Photography Quarterly #67

Colleen Kenyon & Kate Menconeri

19th & 20th CENTURY PHOTOGRAPHS

The Woodstock Town Hall, 7 pm AUCTION PREVIEW

Center Gallery, October 2 - 11 59 Tinker Street, Woodstock, NY Noon-5 pm Wednesday-Sunday and Woodstock Town Hall, October 12

76 Tinker Street, Woodstock, NY, 3-6 pm

Prospective buyers are encouraged to personally view work for sale or call the Center (914-679-9957) and speak with the Executive Director, Colleen Kenyon

Studio, Kingston, NY. Cover:© Martin Brading, Untitled, (Woman on Boat), 1994. Board of Directors: Sheva Fruitman, David Hall, Rollin Hill, Kenro lzu, David Karp, Colleen Kenyon, Arie Kopelman, Rebecca E. Lawton, Ellen Levy. Marcia Lippman, Joan Mack, Tanya Marcuse, Marc Miller, Jose Picayo, Lilo Raymond, Ken Shung, Alan Siegel. Advisory Board: Norton Batkin, Ellen Carey, Philip Cavanaugh, Susan Ferris, Julie Galant, Howard Greenberg, Sue Hartshorn, W.M. Hunt, Greg Kandel, Peter Kenner, Susana Torruella Leval, Peter Macgill, Kitty McCullough, Elliott Meisel, Ann Morse, Sandra S. Phillips, J. Randall Plummer, Ernestine W. Ruben, Kathy Ruttenberg, Julie Saul. Staff: Colleen Kenyon, KathleenKenyon,LawrenceP.Lewis,KateMenconeri.WPWon-siteManager:FawnPotash

WETHANKYOU

The Center for Photography, on behalf of the artists we serve, members, Boards, and staff, would like to extend a very special "thank you" to the artists, galleries, and individuals who have taken their time and care to make gifts of artwork, services, and.support to the Center's 18th annual benefit Auction of 19th and 20th century photographs. We would also like thank each individual -µ;h-o1makes a purchase at our Auction. It is deeply inspiring to see that our community is graced with charity. You have the ability to ensure a vital and exuberant future for the Center and to participate in _the advancement and celebration of

creative photography. •

WHAT IS A BENEFIT AUCTION?

The Center for Photography at Woodstock, a not-for-profit arts and education organization, offers an annual sale of fine photographic prints in order to raise money for our creative programs.

Founded by Howard Greenberg in 1977, the Center provides an artistic home for contemporary visual artists. Our purpose is to enhance dialogue and encourage inquiry about contemporary photography and related media through innovative programs in education, exhibition, publication, and services that create access to professional workspace, nourishing responses, and new audiences.

All of the prints for sale by living artists were donated and serve to affirm the importance of art in our culture and to advocate support for the quality programming and services that the Center has continued to present for the last nineteen years. Dollar values on items reflect our estimate of acceptable bid range.

BUILDING A COLLECTION

Explore and support the arts by building a collection. Whether you are a well versed collector, a photography enthusiast, or simply seek visual reward, we have something to tantalize each of you. Begin a personal collection, add to an existing one, or buy a present for a friend. It is with joy that

we may offer in this sale a diversity of exciting photographs. Some of these artists' names are carved in the history of artistic traditions, some are not yet household names, but they are inspiring innovators.

YOU SHOULD KNOW

After seventeen years of continuous funding support, the Center received no grant of money from the National Endowment for the Arts in 1996. The majority of American artistic organizations also face similar drastic funding cuts. Our Congress voted these reductions based on their perception of the value of the arts.

The future of American culture is now in the hands of individuals-you now have the opportunity to bring forward, for another generation, the enrichment and celebration of art - and the expression of photography's ability to communicate our shared dreams.

We need your support now more than ever! Your bids at this Auction are essential -your purchase and your patronage will help us to bridge the critical gap in funding. Without you, we can not exist.

Our challenge to meet the lack of government funds is not unique. Cultural organizations nationwide have been forced to close, but our contribution to the artistic community-the comprehensive creative and educational programs and services for artists provided by the Center are and remainunique and unparalleled by any other existing not-for-profit arts and education organizations in the country.

MartinMunkacsi

enter'sAdvisoryBoard

Norton Batkin Susana TorruellaLeval

Ellen Carey PeterMacGill

Philip Cavanaugh

Kitty McCullough

Susan Ferris Elliott Meisel

Julie Galant

Howard Greenberg

Ann Morse

Sandra S. Phillips

Sue Hartshorn J Randall Plummer

WM Hunt

GregKandel

PeterKenner

ErnestineRuben

Kathy Ruttenberg

Julie Saul

free to center members

]. Randall Plummer & W.M. Hunt

Morning session: Randy Plummer will present a close-up, "hands-on" exploration of the entire story of photography, &om the perspective of a photographer, historian, collector, and educator. You will look (and touch) various historic processes, including daguerreotypes, ambrotypes, tintypes, salt prints, and modern silver gelatin prints. Slides will be shown of works by masters of photography and works by unknown or under-recognized photographers. The goals of the class are for participants to enjoy the act of looking at photographs and to appreciate images as both artifacts and works of arr. The class will be informal, with questions encouraged; any level student may attend. Additionally, evaluation of images from a collector's viewpoint (aesthetics, rarity, price, importance, provenance) will be investigated.

RANDY PLUMMER has been collecting photographs for almost twenty-five years and has been included in Art and Antiques magazine's "Top I 00 Collectors." A traveling exhibition of 175 photographs from the collection was organized by the George Eastman House in 1983 and traveled to the Philadelphia Museum of Arr and Wellesley College. Works from his encyclopedic collection (ranging from early Talbot, Bayard, Root, and Cornelius to Stieglitz, Strand, Weston, and contemporaries Richards, Shore, and Witkin) have been lent to exhibitions at the National Gallery of Art, the National Museum of American Art, and the Museum of Modern Art. Lecturing extensively on the history and art of photography, he has been adjunct professor in the History of Art Department of Tyler School of Arr. He is president of the Miller-Plummer Foundation which contributes photographs and funds to support exhibitions and photographers. Mr.

H i s t o r y o f P h o t·o g r a p h y

How to Collect Photography

Plummer serves as a member of the £oard of the George Eastman House, the lnt~rnational Museum of Photography and Film in Roch~ster (NY), as a member of the Advisors at the Philadelphia Museum of Art, and the Institute of Contemporary Art, the University of Pennsylvania, and at the Center for Photography at Woodstock. He lives in the Philadelphia area, New York City, and has a home in Woodstock, NY.

Afternoon session: Bill Hunt remarks, "Gee, I've thought about buying a photograph, but I'm just not sure. Is it arti' Will it fadei' How much is too much to payi'" How To Collect Photography, will begin with a dialogue between the teacher and students about the collector's aesthetic: that unique combination of instinct, taste, and knowledge, an, how to sharpen and refine it. The teacher will tall about his own collecting experience and use picture from the upcoming CPW benefit auction as a reference for answering your questions and for helping you establish your own guidelines for collecting photography. Other sources for buying photographs ranging from galleries and dealers to auctions, patron print programs, flea markets, artists, and even grandma's attic will be discussed as well as important periodicals and references. Students are encouraged to also rake History of Photography taught by Randy Plummer. A collector for almost 20 years, W.M. HUNT has produced and moderated panels on photography at AIPAD, VISCO MM, and VISCO MM West. He and Susan Ferris are the current Co-Chairs of the CPW's New York Advisory Board; they produced the New York City Studio Visits 1996 fundraising project this Spring. Mr. Hunt has been collaborating with Aaron

Schindler of Photoperspectives on an image-driven Internet project, and he teaches coJks:ting at The New School. While the Chairman of Photographers + Friends United Against AIDS, he curated Absolut Images for American PHOTO, he developed the All In 'A· Days Work campaign, limited-edition print programs with Laurie Simmons, and the Garry Winogrand and Weegee estates, and coordinated merchandising efforts with Fotofolio and Duane Michals, David Levinthal, Neil Winokur, and William Wegman. He continues to be an active fundraiser within the photographic community. An actor for 25 years, Mr. Hunt currently serves as the President of The Harry M. Stevens Family Foundation.

discussed and evaluated.

Class Limit: 20

Tuition: free to CPW Members, Non-Members $45

Please RSVP to the Center to reserveyour space

Ben Caswell

Ben Caswell, the Center's Darkroom Manager, will teach a one-day class which invites both children (10-18) and their parent/s to spend a fun time taking pictures of each other. No previous experience or equipment is necessary; and the Center will provide instant cameras and class materials. We will take a field trip and have a picnic lunch together. This will be an enjoyable introduction to photography and families will leave the Workshop with pictures of themselves and their children. Mothers and fathers, sisters and brothers, aunts and uncles, grandmothers and grandfathers, cousins, nieces and nephews, and/or anyone who fills a parental role, is welcome to attend. Instant Polaroid film and cameras will be provided. No previous experience or equipment is necessary.

Ben (who knew he wanted to be a photographer from age six (has photographed his family and friends since he was in rhe sixth grade. A Woodstock, New York resident, Ben documents neighborhood groups like police men and women, politicians, musicians, dancers, and puppeteers.

Before moving to Woodstock in 1982, Caswell lived

Photography for Parents and Children

in Los Angeles, California. He worked for the LA Free Press newspaper, New West magazine, and Capitol Records. Custom black-and-white film developing and printing is Ben'sspecialty. He restores old (family) photographs.

Caswell studied commercial and creative photography at rhe Rochester Institute of Technology in Rochester, NY. He's worked at the Photofind Gallery in Woodstock and at the Howard Greenberg Gallery

in New York City. As manager of the Center darkroom, Ben teaches our beginning, intermediate, and individual photography classes; hosts the CPW open lab evenings, and instructs young people in the community high school mentor program and after school enrichment program.

In his business, Photo/ab, Caswell prints for the Woodstock Times newspaper, the Hudson Valley magazine, the Woodstock Youth Theatre, and for artists and crafts people (and their work). He's known for people pictures and gatherings where families celebrate. Parties and get-togethers are Ben's favorite subjects.

As part of the Center's continuing community outreach program, this event is low cost so that all who want may join us.

Students should bring: their enthusiasm!

Class limit 12

Tuition: free to CPW Members, Non-Members may join when they register for $50 No Lecture.

© Solomon Students should bring: 2-4 photographic images to be

l. Talman,Donna,Roses at Dusk, l995, hand-colored, signed in pencil on front of mount, l3x8½", $200/400.

2. Garbarino,Edward,A Sip of lier Life, 1995, signed in pencil on back of print, 13x9". 200/400.

3. Jensen,Julie,Red Wall and Railing, Mexico, 1994, color reversal, signed in pen on back of mat, L3½x9¾\ $150/300. Donated by Robert Bryan.

4. Zungoli,Nick,Frost and Fems, Catskill Park, NY, 1994, Cibachrome, signed in pen on front of print, 13½xl0½", $150/300.

5. Cooper,JohnF., Nancy on Bed, 1994, Palladio, signed in pencil on back of print. 5x4". '150/350.

6. Hennessy,SeanW., Jlfarc, 1994. signed in pencil on front of print, l0x8", 200/400.

7. Lomeo,Angelo,Lone Oak Rest wit!, Camel Sign, VJ; 1957, color dye transfer~ signed in pen on front of print, 15xl0", $400/600.

8. Trager,Neil, Danzantes (Mexico), 1989. signed in pencil on front of mat. I0¾x8¼". 200/500.

9. Rank,Erik,Baffery Cit)' Park, Ektacolor. signed in pencil on front of mat, 12½x8½". 200/400.

10. Ockenfels 3 , Frank,Untitled(face with mesh), 1995. signed in pencil on back of print with artist stamp. 8½x6½", 300/600.

I l. Matuschka,Crucified, 1996, signed in pencil on front of mat & back of print, 14xll", 250/500.

12. Mehalakes,Dena, Untitled(woman with lights). 1996. signed in pen on back of print. 12xl0". S150/300.

13. Halsman,Philippe,lot of 2, Jlfiroslava, 1950 and Oskar Werner, 1966, c. l960s, each signed in pencil on back of print, 14xl0½", 600/800.

14. Saville,Lynne,Fifi!, Avenue S/ww, 1994, Ed#2/25, signed in pencil on bark of print, l9xl I¾", 500/800.

15. Bullaty,Sonja,/fig!, Sierra 7'/,aw, CA, 1972, color dye transfer, signed in pen on front of print, 15xl0", 400/600.

16. Forss,George,UJIISRig BrooHyn Doc~·s, 1996. signed in pencil on front & back of print. 13x11". 200/400.

l 7. Kay,Patricia,Water Wl,eel, 1987, infrared, seleniumtoned, signed in pencil on front of mat & back of print, 9¼xl3½", $150/250.

18. Cavanaugh,Philip,Buttressed Wall-lladrian:, Villa. 1996, signed in pencil on back of print, 7xl0¼". $200/400.

19. Lindbloom,Eric,Jlfarx Frank'., -Persephone,' La~·e Ifill, NY, 1992. signed in pencil on front of print. ix9". '300/500.

20. Bullock,Edna,David on Dune Top, 1983. signed in pencil on front of mount, 91/sx131/s",$350/500.

21. Shore, Stephen, Sunset Terrace, Amarillo, Texas, 1974, 1977. Cibachrome, signed in pen on back of print, 7¾x9¾", S300/500.

22. Potash,Fawn, Yin Ya11gPile of Books, 1995, Ed#5/l2. si0~1ed in pencil on front of print, 9½x 12½", $400/600.

23. Camp,Roger, Water Music: Prayer Plant, 1995, llfochrome, signed in pencil on front of mat & back of print, 8xl0", $200/400.

24. Ferguson,James,U11titled(desert car), 1995, signed on front of print, 8½xl l ½", S200/400.

25. Crane,Tillman,BraddAlan'.>NewsStand, 1994. kallitype, signed in pencil on front of mat. 8xl0". 300/600.

26. Raymond,Lilo, U11titled(dried nowers on table), 1992, si0~1ed in pencil on front of print, 8¼xl3", 500/800.

27. Kleinhans,John,Sawk,ll at Zena, Woodstock, NY, 1990s. platinum-palladium, signed in pencil on front of mat. 7½x9½". $300/500.

28. Karp,David,Lot of 3, Sevierville, J'N (Cu!/), Amarillo TX (Cl,evro11),and Blue Star flighwax, 1993. color Polaroid transfers on Arches. signed in pencil on front of prints, each 8xl 0", $200/600.

Unless otl,envise noted, photographs are gelatti, silver (black a11dwMte pri11ts)

29. Werner, David, Concrete Vine, 1995, signed in pen on back ofrnounl, lO¼xlO¼", $200/400.

30. Cruz,Levi, Untitled(nude at window),1990s, signed in pencil on back of print, 8½x8½", $200/400.

31. Krotinger,Jonathan, TV Steel, Cleveland, O1,io, 1994, signed in pencil on back of mat, 9x9", $200/400.

32. Jaffee,Jay, Untitled(wrought iron), Ed#23/25, signed in pencil on back of print, 8½x8½", $300/500.

33. Arbeit,Mark,Atelier, Paris, 1980s, signed in pencil on back of print, lOxJO", $500/800.

34. littwin, Kathi, Untitled(dress), 1994, signed in pencil on back of print. lO½xlO½", 8250/500.

35. Sarver,Michael,Untitled(window). 1995, signed in pencil on front of print, 9x9", 200/400.

36. Cruz,Levi, Untitled(nude on car), 1994. signed in pencil on back of print, 8¼x8½". $200/400.

37. Bumble,Jonathan,Fence, 1995, label with name on back of mat, 9½x9½". $200/400.

38. James,Christopher,Winter Pool #JJ, 1981, Ed#l0/25, toned, hand-colored, signed in pencil on front of print, 9¼x9¼", 500/700.

39. Picayo,Jose, Cuba, 1995/96, signed in pencil on back of print, lOxlO", 400/600.

40. Lindbloom,Eric,Curtains, Orsan111ic/1ele,1983, signed in pencil on back of print, 7¼x7¼", 300/500.

41. Seeley, George, Tl,e White Screen, 1910 vintage, Camera Work Gravure, 8¼x6¼", 400/500.

42. Muybridge,Eadweard,Animal Locomotion Plate 484, A: Sweeping, B: Dusting A Room, 1887, Collotype, 24x20", $800/1200. Donated by Laurence /lfiller Gallery, NYC.

43. McNeil,Dean, Newtopia, 1995, Cibachrome, signed in pen on back of print, !Ox8", 300/500.

44. Ferguson,Jesseca, Stajford/Um/Palmettoos, 1994, platinum-palladium, signed in penciJon front of print, l4x ll", $300/500.

45. Bailey,Christopher,Aya So/ya, Istanbul, 1995, signed in pencil on back of mat, 4x6", 200/400.

46. Clergue,Lucien,Nude 011 tlie Beacli, Carmargue, 1986. signed in pen on front & back of print. i½xJI¼". 500/700.

4 7. Dugmore,A. Radcliffe,/11 the Circus, 1905, 1907 vintage, Camera Work Gravure, 7¾x6½", S600/800.

48. Heyert, Elizabeth,Untitled(two nudes in water), 1994, Ektacolor from black & white negative, signed in pencil on back of print, 20x24", S800/1000.

49. Badura,John, Wliite Bridge View, 1994. signed in penciJ on front of mount and in pen on back of print, !Oxl3", 200/400.

50. Somonte, Carlos,Los Ultimos Poetas (The Last Poets), [994, signed in pen on back of print, 9xl2", 400/600.

51. Stock, Dennis,Flower Show (Anemones), 1980s, Ed#9/ 100, color dye transfer, signed in pencil on front of mount, ll¾xl8", $400/600.

52. Mallo,Luis, U11titled(Diptych No. 15) from Eros & Civili::ation series, 1992, Ed#l/15, signed in pencil on back of print, l2¼xl5¾", 400/800.

53. McCurry,Steve, Burma: The Golden Rock, 1995, Ektacolor, signed in pen on back of print. l4xl9". 500/ 800.

54. Ruben,Ernestine,Two Hands and Chin, 1996. Ed#2/ 25. platinum, signed in pencil on front of print. IO½xl6", 750/1000.

55. Mussina,David,/lferced River, Yosemite National Park, 1986, signed in pencil on back of mat & print. 13¾xl 7½", 300/500.

56. Stock, Dennis,Flower Show (orange day lilies), 1980s, color dye transfer, signed in pencil on front of mount, 12x18", 8400/600.

57. Roth,Harold,Williamsburg Bridge, 1947, 1991, signed in pencil on back of print, 13x10¼", 400/600.

58. O'Neal,Hank,Jacqueli11eO11assisDecember, 1979, 1979, signed in pencil on front of mount, 12¾x9¼", 200/400.

59. Armstrong,Neil,Astronaut Buz: Aldrin 011 the Moons S,uface, July 20, 1969, 1994, Ektacolor, 13¼xl0¼", 300/400.

60. Lippman,Marcia,Chambourcy, 1995, toned, Ed#2/5, signed in pen on back of print, 9¼x5½", $400/600.

61. Landy,Elliott,Bob Dyla11, Woodstock 1968, 1981, signed in pen on front of print, 13½x9". $400/800.

62. Uelsmann,Jerry,Tree wit/, Root, 1966, signed in penril on front of print & pen on back of print, 13½x8½U, 1200/1800.

63. Spitz, Louis, Woman,,, Bathtub, 1992, signed in pencil on front of print, 13¼xl0½", 200/400.

64. Bailey,Christopher,Beallo11Piloting, 1990, sign,•d in pencil on back of print, 6x4", 300/600.

65. Kasebier,Gertrude,Pastoral, 1905 vintage, Camera Work Gravure, 8¾x61/s", '500/700.

66. Nadar,Cliche,Ferdi11andFabre, 1880s, woodburytype, signed in plate, 8½x6¾", S200/300.

67. Schenk,Charles,Practical Poses/or a Practical Artist, c. 1912 vintage, 13xl0", 500/600.

68. Alland,Alexander,Village Art Show, c. 1940 vintage, stamped on back of print, 91/sx7¼", 800/1000.

69. Halsman,Philippe,Dalis Skull, 1981, Ed#161/250, stamped on back of print. 14x 11", S500/1000. Donated by Philip Poree/la.

70. Hayward,Blaise,Oh Canada (triptych), 1996, signed in pencil on back of print, each 20xl6", $400/600.

7.l. Weiss, Sabine,Mailman - Lyon, France, 1950, sit,rr1cd in pen on front of print, 14xll". $700/1000. Donated by Pl,ilip Poree/la.

72. Volkmann,Roy,Modem Dance Series #3, 1995, signed in pencil on front of print, 14½xl4¾", 600/1500.

73. Steckler,Charles,flimalaya11 C/uld, Nepal 1995, 1996, signed in pencil on front of print, 15xl9". 8300/600.

74. Klett, Mark,Viewfrom 1/,e Pool at Catl,edral Canyon, 1996, signed in pen on front of print, 16x20", $600/800.

75. Giacomelli,Mario,II Teatro Della Neve di Francesca Per1111111ia11,1984/86. signed in pencil on bark of print~ ll½x15½", $1200/1500.

76. Morgan,Barbara,Opacities, I968, photomontage. signed in pen on front & back of print, 12¼xl6¾", $600/1000.

77. Yampolsky,Mariana,Tl,e Sword, San il1iguel Zincanttin, Puebla,1991, signed in pencil on back of print. 13¼x17¾", '600/IOOO.

78. ReidMarsted,Marcia,Se!fportrait, 1991, Ektacolor, signed in pen on back of print, l3x20". 8200/400.

79. Winogrand,Gary,Beverly Hills, California, 1979, signed in pencil on front of mount, 8½xl3¼", 700/900.

80. Gowin,Elijah,Pulpit, 1995, signed in pencil on back of print, 15x19", $250/500.

81. Moseni,Arezoo, "Torso," II, #3, 1993, van dyke contact print, signed in penril on back of print. l8x22··, $500/800.

82. Friedlander,Lee,Madison, Wisconsin, 1966. signed in pencil on back of print, 8¼xl2¾", Sl200/1800.

83. lzu, Kenro,Angkor #80, 1994, Ed#], platinumpalladiurn, signed in pen on back of mount. 13xl9 11 • SI000/2000. Courtesy Friends lflitl1outA Border.

84. Shaff,Valerie,Oregon, November 199./., 1994, signed in pencil on back of print. 18x18", 300/500.

85. Marcuse,Tanya, Untitled(male Greek head). 1993, platinum-palladium, signed in pencil on back of print, 5x4", 400/600.

86. Fellman,Sandi,Flower Series #2 - Checkerboard Friti!laria, 1996, signed in pencil on back of print. 5x411 • 400/800.

87. Weiner,Greg,Untitled(rnale torso), 1996, toned, signed in pencil on front of mat, 6½x4½". S200/400.

88. Wovcha,Daniel,Electric Steel Elevator, Minneapolis, 1995, signed in pencil on front of print. 10x8", 150/300. 89.Cramer,Aileen,Sweden, 1955vintage.signf'clinpendl on back of print. 10x8". S200/400.

90. Millan,Maria, Wit/, No Choice, 1995. color Polaroid print, signed in pen on back of print, 7½x5¾", $250/450.

9\. Schock,Ann, Untit!ed(egg). 1995, signed in pen on front & back of print. 6¾x4 ½". '200/400.

92. Taylor,Grace,Carden, Fukucl1iJ'Gl11a,1995. signed in pencil on back of print, 6x4", 200/400.

93. Wides,Susan,Untitled(Opera), 1993, Cibachrome, signed in pen on back of print. 7½x5 'la".$300/600.

94. Carey,Ellen,No. 94, 1995. unique black & white photogram, signed in penril on back of print, l.Ox8\ 8750/1000. Courtesx Ricco/Maresca Callery, NYC.

Ill

95.Hine,Lewis,Boy on. Street. c.1910vintage.7x511 S500/1000.

96. Wojcik,James,Untitled(cardboard construction series), 1996, carbon pigmcn_tprint, signed in pencil on front & back of print. 4½x3½". $300/500.

97. Hosoe,Eikoh,Jfoo11lig!,1,Woodstock, 1VY,1992, 1992, signed in pencil on front of print, 91/sx7¾". $750/1000.

98. Hopkins,Catherine,Blanket, 1991, stamped on back of mount. 7x7". 250/450. Donatedby)aneAklen.

99. Poloniak,Darlene,Tl,ree Trees, 1993. signed in pencil on front of print, 5½x5½", 200/400.

100. Weinberg,Jojo,Se!f Portrait, 1995. Ed#l/45 artist proof. platinum-palladjum,signed in pencil on back of print & front of mount. 2¼x2¼", S200/400.

101. Hamilton,Jeanne,Cl11ysantl1e11111111 and Fans, 1990s. platinum-palladium. signed in pencil on front of print. 4x5". 200/400.

102. Ferris, Susan, f'l!lountainAerie, 1995.signrd in pencil on back of print, 3x4 ½". $200/400.

103. Chernewski,Anita, Coney Island. 1987. signed in pencil on back of print. 3 ½x5". 8200/400.

104. Beals,JessieTarbox,!lfad Halter Tea Room, c. 1915 vintage, signed in negative, 3½x5". 400/600.

105. Slor,Oren, Prospect Park, 1994, signed in pencil on back of print. 14½xl9¼", 200/400.

106. Lewis,Lawrence,Untitled(boy with scythe), 1996, signed in pencil on back of print, 7½x9½", $200/400.

107. Marks,Betty, Zena Cornfield, (Woodstock. New York), 1996. Ektacolor. signed in pen on back of print, Jlxl3½". 8200/400.

108. Ward,Frank,111otherand Cl,ild, Tibet 1994, 1994, signed in pencil on back of print. 8x10". 300/500.

109. Welpott,Jack,San Francisco, 1974, signed in pencil on front of mount. 8½xl2½". 400/600. Donated by Sandra P/11/lips.

l lO. Montanari,Marie-Claire,Be, 1990s. Ed#3/IO, signed in pen on front of print. ix IO½", $300/600.

111. Gordon,JaimieLyle,Seaquarium, 1994. signed in pencil on back of print & stamped on front, 14½x15¼", $300/500.

112. McCormack,Dan, linda, 1990. palladium diptych, signed in perwil on back of print, 2¼x6" S200/400.

128

113. Pardo, Helaine, Tulip, 1985, 1996, color Polaroid image transfer, signed in pt'n on front of print, 5x4U, $200/400.

114. Hine, Lewis,Newsboy, c. 1910 vintage, 5x4", 500/1000.

115. Werner,Susan, Still life, 1995, signed in pencil 011 back of mount, 5x4", $200/400.

116. Skyler, Meryl,U111itled(Central Park snow), color Polaroid transfer. signed in pen on back of print, 4x3 11 • 200/400.

117. Picayo,Jose, Irina, 1995, toned print. sit,rnedin pencil on back of print, 9½x7½", $400/600. l 18. Cramer,Konrad,U11titled(bouquet), 1932 vintage, signed in pencil on back of print by his daughter. 9x7¼ 11 $400/800. Do11ated by Ailee11Cramer.

119. Ava, Beth, flat u·ith legs, 1987, Llquid light on watercolor paper. signed in pencil on back of print, 14x10", $300/500.

l20. Barnard,Anne, DIVA Series, 1996, signed in pen on back of print. 19xl8¾". 500/1000.

121. Gatewood, Charles,U111itled(tattooed torso), l 992, signed in pencil 011 back of print. 11½x9". 350/500.

Calleq.

122. Picayo,Jose, Cuba, 1994/96, signed in pencil on back of print, 10x8", 400/600.

123. Kuehn,Heinrich,lf/i11dblow11,c. 1910 vintage, Camera Work Gravure. 7½x5½', S300/600. Do11ated by KatMee11 Kenyon, Sr.

124. Fruitman,Sheva, A11e111011e,1996, cyanotype contact print, signed in pencil on back of print, 5x4", $400/600.

125. White, Clarence,Boys Coi11gto School, 1908 vintage, Camera Work Gravure. 81/ax61/a". 500/700.

126. Smith, HenryH., light Study, 1946 vintage. signed in pen on back of print, 91/ax7½". 81800/2500.

127. White, Minor,Frost Pattern Sequence 'Sound o/011e fla11d Clapping, '1958 vintage, stamped 011 back of print. 8¼x5¾", 2000/3000.

128. Beals, Jessie Tarbox, The Carden at the E11do/Wasl,i,~{'on Jlfeu:s, c. 1915 vintage. stamped on back of print, 91/isx71/a",$900/1200.

129. Smith, Rodney, U111it!ed(man in cornfield). 1994, signed in pencil on front of print. 7½x9". S600/1000.

130. Hamilton,Jeanne, Chrysan!l1e11111111 and Pears. 1990s. platinum-palladiu1111 signed in pencil on front & back of print, 4x5", $200/400.

131. Beals, Jessie Tarbox,Jlfrs. Koenig, 7 Sherida11 Square, Cree11wic/1Village, !VYC, 1910/17 vintage, stamped on back of print, i¼x9½". 8900/1200.

132. White, Pam, Tonya. 1994, Ektacolor. signed in pen 011 front of print. llxl4". $300/800.

133. Iturbide, Graciela,Cl,olos, flarpys, East LA, 1990. signed in pencil 011 back of print, 12xl8". 600/1000.

134. Abbott, Berenice, U111itled(bal1in motion), c. 1970s. signed in pencil on front of mount, 9¾xl3". l 000/2000.

135. Lee, Russell, Wagon If/heels and Automobile Exhaust Pipes in/ront of Blacksmith Shop, 1939 vintage, stamped on back of print, 7¼x9½", '900/1200.

136. Komroff,Manuel,Atomic Rose, c. 1960s, stamped on back. 10½xl3¼". 500/800. Donated by Odelle Komrojf. J3i. Porcella,Philip,,l'faki. 1988. signed in pen on front of print. 12xl8". ,200/400.

138. Mayes,Elaine,Kalala11 View, Kana,; Hawaii, 1992, Ektacolor. signed in pen on back of print. l5x22", 400/800.

139. Ruben,Ernestine,Shado1l'S on Bosom, 1996. Ed#2/25. platinum. signed in pencil on front of print, 5750/1000.

140. lzu, Kenro,Still life #546 (charity edi,tion), 1996, Ed#4/30. platinum-palladium, si0~1ed in pen on back of print. IO¼xl3", 1000/2000.

Courtesy Cathari11e Clar~·

141. Ockenfels3,Frank,Tom Waits, 1993, signed in pencil on back of print & stamped, 8½x6½", 300/600.

142. Lippman,Marcia,Montpamasse, 1995, Ed#2/5, signed in pen on back of print, 9¼x5½", 400/600.

143. Gudnason,Torkil,S,llwuette, 1994, Ektacolor, signed in pen on front of print. 10x8", $250/500. Donated bx Ph,lip Poree/la.

144. Raymond,Lilo, Untitled(statue face), 1991, signed in pencil on front of print, 13x8½", 8500/800.

l45. Teske, Edmund,Chicago, 1939, printed 1968, signed in pencil on back of print, 9x7½", 600/800.

146. Martinez,Oskar,Sunflower Dried, 1996, signed in pencil on front of mat, 14xll". $400/600.

147. Kratochvil,Antonin,Untitled(animal costumes), 1992, signed in pen on front of print, 13x8¾". 500/1000.

148. Munkacsi,Martin,llav111gFun at Brea/2/ast, 1933, printed 1994, Ed#7/40, signed in pencil on back of print. l2x9½", 8700/1000. Donated by Joan Jlfunkocsi.

149. Uelsmann,Jerry,Untitled(figure in waterfall), 1992, signed in pen on back of print & in pencil on front of mat~ 14xll", $800/1200.

150. Parker,Olivia,Inner lflor/2·ings,1983, split-toned. signed in pen on front of print, JOx8", $1000/2000.

151. Dan-Bergman,Kristofer,Snaps Glasses, 1992, handcolored, signed in pen on front of print, 16¾xl2¾", $300/600.

152. Arbeit,Mark,Bending Orchid, Paris, 1987, signed in penril on back of print, 12½xl0", $500/800.

153. Lyons,Patricia,Facing If/hat Cannot Be Controlled, 1993, Ed#4/20, split-toned, signed in pencil on back of print. 18xl4". 8200/400.

154. Miles,Jonnie,Joan Moon, 1993, signed in pencil on front of print, 12x8". $300/500.

155. Gumpel,Roy,Bass, Brad/ex~. NYC, 1985, signed in pen on front of print, 12½x8½", $200/400.

156. Brading,Martin,Untitled(woman on boat), signed in pencil on back of print, 1994, 13xl0½". 400/600.

157. Capp,Kristin,Carol With Cabbage, 1994. signed in pencil on back of print, 14xl4", $200/400.

158. Old,Toby,Standard Deviation Series Roseland Disco Parl_y,1979, signed in penciJ on back of print, 14xl4". 8300/600.

159. Himmel,Lizzie,J'l,e Kiss, 1995, signed on print, IOxlO", $400/600.

160. lzu, Kenro,Still life #550 (charity edition), 1996, Ed#4/30, platinum-palladium, signed in pencil on front of print, 13½xt3½", 600/1000.

161. Kenna,Michael,Lagoon, Studx 1, Blachpool, lancashure, England, 1992, 1993, Ed#l9/45, sepia toned, signed in pencil on front of mount, 8x7½". 8800/1500. Courtesx Robert Jlfann Gallery, 1VYC.

162. Benson,Mae, Electrocution Choir: Blood If/ell, I994, Ektacolor, signed in pencil on back of mat. 15½x15½", $200/400.

163. Blum,Bruce,Balcony, 1994. signed in pencil on front of mount, 14x 14", $150/300.

164. Caffery,DebbieFleming,Jfexico, 1994. Ed#2/25. signed in pencil on back of print, 19½xl8½, 500/1000. Courtesx Howard Greenberg Gallery, NYC.

165. Morris,Amy, Princess and 1/ie Frog, 1995, signed in pencil on back of print. 15xl5". $300/600.

166. Strnadova,Barbara,Untitled (from Suspended series), 1995, si6'11edin pencil on back of print, 15xl5", 200/400.

167. Jipsom,Jim,Arbitrarx Signs Used in lflrit111gand Printing(Light Box), 1993, signed in pencil on front of image, l2xl2x3", $1000/1500.

168. Carter,Keith,Railroad Trestle, 198i, Ed#l2/50, signed in pencil on back of print, 15xl5", 1000/1200.

169. Atget, Eugene,Hotel D'Argenson Rue De Crenelle 101 (#5474), c. 1910, signed in pencil on back of print, 8¾x6¾", 1200/1800.

170. Munkacsi,Martin,Halston Headdress, Harper~ Bazaar, 1962, printed 1993, Ed#l/40, signed in pencil on back of print, II ¾x9", 700/1000. Donated by Joan /lfunkacsi.

171. Evans,Walker,Maine Pump, 1933, printed later, Ed#21/75, signed in pencil on front and back of mount, llx8½", 1000/2000.

172. Weegee,At the Circus, Madison Square Carden, c. 1945 vintage, stamped on back of print, 13¾xl0¾", 1200/1800.

173. Faurer,Louis,Cafeteria, 57tl,. Street and 8t!t Avenue, NYC, 1948, signed in pen on front of print, 12½x8¼", 1200/1500.

174. Siskind,Aaron,Harlem Document, 1937, signed in pen on front of print, 12x9½", Sl200/1500.

175. Vishniac,Roman,Granddaughter and Cra11dfat!ter, 1938, printed later, signed on back of print by Mara Vishniac Kohn, ll¼x!O", 2000/2500.

176. Stoumen,Lou,Girl and Sailor, 1945, printed later, signed in pen on front of print, ll¾x8¾", 1500/2000.

177. Rothstein,Arthur,Dust Storm, Cimarron County, 1936, printed later, Ed#32/300, signed in pencil on front of print, 19xl9", 1200/1500.

178. Arlen,AnnCovingtonWarner,Bearsv,lle Iris, 1984, signed in pen on front of print, l7¼xll¾", 300/400.

179. Maneo, Michael,Sawblade, 1995, signed in pencil on front of print, 20xl6", $300/500.

180. Siskind,Aaron,U11titled(foot), 1957, signed in pen on front of print, 12x9½", 800/1500. Donated by Robert 1'fan11,1VYC.

181. Clergue,Lucien,Saltimbanque: Violinist, Aries 1955, 1996, signed in pen on front of print, llx8", 8500/700.

182. Abbott,Berenice,Wires a11dDry Kiln (The Red River lumber Co.), 1940s, signed in pencil on front of mount, 14¼xl5½", 4000/6000.

183. Webb,Todd, Cherry Man-Rue Mouffia11de, Paris, 1950, 1970, signed in pen on back of print, 9½x7½". 600/900. Do11atedby Throckmorton F,i,e Art, Inc., NYC.

184. Curtis,Edward,On a Wa/pi Housetop, 1921, photogravure, signed in plate, 7½x5½", S300/600.

185. Pruitt, Laurie,Joumey of a Fish Woman, 1992, Ed#3/ 20, signed in pencil on front of print, 5¾x5¾", 300/500.

186. Shung,Ken, Tailor and Sophie Ho/din{ Waterme/011, 1995, signed in pen on front of print, 9¼x9V.", 300/$600.

187. Osinski,Christine,Untitled, si0~1edin pencil on back of print, 1995, 9½x9½", 300/500.

188. Stein, Harvey,Winter, Niagara Falls, 1993, selenium toned, signed in pencil on back of print, 91/,Gx91/,6U, S250/600.

189. LaRoca,Isabella,Mama /Vo Puede Ser Virgen, 1993, chromogenic print, wood frame with gold leaf paint, signed on back of mount/mat, 5x4xl" (oval). 200/400.

190. Menache,Margaret,Sand Fence, 2, 1994, Ed#l27, signed in pen on frunt of print, IOxlO", 200/400.

191. Weegee, Da11ceIla!!, 1940s, stamped on back of print, 9¾xl0 ½", 800/1200.

192. Abbott, Berenice,Untitled(street scene), c. 1970, signed in pencil on front of mount, IO½xlO"', 1000/2000. 193. Weegee, 7'l,eStreet Entertainers, NY, 1946, stamped on back of print, 10½xl2½". SI000/1500.

194. Astman,Barbara,Untitled (from the series / Was Thinking About You), 1979/80, Ektacolor, signed in pencil on back of print, 9½x9¼", 300/600. Donated by Sarai, MortMand.

195. Faller,Will,Sue K., 1995, signed in pen on front of print, 14¼xl4¼", 400/600.

196. Mistretta,Martin,Shelter Island, 1996, signed in pencil on back of print. lO¼xlO¼", 400/600.

197. Gross,Gary,Brooke at "12", 1970/80s, color dye transfer, signed in pen on front of print, 18xl2". 300/500. Donated by Philip Poree/la.

198. Donaggio,Franco,llomesiclmess, 1995, signed on back of print, 18xl4", 400/800.

199. Serbin,Vincent, The Power of l111agi11atio11 (Negative Collage No. ,/.J), 1994, Ed#2/50, signed in pen on front of print, 22xl5½", '500/700.

200. Porcella,Philip, Cates of/fell, 1994, half toned, signed in pen on front of print, 8x8", 8200/400.

201. McCarthy,Joanna, Cherry Tree, 1992, Iris color print, signed in pen on front of print, 15x9¾", 400/600.

202. Caffery,Debbie Fleming, Wi11gs(Shadow}, Oaxaca, Jffexico, 1993, Ed#l/25, signed in pencil on back of print. 20x 19", 500/800. Courtesy Howard Greenberg Callery, NYC.

203. Freese, Lynda,Slavery(from the series Reco11stituti11gthe Vanislied}, l994, color digital image, signed in pen on front of print, 15xJO", S250/500.

204. Siskind,Aaron,Rome: Arel, ofC011sta11ti11e,1967. signed in pen on front of print, J 7½xl4¼". 700/900.

205. McRae,Wendell, Rhythm Without Beat, 1932 vintage, signed in pencil front of mount/mat, 63/ax411/i6\ 1800/2500.

206. Dole, Jody, Cree11Um Wit!, Orchid, 1996, color Iris print on Arches, signed in pencil on front of print. 18x 1211 300/600.

207. Kenyon,Colleen, U11titled, from Priso11erof If ope series. 1996, toned. hand-colored~ signed in pencil on ba<·k of print, l 7x I l ¼", $400/600.

208. Tennyson,Joyce, U11titled(female torso), 1985. signed in pencil on front of print. 12¼x8¼", Sl000/2000.

209. Drtikol, Frantisek,Portrait ofa Da11cer, 1928 vintage. artist stamp on front of print. 8¾,x6½". 1500/2500.

210. Dugdale,John, Prize lamb, 1995, framed. signed in peneil on back of print. l0x8". 8500/800. Donated bx Wessel O ·co1111orCallery \'YC.

211. Dater, Judy, Untitled. ( nude). 19i0. signed in pen on front of print, 13¼xl0". 750/1000.

212. Leboff,Gail, Flower Portrait series, 1994, Ed#l/10. framed, signed in pen bark of nm111I,l6¼x9¾", 600/1000.

213. Kenyon,Kathleen,0011't Worry, 1993, framed. toned photographs with acetate overlay, signed in pencil ba,·k of mount, 10x32", $300/600.

214. Goldman,Debra, D1cou11teri11glfall11ted lfaps. 1992. diptych on board, signed in pen back of mount. l Ox20". 400/700.

215. Wegman,William, Plaid Lagoo", 1991. Ed#l/12. Ektarolor. signed in pen on back of print. 7xl0". 1000/ 1500. Courtesy PaceWilde11stei11ilfacCillCallery, NYC. 216. Egas, Eric, Pe One 8, 1992. vector based pen & ink on paper. framed. signed in pen on front of print. 16x2711 S400/800.

217. Bernhard,Ruth, Shell and Driftwood, 1943, signed in pencil and stamped back of mount, IO¼xl3½", 1000/2000.

218. Ketchum,Robert Glenn, The Cold Spri11g Chapel, 1983. Cibachrome. signed in pencil on back of print. 20x24", S800/1000. Courtesx Advocacy Arts Fou11datio11.

219. Pettibone, Laura,Untitled, ( figure in waler), 1996, signed in pen on back of print. 7xl0½", S300/500.

220. Polizzi, Donatella, Segesta, 1996, toned, signed in pen back of mount/mat, 9½xl2", $200/300.

221. Opton, Suzanne, Desert Steiglitz, 1996. signed in pencil on back of print. 9¾xl2¾". 400/800.

222. Porcella,Philip, Water ,\/,,des, I994. signed in pen on front ofprinl, 4½x7", 200/400.

223. Orkin,Louise, Brownstones - West 871/, Street, NYC, hand-colored dye transfer, signed in pencil on front of print. 3½xl5", 250/500.

224. Maas,Rita, Alu111i11umCups triptycli, 1996, Ektacolor, signed in pencil on front of mount, 6¼xl5U, 300/600.

225. Brading,Martin,Ly1111-ArizonaCa11yo11de Cl,elly, 1.994, selenium toned, signed in pen on front of print, 8½x6½", 300/600.

226. Lovett, Ann, Starga::er Series: Revolution., 1988, color Polaroid, signed in pencil on back of print, 24x20 11 , 300/600.

227. Porto, James, Centuries E11d, 1996, color Iris print on watercolor paper, signed on front of print, 1.8xl5", 400/800.

228. Trager,Phil, Jacob's Pillow, JI.taleDa11cers, 1992, Ed#l/12, framed, 20½xl6½", $1500/3000.

229. Kertesz, Andre,Satiric Da11cer, Paris 1926, 1980s, framed, estate stamp on verso, 7¾x9 11/,6",$3000/4000.

230. Cartier-Bresson,Henri, U11titled(woman with child under scarf), printed c. 1960, stamped on back of print, 9½x61/a", Sl500/2000.

231. Sander,August, Hotelier, 1931, signed in pencil on back of print, 12x9½". 81200/1500.

232. Wegman,William,October Pay, 1995, Ed#4/12. Ektacolor print, signed in ink, 10x7", $1000/1500. Courtesy PaceWildenstei11 JlfacGil/ Gallery, NYC.

233. Slota, Gerald, U11titled(head VII), 1996, framed, signed, 8½x ll", $800/1000. Donated by Ricco!Jl.faresca Gallery, NYC.

234. Sawyer,David, Cigar Boxes, 1996, signed in pencil on front of print, 10x8", 8200/400.

235. Hall, David,Basketstar, Indonesia, 1995, Ed#7/20, Cibachrome, signed in pencil on front of mat, 19½xl5½", 400/600.

236. Lopez, Richard,Portrait of Abused Cl,ild, 1996, framed, signed in pen, llx8½", $200/400.

237. Menconeri,Kate, U11titled(self portrait), 1996, signed in pen on back of print, 13xl0", 200/400.

238. Raccioppo,Laurence,Lazarus Statue, The Bro11x, 1994, Ektacolor, signed in pen on back of print, 23xl7½", 200/500.

239. Rothstein,Arthur, Untitled, (woman at door), signed in pencil on front of print, 12x9", 1200/1500.

240. Metzner,Sheila, U11titled(flower vase and apples), 1984, color fresson, Ed#4/4, signed in pencil on back of print, 19xl3", SI000/2000.

241. Fink,Larry,U,uitled(Portugal wine harvest), 1995. signed in pencil on back of print, 14¼xl4¾", S600/I000.

242. Old, Toby, Fashio11Series 1992 Lower East Side, 1992, signed in pencil on back of print. 14xl4", 300/600.

243. Amato, Cheryl,Untitled( collage), 1995, Ed#l/10, digital inkjet image, signed in pencil on front of print, 4½x4½", 200/400.

244. Montanari,Marie-Claire,The Unbearable Lightness of Belltg, 1990s, signed in pen on front of print, 7½xll ½", 300/600.

245. Erickson,Wendy, Lucky, the Margate Eleph.an.t, 1995, signed in pencil on back of print. 7x7", 200/400.

246. Pollock, Barbara,Heads/wt: Sue, 1995, Ektacolor, framed, signed in pen on back of print, 16xl6", 500/700. Do11atedby W.1W.Hun.I.

247. Davis, Cecille,Naiad - Cascading flair, 1993, signed in pencil on front of mat, 8xl3", 200/400.

248. Cramer,Konrad,U11titled(harbor scene), c. 1935, signed by Aileen Kramer, 8xl0", 200/400. Do11atedby Aileen Kramer.

249. Crowley,Phyllis,Rose Window ( from the series Wrapped Roses), diptych, 1995, signed in pencil on back of print, 9½x25", S300/600.

250. Benjamin,Martin,Albany, NY, 1980, 1980, signed in pencil on back of print, 18½xl2¼", 300/600. Donated by Saralt MortMand.

251. Galembo,Phyllis,Jean Philipi, Voodoo Priest Hain; 1995, Cibachrome, signed in ink on back of print, lO½xl0½", 300/600.

252. Skoglund,Sandy, Thirt;- Burgers wit!, Mustard, 1995, Cibachrome, Ed#8/30, signed in pen on front of print, 14xl I", 400/600. Courtesy Janel Borden Caller;-, f\lYC. 253. Weisberg,Steven,Andreas Serrano as Marat, 1996. toned, signed in pen on back of print, 10x8", 200/400. 254. Engel,Nancy,Studio -January, 1995, Cibachrome. signed in pen on back of print, 20xl6", $300/600.

255. Richards,Patricia,Lance, at 18, 1994, signed in pencil on back of mount. l ixl3". $200/400.

256. Ferrario,Paola, Untitled (Elgin TX 1995), 1995, Ektacolor, signed in pen on back of print. 22½x 16". 200/500.

257. Harold-Steinhauser,Judith,,Jfask Woman, 1996, signrd in pencil on front & back of print, 14xI lU, $300/500. Courtes;- Moore Caller;-.

258. Vander Hamswoord,Jos, Untitled, (grid), 1996. Cibachrome, framed, signed in pencil on back of print. 5½x4¾,", $250/350. Courtes;- Yance;- Riclwrdson Caller;-. NYC.

259. Tarchak,Lisa, Untitled, ( female face). 1995, signed in pencil on back of print, 10x8", S200/400.

260. Watanabe,Nana,Untitled, ( torso )1996, toned, signed in pencil on front of print, 8 1 YiGx71/,6",$400/800.

261.Morse,Ann,Assist~ lta!J', 1994, signedinpencilon· back of print. 10x7", 150/300.

262. Arbus,Amy,Looking at Fingers, 1994, signe,I in pen on back of print. 18½x13". 500/1000.

263. Eickemeyer,P. Jr.,Pond and Sky, 1921 vintage, signed in ink on front of mount, 5½x3¼", "800/1000.

264. Eikemeyer,P. Jr., Tree Lenn,,,g over Path. 1921 vintage, signed in ink on front of mount, 5 ½x3 ¼11 600/800.

265. Barr,Paula,Operation Welcome 1/ome, ,\YC. 1992. Ektacolor. signed in pen on back of print. 4½xl3½". 300/600.

266. Javorek,Mary,Factor;- Dipt;-cl, #2, 1996. sepia toned. signed in pencil on back of print, 7½xl I½", $200/400.

267. Miller,Marc,Untitled(nudc), 1993, laser reversal on artists paper. signed in pencil on back of print. 9¾xl4¾". "200/400.

268. Aaron,Peter. Jlfacc/111Picch11.1996. infra red panorama. signed in pencil on front of print. Sx1211• 200/400.

269. Olof,Wahlund,Thistly, 1996. color Iris print. signed in pencil on back of print, 9½x71/,G",$200/400.

270. Gurbo,Robert,Kertes= Life Mask in Pean11ts, 1986. framed. signed in pen on back of print. 9½x61/a\ 200/400.

271. Goodyear,Danielle.Italy. 1995. signed in pencil on back of print, 12x9¾", S 150/300.

272. Porcella,Philip, Tulips, 1990s, Ektacolor, signed in pen on back of print, 20xl6", $200/400.

2i3. Heyman,Abigail,Untitled, (old woman with doll), I974. signed in pen on front of print. l6x 10½". '300/600.

274. Bordeau,Robert.Scotland, 1985. 1987. Ed#3/30. gold toned. signed in pencil on back of print and mount. 9xl3 11 1000/3000. Donated b;- Jane Cork,,, Callery. Toronto. Canada.

275. Mazzeo, Michael.Silveru·are, 1994, sclrniurntoned, signed in pencil on back of print. 19½x 15½", $300/600.

276. Michals,Duane. Courtesy Sidney Janis Gallery, i\'YC.

277. Hochman,Gerald,Lot of 3, Untitled, (female nudes). c. 1950s vintage. labeled and stamped on baek of prints. each approx. 15xl2", 300/600.

278. Morris,Amy.Ci11derella's Slipper, 1995. signed in pencil on back of print, 15x 15" 300/600,

INTRODUCTION

The moment the Center received the news of a pending 40% cut in the National Endowment for the Arts budget, we realized that our fature would be forever changed. We perceived the NEA, an organization that we had known since the 1970s, as an American cultural model Providing both the fonds to infase our country with art, and the leadership role to encourage the states to follow, the NEA had set a new standard for us all to use. In 1995-96 loss of Endowment grants, decreased money from the New York State Arts Council, and economic downturns in the East, including the loss of IBM - our regions largest corporation - conspired to draw a grim financial picture for our Center.

It was therefore with great enthusiasm that I turned to work with Center Advisors, WM. Hunt, Susan Ferris, and Ellen Carey, to conjure up a new fandraising idea, the New York City Studio Visits - 1996. Watching these individuals take on the challenge to raise new money for the Center, I was delighted by their zest and skill. They produced a program notable both for its content and for its financial success.

Susan Ferris arranged refreshments,Julie Ga/ant of Fotofolio donated invitation cards, and WM. Hunt took care of hospitality. Arranging each visit, dealing with artists ahead of time, welcoming guests, making introductions, and beginning and ending in a timely fashion were managed by WM. Hunt- with great humor, insight, and charm.

As our not-for-profit arts community turns even more to individual support, Hunt, Ferris, and Carey served as the first ranks of the Centers "guardian angels." As the Executive Director of the Center, I believe that the making of art-the creative act- is a spiritual statement of hope. With the opportunity to serve human change, with the commitment that comesfrom love, I applaud the visionary accomplishment of these supporters of our sharedjourney.

-Colleen Kenyon, Executive Director

Wonder

Imagine having the opportunity to visit the 7 Wonders of the World, all for $500!

Not only chat, imagine almost all of chat fee is a tax-deductible contribution beneficing the Center for Photography at Woodstock. That was the experience for the photography enthusiasts who signed up for the debut of the Center's ''New York City Studio Visits - 1996. "

The 7 Photographic Wonders of the World are photographers: William Wegman, Sandy Skoglund, Adam Fuss, Albert Watson, Duane Michals, and Arnold Newman with writer A.O. Coleman. Visits to each of the artists' studios, including hors d' oeuvres, wine, and sparkling water, were scheduled for the 3rd Monday of each month, from 6:30 to 8:00 p.m. The cost was $500/ person ($450 deductible) or $125 ($100 deductible) per event when available.

The series was an overwhelming success, both financially for the Center and critically for the artists and the subscribers. Each visit was unique, eye-opening and eye-filling, personal, and fun. There was the chance to learn much from and

PhilipPorcella,William Wegman,I990s

WM. Hunt

about these important artists. They could talk at length about themselves and their work, show their projects in their own work place; and participate in an extended and informal dialogue. We could look at work closely with the artist right on hand.

Our first visit took place the 3rd Monday in February and was with WILLIAM WEGMAN in his converted synagogue/residence/studio in the East Village (he has since moved). It was the perfect beginning. Who would not be completely disarmed by his two current star models, Battinaand Chip, who would bound over to the front door to greet each new arrival. How often do world famous models beg to share your cheese and crackers? Wegman gave us the rare treat of viewing some unexhibited work, an artist's book about his family's summer compound in Maine. And he unveiled a series of Polaroid 24" x 20" portraits recently commissioned by the

Houston Grand Opera featuring the dogs in major roles: Tosca, Boris Goudonov, Faust, etc. The posters will become instant classics. The evening concluded with all of us grouped around the TV watching the Wegman video version of a Hardy Boys mystery and purchasing autographed books as we left.

Ellen Carey, artist and Center for Photography advisor, made the arrangements for this one-of-a-kind evening. Our second visit took us to SANDY SKOGLUND in her large Soho studio. After some socializing, Sandy spoke about and let us examine some of her sculptures. Then she talked us through a comprehensive slide show of her career. It was immediately apparent that Sandy is a terrific teacher. She has been heavily involved in the preparations for a major retrospective which will debut at Smith College in the fall of 1997. We got an insight into Sandy's methodical approach to her dynamic, color-filled, and idiosyncratic body of work.Janet Borden, Sandy's dealer, also made us all feel welcome in her inimitable and wonderful fashion.

ADAM FUSS works in a space in the Chelsea flower district. He was our third host, and opening his loft to us was a rare and generous gesture. Adam's approach for the evening was to show slides of his own work and images th~t he had not

SandySkoglund,Babiesat ParadisePond, 1995,CourtesySmithCollege,MA and Janet Borden,Inc., NY

AdamFuss, Untitled, 1995, CourtesyRobertMillerGallery,NY

made but chat in some ways articulate his point of view and his work. Then Adam opened up for us drawers full of magical prints. Adam's pet rabbit ( not a subject of one of his surreal colored camera-less works) was a me~orable presence.

Both Sandy and Adam, two critically acclaimed contemporary photographic artists, made thoughtful, intensive, and fascinating presentations no matter how familiar the work may have been.

The visit to ALBERT WATSON, visit four, was especially memorable because of the extraordinary facility he has designed and builc in the West Village. The complex of two floors of studio with two floors of residence above, has to be seen to be believed. Waiting room, kitchen, dressing, and makeup rooms -

decorated with his own handsome pictures -overlooking a ten thousand square foot area of shooting space with adjoining dark room and storage were awesome in scale, restraint, and style. Blind in one eye, hence Cyclops,the title of his 1995 book, Watson played the host, full of stories and visuals. Possibly the busiest photographer working, it was almost shocking to learn chat he still prints his personal work.

Laurie Kratochvil, the well-known photo-editor and member of the Center Advisory Board, was the liaison for chis VISIC.

DUANE MICHALS, our fifth artist, greeted us in his private study. He entertained the group with his observations about life, art, and the importance of

keeping a youthful approach to everything. Duane sees no separation between commercial and personal work and proceeded to demonstrate exactly chat in his animated, joyous way.

Ken Shung, New York-based photographer and Board Member of the Center, arranged our visit to Duane.

Our final tour took us to the LincolnCenter area home of Augusta and ARNOLD NEWMAN, the latter the popular and celebrated portraitist. This evening was different, a bonus event. After some remarks by the Center's Associate Director, Kathleen Kenyon, who thanked the various hosts and participants and talked about some of the Center's upcoming plans, A.D. COLEMAN, the syndicated critic and writer, was introduced. Coleman writes in the New York area for The New York Observer and Photography In New York and has published recently two compilations of reviews and a children's book about looking at photographs. He was asked to provide us with a "studio visit" to his world as a critic, in particular, to his relationships with artists. The minute Coleman knows the name of an artist's cat, he feels he has crossed over the line of familiarity. It is hard co imagine chat chis youthful man has been such an important voice in the photographic community for so long. He emphasized the public's role in speaking out to newspapers about critical coverage if we are to expect an acceptable level of writing about photography.

After a brief question and answer session with Coleman, Mr. and Mrs. Newman took over and led us on a tour through their handsome duplex and their remarkable collection of 20th Century painting, sculpture, African art, and photography, most of which, Arnold delighted in reporting came to chem through trades with other artists. Work ranges from Julia Margaret Cameron (a purchase, not a trade, he assured us) to Roualt, to primitive work, to Weston, Abbott, and Siskind.

The genius of each of the studio tours artists is compelling. Opening up their private workspaces to strangers was an unforgettable, intimate gift.

As co-organizer of chis series, I would like to thank the artists, of course; their

Duane Michals,TheIlluminatedMan, courtesySidneyJanis Gallery,NY

dealers for their cooperation; Center Board members Ellen Carey, Laurie Kratochvil, Ken Shung, and Howard Greenberg; Kate Menconeri, Program Assistant at the Center for taking care of scheduling and bookkeeping and staying upbeat throughout; Colleen Kenyon, Center Executive Director and Kathleen Kenyon, Associate Director for their continuing dedication to the life of the Center; and especially to my talented friend, Susan Ferris, who had a show of her own wonderful photographs at the Center from July through September. Susan took full responsibility for preparing and providing re freshmen ts and beverages throughout the series. In turn, Susan also was the most responsive guest at each event.

CONCLUSION

I should also note a real debt to Independent Curators Inc. whose Studio Visit program was the model for this project and a great and worthwhile investment for anyone interested in contemporary art.

The Center series was an enormous personal pleasure for me. It was a remarkable opportunity. If the others in the group had as much fun as I did, then the New York City Studio Visits - 1996 were incomparable events.

-© 1996 W.M. Hunt

W.M. Hunt is a photography collector, curator, and consultant. He is a long-time supporter of the Center for Photography at Woodstock and serves as the Co-Chair of the Center's Advisory Board

For information about New York City Studio Visits - 1991, contact Kate Menconeri at the Center at 59 Tinker Street, Woodstock, NY 12498. T914 679 9951F914679 6331.

The Center, on behalf of our staff, Boards, and creative community would like to thank Bill Hunt for making the New York City Studio Visits - 1996 a grand tour.

It is by virtue of Hunt's dedication, care, and intellect that in 1996 the Center was able to offer the debut of this important senes.

As co-organizer of the New York City Studio Visits -1996 I want to add my thanks to those already expressed by Bill Hunt to all who contributed in making our first series such an incredible success.It is crucial to note, however, that these evenings would not have been asfascinating without the presence of Bill Hunt (renowned collector, and curator of this summer's acclaimed show delirium at the Ricco Maresca Gallery in New York City), whose introductions, humor, and graciousness as host set the tone and pace of each event. His depth of knowledge of photography was always evidenced. His wit extraordinaire and provocative comments enlivened as well as enlightened Thanks also to the participants who themselves comprised a fascinatingly eclecticgroup of photographers, collectors, writers, and just plain lovers of the medium - each of whom truly appreciated this historic opportunity. And thanks to the Center staff who supported our venture in everypossible way, and who have always made the Center such a pleasurable place with which to be affiliated, as well as such a deserving place for us all to support! - © 1996 Susan Ferris

Non-ProfitOrg. U.S.Postage PAID Woodstock,NY 12498 PermitNo.JJ

• Transportation

Train: Amtrak From NYC Penn Station to Rhinecliff, (914) 876-3364; 1-800-USA-RAIL, 523-7000. Car: From NYC and South North on NYS Thruway to Exit 19. First right on traffic circle to Rt. 28 (west), Rt. 28 to Rt. 375 (trafficlight) Turn righton Rt. 375 to Route 212 into Woodstock Village. Make a left turn into village. From Albany and North South on NYS Thruway to Exit 20 (Saugerties). Left on Rt. 32 several hundred feet coRt. 212 (traffic light). Right on Rt. 212 into Woodstock (ten miles). Bus: Adirondack Trailways: To/from NYCWoodstock: (914) 679-2115; Albany Station: (518) 436-9651; NYC Port Authority Terminal: (212) 9475300; Kingston Bus Station: (914) 331-0744. Plane: Albany/Colonie 1-800-342-410 I, (518) 255-6815, Stewart/Newburgh (914) 564-7200. (Both airports are 1 hour and 15 minutes from Woodstock.)

•Accommodations

Please mention the Center when calling or staying at these places! (our local area code is 9 I 4) WOODSTOCK ...within walking distance:

THE STUDIO (679-9028); Darling cottage, pretty grounds, Ohayo Mt. Rd., with double bed, shower, private entrance, TV; ** WE recommend!; TWIN GABLES GUEST HOUSE (679-9479, 679-5638); Quaint historical home, 1930s decor, no A.C., some shared bathrooms close walk to the Center for Photography; WOODSTOCK INN on the MILLSTREAM (679-8211); Lovely restored 40's motel perched on the beautiful Millstream in the heart of the village. TV/AC. Short walk to Center for Photography. Natural beauty and tasteful privacy. incl continental breakfast.; PARNASSUS GUEST HOUSE (679-5078) ; Historic barn complex, quaint artist cottages; MORNING GLORY BED & BREAKFAST, 141 Tinker Street (679-3208); Convenient location, lovely breakfast, surrounded by fine arr. Special discounts for WPW students.

BED & BREAKFASTS near Woodstock:

LA DUCHESS£ ANNE, Mt. Tremper (688-5329); Huge old home filled with antiques, 10 min. to Woodstock; BEARSVILLEBED & BREAKFAST (Kathleen Rose), Bearsville (679-2066); Rte 212, 2 minutes from Woodstock, very clean rooms in colonial home; MANETTE VAN HAMEL, Woodstock (679-8584); Within walking distance to Woodstock, charming studio, near brook (rates on request); NY FARM INN Bed & Breakfast, Lake Hill (679-9045); Charming 1875 farmhouse. Romantic bedrooms with private baths and hearty breakfasts; WOODSTOCK COUNTRY INN, Woodstock (679-9380); Bed & Breakfast, idyllic, peaceful, natural country setting/ healthy, hearty breakfast; RONDOUT BED & BREAKFAST, Kingston (3312369); Spacious 1906 mansion in private setting, evening refreshments & hearty breakfast; SKY TOP MOTEL, Kingston (331-2900); Victorian charm, magnificent views, complimentary continental breakfast.

To Albany ! / Saugerties Exit 20 Center* for Photography

Tinker Street l Woodstock

OUTSIDE WOODSTOCK:

BAKER'S B & B, Stone Ridge (687-9795); restored stone farmhouse in exquisite country setting. Elegant breakfast, fireplaces& hot tub.; COPPERHOOD (The), Allaben (688-2460); Charm, elegance ofEuropean country inn, health spa, trout fishing, massage; LOCKTENDERCOTTAGE, High Falls (687-7700); Charming historic guest house, across from the Depuy Canal House Restaurant; MOHONK MOUNTAIN HOUSE, New Paltz (255-1000); Hotel, 3 meals incl. tennis, swimming, etc.; HASBROUCK HOUSE Bed & Breakfast, Stone Ridge (687-0736); 18th century stone mansion set on 40 acres of gardens, lawns, untouched woods, and a beautiful lake.; KRIPPLEBUSH, Stone Ridge (687-0723); Bed & Breakfast (former stage coach stop!); MAPLEWOOD BED AND BREAKFAST, Chichester (688-5433); Colonial manor on a quiet country lane, full breakfast, inground pool, hiking; THE ONTEOFA MOUNTAIN HOUSE, Boiceville

Rhinebeck (657-6233); Simple elegance and magnificent solitude, panoramic mountain views; PHOENICIA INN, Main Street, Phoenicia (688-7500); All rooms newly renovated, private baths, cozy, rustic fireplace, comfortable bar & lounge;JINGLEBELLFARM, New Paltz (2556588); Stone house 1776, fireplaces, lovely landscaped pool. Featured in Country Home Magazine.; BLACKCREEK COTTAGE B&B, Highland (883-6446); Stone farmhouse overlooking the beautiful Black Creek, IO acres woods, delicious breakfast.; THE LOMBARDS BED AND BREAKFAST, Red Hook (7583805); WILLIAMS LAKERESORT, Rosendale NYS toll free 1-800-382-3818; THE RED HOOK INN, Red Hook (758-8445); 1760 Farm house furnished in gorgeous period antiques, fine dining; SUPER 8 MOTEL,

To New York City Saugerties (246-1565); HOLIDAY INN (Kingston), 338-0400; RAMADA INN (Kingston), 339-3900; HOWARD JOHNSON'S (Saugerties),246-9511; TRAVEL LODGE (Kingston), 338-4200.