Photography Quarterly #82

Present Perfect

Present / Perfect

p4

What is a Benefit Auction?

p 5

Glossary p 6-24

Auction Lots

photographs offered for sale p 25-32

A Short History of Collecting

Penelope Dixon p 38

How To Place A Bid p 39

Absentee Bid Form

2J rd ANNUAL AUCTION

Historic & Contemporary Photographs to benefit the Center for Photography at Woodstock

Saturday, October 6, 200 I 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 Phot?graphy, 59 Tinker Street, September 20 - October 6, WednesdaySunday, 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 at Christie's, 20 Rockefeller Plaza,on 49th, between 5th and 6th Avenue, September 28-October 3, Friday,Saturday,and Tuesday I 0-5, Sunday 1-5, Monday I 0-7, Wednesday I 0-2.

All prints may be viewed on the day of the sale, Saturday, October 6, at the Woodstock Town Hall, 76 Tinker Street, 1-5.

ABSENTEE& 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.

to the auction is free with catalog

All works illustrated in the Quarterly are copyrighted by the individual artists who produced them; copyright for essaysbelongs to the authors. All opinions, ideas and illustrations are those of the writers and artists themselves and do not in any way represent official policy of CPW or its membership. ISSN 0890-4634. Printed by Kenner Printing Co., Inc., New York City. Distributed by Ubiquity Distributors, Brooklyn, NY 11217 and Bernhard De Boers, Inc., 11J East Centre Street, Nutley, New Jersey 0711 O; Editor, Kathleen Kenyon; Assistant Editor, Kate Menconeri; Ad Manager, Lawrence P. Lewis; Copywork:Judi Esmond: Typesetting, Digital Design Studio, Kingston, NY. Cover:© Lilo Raymond, Untitled (tulips), 1989.

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, Sarah Morthland, Dion Ogust. Kathleen Ruiz, Alan Siegel, Bob Wagner. Advisory Board: Ellen Carey, Philip Cavanaugh,SusanEdwards, SusanFerris, ShevaFruitman,Julie Galant. Howard Greenberg-Founder, Sue Hartshorn, W. M. Hunt. Greg Kandel, Peter Kenner, Laurie Kratochvil, Carol LeFlufy, Marcia Lippman, Peter MacGill. Elliott Meisel.Jeffrey Milstein, Ann Morse, Gloria Nimea, Sandra S. Phillips.Jose Picayo, Lile Raymond, Ernestine Ruben, Charles Stainback, Neil Trager. Staff: Colleen Kenyon, Kathleen Kenyon, Lawrence P. Lewis, Kate Menconeri, Judi L. Esmond, Ariel Shanberg, Fawn Potash. Thank you interns: Karly Cammerer, Meghan Keegan, Brendan Murtaugh, Megan Sauers

Present Perfect what is a benefit auction?

We are honoredto present you this fine selectionof photographs.A perfect additionto a collection,a present for yourselfor someone you treasure.A perfect balance,a gi~ that givestwice-once to you and once to secure the vitalityof the arts for future generation'shearts.

The Center for Photography at Woodstock, a not-forprofit arts and education organization was 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-round exhibitions (now in three galleries), internships, classes for kids, lectures, visiting artists, workshops, gallery talks, a community darkroom, fellowship awards, artists-in-residence, and this magazine.

All of the contemporary prints 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 anywhere else. Here you will discover newcomers and well-known artists alikeit's a chance to collect both the finest photographs by internationally known artists and the emerging names before the major art institutions take hold of them-and they will! As an organization committed to presenting new talent, we serve as a lightning rod for artists on the rise. Please support the arts.

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.

a glossary of auction lot terms

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 I 8S0'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 (dyebleach) 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.

Color Coupler Print (Ektacolor,Chromogenic,Type-C)

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 9r blue. Unlike a dyedestruction 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.

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.

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. Dye transfer is one of the most permanent color processes.

Gelatin Silver Print (silverprint,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.

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 precoated, 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 scale-numerous 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. CameraWork, a quarterly magazine published by Alfred Stieglitz from 1903-1917 featured gravures by major photographers of the period in some of the finest reproductions in the history of photographic publishing and included images by Julia Margaret Cameron, Anne Brigman, Gertrude Kasebeir, Eduard Steichen, Paul Strand, and Clarence White.

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.

Salt Print invented in 1840, this is the earliest form of positive prints. The print is made using paper soaked in a salt solution and brushed with silver nitrate emulsion, producing silver chloride. It is then contact printed with a calotype or collodion negative through exposure to sunlight.

Tintype a variation of the collodian wet plate process in which emulsion is coated onto a black painted metal plate to produce a direct positive image.

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.

Chernewski,Anita, CallaLily, 1982, signed in pencil on back of print, 14¾x I 0 1/4",$300/600.

2. Piperno, Lauren,Stairs- ClubUSA,from CigaretteGirl series, 1998, color coupler print, signed in pen on back of print, 9¾ x6½",$200/400.

3. Cohen,Joan Lebold,LakeDian,Kunming,1983, Ektacolor, signed in pen on front of print, 13½ x IO", $200/400.

4. Goodman, Howard, Untitled (stones), 2000, contact print, signed in pencil on back of print, 9½ x7½", $400/600.

5. Stern, Andrea,Jade Vine, 1998, Ektacolor, signed in pen on front of print, 18½ x 12½",$200/400.

6. Lincoln, Edwin Hale, Dwarf,BlackorMountainSumach, 1906,vintage, platinum, stamped on front + copyright, 9x7", $300/600.

7. Maas,Rita, Untitled (red flower/ brown bottle), 1996, Ektacolor, signed in pen on front of print, 6¼ x5", $250/450.

8. Ferguson,Jesseca,BlondBoyIAthens,2000, cyanotype, signed in pencil on back of print, 5x4", $200/400.

9. Thode,Scott, TheSpiritWithin, 1995, ed#4/20, signed in pencil on back of print, 12¾x9", $300/600.

I 0. Krotinger,Jonathan,Gondolas,SanMarco,Venice,2000, signed in pen on front of print, 9x9", $200/400.

11.Webster,Chris, Oremus(science), 1999, signed in pencil on back of print, 9½ x8½",$150/300.

12. Kelly,Heather Ryan,Untitled (hemispheres), 1990s, photographic collage, signed in pencil on front of print, 7x4½", $250/500.

13.Wenders,Donata, Untitled (women), 1999, dry print, signed in pen on back of print, 8½x3¼", $300/600.

14.Arlen, Ann, Nasturtium #2, 200 I, digital color, signed in pencil on back of print, I 0x7", $200/400.

15. Ward, Frank, BosniaI 997, 1997, pigment ink jet, signed in pencil on front of print, 11x9", $200/400.

16. Marsted, Marcia Reid, Venus+ Me, 1994, signed in pen on back of print, I 6x IO", $200/400.

17.Waters, John, Dirty Divine,2000, ed#I I/ 16, signed in pen on back of mount/mat, 3½x5", $300/500. CourtesyAmerican FineArts Co.,NYC.

18.Sheen, Jim, IrishBoy- Co.Clare, 1993, signed in pencil on back of print, 6x9", $200/400.

19.Kuo, Nina, Untitled,2000, silk, rubber photo emulsion + paint, stamped on back of print, 11x 14", $200/400.

20. Holzapfel,Forrest,MessagetoCaptFrancisWhitmore, 2000, toned contact print, signed in pencil on back of print, 3¾ x9¾",$150/300.

21. Bassis,Aileen, Trust#2, 200 I, photo collage on vellum, signed in pencil on front of print, 11x 14", $400/600.

22. Grabelle,Lauren,Bronx,NY, 1998, Cibachrome, signed in pencil on front of mount/mat, 5x8",$350/600.

23. Scott, Garrison Beau,FaithandVoodoo,NYC,I 996,200 I, ed#7/30, selenium toned, signed in pencil on front and back of mount/mat, 4¼x6¼",$200/400.

24. Simson,Emily, Self-PortraitInTub,1982, ed#3/ I 0, signed in pencil on front of print, 6x9", $600/800. CourtesySarah MorthlandGallery,NYC.

25. Martin, Charles,Byrdc/iffeTheater,1999, signed in pencil on back of print, 9x I 3'/s", $250/500.

26. Friedman,Benno,Untitled (landscape), 200 I, color digital print, signed in pen on back of print, 3¼ x4¾",$500/750.

27. Ames,Barbara, Eden,200 I, Iris, signed in pen on front of print, 12x 18", $200/400.

28. Waterman, Jill, GhostsofGrandCentral- On Track16, 1999,A/P, Cibachrome, signed in pen on back of print, 9xl 3 1/2",$400/600.

29. Engle,Burt, FlatironBuilding,2000, signedin pencil on back of print, I Ox8",$200/400.

30. Schacher-Tytla,Tamara, SeriesKellyat Al's IV,200 I, toned, signed in pen on back of print, I 2x8½", $200/400.

31. Karp, David, Stockholm,200 I, signed in pen on front of print, I 3½x9",$200/400.

32. Nicholl,Jamie,Leg & Snake,200 I, signed in pencil on back of mount/mat, 91/2x6½",$150/300.

33. Faller,Marion, HalloweenTree,Buffalo,NY,OctoberI991, 1999,Ektacolor,embossedon front of print, 20x 16", $200/400.

34. Rivera,Sophie,Acrophobia(SubwayPaintersseries),n.d., signedin pencil on back of print, 9½x6¼",$300/500.

35. Cramer,Konrad,Untitled (morning glory circa I930s), 200 I, signed in pencil on back of print by his daughter, 9'/4x7½",$400/600.

36. Garik, Alice, Transitions,2000,toned, signed in pencil on back of print, I 3½xIO¾",$300/600.

37. Linder, Liz, Untitled (flight), 1996,signed in pencil on back of print, 20x 16",$300/600.

38. Unknown,GracieAllan, n.d.,9x7", $200/400.CourtesyWM. Hunt ICollectionDancingBear,NYC.

39. Lot of 3, Hugo,Leopold,Untitled (landscapes),circa I940s, signedin pencil on front of prints and stamped on back,BxIO", $200/400.

40. Dunkerley, Susan,Peek,2000,A/P,toned, signed in pencil on back of print, I 6x 13", $300/500.

41. Liepke,Peter, Carolina,2000, color Iris, signed in pencil on front of print, 6¼x4¾",$200/400.

42. Kaida,Tamarra, Zen Stone,1999,ink jet, signed in pencil on back of print, I 6½xIO¾",$200/400.

43. Stein, Harvey,Portrait (female skeleton with Potts disease),2000, signedin pencil on back of print, I 31/,x9\1;', $400/600.

44. Coburn,Alvin Langdon,TheDuckPondCWNo. 21, 1908, vintage,CameraWork Gravure, 7½x5¾",$300/500.

45. McCormack,Dan, Untitled, (Steff), I990s, color ink print on archival paper,signed in pencil on front of print and back of mount, 5 1/4xl4", $200/400.

46. JohnsonFoscue,Ellen, Swamp,Eastham,Massachusetts, 1989-90,platinum,signed in pen on front of print, 6½x15¾", $200/400.CourtesyAnn Morse.

47. Garbarino,Edward,Essences# IBalle~200 I, signed in pencil on back of print, 9x 13", $250/350.

48. Olin, Jane,Col/aV, I990s, signedon front of print, B¾x12½",$200/400.

49. Galembo,Phyllis,SoukriHaiti, 1996,toned, signed in pencil on back of print, Bx 12", $600/800.

50. Brush,Gloria DeFilipps,Untitled from TheTwice ConstructedGarden series,200 I, archival ink jet print, signed in pen on back of print, 4¾x12", $300/500.

51. Siegel,Alan, SymphonyHall,Dresden,2000, signed in pencil on back of print, 11x 14", $200/400.

52. Auerbach,Amy,VanishingWaterfront:Pier 92, Concrete Factory,200 I, toned, signed in pencil on back of print, 9x 13", $300/600.

53. Badura,John,CathedralSpires,200 I, signed in pencil on front of mount/mat, I 0'/4x12'/4",$250/450.

54. Marks, Betty, CooperLake,Twiligh~ I990s, Cibachrome, signedin pen on back of print, I Ix 14", $100/200.

55. Monasterio,Pablo Ortiz, Calvario(SemanaSanta), I980s, 8 1/4x12½",$400/600.

56. Hawkes,Pamela Ellis,FruitStillLife-A~erSoreau,200 I, ed#J/25, signedin pencil on back of print, I 1½xI 8½", $600/800.

57. Fitzsimmons,Joan,Flowers,Holy/andU.S.A.,1998, signed in pencil on front of print, 6x6", $ I 50/250.

58. Savage,Naomi, Fragment,1991-200 I, ink jet print, signed in pencil on front of print, 7x6'/s", $300/500.

59. Porcella,Philip, Maki, 1990, ed#8/20, Ektacolor, signed in pen on front of print, 14 x 14", $300/600.

60. Wagner, Bob, Berlin,Germany,2000, 2000, toned, signed in pencil on back of print, I Ox IO", $400/600.

61. Shear,Jack,Untitled (male nude), 200 I, signed in pencil on back of mat, I Sx 15", $750/ I 000.

62. s·1or,Oren, MysteryRock,200 I, Ekcacolor, signed in pen on back of print, 1431,xIS", $250/400.

63. Thomas,Gwenn,AbstractXV, 1996,A/P, Iris, signed in pencil on front of print, I O¾x11", $500/800.

64. Irvine, Scott, Untitled (roller coaster# I), 1997, signed in pencil on back of print, 6x6", $200/500.

65. Littwin, Kathi, TheWeb#I, 200 I, tea-toned, signed in pencil on back of print, I O¾xIO¾", $300/600.

66. Sweeney,Marla, BlueTerrier,2000, Ektacolor, signed in pen on back of print, I 4x 14", $300/500.

View out of North Eas1 left window, 4215 Edgehill Drive, Ogden, Utah, 6:15 am, November 24. 1993.

67. Lindbloom,Eric, SaltMarshGrass#3I,2000, 200 I, Iris, signed in pencil on front of print, I 4x 14", $500/700.

68. Horn, Rolfe,Zmrz/ino, Study 5,Arcata,CA200I, 200 I, ed#6/45, sepia/selenium toned, signed in pencil on front of mount, I 0 1/2x IO½", $300/500. CourtesyCandacePerichGallery, Katonah,NY

69. Winiker, Barry, Porthole& Shadows,SSMonterey, 1987, signed in pencil on front of mount/mat. 9x9", $200/400.

70. Ragan,Vicki, Untitled (white dress with mask), 2000, Cibachrome, signed in pen on back of print, I S½xI 5 1/2", $300/500.

71. Tremblay,Guy,Emilie,2000, 200 I, selenium toned, signed in pencil on back of print, I 4½x 141/2", $400/600.

72. Arbeit, Mark, AtelierParis,1994, signed in pencil on back of print, I O¼xIO¼", $600/ I 000.

73. Platon, KumbhMelaFestival,India200I, 200 I, Ekcacolor, signed in pen on front of print, I 5 1/2x23", $400/600. Courtesy DavidMaloney,TheArtDepartment.NYC.

74. Evans,SusanE., #442, 1994, signed in pencil on back of print, 11x 14", $300/600. CourtesyRicco/MarescaGallery,NYC.

75. Morse,Ann, LandscapeII, 2000, signed in pencil on back of print, 6x9", $200/400.

76. Matuschka,TheMen's Room, 1989, Ektacolor, signed in pencil on back of print, I 531, x 191/4",$300/600.

77. Teger,Allan, RanchHands,Bodyscape,2000, signed in pencil on front of print, I Ox 14", $200/400.

78. Sands,Wendy,PhalaenopsisI, 200 I, signed in pencil on front of mount/mat, I 0 1/4x 19¼",$300/500.

79. Silberman, Rebecca,Mask, 2000, tintype pinhole image, signed in pencil on front of mount/mat, 4x5", $200/400.

80. Weil, Danielle, Untitled (NYC), 1999, ed# I/ I 5, signed in pencil on back of print, I Ox IS", $200/400.

81. Wenders,Wim, Untitled (children rollerblading). 1998,A/P, Iris, signed in pen on back of print, 71/,x14", $300/500.

82. Albert & Hiller, Untitled (California Landscape),circa I 920s, vintage, I Ox 13¼",$300/600.

83. Barker,Joan,Spheres,Mexico,200 I, signed in pencil on back of print. I 3x 19", $300/500.

84. Rossiter,Alison,GravityandRainbow,VirginiaWoolf. 1998, unique photogram, signed in pencil on back of mount/mat, 13½x18", $600/800. CourtesySarahMorthlandGallery,NYC.

85. Cramer,Aileen,Untitled (At Sea},1955,printed by Konrad Cramer, one of a kind, signed in pencil on back of print, 9½x7¾",$600/800.

86. Baillie,Allan, BuddhaNature, 200 I, toned, signed in pen on back of mount/mat, I 3x IO½",$400/600.

87. Schacher-Tytla,Tamara,Kellyat 26, 200 I, toned, signed in pen on back of print, 12x81/4",$200/400.

88. Clerque,Lucien,Forest,1970,signed in pen on back of print, 24x20", $750/ I 500.

89. Serbin,Vince,TheGoddessof Evolution(no.4), 200 I, toned, signed in pen on front of print, 22x 14½",$400/800.

90. Arlen,Ann, Tulip,1984,sepia toned, signedin pen on front of print, I 9x 13",$200/400.

91. Vishniac,Roman,BirdseyeView of CobblestoneStreet,circa 1939,estate stamp with MaraVishniac Kohn's signature, signedin pencil on back of print, 13'/sx I 0'/4'',$2500/3500. CourtesyHowardGreenbergGalleryandMaraKohn.

92. LeBoff,Gail, Untitled,from MysteryForms,200 I ,AP,toned, signedon back of print, I 3x 14",framed, $500/1000.

93. Hill and Adamson,David 0. & Robert, TheMinnowPool, 1909,vintage,CameraWork Gravure, title and numeric notations in pencil on back, 8¼x61/4",$300/400.

94. Maxwell,Robert, BentTulip, I 990s,A/P,platinum/palladium, signed in pencil on back of print, 9'/sx7'/s",$500/750. Courtesy DavidMaloney,TheArtDepartment,NYC.

95. Witkin, Christian,Aimee,NYC,200 I, Ektacolor,signed in pencil on back of print, 20x IS½".$300/500. CourtesyDavid Maloney,TheArtDepartment,NYC.

96. Wides,Susan,Blood, 1992,chromogenic,signed in pen on back of print, I 4x I I". $600/800.

97. Estabrook,Dan, Untitled (palm}, 1994,salted paper print, framed, signedon back of print, I Ox8",$800/ 1500.Courtesy SarahMorthlandGallery,NYC.

98. Levinthal,David,Untitled,from AmericanBeauties,2000, NP, Cibachrome,signed in pen on back of print, I Ox8", $600/800.CourtesyPaulMorrisGallery,NYC.

99. Jaffee,Jay,KishkeKing, 1953/95,signed in pen on front of print, 7¼x6",$1000/1400.CourtesySarahMorthlandGallery,NYC. I 00. Van Hoover,Cheryl,Untitled,from Wetlands,200 I, ed#l 2/ 20, Ektacolor,signedin pen on backof print, 19xl2'/s",$600/800. IOI. Unknown,GraceJones,1990s,Ektacolor,7'/4x9¼", $200/400.CourtesyW.M.HuntICollectionDancingBear,NYC. I 02. Daniell,George,TimesSquareNYC, 1940s/1997,ed#2/20, signed in pen on back of print, 8¾x131/4",$600/800.Courtesy VincentCianni & SarahMorthlandGallery,NYC.

I 03. Porcella,Philip, TedWilliams,I991, 2000,A/P,Iris, signed in pen on front of print, I 3½x20",$750/1000.

I 04. Lippman,Marcia,Pagan,Burma, 1997,ed#4/25, toned, signedin pen on back of print, I l¾x 161/2",$750/ I 000. CourtesyYossiMiloGallery,NYC.

I OS.Custodio,John,Edith'sBackyard,SouthCarolina,200 I, inkjet, signedin pen on back of print, I Ox15", $300/600. I 06. Kenyon,Kathleen,Health, 1997,unique photographic collage,signed in pen on back of mount, I Ix 13",$400/600. I 07. Seeley,GeorgeH., TheWhiteLandscape,circa 1907, vintage,CameraWork Gravure, 61/.x7 1/2",$400/600. Courtesy LeeGallery,MA.

I 08. Brigman,Annie W., Finis,1912,vintage,CameraWork Gravure, S'l,x9½".$600/800.

I 09. Koo,Bohnchang,TheWhiteSeriesIX, 2000,ed# I I /20, signed in pencil on front of print, 137/sx17",$400/800. CourtesyRicco/MarescaGallery,NYC.

I I 0. Salgado,Sebastiao,Outskirts of GuatemalaCity, 1978, signedin pencil on back of print, 7x IO½".$2500/3000. 111.Rauner,Michael,KneewithScar,2000, signed in pencil + artist's stamp on back of print, I 4 1/2x20",$3'()0/500.

I 12.Porcella,Philip, Untitled (figure in fish pond}, 1990s, Ektacolor,signed in pen on front of print, 93/.x 14",$300/600.

113.Munkacsi,Martin, MarionDavies,SanSimeon,California, Harper'sBazaar,I 934, I 999,A/P#3, estate stamp + signed in pencil on back of print by Joan Munkacsi,I I 7/,x9¼",$700/ 900. CourtesyJoanMunkacsi,Woodstock,NYandHoward GreenbergGallery,NYC.

114.Butler, Linda,Ancestor'sBooks,circa 1990,ed#4/45, signedin pencil on back of print, I 3½xIO½",$400/600. CourtesySarahMorthlandGallery,NYC.

I 15.Picayo,Jose,Taxi/Lips,1994,Ektacolor,signed in pen on back of print, 24x20", $400/600.CourtesyColleenKenyon, Woodstock,NY.

116.Morgan,Barbara,JoseLimon,CowboySong,I944, circa 1980,signed in pen on front of print, I 6x 13½",$500/ I 000. 117.Oelbaum,Zeva, Untitled (violet abstract #2), 200 I, sepiatoned, signedin pencil on back of print, 24x20", $500/ I 000. CourtesyBonniBenrubiGallery,NYC.

118.Menconeri,Kate, Swallows,from Pandora,200 I, signed in pencil on back of print, I I 1/2x9",$200/400.

119.Goldsmith,Lynn,LakeHillPansey,1998,color Iris, signed on front of print, 23x 16",$500/ I 000.

120.Clergue, Lucien, Beach,1970,signed in pen on back of print, 24x20", $750/ 1500.

121.Harold-Steinhauser,Judith, VeilWoman,1990,signed in pencil on front of print, 24x20", $300/500. CourtesyAnn Morse.

122.Luppino,Virginia, Leaves,1999,signedon back of print, I 8x 12½",$300/500.

123.Courville,Marianne, Untitled (peacocks),200 I, Hi Fi Inkjet, signedin pencil on back of print, I 6x7", $400/800.

124.Berridge,Pam, FamilyAlbum,2000, digital crystal chrome, label on back of print, 21½x16", $250/500.

125.Folino,Lisa,Kelly,2000, toned, signed in pencil on front of print, I 6¾x13",$750/1500.

126.Staller,Jan,Tapioca,Thailand,1995,ed#2/ I 5, Ektacolor, signed in pen on front of print, I 9x 19",$1000/2000.

127.Strand, Paul, Virgin,SanFelipe,Oaxaca,1933,vintage, photogravure, I 03/,x8", $300/500.

128.Sugiura,Kunie, Split Mum, 2000, signedin pencil on back of print, 10x8",$300/600. CourtesyLeslieTonkonowGallery,NYC.

129.Cramer,Konrad,Untitled (faces),circa 1940s,printed 200 I, signed in pencil on back of print by his daughter, 9¾x7½",$400/600.

130.Hine, Lewis,AmateurNightinaTheaterin Washington,DC, circa 1905,vintage,labeled on back of print "National Child Labor Committee," 41/.x6¾",$1000/ 1500.

131.Klein,William, Mary Lou,I'm in Trouble,NewYork,1955, signedin pencil on back of print, I 3¼x17¾",$1200/ 1500.

132.Webb,Alex, IndiaEyes,India,1981, 1998,ed# 14/50, llfochrome, signed, I 6x20", framed,$ I 000/ 1500.

133.Salgado,Sebastiao,Ecuador,1982,signed,titled, dated in pencil on back of print, 111/.x17¼",$1200/1500.

134.Potash,Fawn,WildGarlic,200 I, toned, signed in pencil on back of print, I 6x20", $400/600.

135.Margolis,Richard,DrivingbytheGeorgeEastman,200 I, ed# 1/25,signed in pencil on front of print, I 6x20", $400/600.

136.Prince, Michael,BoyLookingIntoA Mirror, 2000,ed#2/20, archival Epsonprint, signed in pencil on back of print, I 2½x17¼",$500/1000.CourtesyGallery292, NYC.

137.Brandes,Peter, SakhmetStatues,Karnak,2000, unique print, signed,framed, I Ox12",$3000/3500.

138.Raymond,Lilo, Untitled (still life with plate and fork), 1991,signed in pencilon front of print, I 2½xI 8'/o",$1000/1500.

139.Armstrong,Bill, Untitled (white ghost), 1998,A/P, Ektacolor,signed in pen on back of print, 11x 15",$600/800. CourtesyWilliamFloyd,NYC.

140.Uelsmann,Jerry, SilentShore,1999,sighed in pen on back of print, I O½x12¾",$750/1500.

141. Seeley,GeorgeH., The Burning of Rome,1907, vintage, photogravure, 7¾x6¼", $600/800.

142. Keiley,JosephT., A Garden of Dreams, 1907, vintage halftone, 7'/2x5½",$300/400.

143. White, ClarenceH., RingToss,1903, color halftone, 67/,xS'I,", $ I 000/ 1400.

144. Esmond,Judi, Holland, 2000, toned, signed in pencil on back of print, 12 x 9", $200/400.

145. Hofmeister,Theodor & Oscar,SeaCalm, 1904, vintage, photogravure,titled with numericnotationsin pencilon back-of mount. 7x4¼", $300/400.

146. Eugene,Frank, MasterFrankJefferson,1910, vintage, photogravure,signatureetched in negative,67/sxS", $400/500.

147. Steichen,Eduard,MaryLearnstoWalk, 1913, vintage photogravure, 8¼x6¼", $800/ I 000.

148. Seeley,GeorgeH., TheFire~y,1907,vintage photogravure, 8x6¼". $600/800.

149. Kurita, Koichiro,TheSkyUnder Grass,ed#6/20, platinum/ palladium, signed in pencil on front of print. 8x IO", $750/ I 000.

150. Struss,Karl, Chester,Nova Scotia,circa 1911, vintage, platinum, 4 1/2x3½", $ I 000/ 1500.

I 5 I. Muray, Nicholas,MarthaLorber, 1925, vintage, signed in pen on back of mount, 9'1,x7½", $1500/2000.

I 52. Struss,Karl, Sails:EnRoutetoCatalina (from KarlStruss: A Portfolio, I 909/29), 1929, platinum, signed in pencil on back of print, 4'/4x3¾", $1500/2500.

I 53. White & Stieglitz, Experiment28, circa 1909,vintage, Camera Work Gravure, 8x6¼", $400/600.

I 54. Richards,Wynn, Untitled, circa 1918, vintage, platinum, notations in pencil on back of print, 61/,x6", $ I 500/2000.

I 55. Weegee,Won'tLetThem in Paramount,1940s,vintage, "Weegee the Famous" stamped on back of print, 13½xl0¾", $3000/4000.

I 56. Kuhn, Heinrich, Portrait of aWoman.Austria,circa I 9061919, vintage, platinum, I I ¼x9", $3500/6500.

157. Modica, Andrea, Treadwell,NewYork, 1996, platinum/ palladium, signed in pencil on front of print, 8x IO", $1000/ 2000. CourtesyEdwynnHaukGallery,NYC.

I 58. Uelsmann,Jerry N., Untitled (fioating boat/ house in water/ bird), 2000, signed in pen on back of print, I 0 1/4x 12½", $750/ I 500.

I 59. Kernan, Sean,Untitled (hand cupping water), n.d., ed#3/ 18,signed in pen on front of print, I 3 1/4x 17¾", $750/ I 000. CourtesySarahMorthlandGallery,NYC.

160. Belanger,Marion, Untitled (Yellowstone National Park, WY), 1998, signed in pencil on back of print, 13'/,x 171/,", $300/600.

161. Teger,Leilani Claire, GrayTree, 1999, Cibachrome, signed in pen on front of print, 9x 14", $1 50/300. CourtesyArt + Soul, Woodstock,NY.

162. Barber, Craig J., TheCharles,Prague,1998, signed in pencil on back of print, Sx 14", $300/600.

163. Beals,JessieTarbox, PatchinPlacein GreenwichVillage, NewYork,circa 1917, copyright etched in negative, 3 1/2x4", $800/1000.

164. Mccurry, Steve, Srinagar Kashmir,India I 996, 200 I, color ink jet, signed in pen on front of print, 11x 17", $750/ I 000.

165. Edwards,Beth Yarnelle, Going Out, 2000, ed#4/25, Fuji crystal archive print, signed in pen on back of print, I 4x 18", $400/600.

166. Hosoe,Eikoh, Kamatachi#23, 1965, signed in pencil on back of print, Bx 11¾", $1500.

167. Kleinhans,John,SnowAlongtheEsopusCreekin Hurley, 1990s, Ektacolor, signed in pencil on front of mount, 131/.x19¼", $200/500.

168. Apfelbaum,Sally,Hotelde Ville# I, 1996, Ektacolor, ed#6/25, signed in pen on back of print, I 6x20", $1000/ I 500.

169.Wegman,William, RedTide,200 I, Ektacolor,signed in pen on back of print, 71/ax7",$80011500.

170.Kenna,Michael,Jardindu Roi,Versailles,France,1997, 1999,ed#20/45, sepia toned, signed in pencil on front and back of mount, 8x8", $8001I 000.

171.Citret, Mark, UndercutRiverbank,Yosemite,1997,ed# I I 45, toned, signedin pencil on front of mount, 7x6½", $5001800.

172.Gorman,Greg,GraceJonesEyeworks,2000, signed in pencil on back of print, 20x 16", $150012000.

173.Abbott, Berenice,Untitled (clock in window), 1936, ed#60/60, signed in pencil on back of print, photographer's stamp on print verso, I 8½xI 5½.",$3500/4500.

174.Landy,Elliott, BabDylan,Woodstock,NY 1969, 1990s, Ektacolor,signedin pen on front of print, I 9x 12¾", $500/1000.

175.Fellman,Sandi,Mushi,Tonbo(Dragonfly),2000,split toned, signedin pencil on back of print, 4¾x3½",$4001600.

176.Van Parys,Michelle,Phantasm,200 I, with conte crayon, signedon back of print, I 9½xI 5½", $3001600.

177.McCartney,Michael, Bigjohn, GeneVincent,andBrother Paul,circa 1960,ed# 111250,signed in pencil on back of print, I O¾x91/2",$80011000.

178.Johanson,Sandra, Untitled,from the Love,Georgeseries, 2000,ed# I II 0, toned, signed in pencil on front of print, I 2¾x9½",$500/700.CourtesySarahMorthlandGallery,NYC.

179.Westenberger,Theo, TheKiss,1999,ed#2l25, toned, signed in pencil on front of print, I 0 1/2x7½",$4001800.

180.Metzner,Sheila,Josie,1989,solarized,blind stamped with name, I4x 11", $1500/2500.

181.Kenyon, Colleen, LockandKey,2000, toned and painted, signedin pencil on back of print, I 8½x12½",$75011500.

182.Ling, Elaine, HavanaTime,2000, signed in pencil on back of print, 24x20", $600/ I 000. CourtesyStaleyWise Gallery,NYC.

183.Bassman,Lillian, NightBloom,1996,ed#4l25, signedin pencil on back of print, I 2¾x97/a",$1500/2500. Courtesy HowardGreenbergGallery,NYC.

184.Mallo, Luis, Laminas,1999,signed in pencil on back of print, 22½x18¼",$600/1200.CourtesyRicco/MarescaGallery,NYC.

185.McCarthy,Joanna,Poppy,2000, pigment print, signed in pencil on front of print, I 2x 18",$3001600.

186.Clergue, Lucien, VikkiatZabriskie1981, 1983,signedon front and back of print, 9¾x 14",$8001I 000. CourtesyHenry BuhlFoundation,NYC.

187.Rosenstock,Ron,ThreeTrees,CountyMayo,Ireland,1975, signed in pen on front of print, I 4 1/2xI 8 1/4",$80011200.

188.Teunissen,Bert, BelinBelie!#I 8, I 997,200 I, color Iris, signedin pencil on back of print, Bx I 8½", $75011000. CourtesyYossiMiloGallery,NYC.

189.Smith,W. Eugene,WorkhouseGroupof Militant KokuhatauMembers,n.d.,stamped Magnumon back of print, 6x7¾",$7501I 000.

190.Meyerowitz,Joel,Bay/Sky - Morning,I 982185,color coupler print, signedin pen on back of print, Bx IO", $1000/ 1500.CourtesyThomasV.Meyer FineArt, CA.

191.Cohen,Mark, Untitled (child in sleevelessshirt), 1974, signedin pencil on back of print, 5¾x8'/a",$5001I 000. CourtesyZabriskieGallery,NYC.

192.Cavanaugh,Philip, Giant Profile,2000,signed in pencil on back of print, I Ox15",$200/400.

193.MacDonnell,Kate, Untitled,from Home, 1998,Ektacolor, signedin pen on back of print, 8½x12¾",$4001800.

194.Vanaria,Catherine,Al/AgesShow,CambridgeYWCA,1984, signedin pencil on back of mat, I21/.,x I 5'/a'',$1501300.

195.Carucci,Elinor,Grandma+ Nataly, 1999,ed# I I 15, C-print, signedin pen on back of print, I 6x20", $80011200. CourtesyRicco/MarescaGallery,NYC.

196. Bernhard,Ruth, RecedingTide,1970,signed in pencil on front of mount, 8x9¾",$2000/3000.

197. Kramer, Daniel, BobDy/onPlayingChess,Woodstock,NY, I964, 200 I, signed in pencil on back of print, I 9x 15", $1500/2000.

198. Raymond, Lilo, Untitled (tulips), 1989, signed in pencil on front of print. I B¾x 12¾",$1000/ 1500.

199. Halsman,Philippe,Untitled (three girls in bathing suits), 1950s,photographer's stamp on back of print, 913;,,,x8", $1 500/2000.

200. Evans,Walker,PoliticalPoster,MassachusettsVillage,1929, ed#93/IOO, signed in pencil on back of print, 6'1ax4'/e", $3000/4000.

20 I. Sacabo,Josephine,Anima Sola,200 I, halochrome toned, signed in pencil on back of print, I Ox8", $750/ I 000.

202. Laub, Gillian, NicoleLookingin the Mirror, 1999, C-Print, signed in pen on back of print, 20x 16", $600/800.

203. Munkacsi, Martin, Ber/in, / 920s, 1999,A/P 4, estate stamp + signed in pencil on back of print byJoan Munkacsi, I 2x9¼", $700/900. CourtesyJoanMunkacsi,Woodstock,NYand HowardGreenberg Gallery,NYC.

204. Morimoto, Hiromitsu, Braid,2000, platinum on vellum, signed in pencil on front of print, 5x4", $700/900. Courtesy SarahMorthlandGallery,NYC.

205. Morgan,Barbara,Doris Humphrey,Passacaglia,1938,

circa 1980, signed in pen on front and back of print, 151/,.xl3¼",$500/1000.

206. Tice,George,Watertower,Rahway,NewJersey, 1994, 1995, signed in pencil on front of mount/mat, I 4x 11", $600/ 1200.

207. Holz, George,SharonandAdelaide,California,2000, signed in pencil on back of print, 8x7", $800/ I 000.

208. Toedter,Robert,AppointmentBook,2000, toned, signed in pencil on back of print, 24x20", $300/600.

209. Fruitman,Sheva,Daisy,1999, cyanotype, signed in pencil on back of print, 43/,.x3%", $400/600.

210. Kessell,Mark, Objectivity,200 I, unique daguerreotype, 4¾x3¾", $600/ I 000. CourtesyRicco/MarescaGallery,NYC.

211. Tenneson,Joyce,AngelwithLit Wings, 1991, llfochrome, signed in pen on back of print, 131/,.xIO½", $1000/2000.

212. Fee,James,HoneymoonBeach#2, 200 I, ed#4/20, Ektacolor, signed in pen on back of print, 191/,.x19", $750/ I 000. CourtesyDavidMaloney,TheArtDepartmen~NYC.

213. lzu, Kenro,Angkor #7 /, TaProhm,Cambodia,200 I, ed#34, platinum/palladium, signed in pencil on front of print, I 3x 19", $750/ I 250. CourtesyFriendsWithout A Border,NYC.

214. Almog,Lili, MyJeans,1999, ed#5/ I 5, digital C-print on Fuji archival paper, signed in pen on front of print, I 4x20", $600/800.

215. Cray,Fred, Untitled,2000, unique gsp & encaustic, signed in pencil on back of mount/mat, framed, I 6x20", $750/ I 500. CourtesyJanetBorden,Inc.,NYC

216. Fujihara,Michiyo,NudesII, 200 I, Cibachrome, signed in pencil on back of print, Bx 11", $400/600.

217. Skvirsky,Karina,Airport, 200 I, Micropiezo ink jet archival, signed in pen on back of print, 8x20", $250/500.

218. Chernewski,Anita, ConeyIsland,1997, signed in pencil on back of print, 3¼x4¾", $200/400.

219. Lewis,Lawrence,Untitled (girl in mirror), 2000, signed in pencil on back of print, Bx IO", $200/400.

220. Mcloughlin,Mark, Mode/YachtBasin,CentralPark,200 I, signed in pencil on back of print, I 5x 19", $250/500.

221. Ans,Jojo,PontValentre,1998,A/P ed# I /5, platinum/ palladium, signed in pencil on back of print, Bx IO", $200/400.

222. Kirkland, Douglas,CocoChanel,1962, signed in pencil on front of print, 123/,.x 19¼", $750/ 1500.

223. Giacomelli,Mario, Presa diCoscienzaSullaNatura,from Paesaggi, I 955-92, 1990, signed in pencil on back of print, 11x I 5¼",$2000/2500.

224. Ketchum,Robert Glenn,At theEdgeoftheWorld, 1994, ed#B/33, Cibachrome, signed in pencil on back of print, I Ox I 3", $500/1000.

225. Shaw,Mark, KennedyCourtship,circa 1960,pageant stamp and notations in pencil on back of print, I O¾xIO¾", $2000/3000.

226. Hall, David,Seahorseon GiantKelp,Tasmania,1999, Cibachrome,signed in pencil on back of print, I 9½xI 5½", $400/600.

227. Opalenik,Elizabeth,TheMagicalLagoon,1990,200 I, ed#3/ I 00, Iris giclee,signed in pencil on front of print, 20x 13",$500/ I 000.

228. Maas,Rita, Untitled (green plate/ brown bottle), 1996, Ektacolor,signed in pen on front of print, 6¼x5",$250/400.

229. Kerekes,Gabor,Untitled (box of minerals), 1995, printing out paper,signed in pencil on back of print, 6¼x6", $600/800. CourtesySarahMorthlandGallery,NYC.

230. Carter, Keith, FreckledNose,1998,ed#5/50, signed in pencil on back of print, I 5x I 5¾", $750/1000.CourtesyHoward GreenbergGallery,NYC.

231. Cratsley,Bruce,ElginMarbles,BritishMuseum,London, 1982,signedin pencil on back of mount, 9¼x91/4",$600/900. CourtesySarahMorthlandGallery,NYC.

232. Sugitatsu,Yoshi,Untitled (Woodstock, NY), from Soap Bubbleseries, 2000, signedin pencil on back of print, I 5x 15", $300/600.

233. Ruben,Ernestine,Handsin CapeCod(male nude),2000, platinum/palladium,signed in pencil on front of print, I 7x 11¼",$1000/ 1500.CourtesyJohnStevensonGallery,NYC.

234. Slota, Gerald,Untitled (figure/building),200 I, signed in pencil on back of print, I O½x9½",$400/600. CourtesyRicco/ MarescaGallery,NYC.

235. Eisenstadt,Alfred,JaschaHeifetz,circa 1930,signed in pen on back of print, I 2¼x9½",$4000/5000.

236. Tse,Caroline,DavidReclining,2000, signed in pencil on back of print, I Ox7½",$300/600.

237. Fee,James,ValentineTank,Ektacolor,2000,ed#4/20, signed in pen on back of print, I 9¼x19",$750/ I 000. Courtesy DavidMaloney,TheArtDepartmen~NYC.

238. Scherman,Rowland,BobDylan,I 990s,A/P,color lithograph, signed on front of print, I 9x 14",$400/600.

239. Cartier-Bresson,Henri, Lisbon,1954,photographer's Magnumstamp in pencil on back of print, 9½x6½", $2500/3500.

240. DeCarava,Roy,PaulRobeson,1950,ed#45/50, photogravure,signedin pencil on back of print, 11~x8¾", $1200/1500.

241. Milstein,Jeffrey,Jolie'sRose,200 I, giclee on canvas, signedon back of print, I 7x2 I¾", $300/600.

242. Hofkin, Ann Ginsburgh, Arizona-94-24,1994,signed in pencil on back of print, I 8x23", $400/700.

243. Forster,Gerald, Ethiopia,1999,signedon front of print, I 8x22½",$1500/2500.

244. Stern,Andrea Barris!, Pansy,1998,Ektacolor,signed in pen on front of print, I 2¾x18½",$200/400.

245. Paris,Roger,Untitled, 1998,Ektacolor,signed in pen on back of print, I I ½x14",$150/300.

246. Clark, Darren,200 I, signed in pencil on back of print, 4x7", $300/500.

247. Lange,Dorothea,KaweahDeltaCoopCottonGin andYard, 1938,vintage,71/.x9¼",$1500/3000.

248. Kertesz,Andre, Circus,NewYork,May, 1969,vintage, photographer's stamp on back of print, 7x9¾",$3000/4000.

249. Abbott, Berenice,JamaicaTownHall,NewYork,1937, vintage,7½x91/4",$4000/6000.

250. Matthew, Annu Palakunnathu, WomanInSmoke,India, 1995,signed in pencil on front of print, 3½x51/4",$200/400.

251. Nash,A. Leo, Dot AmmonitenProjoktA~erClean-Up,200 I, Iris, signedin pencil on front and back of print, 8x 18", $300/600.

252. Oates, Leah, Donations,200 I, digital C-print, signed on back of mount/mat, 6x7", $150/300.

253. Atget, Eugene,VoitureBernot, 1906,vintage albumen print, titled with numeric notation in pencil print verso, 8¾x7",$3000/4000.

254. Smith, W. Eugene,AMonofMercy, 1954,vintage, photographer's stamp and numeric notations in pencil on back of print, I 3½xIO½''.$3000/4000.

255. Sudek,Josef,FromMyWindow,circa 1950,vintage, letter in Czech in pencil on back of print, 6½x4¼", $3000/4000.

256. Scherman,Rowland,DylaninNewportI 962, n.d., signed in pencil on front of print, 131/2xI I¾", $400/600.

257. Kratochvil,Antonin, KeithRichards,1989,signed in pen on back of print, 7½x7¾".$500/ I 000.

258. Rothstein,Arthur, TheBurmaRoadI945, 1981, ed# 16/50,signed in pencil on front of print, 9x8¾", $1000/2000. CourtesyHowardGreenbergGallery,NYC.

259. Fink, Larry, GeorgePlimpton.JaredPaulStern,and CameronRichardson,FashionShoot,Elaine's,NYC, 1999, signedin pencil on back of print, I O¼xIO¼".$750/ I 000.

260. Thomas,Michael,Black'sStore#20 from Gable series, 1999,Iris, signedin pencil on back of print, 20x 16", $750/1000.

261. Seeley,George,BirchTrees,1926,vintage,platinum, 9¾x7½",$3500/5500.

262. Carey,Ellen,Midnight,2000,gold toned, signed in pencil on back of print, I 4x 11", $300/600.

263. Saville, Lynn, BrooklynBridgeFog,1999,signed in pencil on back of print, I 8¾x12½",$750/ I 000. CourtesyYancey RichardsonGallery,NYC.

264. Penn, Irving, Hell'sAngelsSeries,SF,1970s,I 5½xI 5½", $2000/3000.CourtesyShadowCatcher,Inc.,Boston,MA.

A Short HistoryofCollecting

The colle·cting of photographs was practically simultaneous with the invention of photography. P & D Colnaghi, a wellestablished art gallery in London, sold photographs as early as the 1850s, representing both the work of Roger Fenton and Julia Margaret Cameron. People became obsessed with capturin~ their own likeness. A popular past time in the mid 19t century was the exchange of carte-de-visites. People collected cartes of their friends and family and put them into albums, much like children exchanging school pictures today. Much like our present fascination with Hollywood personalities, they were also avid collectors of celebrity images.A recent exhibition at the National Portrait Gallery in London, TheBeautifulandtheDamned:TheCre-

by Penelope Dixon

ation of IdentityinNineteenthCenturyPhotography, [accompanied by a fine catalog] explores the effects of early photography on society.

Travel photographs were another early collectible. The very wealthy would set off on long excursions, "the grand tour", and instead of taking their own photographs [the cumbersome and complicated equipment precluded this) they would purchase photographs of each place they visited, later putting them into large albums. An English gentleman's album of the 1860s might include photographs by William Notman of Canada, Charles Clifford of Spain, Carlo Ponti and

Fratelli Alinari of Italy and Felix Bonfils or A. Beato of the Middle East.

Many photographs were published in albums in the 19th century, presumably to be sold to institutions or wealthy private collectors. Examples include Peter Henry Emerson's LifeandLandscapeontheNorfolkBroads or John Thomson's StreetLifeinLondon. These early albums were precursors to the photographic portfolios produced today by contemporary photographers. Another parallel between 19th and 20 th century collecting can be seen in government or corporation sponsored photography. The Glasgow City Improvement Trust hired Thomas Annan to record the Glasgow slums and this work was published in 1874 as OldClosesandStreetsofGlasgow. Edouard Baldus was hired by the Monuments Historiques in France to document the architecture of the country on his 185 I missionheliographique. Many similar projects have been done in this century, beginning with Lewis Hine's work for the National Child Labor Committee.

Photographic auctions also had their beginnings in the mid 19th century. The first auction of photographs took place in London in 1854. The first auction in America was a century later, The Marshall Sale, held by Swann Galleries in 1952. The prices from that sale would make you cry.

Although "photography as art" was still being debated, by the early 20th , century photographs had become firmly established as a collectible. Alfred Stieglitz had galleries in New York from 1905 until his death in 1946. Like many contemporary galleries today, he exhibited photographs alongside the work of modern artists.Along with Stieglitz, Julian Levy's gallery in New York, open between 1931 and 1949, introduced many photographers to the collecting public, including Weston, Sheeler, Strand, and Atget. Famous in the 1950s was Helen Gee's "Limelight" and after a dry period in the I 960s, the early 1970s saw the beginning of the photography market, as we know it today. From a few galleries in New York, London, and other major cities, we can now find hundreds worldwide.

A Short History of the Market

Most people know the story of the rise and fall and rise again of the Ansel Adams' market. In some ways it is a gocid example of the market as a whole. Photographs by Adams that were selling in 1975 for $400 were selling for between $4,000 and $16,000 by 1979, thanks to the astute marketing of Harry Lunn. By the early 1980s Adams prices had dropped to between $2,000 and $10,000. Today; they are back up again, but this time coming close to the $100,000 mark for particularly fine vintage prints of his signature 1941 image, MoonriseOverHernandez. What happened? First, the limitation in 1975 of his prints and subsequent creation of rarity, which coincided with a widespread demand for photographs and investors into the market -then came a bad economy and supply began to exceed the demand.

A related change in the market happened in the early 1990s. Prior to this time, there had been less interest in vintage prints, that is, those prints that were made close to the time the photographer made his/her original negative. Hence, there were extensive reprintings by Ansel Adams, Andre Kertesz, and Henri Cartier-Bresson, as these photographers and many others, jumped on the bandwagon.

Other effects on the market have been certain "blockbuster" museum shows which have contributed to a larger public awareness of the medium as well as providing new levels of understanding and an increase in value for a certain photographer, or period of photography. Also, blockbuster auctions, such as the multi-media Man Ray sale at Sotheby's in London in the mid 1990s, where only I% of the items offered failed to sell, contribute an energy and stability to the market.

Auction houses have changed the structure of the contemporary art market and will continue to do so. More people attend auctions than ever before, the houses now serve as middlemen between buyers and sellers.

Now. Why Should You Collect Photographs?

Investment potential is an obvious answer but aesthetic considerations are far more important to my mind. You might have to live with a particular photograph for some time before you can sell it, so you had better like it. I used to collect photographs because I loved the images, because of the accessibility of so many pictures on the market, and the relatively reasonable prices. I stopped collecting and have sold most of my collection, not because any of those reasons changed but because I couldn't take good enough care of the prints [I live in two humid locations] and any works on paper do need a lot of love and attention. Also, going back to the investment potential, many of my photographs had gone up in value so it was a good time to sell.

How to Collect: (I) What to Look For

My first memory of photographs was Eduard Stei~hen's

FamilyofMan exhibition and book. I spent hours as a child pouring over the images. Some 20 years later the first photograph I bought was an image by Bill Brandt of the girl on Lambeth Walk, parading in her mother's highheeled shoes. I think I paid about $1 SO for it and recently sold it for over $2,000,not a bad investment, although I certainly didn't buy it with this in mind. So, what should you look for when collecting photographs? There are a number of criteria to follow, which are the same ones I use in establishing value in my photographic appraisals:

The artist

The particular image

The dating of the print

The medium

The signature or identification

The condition

The size

The edition or known extant prints, i.e. rarity

The provenance

The place in the market of the artist and the particular image

The artist: who is he or she, where do they fit into the history of art, the history of photography, what is their place in the present market, and how does their work relate to future trends? Is their work exhibited regularly, is it critically acclaimed?

"whatdoyoulookforina photographicwork?" "Ilookfornothing!Itlooksforme!"

The image: do you love it? Can you say, as did the wellknown collector Arnold Crane in responding to the question, "what do you look for in a photographic work?" "I look for nothing! It looks for me! It hits me first in the gut and then in the eye!" How does the subject relate to the particular artist's body of work - Adams made landscapes, but he also took portraits of important artis~s and some of these are very good Arnold Newman makes portraits but he has also taken landscape photographs, a few of which are good, but not as good as his portraits, in my opinion. Is the artist's identity inherent in the image? How does this particular image relate to the history of art, the history of the medium, is it a masterpiece, and what is a masterpiece? Can you predict the future masterpieces in contemporary photography? Why do Edward Weston's Shellsrange in value from $15,000 to $150,000, even within the same image?

Dating: When was the print made, is it vintage or contemporary, is it something in-between? Who made the print? Weston's photographs come in four varieties: true vintage prints; prints made later by himself, in the 1930s from 1920s negatives, in the 1940s from 1930s negatives; "project prints" made under his supervision by his son Brett in the 1950s when Edward developed Parkinson's disease; and posthumous prints by, his son Cole. Is a vintage print necessarily better than a contemporary print? Both Ansel Adams and Irving Penn have made beautiful, large contemporary prints from their earlier negatives. Is one better than the other? Is it not a matter of taste, and in some cases, budget?

Medium:What kind of print is it, what's the process, is it stable? [Platinum always is, early calotypes can continue to fade). Is the process what this particular photographer did best? Penn's later platinum prints are probably better than his earlier silver prints, which takes us back to the issue of vintage or contemporary. Printing styles in the same medium can also change, depending on the available papers and the age of the photographer [Bill Brandt's prints became darker after the 1970s, due to deteriorating eyesight or the photographer's choice?] What does the photographer himself/herself think of a print? This is valid, but not necessarily the ultimate opinion and also, occasionally a dangerous proposition as photographers are known to have torn up older prints brought to them for authentication.

Signature: Again, what is the norm in this particular instance? An unsigned contemporary Adams photograph is a problem, an unsigned Walker Evans is not unusual. As John Szarkowski once said, "Buy a photograph for what's on the front, not the back" which is good advice, however, what is on the back or the mount helps us date the print [but is not necessarily a guarantee because photographers are known to have sometimes used older stamps on later prints).

Condition: a very important consideration, but again, only relevant to what is normal for a particular photographer's work from a particular period. Most contemporary photographs, with the exception perhaps of the _Starn

Brothers, are expected to be pristine. Photographs by Weegee are expected to be creased or marred [but not in a uniform way which recently tipped off one dealer to a group of fake prints]. 19th century prints are often faded, as the richest examples are already in private collections or museums. The key is to buy the finest example of an image that you can find and afford.

Size: is only important when considering what is available, what you like, and what you can afford. However, certain smaller editions by photographers, such as Sally Mann's 8 x IO" prints, might not go up in value like her larger, smaller editioned 20 x 24" prints. Which brings us to the next point

Extant prints: The edition or known extant prints, i.e. rarity, is an important factor. For contemporary work this information is often easily available by the edition number of the print but prior to the 1980s, most photographers did not limit their prints from a particular negative - there was no need. So when artists such as Ansel Adams, Harry Callahan, or Andre Kertesz responded to the rapidly evolving market, they produced a lot of images without numbering their prints as they already made prints of most of their images and couldn't start arbitrarily numbering these new ones. However, by

now the market has absorbed most of these images and they are only found on the secondary markets.

A buyer must be aware of how each image is limited, e.g. prior to her new large-format landscapes, Sally Mann used to print each of her images of children in an edition of 25 in 20 x 24" and again in 8 x IO" while reserving the right to produce yet another 25 in 16 x 20" format. So you might never know exactly how many prints of your photograph exist without checking with the artist or her/his dealers. This is also a good example of the market: Mann's 20 x 24" prints are the ones that frequently sold out and so therefore retain their value. Mann's prints also give us an example of step-pricing: the first five prints sold started at around $1,500, the next five increased and so on until the final print in the edition was sold at around $7,500.

Provenance: has always been an important factor in the painting and print markets and is fast becoming the same in photography. Besides the possibility of contributing to an increase in value because of the reputation of the previous owner, provenance is also important in determining that a photograph is not a forgery.

Market: The place in the market of the artist and the

particular image has been discussed above and knowing the sales records for the artist and for the particular image is an obvious last point to consider before buying a particular photograph.

Other Considerations: Eventually, you should decide on the kind of collection you want to pursue ... should it be an "investment grade collection", i.e. well-known photographs by well-known artists or something more adventurous, such as up and coming artists who can often be found in benefit auctions like those held by the Center for Photography at Woodstock. Are you interested in a particular period, or genre of photography, do you want to collect a particular artist in depth? Are you interested in anonymous works? One thing to be careful of is trends - what is fashionable today could be in the trash heap tomorrow. Buy what you like, the worst thing that can happen is that you will enjoy it for many years to come.

How to Collect: (2) Where to Buy

Now that you know what to look for in a photograph, where do you go to find it?

First, I always tell new collectors to find one or two dealers or galleries, which show the kind of work they like and establish a relationship. Don't be afraid to go into the fanciest galleries in San Francisco, New York, or Los Angeles - they may look forbidding but they're generally run by nice people who want to sell you some-

thing! Most importantly, support your hometown dealer. Loyalty to a dealer who has spent time helping you with your collection will pay off with offerings of special prints and good prices.

Secondly, are the auctions. There is a plethora of photography auctions today from Sotheby's and Christies, and Swann in New York City to smaller regional houses around the country, benefit auctions in Boston, Los Angeles, San Francisco, Houston, and Woodstock, among others; European sales in France, Germany, and England. With the exception of benefit auctions, new collectors should start with the previews, where you can observe the prints close-up make notes in your catalog, overhear interesting comments by other viewers, and then go to the auctions to observe how the bidding works, who the players are, and how realistic are the estimates. When you have more of a grip on prices and have previewed very well, then you can go and bid, with firm top bids so that you won't be swayed by momentary auction fever.

One exception to these rules of mine is benefit auctions. Go to as many as you can, buy for fun and your support of the not-for-profit organization will usually result in you acquiring some good pictures at way below their retail values. Almost everything contemporary in my collection is from the annual CPW auction.This year's auction contains wonderful work by Michael Kenna.Joyce Tenneson, William Wegman, Larry Fink, Keith Carter, James Fee, Andrea Modica, Sandi Fellman, Josephine

Sacabo, Elinor Carucci, and many, many more renowned and emerging artists.

Thirdly, are the dealer's fairs. AIPAD, the largest, is held annually in New York in February. FotoFest is in Houston every other year, and Chicago and Los Angeles now have annual fairs, as do Paris and other European cities. These are great places to see lots of work, compare prices, meet dealers from other parts of the country, go to symposiums, and compare notes with other collectors.

Becoming an Informed Collector

Now that you know what to look for in a print and where to buy it, what else do you need to prepare yourself to become a collector of fine, or fun, photography?

Visit museum shows to see the best examples, particularly in 19th century, of photographic prints. This will give you a point of reference from which to judge. Also, museum shows are curated by academics in the field who often help us see work in new contexts. There is one caveat here: we should be aware that the label of "masterpiece" affects our judgment.We should never be afraid to criticize, disagree, or find our own masterpieces.

Subscribe to publications such as PhotographyinNewYork, which lists exhibitions around the country and ThePhotographCollectors'Newsletter, which reports on auctions, analyzes the market, and gives the latest gossip. Subscribe to all the major auction catalogs; even if you don't go to all the sales you can obtain condition reports and price results.

Read, read, read. The website www.photoeye.com out of Santa Fe is a great source for all the latest, and older, photography books.

And finally, understand that value is not solely inherent in the photograph but rather is a result of many market conditions. The lowest price for a particular image may not be the best buy, price should reflect quality but does not necessarily do so, and one person's idea of masterpiece, may not be another's.

-© 200 I, Penelope Dixon

Penelope Dixon has over 30 years experience in the field of fine art photography, including positions at galleries and auction houses. She has headed her own appraisal firm since 1981, Penelope Dixon & Associates, specializing in appraisals of fine art and documentary photography. She currently resides and works from Miami, Martha's Vineyard, and New York, and can be visited at peneloped.com.

AbenefitforFotoFest'sInternationalMeetingPlace andLiteracyThroughPhotographyprograms. Auctioneer:DeniseBethel, Sotheby's NewYork

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