list of Collections surveyed, many of which are open to the public, is but a sampling of what awaits our vision.

ARTINSTITUTEOFCHICAGO .i 11S011lhMichigani\1pn11P.Chicago.IL 60603-6110TPI3 I 2-/4H:J6(il

The Art Institute of Chicago has exhibited photographs since 1900. Inspired by Hughe Edwards, The Chicago Photography Salon became a realization and juried Salon style exhibitions were held. Evolving from a century of commitment to the art, the Institute and its holdings have consistently affirmed photography's position as a fine art. The initial mission, which continues to pervade the lnstitute's motives, has always been art literacy-to educate through a diversity of rare and/or classic and important art.

The Art Institute maintains 19th and 20th Century photography. Strengths lie in the periods between wars, 1920-30s, encompassing large amounts of surrealist and street photography. Alfred Stieglitz and Georgia O'Keefe bequeathed the Institute a comprehensive body of their own work, making it available to the greater public. Julien Levy also obtained many European photographs for the Collection. A minute sampling of the caliber of artists who have work within the Collection include Berenice Abbott, Manuel Alvarez Bravo, Atget, Cecil Beaton, Felix Bonfils, Edouard Boubat, Brassai, Wynn Bullock, Henri CartierBresson, Keith Carter, Edward Curtis, Barbara Ess, Larry Fink, Emmet Gowin, David Hockney, Alfredo Jaar, Len Jenshel, Guillermo Kahlo, Andre Kertesz, Man Ray, Silvia Malagrino, Tina Modotti, Barbara Morgan, Edward Muybridge, Olivia Parker, Robert Rauschenberg, Andres Serrano, Starn Brothers, Doris Ulmann, Weegee, Minor White ....

The photographs in this compilation are eclectically employed, from exhibitions both at the Institute and abroad, to educational seminars, studies, and lectures. A study room is available for individuals who wish to view the Collection. Please arrange an appointment between the hours of 1 :30 and 4:30, Tuesday through Friday.

BURNSAllCHIVE / THESTANLEYB. BURNSCOLLECTION

1/401•:asl:l8ih Sin'<''- \('11)01·k.\) 10016 TPI212-889-1():J8

Stanley Burns, MD, eye surgeon and vision specialist, first began this distinguished collection in 1975, with a deep interest in daguerreotypes and a superior knowledge of the eye. Initially Burns sought out unique, vintage photographic sources and daguerreotypes in order to study and write a history of medicine. Twenty years later Burns states that his passion rests in learning and writing about unappreciated areas in photography's history. Only two years late of its inception, Burns' archives had received a highly esteemed reputation for encompassing important and unique pieces. And rightfully earned this connotation is, for here exists the nation's largest and most comprehensive collection of early

medical photography (1840-1920) that we know of. Over 35,000 original medical photographs survive in Burns' hands. His daguerreotypes, ambrotypes, and tintypes from the 1840-60 era depict patients with extinct diseases and outmoded medical treatments, hospital personnel at work, technologies, practices, including the only known photographs of practicin.9 phrenologists: blood letting and skull.trephination.

The medical archives are just the beginning. Burns also cares for albums of the Civil War experience, documenting soldiers' wounds and coincidentally, medical procedures. Also represented are both World Wars, the Crimean War, and The Spanish American War. And there are those valuable hard-to-find images of early Americaoccupations, architecture, industry, transportation, and early color. Most interesting is the "Cultural Minority Collection." This is categorized into African-Americans, Japan and Asia, Judaica, India and Egypt, and a general division titled ethnology which depicts traditional garb and cultural artifacts. This deposit of photographs becomes even more intriguing with such groupings as "death and dying" (post-mortem) and "criminology" (jails and criminals). This obscure and valued collection is noted for containing the only known daguerreotype of a ceremony for freeing slaves, and unpublished photos of the Holocaust. It could be a powerful and revealing project to study the representations, depictions, and "third party" views of those who clicked the shutter and those who posed. It intrigues me to ponder what is revealed in relation to issues of representation: race, gender and class.

Displayed in a New York townhouse, the collection is posited in 19th century ambience, enshrouded by antique medical tools and photographic equipment. Scholars, researchers, artists, and photographers may make an appointment to visit. The archive produces catalogs of the special collections to serve as historical guides. Images will, in the future, be prepared for CD-ROM. Books can be ordered directly.

CENTEllt'OllCllEATIVE PHOTOGllAPHY

TIH'l ni1Prsill of ,\rizona.T11rso11. \Z 8:i721

T1,I602-62 I -i968

H<'St'ard,CPnl!'r602-(i2l-(i27:l

"Houses the largest collection of primary research materials on the history of photography." A vision of Ansel Adams, the Center for Creative Photography was founded by this renowned photographer with the support of John Schaffer, the President of the University of Arizona in 1976. Adams wanted to create a space where photography could be studied in depth, an educational resource. Beyond typical museum holdings of "Fine Prints," Adams wanted to give people the opportunity to truly study the lives and works of the medium's masters from portfolios, manuscripts, negatives, contact sheets, and correspondence. Incorporating these various

elements on~ could achieve an informed holistic examination of photography and/or specific photographers. Accessibility to such resources remains a central and critical aspect of their mission.

Over 70,000 fine prints are cared for at the Center, complete with archives by Ansel Adams, Wynn Bullock, Harry Callahan, Aaron Siskind, and Frederick Sommer (the initial photographers who entrusted the Center with such works at its inception). The primary focus is 20th Century American but there are also extensive works from Mexico, France and Japan. Most recent acquisitions and archives include those of Lola Alvarez Bravo, Dan Weiner, Deborah Willis, Louise Lawler, and Dick Arntz. The public is welcomed and encouraged to visit the Center. Appointments must be made in advance. Scholars working on specific research projects may write to the archivist with a proposal.

CENTERFOilPHOTOGltAPHY AT WOODSTOCK

;j() Tink<'rSln'Pi. \\ oodslork. \1'11) ork 12/498TPI91H79-99:i7/li7977/47

The Center's Permanent Print Collection of over seven hundred photographs has been evolving since 1980 through the generous gifts of artists and individual donors. The Collection serves as a study resource for contemporary artists, teachers, students and curators. Funding for the Permanent Print Collection Room was donated in 1994 by the Douglas C. James Charitable Trust; the Center has received grants from the New York State Council on the Arts Museums Aid and from the American Association of Museums Collections Management Assessment Program to further educate the staff on Collection care and management.

With strong holdings in contemporary work by visual artists of exceptional talent, the Collection contains photographs by Deborah Goldman, Christopher James, Sheila Metzner, Stephen Shore, Jose Picayo, Van Deren Coke, Larry Fink, Charles Gatewood, George Holz, Lilo Raymond, Michael Spano, Lorna Simpson, Albert Chong, Gaye Chan, Charles Traub, Kenro lzu, and Ellen Carey, among others.

Additionally, the Center has three unique Collections: (a) historical work by Woodstock photographers, including prints by Manuel Komroff and Konrad Cramer, (b) an extensive archive of Barbara Morgan photographs and (c) written and visual documentation of the 1969 and 1994 Woodstock Festivals.

Curated by CPW, "Selections from the Collection" travels regionally. By the end of 1996 the entire Collection will go on longterm extended loan to State University College Art Gallery at New Paltz, New York, where part of the Collection will always be on view in a separate Gallery built to showcase this contemporary work. The Collection may be viewed by appointment-please call in advance.

CURATORIALASSISTANCE,INC.

113EastUnion Streel. Pasadena.CA91103

The E.O. Hoppe Collection represents the entire life work of England's leading Modernist photographer'from 1910 through the 1930s. Hoppe was the "most famous photographer in the world in the 1920s" (Bill Jay) whose work was lost for many years after being filed in a historic picture archive, catalogued by subject. The retrieval and recontraction of the Collection has taken several years and represents the opportunity to view Hoppe's work in toto for the first time since 1947.

It includes portraits of important arts figures from these years including T.S. Elliot, Thomas Hardy, Vaslav Nijinsky, Ezra Pound, Virginia Woolf, to topographic work from the 1920s and 1930s representing a cubist vision of locations as diverse as the Outback of Australia to the urban activity of New York street scenes.

Hoppe's original notebooks, written articles, scrap books, and other memorabilia rrovide a wider view o the man's life and work. The focus of the overall collection is vintage prints.

Access via Corbis Media, Bellevue, WA. Collection will be "on-line" as of 1996. Prints may be viewed by appointment.

GEORGEEASTMAN HOUSE

900 Easl Avrn11P.HodwsLPr. NY I 11607-2298

TPI716-271-3361

This museum was granted a charter by the New York Board of Regents in 1947, in part to "establish, develop and maintain

a graphic and continuing history of photography." In the last half of the century they have accumulated an impressive body of photographs, formed and shaped by a diverse group of cura-

Photographers' names and size of holdings give only a scant indication of the material we hold." Preserved within the collection are images by over 9,000 photographers, embracing the overall history of the medium. A list may be found in the Index to American Photographic Collections. The Collection is displayed at the museum on a regular basis. A print room is open by appointment only, Tuesday through Friday. Write or call to schedule.

THEHALLMARKPHOTOGRAPHIC COLLECTION

HallmarkCards.Inc 250I McGeeStreet. KansasCily. MO64<108Tel 816-274-5298 "Fine Art programs represent one way, of

Over the years they have accumulated over 2,600 prints by just over 400 photographers. They have unusually large holdings of work by Harry Callahan, Andre Kertesz, Todd Webb, Clarence John Laughlin, Dorothea Lange, and Carl Von Vechten. Their strength lies in self-expressive "straight photography" with a special emphasis on American photography. Selections from this Collection are frequently on view at the Nelson-Atkins Museum of Art so the works may be accessible for study. Prints travel worldwide. Scholars are welcome to make an appointment in cases of specific inquiries. The Collection is also made read/ in the catalog: An American Century o Photography.

PETERHAYHALPERT Nrw York

Peter Hay Halpert, writer, collector, curator and an editor for American Photo, has an impressive background in "looking at images." He completed his Ph.D. studies in Art History, Architectural History and Urban Theory, and worked with the 17th century Dutch Painting Collection at the Rhode Island School of Design. In 1978-79 Halpert began looking at photography. After viewing the installation of Bruce Weber's work at the 1987 Whitney Biennial, he made the decision to begin a collection.

Peter states: "I only collect what I like." Initially his ensemble focused on 20th Century photography, incorporating holdings of classic icons of the medium, images of war, portraiture, fashion, male and female nudes. Now, however, Peter

WilliamandFrederickLangeheim,American,(a lighthouseunderconstruction),Saltedpaperprint, 1849, 22.9x20.0cm,CourtesyMiller-PlummerCollection

tors and collectors with often highly distinguished, if not differing world views. It has evolved into a broadbased assemblage that includes paper negatives from the l 850s, works of Alfred Stieglitz, Southworth and Hawes, Atget, William Henry Jackson, Lewis Hine, Alvin Langdon Coburn, and Edward Steichen. Technical, commercial and artistic uses of photography are all part of the Collection as well. Photo Archivist, David Wooters of the George Eastman House, states "variety is the hallmark of our Collection ... it is difficult to begin to describe its breadth.

several, to both encourage and give larger symbolic expression to this ongoing creative enterprise."

The Hallmark Collection was instituted by Joyce C. Hall in 1949 in conjunction with the establishment of the Hallmark International Art Awards Program. David Strout activated the Collection with the acquisition of 141 images by Harry Callahan. Before relocating in Kansas City, Hallmark managed an exhibition space in New York adorned with works by prominent figures such as Steichen, Kertesz, and CartierBresson.

is interested in supporting individual artists and only collects contemporary photography that he deems "cutting edge." He often acquires pieces by artists before they have even had significant solo exhibits. Among the entou-

rage of over 700 prints and plates, he holds some l 9th Century Daguerreotypes, Tintypes, Ambrotypes, Cartesde-Visites, and Cortes Postale. Among others, Halpert's compilation is graced with the likes of Andy Warhol's "Stiched Photo," "Photogram" by Adam Fuss, Robert Mapplethorpe's "Rose", "Iceberg" by Lynn Davis, and recently added to the collection at the Metropolitan Museum of Art, Nan Goldin's "Alden". Selections from the Collection have already been exhibited. Work is available for loan upon request. Available by appointment only.

W.M. HUNT.COLLECTION --DANCINGBEAR

NewYork

Isn't it always said that the eyes reveal the soul? W. M. Hunt began collecting in the spring of 1978, with only three dollars in hand and a curious desire to find an image of someone whose eyes could not be seen. He headed over to the old Sotheby park benefit and there he successfully bid on Veiled Woman by Imogen Cunningham. He has persistently pursued his initial inspiration and formed a unique collection in which no eyes are revealed/revealing The absence of such steadfast data provokes one to look a bit deeper, to re-examine and exerci~our imaginative powers. More, he only a.cquires those images that are "magic," possessing enchanting enigmatic qualities. The idea that this is a true passion is evident. Hunt explains that his Collection is at the center of his daily life. He is consumed with looking at and engaging in discussion on photography.

His Collection, ranging from well known images by Robert Mapplethorpe, Irving Penn, and Cindy Sherman, to anonymous "flea market finds," has matured into one that encircles the history of photography. Most recent additions include images by Christopher Bucklow, Joel p_eter-Witkin, and vintage ones from Disderi & Duchenne de Boulogne. This lot defeats the old cliche concerning the eyes, it is the imagination that carries us. Available by appointment only.

INTERNATIONALCENTERFOR PHOTOGRAPHY

1133Avrnur of lhe Americas.NewYork. NY I0036Tri 2I2·768-4682

ICP was established as an outgrowth of the International Fund for Concerned Photography in 197 4. At this time it inherited a collection of 2500 original prints and archive of papers and audio tapes related to photojournalism and documentary photography. With support from the Andrew W. Mellon Foundation the archives and collections were formally established in 1979 and continue to expand in size and shape.

ICP is committed to the preservation, interpretation, and exhibition of significant images of 20th Century photography-the central tenet lying in what they term "the power of the still image to record and interpret history." The primary emphasis of the museum's holdings is photojournalism and documentary photography. In order to represent the evolution of documentary photography the museum continues to acquire concentrated bodies of work by major figures who have contributed to the development and advancement of this tradition.

To date the Center holds over 40,000 photographic prints. Approximately 70% are in keeping with the documentary and photojournalistic traditions. The rest rrove to exemplify other artistic and historica movements within the medium. ICP has a wealth of individual archives-the Robert Capo

Archive, the complete holdings of this photographer's career, includes over 2300 original prints, and some original negatives, clippings, books, and correspondence. Also preserved are The Roman Vishniac Archive, The Weegee Archive and Collection, 175 works by Henri Cartier-Bresson, the Ralph Gibson master set, Russian World War II photographs, and a complete first edition set of Alfred Stieglitz' Camera Work, 19031917. •

What is intriguing about this massive gathering of work is that it is comprehensive. One can literally trace the thoughts and life of an individual photographer by exposing oneself to not only their work, but their writings, reviews, and notes. Also recorded are over 3500 hours of audio tapes from 20 years of lectures, master seminars, workshops, and interviews. This holding could be categorized as a true resource center rather than a "collection" due to the opportunities it allots scholars. Approximately ten changing exhibitions are mounted annually in the Permanent Collection galleries at both ICP locations. Selected exhibitions from the Collection have also traveled throughout the U.S., Europe, Asia, and Africa. The Collection is available to the public by advanced appointment Tuesdays through Fridays, 11-5 pm. Browsing is not allowed so visitors must have a precise idea of what or who they wish to view.

LIGHTWORK

316WaverlyAve1111rSyracusr.NY 13244 Tel 315-443-2450

Since its inception in the early 1970s, the spirit of LightWork, a non-for-profit artists' space, has consistently been to support contemporary artists working in the photographic medium. With programs in exhibition, publication, fellowship, and residencies, the collection held by Lightwork is comprised of donations by artists involved in such events. These artists include: Laura Aguilar, Ellen Carey, Gaye Chan, Larry Fink, Charles Gatewood, Kathleen Kenyon, Barbara Kruger, Nina Kuo, Clarence John Laughlin, Tim Maul, Clarissa Sligh, Cindy Sherman, Anne Turyn, Carrie Mae Weems, and Joel-Peter Wilkin. Currently LightWork is in the process of creating an image database of the Collection. This should be available for viewing by the close of 1995 on CD-Rom and Internet.

THEESTATEOFROBERT

MAPPLETHORPE / THEROBERT MAPPLETHORPEFOUNDATION

120WoostrrSlrrel. FourlhFloor.Nrw York. NY 10012Tri 212-941-4760

The Robert Mapplethorpe Foundation was established by Robert himself in 1988, one year prior to his death. Robert chose the Foundation's Board Members and acted as first President. During his lifetime he set the guidelines for administering the organization's funds. After his death the

Foundation-became the residuary beneficiary of his estate.

This Collection is unique in the fact that it does not acquire photographs, rather it supports and aids other arts organizations, museums, and institutions who are committed to the preservation and maintenance of fine art photography. "The Foundation's emphasis is on permanence which is to say, the acquisition of photographs or the support for study and exhibition facilities." This residuary supports medical research to advance the cure and treatment of AIDS + HIV, as well as photography as a fine art.

The Foundation office is not open to the general public. Scholars researching work specific to Mapplethorpe may contact the Foundation in regard to scheduling an appointment.

METROPOLITAN MUSEUMOFART

1000Fifth Avenue.NewYork. NY 10028-0198

Tel 212-879-5500

"The Metropolitan Museum of Art houses an encyclopedic collection of the great artistic achievements of civilizations worldwide and from every epoch." The Department of Photographs is the youngest of the museum's eighteen curatorial departments. While the department of photographs was not officially established until 1992, the Metropolitan has been collecting photographs since the 1920s. The Department administers works from the entire history of the medium, from its invention to the present.

The purpose of maintaining such an ensemble is to preserve and present what they term "extraordinary manifestations of artistic vision and transcendent expressions of human truths." The most subtle aspects of cropping, color, surface, and general condition of each piece affect the value and significance of the image.

One may view selections in many of the museum's ongoing exhibits and displays. A study room is available for those who wish to engage with the work on a more intimate level.

MILLER-PLUMMERCOLLECTION OFPHOTOGRAPHY

Philadelphia

After an unsuccessful day at an auction, Miller and Plummer found themselves at an exhibition of Julia Margaret Cameron's work. In synchronicity they fell in love with a portrait of Sir John Herschel, and without stating a purpose, acting on an unspoken understanding of what they had just committed themselves to, the Collection took flight.

Making its first public appearance in 1978, the Collection was rumored as having many of the great works and names in the history of photographic art. Over the years, however, this team has concentrated on securing "those images that were not necessarily validated by the consensus of modern history." While they do hold many classics

that together act as a history of the medium, this compilation of art has been said to rewrite that history. As written by Robert A. Sobieszek in Particulars, Selections from the Miller-Plummer Colle,ction of Photography, it suggests a particular history with "subtle and dramatic variations to our interpretation of the photographic achievement. The history this Collection offers is an abstraction like any history, made by selection, choice, chance, and feeling." Sharing to an extent a united vision and appreciation of a wide range of images, they both hold interest in the limits and formalities of the medium. As stated in Particulars their quest lies in "metaphysical questions about the interplay between photographic subject matter and the nature of reality, and in man's simple desire to capture a likeness."

Their Collection remains unlike any other, resisting "just any canonical view of /holographic history." A small sampling o this eclectic collection is expressed in works by Cramer, Minor White, Cameron, Nadar, Rauschenberg, Gowin, Weston, Baldus, Brassai, Meatyard, Parker, Eakins, and Kaiesber. A thematical and engaging selection of the Collection can be seen in Particulars, Selections From The Miller Plummer Collection of Photography. published by The International Museum of Photography at The George Eastman House, 1951.

As a private Collection it is not open to the public, but museum curators and scholars may make an appointment to visit.

MUSEUMOFMODERN

ART

Drparlmrnlof Pholography. 11Wrsl 5:JSlrrPl. NPwYork. ~y I0019-5{98

Tri 212-708-9/400

1940 to function as a center where the aesthetic problems of photography could be evaluated, where the artist who has chosen the camera as a medium can find guidance by example and encouragement, and where the amateur public can study both the classics and the most recent and significant developments in photography. It was the first photography department in an art museum, from which the first curator of photography was thus inspired, Beaumont Newhall. David McAlpin served as the first Trustee Chairman.

A leader in the photographic arts, this collection enshrouds photography from its birth to now. The best way to begin to grasp such holdings is to visit. All are welcome. There is a permanent installation of works from the Collection on view in the Edward Steichen Study Center galleries on the sec-

ond floor of the Museum, as well as temporary exhibitions from the Collection. Works from the Collection are available for study in the Erna and Victor Hasselblad Photography Study Center, Mondays and Wednesdays from 2 pm to 5 pm, by appointment only. Appointments can be made by telephoning the Study Center Supervisor at 21 2-7089484.

NEWMUSEUMOFCONTEMPORARY

ARTThe Semi-Permanent Collection

583Broadway.NewYork. NY 10012-3261

Tel 212-219-1222

The New Museum of Contemporary Art was founded in 1977 by Marcia Tucker, current Director. This museum is devoted to providing a forum for contemporary art; an "ongoing investigation of what art is and how it relates to individuals and to society at large." Due to the very mission of this Museum the issue of a Permanent Print Collection has been problematic. In Temporarily

Possessed: The Semi-Permanent Collection, Tucker questions: "How could a museum dedicated to contemporary art hold a collection that would reflect the current art community and the recent past? Does not the mere act of collecting historicize the art object? How does a contemporary art organization avoid canonization?" To collect and yet remain contemporary is in itself a paradox. Thus, a semi-permanent collection resolves such conflicting issues.

Tucker goes on to state in Temporarily Possessed: The Semi-Permanent Collection: "Our collection is by its very nature a strange hybrid, an organic rather than constructed or heavily edited amalgam of the rapidly changing attitudes, ideas, and economics of the past twenty years." Less interested in complete holdings, the Museum focuses rather on diverse representations of

various artists. They hold work that was created within ten years of acquisition over a span of 2-10 and 10-20 years only. After such time the works are then deaccessed. This Collection is dynamic and ever changing. Currently they possess many photographs and photographic-based media by, among others, Laura Aguilar, ACT UP (Gran Fury), Alan Belcher, Christian Boltanski, Larry Clark, Gordon Maita-Clark, Joel Meyerowitz, Kenji Nakahashi, Andres Serrano, Hiroshi Sugimoto, Francese Torres, and Garry Winogrand.

The Collection is exhibited regularly and a catalog will be available by fall 1995 when Temporarily Possessed: The SemiPermanent Collection opens.

NEWORLEANSMUSEUMOFART

Cily Park.POBox 19123.NewOrleans.LA 70174-0123Tel 504,-4,83-2631

NOMA's photography collection was created by E. John Bullard in 1973 when he took the position of Museum Director. Considered one of the finest collections in the Southeast, NOMA preserves over 7000 vintage photographs that span the entire life of the medium. Since the commencement of the Collection, photography has been given prominence with the other arts in terms of museum resources and academic merit, resulting in a rich assemblage.

One may discover within this compilation the classic works by historical geniuses as well as pieces by our contemporary "masters:" Sandy Skoglund, Sally Mann, Joel-Peter Wilkin, and

Michael Spano. However, "the main thrust of the Collection has been toward the unique and unusual." They preserve a calotype from

1843 by one of photography's founders, William Henry Fox Talbot. As well, they have payed specific attention to accumulating large bodies of work by individual photographers. If you are looking for Clarence John Laughlin this is your candy jar. This Collection also demonstrates the depth and range of work by Frederick H. Evans, Margaret Bourke-White, Imogen Cunningham, Walker Evans, Andre Kertesz, Edward Steichen, Josef Sudek, Edward Weston, and many others.

Recently they have completed a new 2100 square-foot gallery instituted specifically to display photographs, prints, and drawings. There is a study/print room in the museum. Please schedule an appointment prior to your visit. The Collection should be on Internet in 1996.

The Department of Photography was established in

J. Seely,CourtesyCenterfor Photographyat Woodstock,PermanentPrintCollection

POLAROIDCORPORATION

.549TechnologySquare.Cambridge.MA Tel 617-386-3137

Dr. Edwin H. Land, inventor, educator, and Polaroid founder, with the assistance of Ansel Adams, activated this Collection in the 1950s to obtain aesthetic perspective and technical feedback on Polaroid's films and hardware. They wanted to ignite dialogue between the corporation scientists and professional photographers/consumers. Today Polaroid's objective is to encourage the creative process and to illustrate the multitude of techniques, styles, and technology possible using Polaroid materials.

Central to their commitment is photographic excellence. Over 2000 artists worldwide are included in this Collection. The work is distinguished by the fact that it all employs Polaroid products in its creation. The work is contemporary, ranging from 1948 to present.

Access available by appointment. By the end of 1995, images from the Polaroid Collection should be available via the Polaroid Home Page on the Internet. Several catalogs exist, but most are out of print.

HARRYRANSOMHUMANITIES RESEARCHCENTER

PhotographyCollection.The Universityof Texasat Austin.PODrawer7219.Austin.TX 78713-7219Tel 512-471-9124,

The photography collection held by the Harry Ransom Humanities Research Center was established in 1963 with the purchase of the Gernsheim Collection, then the largest privately owned photohistorical archive. Today, the Collection maintains and develops holdings in diverse areas of photography: fine art, technology, history, and contemporary literary imagery. As a leading institute of literary and cultural research, HRHRC devotes time and effort to the acquisition of original research materials and resources. As a matter of purpose they make available materials for scholars and encourage their use through exhibition, seminars, fellowships, lectures, and publications to promote higher learning and understanding in the Humanities.

There are currently over five million prints and negatives in the Collection. This outstanding number of pieces is supplemented by all the early photographic processes, manuscripts, archives, memorabilia, journals, books, and photographic equipment. HRHRC holds the very first permanent photograph from nature, Joseph Nicephore Niepce's heliograph, as well as one of the largest collections of work by Julia Margaret Cameron. They have a wealth of photographs by women. Selections from this group were recently exhibited in "A Second Look: Women Photographers from the Collection." The historical juncture is also impressive, preserving bodies of work by William Henry Fox Talbot, Hill and Adamson, Roger Fenton, Lewis Carroll, and Henry Peach Robinson. Unique to this compi-

lotion are a number of regional photographers, such as W.D. Smithers, who documented the Trans-Pecos and Big Bend areas since 1890, illustrating pioneer life, Mexican bandits, U.S. cavalry, the Mexican revolution, Curanderos, rural religion, and habitats. Recently curated from the"holdings, "Photography: A Surrealist Dream Come True," featured works by Atget, Man Ray, Kertesz, Brassai, Angus Mcbea(l & Bifur, Frederick Sommer, and Clmence John Laughlin. The literary file contains portraits of many important literary figures of the 20th Century by Man Ray, Irving Penn, Louise Dahl-Wolfe, and Berenice Abbott. The Collection is open to the public Monday - Friday, 9-5. Please call ahead.

RIVENDELLCOLLECTION

Centerfor CuratorialStudies.BardCollege. Annandale-on-Hudson. NY 12504

Tel 91058-7598

The Rivendell Collection of late Twentieth Century Art is a private collection on permanent loan to the Center for Curatorial Studies. The Collection was begun in the late 1960s by Marieluise Hessel. A dedicated aficionado of the arts, Hessel proclaims in Passions & Cultures: A Personal Statement, "I agree with the words of Andre Malraux 'The mortal human being is lonely, abandoned to the void. This destiny he confronts with the symbol of anti-destiny: Art is the anti-destiny, art is not the history of humanity, it downright is humanity, it is the absolute gesture of a human being -the only gesture.'" She collects to "reach.out and identify with this gesture."

The photographers represented in this Collection are Robert Mapplethorpe, Cindy Sherman, Felix Gonzalez-Torres, Nan Goldin, Lorna Simpson, Laurie Simmons, Chuck Close, Sophie Calle, Guntner Forg, Thomas Struth, and Perejuame.

At this time the Collection is not available to the public. It is primarily a study and exhibition collection for the graduate program in curatorial studies. Works from the Center have and will continue to appear in exhibitions at the Center's newly renovated gallery. Catalogs of the entire Rivendell Collection are available.

SANFRANCISCOMUSEUMOF MODERNART

151Third Street.SanFrancisco.CA 94103-31591

SandraS. Phillips.Curatorof Photography Tri 415-357-4161Fax415-357-4158

Since its inception in 1935, the San Francisco Museum of Modern Art has maintained a department specific to photographs. Home to major creators and artists-the likes of Ansel Adams, Edward Weston, and Imogen Cunningham-the Museum has embellished the task of supporting and sustaining photography as a modern art in preserving a collection of permanent prints and programs in exhibition.

In harmony with its founding, SFMMA houses an exemplary lot of F/ 64 photographs and a good collection of documentary work. Other strengths include European experimental photography presenting the surrealist and constructivist photographers, and a representative collection of earlier historical photographs. Contemporary work is incorporated too. Selections from the Collection can be seen in the Museum's Permanent Collection galleries. Available for viewing by appointment.

ANDYWARHOLFOUNDATIONFOR THEVISUALARTS.INC.

65 BleeckerStreet.NewYork. NY I 0012

The photographs in this collection are from the estate of Andy Warhol and are not available to the public.

WHITNEYMUSEUMOF AMERICANART

945MadisonAvenueal 75lh Slreet. New York. NY 10021Tel (212)570-3600

"A Museum is distinguished from an exhibition center by the fact that it exhibits, interprets, and preserves a Permanent Print Collection; historically museums have been judged by the quality of their collections."

Founded in 1930 by Gertrude V. Whitney, this museum claims to house the most comprehensive collection of 20th Century American Art in the world. Gertrude Whitney's fundamental commitment to serve living artists has remained central to the museum's purpose and programs.

The photography collection, established in 1991, highlights developments in photography since 1960, including work that has evolved from traditional photographic genres and work that challenges those genres. Specific emphasis is placed on "post-modern artists whose interest in photography is conceptual and directly engages theories and ideas of image-making and representation." However, one may also find street and documentary style work within the lot. Representative works include that of Diane Arbus, Robert Frank, Jan Groover, Robert Mapplethorpe, Bruce Nauman, Catherine Opie, Cindy Sherman, Andy Warhol, Carrie Mae Weems, Joel-Peter Wilkin, and David Wojnarowicz.

The Collection maintains some historical pieces, predominantly received as gifts, in order to appease intellectual interests in the relationship between photography and the arts. From the initial Collection they hold images by Man Ray and Alfred Steiglitz. Most recently they have been endowed with the works of Margaret Bourke-White, Robert Copa, Helen Levitt, Aaron Siskind, Edward Steichen, Edward Weston, and Minor White. Photographs from the Permanent Collection are exhibited according to a changing exhibition schedule. Requests may be made in writing to the Director of Collections Management, and are limited to professionals, independent conservators, and scholars.

Presentat the Creation·TheEmergence of the

People have wanted to collect photographs almost since the invention of the medium. By 1860, the photographer Nadar was drawing collectors to his newly opened portrait studio on the Boulevard des Capucines in Paris. In America at the turn of the century, Edward Curtis' landmark project, documenting the lives of the Indian tribes of North America, was presented to collectors in twenty volumes and twenty portfolios; J. Pierpont Morgan and President Theodore Roosevelt were among the first to obtain setsof the gravures. During the same era, Alfred Stieglitz promoted photography as an art, first at his 291 Gallery and later at An American Place. As head of the Museum of Modern Art's photography department from 1947 to 1962, Edward Steichen, a photographer in his own right, developed one of the first museum collections devoted to the medium. Photography has always had its torchbearers and its acolytes.

Yet the sales of work by artists like Nadar, Curtis, Stieglitz and Steichen represent examples of an isolated interest in photography, more acts of selfpromotion and self-preservationthan avatars of a broad-based, focused market. The modern photography market wasn't born until the 1970s, when an international network of galleries, dealers and auction houses evolved, dedicated to promoting awareness of the artistic achievements made in the field to a burgeoning group of collectors and museums.

1978 stands as a watershed year in the development of the modern photography market. It was a year of firsts. In that year, Christie's held their first New York photography auctions; in joining the competition with Sotheby's, the two houses created the twice yearly season of photography sales that has become a tradition. The Association of International Photography Art Dealers (AIPAD) was first formed at a meeting held at the George Eastman House International Museum of Photography in Rochester, NY. 1978 was also an important year in the creation of two of the most significant 34

collections-the Gilman Paper Company Collection and the Canadian Centre for Architecture. At the same time, the accumulated holdings of one of the key collectors in the history of photography - Sam Wagstaff - were shown at the Corcoran Gallery in Washington, D.C. On the other coast, the sexually explicit photographs of Robert Mapplethorpe, whom Wagstaff had championed from the start, had their first public exhibition. "It was an exciting moment, when things were being discovered," according to Daniel Wolf, the New York-based private dealer. "It was a turning point in the aesthetic appreciation of photography," he enthuses. "The players were real players. It wasn't about making money. A dialogue was being established."

Today the prices of photographs sold at auction in 1978 seem ridiculously low. Wolf recalls buying albums ofTimothy O'Sullivan Civil War photographs, William Henry Jackson's landscapes of the American West in the 1870s, Eadweard Muybridge' s Motion Studies, and Edward Curtis' portraits of the native American Indians, all for an average price of $20 each. Christie's offered a lot comprised of 129 Curtis large format portraits on Van Gelder paper; appraised at $6000-8000, they failed to sell. Rick Wester, the present head of Christie's photography department, estimates that the photographs would currently be worth approximately $150,000. Sotheby's sold a print of Alfred Stieglitz' gravure THETERMINAL for $4000. A print of the same image was sold at Christie's auction this past October for $109,250.

Harvey Shipley Miller, a prominent collector, recalls "the sense of quality in photographs wasn't prevalent at that time. Names were more important. A signature added value, but we didn't place as much emphasis then on collecting vintage prints, as opposed to modern ones. Provenance didn't matter much either," he says. "The dealers were young and didn't always have that 'fine art' sophistication that you see today." Miller goes on to explain that "the market

wasn't characterized by a high level of scholarship or connoisseurship. Photography was still a field not fully known. Quality was in the eye of the beholder; you had to sort it all out for yourself." He concludes "The market developed its own sense of cultural significance."

The auction market in 1978 valued many of the same photographers whose work fetches premium prices today. Photographs by Ansel Adams, Edward Weston, Stieglitz and Man Ray were all highly sought after. Prints of Adams' MOONRISE OVER HERNANDEZ were sold at Christie's for $2310 and six months later at Sotheby's for $5200. Dale Stulz, the first head of the photographydepartmentatChristie's New York auction house, who now works as an independent appraiser of fine art photowaphs, puts a print of MOONRISE at $16,000-18,000 in today's market. In 1978 Stulzestimated ELECTRICITE,Man Ray's portfolioof rayographs, would sell for $3000-4000; it was hammered down for $3630. Christie's sold the 10 photowavures in its April 1994 auction for $23,000. "Those were pretty heady times," says Stulz. "The photography market was in its first big crest."

While the top lot at Christie's first sale in 1978 was a complete set (one of only 37 ever sold) of Muybridge's ANIMAL LOCOMOTION, consisting of 781 collotype plates, selling for $66,000, there were also plenty of photographs that went cheaply. Walker Evans work was not yet highly valued, routinely going for $300-400. The market for photographs by Tina Modotti, whose work now goes for prices as high as the $189,500 paid by collector Manfred Heiting in October 1993, was then undeveloped. In 1992, Heiting purchased Alexander Rodchenko's GIRL WITH LEICA for $181,450 at Christie's London sale; in 1978 Rodchenko's work was virtually unknown to the auction market. Beth Gates Warren, who joined Sotheby's photography department in 1975 when it held its first New York auction and who now heads that division, remembers that "people didn't catch onto Lewis Hine's

ModernPhotographyMarket

work for awhile. We sold three of Hine's photographs of the construction of the Empire State Building for $225. They were so little, they weren't so obvious." By 1993, the value of the work was obviously more evident; Christie's sold one of those images for $16,100.

Robert Mapplethorpe's photographs weren't included in the auctions of 1978. Now a staple of the sales, his work was just being exhibited. Simon Lewinsky, who that year arranged for Mapplethorpe's most controversial work to be shown at an alternative art space in San Francisco and at the Los Angeles Contemporary Exhibitions space while showing the artist's portraits and floral studies at his own, recalls that "the pictures were only priced at $600, and we sold a few. Even then, people tried to censor Mapplethorpe's work. Some of LACE's board members resigned in protest of the exhibition, but we still went through with it. I felt it was important for the work to be seen."

One of the photographs Lewinsky sold from his Mapplethorpe exhibition was a study of tulips. The same image was featured on the cover of A BOOK OF PHOTOGRAPHS, the catalogue which accompanied the February 1978 Corcoran exhibition of Sam Wagstaff's collection. Harry Lunn, the dean of photography dealers, terms that exhibit "the first great private collection exhibition of photography." With Daniel Wolf brokering the deal, Wagstaff's collection subsequently became the cornerstone of the Getty Museum's photography department.

Lunn had a gallery in Washington, D.C. at the time. In 1978 he published his sixth catalogue of photographs with an essay by Peter Galassi, now the Curator of Photographs at the Museum of Modern Art in New York. In November of that year Lunn delivered a talk on the "creation of rarity" at the first AIPAD meeting in Rochester. Lewinsky is not alone in remarking on Lunn's influence on the market of the time: "Harry

was central to our work and efforts." Richard Pare, Curator of th~ Canadian Centre of Architecture (CCA) collection, recalls that "those days were unbelievable. Work by many different 19th century photographers was coming onto the market for the first time, and we probably bought more from Harry Lunn than any other dealer." Harvey Miller also credits Lunn with being one of the premier dealers in photography, along with George Rhinhart. As Lunn says, "it was a seminal period in the development of the market for photography."

"1978 was a period of intense activity for the Gilman and Seagrams (CCA) collections," says Lunn. Pierre Apraxine, Curator of the Gilman Paper Company collection, concurs: "It was in 1978 that we realized we were doing something important. We began collecting 19th century photography a year earlier, but in '78 we made our key purchases." Apraxine maintains that with the acquisition of Edouard-Denis Baldus' GROUP IN A PARK, "we purchased ... an image that is important not only in the history of French photography but in the larger history of French art and culture. The

Peter Hay Halpert

excitement of discovering for ourselves early photographs in France was akin to that of an archeologist uncovering an unexpected treasure." At the same time, Pare steered the CCA into 19th century photography. The results, according to Denise Bethel of Sotheby's, is a collection of "photographs of masterpiece levels."

It all came together in 1978-the auction market, the collectors, the dealers, the galleries, the exhibitions. Today, venues like the Halsted Gallery in Birmingham, Michigan, theG. Ray Hawkins Gallery in Los Angeles, and New York's Witkin Gallery have all commemorated more than twenty years in the business. The major museums around the world, from the Getty on, collect photography. At Christie's 1995 sale of work from the collection of Thomas Walther, the private dealer and independent curator, Jill Guasha, would proclaim that "these sales possibly suggest that provenance is starting to mean something." Rudolf Kicken, of the eponymous gallery in Cologne, concurred: "I believe in the importance of provenance and feel it will become increasingly meaningful for the photography market. This is a market that is relatively young; there was no provenance before." But in 1978, "The history of photography was being written then," says Wolf. By the end of the year, the photography market had clearly started to take off. Justone year later, Sotheby' s would sell a complete set of Curtis' THE NORTH AMERICAN INDIAN for an astonishing $80,300; it was the first ti me such a property had ever been offered in a photography auction as opposed to a book sale. Photography had come of age.

PETERH,\\ HALPERTis a collector, an independent curator, and an editor at American Photo magazine. In addition, he writes for over twenty publications including ARTNews, Art & Antiques, The Art Newspaper, and Elle. Halpert has just completed a book on Hiroshi Sugimoto's photographs.

Man Ray,Electricite,1931,CourtesyChristie'ss,NYC

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Fatima's Bed & Breakfast (Mt.Tremper)425-4793

Fox Hill Bed & Breakfast (StoneRidge)687-0736

Hasbrouck House B&B (StoneRidge)687-0736

Haus Elissa (WestShokan)657-6277

Ivy Farm Inn, (LakeHill)679-9045

Jingle Bell Farm B&B (NewPaltz)255-6588

Kripplebush B&B (StoneRidge)687-0723

La Dutchess Anne (Mt.Tremper)688-5260

Locktender's Cottage (HighFalls)

Lombards B&B (RedHook)758-3805

Monette Van Hamel (Woodstock)679-8584

Maplewood B&B (Chichester)688-5433

Miss Gussie Bug (Kingston)334-91l 0

Mahonk Mountain House (NewPaltz)255-l 000.

Morning Glory B&B (Woodstock)679-3208

Mountain Meadows B&B (NewPaltz)255-6144

Mt. Tremper Inn (Mt.Tremper)688-9938

Nieuw Country Loft (NewPaltz)255-6533

North Light Studio (Woodstock)679-7839

Onteora Mountain House (Boiceville)657-6233

Orchard House (Clintondale)

Parnassus Guest House (Woodstock)679-5078

Rennie's B&B (UlsterPark)800-447-8262

Randout B & B (Kingston)331-2369.

Schaible's Serendipity (Gardiner)255-5667

The Studio (Woodstock)679-9028

Twin Gables Guest House (Woodstock)679-9479, 679-5638

Ujjala's B & B (NewPaltz)255-6360

Vly Cottage (StoneRidge)687-0517or 2 l 2-841-0250

Williams Lake Resort (Rosendale)658-3 l Ol / 800-382-38 l 8

Woodstock Country Inn (Woodstock)679-9380

Woodstock Inn on the Millstream (Woodstock) 679-82l l /800-679-82l l

Howard Johnson's (Kingston)338-4200

Howard Johnson's (Saugerties)246-95l l Holiday Inn (Kingston)338-0400

Ramada Inn (Kingston)339-3900

Super 8 Motel (Kingston)338-3078

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