Photography Quarterly #78

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PHOTOGRAPHERS CROSS-REFERENCED TO GALLERIES AND DEALERS WORLDWIDE, PLUS LINKS TO THE TOP 100 ART PHOTOGRAPHY SITES 64 West 89th Street New York NY

Tel (212)787-0401

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••To Have & To Hold

invitation to collect

22 nd ANNUAL AUCTION

Historic & Contemporary Photographs to benefit the Center for Photography at Woodstock Saturday, October 7, 2000 7 pm at the Woodstock Town Hall Bouchard Pere & Fils, wine reception & hors d 'oeuvres

Print Preview

Prints will be on view at the Center for Photography, 59 Tinker Street, September 20 - October 6, Wednesday-Sunday, 12-5 pm and can be seen on our website: www.cpw.org.

A special selection of prints will also be on view in NYC September 20September 30 at the Sarah Morthland Gallery, 225 Tenth Avenue (between 23rd & 24th streets), open Tuesday -Saturday, 11-5: 30 pm.

All prints may be viewed on the day of the sale, Saturday, October 7, at the Woodstock Town Hall, 76 Tinker Street, 1-5 pm.

& BID FORMS ARE AT BACK OF CATALOG

Prospective buyers are encouraged to personally view work for sale during preview or by appointment. You may also call Executive Director, Colleen Kenyon

Digital Design Studio, Kingston, NY. Cover:© Lillian Sassman Board of Directors: Marianne Courville, FrederickJ. Edwards, Edward Garbarino,Frances Gray, David Karp, Arie Kopelman, Ellen K. Levy, David Maloney, Kitty McCullough, Frank Mercado-Valdes, Jeffrey Milstein, Sarah Morthland, Gloria Nimetz, Alan Siegel, Bob Wagner. Advisory Board: Ellen Carey, Philip Cavanaugh, Susan Ferris, Sheva Fruitman, Julie Galant, Howard Greenberg-Founder, Sue Hartshorn, W. M. Hunt, Greg Kandel, Peter Kenner, Laurie Kratochvil, Carol LeFlufy, Marcia Lippman, Peter MacGill, Elliott Meisel, Ann Morse, Sandra S. Phillips, Jose Picayo, Lila Raymond, Ernestine Ruben, Neil Trager. Staff: Colleen Kenyon, Kathleen Kenyon, Lawrence P. Lewis, Kate Menconeri, Judi L. Esmond, Ariel Shanberg, Jojo Ans. Thank you interns: Amy Connolly, Lori O'Toole, Jen Defina, April Fernandez, Sha Yoshida

To Have & To Hold an invitation to collect what is a benefit auction?

Once you have the experience of selecting artwork from this benefit sale, you satisfy your desire to own an object of mystery and delight. When you hold fine photography in your hands, you look upon the images to nurture your soul. As you build a collection, you may share it with others and simultaneously secure the vitality of the arts for future generation's hearts.

The Center for Photographyat Woodstock,a not-for-profitarts and education organizationwas founded in 1977 and is dedicated to creative photography.We host an annual benefit auction in order to raise much needed money for our creative programs. The prints you purchase will fund year-roundexhibitions (now in three galleries), internships,classes for kids, lectures, visiting artists, workshops,gallery talks, a communitydarkroom, fellowship awards, artists-in-residence,and this magazine.

All of the contemporaryprints in this sale were donated to support the Center and to ensure a prosperous future for creative photography.This is a crucial group effort to raise money. You, too, can take an active role and support the arts just by buying a print you love.

This benefit auction is a place for you to see a diversity of images you won't be able to find anywhereelse. Here you will discover newcomersand well-knownartists alike-its a chance to collect both the finest photographsby internationallyknown artists and the emerging names before the major art institutionstake hold of them-and they will! As an organizationcommitted to presenting new talent, we serve as a lightningrod for artists on the rise. Please put your money where your heart is.

thank you

On behalf of the Center staff, boards, and the artists we serve, we extend a very special thank you to the artists, galleries, and individuals who have taken their time and care to make gifts of artwork and services for this benefit.

© Amanda Means

a glossary of auction·Zot ter,ns

Please note: all prints are gelatin silver unless otherwise noted; sizes reflect measurement of image. Lot numbers run left to right and read down. The prices following descriptions of the photographs indicate the range the print may sell for at a benefit Auction and may not necessarily indicate commercial retail prices.

Albumen a positive printing process invented in the 1850's by L. D. Blanquart-Evrard in which a contact print is made on paper coated with a solution of egg white (albumen) and salt, sensitized with silver nitrate and exposed to light.

Contact Print a contact print, always the same size as the negative from which it was made, is produced by placing the negative in direct contact with the paper rather than projecting the image onto the paper through an enlarger. Contact prints have extraordinarily high resolution, that is, sharpness of detail.

Cibachrome (dye bleach, Ilfochrome) a positive to positive (reversal) process using three emulsion layers of silver salts sensitized to one of three colors: red, blue, or green. The image is formed by selectively bleaching dyes already existing within the paper. Cibachrome is the patented name given by Ilford.

Color Coupler Print A positive print made from a color negative, involving at least three emulsion layers of silver salts sensitized to one of three colors-red, green or blue. Unlike a dye-destruction print, the dyes are not contained within each layer prior to exposure, but are made during development by adding dye couplers which join the silver particles to produce dyes. The result is a full color positive image formed of the three emulsion layers against a white background. This process may also be known as Ektacolor print, chromogenic color print, or Type-C print.

Cyanotype Sir John Herschel invented the Cyanotype process in 1840. Cyanotype is a printing process based on the light sensitivity of iron salts. Cyanotypes are considered to be one of the most stable and long-lasting prints. Herschel, astronomer and inventor, was the first to use the terms negative and positive to describe the manufacture of a photographic print.

Dye Transfer in this method of color printing, an original transparency or negative is projected or contact printed onto three separate sheets of film through red, green and blue filters. These separation negatives are then projected or contact-printed to make three relief matrices dyed in cyan, magenta, and yellow dye. Each of the matrices is then brought into registered contact with a sheet of special transfer paper which absorbs the dye. The finished print is therefore, made up of a combination of dye images. Dye transfer is one of the most permanent color processes.

Gelatin Silver Print (silver print, black-and-white) the standard, black-and-white photograph printed on paper coated with gelatin emulsions containing light sensitive silver halides/salts.

Giclee-a fine art print created on a digital inkjet printer, including Iris.

Gum-Bichromate Print a print made by exposing a negative on a-paper coated with an emulsion of gum arabic, potassium bichromate and pigment. Similar to the carbon process the emulsion hardens in relation to the amount of light it receives through exposure and the unexposed emulsion is washed away.

Half-Tone Print a photomechanical process in which a photographic image is recorded on a relief plate that can be printed on a press. The result is an image made of a tiny dot pattern, with larger, more closely spaced dots in darker areas.

Monoprint a one-of-a-kind, unique print that can not be duplicated exactly because of intricate manipulation in the printing or handwork in the creation of the print.

Platinum/Palladium a printing process in which images are formed in platinum or palladium by placing a negative on paper sensitized, either by hand or pre-coated, with a solution of platinum or palladium, and iron salts, exposed to light, and then developed in Potassium oxalate. Platinum/ Palladium prints are thought to be more permanent than silver prints and allow for a very large tonal scalenumerous tones of gray.

Photogram a unique photographic print made without a camera, by placing objects on a light sensitive surface and exposing them to light. The objects appear as negative silhouettes. A technique commonly associated with the work of Man Ray ("Rayograph"), Christian Schad ("Schadograph") and Laszlo Moholy-Nagy.

Photogravure a photomechanical process, based on the printmaking technique of Intaglio. A copper plate is coated with a light-sensitive gelatin tissue, exposed to a negative, and then etched. The result is a high quality print reproducing the continuous tones of a photograph.

Pigment Processes The pigment process is a general term including a variety of different printing methods which include bromoil, carbon, carbro and gum bichromate. In all of these techniques the final image is based in pigment rather than a light sensitive metal like silver or platinum. Basically a colloid such as gelatin is made light sensitive with the addition of potassium bichromate which hardens upon exposure to light in proportion to the amount of light received.

Vintage a print is considered vintage if the positive image was made from the original negative by the photographer/or overseen by the photographer, at approximately the same time the negative was made. This term is used for historical prints.

I. Badura,John, VeiledNude, 1996, signed iu pencil on front of priut, 8x7¼", $250/500.

2. Waterman,Jill, Commuters and Chandelier ( Ghosts of Grand Central series), 1999, Cibachrome, signed in pen on back of print, 13½x9", 200/400.

3. Jeong,YeonTae, Untitled(gadget fi0<ure), 1999, ed#l/15, signed in pen on front of print, 13½xl0½", $200/400.

4. Camp,Roger,FallenA11gels VI, 1998, Cibachrome, signed in pencil on back of print, 13½x9½",$400/600.

5. Gremillion,Kimberly,Ballroom #51, 1999, ed#l/25, signed in pencil on back of priut, 13¼x9", $250/500. Courtesy Ricco/ Maresca Callery, NYC.

6. Arlen,AnnCovingtonWarner,Bearsville Iris, 1984, splitsepia toned, signed iu pen on front of priut, 18xl3", $300/600.

7. Teyshak,Aja,Untitled(bass player, Galway, lreland), 2000, palladium, signed in pencil on front of mat, 7x511 $150/300.

8. Frese,Lynda,The Royal Dream (Reconstituting the Vatlisliedseries), 1995, signed in pen on front of print, 15xl0U, $300/600.

9. RyanKelley,Heather,Untttled(tbe stance), 1997-99, mixed media coUage, signed in pen on front of print, lSxlP, $400/ 600. Courtesy Hooks-E'pste,i, Galleries, Houston.

10. Leith-Tanous,Sara,Facing South ( The Windows Open

series), 1999, signed in pencil on back of print, 181/4Xl3½", $300/600.

11. Fruitman,Sheva,Seashell, 1995, cyanotype, signed in pencil on hack of print, 5x4", $500/600.

12. Esmond,Judi,In Between, 2000, signed iu pencil on back ofpriut, 13½x9½",$200/400.

13. Horner,Pat, Flowers/Veil/Men ,'nltaly, 1997, mixed media w/ watercolor, photo, fabric, signed in pencil on front of print, 10¼x73/4",$300/500.

14. Barker,Joan, Colle di ValD'Elsa, Tuscany, 2000, signed iu pencil on back of print, 14xll", $150/300.

15. Goodman,Howard,Spoons, 1991, signed in pencil on back of print, 10x8", $400/700.

16. Savage,Naomi,Tubes of Pmi,t, 1976-99, inkjet priut on Somerset velvet paper, signed in pencil on front of print, 10½x7½", 250/500.

17. Garbarino,Edward,Oh What a Tangled Web!, 1999, signed in pencil on back of priut, 9xl3", 200/400.

18. Fujihara,Michiyo,Untitled(female torso from Nudes JI series), 1998, Cibachrome, signed in pencil on back of print, 71/,.xll",$400/700.

19. Nuseibeh,Said, On Stony Cro11nd,1994(Sana'a, Yemen), 1998, copper toned, signed in pencil on back of print,

8'/4xl3½",$300/600.

20. Ogust,Dion, Untitled ( angel statue), 1998, signed iu pen on front ofpriut, llxl4", $200/400.

21. Nimetz,Gloria,/lfa,, & Toy, 1998, signed in pen on back of print, 12½xl8½", $300/600.

22. Saville,Lynn,Scu/pUJre Carden, Metropolitan Museum of Art, 1996, ed#2/25, signed in pencil on back of print, 12xl83/4", 300/600.

23. McCarthy,JoAnna,Fall Season, 1996, Iris, signed in pencil on front of priut, 10xl5", $600/800.

24. McCormack,Dan, Christina, 84-90 Mahopac, 1993, platinum/palladium, signed in pencil on back of print, 2½x5¼", 500/750.

25. Marks,Betty, Pink Poppies, 1999, Ektacolor, signed in pencil on back of print, llxl33/4", 200/400.

26. Eabry,Michelle,A11gus& His Chicken, 2000, signed in pencil on back of print, 81/,.x93/4",$200/400..

27. Hiramoto,Judy,Target, 2000, Iris on watercolor paper, stamped on pencil on back of priut, 6xl9", $200/400.

28. Ling,Elaine,Sunrise i11the Palm of Buddha, 2000, signed in pencil on back of priut, 20x24", $800/1200. Courtesy Staley-Wise Callery, NYC.

29. Evenson,Karen,Untitled(butterflies, shells, and map), 1999, ed#l3/25, Ilfochrome, signed in pen on back of print, llx9", 500/800.

30. Harold-Steinhauser,Judith,CE, 1996, signed in pencil on front of print, l4xll", 250/500.

31. Ferguson,Jesseca, Two birds I skull I doll, 2000, pinhole wave cyanotype, signed in pencil on front of print, 14xllU, $400/600.

32. Oelbaum, Zeva, Symmetrical, 1999, split-toned, signed in pencil on back of print, 24x20", 500/1000.

33. Thomas,Gwenn,Untitled 111996, 1998, Ektacolor, signed in pen on back of print, 20xl6", $400/800.

34. Kumpf,Tom,Respite (from book C!tildren of Be(fast), 1997, ed#l0/25, signed in pencil on back of print, 10¾x5¼" 150/300.

35. Karp, David, Lisbon, 2000, signed in pen on front of print, l3½x9", 200/400.

36. Chernewski,Anita,Black Julips, 1981, signed in pencil on back of print, 15xl0½", 300/500.

37. Thomas,Michael,Peniso1tHaase #36( Cables series), 1999, Iris, signed in pencil on back of print, 20x 16", 600/1000. Courtesy Robert Klein Callery, Boston.

38. Smith, Gordon, Ca11:faField, Jamaica, 1999, signed in pencil on front of mount, 131/,xl3½", 250/500.

39. Porto, James, Heat without Suffeni1g, 1999, signed in pencil on back of print, 17¾xl5¼", 500/1000.

40. Citret,Mark,Bl,i,ds and Speakers, 2000, ed#2/45, signed in pencil on front of print, llx8½", $500/800.

41. Gorman, Greg, Debbie flarry, 1999, signed i.n pen on back of print, 14xll", $750/JOOO.

42. Siegel,Alan,T!te Vigil (Third Circle) 1999, signed in pencil on back of print, 24xl6", 300/600.

43. Felter,Susan,Albino Boa & Butterflies, 2000, ed#l/10, Ektacolor, signed in pen on front of print, 18½xl4½U, 200/ 400.

44. King, Frazier, Brassia Maculata /Vo. 1 ( Orclu'daceqe series), 2000, ed#2/20, selenium toned, signed in pencil on back of print, l81/,xl4", $400/600.

45. Teger,Allan,Oasis (Bodyscapes series), 1981, e<l#32/100, signed in pencil on front of print, 9¾xl4", 200/400.

46. Heyman,Abigail,Unlliled ( weddi11gof two !tomeless people), 1986, signed in pen on front of print, ll½xl7", 500/ 1000.

47. Cohen,JoanLebold,Tel,ran Beauty, Iran, 1999, Ektacolor, signed in pen on front of print, 12½xl9", $300/500.

48. Spiess, Anne-Katrin, T/1inkt'.11gBox in Approacl,ing Rainstorm, 1998, Ektacolor, signed in pencil on back of print, 153/4xl9¾", 200/400.

49. Teger, Leilani Claire, fPoman'sShadow, 1998, Cibachrome, signed in pen on front of print, 9xl3½", $200/400. Courtesy A rt and Soul Callery, Woodstock.

50. Goldman,Debra,Afapping#3, 1999, 1999, ed#2/10, signed in pencil on back of print, 13xl9½", 400/800.

51. Faller,Marion,Santa Claus & Uncle Sam, Festival of lig!tts, Niagara Falls, NY, December 1996, 1997. Ektacolor, embossed on front of print, 14x18¾", 200/400.

52. Martin,Charles,U11titled(Ferrxboat series, Staten Island, NY), 1997, cd#2/5, signed in pencil on back of print, 9xl3¾", 200/400.

53. Laub, Gillian, U,uitled(woman at Cluh Life, NYC), 1998, signed in pen on back of print, 9¼xl3", 300/500.

54. Stein,Harvey,First Ave11ue& 5gtl, St, NYC, 1980, 1980, signed in pencil on back of print, 9xl3¼", 600/800.

55. Stern, Andrea, Dalilia, 1998, Ektacolor, signed in pen on front of print, 121/,xl8¼", 250/500.

56. Ford,Serene, Untitled (Saigon, Vietnam 1998, I'm Tl,e Cir! fPhoSurvived The War series), 1999, Ektacolor, signed in pen on back of print, 61/..x8¼",300/400. ••

57. Horn,Rolfe,Tride11tof Poseidon, Santa Barbara, California, 2000, ed#4/45, sepia and selenium toned, signed in pencil on front of print, 71/..x7¾",300/400. Courtesy Scott Nicftols Callery, Sa11Francisco.

58. Logan,Fern,Shout, 2000, Iris, signed in pencil on front of print, 6x6", 200/400.

59. Wyman,Ida, Sidewalk Clock, NYC, 1947, 1999, ed#7/50, si0'11edin pencil on back of print, lOxll", 500/800. Courtesy Barry S. Podeorsky, Sol,o Triad Fine Arts, NYC.

60. Jelsma,Anparo,Desert Brancftes, 1999, toned and hand colored, signed in pencil on back of mount, 4Y4X4¼",200/400.

61. Kuo,Nina, Opera Facade Face, 1999, montage, signed in pencil on back of mat, 7x7", 200/400.

62. Tremblay,Guy,U11titled(winter trees), 1998, selenium toned, signed in pencil on back of print, 14½xl4½", 300/500.

63. Shung,Ken,Be My Baby, 1999, signed in pen on front of print, lOxlO", 200/400.

64. Winiker,Barry,Promenade Deck Details, 1986, signed in pencil on front of print, 9x9", 200/400.

65. Littwin,Kathi,Pumpki11, 1999, tea-toned, signed in pencil on back of print, lO½xlO½", 400/600.

66. Pitts,George,U11titled(nude), 1999, C-print, signed in pen on back of print, lO½xlO¼", 200/400. Courtesy David

Maloney, Tfte Art Departme11t, NYC.

67. Watanabe,Nana,U,uitled(_peony), 2000, signed in pencil on front of print, lOxlO", 600/800.

68. Sugitatsu,Yoshi,Untitled(Soap Bubble series), 1998, signed in pencil on back of print, ]5xl5", $400/600.

69. Tannin,Harriet,Light a11dShadow, 1996, hand colored, si0~ied in pen on back of print, 101/..xlO¼",$400/600.

70. Krotinger,Jonathan,Beacl,, Ensemble, Afallorca, Spain, 1999, sepia toned, signed in pen on front of print, 9x9", 200/ 400.

71. Lindbloom,Eric,Salt ilfarsl, Crass #12, 2000, lris, signed in pencil on front of print, 14xl4", 400/600.

72. Arbeit,Mark,Fiddlehead Fern, 2000, signed in pencil on back of print, ll½xl2", 600/1000.

73. Zungoli,Nick,Cold Jrpped Leaves, 1982, ed#6/300, giclee, signed in pen on front of print, 15xl93/4", 250/500.

74. Tortora,Lucille,Arcl1itecturalAbstraction, 1999, signed in pencil on front of print, 7½xl7½", 500/700.

75. Bullaty,Sonja,Provence, Front and Rear Wi11dow,1970, dye transfer print, signed in pen on front of print, 10½xl5", 500/800.

76. Hawkes,PamelaEllis,Paper Crystal, 2000, signed in pencil on back of print, 14xl8", $400/700.

77. Calfee,LauraPickett, ll:0S in the Music Room, 1999, Cibachrome, signed in pen on back of print, 12%xl9U, 300/ 600.

78. Yampolsky,Mariana,Magvey Maya/ma, 1990, signed in pencil on back of print, 13½xl8", $750/1000.

79. Rafat,Pasha, Untitled(movie still with text), 1993-97, Cprint, signed in pen on back of mount/mat, 20x24", 400/700.

80. Hall,David,Chalice Coral with Damse(lis/1, Fiji, 1996, Cibachrome, signed in pencil on front of mat, 16x20", 600/ 800.

81. Wilson,Dave, U11titled(ancbor chain link), 1999, signed in pencil on back of print, 121/-,xl8½",200/400.

82. Edwards,BethYarnelle,The ilforning Dasi,, 2000, ed#4/25, Fuji crystal C-print, signed in pen on back of pri.nt, 13½xl8", 400/600.

83. Witkin,Christian,Aficlielle Hicks, NYC, 2000, Ektacolor, signed in pen on back of print, 14xl 7½", 500/800. Courtesy David Maloney, Tlie Art Department, NYC.

84. Butler,Linda,Antique Arclu'tectural Tools, San Francisco, CA, 2000, signed in pencil on front of print, 10½xl3½", 300/ 600. Courtesy Sarai, ilfortldand Callery, NYC.

85. Himmel, Paul, At tlte Horse Slww, 1952, signed in pencil on back of print, 131/,x!0", 600/800.

86. Uelsmann,JerryN., U,uitled(Floating Rock, Colorado), 1991, signed in pen on back of print, 14xll", 750/1500.

87. Fee,James,1brso, 1999, ed#7/15, signed in pencil on back of print, 9x7", $600/800. Courtesy David "faloney, The Art Department, iVYC.

88. Raymond,Lilo,Hand, 1991, signed in pencil on front of print, 13¼x9", 500/800.

89. Vishniac,Roman,''Cluck Stelle" Angular Street View, 1936, (printed later), estate stamp with signature of Mara Vishniac Kohn in pencil on back of print, 111/,x10", $750/1500. Courtesy Howard Cree11bergCallery, !VYC.

90. Morse, Ann, Siena, Italy, 1997, signed in pencil on back of print, 6x6", $200/400.

91. Shear, Jack, Colin, 1999, signed in penciJ on back of print, 15xl5", 500/800.

92. Unknown, Ato1111CTest al Bikini Atoll, ]946, vintage, hand colored, 9½x7¾", 500/700. Courtesy Tl1roclm10rto11,Fine Art. 93. Brading, Martin, Passageway, 1999, signed in pencil on back of print, 12x9", 400/600.

94. Frank,Eugene,Rebecca, 1901, 1910, vintage, Camera Work Gravurc, 6¾x5", 500/700.

95. Lomeo, Angelo, Haumed House, 1981, dye transfer print, signed in pen on fronl of print, 15½xl0½1', 500/800.

96. Steinmann, Catherine, A&S Department Store, 1994, signed in pen on back of print, 16xl4", 600/1.000.

97. Berretty,Dominique,Cluldren, Holland, 1940s, vintage, stamp on back of print, ll¼x9¼", 1200/1500. Courtesy Shapiro Callery, CA.

98. Lincoln,Edwin Hale,Robin~· Plantain Blue Spring Daisy (plate 19), 1904, vintage, platinum/palladium, stamped on front of mount, 9½x7½", 400/600. Courtesy lee Callery.

99. Trager, Philip, Katliy Rose, ]988, signed in pencil on back of print, l 7¼xl3¾", 1200/1400.

100. Traversa, Ana, Arc/Jives in tlie Earth, 1997, unique photogram, signed in pen on back of print, 41/.~3¾", 400/600.

101. Devine,Jed, U11titled(under Brooklyn Bridge), 1986, platinum/palladjum, signed in pencil on front of print, 2YiX6¾\S600/1000.Courtesy Bonni Renrubi Fine Arts, /VYC.

102. Meiselas, Susan, Summer 1995, 1995, signed in pencil on back of print. 9xl3", 800/1200.

103. Bettle,WilliamH.,luxury l,i,er, 1932-39, vintage, photographer's stamp on print verso, 10xl3¼U, 250/500.

104. Morgan, Barbara, Jlfartlta Craltam, American Document (!Vow Erick Hawkins) 1938, 1980, signed in pen on front and back of print, 13½xl5½", 500/1000.

105. Leighton,J.Harold,Chalet, 1920s, vintage, bromoil, signed in pencil on front of print, 4x6", 200/400.

106. Mayfield,William,Afoo11slui,eEquipment, c. 1920s, vintage, photographer's stamp on verso, 7½x9½", 300/600.

107. Robinson, Henry Peach, Dawn and Sunset, c. 1880, vintage, photogravure, signed in pencil on front of print, 51/,x7¼", 300/600.

108. Beals,JessieTarbox,Gardens, Short Hills, !VJ, c. 1900-32, vintage, stamped on back of print and front of paper mount with name and stuclio, 6½x8½", 700/900.

109. Morimoto,Hiromitsu,Untitled(nude/legs),1999,platinum on vellum, signed in pencil on front of print, 4x5", $500/800. Courtesy Sarai, "fortldand Callery, !VYC.

110. Daniell,George,Queen Mary, IVYC Harbor, c. 1938, 1998, ed#9/20, signed in pen on back of print, 9xl3", $550/650. Courtesy Sarai, /lfortMand Callery, !VYC.

111. Kernan,Sean,Book of!Vails (Secret BooA·sseries), 1999, ed#l/18, signed in pen on front of print, 13½xl8", 750/950. Courtesy Sarah llfortl,land Callery, !VYC.

112. Morath, Inge, Carnival in tlte Snow, Badgastein, Austria, 1991, signed in pencil on back of print, 8¼xl3", 750/1000.

113. Edelman,Richard,Bagget, 2000, color micropiezo inkjet, signed in pencil on back of print, 16xll", 200/400. 114. Lee,Ka-Sing,Clock, 1995, ed#8/20, Cibachrome, signed in pencil on back of print, 8x6¾", 250/500. Courtesy lee Photogallery, Ontario.

115. Kambli,Priya,Untitled(srups and bed), 1998, Lambda print, signed in pen on front of print, 7x511 200/400.

116. Jaffee,JayN., Jlvo Trees, Snowstorm, 1993, 1997, selenium toned, signed in pen on front of print, in pencil on back of print, 7x4", 500/1000.

117. Carey,Ellen,[!,uitled(circles), 1995, photogram on gold paper, signed in pen on back of mount, 10x8", 400/800.

118. Serbin,Vincent,Etemity No 1, 2000, signed in pen on front of print, 17xl7 3/4", 00/800.

119. Levinthal,David,Ulltitled(female bather), 1999, Cibachrome, signed in pen on back of print, 10x8", 800/1000. 120. Richards,Wynn,/,, the Spotlight, c. I 935, vintage, 13xl0¼", 3000/4000.

121. Munkacsi,Martin,Berlill, 1920s, 1999, ed#AP3, signed in pencil on back of print by daughter, 12x9½", 700/900. Courtesy Joan Munkacsi~ IPoodstock + Howard Greenberg Callery, NYC.

122. Hosoe,Eikoh,Black Water lily #2, 1992, signed in pencil

on front and back of print, l4½xll ½", 1000/2000. Courtesy Howard Creenberg Callery, NYC.

123. Zichy,Count, Chiaroscuro, 1948, vintage, bromide, signed in white crayon on front of print, llx9¼", 700/900.

124. Roth,Harold,Stickball Came, 1946, (printed later), signed in pencil on back of print, 131/,x9¼",$500/700. Courtesy Callery 292, NYC.

125. Lippman,Marcia,Bangkok, 1997, toned, signed in pen on back of print, 16½xll½", 500/1000.

126. Johanson,Sandra,Untitled(hibiscus), 1999, cd#2/10, signed in pencil on front of print, 7%x6½U,$450/550. Courtesy Sarah 1'1orthland Callery, NYC.

127. Davis& Davis,CandleBoy(Cl,ildisl, T/,ingsseries), 1995, Ektacolor, signed in pen on back of print, 13½xl0½", 400/800.

128. Pratt,Charles,Western Sister Island, 1'faine, 1965, 1965, vintage, signed in pen on front of print, 13xl0¼1', 2500/4500. Courtesy Julie Pratt, Shattuck, NYC.

129. Milstein,Jeff,Afontmartre, 1999, e<l#4/35, Iris print, signed in pencil on front of print, l 7x24", 300/600.

130. Waligore,Marilyn,Three Weird Sisters, 1997, signed in pen on back of print, 16x22", 400/800.

131. Wellm,Susanne,Untitled #11-8, 1999, color photogra-

eveninglight wraps itself aroundthe gentle curvesencouragingthe heartto bloom

vure, signed in pencil on back of print, 61/4Xl9¼\ 500/700.

132. Hofkin,AnnGinsburgh,Clwrlestoll-97-8, 2000, signed in pencil on back of print, 18x23", 400/600.

133. Kratochvil,Antonin,Patricia Arquette (actress), Afanila, 1990s, signed in pen on back of print, 8¾xl3", $500/800.

134. Evans,Susan,#718A, 1999, signed in pencil on back of print, 10¾xl3¾", $300/600. Courtesy Ricco/Maresca Callery, NYC

135. Uelsmann,Jerry,[/,uitled(figure floating by shore), 1986, signed in pencil on back of print, 10½xl3", 800/1500.

136. Im, Kenro,Angkor #107, Cambodia, 2000, platinum/ palJadium, signed in pencil on front of print, 13\ix:19¼", 800/1500.

137. Sugiura,Kunie,Stacks -Baby Roses, (diptych), 1998, toned photograms, signed in pencil on back of prints, each 10x8", 300/600.

138. Brill,Virgil,Or le vent ce jour, 1997, signed in pen on front of print, 7x24", 750/1000.

139. Noyes,Sandy,Untitled(female nude), 1980, platinum/ paUadium, sib'lled in pencil on front of print, 5x7 11 250/500.

140. Tisdale,Danny,{!,,titled(\Voodstock Artists' Cemetery), 1999, colJaged color prints, label on back of print, 12½xl7n, 750/1000.

141. Parker,Olivia,Telli11gStructures l, 1998, ed#2/30, Nash inkjet print, signed in pencil on front of print, 13½x9¼", 800/1200.

142. Clerque,Lucien,Violi11ist,Aries, 1954, 1983, signed in pen on back of print, 103/4x7¾", 800/1000.

143. Struss,Karl,Columbus Day Parade, c. 1912, vintage, photographer's stamp on print verso, 3¾x23/4", 2000/3500.

144. Horst,P.Horst,AJar/ene Deitricli, c. 1947, vintage, titled in pencil with Horst stamps on back of print, 10x8", $1500/2000.

145. Mallo,Luis,No. 26 (Laminas series), 1999, ed#l/10, Ektacolor, signed in pen on back of print, 22½xl8½", 500/ !000. Courtesy Ricco/1'faresca Galkry, NYC.

146. Kenyon,Colleen,Composition, 2000, hand colored, signed in pencil on back of print, 17xll½", 800/1000.

147. Tenneson,Joyce,Woman andArcl,itecture, 1991 (from hook Tra11sformations), 1991, ed#l/50, Cihachrome, signed in pen on back of print, 18¾xl5½", 1000/2000.

148. Folino,Lisa,Randy's Landscape, 2000, selenium/galo toned, signed in pencil on front of print, l 7½xl3½'\ 700/1500. 149. Bassman,Lillian,Barbara AJullen, Paris, /Jarper,j Jlnzaar. 1949, signed in pencil on back of print, l 7½xl4¼11 1500/2500. Courtesy Howard Greenberg Gallery, NYC.

150. Fellman,Sandi,Flower #2, Pritillaria, 1995, contact print, signed in pencil on back of print, 5x4", 400/600.

151. Porter,Liliana,Wliat?, 2000, Cibachrome, signed in pen on label on back of print, 16xl2Y,", 500/800.

152. Garik,Alice,S11owfall, Vermont, 1998, signed in pencil on back of print, ll½x8¾", 400/600.

153. Saudek,Jan, Untitkd(young girl in dress #92), 1974, printed later, ed#23/50, signed in pen on front of print, with stamp and pencil uotations on verso, 9½x8", 1200/1500.

154. Cramer,Konrad,Untitkd(solarized nude), c. 1945, signed in pencil on back of print by Ills daughter Aileen Cramer, 13¼x9", 750/1250.

155. Gudnason,Torkil,Untitled, 1999, Ektacolor, signed in pen on back of print, 19xl5", 750/1500.

156. LeBoff,Gail,u,,titled (Line of1!,!ips series), 1999, AP, toned, signed in pen on back of print, 17¾xl0'¾", framed, 500/1000.

157. Beken& Son,Afarktta, Circe and Lla11oria, 1951, signed in while ink on front of print, 9xll", 150/300, Courtesy Lee Callery, Wine/tester.

158. Sawyer,Lydell,lflaiti11gfor the Boats, c. 1880s, vintage, photogravure, 51/,,x71/,",200/400.

159. Eickemeyer,Rudolf,/lfa11in Field, 1921, vintage, signed on pen on front of mount, 31/.x53/8 ", 200/400.

160. Jude,Ron,Rock Wall, Shore Lodge, 1'fcCall, ID, 1998, C-pri.nt, signed in pen on back of print, 101/,JX:12¾\300/600.

161. Holz,George,Split Image, Daw11i11Tidepool, Poi11t Lobos, CA, 2000, signed in pen on back of print, 5xl2¾", 1000/1500.

162. Means,Amanda,Flower(Number86}, 1997, ed#2/20, 16¼x20", 1000/2000. Courtesy Ricco/1'faresca Galkry, NYC.

163. Howe,Graham,Arkaroola Track, Australia, 1981, 1981, signed in pencil on back of print, 61/.x9½", 500/700.

164. Bridges,Marilyn,Cattk Feedi11g,Parker Ra11clt,Hawaii, 1990, 1990s, signed, l4¼xl8¼", 750/1000.

165. Lewis,LawrenceP., Untitled(female), 2000, signed in pencil on back of print, 8xl0", 300/600.

166. Camp,Roger,Fa/I,,,. Aflgels XV, 1998, Cihachrome, signed in pencil on back of print, 9½xl3½", $400/600.

167. Sheen,Jim, Greetings (1'fade of Stardu,;t series), 1998, signed in pencil on back of print, 8xl2", $300/600.

168. Tice,George,Woods, Port Clyde, 1'faine, 1970, 1984, signed in pencil on front of mount, 8xl0'\ 600/800.

169. Fink,Larry,Cleveland, High Sc/100/ oftlte Arts, 1998, signed in pencil on back of print, 14¾xl4¾", 750/1500. 170. Porcella,Philip,C!,ristina, 1996, toned, signed in pencil on back of print, 15½xl5", 300/600.

171. Wagner,Bob,Paris, France, 1998(entrance lo Man Ray's studio), selenium toned, signed in pencil on back of print, 9x9", 300/500.

172. lzu,Kenro,Sul/ life #450, 1996, ed#3/30, platinum/ palladium, signed in pen on print, 15xl5½", 800/1500.

173. Kim,Juri,Knife, 1997, photo emulsion and acrylic paint on wood, signed in pen on back of print, 7¾x6", $400/600.

174. Kellner,Tatana,Arctiicwi Lappa, Tenacious Leaves, Tenacious Memories, 1999, l.iquid emulsion on burdock leaf (waxed), unique print, signed in pencil on back, 17½xl4U, $700/1500. Courtesy llfonique Coldstrom Callery, NYC.

175. Guarino,Lois,Phre11ologyStudy, 1984, hand colored with pastel, signed in pencil on front of print, 15xl5", 800/1500. Courtesy Robert llfanll Callery, NYC.

176. Olin,Jane, U,uitled(girl on couch), 1999, sepia toned, signed in pencil on front of print, 51/aJX5 11 200/400.

177. Dosal,Herminia,Playi11gand Prayi11g, 1999, ed#2/50, signed in pen on front of print, 7¼x7¼",$500/1000.

178. Wegman,William,Rock Clock, 1999, Cihachrome, signed in pen on back of print, 7½ix7½", 800/1500.

179. Caffery,DebbieFleming,Oaxaca, /lfexicol993, 1995, ed#8/25, signed in pencil on back of print, 19'/4xl9", 800/1500. Courtesy Riccolllfaresca Callery, NYC.

180. Cratsley,Bruce,Ivy} Orchids, 1995, vintage, estate label on back of mount, 9½x9½", 600/800. Courtesy the Bruce Cratsley Archive+ Sarah Mortl,/a11d Callery, NYC.

181. Cray,Fred,Untitled(two-mmute self portrait), 2000, Ektacolor, signed on mat, 20xl6", framed, 500/1000. Courtesy Janet Borde11-Inc., NYC.

182. Klein,William,11/irrorsor, Roof, New York 1963, (printed later), signed in pencil on back of print, 13½xl0½", 800/1500.

183. Raymond,Lilo,U,uitled(angel's back), 1995, signed in pencil on front of print, 19xl2¾", 750/1250.

184. Bernhard,Ruth,Seated Figure, 1972, vintage, signed in pencil on front and back of mount, ll¾x!0", $3500/5000.

185. Slor,Oren,U,uitfed(columns), 2000, Ektacolor, signed in pen on back of print, l4½xl8½", 500/1000.

186. Kleinhans,John,Beaver lodge on Yankeetown Pond, 1996, platinum/palladium, signed in pencil on front of mount/ mat, 8x!O", framed, 250/400.

187. Newdick,Lori,O11eK1i1dofWomall, 1999, ed#4/8, Fuji color, signed in pen on back of print, l2xl8½\ framed, 1000/2000. Courtesy Jane Cork,i, Callery, Toronto, Canada.

188. Labarge,Caroyl,Parrot Tulip Diptycl,, 2000, Cibachrome, signed in pencil on mat, each 91/,x6", 300/600.

189. Lotof2 / Theodoresco,J., Plarte, c. 1908, vintage, stamp and ink notations on print verso, 4¼x6½", and Branger,M., Blimp, 1908, vintage, date+ photographer's notations in ink on verso, 5x7", $600/1200.

190. Taylor,Grace,A You11gMans Cante (Montana Rodeo series), 1998, signed in pencil on P.rint, 9xl3½U, 200/400.

191. Cianni,Vincent,312 South 4l h Street, 1/!'illiamsburg, Brooklyn, 1995, signed in pencil on back of print, 10xl2", 250/500.

192. Holzapfel,Forrest,lester Powers & His Dog B,ll, Alarlhoro, Vermont, 1999, signed in pencil on back of print, 7¾x9¾",8200/400.

193. Krejci,Keith, Willow Bridge, 1998, signed in pen on front of print, !Oxl3½", 200/400.

194. Morgan,Barbara,Macys Window-11-1939, 1972, signed in pen on front of print, ll¼xl4¾\ 750/1500.

195. Stoddard,SenecaRay,Upper Au Sable lake from Inlet, c. 1880s, vintage, albumen on card with ( and artist's name printed in negative, 4¾x7%" 300/400.

196. Blidner,Eduardo,Intimacy, 2000, signed i~ pen on front of print, 9½xl5¾", 200/400.

197.Munkacsi,Martin,Halston Headdress, Harper S Bazaar, July 1962, 1999, ed#AP3, signed in pencil on back of print by daughter, ll 3/4x9", 700/900. Courtesy Joatt 1'f1111kacsi, Woodstock + Howard Cree11bergCallery, NYC.

198. Delano,Jack,1'1r. V.R. Jackso11, Farmer, Se11tNi11e C!,ildre11Through College o,, His 54 Acres, 1941, vintage, stamped "F.S.A. Delano" on back of print, 9x7", 750/1500.

199. Seeley,George,The White Screett, 1910, vintage, Camera Work Gravure, 8¼x6¼", 500/800.

200. Unknown,Untitled(Portrait of Two Young Men), c. 1850, vintage,daguerreotype,¼"plate,cased,vertical,framed, 300/500. Courtesy Sarai, 1'1orthla11dCallery, NYC.

201. PlattLynes,George,U11titled,c. 1950, vintage, photographer's stamp on print verso, 13xl0½", 2500/3000.

202. Estabrook,Dan,Stat11ette, 2000, calotype, signed in pencilonbackofprint,5x4\800/900, Courtesy Sarah AfortMa11d Callery, NYC.

203.Ruben,Ernestine,Afoving Torso, 1999,platinum,signed in pencil on front of print, l 7xll", 1500/3000. Co11rtesyJohtt Stevenson CallerJ; NYC.

204. Kenyon,Kathleen,Play Yo11r/Ja11d(published A 1'Jagazi11e),1998, coUage, signed in pencil, 18¼xl3½", 400/600. 205. Sanpaolesi,Tito, The Boat, 1997, signed in pencil on back of print, 15xl5", 400/600. Courtesy David Afalo11ey;NYC.

206. Kenna,Michael,Royal Balcony, Peterho.f, Russia, 1999, sepiatoned,signedinpencilonfrontandbackofmount, 7¾x7¾", 750/1250. Courtesy Robert Afantt Callery, NYC.

207. Carter,Keith,1'1aricella, 1998, signed in pencil on back of mow1t/rnat, 151/,xl5½", 800/1000. Courtesy Howard Cree11bergCallery, NYC.

208.Yamrus,Frank,Tommy- Sand ( Primitive Beliavior series},1996,ed#l/30,signedinpencilonprint,l51/.xl5¼", 6001700. Courtesy Sarai, Aforthla11d Callery, NYC.

209. Brandt,Bill,Barbary Castle, 1'falborough Dow11s, /Pit/shire, 1948, (printed later), signed in pen on back of mount, 131/,xll½", 2500/3500.

210. Horst,P.Horst,The 1'1ainbocher Corset, Paris, 1939, (printedlater},signedinpencilonfrontofprint,9½x7½11 1500/2000.

211. Apfelbaum,Sally,Fleur #8 Civemy, 1996, Ektacolor, signedinpenonbackofprint,231/2Xl8½",800/1500.

212. Stipe,Michael,Augie, Je,mifer, Carolyn, 1999, C-print, signed in pen on back of print, ll¾xl0", $700/1200.

213. Kaplan,Joseph,Untitled(eggs), 1930s, vintage, notations in pencil on print verso, 71/,x9¾", 1200/1800.

214. Ans,Jojo,Roma11 lambs o/Alyscamps, 1998, ed#2/25, platinum/palladium,signedinpencilonbackofprint, 2¼x7¼", 250/500.

215. Bentley-Kemp,Lynne,looking East -Bloomfzeld, 1998, toned, signed in pencil on front of print, 121/,xl8½", 200/400.

216. Leonhardt,Gay,Those Chairs, 1995-96, Cactos mounted on plywood, signed in pen on front of print, 36x39", 300/600.

217. Potash,Fawn,Four Seasons, 2000, toned, signed in pencil on back of print, 14¾xl8¼", 300/600.

218. Ward,Frank,Afakiug Afomos, 1992, signed in pencil on back of print, 8xll½", 200/400.

219. Cavanaugh,Phillip,American Revenant, 2000, signed in pencil on back of print, 10xl4¾", 200/400.

220. Koo,Bohnchang,White IX(willow), 2000, ed#3/20, signed in pencil on front of print, 7x8½", 300/500.

221. Seeley,GeorgeH.,No. 347, January, 1910, vintage, CameraWorkGravure,pencilnotationsonmountverso, 5¾x7", 400/600.

222. Rosenstock,Ron,Clare Island, County Afayo, Ireland, 1981, signed in pencil on front of print, 9¼xl2½", $400/800.

223. Mark,MaryEllen,Edgar Bergen and Charlie AfcCarthy, los Angeles, CA, 1978, signed in pencil on back of print, 9xl3¼", 1500/2000.

224. Evans,Walker,Afinstrel Showbill, Alabama, 1936, (printed later), ed#42/100, signed, numbered, dated in pencil on mount recto, 71/,x9¾",$4000/6000. •

225. Farber,Robert, Wltite Nude #2, 1994, signed in pen on front and back of print, 121/,x8½', 1000/1500.

226. Raymond,Lilo,Tulips, 1989, signed in pencil on front of print, 181/,xl2¾", 900/1500.

227. Clark,DarrenP., Woman, 1998, ed#2/3, hand toned, signed in pen on back of print, 6x4", framed, $300/500. 228.Haviland,PaulB., J'/ieJapanese lantern, 1912,vintage, CameraWorkGravure,stamponmountverso,81/sX6¼", $400/600.

229.Guzman,Untitled(nude torsowithhandsonthighs), 2000, signed in pen on front of print, 19xl5", 500/1500.

230. Carucci,Elinor,Belly Button, 1996, ed#ll/15, Ektacolor, signedinpenonbackofmount,15xl0¼11600/800. Courtesy Ricco/!lfaresca Callery, NYC.

231. Wenders,Donata, Untitled(portrait of Wun Wender, during filming Tl,e Jlfi/lion Dollar Hotel), 1999, signed in pencil on back of print, l l½x6¾", $400/600.

232. Platon, Yoko Ono, 2000, Ektacolor, signed on back of print, 14xll', 300/600. Courtesy David1'fa/.oney, The Art Department, NYC.

233. Staller,Jan,Seattle, Washington, 2000, 2000, ed#l/15, Ektacolor,signedinpenonfrontofprint,lO½xlO½\ 400/600.

234. Savadekar,Nirmala,U11titled(Shadows U11seen,series), 1996, signed in pen on back of print, 161/,xl6½",$400/800.

235. Coupon,William,)eanllfichelBasquiat, 1986, signed in pencil on front of print, 12xl2", 600/900. Courtesy David !lfa/011ey,The Art Department, NYC.

236. Rothstein,Arthur,TlteB,mna Road, 1945, 1981, ed#l6/ 50,stampedandsignedinpencilonbackofprint,9x8½11 1000/1500.

237. Menconeri,Kate, U11titled(trapeze dress), 1998, signed in pen on back of print, ll½x8", 250/500.

238. Goldsmith,Lynn,U,uitled(red rose), 1999, Iris, signed in pencil on front of print, 12x8", 300/600.

239. Linder,Elizabeth,!lfoving Stilt No. 156, 1998, signed in pencil on back of print, 20x16", $200/600.

240. Sacabo,Josephine,la Vig,ladora, 2000, toned with oil wash, signed, 20¼xl6", 750/1500.

241.Sands,Wendy,AnemoneI, 2000,colorvibrachrome, signedinpencilonfrontofmat,13xl9",200/400.

242. Alpert,Sandy,Tumi11gAway(light and shadows, Grand Central, NYC), 1998, signed in pencil on back of print, 9½xll½", 100/300.

243.Orkin,Louise, Woodstock Fire House, 1985,sepiatoned, signedinpencilonfrontofmount,8xl0U,250/500.

244. Steichen,EduardJ.,!If other and Chikf - Su11/ig/1t,Apnl, 1906, vintage, Camera Work Gravure, 51/,x6¼",500/700.

245 Capa,Robert, People a11dWagon, 1945, 1970s, stamp, label,notationsinpencilonprintverso,11xl.2112000/3000.

246. Jacobi,Lotte, U11titled(abstraction), circa 1950, printed 1981,palladium,signedinpencilonfrontofprint,9l/4Xl2½", $2000/3000.

247.Cartier•Bresson,Henri,Bali, 1950,c.1960s,notationsin pencil and stamped on back of print, 6¼x9%", 4000/5000.

248. Abbott,Berenice,St. Lukes Chapel a11dOld Houses, Hudson,Street, Afa11/iattan, 1936,stampedininkonbackof print, 8xl0', $5000/7000.

249.Richards,Wynn,Nazimova WearingFortuny Silks (Russian dancer), c. 1923, vintage, 61/,x8", 3000/4000.

250. Kertesz,Andre,Shadow, Eilfel Tower, 1929, printed later, AP,signedinpenciJonfrontofprintandtitled,stamped,with pencilnotationsonverso,33/i6X4",$5000/6000.

251. Modica,Andrea,Treadwell, NY, 1995, platinum/ paUadium,signedinpencilonfrontofprint,7½x9¼", 1000/2000.

252. Landy,Elliot,Bob Dy/011, Woodstock, NY 1968, 2000, Cibachrome,signedinpenonfrontandbackofprint,9xl3½11 500/1000.

253. Stern,AndreaBarrist,Astromeria 50-18, 1998, Ektacolor, signed in pen on front of print, 18½xl2¼", 250/500.

254. Prince,Michael,Brooklyn, 1994, ed#3/20, signed in pencil on back of print, 51/,x4¼",$300/600. Courtesy Callery 292, NYC

255. Papanicolaou,Nectarios,The Tango, 1997, platinum, signed in pencil on front of print, 4%x3¼",$250/350. Courtesy Sarai, Morthland Callery, NYC.

256. Steichen,EduardJ., Portraits -Evening, 1906, vintage, Camera Work Gravure, 71/,x6¾",$1000/1500.

257. Cramer,FlorenceBallin,U,uitled(The photographer, Konrad Cramer in front of antique shop window, winter 1955, Woodstock, NY), 1955, vintage, signed in pencil on back of print by daughter Aileen Cramer, 9¾x7¾11 300/600. Courtesy Aileen Cramer, Woodstock.

258. Schacher-Tytla,Tamara,Danseuse, 2000, selenium toned, signed in pen on back of print, 14xll", 300/600.

259. Gatewood,Charles,Annie Sprinkle and Fakir Musofar, 1993, signed in pencil on back of print, 9x7", $300/600. Courtesy Catherine Clark Callery, San Francisco.

260. Heyd,Eva,Untitled(metal wheels), 1997, signed in pen on front of print, 281/,xl9¾",$250/500.

261. English,Brian,Buddha, 2000, signed in pen on back of mount, 23xl9", $500/700.

262. Miles,Jonnie,Clock, 2000, color inkjet, singed in pencil on front of print, 8½x5½U,$200/400.

263. Porcella,Philip,Nude Alartini, 1998, signed in pencil on back of print, 19xl3", $400/600.

264. Pollack,Barbara,Max Sick, 1994, (Family of Man series), 1998, ed#22.50, Ektacolor, signed in pen on back of print, 13½xl0", $250/500.

265. Sudek,Josef,From the Window of My Atelier, 1940-54, vintage, 6¾x4½",$3500/4500.

266. Weegee,Cop Shot in Leg, c. 1940, vintage, photographer's stamp and notations in pencil and ink on verso, 13½xl0¾", 4000/5000.

267. Maas,Rita,Plum, 1999, giclee, signed in pen on front of print, 25x20", 750/1000.

268. Casella,Margaret,Fruit Stand Flowers, 1993, one-of-akind color image transfer on rice paper, 34xl3½ 11 framed, $750/1000.

269. Stalzer,Michael,Untitled from VisionsReal and Imagined, 2000, signed in pen on back of print, 4xl0", $300/600.

270. Speier,Len,Nazare, Porlllgal, 1974, signed in pen on front of print, 61/,x9",$200/400.

271. Stern,Chuck,From Roberto's Wt"ndow,1994, signed in pen on front of print, 12xl8", $250/500.

272. Drtikol,Frantisek,U,uitled(nude), 1925-30, vintage, contact print, l½x2", $1200/1500.

273. Smith,W.Eugene,U,uitled(woman looking out of window), c. 1950, vintage, pencil notations on back of mount, 9xl3¼", $3000/4000.

274. Sinsabaugh,Elisabeth,St. Andrews Bay, Florida #3 ( Ocean Landscape series), 1998, signed in pencil on back of print, 8x9½" $300/600.

275. Auerbach,Amy,Va11is/1111gWate,front: Islais Creek, 19982000, seleIUum toned, signed in pencil on back of print, 9xl3 11 $300/600.

276. Dole,Jody,Giraffe Profile, 2000, Iris, signed in pencil on back of print, 13xl9", $300/600.

277. Nash,A.Leo,Chris Campbells Orbicular Construction, 1999, Iris, signed in pencil, 17x40U, 750/1500.

278. Marasco,Rose,Needlebook, 1993, Cibachrome, signed in pen on back of print, 14xll", $400/600. Courtesy Sarah JlfortMa11dCallery, NYC.

279. Rossiter,Alison,Pn'ncipia #710, 1999, unique photogram, signed in pencil on back of print, 14xll", $600/800. Courtesy Sarai, Afortl,/and Callery, NYC.

280. Wides,Susan,Repose, 1986, Ektacolor, signed in pen on back of print, 4½x4½", 500/1000.

GRACE

A few years ago I curated a show called delirium which was my introduction to Ricco/Maresca Gallery, NYC (where it was featured) and to APERTURE, which published delirium as the fall 1998 issue. Delirium was the culmination of a lifetime of looking at photographs.

GRACE is a sequel. Grace is about enjoying photographs, a kind of 'grace' in itself. My hope is that my intense pleasure in looking may be passed on to you. Leaf through these pages ... or visit the Center for Photography at Woodstock and see the show September 9 - October 22, 2000.

Grace resonates. It is the perfect chord. We respond instinctively to grace. As Goldilocks remarked reviewing the third bed, it's the quality of being "just right".

Grace, the exhibition and the collection on view here, is about looking and my particular take on grace in photographs. We all look at thousands of photographs ... hundreds of thousands of images. We are expert at looking at photographs. But here see some beauties - oddities -rarities -which I chose to put together because they are - for me - grace.

© Scott Thode, The Spirit Within

© Melissa Springer, HIV Thanksgiving

Now some of this is silly Grace Kelly, Grace Jones, Graceland. What's that all about? This is an entertainment. Let your guard down and join me on an unexpected journey. It's educational. There are lots of different kinds of photographs here: stereopticon cards, press prints, snapshots, 19th century albumen prints, and 21 st century digital prints.

Back to this notion of grace. My immediate vision is of a languid, undulating line. Throughout the history of art you can see all those naked people with their weight on one leg, the other hip pushed to the side, the contrapasto pose. That's got to be grace, right? Our eye comfortably and reassuredly follows the sinuous and sensuous flow of the model's hip, back, or leg, traveling from nape to knee, from Marconi to Leibovitz.

Grace is an S-curve, literally the serpentine path traced through talcum powder in Adam Fuss' specter-like study, Jayne Hinds Bidaut's remarkable skeletal photogram on tintype, or Larry Gianettino's unexpectedly benign yet colorful toy curving sinelike. There it is in Kathy Grove's eerie, mocking reconsideration of Edweard Muybridges' Dancing Woman, in Luis Mallo's Passenger's, or Ralph Gibson's blazer lapel. These images are full of grace; they are graceful.

Like a haiku, grace is not excessive, full just to the brim. The addition of anything extraneous -of one more drop -and the contents spill over.

It is lovely that the Graces from classical mythology or, as evidenced in celebrity photographs of our modem graces Kelly and Jones, all fulfill the promise of their names. They are beautiful, unique, and special. And where better for a King to live than in Graceland?

Consider the grace of dance: Astaire (Munkacsi) or Isadora Duncan (Steichen), or sports: Bob Hope! (Halsman).

There is grace under fire (Suau and the unattributed wire service press photo), grace under pressure - transcendent states of mind, times when our systems vibrate; we are shifted into highest gear. Not serenity or clarity, but life-saving grace.

Grace implies a spiritual reckoning, the instant of release from the unremarkable. Isn't all of spiritual searching ultimately our wrestling with mortality? "There but for the grace of... go I..." Grace is a prayer at dinner (Melissa Springer). Through time we have sought out advisors we address as "Your Grace".

The outpouring of work catalyzed by the AIDS pandemic is the product of artists processing the muting terror and confusion, and trying to articulate a response. That the subject of Scott Thode's The Spirit Within is a dying man is implicit. Here is incredible grace. Perhaps the outcry over Benneton's use of the dying AIDS patient surrounded by his family was perceived as transgressing the intense private and personal nature of grace.

Think also of grace as benediction a supplication asking for release for the gravity of life.

© Manual (Hill/Bloom), Grace

© Luis Mallo, Passaengers No. 43

Grace in photography -the artist -making the statement: here is release, here is something perfect for you - Grace.

••© 2000, W.M. Hunt

W.M.Hunt, the director of photography at the Ricco/Maresca Gallery in NYC, is a noted collector, curator, and consultant. His personal photography collection Dancing Bear consists of images of people whose eyes cannot be seen. This collection has been profiled in American Photo, The New York Times, and PBS. He teaches at the School of visual Arts in New York City.

Her heel caught on the carpet, but keeping her head held high, she continued on her way.

© Susan Evans, #718

© Ralph Gibson, from Quadrants

© Larry Gianettino, Snake 2000, Cibachrome

COLLECTING

Henry Buhl remembers exactly when he started his photography collection. In the fall of 1993, just days before Christie's New York City October 3rd auction, Henry Buhl visited the home of Doris Bry, a longtime confidant of Georgia O'Keeffe and Alfred Stieglitz. She had a gelatin silver print of the Stieglitz portrait Hands with Thimble, 1920. Christie's catalog cover was a platinum/ palladium print of the same image. Though there were at least seven other platinum/palladium prints in existence, Doris Bry had the only known gelatin silver print -a gift from Mr. Stieglitz.

Henry Buhl had been collecting photographs for a few photographic art through images of hands. years prior to 1993. He and his primary dealer at the time, Howard Greenberg, had discussed that Henry's collection needed some kind of focus. Henry agreed, and began to think of what photographic theme most captivated him. When Henry saw Bry's Stieglitz, he was taken with its beauty as well as its fame. He bought it just before the Christie's sale. Following the sale, which set a record with Hands and Thimble selling for much higher than the estimate, Henry Buhl's print increased in value over one hundred percent. Between the excitement of having made such an immediately good investment and of the historic Christie's auction, Henry Buhl made the decision to collect images of the hand. He felt there was no better place to start than with Alfred Stieglitz and Georgia O'Keefe.

I began working for Henry Buhl in 1995. From 19931995 Henry had collected about three hundred pictures of hands. His collection was starting to encompass the history of photography with works dating from 1840 to the present. Today, he has over eight hundred photographs in the collection. My job as curator has been initially to archive the collection and then to begin piecing together images that were missing, pictures that were important additions to this particular theme. The goal of The Buhl Collection has been to offer a unique example of the vast spectrum of 19th and 20th century

I've wondered if Henry Buhl's goals for collecting are unique to other photography collectors. Certainly, all collections vary because collectors are different. Every collector has his or her own approach to how and why they acquire. They certainly share passion, the overwhelming desire to have particular images be part of their collection -images, which reflect their taste as connoisseurs. Pure desire drives a collection. Numerous factors, shared and distinctive, create the desire.

I have heard many times from dealers, when dispensing advice to a client who is interested in starting a collection, the phrases, Buy what you love or First and foremost, you should choose pictures that you can relate to, that give you pleasure. This is true, but, for a collector this love comes at a price, and that price and the knowledge of investment is a real facet. I believe there is no collector, when considering the purchase of a photograph, who doesn't speculate on the value of the investment. This does not mean that a photograph is not purchased for pleasure alone. It does mean that when considering the purchase of famous works, (i.e. expensive works), passion may be the only factor. When serious collectors start considering the purchase of prints that cost more than $100,000 the term "market value" cannot be ignored. Also, in many cases,

Alfred Stieglitz, Hands with Thimble, 1920, gelatin silver print, courtesy The Buhl Collection

what we can afford and when we can afford it play a significant role in whether we can attain certain photographs.

with the public. In 1996, I organized an exhibition called Collection in Context that showcased sixtyeight contemporary works from The Buhl Collection. The show was very popular and ended up traveling to If I had to give advice to a new photography collector, eight different venues. The Guggenheim Museum in it would be to educate yourself on the history as quickly New York has committed to exhibiting the collection as you can and include learning about famous collec-in 2002. The exhibition will include a major catalog tions. It also cannot hurt to learn about the market by and several other museum destinations in the United reading auction reports and similar publications. (I States and abroad. What happens to the collection afhighly recommend subscribing to The Photograph Col- ter that remains to be seen. It will surely be interestlector Newsletter out of Pennsylvania.) Pace yourself ing to see its next metamorphosis. -your taste may change -and over time you can become very confident of your own style.

Photography's history is short and its great collections are still few compared to those of other mediA great place to start collecting is to attend one of the many benefit auctions. At a charity or benefit sale you can discover some great deals on a wide range of photo graphs and the money also goes to very worthy causes. [At the Center's benefit auctions prints are priced between $200 and $5,000-you can easily go home with a wonderful contemporary image you love for $200. More, just by being in the audience you can quickly see the new artists on the horizon and what is in demand. -ed]

urns. This has left the door open for new collectors to quickly make an impression. The relative low cost of collecting photographs and the increased interest in photography as art has recently led, however, to a more frenzied approach. The Stieglitz photograph that set a record for the highest paid single photograph at auction has recently been broken -shattered, really, by a 19th century Gustave Le Gray print. Not surprisingly, the photograph, which sold for over $900,000, came from a well-known private photography collection, and, quite possibly, was purchased by another Collectors almost invariably want to share their col- private collector who, at the moment, wishes to relections with the public. This desire can have very mam anonymous. meaningful consequences to what and how they choose works. A collector may have a particular institution in mind to which they want to give their photographs. Or they may intend on selling it at auction one day, enjoying the great returns on an interesting pastime. There are also collections that end up in their own self-made institutions. Most great collections get shown in one way or another. The often-preconceived destination for a collection can influence its development significantly.

Henry Buhl has always wanted to share his collection

© 2000, Marianne Courville, curator, The Buhl Collection

THE CENTER FOR PHOTOGRAPHYAT WOODSTOCK honors the donors who have made gifts to our creative and capital drives fall 1999 - spring 2000

Akin, Gump, Strauss, Hauer, & Feld

Arena Editions

Milton & Sally Avery Foundation

Ellen Carey

Philip & March Cavanaugh

Stuart DeHaan

Digital Design Studio Fofofolio

Fuji Photo Film USA

Susan Fowler-Gallagher

Heckeroth Plumbing & Electric

Sharon Held

Rollin & Susan Hill

W. M. Hunt

llford Imaging USA Inc.

Douglas C. James Charitable Trust

Douglas James

David Karp

Kenner Printing

Peter Kenner

Colleen Kenyon

Kathleen Kenyon Sr.

Rebecca Lawton

Gail LeBoff

Gay Leonhardt

Ellen & David Levy

Eric Lindbloom

Management Consultants for the Arts

Marshall's Photo Coloring Systems

Lee Anne Morgan

Gloria Nimetz

Paper House Productions

Pattison, Koskey, & Rath, PC

Polaroid Corporation

Bob Wagner

Jack & Jill Wertheim

Woodstock Chimes Fund