Photography Quarterly #86

photograph

September/October 2003 $5

©

photograph the bi-monthly USA guide to exhibitions, private dealers, auctions, events, resources, news and lots more.

One-year subscription: $35 us, $40 Canada, $70 all other. Payment in US funds on a us bank or Amex, MC, Visa.

photograph 64 west 89th street, New York, NY 10024 212/787-0401 photograph@bway.net I Visit our website at www.photography-guide.com for the latest info, hundreds of links, and where to find the works of over 1500 artists.

Rineke Dijkstra, Almeriso, Leidschendom, The Netherlands, December 9. 2000. courtesy of Marian Goodman Gallery, New York

p4

25th ANNUAL BENEFIT

AUCTION

Fine Historic & Contemporary Photographs to benefit the Center for PhC>tography at Woodstock

LIVE SALE

Saturday,October I I, 2003 at The Woodstock Town Hall, 7pm

Auction admission is free with this catalog which admits up to two guests to the sale.

PRINT PREVIEW

Prints will be on view at the Center from September 19-October I 0, Wed-Sun, I 2-5pm. Lots will be posted online at www.cpw.org & on the day of the sale can be viewed at the Woodstock Town Hall, 76 Tinker Street, I 2-5pm.

NYC PREVEIW PARTY

Tuesday, September 16, 6-8pm

Join us in NYC for a very special preview of highlights at Ricco/Maresca Gallery, 529 W 20th St, 3rdfloor (between I Qth& I I th Aves) with Howard Greenberg, Sarah Hasted, W.M. Hunt, Sarah Morthland,Yossi Milo.John Bennette,and many surprise guest artists! How to Buy & What to Buy at a CharityAuction begins at 6:30. $20 admission per guest includes auction catalog and admission for two to October sale.

ABSENTEE & BID FORMS ARE IN THIS CATALOG

Prospective buyers are encouraged to personally view work for sale during preview or by appointment.You may also call CPW directly to request a condition report on any lot

T 845 679 9957 / 845 679 7747 F 845 679 6337 I info@cpw.org

PHOTOGRAPHY Quarterly is published by the Center for Photography at Woodstock (CPW), 59 Tinker Street, Woodstock, NY I 2498. Copyright 2003, the Center for Photography at Woodstock. All rights reserved. No part of the contents may be reproduced without written permission of the publisher.All works illustrated in the Quarterly are copyrighted by the individual artists who produced chem; 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. Distributed by Ubiquity Distributors, Brooklyn, NY I 1217; Editors, Kate Menconeri, Ariel Shanberg;Ad Manager, Kathleen Kenyon; Copywork, Judi Esmond; Typesetting, Digital Design Studio, Kingston, NY. Cover:© Michael Prince, Shower,2003, Epson print.

Board of Directors: Peter Brandt. Sarah Hasted, David Karp,John Kleinhans.Arie Kopelman, David Maloney, Kitty McCullough,Yossi Milo, Sarah Morthland, Dion Ogust, Robert Peacock,Platen. Kathleen Ruiz, Alan Siegel,Gerald Slota, Bob Wagner. Advisory Board: Philip Cavanaugh.SusanEdwards.SusanFerris, Julie Galant, Howard Greenberg-Founder, Sue Hartshorn, WM. Hunt, Douglas James,Greg Kandel, Ellen K. Levy,Peter MacGill, Marcia Reid Marsted, Elliott Meisel.Jeffrey Milstein.Ann Morse. Gloria Nimetz, Sandra Phillips, Lilo Raymond, Ernestine Ruben, Neil Trager, Rick Wester, Director Emeritus: Colleen Kenyon Staff: Ariel Shanberg.Kate Menconeri, Lawrence P.Lewis, Kathleen Kenyon, Fawn Potash.Thank you interns: Davette Glover, Aaron Miller, John Roberts, Karen Schlesinger,and summer volunteers: Andrew Katzowitz and Ben Cavar.

INTRODUCTION

© RichardAvedon,EliseDaniels,TurbanbyPaulettePre-<:atelan,Paris,1948, 1978,gsp.

The Center for Photography at Woodstock is pleased to present the 25th annual benefit auction catalog. Held each Columbus Day weekend in Woodstock, NY, this annual fundraising event helps to support our year-round creative and educational programs.

This year we are particularly excited to bring you some of the finest historic and contemporary photographs we have offered to date, in a newly designed catalog with larger lot illustrations and text, spanning more pages! In addition we are delighted to share with you a wonderful interview with the collector. John Bennette, whose passion for collecting and supporting photographers is an i1spiration.

Eachyear as auction production gears up, packagesbegin to arrive from artists - contemporary voices who have been in our exhibitions, worksrops, residency,publications - like letters from dear friends, containing remarkable photographs for the benefit sale - each print, a gift from the artist, is offered to be sold in our auction to help fund our year-round creative offerings. For the Center and staff. it's an enormous honor to have our efforts affirmed and recognized by the artists we serve.These gifts provide vital support to this small not-for-profit with an international following and allow us to be here and continue to support future generations of image-makers.

The photographs you'll see in this auction could not be found together anywhere else.You'll recognize renowned masters of the craft and maybe find yourself enchanted or surprised by the new talent also featured -names and images you may not yet recognize but certainly will in years to come!

We welcome you to join the circle - take an active role in caring about the arts and the artists we serve. Whether you choose prints by

newcomers or masters, know that not only are you taking home an original work of art, but also that each print you purchase in this sale gives twice - once to you and once to the future of this arts organization and the artists, eyes,and minds we strive to inspire.

It is a gift for those of us at the Center to come in everyday and work with the talented image-makers featured in our programs. It is their creative vision and insight that not only shapes and informs our work but also affirms the need for institutions like the Center. With every exhibition, workshop, artist residency,and publication, the Center creates long lasting relationships,builds communities, and opens a forum for dialogue which strengthens the presence of this art form that affects the ways in which we see and understand the worlds we live in and provides access to those in which we don't.

We look forward to celebrating with you on Saturday October I I th!

- Ariel Shanberg, Kate Menconeri,

and Larry Lewis

Enormousthanks to: the artists,galleries,and donors who contributed work to this benefit; the Print and Archival Sponsors of the 2003 AuctionMeridian Printing and Light Impressions;and to the volunteers,advertisers, and support staff - all of you who have made this benefit possible.

Founded in 1977, the Center for Photography is a 50 I (c3) not-for-profit organization run by artists for artists and their audiences. Celebrating over 25 years of service, the Center hosts innovative programs in exhibition,education, publication,and services, including year round exhibits of new artists, the Woodstock Photography Workshop and Lecture series, classesfor kids. artist residencies. internships, community darkroom, and more. For many of the artists we serve (now over 12.000!).the Center has provided their first major recognition in the field.We educate and promote future generations of artists and create an international dialogue about contemporary photographic arts.

DEDICATED TO THE ART OF SOPHISTICATED PRINTING AND COLOR REPRODUCTION FOR FINE. ART AND PHOTOGRAPHY.

CI.IFN'l Srorm King

···All contemporary prints are courtesy the artist in addition to donors and/or gallery noted.

I. Lot of 3 / Goldsmith, Lynn, from the Flower Portfolio,2000,AP prints, Iris, each signed in pencil on back of print, each 9x6", $750/ 1500. CourtesyDancing Bear.

2. Robinson, Linda K., Abstract SeriesTwo Sides,1997, ed#5/50, C-Print, signed in pencil on front of mat, 43/4x3¾", $150/300.

3. Frank, Jona, Travis,Hick, Nebraska, 2002,AP, C-Print, signed in pen on back of print, 12 x9½", $600/800.

4. Bistline, Walt, South Padre Island 03SA-4, 2003, ed#3/20, Epson color inkjet, signed in pencil on front of print, 9¾x7¾",

$150/300.

5. Uelsmann, Jerry N., Untitled (Dog Looking at Sky), 2003, 3 negative combination gsp, signed in pen on back of print, I 3 1;.,x I 0'/4", $700/1500.

6. Zungoli, Nick, Leaf CoveredPond, 1989, ed#20/300, Epson ultrachrome inkjet, signed in pen on front of print, I 4x 101,f, $200/300.

7. Ballance, G.K., In The Hills, Bordighera, c.1900, vintage, platinum, stamped in ink on back of print, 6x4 1/4", $300/500.

8. Cavanaugh, Philip, In the Staircase: Rokeby,2003, gsp, signed in pencil on back

of print, I 4¾x9¾", $200/400.

9. French, Herbert, /ffustration No. I 8, 1909, vintage, CW 27: I I, Camera Work

Gravure, 8 1/4x6", $300/400.

I 0. de Swaan, Sylvia, Arad to Krakow, 1996, gsp, signed in pencil on back of print, 8 1;.,x 12", $250/500.

I I. Hastanan, Skowmon and Gottesfeld, Jeff "Sefe", A Prince'sPalace Ill, 2003, inkjet on canvas,signed in pen on back of print, I 0 1/2x 14", $250/500.

12.Claire, Leilani, A Paris Diary - Hill House, 2002, ed#2/50, Cibachrome, signed in pen on front of print, 9'/4x I 5", $200/400.

13. Lang, Mary, Untitled (Weston, MA), 2002, gsp, signed in pencil on back of print, 8 1;.,x 13", $ I 50/300.

14.Tanaka, Gayle, Face-off,2000, offset photolithograph printed on Sommerset, signed in pencil on back of print,

6¾x IO¾" diptych,$ I 50/300.

I 5. Brading, Martin, Giant Flag + Tree,Rt 17, NY State,Oct 200 I, 2002, C-Print, signed in pen on back of print, I 7¾x23", $300/600.

16. Porto, James, The Great Divide, I 999, 2000, gsp, signed in pencil on back of print, 9'/4x 11¾",$300/600.

17. Nash,A. Leo, Michael Christian's Nebulous Entity, 1999, ed#2/50, Iris. signed in pencil on back of print, 5 1/2x 13". $500/800.

18. Saville, Lynn, Pont d'leno, I 998, ed#3/25, gsp, signed in pencil on back of print, I 3x83/4",$400/600. CourtesyYancey RichardsonGallery,NYC.

19. Edelman, Richard, Black Dog, Barcelona,200 I, pigmented ink on rag paper, signed in pencil on back of print, 273/4x I 8 1,f, $200/400.

20. Phibbs, Richard, Alex Walking,2000, ed#2/ I 0, gsp, signed in pencil on front of print, I 7x 131/2", $750/ 1500. Courtesythe Art Departmen, NYC.

21. Nimetz, Gloria, Maine Coast I, 1999, archival D-Print (digital), signed in pencil on back of print, I 3l/4xI 0'/2", $200/400.

22. Kasebier, Gertrude, Portrait - Mrs. Philip Lydig, 1905, Camera Work Gravure, 8x53/4",$300/500. Courtesydonor Sandra Phillips.

23. Thomas, Michael, White House, no. / 2, 2002, Iris, signed in pencil on back of print, 20x 16", $500/1000. CourtesyRobert Klein Gallery,Boston,MA.

24. Barker, Joan, East Village,NYC, I 986, 1986, gsp, signed in pencil on back of print, I 7x I I 1/4", $400/600.

25. LaBorge, Caroyl, Deux Voix,2003, ed#6/75, giclee, signed in pencil on front of print, 22xl4\f, $500/800.

26. Lippman, Marcia, Milan, Italy, 1993, AP# 2/5, toned gsp, signed in pen on back of print, I 43/4xIO", $600/1 200.

27. Stratton, Margaret, Skull in Glass Box,Santa Maria de La Fontenella,Naples, Italy, 2000, ed# I/ I 5, gsp, signed in pencil on back of print, 9x 12", $600/800. CourtesyRicco/MarescaGallery,NYC.

28. Kurita, Koichiro, Eddy,Outer Bank, NC,january 2000, 2003, ed#5/20, platinum/palladium on rice paper, signed in pencil on front of print, 73/4x93/4", $ I 000/ 1400. Courtesyjohn Stevenson Gallery,NYC.

29. Sheng, Jeff,jenny Lake,Wyoming, 2000/2003, ed#l/15, C-Print, 151/2x23", $750/1000.

30. Mitsch, Doris, Datura G, 2000, ed# I /I 5, archival inkjet print on rag paper, signed in pencil on back of print, 14x20", $300/600. Courtesy Clamp Ar, NYC.

31. Shapiro, Carla, Untitled, from series Obituaries to PrayerFlags(About the World Trade Center),2002, ed#4/25, Ektacolor, signed in pen on back of print, 131/2x 191/4", $500/700.

32. Garbarino, Edward, Teliodios,2002, ed# 1/25, split sepia and selenium toned gsp, signed in pencil on back of print, I 6x20", $300/500. Courtesydonor Susan Wechsler.

33. Schacher-Tytla, Tamara, Richie Havens, 1997, gsp, signed in pen on back of print, I 53/4x20", $200/400.

34. Boddie, Terry, One Way, 1989, gsp, signed in pencil on back of print, 9 1/2x 131/4", $500/800.

··35. Gelles, Judy S., Coke Machine, from Trailer Park series, 2002,AP, Lambda Print, signed in pen on back of print, I 5x 15", $600/800.

36. Milstein, Jeffrey, LoopA Plane #I, 2003,AP, Epson archival pigment ink on rag paper, signed in pencil on front of print, I 8x 18", $400/600.

37. Oelbaum, Zeva, Untitled (fiowers), 2003, AP of I 0, cyanotype, signed in pencil on back of print, 20x 16", $800/ I 000.

38. Goldes, David,Jar, 1998, ed#6/ 15, gsp, signed in pencil on back of print, I 8l/4x 143/4",$ I 000/1200. CourtesyYossiMilo Gallery,NYC.

39. Kramer, Daniel, Bob Dylan, I 965, (Biograph album cover 1985), 2002, gsp, signed in pencil on back of print, I 83/4x15", $ I 000/ 1500.

40. Ragan, Vicki, White Women, 2003,AP, Iris, signed in pen on front of print, 23 1/2xl5 1,f, $400/600.

41. Arlen, Ann Covington Warner, Tulip 267, 2003, archival digital, signed in pencil on back of print, I 73/4x I 13/4", $250/500.

42. Galembo, Phyllis, TwoAlligators Talking, 1997, ed# 4/20, Cibachrome, signed in pencil on back of print, I 9x 19", $800/1200. •

43. Thomas, Gwenn, Untitled (Splitting 2), 2002,AP, C-Print, signed in pen on front of print, 20 1/2x 163/4",$600/800.

44. Himmel, Paul, City Center BalletOrpheus, I 954, 1998, gsp, signed in pencil on back of print, I 33/4x I 8'/2", $1500/2000. Courtesy Keith De Lei/isGallery,NYC.

45. Citret, Mark, Footprints,Mission Bay, 200 I, ed#2/45, gsp, signed in pencil on front of print, 83/4x11'/2",$600/800. Courtesy Howard Greenberg Gallery,NYC.

46. Badger, Gene, Cape Hatteras, N.C., c.1949, gsp, stamped on back of print: Standard Oil Company, 7 1/4x9 1 /2", $400/600. Courtesydonors Paula and Mack Lee,Lee Gallery,Winchester,MA.

47. Edgerton, Harold, Catalina Island, c.1940, vintage, gsp, 7 1/2x9'/2",$ I 000/1500. Courtesydonors Paula and Mack Lee,Lee Gallery,Winchester,MA.

48. Anonymous, Untitled (winter landscape), c. 1900, cyanotype, 43/4x63/4", $200/300.

49. Leighton, J. Harold, Untitled (snow scene), c. I 920, vintage, platinum print, 4 1/4x6", $400/600.

50. Esmond, Judi, Reunion,2003, toned gsp, signed in pencil on back of print, I lxl4", $250/500.

51. Ans, Jojo, Castle Series Ill, 1995, ed#2/25, platinum/palladium, signed in pencil on back of print, 2 1/4x4 1/2", $200/400.

·-·52_Kalman.Jordanna, Emily Sitting, 200 I, Ektacolor, signed in pen on back of print, 8x8", $ I 50/300.

53. Alt, Jane Fulton, SacredHeart #2, 1997, ed#2/20, gsp, signed in pencil on back of print, I Ox IO", $300/600.

54. Hunter,Allison, Port of Albany #I, 2003, ed# 2/20, digital inkjet, signed in pencil on front of print, 5x5", $300/600.

55. Graham, David, Angel Milon as Liz Taylor,Haverford,PA, 1993, C-print, signed in pen on back of print, I 0 1/2x I 0'/2", $250/500.

56. Cratsley, Bruce, Marble Egg,Musee D'Orsay,Paris, 1995, gsp, signed in pencil on back of mount, 9½x9 1{', $700/900. Courtesy Sarah Morthland Gallery,NYC &

donorsJane Cratsley& Billy Leight.

57. Littwin, Kathi, We Tied Up The

Onions,2002, ed#5/30, gsp, signed in pencil on back of print, I 0 1/2x I 0 14", $300/600.

58. Lindbloom, Eric, Pinewoods# I 7, N

Truro,MA, 2002, gsp, signed in pencil on

back of print, I 0 1/2x I 0 14", $400/600. Courtesy Gallery 292, NYC.

59. Caffery, Debbie Fleming, M, (taken in Mexico), 2000, gsp, ed#5/25, signed in pencil on back of print, I 8 1/2x I 8'/2", $800/ 1200. CourtesyRi~co!MarescaGallery, NYC.

60. Wagner, Bob, Mauntainville, NY, (Noguchi:Momo Taro,Storm King), 200 I , AP, gsp, signed in pencil on back of print, I 5x 15", $400/600.

61. Potash, Fawn, Flying Pile of Books, 2000, ed#2/ I 5, toned gsp with wax finish, signed in pencil on back of print, I 4x I 8'/2", $800/ 1200.

62. Smith, Gordon, Sunflowers,Southern France, 1992, gsp, signed in pencil on front of mount, I 4 14x2 I 14", $300/600.

63. Tice, George, Buggyand Cats, Lancaster,PA, I 96 7, 1981, gsp, signed in pencil on front of mount, 8¾x 13'/2", $600/1200.

64. Kratochvil,Antonin, Slovakia,I 99 I, 2003, gsp, signed in pen on back of print, 8 1/2x 12¾", $500/ I 000.

65. Gudnason, Torkil, Self Portrait, 2003, Cibachrome, signed in pen on back of print, 141/2xl9", $600/800.

66. Squillante, Joseph, Highlands Nook,

2000, gsp, signed in pen on front of print and in pencil on back, 9 1/2x IO¾", $200/400.

67. Edwards, Beth Yarnelle, The Home Theatre, 2000, ed# I /25, C-Print, signed in pencil on front of mount, I 4x 18", $600/800.

68. Barber, Craig J., Pavilion,2002,AP, platinum/palladium, signed in pencil on back of print, I 2x20", $ I 000/ 1500.

·-i,,9_Munkacsi, Martin, The Rent Barracks, Budapest,Pesti Naplo, c. I 923, 1994,AP,gsp, estate stamp and signed in pencil on back of print by Joan Munkacsi, I 2x9 1/4", $ I 000/ I 200. CourtesyJoan Munkacsi and Howard GreenbergGallery,NYC.

70. Ferguson, Jesseca, Two Horses I Book,2002, Argyrotype (pinhole), signed in pencil on back of print, 5x4", $200/400.

71. Webster, David, Incarceration Series #2, 2002,AP, archival digital print, signed in pen on back of print, I 3¾x IO", $800/1200.

72. Opalenik, Elizabeth, Bunting with Cherry Blossoms,2003, toned gsp, 9 1/2x71/2", $600/800.

73. Scarville, Keisha, I Grew Up:Thread,

2002, ed#l/15,Van Dyke brown on watercolor paper, signed in pen on back of print, I Ox?¾", $250/500.

74. Hall, David, 8rittlestar on Sea Fan,St. Vincent, 1999, Cibachrome, signed in pencil on back of print, I 9 1/2x 15'/2",$400/600.

75. Fujihara, Michiyo, Nude, 1990, Cibachrome, signed in pen on back of print, I 2x8", $600/800.

76. Kallina, Jean, FarmhouseDoorway, Esopus,New York, I 998, 1998, gsp, signed in pencil on back of print, I 9 1/4x 151/4", $500/1000.

77. Solyagua, Camille, Wing Study #8, 1998, ed#5/45, gsp, signed in pencil on front of print, 8'/2x7¾", $600/800.

78. Hawkes, Pamela Ellis, Untitled #53, 2002, ed# 2/ I 5, archival inkjet, signed in

pencil on front of print, 7 1/2x IO", $400/600.

79. Trager, Philip, West / 22nd Street, 1979, gsp, signed in pencil on front and back of print, 7¾x9¾", $1500/2000.

80. Orkin, Louise, A// That's Left, 2003, archival inkjet, signed in pencil on back of print, Bx IO¾", $200/400.

81. Steichen, Eduard, The BigWhite Cloud, 1906, vintage, S5:27, Camera Work Halftone, 8'/2x6'/2",$400/500.

82. Rotan, Thurman, Beaufort, S.C., 1940, printed later, gsp, signed in pencil on front of mount and titled, dated, w/photographers' stamp on back, 4'/4x5'/2", $1000/1500.

83. Hosoe, Eikoh, Kamaitachi #23, 1965,

printed later, gsp, signed in pencil on front of print, Bx 12", $1200/ 1500. Courtesy Howard GreenbergGallery,NYC.

84. Eugene, Frank, Horse, 1910, vintage, Camera Work Gravure, 3 1/2x41/2", $200/400.

85. Ponti, Carlo, RoyalPalace,Venice, c. I 870s, vintage, albumen, photographer's blind stamp on mount, I Ox 13¾", $200/400.

86. Maxwell, Robert, Susanwith Stockings,2003,AP, gsp. signed in pencil on back of print, 20x 16", $750/1500. Courtesy the Art Departmen, NYC.

87. Maas, Rita, Untitled (dark flower), 2003. archival inkjet. signed in pencil on front of print, I I x8 3;.,", $300/500.

88. Marcuse, Tanya, Corset with Ribbon, Museum at F.I.T.,NYC, 2002/2003, platinum, signed in pencil on back of print, 4¾x3¾". $700/900.

89. Varnedoe, Juliet, Falconer,Budapes, Hungary, 2003, coned gsp. signed in pen on back of print, I 5¾xl4¾", $250/500.

90. Sarachek, Jett, SidecraterII, Vieques, P.R.,2000, gsp, signed in pen on back of print, 5x4", $400/600.

91. Arai, Tamie, Hope, 2003. AP of 25, solar place etching, signed in pencil on front of print, 10x6'/2",$200/400.

92. Marks, Betty, Birch, 200 I, C-Princ, signed in pen on back of mount, 9¾x7¾", $150/200.

93. Casella, Margaret, Cape Hatteras Ugh, 1996, Iris print on watercolor paper, signed in pencil on back of print, 12½x9W, $300/600.

94. Rosenstock, Ron, Ulies and Shadow, Florence,Italy, 1995, gsp. signed in pen on front of print, 171;.,x 13½", $500/ 1200.

95. Atwell, H.A., Untitled (woman on tightrope). c. I 920s, vintage, gsp, signed in negative, 7'/2x9½", $200/400.

96. Ames, Barbara, Rosesand Granite, 2002, pigment print, signed in pen on front of print, 11¾x 161/2", $150/300.

97. Haas, Ernst, White Sands, I 952, 1997, gsp, signature in pencil and photographer's stamp on back of print, 8 1/2x 13", $ I 000/1200.

98. Adams, Shelby Lee, The Ned Yard, 200 I . ed#8/25, gsp, signed in pencil on front and back of print, I 4 1/2x I 8¾", $800/ I 000. CourtesyYossiMilo Gallery,NYC.

99. Powell, Gus, The Fall,from the series Lunch Pictures,2002,AP of 20, C-Print, signed in pen on back of print. 8¾x 13';.,", $300/500. CourtesyAriel Meyerowitz Gallery, NYC.

I 00. Hanson, Raymond, Untitled (landscape with cottage), c. I 920s, bromoil, signed in pencil on front of print, IO1;.,x I 3 1;.,", $200/400.

IO I. Collier, John, Painterson a Break, Washington,DC, c.1937, vintage, gsp. FSA stamp on back, 7 1;.,x9½", $400/800.

I 02. Cohen, Joan Lebold, Lotus Eye, China,2002, ed#2/25, C-Princ. signed in pen on front of print, I 2¾x 19", $250/500.

··I03. Apfelbaum, Sally, BethesdaFountain #2, 1998, ed# 2/25, C-Print, signed in pen on back of print, 22½x I 73/4",$2000/3000.

I 04. Halsman, Philippe, Fall Fashions, c.1947, photographer's stamp on back of print, 13'/2xI 03/4'',$600/ 1200.

I 05. Cartier, F+D, Brigitte, 200 I, ed# I/ I 0, gsp, photogram, signed in pencil on back of print, I 9l\x 16", $800/ I 000. CourtesyYossiMilo Gallery,NYC.

I 06. Carey, Ellen, Untitled, 2002, unique, C-Print, signed in pen on back of print, 24x 193/4",$2000/3000. CourtesyJayne H. Baum Gallery,NYC.

I 07. Coburn,A.L., The ChineseQuarter, c.1910, vintage, photogravure from "New York," 8x53/4",$300/400.

I 08. Folino, Lisa, Beeky + Minnie, 2002, gsp, signed in pencil on front of print, I 4x I 03,:,",$800/ 1500.

I 09. King, Frazier, BrassiaOdontoglassam Long/en"Bill Switzer", 2002, ed#8/20, gsp, signed in pencil on back of print, I 8 I/2x 14", $400/600. Courtesydonor Susan Dunkerley.

I I 0. Metzner, Sheila, White Dress,Black Chair, 1985, ed# I/ I 5, Fresson print, signed in pencil on front of print, I 9x 13", $3000/4500.

I I I Lyons, Lisea, Untitled (legs, skipping), 2003, ed#l/10, 28x28", $ I 000/ 1400. CourtesyHeather Marx Gallery,San Francisco,CA

112. Cramer,Aileen B., Brighton, England, 1956, vintage, gsp, printed by Konrad Cramer, signed in pencil on back of print, 7'/2x9'/2",framed, $600/800.

I 13. Williams, James Leon, Untitled (man on river), c. I 890s, vintage, photogravure, 7 I/4x9I/2'',$200/300.

I 14. Steichen, Eduard, La Cigale, 1906, vintage, Camera Work Gravure, 6'/4x7", $1200/1 500.

115. Steichen, Eduard, Moonlight:The Pond, 1906, vintage, CW 14:I I, Camera Work Gravure, 6'/2x8", $1500/2000.

I 16. Steichen, Eduard, Late A~ernoonVenice,1913, vintage, CW 42/43:63, Camera Work Duogravure, 6¼x7I/4", $ I 000/ I 500.

I 17.Wolff, Dr. Paul, Untitled (travelling in Audi convertible), c.1934, vintage, gsp, photographer's stamp on back of print, 7x9 I/2", $ I 500/2500.

I 18. Morgan, Barbara, Inner Vision (light drawing with Helen Priest 1940), 1981, gsp photomontage, signed in pen on front of print, I 2 I/2x 13", $600/1200.

119. Siskind,Aaron, Untitled, 1970s, notes in pencil on back of print, 9x 12", $500/ I 000. Courtesydonor CharlesTraub.

120. Winiker, Barry M., Carnival Legend, 2003, gsp, signed in pencil on back of print, 9x9", $200/400.

121. Vizzini, Robert, Moonrise Over Montauk, 1998, ed#3/ I 5, gsp, signed in pencil on back of print, 13x 13", $600/800.

122. Perrino, Barbara, Untitled (child's ball w/letter "B"), 1996, platinum/palladium, signed in pencil on back of print. 3½x3 1,f', $300/500.

123. Ogust, Dion, Glasco'sTrees,2002, gsp, signed in pen on front of print, 9x8 1,f', $300/500.

124. Golemboski, Carol, Lest ye Forge~ 200 I, gsp, signed in pencil on back of print, I 3 14x I 3 14", $600/800.

125. Stein, Harvey, Dinosaurs,California, 1997, selenium toned gsp, signed in pencil on back of print, 9 1tx9 14", $500/ I 000.

126. Armstrong, Bill, Untitled (Mandala #400), 200 I, ed#3/ I 0, C-Print, signed in pen on front of print, I Ox IO", $500/800.

127. Vanaria, Catherine, Willow, NY, 2002, carbon pigment inkjet, signed on front of print, I 314x13¾", $200/400.

128. Rainer, Michael, Heather's Nipple I Heather's Navel (diptych), 2003, ed#3/ I 0, archival inkjet (ultrachrome}, signed in pencil on back of print, I 2x 12" each, $400/600.

129. Ruben, Ernestine, Small Hands with Berries,2000, unique gum dichromate, signed in pen on back of mount, 1114x 161,i", $3000/5000. Courtesyjohn

StevensonGallery,NYC.

130. Custodio, John, Angel Oak, Charleston,South Carolina,2003, ed#2/50, inkjet, signed in pencil on back of print, 12x 15", $200/400.

131. Morgan, Barbara, Doris Humphrey - ToThe Dance, I 944, c.1980, gsp, signed in pen on front of print, I 2¾x 16", $600/1200.

132. Ling, Elaine, Atacama Desert #I, 2002, gsp, charity ed# I /28, signed in pencil on back of print, I 9½x22¾", $900/ 1200.

133. Christenberry, William, Store, Greensboro,Alabama, 196 7, 2002, from an edition of 25, C-Print, signed in pen on back of print, 3 1tx5", $2000/2500. Courtesy Pace/MacGi/1Gallery,NYC.

134. Fink, Larry, Women on 5th Avenue,

NYC, 1961, 2002, gsp, signed in pencil on back of print, I 2 14x I 8'4", $ I 500/2000.

135. Parker, Olivia, Interior with Amaryllis, 200 I, ed#7/30, Epson pigment, signed in pen on front of print, I 2x 18", $800/ 1200.

136. Raymond, Lilo, Bed, Stratford, 1972, gsp, signed in pencil on front of print, 9x 1314", $800/ 1500. Courtesydonor Jane Kenyon.

l37. Fellman, Sandi, SWS #2 7, 200 I, gsp, signed in pencil on back of print, 5x4", $500/ I 000.

138. Uelsmann, Jerry N., Untitled (Free Spirit), 1998, 3 negative combination gsp, signed in pen on back of print, I 3l/4x91,2°', $700/1500.

I 39. McCurry, Steve, Batang Kham, 200 I, Cibachrome, signed in pen on front of print, I 71/2x11W,$1500/2500.

140. Grunzweig, Bedrich, The Crossing of 42nd Street:3"' Avenue, 1953-54, printed later, gsp, signed in pencil on back of print, 15l/4xI 5l,f, $2000/2500.

141.Joffe, Constantin, Untitled (model with umbrella and gloves), 1947, vintage, gsp, Conde Nast scamp with date on back of print, 9¾x7¾", $1000/1500.

142. Ketchum, Robert Glenn, Stewart's Cirque + Elk Point Under Broker Sky, 1989, ed#5/33, Cibachrome, signed in pencil on back of print, I 91/4x15'/4",$300/500.

143. Plachy, Sylvia, Sabe in Arms, 2003, gsp, signed in pencil on back of print, I 2¾x8W, $700/900.

144. Davidson, Bruce, YoungGirl on London Street, 1960, printed later, gsp, signed in pencil on back of print, 13x9", $ 1200/2000.

145. Strand, Paul, ChristoTlacochoaya, I 933, (# 13 from the Mexican Portfolio), 1967, photogravure, I 0 1~x7 7,f, $300/400. Courtesy Howard GreenbergGallery,NYC.

146.Johanson, Sandra, Coffee Cup,# I I, from the Love,Georgeseries, 2000, ed# I /15, toned gsp, signed in pencil on front of print, 9 1/2x 12'/4",$600/800. Courtesy Sarah Morthland Gallery,NYC.

147. Mallo, Luis, In Camera 2001-02, no. 18,2002, ed# I /7, C-Print, signed in pen on back of print, I 9 1/4x23 W,$800/1200. Courtesy Ricco/MarescaGallery,NYC.

148. Winogrand, Garry, Untitled, from Women Are Beautiful series, 1960s, printed later, gsp, signed in pencil on back of print, S¾x 13'/4",$2000/3000.

149. lzu, Kenro, Angkor #4,Angkor Wat, Cambodia,2002, #25 of unlimited, platinum/palladium, signed in pencil on front of print, I 3x 19", $ I 000/ 1500. Courtesy FriendsWithout A Border,NYC and Howard GreenbergGallery,NYC.

150. Stern,Andrea, Untitled (girl on swing), 2002, ed#2/ I 5, C-Print, signed in pen on back of print, I 7¾x22", $800/ I 000. CourtesyRicco/MarescaGallery, NYC.

151. Dunkerley, Susan,Jump, 1998, ed#5/25, toned gsp, signed in pencil on back of print, I 27~x 16½", $200/400. Courtesy donor Frazier King.

152. Levinthal, David, Untitled (Futurama), 2002,AP, Epson archival, signed in pen on front of print, I 2x 15", $300/600.

153. Carton, Laura, www.youngandtight.com,200 I, mounted digical C-print, signed in pencil on back of mount, 71/2xIO¾", $200/500.

I 54. Hobson, Mary Daniel, Track II, 1999, ed#2/ I 0, mixed media, signed in pencil on print, I 0x8", framed, $800/1000.

I 55. Lot of 2 / Mazzeo, Michael, Leaf #I+ Sea Star,2003,each ed#l/1, Ambrotypes on Ruby Glass (wet plate collodian ), signature etched on plates, each I 0x8", $600/1200.

I 56. Holz, George, Genesis,La Primavera, Mexico, 1996, ed#29/30, gsp, signed in pencil on back, 121/2x934",$1250/ I 500.

157. Raymond, Lilo, Bed,Roxbury,1972, gsp, signed in pencil on front of print, I 834x 123/4",$1200/2000. CourtesyJohn StevensonGallery,NYC.

I 58. Lynes, George Platt, Untitled (woman with veil), c.1950, vintage, gsp, photographer's stamp on back of print, 9 14x75,j;",$1500/2000.

159. Ferguson, Jessica, Hermes (constructed),200 I, unique cyanotype, signed on back, 7'/2x5", framed w/ denglass, $ 1200/ 1400.Anonymousdonor, CourtesySarah Morthland Gallery,NYC.

160. Lee, Jin, Untitled (head series #2), gsp, 9 1/2x8", framed, $900/ I 000. Anonymous donor,CourtesySarahMorthland Gallery,NYC.

161. Cray, Fred, Untitled Two-MinuteSelf Portrait 2003, C-Print, signed in pencil on back, 20x 16", framed, $ I 000/ I 250. CourtesyJanet Borden,Inc., NYC.

162. Dugdale, John, Apropos of Nothing, He Came to SeeMe, 2002, ed 2/ I 2, Albumen, signed in pen on back, 6 1/2x41/2", framed w/ gold leaf trim, $ I 500/2000. CourtesyJohn StevensonGallery.

163. Hine, Lewis,Jo Vealand Family, Undale,GA.April 12, 19I 3, vintage, gsp, notations in pencil and typewritten caption on sheet affixed on back of print, 3 1/2x4'/2",$ I 500/2000.

164. Faurer, Louis, Garage,ParkAvenue, New York,1950, printed later, gsp, signed in pencil on back of print, 73/4x I I '/2", $2500/3500.

165. Caponigro, Paul, Near Round Rock, Arizona, 1970,gsp, signed in pencil on front of mount, 63/4x8'/2",$2000/3000.

166. Mark, Mary Ellen, PerformingDogs, National CircusofVietnam, Lenin Park, Hanoi, North Vietnam, 1994, late 1990s, ed#26/75, gsp, signed in pencil on back of print, I 0½x 13", $2000/2500.

167. Estabrook, Dan, Interior (Exterior), 1996, ed#l/3,Albumen, signed in pencil on back of print, 5x634",framed, $ I 200/ 1400.Anonymousdonor,Courtesy Sarah Morthland Gallery,NYC.

168. Winogrand, Gary, Untitled (from WomenAre Beautiful series), 1975, gsp, signed in pencil on back of print, 9xl3'4", $2000/3000.

169. Capa, Robert, Farmer Indicates German Retreat to American GI, Italy, 1943, 1965, gsp, photographer's stamp, notations in pencil on back of print, I 2 14x 1914", $2000/3000.

170. Giacomelli, Mario,// Mare dei Mie Racconti,1984-85, gsp, artists' signature in pencil and stamp on back of print, I I 1/2x I 5 '/2",$2000/2500.

171. Guzman, Water, 1998, gsp, stamped on front of print, I 9x 1434",$500/1000.

172. Means, Amanda, Liciantmus2, 2000, ed#3/20, gsp (direct print), signed in pencil on back of print, I 9x 15", $500/900. CourtesyRicco/MarescaGallery,NYC.

173. Prince, Michael, Shower,2003, archival Epson pigment print, signed in pencil on front of print, I 3 I/2x I 034", $500/1000.

174. Bernhard, Ruth, Ange/wing,1943, gsp, signed in pencil on front and back of mount, 131/2xl0½",$2500/3500.

175. Sassman, Lillian, Night Bloom,Hat by Christian Lacroix,Paris, 1996, printed later, gsp, signed in pencil on back of print, I 8x 14", $1500/2500. CourtesyHaward

GreenbergGallery,NYC.

176. Carter, Keith, Window, 2002, ed#7/35, gsp, signed in pencil on back of print, I 5V.xI5 1{', $800/ I 000. Courtesy Haward GreenbergGallery,NYC.

177. Stoumen, Louis Clyde, New Yark Subway,I 943, printed later, ed# I 14/300, signed in pen on front of print, I I l/4x834", $1000/ I 500.

178. Morrison, Stacy, Drawing of Mom, 2002, I of 2 AP's, C-Print, signed in pen on back of print, 231/4xl9", $500/1000. CourtesyGregoryLind Gallery,SF,CA.

179. Munkacsi, Martin, Lucile Brokaw, Harper's Bazaar,December I 933, 1999,AP, gsp, estate stamped and signed in pencil on back of print by Joan Munkacsi, 1134x91,f, $1800/2000. CourtesyJoan Munkacsi & Haward GreenbergGallery,NYC.

180. Avedon, Richard, Elise Daniels, Turban by Paulette,Pre-Cate/an,Paris, 1948, 1978, ed# 28/75, one of I I images printed on the occasion of Avedon's 1978 retrospective at the Metropolitan Museum, gsp, signed, titled, dated on back of print, I 4x 1734",$7000/9000.

181. Lartigue, Jacques Henri, The Race Course at Auteuil, Paris, I 91 I, printed later, from the Witkin Berley Portfolio print #4 of set 29/50, toned gsp, signed in pen on front of mount, 634x9", $6000/8000.

182. Evans, Walker, RoadsideSign, Louisiana,I 93 6, 1971, print # 14 from portfolio of 14,gsp, signed in pencil on front of mount, 7 I/2x91/4",$5000/7000.

183. Weegee, Shack, 1940, vintage, gsp, "Weegee the Famous" circular stamps on

back of print, 7½x9W, $2500/3500.

184. Giacomelli, Mario, Presadi CascienzaSulla Natura, 1954-2000, gsp, artist' signature in pen and stamp on back of print, I 2x I 534", $1800/2500.

185. Cartier Bresson, Henri, Naples, 1963, vintage, gsp, photographer's and Magnum stamps on back of print, 6 ½x734",$4000/5000.

186. Gruen, John, Untitled (kitchen tools), 1981, gsp, signed in pen on front of print, I I 1/2x1434",(note: I W raised crack in emulsion on the far lower left), $400/600. Courtesydonor Barry Winiker.

187. Hill, A. W., SalmanFishers,River Dee, c. 1930s, Bromoil, signed in pencil on front of print. 634x8W, $200/400.

"'I 88. Kessell, Mark, Dialog with Blindness, 2002, ed# I/ 1, pigment print, signed in pencil on back of print, 20x 16", $850/ I 000. CourtesyRicco/MarescaGallery, NYC.

189. Flynt, Robert, Untitled, 2003,AP of I 0, C-print, signed in pen on back of print, 22x 18", $500/900.

190. Roy, Norman Jean, Ibrahim Ferrer, BuenaVista Socio/ Club, 1999,AP, gsp, I Bx 14", $750/1500. Courtesy the Art Department, NYC.

191. Terrada, Mayumi, Untitled (doorway), 2002, ed#2/I 0, gsp, signed in pencil on back of print, 20x 143,\", $400/800.

192. Ewald, Wendy, Black Self, 1997,

ed#2/ I 0, gsp, signed in pencil on back of print, I Bx 1411,",$1200/ I 600. Courtesy Yossi Milo Gallery,NYC.

193. Sacabo, Josephine, Sudek'sTrees, from The UnsubduedForestseries, 2003, ed# 3/30, toned gsp, signed in pencil on back of print, l31/2x51/4",$1000/1500.

194. Wojcik, James, Priest, 1993, ed# I /3, Cibachrome, signed in pen on back of mount, 24x20", $750/ I 500. Courtesy the Art Department, NYC.

195. Mann, Mark, B/im;/side,2002, ed# I /5, signed in pen on back of print, 301!,x2411,", $1800/2200. CourtesyLaurenceMiller Gallery,NYC.

196. Slota, Gerald, Little Red Riding Hood, from the series Fable,2003,AP, C-print, signed in pen on back of print, 91/2x61/2", $ I 000/ 1500. CourtesyRicco/Maresca

Gallery,NYC.

197. Carucci, Elinor, Swans,1997, ed #I/I 5, C-print, signed in pen on back of print, I Ox 15", framed,$ I 000/ 1500. CourtesyRicco/MarescaGallery,NYC.

198. Wides, Susan, Untitled, from the series Mobile Views, 2000,AP, C-Print, signed in pen on back of print, I 01/2x13¾", $800/1200.

199. Auerbach,Amy, Excalibur,1998, ed#3/25, C-Print, signed in pen on back of print, 81/2x1311,",$400/600.

200. Chernewski,Anita, Tickets,Coney Island, 1997, ed# I 0/25, gsp, signed in pencil on back of print, 31/2x5",$250/500.

20 I. Lewis, Lawrence, Erika + Nikki 200 I, 2003, toned gsp contact print,

signed in pencil on back of print, Bx IO", $400/600.

202. Witkin, Christian, Southern Ethiopia, 2003, gsp, signed in pencil on back of print, 1 lxl4", $500/1000. Courtesy the Art Department, NYC.

203. Platon, Kumbh Mela Festival,India, 2000, 2002, C-Print, signed in pen on front of print, I Sx221/2",$750/1500. Courtesythe Art Department, NYC.

204. Rossiter, Alison, Gravity and Rainbow,Virginia Woolf,from The Stacks series, 1998, unique gsp photogram, signed in pencil on back of mount/mat, 131/2x 18", framed w/denglass, $850/950. Anonymousdonor,CourtesySarah Morthland Gallery,NYC.

205. Vishniac, Roman, The Private Entrance to the Study of Elijah,the Goon of Vifna,Vifna, I 93 7, printed later, gsp, estate stamped and signed in pencil on back of print by Mara Vishniac Kohn, 12x I 0I,r, $3000/4000. CourtesyMara VishniacKohn & Howard GreenbergGallery,NYC.

206. Klein, William, Smoke + Veil,Paris (Vogue),I 958, printed later, gsp, signed in pencil on back of print, I 73,\x12I,f', $2500/3000.

207. Struss, Karl, Averne,LowTide, I 912, 1979, platinum print, from "Karl Struss:A Portfolio 1909/1929", signed in pencil on back of print, 4 I/4x3l,,:,",$2000/3000.

208. De Meyer, Baron Adolf, Guitar Playerat Seville,1908, vintage, CW 24:3 I, Camera Work Gravure, 8'/4x6¼",

$400/500.

209. French, Herbert G., Winged Victory, 1909, Camera Work Gravure, 7¾x6¼", $200/300.

210. Kuehn, Heinrich, Portrait, 191 I, vintage, CW 33: 13, Camera Work Gravure, 7x5½", $500/700.

21 I. Reeder, James, Elusive,2003, tea toned gsp, signed in pencil on back of print, 6x4", $200/400.

212. Steinberg, Robert J., Pears, Cambridge 2002, 2003, Iris, signed in pencil on front of print, 20¾x 16", $1400/ 1800.

213. Van Leewen, Jan, The Meal at Emmaus, 1996, ed# 13/25, Kallitype, signed, #ed, dated, and titled on back of print in pencil, from a limited edition of 25, I 5¾x I I¾", framed w/denglass,

$1250/ 1500.Anonymousdonor, Courtesy Sarah Morthland Gallery,NYC.

214. Goodman, Mark, Millerton, New York, 1978, gsp, 9x9", framed w/ denglass, $ I 500/ I 700. Anonymousdonor, Courtesy Sarah Morthland Gallery,NYC.

215. Kenna, Michael, Thirty Eight Sticks, Nagahama, Honsha,Japan,2003, ed#2 I /45, gsp, signed in pencil on front and back of mount/mat, 7 1/2x71/2", $800/ I 000.

216. Wegman, William,Junior, 2002, ed#23/50, Iris, signed in pencil on front of print, 8x8", $600/ I 000.

217. Sweeney, Marla, Skateboard,2002, ed#2/ I 5, C-Print, signed in pen on back of print, I 8x 18", $400/700. CourtesyYossiMilo Gallery,NYC.

218. Finke, Brian, Untitled (Football #16), 2002,AP, C-Print, signed in pen on back of print, 9 I/2x9I/2'',$400/600. Courtesy Clamp Art, NYC.

219. Maisel, David, Owens Loke,California #9802-9, from The Lake Project,2003, CPrint, signed in pen on back of print, I Ox IO", $500/800.

220. Tremblay, Guy, Marie-Michele, 2003, ed#2/ I 0, selenium toned gsp, signed in pencil on back of print, 14xl4¼", $400/600.

221. LeBoff, Gail, Hand with Flower, 1997, ed#5/I 0, toned gsp, signed in pencil on back of print, 151;.,x 13¾", $4_00/800.

222. Lot of 3 / Goldsmith, Lynn, from the FlowerPortfolio,2000, APs, Iris, each signed in pencil on back of print, each 9x6", $750/ 1500. CourtesyDancing Bear.

223. Stummer, Helen M., PedroHolding His Niece, 1978, ed#2/25. gsp, signed in pencil on back of print, I ll/4x8", $400/600.

224. Megginson, Felicia, CommunionContemplation,2003, ed#3/3, selenium toned gsp, signed in pencil on front of print, I 6x 12'/2",$250/500.

225. Horner, Pat, Blue Layers,2003, ed# I/ 15, inkjet on vellum, signed in pencil on front of print, 6 1/2x5'/2",$150/300.

226. Kuo, Nina, Dot Opera Braids,2002, photo emulsion on linen, signed in pencil on back, I 6x7", $200/400.

227. lmagire, Dorothy, How ShouldWe Look?GeishaTuna,2003, mixed mediavintage compact, signed in pen on bottom of compact, 3x3", $200/400.

228. Washburn, Peggy, Leda'sChild #I, 2003, ed# I /25, gsp, signed in pencil on back of print, I 5¾x 16", $800/ I 000. CourtesyYossiMilo Gallery,NYC.

229. Bailey, Jonathan, Oaxaca,Mexico, 1999, gold toned gsp, signed on back of print, 5 1/2x5'/2",$250/500.

230. Johan, Si men, Untitled #90, 2000, ed# 8/25, C-Print, signed in pen on front of print, 7 1/2x71/2", $600/800. CourtesyYossi Milo Gallery,NYC.

23 I. Chen, Howard Henry, Cyc/o, Saigon,Vietnam,2000, 2003, digital inkjet

transfer on Kozo, stamped on front of print, 7x I 8'/2", $300/500.

232. White, Shoshana, Side Skull Scratch, 2002,AP, archival digital inkjet, signed in pencil on front of print, 7x7", $200/400.

233. Marc, Stephen, Untitled, from the UndergroundRailroadseries, 2001-2002, archival pigment print, signed in pen on back of print, 9x26", $600/800.

234. Torgovnik, Jonathan, Amar Touring CinemaTruck,Pa/Ii,India, 2002,AP, C-Print, signed in pen on back of print, 191/2xl9 1/2", $800/ I 000. CourtesyKlotz/Sirmon Gallery, NYC.

235. Savedge,Anne, KC 2000 (SM), 2000, archival inkjet print, signed in pencil on front of print, 6 1/4x IO", $200/300.

236. Fee, James, Crystal Sky,200 I, C-

Print, signed in pen on back of print, I 8x 18", $800/ 1200. CourtesyCraig Krull Gallery.

237. Greig, Cynthia, RecliningNude, (RevisedVelasquez),1993, ed# 5/ 15, CPrint, signed in pen on back of print, 6 1/4x8¾", $300/600.

238. Greenfield, Lois, Gail Gilbert I Cirro Cumulus, 1993, gsp, signed in pencil on front of print, I Ox IO", $500/800.

239. Shear, Jack, Gary,2002, gsp, signed in pencil on back of print, I 4 1/2x 141/4", $500/750.

240. Keyes, Doug, Sugimoto,200 I, ed# I /6, dye coupler, signed in pen on back of mount, I 5x3 I", framed, $2000/2200. Anonymousdonor, CourtesySarah Morthland Gallery,NYC.

241. Horenstein, Henry,Jerry Lee Lewis,Ramada Inn, 1975, gsp, signed in pencil on back of print, I Ox IO", $900/ I 000. CourtesySarah Morthland Gallery,NYC.

242. Meiselas, Susan, from the series on the Baliem Valley,lriam Jayo, 1989, Fuji Crystal archive, signed in pen on back of print, I 3x 191/2", $ I 000/1500.

243. Steichen, Eduard, Landscapein Two Colors, 1906, vintage, CW 55:29, two-color Camera Work Halftone, 6 1/4x7", $800/1000.

244. Crawford, Ralston, Woman in Front ofBarber Shop, New Orleans, 1960, vintage, gsp, estate stamp on back of print, I 8 1/2x23¾", $3000/5000.

245. Landy, Elliott, Bob Dylan,Woodstock,NY, I 968, 2002, C-Print, signed in pen on front of print, I 3¾x20", $ I 000/ I 500.

246. Parry, Nigel, Alan Ginsberg,1994, gsp, signed in pen on front of print, I O¾x IO¾", $750/ I 500. CourtesyCpi.

All contemporary prints are courtesy the artist in addition to donors and/or galleries noted. Sizes reflect measurement of image. 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.

a sigh has many I mean1

an interview with the collector, John Bennette

by Ariel Shanberg and Kate Menconeri

John, your collection has the most interesting origins!Tell us how you first began - and have you always "collected"?

I hove always been a pock rat sort of guy,when 1t comes to images it doesn't matter what the image is created for,why,or the final medium. For me it is always something that is not seen,but something below the surface,as if the image isJUSta key to a type of language.I collect like a child, there 1s no need to know how, wonder makes me wont, pleasure is the reason to hold on. I also collect records,books, vases, and clothes.I probably collect because I om a dork obsessivesoul.

At one point in my life I thought that I would be on artist. Besidespointing, I mode collages.Youwouldn't believe the boxes of paper and photographicimages,which I haven't thrown away becauseI like to go bock to them like a time capsule.

What drew you to photography specifically?

Access and familiarity.Being a child of the mid-twentieth century I grew up accepting photography for ail the ways 1t informed and shaped our lives.And, the beauty and duplicity of the block and white image - on one level it con capture a moment in time, then ref,ect it bock as a memory.Photographsare also seductiveto me becausethe actual surface on which the image is fixed hos a physicalquality that sometimes approaches the sublime.

Plus,photographs ore ovOJioblefor any pocketbook - from a Fotofolio postcard to the latest art image going for thousandsof dollars.

You've amassed quite an impressive collection over the years -would you say that it has a signature style and/or theme?

In / 996 when I was on a panel with WM. Hunt for A/PAD we talked about the idea that the theme of my collectionwas autobiographical. Loter he borrowed a piece by Sally Goll for a show he curated for the Center for Photographycoiled GRACE.At that time I reconsideredand now feel that maybe the theme of the collection is certain types of grace and memory. The images range in mood from dark, undefined, elegiac to think of a sigh with many meanings.

Do you have a favorite/(s) piece? Why?

Most of my favorite photographic images ore not in my collection,they inspire,inform, and shape it, but I believe 1nacquiring the work of living artists, the unknown, and the emerging.Some days a particular image will speak to me more or affect me 1na new way as a result of any number of outside inf,uences,(such as music,words,or another photograph which may explain better what I was feeling when I acquired a print) then it will fade.The collection,like emotions, is f,uid.

How do you store and display your collection?

About twenty-five images are on display at my home. Some ore just stocked against a wall wrapped in bubble wrap or brown paper in case one needs to see them. A personal pleasure is waking up 1nthe middle of the night and unwrapping a favorite. Sometimes they ore arranged to create a narrative or to comment on what I am thinking or feeling at the time. The viewerwho gets a chance to see it then needs to be sharp.

Tell us about "falling in love" with a photograph.

For me there ore two types of love.In one it may start off as dislike,for example, work by ShelbyLeeAdams, FredericWeber,and S1menJohan, and then over the years I find my opinionschange and I embrace their work for my collection.But the other kind is when you see on image that immediately makes you swoon - like Keith Carter's Fireflies - and the desire to live with it is oil consuming.You beg, connive,whatever it tokes to possessthat photograph,and if the fit is right you go bock over and over again. Sometimes I become intrigued with one port of on image and over time come to accept it oil.

How do you know you must havefaomething for your collection? Which is more important to you -the image itself or the value/name?

I never know until I see on image. If it 1s immediate, a gnawing wont tokes over Yougo home and the image won't recede in your mind.You start scheming.On the other hand, there is the image that you dismiss and o~er time you seek it out, maybe your point of view changes,sometimes with a little regret, because by the time you "get 1t", the photo

ngs

may hove sold out or become beyond your reach. First and foremost it is the image - if 1t doesn't engage me with some type of visceral dialogue I om at a loss.

How have your collection & tastes changed over the years?

There is continuity. I like classically direct images. Usually they ore very simple. There is on almost tangible, tactile feeling to both the subject and the surface. In the beginning, like a number of new collectors, my attention was focused on block -and-white work Now it includes everything from contemporary daguerreotypes and I 9th century processes to Cibochrome, inkjet and loser prints.

Where do you find new work?

You see interesting images everywhere. One of my favorite photo critics, Vince A/etti, reports on good photos wherever he sees them. One of the things I soy a lot is that your largest and maybe best collection is mode with your eyes and memory I also look all over the web, in magazines, galleries, ~ea markets, bookstores. If I see someone carrying a camera or photo box it is not too unusual for me to start a conversation. I've also been lucky to be involved with portfolio reviews at FotoFest in Houston, TX, and other places, where I hove the chance w see and take note of a large number of photographers. There are also artists who much to my surprise track me down.

Your views on auctions?

For the post 4 years I've worked on the benefit auction for Friends Without A Border and a few other charities. My first experiences with auctions in general were benefit auctions. The bidding process is the same and it is a great way to learn about the auction system on a less stressful scale. Benefit auctions provide a wonderful way to see new artists or artists that ore not represented by large galleries, as well as the established ones. I now view the auction from both sides - the collector looking for the bargain and the auction group /ookJng for solid returns.A lot of artists, galleries, and individuals donate sel~esslyto these events so I try to be more conscientious of my bidding. I hope this fall's auction season will be good (great) for everyone.

What are some favorite pieces you've found at one of the Center's annual benefit sales?

Lost year was the first time I attended the Center's Auctio~ with my class from The New School.They were pleased with the quality and variety of images. Some of the photographs we were able to toke home were those by Bruce Davidson, John Dugdale, Sandi Fellman, Phyllis Golembo,Amondo Means, David Go/des, and a host of interesting new names. But the nicest port was that one of my students placed a successful bid on a photograph she wonted it was the first of her collection.

What kind of relationship do you seek with artists you collect? Is it important to you to know the artist?

When you start to collecC the idea of hanging out with artists should only ploy a small part It would be kind of neat maybe to meet some of the ones who hove left only work behind. I try to form relationships with artists by keeping in touch with them and what they ore doing over a period of time. I also like to purchase more than a single example. I think in some coses collectors should function as mentors. A couple of hours spent being a sounding board for on artist con be a good thing for both parties. There is on artist whose work I didn't understand but after six years of discussions over coffee and Chinese dinners, we both evolved. There are many artists whose work I admire, but feel no real need to collect. I try to support them in other ways, by promoting and talking about their work whenever possible or maybe writing references. Again I soy being able to listen to and discuss ideas with artists con also be useful.

How do you keep yourself up to date in the ever-changing art scene?

My approach is very laid bock I trip over work but I do depend on Photograph (formally known as Photography In New York/International), Vince A/ett1's short succinct reviews in the Village Voice, the Center's PHOTOGRAPHY Quarterly magazine, Fotophile, and other similar photography pub/Jcot1onsfrom around the country I also look at the web, which allows you to see shows from a distance; auction catalogs, both real and virtual; and books - I cannot emphasize enough the importance that books still hove.

Who are some of your favorite image-makers?

I favor artists who have strong darkroom skills- the era~ necessaryto shape their ideas. Some of my favorites are David Go/des,Frederic Weber,Frank Rodick,JohnCasado.AlbertChong,Ra(aeloKazakov,Seth Dickerman,Brad Temkin,Anderson + Low,Bill Armstrong,Gerald Slota, JeffersonHayman, and Mark Kessell.

What is the most exciting work you see today - what "wows" you?

Edward Fausty1screatingan intriguingbody of cityscapestaken 1nmisty situations at dusk or at night with long exposures.He then uses an Epson printer that prints 48 inches wide on custom made watercolor papers. The inks soak into the fibers, creating an almost Japanese woodblock(eel as constructedby Cezanneor Lautrec.Theseimages use large ~at planes to suggestmore than you see.What surprisesis that Edward is pricing the work to be owned.Many of his pictures are under a thousand dollars.They must be seen'

Tell us what you think about the current crop of new talent or "lesser-known artists". Are they taking the medium of photography to new levels?

We are in the twenty-first century and the changingpotential (or making and storing photography is already here.The technologiesare moving (aster.The biggestchangeseemsto be that the singleimage is being forsaken(or a type of conceptualismthat is moving more toward video. More artists seem to be involved with recording their lives as the art form.Are we becoming desperate (or subject matter717 I think the tactile quality of traditional photography is being lost.The idea of being pulled into a photograph ,s being reversedinto the idea of being physically overwhelmed.I guess,with change comes chaos and experimentation.We live in on exciting time. I om still waiting to see what will happen now that papers and chemicalsore not as critical to image making as they were before.This does not mean that collectorswill stop being drawn to traditional photographic art. Nor does it mean all artists will abandon the darkroom, but (or now I wait.

As a note from the wise what would you recommend to a new collector as the most important thing to consider when deciding on a photograph for purchase?

The classicstatement "buy what you love" is a truism. No one con predict the future, even the museums and galleries con't really be sure. Wouldn't it be nice to pick up the work of a young artist at auction (or a few hundred dollars and watch their creativity grow,not thinking (or worrying)about anythingexcept the pleasurethe image givesyou while 1tis part of your life.

Look,look,look. 0 look And find a deaier(s) you can trust.

Any plans for the future?

StJ/1workJngout tomorrow. I am just a day to day kind of guy (smile and sigh).

-© 2003

John Bennette is a collector, curator, writer, and teacher of photography based in New York City.

© Mark Kessell. Dialogue with Blindness, 2002,pigment print.

Courtesy Ricco/Maresca Gallery, NYC

Luisa Lambri,

Lutter, Chema Madoz, Abelardo Morell, Shirin Neshat, Simone Nieweg, Toshio Shibata

Michael Martone, Portrait of My German Uncle Photographer, 1969

Michael Martone celebrates 50 years in photography with

··35. Gelles, Judy S., Coke Machine, from Trailer Park series, 2002,AP, Lambda Print, signed in pen on back of print, I 5x 15", $600/800.

36. Milstein, Jeffrey, LoopA Plane #I, 2003,AP, Epson archival pigment ink on rag paper, signed in pencil on front of print, I 8x 18", $400/600.

37. Oelbaum, Zeva, Untitled (fiowers), 2003, AP of I 0, cyanotype, signed in pencil on back of print, 20x 16", $800/ I 000.

38. Goldes, David,Jar, 1998, ed#6/ 15, gsp, signed in pencil on back of print, I 8l/4x 143/4",$ I 000/1200. CourtesyYossiMilo Gallery,NYC.

39. Kramer, Daniel, Bob Dylan, I 965, (Biograph album cover 1985), 2002, gsp, signed in pencil on back of print, I 83/4x15", $ I 000/ 1500.

40. Ragan, Vicki, White Women, 2003,AP, Iris, signed in pen on front of print, 23 1/2xl5 1,f, $400/600.

41. Arlen, Ann Covington Warner, Tulip 267, 2003, archival digital, signed in pencil on back of print, I 73/4x I 13/4", $250/500.

42. Galembo, Phyllis, TwoAlligators Talking, 1997, ed# 4/20, Cibachrome, signed in pencil on back of print, I 9x 19", $800/1200. •

43. Thomas, Gwenn, Untitled (Splitting 2), 2002,AP, C-Print, signed in pen on front of print, 20 1/2x 163/4",$600/800.

44. Himmel, Paul, City Center BalletOrpheus, I 954, 1998, gsp, signed in pencil on back of print, I 33/4x I 8'/2", $1500/2000. Courtesy Keith De Lei/isGallery,NYC.

45. Citret, Mark, Footprints,Mission Bay, 200 I, ed#2/45, gsp, signed in pencil on front of print, 83/4x11'/2",$600/800. Courtesy Howard Greenberg Gallery,NYC.

46. Badger, Gene, Cape Hatteras, N.C., c.1949, gsp, stamped on back of print: Standard Oil Company, 7 1/4x9 1 /2", $400/600. Courtesydonors Paula and Mack Lee,Lee Gallery,Winchester,MA.

47. Edgerton, Harold, Catalina Island, c.1940, vintage, gsp, 7 1/2x9'/2",$ I 000/1500. Courtesydonors Paula and Mack Lee,Lee Gallery,Winchester,MA.

48. Anonymous, Untitled (winter landscape), c. 1900, cyanotype, 43/4x63/4", $200/300.

49. Leighton, J. Harold, Untitled (snow scene), c. I 920, vintage, platinum print, 4 1/4x6", $400/600.

50. Esmond, Judi, Reunion,2003, toned gsp, signed in pencil on back of print, I lxl4", $250/500.

51. Ans, Jojo, Castle Series Ill, 1995, ed#2/25, platinum/palladium, signed in pencil on back of print, 2 1/4x4 1/2", $200/400.