Photographs
Saturday, October 12, 2002
7 pm at the Woodstock Town Hall
Prints will be on view at the Center for Photography, 59 Tinker Street, September 21 - October I I, Wednesday - Sunday, 12-5 pm and can be seen in color on O\Jr website: www.cpw.org.
A special selection of prints will also be on view in NYC at the Sarah Morthland Gallery, 51 I West 25th Street, Suite 709, September 21 - October 3, Tues - Sat, I 1-5:30.
All prints may be viewed on the day of the sale, Saturday, October 12, at the Woodstock Town Hall, 76 Tinker Street, 1-5.
& 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.
illustrations are those of the writers and artists themselves and do not
ISSN 0890-4634. Distributed by Ubiquity Distributors, Brooklyn, NY 11217; Editor, Kathleen Kenyon; Associate Editor, Kate Menconeri;Assistant Editor,Ariel Shanberg.Ad Manager, Lawrence P.Lewis; Copywork, Judi Esmond; Typesetting, Digital Design Studio. Kingston, NY. Cover:© Keith Carter, Wizards, 2000, gsp, courtesyHoward GreenbergGallery,NYC.
Board of Directors: Peter Brandt, Marianne Courville. Edward Garbarino, Frances Gray, Sarah Hasted, David Karp.John Kleinhans.Arie Kopelman, Ellen K. Levy, David Maloney, Kitty McCullough,Yossi Milo, Sarah Morthland, Dion Ogust, Robert Peacock, Kathleen Ruiz.Alan Siegel,Gerald Slota, Bob Wagner. Advisory Board: Philip Cavanaugh,Susan Edwards, Susan Ferris.Julie Galant, Howard Greenberg- Founder, Sue Hartshorn.WM. Hunt, Greg Kandel, Marcia Lippman, Peter MacGill, Marcia Reid Marsted, Elliott Meisel.Jeffrey Milstein.Ann Morse, Gloria Nimeu,Sandra Phillips.Jose Picayo,Lila Raymond, Ernestine RL1ben, Charles Stainback, Neil Trager, Rick Wester. Staff: Colleen Kenyon, Kathleen Kenyon, Lawrence P.Lewis, Kate Menconeri,Ariel Shanberg, Fawn Potash.Thank you interns: Lea Golis,Jordanna Kalman.Jeff Sheng, Laura Steele.
Join us to celebrate the Center's first 25 years - our silver anniversary. During these difficult and uncertain times, may the silver linings of imagination, creativity, and the arts nourish your spirit.
The Center for Photography at Woodstock.a not-for-profit 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, 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. But we need you! By joining our circle of support we will together launch the Center into the next 25 years of excellence and creativity.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. Let the sparkle illuminate your curiosity and generosity.
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.
The NYC Law Offices of Akin, Gump, Strauss, Hauer & Feld congratulate the Center for Photography. at Woodstock on its 25 years of excellence in the visual arts
Alan Siegel, Partner
I. Faller, Marion, PumpkinCouple,ChittenangoNY. 1999, Ektacolor, embossed signature on front of print, I 9x 14", $200/400.
2. Klimek,Stan, Nun in Doorway,2002, ed#2/25, platinum/palladium, signed in pencil on back of print, I Ox8", $600/800.
3. Abranowicz,William, GardenGate,OysterBay,NY,2002, signed in pencil on front of print, 9l/4x71/,",$400/600.
4. Axel,Bob,FiveO'clock Shadow,200 I, Digital C-Print, signed in pen on front of print, I Sx 1114",$200/400.
5. Rubin,llan, Untitled,from Tulipseries, 2002, digital Fujix, signed in pen on front of print, 1211,x IO", $300/600. Courtesy David Maloney,TheArt Department,NYC.
6. Harris, Phil, Hand of Kindness,1997, platinum/palladium, signed in pencil on back of print, 5x4", $200/400.
7. Ferguson,Jesseca,Book/Star/Feather,200 I, gold toned, signed in pencil on back of print, 5x4", $250/500.
8. Tse,Caroline,David #I, 200 I, sepia toned, signed in pencil on back of print, I 3x9", $300/600.
9. Morath, Inge, SadTelephoneCall, 1958, estate stamped, I 2¾x81/2", $1000/3000. Courtesythe Estateof Inge Morath. I 0. Carey,Ellen,Untitled (photogenic drawing), 1999, unique C-print, signed in pen on back of print, 20x 16", $1200/ 1800. CourtesyJayneH. Baum,NYC.
I I Speers,Vee,Untitled,from Bordelloseries, 2002, Fresson charcoal, signed in pencil on back of print, I 5x9l/4", $300/600.
12. Hayward,Blaise,American Flag I, 200 I, Fujifiex, signed in pen on back of print, 28x20", $300/600.
13.Tanaka,Gayle,Eye!/, 1996, signed in pen on back of print, 9x7 14",$ I 00/200.
14. Sutton,Julie Hassett,Untitled (stack of envelopes),200 I, AP, C-Print, signed in pen on back of print, 20x 16", $400/800. CourtesyC/ampArt,NYC.
I 5. Platon,India,200 I, Ektacolor, signed in pen on back of print, 23 l/2x I 51/2", $400/600. CourtesyDavid Maloney,TheArt Department,NYC.
16.Cohen,JoanLebold,Marsh Orchard,from GrassWriting series, 2000, C-Print, signed in pen on front of print, I 9x 12¾", $200/500.
17. lmagire,Dorothy,Depressed,200 I, letterpress polymer plate book, signed in pen on back, 6x7'/2", $200/400.
18.Shore,Stephen,West Avenue,Great Barrington, Massachusetts,1975, Ektacolor, signed in pen on back of print, 7'/2x91/2", $200/400. CourtesyBarry M. Winiker,Teaneck,NJ.
19. Harroff,William, Where Do YouStand On The Flag?200 I, color inkjet, signed in pen on front of print, 5x7'', $100/200. 20. Heyman,Abigail,Poolhall, 1990s,signed in pen on front of
print, 8x I I¾", $400/600. CourtesyJone & KevinKenyon, Hopewell,NJ.
21. Allee,David,Tramway,2000, inkjet on cotton rag, signed in pencil on back of print, 11x 14", $500/750. CourtesyJayneH. Baum,NYC.
22. Temkin,Brad, Hands (Glendun,CountyAntrim, Northern Ireland), 1996, ed# I I /20, signed in pen on front of print, 135lax17", $400/800.
23. Nash,A. Leo,PepeOzan'sTempleof Rudra- Remnants, 1999, Iris, signed in pencil on front of print, 10'1,x20", $600/800.
24. Sands,Wendy G., Studyin Magenta ond Orange,200 I, Cibachrome, signed in pencil on mount, I 3x 191/4",$300/500.
25. Bistline,Walt, Imagine(No. 3), 200 I, ed#3/20, signed in pencil on back of print, 13'/4xl61/2", $100/250.
26. Holmes,Wendy,ValentineIris, 1980s,platinum/palladium, signed in pencil on front of print, 4x5", $200/400. Courtesy Jane & KevinKenyon,Hopewell,NJ.
27. Orkin, Louise,BrownstoneHead with Azaleas,2002, inkjet, signed in pencil on back of print, 71/, x9 1/2", $200/400.
28. Martin, Charles,Untitled /figure movingthrough revolving door), 1997, inkjet, signed in pencil on fron~ of print, 11x 17", $200/400.
29. Goodyear,Danielle,Untitled, from Persephoneseries, 2000, signed in pencil on back of print, I 6x 121/2", $200/400.
30. Cramer,Konrad,Construction#2, c. I 940s, vintage, unique one-of-a-kind print, signed in pencil on back of print by his daughter, I 3'!.,x I QI!.,",$2000/3000. CourtesyAileen Cromer, Woodstock,NY
31. Galembo,Phyllis,Pierrot Mosk, 2002, Cibachrome, signed in pencil on back of print, 20x 16", $400/800.
32. Witkin, Christian,Melissa,2002, Ektacolor, signed in pen on back of print, 20x 16", $750/ I 000. CourtesyDavid Maloney, TheArt Deportment,NYC.
33. Marsted, Marcia Reid, Italian Door,200 I, Ektacolor, signed in pen on back of print, I Bx 12", $200/400.
34. O'Neal, Hank, Al Hirschfeld- In His Studio 2002, 2002, signed on front of mount, I 4x 11", $800/1000.
35. Dunkerley,Susan,Welcome,200 I, ed#2/ I 5, signed in pencil on back of print, I 6x 131/2", $200/400.
36. Squillante,Joseph,Piermont Marsh, from Hudson River portfolio, 1985, signed in pencil on back of print, I I x9 1!.,", $200/400.
37. Horn, Rolfe, Dawn,lzumo,Japan,200 I, ed#6/45, sepia & selenium toned, signed in pencil on front of mount, I I 1/gx IO", $300/500. CourtesyCandacePerichGallery,Katonah,NY
38. Wellen,Serena,Untitled (Blue#4), 1999,A/P, C-Print, signed in pen on back of print, I Ox IO", $200/400. Courtesy C/ampArt,NYC.
39. Ogust,Dion, Tree,2002, signed in pen on front of print, 8 1!.,xBI/,", $250/500.
40. Sullivan,Brian J., Red Rose,2002, ed# 19/20, kaleidoscope process hand printed/etching paper, signed in pencil on front of print, I 51/2x I 0'/2", $200/400.
41. Kuo,Nina, Opera Girl Gloves,2002, fabric, photo print, signed on back, I 7x5", $200/400. CourtesyLorin Roser,NYC. 42. Reiff,Carole,Untitled (LouisArmstrong,I 955), 1985, stamped on back of print, I 4x 11", $400/500.
43. Folino,Lisa,ModernAlchemy,2002, signed in pencil on front of print, 16¾ x 13", $800/ I 000.
44. Savadekar, Nirmala, Untitled,from ShadowsUnseenseries, 1996, signed in pen on back of print, 19'!.,x17¾", $200/500.
45. Peck,Julia,Untitled (OxfordBotanic Garden),200 I, Ektacolor, signed in pencil on print, I 5¾x20", $200/500.
46. Arnold,Brian, Ice,Hornell,NY,2000, ed#3/ I 0, copper toned, signed in pencil on back of print, I 2x 18", $450/650. CourtesyClampArt,NYC.
47. Nimetz, Gloria, Elsinore,1996,A/P, Cibachrome, signed in pencil on back of print, I 3x 19'!.,",$400/600.
48. Haray,Bert, What Makes Piccadilly?1953, vintage, caption label on verso, 6¾x9%", $500/ I 000.
49. Rossiter,Alison,LightAnimal,2002, unique print, signed in pen on back of mount, Bx IO", $800/ I 000. CourtesySarah Morthland Gallery,NYC.
50. Carucci,Elinor, GrandfatherFellAsleep,2000, ed# 3/ 15, Cprint, signed in pen on back of print, I 6x20", $800/ 1200. CourtesyRicco/MarescaGallery,NYC.
51. Man, Felix H., FrenchWaiters in Empty Dance Hall Beforeit Opens,I 949, 1949, vintage, caption label on verso, 6 1!.,x95/2", $1000/2000.
52. Stern,Andrea, Lotus,200 I, Ektacolor, signed in pen on front of print, I 2 1!.,xl8 1!.,", $200/400.
53. Brown,Ellie, Abby UpsideDown, 1996, signed in pencil on back of print, I Ql!.,x131!.,", $200/400.
54. Teger, Leilani-Claire, LaundryShadows,1999, Cibachrome, signed in pen on front of print, 9x 13", $100/300. CourtesyArt & Soul,Woodstock,NY
55. Auerbach,Amy,OceanBeachFigures,200 I, seleniumtoned, signed in pencil on back of print, 83!.,x13", $300/600.
56. Akimoto, Misako,Tamano#I, 1999, signed on front of print, 9x 131!.,", $200/400.
57. Marcuse, Tanya, Untitled,from Material series, 2002, platinum/palladium, signed in pencil on back of print, 5x4", $800/1000.
58. Raymond,Lila, Doorway, 1973, signed in pencil on front of print, I 3x83/4",$600/ 1200. CourtesyJane & Kevin Kenyon, Hopewell,NJ.
59. Cavanaugh,Philip, Streetin Porto, 2002, signed in pencil on back of print, 12ll.jx9l/4", $250/500.
60. Edelman,Richard,On the Calle de la Princesa,Barcelona, 200 I ,AP #3, Giclee, signed in pencil on back of print, 171/2xl 2", $200/400.
61. Metzner, Sheila,KathleenCarr, 1985, Fresson, signed in pencil on front of print, 32x24", $1500/3000.
62. Edwards,Beth Yarnelle,TheToxic Calamity,200 I, ed#4/25, Fuji crystal archive print, signed in pen on back of print, I 8x 14", $500/800.
63. Rosenstock,Ron,Predawn,Florence,Italy, 1999, signed in pencil on front of print and mount/mat, 11!fax811,",$300/600.
64. Freedman,Jeremy,Akhmatovain Exile, 200 I, Polaroid w/ mixed media, signed in pen on back of print, 4x3 1/,", $250/500.
65. Sweeney,Marla, Fourthof July,200 I, 200 I, ed#3/25, Ektacolor, signed in pen on back of print, I 8x 18", $350/650.
CourtesyYossiMilo Gallery,NYC.
66. Solyagua,Camille, Wing Study#3, 1995, ed#3/45, sepia toned, signed on mount, 91/2x71/2", $600/800.
67. Gremillion,Kimberly,Shadow#48, 2000, Iris Giclee, signed in pencil on front of print, 6x4", $300/400.
68. Ogawa,Untitled (flowers), c. 1890s,vintage, collotype hand tinted, I 03/4x9",$200/400.
69. Johanson,Sandra,Lily.Variation I, 2000, ed#I I I 0, signed in pencil on front of print, 9x61/2", $450/550. CourtesySarah Morthland Gallery,NYC.
70. Porto,James,The Guardian,2002, signed in pencil on back of print, 117/sxI OJ/a",$200/400.
71. Cray,Fred,Missing Persons#36, 2002, unique C-print photogram, signed in pen on back of print, 20x 13", $750/ I 500. CourtesyJanet BordenGallery,NYC.
72. Job,Charles,A Street In Tours,c.1920, vintage, 1311.jxIO", $600/800.
73. Hoskins,Sarah,Horse Holding, 1998, signed in pencil on back of print, 9x 12", $200/400.
74. Harrison,Joan,Memory (angelwings),2002, inkjet, signed in pencil on front of print, 6x81/2", $200/400.
75. Jaffee,N. Jay,Foliage,Crumsett,L.I., 1989, ed# I /3, signed in pen on front of print, 91/2x 123//, $ I 000/1200. CourtesyCyrisse
Jaffee and PaulaHacke/ing,NYC.
76. Farber,Robert, From the Back,200 I, Epson archival inkjet, signed in pen on back of print, 111 / 2x 17", $1000/ 1500.
77. Siegel,Alan,Music, 2002, signed in pencil on back of print, I Ol/2x 13'I,",$300/500.
78. Velas,Jon, BrooklynBridge,1999, Ektacolor, signed in pen on back of print, 9x 13", $200/400.
79. Dole,Jody,SandyHook, NJ,2000, Epson pigment print, signed in pen on front of print, I 51/2x24", $400/600.
80. Lewis,LawrenceP., I DreamedI Was CaptainHook, 2002, contact print, signed in pencil on back of print, Bx IO", $300/600.
81. Barber,Craig J., BaganTrio, 1997, platinum/palladium, signed in pencil on back of print, Bx IO", $400/800.
82. Wolcott, Marion Post, TwoBoys,c.1936-41, vintage, FSA stamped on verso, 71/8x91/,", $1000/1500.
83. Burkholder,Dan, AcrossRiverat Dawn,Prague,2002, pigment over platinum, signed in pencil on back of mat, 6x9", $300/600.
84. Joo, Eunsuk, KaraokeGirl, 200 I, C-Print, signed in pen on back of print, 20x24", $500/ I 000. CourtesyJune Bateman Gallery,NYC.
85. Custodio,John,FlamingGorgeUtah, 2002,ed#l/50, inkjet, signedin pencil on front of print, I 2x 12",$300/600.
86. Littwin, Kathi, FlowerPastIts Prime,200I, signedin pencil on back of print, I Ol/2x I Ql/ 2", $300/500.
87. Simon,Johan,Untitled #85, 2000,ed#4/25, Ektacolor, signedin pen on front of print, 71/2x71/,",$400/600.Courtesy YossiMilo Gallery,NYC.
88. Cratsley,Bruce,FloweringBranches,WindyWillows, 1993, signedin pencil on back of mount, I OxIO",$750/850.Courtesy Billy LeightandJane Cratsley,NYC.
89. Shorr,Entranceinto the HollandTunnel,NY, 1951,71/2x7 I/4,", $600/800.CourtesyLee Gallery,Winchester,MA.
90. Shirobayashi,Kiriko,A PathTo BeA Lady,1999,Ektacolor, signedin pen on back of print, 30x30",$600/1000.
91. Pocock,Mary,GovoneSchoolhouse,Italy, 1994,Ektacolor, signedin pen on front of print, 7x7", $200/400.
92. Bailey,Jonathan,PlayaDel Carmen,QuintanaRao,Yucatan, 1998,toned, signedin pencil on back of print, 6x6", $200/400. 93. Vizzini,Robert,Flatiron,Fifth and Broadway,New York,NY, 1999,ed#3/I5, silver lith print, signedin pencil on back of print, I 3x 13",$400/800.CourtesyClampArt,NYC.
94. Harvey,George,Blue#I, from Contentsseries,2000, Cibachrome,signedin pen on front of print, 9¾x9I/4,",
$200/400.CourtesyKathleenRobbins,NYC.
95. Winiker,Barry M., CunardLine'sQueenElizabeth2, 1980, signedin pencil on back of print, 9x9", $200/400.
96. Mistretta, Martin, VeiledTorso,2002,fiber, signedin pencil on backof print, 8 I/4,x8I/4,",$200/400.
97. Armstrong,Bill, Untitled (circle),200I, Ektacolor,signedin pen on back of print, I OxIO",$400/600.
98. Vishniac,Roman,Portersin a BalancingAct, 1937,vintage, signedon back of print by MaraVishniacKohn, I OJ/ax I 05 / 8", $2000/3000.CourtesyMara VishniacKohn,Santa Barbara,CA.& HowardGreenbergGallery,NYC.
99. Golemboski,Carol,Seven,Six,Five,200 I, toned, signedin pencil on back of print, I 3 l/ 2x 131/2", $300/600.CourtesyRobert Klein Gallery,Boston,Ma.
I 00. Sharpe,P.Elaine,Grandfather'sSweater,200I, signedin pen on back of print, C-print, I 9x 19",$500/ I 000.
IOI. Morgan,Barbara,ValerieBettis- DesperateHeart, 1944, c.I980, signedin pen on back of print, I31/2x 15",$500/1000.
I 02. Ellerbrock,Pamela,Untitled #I, from Earth & Water series,toned, 2002,signedin pencil on back of print, I0 I/4,x131/,",$200/400.
I 03. Citret, Mark, Playground,1995,2000,ed#4/45,vellum, signedin pencil on front of print, 5x8", $500/700.Courtesy
Howard GreenbergGallery,NYC.
I 04. Wittenstein,Jeffrey,SugarRefinery,Louisiana,1994, seleniumtoned, signedin pencil on backof print, 9 I/4,x13", $300/600.
I 05. Hawkes,PamelaEllis,MissingVase,200I, ed#4/25,signed in pencil on back of print, I41/2x 181/2", $600/800.
I 06. Lindbloom,Eric, ConstitutionMarsh,200I, Iris, signedin pencil on front of print, I0'/4,x27",$500/700.
I 07. Karp,David,The GreatWall at Boda/in,2002,signedin pen on front of print, Bx12",$200/400.
I 08. Frith, Francis,Fritton Decoy,LandingPlace,I800s,vintage, albumen,6x81/,'',$300/400.
I 09. Frith, Francis,Country Scene, I 800s,vintage,albumen, 6x81/,'',$300/400.
I I 0. Morgan,Barbara,Martha Graham-AmericanDocument, Eric Hawkins, 1940, 1980,signedin pen on back of print, 131 / 2x I 71/2',$500/ I 000.
111.Porter,Tim, ShinjukuImperial Garden,Tokyo2000, 2002, ed# I /45, signedin pen on back of print, Bx 12",$400/600. I 12.Lineman, David,Magnolia#I, 2002,signedin pen on front of print, 91/4,xl3'/4,",$400/600.
113.Hosoe,Eikoh,BlackWater Lily #2, 1992,signedin pencil on back of print, I 41/2x 12",$1000/2000.CourtesyHoward GreenbergGallery,NYC.
114.Gold,David,GrowingSugarCrystals,2002,ed#2/ I 5, signed on print, I 9x 15",$500/700.CourtesyYossiMilo Gallery,NYC. I I 5. Turczan,Katherine,SisterTatiana,1995,ed# 1/25,signed on print, I 35lax I I", $800/1200.CourtesyYossiMilo Gallery,NYC.
116.Hendrick,Peter,Studyprint for Conversationsat Night, LondonII, 2002,Ektacolor,signedin pen, I 71/2x71/2", $400/600.
117.Maas,Rita, Untitled 02.25 (shellin glass),2002,archival inkjet, signedin pencil on front of print, I6 I1,x12¾",$400/600.
118.Estabrook,Dan,Model'sStage,1999,ed# I/3, salt print, signedin pencil on back of print, 6¾x5", $1200/1400.Courtesy SarahMorthland Gallery,NYC.
I 19.Munkacsi,Martin, Liberia,I 93 I, 200I, AP,signedin pencil on back of print by JoanMunkacsi,I 2x9SI,/, $700/900. CourtesyJoan Munkacsi,Woodstock,NY.
120.Sugiura,Kunie,Split CarnationStudy,1999,signedin pen on back of print, I Ox8",$600/ I 000. CourtesyLeslieTonkonow Artwork + Projects,NYC.
121.Webb,Todd,SoltMine,Avery Island,LA, 1947, vintage,ns, I 2'/2 x I 0", $1000/2000.
122.Rittase,William,Grainsof WheatAgainstClouds,c. I 930s,
signedin pencil on front of mount, I 4x I 01/2", $600/800.
123.Perrino,Barbara,Untitled (CentralParkTree),2000, platinum/palladium,2000,signedin pencil on back of print, 4¾x3¾", $400/600.
124.Slota,Gerald,Untitled,/print from the NewYorkTimes, MillenniumTimeCapsule),1999,signedin pencil on back of print, I 4x I I", $600/800.CourtesyRicco/MarescoGallery,NYC. 125.Levinthal, David, Untitled(The Simpsons),2002,Epson digital print, signedin pen on front of print, I 5x 12",$400/600. CourtesyPaulMorris Gallery,NYC.
126.Uelsmann,Jerry N., Untitled (figure walkingon clouds), 2002,signedin pen on back of print, I 4x I I", $700/ I 500.
127.Reiff,Carole,TheloniousMonk, 1955,vintage,ns,20x 16", $500/600.
128.Sherman,Heidi,Orchid Budsfrom the series LesRevesdu Jardin,1998,digital C-print, signedin pen on front of print, 23x 19",$400/600.
129.Tice,George,Ferns,Peekamoose,NY, 1971, 1992,signedin pencil on front of mount, 9'/4x131/2", $600/ 1200. 130.Ling, Elaine,GhostTownCinema,AtacomaDesert,Chile, 200I, signedin pencil on back of print, 20x24", $600/I 000. CourtesyStaleyWise Gallery,NYC.
131.Ruben,Ernestine,Grassesin New Zealand,2002,
platinum/palladium,signedin pencil on front of print and mat, 91/2xl4'/4", $500/2000.CourtesyJohn StevensonGallery,NYC.
132.Law,Lisa,AndyWarhol at the Factory,1968,vintage,signed on print, BxIO",$250/400.CourtesyMorty Carey,Willow,NY.
133.Brading,Martin, WoodstockFruit Stand,Route212, 200I, Ektacolor,signedin pen on back of print, 7 I1,x11", $300/600.
134.Marc,Stephen,Untitled,from SoulSearchingseries, 1997, llfochrome,signedin pen on print, I 21/2x 171 / 2", $400/800.
135.Leonard,DavidJulian,Egg'sHead (portrait of William Eggleston1997),I997,AP,Fuji Crystal Archive,signedin pen on back of print, I 6x20", $400/900.
136.Shulik,Alan,Big Sur,California,2002,signedin pencil on front of mat, 5'/4x161/4",$400/600.
137.Reily,SherylMaree,The Last Supper,from Past Transgressionsseries,200 I, inkjet & mixed media,signedin pencil on front of print, 81/2x22 I/ 2", $200/400.
138.Courville,Marianne,Untitled,from 1938/Presentseries, 2002,C-Print, signedin pen on back of print, I 25/8x 19", $400/600.
139.Labarge,Caroyl,Seoand Sky#I, 2002,Giclee,signedin pencil on front of print, I 7x22", $600/800.
140.Bucher,Karen,My Mother in the RoseGarden,1998, Ektacolor,signedin pen on print, $300/600.
141.Carter, Keith, Wizards,2000,signedin pencil on back of print, I 5'/4x15%",$800/ 1200.CourtesyHoward Greenberg Gallery,NYC.
142.Sassman,Lillian, BarbaraMullen, NY,Harpers Bazaar I 950, 1994,ed#3/25,signedin pencil on back of print, I 4x 11", $1500/2500.CourtesyHoward GreenbergGallery,NYC.
143.Means,Amanda,Flower(# 26), 1997,signed on back of print, 20x 16',$700/900.CourtesyRicco/MarescaGallery,NYC.
144.Uelsmann,Jerry N,, Untitled (figure becomingwaterfall I Yosemite),1992,signedin pen on back of mount and print, I 4x I I", $750/ 1500.
145.Bernhard,Ruth, Bear Paw Clam,Florida,1945, 1945, vintage, signed in pencil on back of print and front of mount, I 4x 11", $2000/3000.
146.Faurer,Louis,Deaf-Mute,NY, 1950,signedin pencil on back of print, I 4x 11", $2000/3000.
147.Evans,Walker, WoodenChurch,SE,I 936, printed later, signedin pencil on back of print, 91/2x75/,",$5000/7000.
148.Cartier-Bresson,Henri, The Misfits,Rena,Nevada,1961, signedin pen on front of print, I 71/2x 111/i", $4000/4500.
149.Munkacsi,Martin, Motorcyclist,I 920s, 1997AP3, signed in pencil on back of print by Joan Munkacsi,11¾x97;,;', $700/ I 000. CourtesyJoan Munkacsi,Woodstock,NY.
150.Devres,Seze,Untitled (#s20227B), 200 I, Fuji Flex,signed in pen on back of print, 20x 16",$600/800.CourtesyJayneH. Baum,NYC.
I 5 I. White, Clarence,BoysWrestling,1908,vintage,Camera Work Gravure,8lfax61/8',$800/ I 000.
152.Kuehn,Heinrich,Portrait - The Mirror, 191I, vintage, CameraWork Gravure,71/2x55/,",$600/800.
153.Stieglitz,Alfred, Nearing Land, 1904,vintage,Camera Work Gravure,81/2x67/,", $1200/1800.
154.Eugene,Frank, PrincessRupprectand her Children,1910, vintage,CameraWork Gravure,7x4¾", $300/400.
155.Haviland,Paul B,, Miss Doris Keane,1912,vintage, CameraWork Gravure,81/8x6'/4",$600/800.
156.Boughton,Alice,Sand & Wild Roses,1909,vintage, CameraWork Gravure,8'/4x6'/4",$400/500.
157.Lang,Mary, Wedding'sEnd, 1999,signedin pencil on back of print, 9 xl3¼", $200/400.
158.Kleinhans,John,SummerMorning at the Woodstock CountryClub,1998,signedin pencil on front of mount, 3'/2x4 I//, $300/500.
I 59. Kennedy,David Michael,Barn Owls,platinum/palladium, ed# 13/20,signedon front of print, 4x5", 13l/2x I 3 'Ii"framed, $400/800.CourtesyPhilip Poree/la,Boston,Ma.
160.Meiselas,Susan,Liberty Plaza,New York,Sept. 11,2001, 2002, Ektacolor,signed in pen on back of print, 11x 14", $1000/ 1500.
161.White, Pam, Untitled, 1995,toned, signedin pencil on back of print, I Ix 14",$200/400.
162.Mitsch, Doris, Darkness,200 I, inkjet print on Arches, signedin pencil on back of print, I4x I 71//, $400/550.Courtesy C/ampArt,NYC.
163.Torgovnik,Jonathan,ProjectionRoomat the Poonam Cinema,Madras,India,from Bol/ywoodseries,2002,signedin pen on back of print, I 7¾x221/2", $300/600.
164.lzu, Kenro,Angkor#26, Ta Prahm,Cambodia,1993,200 I, platinum,signedin pencil on front of print, I 4x20", $600/ 1200.CourtesyHoward GreenbergGallery,NYC.
165.McDonough,Patricia, Diggingin Edna'sGarden,2002, Ektacolor,signedin pen on back of print, 20x24", $500/800.
166.Yale,Joel,NYCTraffic,c. I 950s,vintage,9S/8x I2'/i'', $700/1200.
167.Anderson,Paul, ParadisePond,Smith College,c. I 940s, vintage,stamp on reverse of mount, 3x4", $400/800.
168.Morimoto, Hiromitsu, Untitled (handsholding pearls), 200 I, platinum on rice paper,signed in pencil on front of print, 4x5", $1000/ 1200.CourtesySarahMo;thland Gallery,NYC.
169.Kenna,Michael,Fa/aised'Ava/au Crepescu/e,Etretat, France,2000, 200 I, ed#26/45,sepiatoned, signedin pencil on front and back of mount, 7 I/ 2x8", $600/1000.CourtesyRobert Mann Gallery,NYC.
170.Beitler, Maureen,Alma,2002,signedin pencil on back of print, I OxIO",$400/600.
171.Skvirsky,Karina, TigerWoads,200 I, archival inkjet, signed in pencil on back of print, I 3x 13",$200/400.
172.Wagner, Bob, Little Compton,RI,200 I, signedin pencil on back of print, I 4x 14",$500/700.
173.Washburn, Peggy,Madeline'sHair, 1999,signed in pencil on back of print, I 6x 16",$500/ I 000.
174.Elrick, Krista, Center,200 I, 200 I, signedin pen on front and back of print and on back of mat, I 3x 13",$200/400.
175.Greenfield,Lois,Gail Gilbert, 1993,signedin pencil on back of print, 9 I/ 2x9 I/ 2", $400/600.
176.Fitzsimmons,Joan,Untitled,from Flowers,Holy/and,USA, 2000,signed in pencil on front of print, I 3 1 / 2x 131/2", $200/400.
177.Fink, Larry, Portugal,2002,signedin pencil on back of print, I41/4xl41/2",$I000/I500.
178.Tremblay,Guy,Untitled(white button nower), 1999, selenium toned, signedin pencil on back of print, 14l/2x 141/4", $300/600.
179.Alt, Jane Fulton,Matters ofthe Heart No. 6, 200 I, signed in pencil on back of print, I41/2xl41/2", $400/600.
180.Sudek,Josef,Apple,c.I955, vintage,signedin pencil on back of print, 211/16x21S/I/, $3000/4000.
181.Wolfe, Marjorie Gillette, Cape'sLighthouse,2002,signed in pencil on back of print, I0x91/2", $200/400.
182.Evans,Ron, PonyShow,Hyde Park,London,1990,selenium toned, signedin pencil on front of print, I OxIO",$200/400. CourtesyAfterimageGallery,Dallas,TX.
183.Wegman,William, BridgeBuilding,200 I, Ektacolor,signed in pen on back of print, 6x6", $600/ I 000.
184.Beeber,Gary,Milan Detail 2, 2000,ed# I/ I 0, Duraflex print, signedin pencil on back of mount, I OxIO",framed, $700/ I 000. CourtesyC/ampArt,NYC.
185.Siskind,Aaron,Rome8 '63, 1963,artist notes in pencil on reverseof print, 9x 12",$500/ I 000. CourtesyCharlesTraub.
186.Eickemeyer,Rudolf,Plowingthe Field,1921,vintage, initialed on front of mount, 3x5", $600/800.
187.Raymond,Lilo, Flowersand Curtains,1988,signedin pencil on front of print, I 6x20", $1000/ 1500.
188.Bleecker,James,Mohonk Mountain,New Paltz,NY,2000, ed#5/ I 00, Iris, signedin pencil on front of print, I 2 I/4x17", $3001600.
189.Daniell,George,ChangingRoam,c.1936,2002, ed#9/20, signedin pen on back of print, I Ix 14",$650/750.Courtesy SarahMorthland,NYC.
190.Wides,Susan,Untitled, 1998,Ektacolor,signedin pen on back of print, 11x 11", $400/800.
191.Quataert, Richard,Patternand Form#I, ed#2/25,signed in pen on back of print, IO¾xlOl/2", $200/400.
192.Ketchum,Robert Glenn,PrinceLeopoldLevitatirig,1994, Cibachrome,signedin pencil on front of mount/mat and back of print, I Ox13",$500/800.
193.Hofkin, Ann Ginsburgh, /srae/-01-9,2002,signed in pencil on back of print, I 8x23¾", $400/600.
194.Lot of 2/ Marks, Betty, White FlowerI OrangePoppies, 200 I, Fuji color, signedon back of prints in pen, I Ox8" / 11x 14",$200/400.
195.Thomas,Gwenn,RichardSerra,St JohnsRotaryArc, NYC HollandTunnel,1980,2002,signedin India ink on front of print, 111/4x13¾",$400/600.
196.Teixidor,Carmen,Horizon,2002, Digital C-Print, signed in pen on back of print, 40x40", $400/800.
197.Seeley,GeorgeH., The Firery, 1907,vintage,Camera Work Gravure,7l/4x6l/4",$500/600.
198.Kuehn,Heinrich,Lotte & Her Nurse, 191I, vintage, CameraWork Gravure,7 1/4x5¼",$400/500.
199.Struss,Karl, Over the HouseTops,1912,vintage,Camera Work Gravure,9 11,x471,",$400/500.
200. Steichen,EduardJ., Uloc Buds:Mrs. S., 1906,vintage, CameraWork Gravure,8 11,x611,",$600/800.
20 I. French,Herbert, EgyptianPrincess,1909,vintage,Camera Work Gravure,81/2x6'/4",$300/400.
202. Cameron,Julia Margaret,Joachim,1913,vintage,Camera Work Gravure,8x611,",$400/600.
203. Schutze,Eva Watson,The Rose,1905,vintage,Camera Work Gravure,81/2x3", $300/400.
204. De Meyer,BaronAdolf,Still Life, 1908,vintage,Camera Work Gravure,83lax6",$900/ 1200.
205. Dugdale,John,I Exist as I am, StoneRidge,NY,2000, cyanotype,signedon back,61/2x4¼", framed, $1000/ 1500. CourtesyJohn StevensonGallery,NYC.
206. Holmes,Wendy,Daisies,platinum/palladium,signed, 9'/4x7'/2",framed, $400/600.CourtesyJane & KevinKenyon, Hopewell,NJ.
207. Sacabo,Josephine,The Moon in the Swamp,from Nocturneseries,2002,ed# I /25, gold toned, signedin pencil on back of print, I 5x 12",$600/800.CourtesyGalleryfor Fine Photography,New Orleans,LA.
208. Thomas,Michael,White Hause SeriesNo. 4, 2002, Iris, signedin pencil on back of print, 20x 16",$500/1000.Courtesy RobertKlein Gallery,Boston,MA.
209. Robinson,Linda K., BambooSticks,1997,Cibachrome, signedin pencil on front of mat, 22x 17",$200/400.
210. Kenyon,Colleen,Lock and Key(roses),2002,hand colored, signedin pencil on back of print, I 9x 13",$500/ I 000.
211. Menconeri,Kate, Untitled (butterfly),from Pandoraseries, 200 I, ed#3/25,signedin pencil on back of print, 5 l/2x4", $300/600.
212. Millstein,Jeff,TulipaGreenWave,2002,archival Giclee on canvas,signedin pencil on back of print, 30x24",$400/600.
213. Strand,Paul, New York,1916,vintage,CameraWork Gravure,signedin pencil on back of print, 65lax81/ 2", $2500/3500.
214. Brigman,Annie W, Dryads,19I 3, vintage,CameraWork Gravure,6'/4x8",$600/800.
215. Hofmeister,TheodoreOscar,The SolitaryHorseman, 1904,vintage,Camera work Gravure,4 1l;,6x7", $300/400.
216. Steichen,EduardJ., Mother & Child,Sunlight,1906, vintage,CameraWork Gravure,5x6 11,",$500/700.
217. White, ClarenceH., Landscape - Winter, 1908,vintage, CameraWork Gravure,6x71/2", $600/800.
218. Struss,Karl, The Balcony,Sorrento,1909,ed#45/75, platinum,signedin pencil on back of print, 3 x3¼", $2000/2500.
219. Sperr,PercyLoomis,9thAve 'L' Demolition,GreenwichSt. North ofBank Street,Nov 3, I 940, c.1940,ns, 5 1 / 2x91/2", $600/800.
220. Delano,Jack,Group ofChildren,c. 1936-41,FSAcredit on back of print, 7x 93/s",$600/ I 000.
221. Garbarino,Ed, Katharsis,1998,signedin pen on back of print, I 5x 19'/4",$200/400.
222. Greig,Cynthia,Pipe,from Life-Size,200 I, Ektacolor, signedin pencil on front of mount, 16x20",$400/800.
223. Smith,W. Eugene,Pittsburgh,1955-56,vintage,stamped on back of mount, 9 x 131/4", $4000/5000.
224. Hine, Lewis,Midnight in GlassFactory,Bridgeton,NJ, November I 909, 1909,vintage,ns,45lax65la",_$2000/2500.
225.Adams,Ansel,Untitled (tressin snow),modern print, signedin pencil on front of mount, 91/2x71/2", $500/800. CourtesyJone & KevinKenyon,Hopewell,NJ.
226. Davidson,Bruce,Childin WestVirginia,I 962, printed later, signedin pencil on back of print, I 231.jx81/2", $1250/2500.
227. Cramer,Aileen,Untitled (Bridge in Sweden),1950s, printed by her father Konrad Cramer,signedin pencil on back of print, 91/2x7¾", framed,$500/800.
228.ayo,damali,patch # I and patch #2, 2002,photo Xerox transfer,hand stitched on steel shinglew/ wire, signedin pen on back of mount, I 2x8", $200/400.
229. Morse,Ann Lawrence,VillageDump,Salamanca,Spain, 1980s,signedin pencil on back of mount, 9x6", $200/400.
230. Hope,J.D.,RiverGorge,WatkinsGlen,NY,c. I 870s,vintage, albumenprint, 9x7", $500/800.
23 I. Ponti, Carlo,Bridgeof Sighs,Venice,c. I 860s,vintage, albumenprint, blind stamped,13'fax I 03 / 1/, $600/800.
232. Hammond,Anna,Cosmos,Prussianon Dark Viole~2002, gum Bichromate,signedin pencil on back of print, I 5x 11", $1500/1800.CourtesySarahMorthland Gallery,NYC.
233. Gorman, Greg,Ned I, LosAngeles,I 999, 1999,signedin pencil on back of print, I 9x 15",$1000/1500.
234.Siskind,Aaron, VeraCruz, 1973,signedin pencil on back of print, 9x9", $600/ I 000. CourtesyCharlesTraub,NYC.
235. Morgan,Scott, Gatesof Heaven#/I, 1997,toned, ed# 2/7, signedin pencil on back of print, I 6x 16",$1000/1500. CourtesyJayneH. Baum,NYC.
236. Dugdale,John,The Perfumeof Par/ams,StoneRidge,NY, 2000,ed#7/ I 2, cyanotype,6'/2x4¾", framed,$ I 000/ 1500. CourtesyJohn StevensonGallery,NYC.
237. Bidaut,JayneHinds,Polyphemus,New Mexico (Owl Eyed Moth), 2000,tintype, signedon back on paper plate,7x5", framed,$750/1500.CourtesyRicco/MarescaGallery,NYC.
238. Clark,Darren,Untitled,2002,toned, ed# 3/3, signedin pencil on back of print, 5¾x41/2", $300/500.
239. Flynt, Robert,Untitled (embrace),2000,Fuji C-Print, signedin pen on back of print, 2211.jx161/2", $600/900.
240. Kallina,Jean,Rokeby,Chair Side,2115, 1998,signedin pencil on back of print, 20x 16",$700/1000.
241. Delano,Jack,GreeneCountyFarmers,c.1941,FSAon back of print, 9'/2x7 1fa",$600/ I 000.
242. Lange,Dorothea,Untitled (Women WalkingAlong Path, Ireland),c.1950,vintage,ns,7 1 / 2x9¾", $3000/4000.
243. Giacomelli,Mario,Natura,from Paesaggi,1991-92,signed in pencil on back of print, 11l/2x 15",$2000/2500.
244.Abbott, Berenice,WashingtonSquareLookingNorth.April I 6, I 936, 1936,vintage,stampedon back of print, 75fax95fa", $3000/4000.
245.Atget, Eugene,Prison(Democi),c.1900,vintage,albumen print, ns,6¾x81/4",$6000/8000.
246.Coburn,Alvin Langdon,Alfred Stieglitz,Esq.,1908,vintage, CameraWork Gravure,6 1/4x61/4", $700/900.
247.Calfee,Laura Pickett, RobertWasn'tReallyon the Titanic, 2000,signedin pen on back of print, I 3'/2x 19",$400/600.
248. Landy,Elliott, Bob Dylan,Woodstock,NY, 1968,Ektacolor, infrared,signedin pen on front of print, I 3¾x20", $1000/1500.
249. Modica,Andrea,Newpor~Washington,n.d.,platinum/palladium,signedin pencil on front of print, 8x IO",$1500/2500. CourtesyEdwynnHouk Gallery,NYC.
250. Steichen,EduardJ., Dawn - Flowers,1903,vintage, CameraWork Gravure,51/2x8", $1200/1500.
251. Lyons,Nathan,Untitled,diptych from RidingFirst Classon the Titanic,1974-98,signedin pencil on back of print, 4'fax7¾", $ I 000/ 1500.CourtesyHowardGreenbergGallery,NYC.
252. O'Neil,Michael,0. Winston Link,2000,C-print. signedin pencil on back of print, I 6x20", $400/800.
253. Cianni,Vincent,YoungCouple,Havemeyer& SouthJ,d Streets,Williamsburg,Brooklyn,1996,signedin pencil on back of print, I 2x IO",$300/600, 254. Fellman,Sandi,Insect#17, 2000/2002,split sepiatone, signedin pencil on back of print, 5x4", $500/I 000.
255.Terry Boddie,CobblestoneSt,WestVillage,NYC, 1992, signedin pencil on back of print, I3x91/2", $400/600.
256.Collins,JohnF., Thread,1934,vintage,signedin pen on back of print, 91/ 2x7'/4",$2500/3200.
257.Weegee,HouseFire,Dead Lieutenant,NYC,c.I936, 951,x?I/,",$2000/2500
258. Hine,Lewis,Unknown(younggirl in doorway),c.I920, printed 1941,6'/ 2x4'/4",$1200/1800.
259. Bourke-White,Margaret,Untitled (transformer),c.I930, vintage,w/ letter of provenance,I 37 / 16x9l/,", $3000/4000.
260.Terada,Mayumi,Doi/house02-8, 2002,signedin pen on back of print, 22x 16",$1000/2000.
261.Capa,Robert, Naples, 1964,stampedon back of print, 91/2x?S/16", $2500/3500.
262. Fee,James,Blue BoyFishing,Peleliu,200 I, ed#2/20, Ektacolor,signed,I 8¾x 19",$800/1200.CourtesyCraigKrull Gallery,SantaMonica,Ca.
263. Maxwell,Robert, Untitled (tulips),2002,gum over platinum,signedin pencil on back of print, I Ox8",$500/750. CourtesyDavid Moloney,TheArt Deportment,NYC.
264. Scherman,Rowland,Untitled,(Bob Dylan), I990s,AP, photolithograph,20x 15",$300/600.
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.
-The New York Times
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BERENICE ABBOTT
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MARTIN MUNKACSI
ARNOLD NEWMAN
RUTH ORKIN
GORDON PARKS
BEN SHAHN
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Photographybenefit auctions have evolved into the primary fundraisers for a number of not-for-profit organizations," explains Howard Greenberg, the Center for Photography at Woodstock's founding director and current director of the Howard Greenberg Gallery. He attributes their rise to the substantial growth over the last decades in photography's market and overall popularity, and also, to the special combination of what such auctions provide. Photography benefit auctions give communities the opportunity to see all different types of photographs, to buy them, sometimes at excellent prices, and to experience the excitement of an auction in an atmosphere of good will. People often feel a strong sense of camaraderie, explains W M. Hunt, private collector and director of photography at the Ricco/Maresca Gallery, who tells of a longstanding friendship sparked by his having been outbid for a photograph. Relationships between collectors, collectors and artists, and the photography world and the general community, have all come out of these events. "What's great is that benefit auctions are fun and get
tremendously exciting when the bidding heats up," says Sarah Morthland, of the Sarah Morthland Gallery. "Meanwhile,you are supporting lectures,classes for kids, exhibitions,adult workshops, and the organizationthat makes it all possible."
For a growing number of people, benefit auctions have become a gateway into photography, into enjoying and collecting fine art photographs. So if you are relatively inexpe-
MichaelAlbinrienced at buying photographs, or at going to auctions, don't be intimidated. You have chosen a friendly and safe first venue and you will quickly pick up alot of what you need to know. Even so, to help orient you beforehand, here are some tips specific to benefit auctions, followed by a short beginner's guide to collecting.
Before the preview, look through the auction catalog. Find images that you like. You may be interested in getting information on the artists whose works you are considering purchasing. Do so by contacting the organization conducting the benefit or the artist's gallery (or both). Ask for the artist's biography. While the bottom line should be how much you like a photograph, if you want to buy wisely, consider the artist's track record - where has he or she exhibited or been published? Is the artist one to watch? Know that in addition to talented new artists, generous renowned artists donate prints. To learn more about what factors affect valuing, consult the brief guide to collecting that follows these auction tips.Also, you may want to order a copy of Penelope Dixon's informative article on collecting, published by the Center for Photography at Woodstock in their 200 I auction catalog.
It is highly recommended that before the preview you find out the rules and procedures established by the organization. Often, in auction catalogs there will be written statements; if not, you might telephone to find out specifics, such as what forms of payment will be accepted, and when. Other details may be worth finding out: Do you get to keep the frame that photographs are previewed in? If you can't attend the auction, will the organization give you a report on condition and accept a bid beforehand? Knowing when you are expected to take your purchases is also very helpful, as is asking about sales tax. According to Rick Wester, director of photography at the Gagosian Gallery, policies regarding sales tax are changing, so it is best not to assume. In general, the more you know what to expect, the better off you will be and the more you will enjoy yourself. So keep in mind that benefit auctions are different than those run by full-time auction house professionals. Your bringing patience and cheer can make a difference.Also, benefit auctions do not have a buyer's premium, and artists graciously donate their work - two factors that contribute to the good buys often associated with these events. And since prices are usually quite fair, Howard Greenberg suggests that one way to have fun is to decide approximately how much you would like to give to the organization beforehand; then, at the event, have a good time figuring out what you will buy within those limits. For many, but not all, setting a limit on how much to spend is advised; as is choosing second and third options so that you don't suddenly feel disappointed if you are outbid.
Then go to the preview as work at most auctions is always sold "as is." At the preview, carefully look over the photographs that interest you. "Catalogscan be deceiving,"saysW M. Hunt, "so lookingup close is key."While checking for damage is important when considering the purchase of any print, many in the field stress thoroughly inspecting historic
photographs. A print's condition usually has a significant impact on its value.Yet how a particular imperfection affects a viewer's.ability to enjoy the image is subjective.Thoroughly examining the photograph's condition may help you decide
what you are willing to spend; and, perhaps more importantly, will help to preempt any disappointment once the photograph is home. During the preview, listen to what people are saying. If they sound knowledgeable, don't be afraid to ask questions. The environment is usually friendly and learning from other collectors and artists is essential to developing one's eye and understanding.A photography auction preview is a great place for new collectors to practice how to collect. 'Try to distinguish between the quality of a particular print and its image," suggests Sarah Morthland. Also, you might observe that certain photographs that you like very much seem to foster little preview interest. Finding these sleepers is good to do, says Rick Wester. Though anything can happen once the bidding starts, by sensing which prints may be hotly sought after (and which, overlooked}, you are preparing for possible auction scenarios.
During an auction, it is not recommended to bid quickly. After all, if no one else is interested in the item, you have nothing to lose by waiting (and much to gain by not raising eyebrows). However at a charity benefit, you can do your part just by starting the bids! At a benefit you may want to embrace the excitement that auctions tend to generatewhen the bidding starts and a group of people all want the same photograph, charity or not, it is thrilling to watch the bids go up.
For many, the excitement of collecting photographs comes not only from looking at photographs and acquiring the ones that have struck a chord, but also from the challenge of buying wisely. A general first step is to educate oneself about the medium and the market. Here are tips on how to
learn, what and where to buy, and how much to pay.
For new photography collectors, there is no substitute for developing one's eye.A good start is to recognize when an image grabs your attention.Visit museums, galleries, auction previews, and art fairs to get an idea of the kinds of photographs being shown. Looking and asking about prices at a few galleries may help you begin to understand what makes one photograph more interesting and perhaps more valuable than another. Meeting and talking to other collectors can also be very helpful. [Know that a commercial gallery price includes the gallery commission, so "sale" prices may vary given where the print is purchased].
Reading up on the medium's history and on current photography is strongly recommended. Exhibition reviews, articles highlighting artists, magazines, and web sites that cover market news and auction sales all provide information that will help make your purchase an educated one. Particularly useful sources are The Photograph Collector, a monthly newsletter published by Stephen Perloff, and Bill Mindlin's Photography In New York. Many experts recommend starting a personal library related to one's collection.While the market has changed substantially in the last decade, for many collectors, John Szarkowski's 1973 classic, Looking at Photographs, is very helpful. Susan Sontag, John Berger, and Roland Barthes have written groundbreaking books on photography and on looking. In addition to providing a general context, reading up on photography's history will connect a sizeable glossary of terms to people and stories.
© Betinna Witteveen, Amazons I, Krissy from Hybrid Identities, 1998, courtesy the artist.What photographs should one buy, and from whom/ Yes, follow the maxim: Buy what you like and can afford. But keep in mind that most collectors also would like to buy photographs that will appreciate in value. While it is fine to collect without imposing a method (as do many), at a later point you might find yourself concentrating on an appealing aspect of photography. Some collect by theme, period, style, technique, or artist; others want master prints -great images of significant prints by renowned photographers. One can buy photographs at galleries, auctions, art fairs, from private dealers, online, as well as from fine print programs offered by not-for-profit institutions. One can even order, for less than one hundred dollars a piece, prints made from the negatives of famous images in the Library of Congress archives. Since photographs are worth what people will pay, determining a fair price may be a process. A
long-term relationship with a trusted dealer is good insurance for a fair price because the dealer will gain from the collector's satisfaction. Checking with knowledgeable third parties is advisable, for example, with the director of a notfor-profit like the Center. But the best insurance for a collector is to be well informed, to have a general sense of the current market, and most of all, to buy what he or she really wants.
For those new to benefit auctions and to collecting photographs, learning what constitutes a given print's market value is important. And becoming familiar with a few relevant terms and basic considerations is a necessary first step.
Sotheby's photographs department head Denise Bethel advises balancing "concerns of condition with the rarity of the piece," when considering how a photograph's condition affects its value. "You can't look at condition in a vacuum."With a historical photograph, for instance, age is expected to have altered condition, so the question is, to what degree/ When considering the purchase of a modern print, however, a collector's stickling for perfection is understandable. In addi-
tion, a collector needs to assess the standard for the photographer's work under consideration. One photographer's prints may pose very different market expectations for condition than would another photographer's.
Another set of variables that affect value pertains to vintage prints, those printed later, and estate prints. According to the Association of International Art Dealers president Robert Klein, vintage prints are those made "at or near the date of the negative." Vintage is most important when valuing historical material. Klein explains that vintage prints are more valuable than later ones because they tend to be rare, and, in some instances, their (or the artist's) importance has been recognized by museums and established in the market. Also, the case is made that vintage prints are the culmination of an ongoing process. With later printings, not only has the artist's original inspiration been subject to time, but also key elements such as paper type and chemicals have changed. One type of later printing, estate prints - those made after the artist's death - may exist for various reasons, including as a way to help an artist gain posthumous recognition. Estates started under the artist's guidance and set up with limitations do make prints that uphold good value.
Rarity-extant prints-relates to the number of prints, and it often has a significant impact on a photograph's price. According to AIPAD's booklet On Collecting Photographs, the majority of prints prior to 1980 are not editioned; but, while there are notable exceptions, it is rare to find more than five copies of one image. Most photographs after 1980 are made in limited editions (e.g. I/ I 0) to maintain a certain guarantee of rarity in the marketplace. Even so, knowing specifically how an artist has limited an image is recommended because slightly altered formats may be regarded as different editions - with different values.
Regarding benefit auctions, do keep in mind that prices tend to be in the $200 to $5000 range. Not only are prices usually quite fair (they don't include a gallery commission, for example) but also the photographs are especially exciting because many are by new artists. As a result, for a good number of people, benefit auctions present the challenge of recognizing works by soon-to-be discovered artists. Hence, prescient buys have been made by judging photographs, not in accordance with their current market value, but rather, for the personal reactions they elicit.
Learning to care for your photographs will help protect them and preserve their value. So avoid unnecessary upset by taking the time to go over the basics of proper handling, environment, matting, and framing.Also, keep in mind com-
mon ways that photographs get damaged, such as improper handling. Picking up an unmatted photograph with one hand, for instance, may result in a crease or ding in the print surface. To safeguard from bending, always use two hands when handling a photograph and keep a few mat boards around for supporting prints. Also, touching the surface of an image should be avoided. Many times a person, in pointing to a detail or trying to remove a speck of dust, will end up leaving a fingerprint. Human skin may be sweaty or coated in creams or lotions that can damage prints.
For valuable photographs, home repairs are risky and should be avoided. Common mistakes include attempts to clean the surface of a print and to tape tears. According to Peter Mustardo, conservator and director of Better Image, with one type of photograph, "A cotton swab, a dab of rubbing alcohol and the best intentions will rub an image right off its paper." Furthermore, that dingy print actually might have been in excellent condition compared to photographs of its kind and time.Adhesives, such as scotch tape and glue, should be avoided. Mustardo recommends that collectors learn about the process by which a photograph was made to gain a sense of how to treat it. A good place to start is James M. Riley's Care and /dentif,cation of 19th Century Photographic Processes.Also, take a look at www.wilhelm research.com. Light Impressions has a terrific catalog of archival photo products.
Environment is vital to preservation. Heat and humidity can cause physical damage and accelerate chemical problems. Neither overheated dry apartments nor , damp basements are good places for pho- ., ~1 tographs. A temperature between 65-70 ' degrees and humidity around 35% are two ,I. ' ::·,: basics of a good environment. :\ ~, Conservator Ana B. Hoffman suggests ,tr • • picking up humidity indicator strips for a ' ' few dollars to keep a tab on moisture. Eventually, you may wish to purchase better measuring devices or want to speak with a conservator about a thorough evaluation. Remember, where photographs are hung affects their condition: are they ., exposed to air-born pollutants such as r smoke, or to extreme temperature change by being next to a window? Also, be sure not to hang photographs in places that receive strong direct light. In addition to accelerating fading, bright light may embrittle paper, explains Hoffman. So when framing, request glass or plexi treated to lessen U.V. rays. Since her preservation work often comes from damage by
shattered glass, Hoffman recommends © Elaine Ung, Sunrise in the Palm
plexi (and not leaning photographs unsecured on mantels)!
Regarding proper framing and matting, Ron Yourkowski, owner of the Mad Matter, advises that no destructive adhesives be used; matting should be with acid-free corners or rice paper hinges, depending on the type of photograph. After framing, be sure to check that the print is not touching the glass or plexi, otherwise, surfaces may stick. When storing unframed photographs, use acid-free archival boxes.
To avoid scratching, separate th~ photos from each other with acid-free paper or other non-damaging material. Many in the field warn that storing boxes on the floor may lead to damage. So give thought to the risks associated with the places where you plan to leave your photographs; metal shelving is preferable to wood.
A little know-how is essential for protecting your collection. ·Keeping up with the evolving research on the best materials for preservation is advisable. Your best allies though, may be your attention to detail and your good habits. Before going to a benefit auction, then, you may wish to consider how to bring home photographs. Damage to a print, common during handling and transport, may be minimized, even avoided. If you are not sure what to do, phone the organization running the benefit and ask for advice.
For new collectors, benefit auctions are especially useful for learning and practicing the basics of photography collecting. In addition, they are quite popular with many established collectors, and it is no surprise why. Good prices, the opportunity to discover talented new artists while supporting arts organizations, and, perhaps most importantly, the chance for people to get together and share their enthusiasm are part of what has made benefit auctions so prevalent. What makes them unique though, is how they help contribute to the life and popularity of the medium in so many ways.
MICHAEL ALBIN received a M.F.A. from Columbia University, where he was awarded a fellowship for writing. He has researched in the arts, including for The Whitney Museum, and has been a columnist for Photography In New York. Since moving to Chatham, New York, Mr. Albin has guest lectured at Skidmore and teaches at the College of St. Rose.
o(Budda, 2000, courtesy o(the Buhl Collection, NYC.I propose that everyone invite an artist to their homes for a few weeks.Then, encourage them to look around, ask questions, move the furniture, and teach the kids new games.Take their suggestions for dinner, ask their opinions on the decor, and assist them in achieving their ideas.
It will leave you transformed, having discovered things about where and how you live that were unknown prior to their visit. It will cause you to see things differently, to travel new paths, and make ones where none existed.You may begin to taste the season in the air or notice how interestingly the light falls on a chair at midday.
This is what artists do. They lift rocks off the ground to see what lies beneath. They bring different parts together, creating new wholes. They come, they explore, and in the end they leave our worlds, and ourselves transformed.
Begun in 1999, WOODSTOCK A-1-Ris a residencyprogram for artists of color working in the photographic arts. Designed for individuals who come from historically underrepresentedcommunities,through WOODSTOCKA-1-R the Center for Photography provides the time, space,and support needed to create new works, complete ongoing ones,and grow as artists within the embrace of the Catskill/HudsonValleyRegion and within one of the oldest artist coloniesin the United States. The 200 I program was made possibleby generoussupport from the National Endowment for the Arts, and the New York State Councilon the Arts, a state agency.
TERRY BODDIE
received his MFA from Hunter College, in NYC. His work has been shown at the Studio Museum in Harlem, the Delaware Center for the Contemporary Arts, Smack Mellon Studios in Brooklyn, the Bronx Museum of the Arts, and Reflections In Black:A History of Black Photographersat the Smithsonian Institution.Washington DC. A recipient of a New York Foundation for the Arts Fellowship, he has been an artist in residence with the Longwood Arts Project and an Artist in the Marketplace with the Bronx Museum of the Arts. Born in the Eastern Caribbean Island of Nevis, he currently lives in NYC.
ANNU
PALAKUNNATHU
MATTHEW has had numerous exhibitions including shows at the Victoria Albert Museum London, England, the Houston Center for Photography, TX, Light Work, Syracuse NY, Sepia International, NYC and at the Center for Photography in Woodstock, NY. She has received grants from the Rhode Island State Council of the Arts, the Gunk Foundation, and a Photography Fellowship from the Houston Center for Photography. Matthew's work has been published in Contact Sheet, Nueva Luz, and The Photo Reviewamongst other publications. She currently resides in Providence, Rhode Island and teaches photography at the University of Rhode Island in Kingston, RI.
Born in Saigon in 1972, HOWARD HENRY CHEN and his family moved to the US in 1975 on the last civilian flight departing South
He has worked as a journalist, freelance writer, and museum professional since earning a degree in Journalism and Political Science from Boston University. In 2000 Chen received a Fulbright Fellowship, which allowed him to return to Vietnam and photograph. In 200 I he participated in the Eddie Adams Photojournalism Workshop and will be an artist in resident at Light Work in Syracuse, NY in 2003. He currently splits his time between Vietnam and Detroit, Michigan.
An artist and educator, STEPHEN MARC has been the recipient of many group and solo exhibits. Most recently he participated in the exhibits Committed to the Image: Contemporary Black Photographers at the Brooklyn Museum of Art, and in Images in a Post-PhotographicAge at Visual Studies Workshop, Rochester NY. He has had solo exhibitions at CEPA, Buffalo NY, and the University of the Arts, Philadelphia PA. In 1992 Marc published Black Transatlantic Experience,which focused on the African Diaspora through his photographic documentation of street life and culture in Ghana, Jamaica, England, and the United States. He currently teaches at Arizona State University in Tempe where he resides.
Originally from Los Angeles, California, FELICIA MEGGINSON received her Masters from NYU in New York. She has been in group shows including City
Speculationsat the Bronx Museum of the Arts, Only Child (Wanna Come out and Play?) at the Rotunda Gallery Brooklyn, NY, and SignificantOther at the Longwood Art Gallery, Bronx NY. She has participated in the Artist in the Market Place program at the Bronx Museum of Art and was recently a resident at the Constance Saltonstall Residency Program in 2002. Megginson currently resides in Brooklyn, NY.
WU received her BFA from the Cooper Union School of Art in 1998. Since then she has been an artist in residence at the Women Studio Workshop in Rosendale, NY in 200 I and at the Atlantic Center in fall 2002. Her work has appeared in group exhibits including Birds Eye'sView curated by Yasmin Ramirez and Artist's Books at the Brooklyn Museum of Art. Wu's work is included in the Brooklyn Museum of Art's collection as well as that of the Museum of Modern Art and the Center for Photography's Permanent Print Collection. She currently resides in Brooklyn, NY.
Terry Boddie The _photographic _process is the ground_ing medium for my work. I _useit""in combination with other media such as oil, ink, charcoal, and soil in order to investigate and illustrate the relationship between t'(vo kinds of memory; the kind that is documented by mechanical recording devices, such as the camera, or preserved through kinds of memory that resides in the recesses of the mind. The black and white of the photographic imagery juxtaposed with the hue and textures of he various other mediums convey the tension between these two different kinds of memory. This combination also alludes to the tension between states of being, between history and myth, and between remembering and forgetting. Photography captures time; it renders memory suspended, transfixed, and static. The process of mark making, by contrast, performs an act of imagination or re-creation and activation in the present.
When I returned to Vietnam in 2000, as a Vietnamerican who has spent the HO ard Henry Ch majority of his life outside of Vietnam, living in the United States, I wanted to W en visually interpret for myself a place that others had visually interpreted for me. I wanted to make pictures that could sit alongside images of Vietnam to which I have grown accustomed: pictures portraying an Orientalists' fantasy of smiling rice farmers and water buffalo in verdant paddies, or the famous combat images of decades past. As Americans we usually think about Vietnam as a series of anniversaries frozen in time: the anniversary of this battle or that military offensive, or this particular protest or that incident of violence. The Vietnamese, I have learned, have gotten on with their lives in a way that continually amazes and moves me. It was this quality of radiant stillness in their lives that I saw and photographed.
journey,2000, Mixed-media,30x45". Currency,2000, Mixed-media,30x30" NoviceMonksCarryingHondaWaterPump to DrainFloodedRicePaddies,Nearthe Cityof Soc Trang,Vietnam,2000, gelatin silver print, 7 l/4x 71/4"For over twenty years the consistent theme in my work has been portraying the black experience. This current series, Passageon the UndergroundRailroad, is an investigation of the Underground Railroad presented in a combination of two different components-Composites, which visually describe specific sites, and Montages,which combine images from multiple sites, artifacts and contemporary references which address the Underground Railroad in a symbolic and metaphorical manner. This piece was compiled during my time in Upstate New York and includes images from my visit to the Huguenot Society in New Paltz, NY. The text images from the ledgers that I was given access to, tell of the birth and manumission (freeing) of one of the community's slaves.The images of walls are taken from the basement of the Niagara Frontier Baptist Church in Lewiston, NY. On the far right is a gentleman making a gesture for Phi Beta Sigma, a historically AfricanAmerican Fraternity. The other individuals are close friends of mine. Finally, the icon, which appears on the left, is Akua'ba (Child),a fertility doll from Ghana.
As an immigrant, I am often questioned about where I am
"really from." When I say that I am Indian, I often have to clarify that I am an Indian from India, not an American-Indian, but rather an Indian-American, South-Asian Indian or even an IndianIndian. In this portfolio I play on my own "otherness", using photographs of Native Americans from the nineteenth century, which perpetuated and reinforce stereotypes. The images highlight assimilation, use labels, and make many assumptions. I pair these with self-portraits in clothes, poses, and environments that mimic these "older" images. The clothes are also "made up", similar to Edward Curtis' intervention in his posing and dressing up of some of his subjects in his photographs. I challenge the viewers assumptions of then and now, us and them, exotic and local. This work starts to question what is given credibility, what is patently contrived and how the two are not as far apart as we would like to believe.
•n son Place as a metaphor for self has been a recurring theme•in my work-an idea that • ggi recently has been heavily influenced by Gaston Bachelards' The Poeticsof Space. Bachelard c;alls the forest (and by extension, the natural world in general) a "before me, before us" place; a place of history and grounding. Our experiences in the natural world, tend to reflect that need to reach back and connect with that primal "before me, before us" time. This series is about my need to re-connect with the past and with the sense of self that comes from simply beingexisting-in nature. These images are my response to the sometimes dehumanizing grind of city life. They aren't about nostalgia or a sentimental longing; rather they are my attempt to simply be in the world, to connect with the sensual (primal) side of myself and with my place in the ever-present cycle of birth, life, and death.
The photographs I make are not records of what has existed, rather-after rigorous selection
oonch ing Wu and manipulation-something that resonates more closely to an experience. They are "photoextracts" of cities, of lands, of waters, of various objects we call matter. Light is the initial source of photographs; matter, the second. Not unlike light, water is both corpuscular and wave-like. Many of my photographs seek the murky, metaphorical, and permeating conditions, which occur at the junction of light and water.
Contemplationfrom the series Communion,2001, toned gelatin silver print, 20xl6". TheSinner'sGaze,from the series Communion,2001, toned gelatin silver print, 20xl6".
ARTISTSREPRESENTED
Shelby Lee Adams • Lynn Bianchi
Christopher Coppola • Paul
John Dugdale • Torben Eskerod
David Goldes • Mark Goodman • Simen Johan
Mary Alice Johnston • Mona Kuhn
Jan Van Leeuwen • Elaine Ling • Jason Oddy
Marla Sweeney· Bert Teunissen
Katherine Turczan
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AUCTIONS
OCTOBER 21, 2002
Illustrated Catalogue$35
Inquiries: Daile Kaplan e-mail: dkaplan@swanngalleries.com Tel 212 254 4710 ext. 21
catalogues and complete auction schedule online at www.swanngalleries.com
Swann Galleries
104 East 25th Street, New York, NY room Tel 212 254 4710 Fax 212 979 1017
lt\C
Imogen Cunningham,Amaryllis,silver print, 1933. Estimate $55,000 to $75,000.
6TH ANNUAL FRIENDS OF FRIENDS PHOTOGRAPHY AUCTION
Archival Fine Art Inkjet with the Epson Stylus Pro 10000
Gorgeous archival digital prints up to 44" x 90" on a variety of papers. For editions, exhibitions, and your imagination. Fuji Pictrography 4000
Photorealistic Prints up to 12" x 18"
LIVEAucnoN: December 11, 2002 (Wednesday) 7pm-9pm
RECEPTION:December 11, 2002 (Wednesday) 6pm-7pm
PREVIEW:December 10 & 11, 2002 10am-6pm
LOCATION:Swann Galleries 104 East 25th Sr. (at Park Ave.), NYC rel (212) 254-4710
AUCTIONEER:George Lowry / Swann Galleries
AuCTION ADMISSION:$50 donation for admission ticket (required for attendance, live or absentee bids). You will receive our 64-page museum quality catalog and a paddle number.
To order catalog, Please send a check for the $50 donation to: FRIENDSWITHOUT A BORDER 140 West 22nd Sr., Suite l lA New York, NY 10011 rel (212) 691-0909 fwab@fwab.org www.fwab.org
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