Photography Quarterly #70

Visi

c'ihePH0TOGRAPHY SHOW98

Mark Your Calendar For The World's Largest Exposition Devoted to Fine Art Photography

February 13 to February 15, 1998

New York Hilton Hotel

New York City

Uew the art of photography,from the rarestearly works to cutting edge contemporary-all far sale, at exhibitions by more than 80 of the finest international galleriesand private dealers.

SUNDAY, OCTOBER 12

19th & 20th CENTURY PHOTOGRAPHS

The Woodstock Town Hall, 7 pm

PRINT PREVIEW

59 Tinker Street, Woodstock, NY at the Center Gallery, October 1 - 11 Noon-5 pm Wednesday-Saturday and on the day of the sale at the Woodstock Town Hall, 76 Tinker Street, 2-5 pm

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

Printing Co., Inc., New York City. Distributed by Bernhard De Boers, Inc., 113 East

Moon Periodicals; Fine Print Distributors, Inc., Austin Texas. Editor, Kathleen Kenyon: Assistant Editor, Kate Menconeri; Ad Manager, Lawrence P. Lewis: Copywork: Ben Caswell: Typesetting, D191talDesign Studio. Kingston. NY. Cover:© Bernard Silberstein, Portrait of Frida Kahlo. 1940. (courtesy Throckmorton Fine Art. NYC) Board of Directors: Frederick Evans. Sheva Fru1tman, Edward Garbarino. Rollin Hill. Kenro lzu. David Karp, Colleen Kenyon. Ane Kopelman. Rebecca Lawton. President Ellen K. Levy. Marcia Lippman. Tanya Marcuse. Marc Miller. Ken Shung. Alan Siegel. Tom Wolf. Advisory Board: Ellen Carey. Philip Cavanaugh. Susan Ferns. Julie Galant. Founder Howard Greenberg. Sue Hartshorn. W. M. Hunt. Greg Kandel. Peter Kenner. Laune Kratochv I. Carol LeFlufy. Susana Torruella Leval. Peter MacG1II.Kitty McCullough. Elliott Meisel. Ann Morse. Sandra S. Phillips. Jose P1cayo.J. Randall Plummer. Ltlo Raymond. Ernestine Ruben. Julie Saul. Neil Trager. Staff: Colleen Kenyon. Kathleen Kenyon. Lawrence P. Lewis. Kate Menconeri. BENEFITAUCTIONEERS:KATHLEENGUZMAN & MARCMILLER

What Is A BenefitAuction?

The Center for Pho,tography at Woodstock, a not-for-profit arts and education organization, offers an annul sale of fine photographic prints in order to raise money for our creative programs. Founded by Howard Greenberg in 1977, the Center provides an artistic home for contemporary visual artists. Our purpose is to enhance dialogue and encourage inqui1y about contemporary photography and related media through innovative programs in education, exhibition, publication, and services that create access to professional workspace, nourishing responses, and new audiences. All q/ the printsfor sale by living artists were donated and serve to {,!jj1rmthe impo11a11ceofcl/1 in our culture and to advocate supportfor the quality programming and services that the Center has continued to presentfor the last 20 years.

ThankYou

Tbe Centerfor Photography, on beha{/ of the artists we serve, members, Boards, and stajf, would like to extend a ve1y special "thank you" to the a,1isls, galleries, and individuals who have taken their ti1neand care to make gifts q/ artwork, services, and support to the Center's 19th annual benefit auction q/ 19th and 20th century photographs. We would also like thank each individual who makes a purchase at our auction. lt is deeply inspiring to see that our community is attributed with such grace and charity. You have the ability to ensure a vital and exuberant future for the Center and the advancement and celebration of creative photography.

Collectingfor the future

Explore and support the arts by collecting photography! Whether you are a well versed collector, a photography enthusiast, or simply seek visual reward, we have something to tantalize each of you! Begin a personal collection, add to an existing one, or buy a present for a friend. It is with joy that we may offer in this sale a diversity of exciting photographs. Some of these artists' names are carved in the history of artistic traditions, some are not yet household names, but they are inspiring innovators. And, with each purchase you make at this auction, you will be advancing the posterity of photography, photographers, and securing a future with art in our lives.

Vision 29f2o collecting for the future

Dancer, choreographer, Bill T.jones, ac.lc.lressedthe demise of public funding for the arts. I le spoke, c.lancec.l,and sang of hope and disappointment. He quoted the poet,-"Frank O'Hara, "NamillP, thi11gs is only the inte.ntion to make things". so lets play a game. What shall we name our/i1t11re? The audience shared their thoughts and Jones responc.lec.l with rhythmic dance to visjons of :

JOY S77WCCLH PROSPHUTY FlXAR BOUND DANKNESS OPEN RESPONSIBILITY CHAOS ENLIGHTENED

he asked again, what shall we name ourfuture? And he enc.lee.Iby saying I choose - HOPH.

1997 is the Center's 201h year anniversary. Things look quite different from here but we cany a vision forward for the next 20 and know we arc cnc.lowec.l with the responsibility/power to create our own tomorrow.

It is the Center's hope to create and maintain a space which allows each person to express their imagination in an environment that supports inc.livic.lual sight; to continue to provide a home for contemporary creative photography; to bring together a culturally diverse community in an environment which encourages interaction and exploration of the visual arts through innovative programs. AttheCenter,webelieve thatthemakingofart(thecreativeact)isspiritual, astatementofhope,andanopportunitytoservehumanchange.

What do you see for the future .. . of photography ... of all the arts .. . of you ... of us 7

In 20 years will there he art in schools 7 Public theatre' Alternative visual arts spaces?

We have the collective power to name, to create our futurewhat would you bestow upon the arts 7

PROSPERITY

I GENUITY FERTILITY HOPE

The Center's annual sale of 191h and 201h century photographs is our largest func.lraiser - this makes it a crucial group effort.

We ask that you take an active role in our futureSupport the arts and artists collect photographs and please, bid high. The answer is within each of usthe focus is sharp, the vision 20/20. You can make our future look brighter than ever. ..

-Kate Menconeri (/011es speech lt1ke11_/iw11 his address tit !he Nt1lio11t1t E11do11'111e111ji>r!he Arts Adut111ce111e111co11/ere11ce i11 \Vashi11g/011 DC i11Jt11111a1y.1996. This U'as !he sa111elime lht1t /he Ce111er tet1r11ed that 11011eof"the 1996 Adut111ce111e111ct111didt1/es ll'Ollid receiueji111di11g /t111m1/icipt1led $ 70,000/or !he Ce111er/jio111 !he NHA)

l. Garbarino,Edward, Untitled(statue and tree reflection), 1997, signed in pencil on back of print, 9xl3", $200/400.

2. Taylor, Grace, Untit/ed(Catherine), 1997, signed in pencil on back of print, 6x4", $150/300.

3. Kleinhans,John, Cooper Lake, 1994, signed in pen on back of mount/mat & in pencil on front of mount/mat, 9 ½x7½", $200/400.

4. Lopez, Richard,Mother, 1996, signed in pencil on front of mat, 7x5", $200/400.

5. Steinmann, Catherine,Romantic !Vude, 1996, signed in pen on front of mat & back of print, 9xl2½", (lot includes autographed monograph, Pregnant Nudes), $300/500.

6. Blum, Bruce, Porch and Fence, 19961 signed in pencil on front of mount, 13xl0", 8150/300.

7. Goodyear, Danielle, Untitled ( leaf), 1997, cyanotype, signed in pencil on back of print, 5x4", $200/400.

8. Cooper, John F., Ekaya11i: wit/1 Lace, 1996, color Polaroid transfer, signed in pencil on front of print & mat, 5x4", $300/600.

9. Maas, Rita, U11tit/ed(Poppies), 1997, Ektacolor, signed in pen on front of print, 16½xl3", $400/6!JO.

10. Morgan,Barbara, Cliarles Weidman - Lp1ch.tow11,1982 (negative 1938), signed in pen on front & back of print, 17xl3", $750/1500.

lJ. Blum, Elizabeth,Jelly Rot!, 1997, photocollage, signed in pen on back of frame, 2lxl7", $300/600.

12. Barker,Joan, Faith, 1995, Edl/35, signed in pencil on back of print, 10x8", $200/400.

13. Rudin, Dave, U,uilled(Nude 1996 #1), 1997, signed in pencil on back of print, 111/sxlO",$200/400.

14. Faller,Marion,ffol!yhocks & Laundry, Wallington, NJ from the Hometown series, 1996, Ektacolor, signature embossed on front of print, 19xl4", $300/500.

15. Gordon,Jaimie Lyle, Florida, 1991, Ed3/6, signed in pencil on back of print & stamped, 18¾xl3¼", $400/600.

16. Cramer,Aileen, Paris 1955, printed by Konrad Cramer~ 1955, vintage, s.igned in pencil on back of print, 10x8", $300/500.

17. Rosenstock, Ron, Three Trees, Dlllt Lough, Co. llfayo, Ireland, 1975, signed in pencil on back of mat. 9¾xl2½ 11 $300/600.

18. Feuer, Ejlat, }osd's Casida, 19951 signed in pencil on back of print, llxl4", $200/400.

19. Stock, Dennis, U,uitledfrom Flower Slww portfolio, (poppies), 1980s, color dye transfer 1 signed in pencil on front of mount/mat & stamped 011 back, 12xl8", S400/600.

20. McCarthy,Joanna,American Porch, 1993, Ektacolor, signed in pencil on front of print, 9¾x 15", $400/600.

21. Garbarino,Edward, Uutitled(female statues), 1997, signed in pencil on back of print, 9xl3", S200/400.

22. Lindbloom,Eric, Ficus Trees, Kai!ua-Kona, Hawaii, 1990, signed in pencil on back of print, 7x10½", $300/500.

23. Wahlund,Olof, Untitled(flowers),1997, Ektacolor, signed in pencil on back of print, 9½xl4½", $350/500.

24. Genthe, Arnold, lot of 5, San Francisco, C!,i11atow11, c. 1905, printed later 1 signed in pencil on back of prints. each approx. 5½x7", $300/600. Donated bx Nina Kuo.

25. Martin,Charles, Pinacoteca Glass, 19941 signed in pen on front of print, stamped on back of print, 9xl3½\ $200/400.

26. Vecchi,Jim, Shadows o.fil!y Se{/'(39-12), 1995, Ed3/20, Ektacolor, signed in pen on front of print, l.4¼x 19", ''250/500.

27. Anonymous,Betq the Circus Elef}ant (circus photograph), c. 1930, vintage, 3¾x4¾", $100/200. Donated by Sarah !'1orthla11dCallery, NYC.

28. Velez, David, U111itled(womansleeping), 1996, signed in pen on back of print, 9½xl2 1/2",S150/300.

l!11less otltenvise noted, plwtogmp/1s 11regelatin silver (black and white prints)

29. Kuo,Nina, C/oque and Brocade, 1990, hand colored. limited edition, signed in pencil on back of print, l3¾xl0¼", S400/600.

30. Savage,Naomi, 'l'he Uses o/Adversitx, 1996, laser color print, signed in pen on back of mount/mat & stamped back of print, 7¼xl0½", S300/500.

3l. Speier,Len, Polka Dots, Copacabana, ,VYC. 1997, signed in pen on front & back of print. 12x9½", 200/400.

32. Raymond,Lilo, rr1111dow,Roslyn. 1963, vintage. signed in pencil on front of print. 19½xl3¼". S750/1000.

33. Thomas,Gwenn,Pog-an-ee I, 1996. Ektarolor. signed in pen on back of print. 19xl5". S300/500.

34. Dole,Jody,Pink Rose. Amaga11sell. ,VY, 1988. Iris color p1·int. signed in permanent ink on front of print. 14¾x9½". 400/600.

35. Ruben,Ernestine,Petra landscape. 1997. E,13/35. platinun.1 print. signed in pencil on front of print, 12¾8x8½", S500/1500.

36. Perry,Maggie,,lfx Father. 1993, Ektacolor, signed in pen on back of print. 20xl6", 8200/400.

37. Sawyer,David,,Vail, 1995, Ektacolor. sig1wdin prnril on bark of print, 5x4", S300/600.

38. Anonymous,Equestrian and lier Horse (circus photograph), c. 1930, vintage, 4½x3½". Sl00/200. Donated bx Sarai, JltortMand Calle,y, NYC.

39. Henry,M.M., Carte Echi1tique, Observatoire de Paris, 1894, vintage, gravure, l 7x 11¾", $500/700. Donated bx Sarai, JlfortMand Calle,y, NYC.

40. Marcuse,Tanya, Ontitledfrom the llfuseum SC'ries, Greece, 1994, platinum/palladium, 5x4". S400/800.

41. Hanneman,Elaine,Carrie's Stockings. 1994. signed in pencil on back of print. l I ½x7½". S400/600.

42. Deschamps,Francois,Sl11i1iboCir! near Pucallpa. Peru, 1975. Ektacolor. signed in pencil on back of mount/ mat. 8x5¼". 150/300.

43. Abbott,DawnRenee,Eats. 1996. signed in pen on front of print. l 3½x9". SJ 50/300.

4-L Mazzeo,Michael,Untitled(film strip). 1997. blue Iris print. signed in pencil on front of print. I 4x 1P. S250/500.

45. Hall,David,Pink Cloll'njisl,. 1985, Ed6/50. Cibarhrome. signed in pencil on front of mount/mat & baf"k of print. l8x20". "300/600.

46. Clark,Darren, Untitled from The lfeatloc/.er ,e,·ies. 1996~framed. signed in pencil on back of print. 5x711 8200/500.

4 7. Triller,Marie,Formes, la Rive Caucl,e. Paris, 1994. Ektacolor. signed in prn on front of print, 13¼xl9¾U, 200/400.

48. Gordon,JaimieLyle, Dying to be Di!Jerent, 1989. Ec12/4,signed in prnf'il on back of print & blind slamprd on front, 12<19",$400/600.

49. Potash,Fawn, T,oisted Pt!e. 1995, Ed5/l2, signed in pencil on front of print. 9¾xl3". S300/600.

50. Garbarino,Edward,l'ntit!ed(angf'ls & dignitarirs). 1997. signed in prnril on bark of print. 9xl3". 8200/400.

51. Gowin,Elijah,801tle Tree at ,\'ight, 1995. signed in pencil on baek of print. 15xl9". S200/400.

52. White,Pam, l'ntitled(nude/face). 1996. signed in pencil on front of print. IO½x13½". $200/400.

53. Margolis,Richard,George Eastman !louse. L997. signr<Iin prncil on front and back of print. 15xl8¼". $300/600. Courtesx Paul Calla F1i1eArt. PA.

54. Ferris,Susan,Sun IP'orslui1,1996, signed in pcnril on ha,·k of print. 3x4½". 8250/500.

55. Cohn,Ross, Park Avenue, 1997. signrd in 1wncil 1111 bark of print., 12½x18¼", Sl50/300.

56. Maschas,Theo, Untitled(baby), 1990. Ektacolor. sigrwd in ink on hack of print. 6x911• $150/300.

57. Brading,Martin,Lara Harris in Palm Springs, 1995, Ektaco1or, signed in pen on front of print & in pencil on back of print, 12½xl0", $300/600.

58. Cavanaugh,Philip,l"1or11ing,Pr"cazaArmPrina. 1997, 9¼x8½", $150/350.

59. Slor, Oren, Untitled(Nude), 1997, signed in pencil on front of mount, 13¾xl0¾", $200/400.

60. Raymond,Lilo, Salt Mars/,, 1973, vintage, signed in pencil on front of print, l 9½xl3¼", $750/1000.

61. Forss, George, Libert;· Building, Brooklyn, NY 1993, 1997, signature embossed on print, 8¾xl3 ½",S200/400.

62. Lynes, George Platt, Portrait of Edward Hopper, contact print, 1948, vintage, unsigned, 10x8", Sl200/1500.

63. Hanauer,Mark,Ra)' Cl,arles, 1996, Ektacolor, signed in pen on back of print, 12x9", $200/400.

64. Johnston, AlfredCheney,Portrait o/Zigfield Cir/, Gladys Clad, stamped with name on back of print, 1820s, 13xl0", $1800/2200.

65. Serbin,Vincent, Negative Collage No. 14, 1992, signed in pen on front of print, l 7xl3 ¼", S300/600.

66. Gumpel,Roy, Bassist Ron Carter's Hand, NYC, 1996, signed in pen on front of print, 10¾x6¾", $200/400.

67. Savage, Naomi, Third Base, 1996, laser color print, signed in pen on back of mount/mat, stamped back of

print, 7¼xl0½", $300/500.

68. Shear,Jack, Veteran S Day, 1995, signed in pencil on back of print, ll¾x8¼", $200/400.

69. Lynes,GeorgePlatt, Portrait of Romany !l1arie, 1948, vintage, contact print, signed in pencil on front of print, 10x8", $1200/1500.

70. Ames, Catherine,Knitted Field, Val Ferret, Switzerland, 1994, 1995, Edl/40, signed in pen on front of print & mat, 20xl6", $150/350.

71. Wojcik,James, Untitled (abstract}, 1996, artist's proof, carbon print, 4½x3½", $400/600.

72. Forster, Gerald, Untitled (young Papua New Guinean boy) 1996, signed, 13½xll", $250/500.

73. Tice, George,Men's Room, Hotel Shelburne, Atlantic City, JVJ, 1983, signed in penciJ on front of mount, llxl4\ $600/800.

74. Gatewood, Charles,Untitled(Mardi Gras, 1973), 1995, signed in pencil on back of print, 8x9", $300/500. Courtesy Catl1eni1eClark Gallery, CA.

75. Hawkes,Pamela Ellis, Secured Still life, 1995, signed in pen on front of print, 15xl8", $400/600.

76. Martin,Charles,Metropolitan Reverie, 1996, signed in pen on front of print, 9xl3¾", $200/400. Donated by Ron Ollie.

77. Zetterstrom, Tom, Coast Oak, 1991, signed in pencil on front of mount, 4½x6½", $400/800.

78. Seligman,Paul, Stickball, Union Square 1954, printed later, signed in pencil on back of print, 7¾xl3", $400/800.

79. Stock, Dennis, Untitled from Flower Show portfolio, (tree in field of flowers), 1980s, color dye transfer, signed in pencil on front of mount/mat, 11½xl8", $400/600.

80. Iturbide,Graciella,Christina East LA, 1986, signed in pencil on back of print, 12¼xl8¼", $500/1000.

81. Wovcha,Daniel, Office, Continental Crain Elevator 'A', Chicago, 1996, signed in pencil on back of print, 8½xl3¼", $150/300.

82. Bucher,Karen,Denise Trying 011 Wedding Cowns, 1995~Ektacolor, signed in pencil on back of print, 15x2211 8400/700.

83. Camp,Roger, Water Music XXXVI, 1997, Ed5/50, Ilfochrome color, signed in pencil on front of mat & back of print, 9xl3½", $300/500.

84. Brading,Martin,Ben in Times Square, 1996, signed in pen on front of print & in pencil on back of print, 9¾xl2", S250/500.

85. Weisberg,Steve, Neve Tri,te, 1997, platinum/palladium. signed in pencil on front of print, JOx8", $300/500.

86. Roth, Harold, Flatiron Bwlding, 1946, 1996. signed in pencil on back of print, 13½x 10¾". $500/700.

87. Hall,David,Spanish Dance,; 1989, Edl/30, Cihachrome, signed in pencil back of print, 20xl8", 8300/600.

88. Eisenstadt, Alfred,Brooklx,, Bridge, c. 1960s, printed later, signed in pen, 14½x9¾", $1000/1500.

89. Rindfuss,Bryan, Best Friends, 1996. signed in pen on back of print. 14x9½", $200/400.

90. Thomas,Gwenn,Joan Jonas;,, HTwilig/Jt, 111975, 1997. signed in pencil on back of print, 8½xl2½", $300/500.

91. O'Neal, Hank,Dizzr Gillespie, 1996, signed in pencil on back of mount & front of mat, l3¼xl0¼". 8300/500.

92. Hanneman,Elaine, lily, 1994 , signed in pencil on back of print,11 ½x8¼". $400/600.

93. Magni,Tiziano, Untitled(female torso), 1996, signed & stamped on back of mount, 23xl9", S300/600.

94. Pierson, Jack, Untitled( from lunch at Pizsitano). 1996, unique print, signed in pen on back of print, 10½x7¼". 8750/1000. Courtesx l11hringA11g11s111ie,NYC.

95. Uelsmann,Jerry,Apnl is the Cruelest Month, 1967, signed in penril on front of print, 11¾x9¾". $2000/2500.

96. Richards,Wynn, Woodbury's Cold Cream, c. 1932, vintage, stamped with name on back of print, 9½x7½\ $1200/1500.

97. Hayward,Blaise, Hell, NC, 1997, Ektacolor, signed in pencil on back of print, l2x8½", $200/400.

98. Dulovitz,Jeno, Untitfed(Hungarian girl in woods), 1950s, name stamped on back of print, 9x6¼", 8800/1200.

99. Komroff,Manuel,O/'Timeand Flowers, c. 1950s, vintage, stamped on back, 10¾xl3¾", $600/1200. Donated bx Odelle Komrojf.

100. Graham,Donald,1'1armado11,1997. signed in pencil on back of print. 24x20", $500/800.

101. Steinmann,Catherine, Noman tic 1Vude 2, 1996, signed in pen on front of print. 8xl2 11 • (lot includes book, Pregnant Nudes), S3001500.

102. Stock, Dennis, Untitled from Flower Show portfolio, (horsc),1986. color dye transfer, signed in pencil on front of mount/mat & stamped on back, I2x 18". $400/600.

103. Seidel, Peter, Untit!ed(7170 [5],) 1997, Ektacolor. signed in pen on back of print. 12xl 7", $400/600.

104. Stock, Dennis, Untitled from Flower S!ww portfolio,(bird of paradise). 1980s. color dye transfer.

signed in penciJ on front of mount/mat & stamped on back, 11½x 18", $400/600.

105. Yampolsky,Mariana,Oji-enda Floral, lgual Guerrero, 1990, signed in pcnciJ on back of print, 13xl7¾". $600/1000.

106. Kennedy, David Michael,Bisti Badlands, New JIJexico, 1990. Ed2/20, framed, palladium, signed in pencil on front of print, 7¼x9¼", $500/1000.

107. Valentine,James, Brigd'Balcownie, Aberdeen, c.1799, vintage, AJbumen, signed in negative, 7½xll ¼\ $400/600. Donated by Sandra P!,iflips.

108. Moseni,Arezoo, C;-linder 31994, 1997. Yan Dyke, signed in pencil on back of print, 10½xl6½", $400/800.

109. Speier, Len, Niverside Park, NYC, 1997, signed in pen on front & back of print, 9½xl2", $200/400.

J JO. Lewis, Lawrence, Untitled(boy with ferris wheel), 1996, signed in pencil on back of print. 8xl0", $250/500.

111. Hamilton,Jeanne, Sixtiet/1 & First, 1996, platinum/ palladium. signed in pencil on front of print, 4x5", $250/500.

112. Holz, George, Cecdi11al 9 J'1011t!1s,1995, signed in pencil on back of print, 7x8½". $750/1000~

113. Drtikol,Frantisek,Tahiti (female nude), 1922. vintage. postrard.5½x3½". $600/800.

114. Fruitman,Sheva,Spectacles, 1997, cyanotyp,·. signrd in prncil on back of print. 5x4", $400/600.

115. Munkacsi,Martin, !Vude(lla,per's Ba=aar, 1935), 1994, signed by Joan Munkacsi. ll¾x9" 8800/1200. Donated b.r Joan At1111kacsi.

J 16. Sudek,Josef,71/trougl,Studio l/7indow. ,·.1950s. his notes on bark of print in pencil. 8¾x4¾". 82500/3500.

117. Kenyon,Colleen,Composition 100, 199,. E,I I/6. hand rolorcd, signrd in pencil on back of print, 18½xl2½ 11 S,50/lOOO.

118. Wides,Susan,l'11tit/ed(Blood). 1994. Ciharhronw. signed in pen on back of print. 14x 11". S800/1200.

119. Iturbide,Graciella,lhupys East lA, 1990. signr,I in penr·il on bark of print. l8xl2¼". S500/1000.

120. Cramer,Konrad, Woodstock(Still Life). 1959. sigrwd in pencil on front of mount/mat. 9¾x,½". S500/IOOO. Oona led by Aileen Cramer,

121. Magni,Tiziano, Untitled ( two women). 1996. sign rd & stamprd on baC'kof mount, 23xl9 11 • 830Q/600.

122. Lippman,Marcia, Gellert Batl,s. Budapest. 1990. lo1wd,signrdinprnonhackofprint,Ilxl6 11 ., $500/900. Courtesy Staley-Wise Calle,)'- \'YC.

123. Kasebier,Gertrude,Portrait (.11iss \'.). 1903, Camrra \\ ork Gravure. 7¾x5¾". SI000/1500.

124. Uelsmann,Jerry, Untit/er/(Bird-Woman). 199,. sig1wdin pen on back of print & mat. 14xll\ S750/1500.

125. Carey,Ellen,No. J.t(a variation). 1995. unique photogram on silver paper. sigrwd in penl'il on bark of print, 8xl0". S1000/2000. Courtesy Ricro/,/faresca Cr,1/ery, NYC.

126. Mapplethorpe,Robert, lflilliam S. IJurronghs. 1980s. (printed by Carl Laszlo 1981). stamped on back of print. 9¾x8". SB00/1200. Donated by Stuart /lo,rnrd. 12,. Edelman,Richard,Crolfo oft!te Pia==ade/ .1/ic/1ela11gelo. F/orenrP. 1985. 1989.signrdinprnonlrn<'k of print. 23xl9". 8300/600.

128. Silberstein,Bernard, Portrait of Frida Ka Mo. 19-lO. sig1wrlinpencilonbark.17xl411~700/1000. Donrt!Prlhy T!trockmorto11Fine Art. Inc \ IC.

129. McNeil,Dean,Jfttnllo s Lesson. 1996. F:d2/6. Cibachrome. sig,wd in prrn·ilon haf'k of print. 16x:20 11 • S600/1000.

130.lzu,Kenro, Angkor 158. 1997.!-ignrflinpenonha<'k of111ount/111at&inpr1wilonfrontofprint.19xl311 $800/ 1250.

131.Uelsmann,Jerry, 1/omage to J/an Ray. 1997.:;ii;rn·tl inp,·nonhal'kofprint.Ilxl4".~7;;0/1500. l'.l:2.Somonte,Carlos,T/ie fast Poets. 1990."igrwtlin1w11 on IHll'k of print. 9,1 I". ~-l00/800. 1:n.Roth,Harold, //'r,terStreet. (\·)'CJ /9-18. 19%. ,i~1w,I inp1•1lf'ilonh,lf'kofprint.lO½x13½n.$::i00/700. I :l4. Evans,Walker, II oorle11Cot!tic !louse 11mr had. \ I. 19:JI. (Soichi Su11111111).6¾x8¾". $600/800. • l:l5. Milstein,Jeffrey,Cmnd Crm.-011.1994. Ekta.-olor. ~igrwdin1w11onha('kofprint.12x271/211~300/600. 1:l6. Kenyon,Kathleen,Ilea/th./. 199,. franml. 1111iq11,· photoc·1dlag1·.in1wnonhackofmount/mat l!...:in 1w1wilon fronl of print. Ix1411 • :-:300/600. UJ.Kenna,Michael,·lrP1111Pof Three Fou11tai11s. I n·sm//p:,;, fiYlllf'fJ. 1996.Ed4/45.i'iigrwdinpt·1wilon f'ronl of 111011111.-1¾,9¾". >'H00/1200. Courtesv RobPt"t 1/01111 C11/len-. \ IC. • 1:m.Webb,Alex, 1/aiti /<),-9. 1994.Cihad1rn11win pt'llonl,:.wkofprinl.IOxEi½11~750/1200. 1:W.Callahan,Harry, /Jptroit. 1940:-,.prinll'd1970:---.it!rwd inp1·1wil1111frontofprint.8xIl ¾".,..;,1000/LIO00. I..JO.VanderSchuit,Carl, I Pnir·P. 1996.Cib,wlironw..-.i)!rwd inpc·n011frontofprint.I2½x1911:~d00/.)00./)0110/NI hy I r111rlr)r,','f'l111i1Studios.

14l. Wagner, Bob, Venice. Italy 1986, printed later, Ed3/ 12, ~ig1wdin prnril on bark of print. 9x9", $250/500. Courtesy Sarah .lfortMr111dCallery, ,VYC.

142. Akin/Ludwig,Landscape Series No. 22, 1992, Erll/20 toned, signed in pen on front ofprinl, 15xl5 11 $400/800. 143. Mazzeo, Michael,U111tt!ed(girland clock faee), 1996. toned, signc(I in 1wn('ilon front of print, l0½xl0\ S200/400.

144. Gamper, Gisela, I/old, from JrlomausSlip & Baby Sl,irl scrirs. 1989. signed in pcnri I on bark of print, 15x]5". S300/600. ( lot includes book. Fabrications).

145. Heyman, Abigail, Untitled(women & staircase). signrd in pencil on bark of print. ll¾x!O½", S500/1000. 146. Porter, Liliana, Him, 1995, signr(I in pen on front of print, 14xl 1". $400/800.

147. Metzker, Ray K., Untitled(96 EB-18. Utah). 1997. signed in pencil on hack of print, 13½xl3½", S750/I000.

148. Fink, Larry, Atlanta, Georgia Theater, 1996, ~ignrd in pencil on back of print.. 9½x9¾". 8750/1000.

149. Gall, Sally, Columh DOr, 1980. sig,wd in pencil on baf'k of print. 12¼x 13". $1000/1600. Courtesy Julie Saul Callery. ,\'YC.

150. FlemingCaffery,Debbie, Papa. 1987/94. Ed13/50. photo gravure. signrd in pf'nril on front of print. 1,¾x 17¾". $1000/1500.

151. Carter, Keith, Crane/ Canal, 1997, Edl/50, signed in pencil on back of print, 15xl5", S750/1500.

152. Morgan,Barbara,Inner Vision, 1981 (negatives 1940). photomontagc. signed in pen on front & back of print, l 2½x 13". $750/1500.

153. Trager,Philip, Daniel Ezra/ow. 1989, signed in pencil on back of print, 13½xl8¾", $750/1000.

154. Munkacsi,Martin,Bathing Beauties, Berlin, 1929, (printed 1994). Ed5/40, signed by Joan Munkacsi. l2x9½", S800/1200. Donated by Joan 1111111!.:acsi.

155. Klein,William,Smoke and Veil, (Vogue), 1958. printed later. signrd in pcnril on back of print, 14¾x!O½". $1200/1500.

156. Lippman,Marcia,Angelique, Paris, 1994. toned. signed in prn on ba!'k of print. 16xll" .. S500/900. Courtesy Staley-Wise Callery, , \IYC.

157. Evans,Walker, lot of 6. Parking Lot Signs,"· 1970, rolor Polaroids. signed and stamped on back, 3x3 11 • $3500/4000.

158. Wegman,William, Lakevie,r. 1996. colo,· Chro111ogenic Print, signed in pen on bark of print. J0x8U, S800/l200. Co11rlesyof/Villiam Wegman Studio.

159. Akin/Ludwig,landscape Series No. 6, 1992, Edl/20, toned. signed in pen on front of print, 14xl4 11 • $400/800. 160. Tremblay,Guy, U11titled(Rcd Rose), 1997. gold toned on Ektalure paper. signed in pencil on front of print. 101/,xlO½". $200/400.

161. Wagner, Bob, Brugge, Belgium 1996, printed later, Ed2/12, sieaicd in pencil on back of print, 9x9", $250/500. Courtesx Sarai, 1fJortMand Callery, NYC.

L62. Littwin, Kathi, Tea Cnp, 1983, Ektal'Olor. signed in pen on back of print, l0½xlO½", $250/500.

163. Waterman,Jill, Ringling Bros. Circus series (Bab;), 1997, signed in pencil on back of print, 5½x5½", $200/400. L64. Morse, Ann, Evening, Tuscany, Italy, 1996, signed in pencil on back of print, 8x8", 8150/300.

165. Pershing, Timothy, Prayer at Dawn, 1996. signed in pencil on ba!'k of print, 12xl2". $300/500.

] 66. Krotinger,Jonathan, Sand Dune, Death Valley, 1994, signed in pen on front of print. 9x9\ S200/400.

167. Serbin,Vincent, Negative Collage No. 39, 1992. signed in prn un front of print, l3¾xl3¾ 11 • $300/600.

168. Fitzsimmons,Joan, fle"rt/1 & Home. J994, signed in pencil on front of print. 20x20". $200/400.

169. Cartier-Bresson,Henri, C!,ina. I950/60s, stampt'rl with his name and \1agnum. 13¾x9½", $2000/3000.

170. Clergue,Lucien,Jean Cocteau and Se(f Portrait. 1959. 1995.sig1wdinprnonfront&barkofprint. l2x9½". 8600/800.

171. Montanari,Marie-Claire,Black Veil. 1997. signt'd in pl'n on front of print. IO½x6¾". 8400/600.

172. Temple,Harry, lot of IO pe1ll'il illustrations. sold i1Hlividually.1926. ,·ach signe(Iin JH'lH'il on front of print. t'ach 22x14". ead1 8250/450.

173.Kasebier,Gertrude,7'/1eJ/r111ger.1903,vintagf'. Camrra Work Gravurr. 8¾x6". ~800/1200. 1,,1. Struss,Karl, 71/,eC!,ost Sl11i1.1/"ate,f,-on/. East Side. \ I. 1912. platinum. 4¼,3½". ~1800/2200. L75.Quigley,Edward,Cat. 1935.\'intage.unsignrd.3x3". S 1500/2000.

I 16. Stieglitz,Alfred& ClarenceH.White. Esperiment 27, 1909. ,·intage. 8x6¼". $800/1000.

111. Hall,David,Baskets/er Arm. Indonesia. 1995. Ed. of 20. Cihachromr. signr,1 in pencil on front of inount/mat & bark of print, 20xl8", .'300/600.

178. Seeley,GeorgeH., Wl,ite Trees. 1910. vintage. CanH-ra \l'ork Gravurr. 7¾x6". S-100/600.

I 79. VanDerZee,James,Roy& Dog. 1923, signed on front of print, 9¼x7½". 2500/3500.

180. Mistretta,Martin, Untitled(antique perfume bottle). 1996. toned, signed on front of print. l5x 12", 8400/600.

181. Weston,Edward,Untitled(portrait of his son, Neil). 1925, vintage. platinum. 3¾x2¾". $1200/1500.

182. Dugdale,John,Bust of Perseus, 1997. ryanotypc. ~igned in pencil on back of print. I0x811 S750/1500.

183. Thode,Scott, The Spirit fflithi11(John Lesnick). 1995. Edl/25. signed in prnril on ba<"kof print, 18½x12¾". '500/900. Courtesy Ricco/ilfaresca Calle,y., VYC.

184. Richards,Patricia,Tl,e Kiss. 199,. ,ignrcl in penril on hal'k of print. IOx8". S200/500.

185. Montanari,Marie-Claire,Torso m'th Hands. 199,. !-!ignrtlin prn on front of print. 6¾xl0 11 • Stl00/600.

186. Shore,Stephen,late Bron=e Age Po11e,y, Ashkelon, Israel. 1996. 19971 signed in prncil on bat·kof print 1 13, 16" Si 5011500.

18,. Bernhard,Ruth, flips 1/orizontal 1975, 1995. signed in pencil on ba<"kof mount. 7½x9½". Sl000/1500.

188. lzu,Kenro,Angkor 26. 1997. signed in pen on bark of mount/mat & in penril on front of print. l9x 1311 • , 800/1250.

189. Mark,MaryEllen, Young Bo)' uith ,Jfickq Afouse Ears. luta Village, Yunnan Province. China, 1985, 1997. signed in pencil on back of print. 9,13½". 2000/3000.

190. Beals,JessieTarbox,Sheridan Sruare \'YC, 1900s. signed in pen on front of print. 7¼x9½". $1800/2500.

191. Hine,Lewis,Untitled(men looking)., •. 1900s, unsigned. 4½x5¾". S90011200.

192. Beals,JessieTarbox, 7'l,e Treasure Box. 7 S!,eridan Square, Cree111cic/1Village. e. 1910/1,. ,x9½". S1200/1500.

193. Lange,Dorothea,,Vorthem Oregon, fflestem Pacific l1i1e. 1939. vintage. stamped with her name & FSA. ,½x9¾". S2000/3000.

194. White,Pam, Untit/ed(nude/torso). 1995. signed in pencil on front of print. IO½xl3¼", 8200/400.

195. Ketchum,RobertGlenn,River Delta al low Tide, Admiralitr Island 1Vatio11al1lfo11L1111ent,1986, Ed2/27, Cibarhro;nc. 16x20". $400/800. Donated byAdi-ocaC)' Arts Foundation.

196. Kimbei,Kusa,Girl Da11ci11g, r. I890s, hand ,·olored albumrn print. 7x9". 8400/600. Donated b)''flalsted Callery, Jiff.

197. Gumpel,Roy,.\'YC l995(jazz pianist). L996. signed in p,•11on front of print. l3x8½". $200/400.

198. Fellman,Sandi,Floll'er 9. 1996. 22¾xl9". ,igne,I in pe1wil on back of print. $1000/1500.

199. Seeley,GeorgeH.,Autumn. l9JO. ,,intagl'. Canwra Work Gravure. 8x6¾". $400/500.

200. Weegee, l'ntit/er/(vo('alist & piano pla~tT in bar). unsigned. I l¾x8½". $2000/2500.

20 I. Menconeri,Kate, lntitled from t 111'Dirided Se(/ Dia,yseriPs. 1996. sigrwd in prn on tlw hack of print. 13 x IO". S200/400.

202. Marsted,MarciaReid,Still Life ,,·it/, Apple. l997. f'olor Polaroid transfrr, ~igned in 1wn on back of print. 5x4". $250/500.

203. Unknown,lot uf2. IJ11rlesqueGirls. Times Sq11r,re. 1940-50. 9,9". $300/600. Donated b,- \i11a K110.

204. Taka,Rei, 8/acl,· I elret & SliPil. artist', proof. 1990i,. signl'd in pt"ncil on back of print. 8xl0 11 ;;200/,100. Co11rtes;-! r111ceyN,dwrdso11 Cr,1/er,-. I YC.

205. Watanabe,Nana, l11titled(nutle al mirror).1993. signrd in pencil on front of print. 18½xl5". $200/500.

206. Capp,Kristin, l11titled from llnllerite Series (Carol lifting skirt). 1995. signr(I in 1wncil on li~lf'kof print. l4½xl4½". S2S0/500.

207. Skyler,Meryl,lot of 2. Untit/ed(Statues & Cameras). L997. Polal'oid color transfers. signed in 1wncil on front of prints. ear-h 2½x3½", $200/400.

208. DiEgiolio,Raimondo,Se(ll. 1997. signed in pen on baek of mount/mat. l4xl I". 8300/500.

209. Halsman,Philippe,Co11tinflas(Mexiean Al'tor), 1949. ,·inta:;r. stamped on hack of print. 12xl0" .. :600/800.

210. Ferguson,Jesseca,Se(/JAdamlEL·e. 1997. pinhole ziatype. signed in pencil on front of print. lOx811 f=i300/600.

211. Fiorese,Mauro,Equtlibrio (/Jalance). 1996. signed in pencil on haek of mount. 15xl2 11 (lot i11c/11rles lll'O booli·s). $300/600.

212. May,MickeyKarina, \psting II oods. 1991. signed in pen on front ofmounthnat & ba('k ofprinl. 13xl0n. ,150/300.

213. Camp,Roger,ligl,t ,ll11sic. 1992. Ed 1/20. llfoehrome color. signt'<Iin peneil on front of mat & ba£·k of print. 6½x9½". $200/400.

214. Lyons,Patricia, lrntitled from Ihe s,·rics S11~/{1ce 1'P11sio11.199.t. Ed-l/20. signr<I in pcnril on hark of print. 1,1½,l8½". $250/500.

215. Berridge,Mary, S/1(111(1.C/1i111ayo\ell' .lfe.rico. 1996. Ektaeolor. !-igned in Jlt'll on hack of print. 8½xl0¼ 11 • $300/500.

216. Schaefer,RobertA., Sonnyia. 1995, solarized. signed in pen on front of print &- in pencil on baf•k. 8xl0 11 • Sl 50/300.

217. Siegel,Alan, l'ntitled(The Wat<'rwlw,·I. Cambodia). 1991. signed in pencil on front of print, 13xl9 11 • ~200/500.

218. Hamilton,Jeanne,s,,b,my Slweshi11P(1980s). 1997. platin11m/palladium contact. 1x5". ,...;250/500.

219. Watriss,Wendy& FrederickBaldwin,Plantation /louse. East Texas. 1985. signed in prn on bark of print. I lxl4". ,300/600.

220. Davis,Cecille,lot of 2. 2 \ndes& Horizontal. 1995, signed in pe1wil on front of mats. 6¾x3½ 11 • 4½x3 11 • '<200/400.

221. Orkin,Louise,Abandoned Station (Woo<lsl<H"k).1983. signed in pencil on front of mount/mat. 8x I0 11 ,.;;;300/400.

222. Frith,Francis,1/o,,nt Ir en lock Abbey. <'. 1870s. ~lbumen. stamped on bark of 111011111.8x6¼". $400/600. Donated by lf"lsted Cal/e,y. Ill.

223. Ward,Frank,/Jalai Lama Shrine Cat'e. 71het. 1992. platinum/palladium print. ~igned in pencil on back of print. 7x9". ,300/500. ,

224. Shamis,Bob, Berlin. 1985. r-. 1990. Ektacolor. signed in pen on bark of print. l5x22½" '<200/400.

225. Fiorese,Mauro,A Jlfa,y/Toflfa,y, 1996, signed in penril on bark of mount, l5xl2". 8300/600.

226. McCarty,Mark, Kate ( loon lake. C!,es/er/o,vn, IVY, 1996, 1997. sig1w<lin µencil on back of µrint. l3½xl3½". S250/500.

227. Adams,Lori, !,,jie{d, Kentucky Derby, 1991, 1992. signed in pencil on bark of print, lO½xlO½". 8150/300.

228. Littwin,Kathi, legs, 1997, signed in pen{'iJon back of print, IO½xlO½". S250/500.

229. Khornak,Lucille,Ca,y 1993. signed in pencil on back of print, 9¾x5½", 8200/400.

230. Jargow,Marc, Natnre Series 1 - Catskil/,lfountain JJ/oth, color Polaroid transfe1\ signrfl in pencil on back of print. 20xl5", S100/200

231. Pettibone,Laura, Uhtitled(stonc figures). 1996, signed in pencil on back of print, 9¼x9¼". S250/500.

232. McCormack,Dan, 'l'ancy, 7-29-90 from thr Water series, DtjJtyrch,1993. signed in pencil on Lrnckof print. 6x2 1/2", 8300/500.

233. Carucci,Elinor, Jlfotl,eris Worried, 1996, Ed2/25. Ektaeolor, signed in pen on back ofpl'int. 10xl5 11 • S600/800. Courtesy Nicco/Jlfaresra Callery, NYC. 234. Allemany,Josef,Eres, 1900s, unsigned, vintage, S400/ 600. Donated by S"ml, Jliortl,land Calleryc,1VYC.

235. Kimbei,Kusa,Jlfaki11gJlfats, r. 1890s, hand colored albumen print, 7¾xl0", 8400/600. Do11atedby Halsted Ca/le,y. Jiff.

236. Stettner,Louis,Train Conductor, Penn Station. 1958. vintage, signed in pencil on back of print. 12xl 7¾\ SJ000/1500.

237. Komroff,Manuel,Trace,)', f'. 1950s. vintage~ stamped on bark. JO½xl3½". S600/1200. Donated by Odelle Komm.ff.

238. Brigman,AnnieW., D,yads. 1913. Camera Work Gravure. 6¼x8". 8500/700.

239. No Lot

240. No Lot

241. Leith-Tanous, Sara, .lfyles and N11111iSleeping, 1996. signed in pencil on back of print, 9¼xll ¼". S300/500.

242. Kimbei,Kusa,99 Jrlapide Resteng Place, c. 1890s, hand rolorcd albumen print, ,½ x9 ½" • 8400/600. Donated by Halsted Calle,J", ,JJ/.

243. Gross,Charles,lot of 2, Ne/lee/ions A & 8, 1996. Cibaehromc, sig1wrlin pen on back of prints~ each 9xJ4 11 • S200/400.

244. Davis,Bill, Coals/and, 1997, signed in pen on front of print. llxl4", S150/300.

245. Leible,Steve,Bass Player, 1997. signed in pf'n on back of print. 7x9½", Sl 50/300.

246. Fowler-Gallagher,Susan,Tree and Shadow, 1997. framed. platinmn/pallaflium contact print, initialed in pencil on front of print, 4x5", 8200/400.

24 i. Nimtez,Gloria, Street Evening, 1996, color R print, signed in pen on back of print, 6½x9½\ S200/400.

248. Lange,Dorothea,Sheep in landscape, c. 1938, vintage. stamped with her name & FSA on baf'k of print, 7x9½".S1500/2000.

249. Umbreit,Jeane,la Desercio11Divina 16, 1991. Edl/ 20, hand colored, signed in pencil on back of print, 9½x7½", $250/500.

250. Chernewski,Anita, Ringling Bros. & Barnum Bailey Circus, 1989, signrfl in prneil on back of print. 3½x4¾", S200/400.

251. McCormack,Dan, 71/,reeDouble Ron·s from the ,Jfodularseries, 1968, monoprint, signed in pencil on mount, 5,6./4", S400/800.

252. West,Julian,Untitled no. 20, 1995. Ed25/28. monod1romatic Ektaf'olor, signed i11prn on back of print. lO½xl4". S200/400. -

253. Marks,Betty, 101of 2, Cooper lake Clouds & Catsl,·i/1 1/igli. 1996. EktaC'olor. signed in pen on h.:u·k of prints. each 8x10". ~200/400.

25..t.Vallers,Jane, I as/ lf'r'nter, C!wtham. 1/assaclwsells. 1997. signed in penril. 4x6", S200/400.

255. Edleman,Richard& Richard,Bob & Ades,Joan,Ere 13 I Space Digest Today. Artist Book Limilnl Edition. 8xl0x3". S150/350.

256. fowler-Gallagher,Susan,Selfportmil in tl,e Carden. 1996. 3x8¾" s200/400.

257. Kreisher,Katharine,Coming and Going. 1981. photolithograph. signed in pencil on front of print. I Ix 1511• ~2001,100.

258. Barr,Paula,Aji-im101<·nBridge. 1997 Iris <'olor print. signed in JWll on front of print. 4x43½ 11 • :3750/2000. 259. Benson,Brian, Bessie. 1101/r.and Sue. 1996. Ed8/33. :-ig:nNIin pen on hark of print. 4x6 11 :-i 150/300.

Glossary

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

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

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

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

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

E~tacolor(c-print, color print) a print made from a color negative or color transparency on Kodak's _.Ektacolor paper.

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

Iris print digitally created print

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

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

Photograma unique photographic image made without a camera, by placing objects on light sensitive paper or film surface and exposing it to light.

Photogravure(heliogravure)a photomechanical printing process, invented in 1879, based on the printmaking technique of Intaglio, which yields high quality continuous tones. A Photogravure is made by coating a copper plate with light sensitive gelatin, exposing it to a negative, and then etched in proportion to the darkness of the original print.

Vintage a print is considered vintage if the positive image was made from the original negative' by the photographer/or overseen by the photographer, at approximately the same time the negative was made.

Pleasenote : allprints are gelatin silver unhtssotherwisenoted. Lot numbers run l[!ftto right and read down.

NewYorkCityStudioVisits

Imagine seven major photographers welcoming you into their homes or studios and sharing their art and experiences in a relaxed atmosphere of friendly company over wine and hors d 'oeuvres. At the encl of each visit, a wonderful thing would seem to happen; everyone in the group would start to grin, almost in amazement, touched by each artist's talent, personality, and passion. The parting conversations always centered on how special and surprising that particular event had been.

That was the New York City Studio Visits, 1997, the second round of a unique program which benefits the Center for Photography at Woodstock, New York. For a contribution of$500, $450ofwhich was tax-deductible, an intrepid band of photography lovers were invited to visit David Levinthat Andres Serrano, Tina Barney, Nancy Burson, Mary Ellen Mark, Hiro and Lillian Rassman. These gatherings took place (with some scheduling adjustments) the second Monday of each month and were organized by myself and the Center's Advisory Board Co-Chair Susan Ferris, with considerable help from Laurie Kratochvil and the invaluable assistance of Kate Menconeri from the Center.

So what was it like? Unbelievably revealing, repeatedly surprising, consistently entertaining, informative, insightful, and invigorating. Unforgettable. Each month, the voyagers for this year's series, (the 1996 series having been seeminglyunsurpassable) set out on a new adventure. David Levinthal works out of a

huge, well-lit, and immaculate loft in the Flatiron district. David gave a tour of his space which resembles a stream-lined shipping room with racks of prints and boxes of toys and models featured in his distinctive color still-lifes. Comfortable lounge areas are off to the sides by the large windows. David was erudite, yet innocent, affable and, at the same time, amazingly romantic.

Getting to Andres Serrano's Gothic lair near the Metro Tech Center in Brooklyn presented a major challenge. Finding this hideaway involved cellular phones and determination, but all the effort was fully rewarded. We entered this special and private place, an old railroad flat which looks not unlike the secret pied-a-terre of a Renaissance Pope. Filled with gorgeous Latin reliquaries and medical specimens, velvets and brocades, the space we had journeyed to was definitely not in Kansas. The walls of Andres' w.c. are covered with hundreds of crucifixes, giving a new bent to the title of his infamous image, Piss Christ. The tour group will long remember one of our more glamorous female members demurely holding up Andres' latest and quite graphic The History of Sex catalog. The conversation with Andres was a compelling detailing of the ongoing evolution of his personal vision.

Consistently each artist brought new considerations to our appreciation of their work. This was very true of our time with Tina Barney. After some rescheduling and good luck, Janet Borden opened her gallery for a special walk-through of Tina's recent Nudes show. It was wonderful to have Tina respond

gleefully to one participant's inquiry that hers was "the best question I've ever been asked!". Just another instance of the unique and wonderful exchange between artist and observer.

Nancy Burson's Soho studio was an immaculate, sprawling space with nothing on the walls. It was monastic in spirit like Serrano's flat but completely different and without an ounce of excess. Nancy's investigations of facial anomalies and androgyny come with a conviction that is completely disarming.

Mary Ellen Mark's studio was revealed as a combination of electronic wizardry for access to her lifetime library of image making and her impressive and very personal collection of photographs by other artists. Mary Ellen's striking personal presence was reaffirmed by her direct presentation and by her work itself.

Hiro welcomed us into his magnificent duplex studio in a landmark Central Park West building. In preparing for his upcoming retrospective, Hiro and his staff had assembled (and showed us) work reflecting his remarkable and durable career. All his images looked contemporary when, in fact, some of them were more than thirty years old. He has classic stature in the field, and photographers in our group looked like acolytes sitting at the feet of a master.

Finally, the great , Lillian Bass man held court in her Eastside carriage house. Her resurfacing (a book and New York City shows at F.I.T. and Gallery 292) is an occasion for joy. Her disarmingly frank anecdotes and slide show followed

"... the sp_acewe had journeyed to was definitely not in Kansas." WM. Hunt

an interview with Vince Aletti, senior editor at The Village Voice and principal photographycritic. Vince's observations about collecting and his life as a critic were candid and thoughtful. He is a seminal figure in contemporary photography and the cultural life of New York City.

It was a great studio series, different from the first year's with its visits to William Wegman, Sandy Skoglund, Adam Fuss, Albert Watson, and Arnold Newman with a special talk by A.D. Coleman. The difference was due to the keenness and diversity of the artists, their work, and their environments. Special was the commitment of the participants in this year's series. Ranging in age and background, the group brought curiosity and intensity to each of our Monday nights.

Who knows what wonders await us for the 1998 New York City Studio Visits beginning in January. For more information about this unique series-space is limitedcontact Kate at the Center. This is a terrific Christmas present. The cost will be $ 500 for six evenings ($450 is taxdeductible!), with all proceeds going to the Center.

© 1997 W.M. Hunt

W.M. HUNT, Dancing Bear, is the Co-Chair of the Center's New York Advisory Committee, and the Director of Photography at Ricco/ Maresca Gallery, NYC.

Bats under/ragile glass drnnes enshrouded in red uetz,et, stories o/ circus acrobats in India, state of tbe art cmnj}//ter technology that re1,eals not on~)' Ll'hat ll'e ll'ill look like in thirty years, /Jut u•hat Ll'e u•o11ld look like as the ojJJJositesex (ora composite o/ botb ), Rassman ·s /Je{{uties 011 ll'hite horses by 111idn(C!,hti11 Ma11hatta11, this is Just some o/il'lwt WM. Hunt and the Neu• York City Studio Visits /'}')7 artists unl'eiled /Je/i>re us this season. The Center thmzks W.M. Huntfi>rtakin,(!, 11s,yetagai11,

011 a journey into the i11ti111ate and o/ie11 pro/01111d circle o/ the i11tenwlio1wl photography scene ll'ith j}e1fect ti111i11g and edp,e, asserti1 1e gr{{ce, and o/co11rse, gregarious humor; Susan Ferris jiJI' 11/{{king each e/le11t one o/elegance, class a11d taste, Laurie Kratochvil ji>r her immense help; each artist Ll'ho shared a /Jit o/ their lil'es tl'ith 11s, the kee11 and curious j}({rticipants in this years series. a11d all the rest 1/'lw partook in 01/1' ad1•e11tures. - K. ,HenU>/{('/'/~

ANDREKERTESZLostinAmerica

Hungarian-born photographer Andre Kertesz's brilliant and innovative career in photogrnphy began in 1912 and spanned seventy-three years. His ability to construct lyrical images infused with personal insight and wit was apparent from the moment he picked up a camera. His early work from Hungary (1912-1925) and Paris (1925-1936) is charncterized by his ability to capture simple scenes of everyday life. His keen but subtle sense of timing and composition trnnsformed his photogrnphs into archetypal imagery that make deep emotional statements about the world around him. When he left Paris in 1936 he was considered a master photographer by those in the trnde,and today he is acknowledged as the father of contemporary photojournalism.

By the time Kertesz set foot on American soil, he had already produced many of his trademark images including Underwater Swimmer, Forced March to the Front, Chez Mondrian, Satiric Dancer, and Mondrian's Glasses and Pipe. He had been extensively reproduced in many European magazines such as Vu, Vogue, and Art en Medecine. His first books,Enfants and Paris vu par Andre Kertesz, met with success. He participated in the exhibition Film and Foto and the exhibit Modern European Photography at the Julian Levy Gallery in New York City. He also had his now-celebrated first show at the gallery, Au Sacre du Printemps. He photographed, worked, and interacted with many of the contemporary artists in Paris, including Mondrian, Leger, Chagall, Calder, Brancusi, and Colette. It is quite clear that when Kertesz arrived in the United States in 1936, he was a mature, recognized, accomplished artist.

It is also clear that after spending eleven years in the nurturing Parisian environment, he was totally unprepared for what he would face here. He was instantly thrown off balance by theAmerican scene. His vision, personality, and temperament would never find a place inAmerican photo journal ism. While there were good times, his years in this country were overshadowed with anger, regrets, and torment. However, as a result, a very powerful body of work emerged. In his simple, elegant still-lifes, self-portraits, and street photographs Kertesz examined the core of his existence. His images were encrypted with his own story of life and 30

death and his struggle to survive with his identity intact.

Andre and Elizabeth Kertesz arrived in New York in the fall of 1936. Kertesz defined the trip as a "one-year sabbatical," and so left behind many of his negatives, prints, and personal belongings with a friend in Paris. According to Andre, the couple came because he had a contract to work for the Keystone Agency; Erney Prince, Keystone's director, had spent many months luring him with "Kertesz, we need you .... America needs you." Shortly after he arrived in New York, Kertesz realized that Keystone was not equipped to handle his temperament, power, or vision. He broke his contract with Keystone and spent the next twelve years unsuccessfully trying to carve out a niche for himself in American photojournalism.

Meanwhile, Elizabeth had come to America intending to open a cosmetics company with the skills, contacts, and information she had acquired during her tenure at Helena Rubenstein in Paris. Frank Tomas, a friend and chemist at Helena Rubenstein, would soon follow. Elizabeth's success in business would eventually support a rich lifestyle. While Andre might have desired to go back to Paris, it seems unlikely that Elizabeth would have agreed to uproot herself again for Andre's unstable photographic career.

There were other complications as well.Andre and Elizabeth had been young lovers in Hungary. When he left for Paris in 1925, their plan was for him to send

for her once he established himself. Elizabeth arrived in Paris in 1931 and found that Andre had married a Hungarian woman, R6sza Klein, who was part of Andre's circle of friends.This marriage was annulled, and Andre went on to marry Elizabeth in 1933. With R6sza Klein in Paris, it seems unlikely that either Kertesz would have wanted to return. It's clear that Andre's feelings on this subject were never resolved, as he angrily refused to discuss this fifty years later.

There are also indications that his photogrnphic career in Paris had begun to stagnate prior to their departure.While Andre made little reference to the rise of Hitler in Europe as impetus for his departure, by the time he was in America and realized his plight, it would have been dangerous for hin1 to return.Whatever the reasons, the fact was that Andre felt that he was emotionally stranded in a hostile environment, with nowhere to turn.

After leaving Keystone, Andre set out in pursuit of freelance work.This was the beginning of a long, slow slide into oblivion; Kertesz virtually disappeared from the photogrnphic scene. His work was reproduced in many magazines and periodicals, but he found the process dissatisfying and demeaning. His successes were outnumbered by many incidents and misunderstandings that he interpreted as one slight after another. He was frustrated and annoyed because he was unable to find a publisher who would understand and appreciate his imagery. A steady source of work and income eluded him. He was omitted from important exhibitions and publications. This all had a debilitating effect on his now damaged and fragile ego.

To acid to this, during World War II Kertesz was considered an enemy alien by the U.S. Government and was warned not to photograph out on the street. He lost track of the custodian of his negatives in Paris and assumed that the mountains of work which he had left behind were another casualty of the war. He appears to have had a nervous breakdown, which manifested itself with attacks of vertigo in the darkroom. Upon his doctor's advice, Kertesz never worked in a darkroom again. Defeated, he finally retreated and accepted a contract to work for House and Garden magazine in 1949, where he created sterile architectural photographs

for the next thirteen years. Although adored by the publisher for shaping the look of the magazine,Andre dismissed this period as his "lost years."

Alone and isolated from the photographic and artistic community, without an audience, Kertesz turned inward, and his work became deeply introspective. His struggle to find his equilibrium surfaced in his photographs. Ironically, he was at the beginning of a period that would see him produce his most powerful body of work.

The photographs from this period are quite successful on their own. However, the insights we gain from knowing about his personal life at the time he was creating these images allow us to look for new meaning within them. Consequently, many of the images take on very different proportions.

In one of Kertesz's first works in New York, we see the all-conquering photographer majestically perched at the window in Self-Portrait at the Hotel BeauxA rts, 1936.Although the image exudes a sense of power, we now know Kertesz's self-confidence was either a short-lived experience or a hopeful projection of his desires, rather than a reflection of his state of mind.

Kertesz defined the 193 7 image Lost Cloud as a self-portrait. This is a playful image of a small cloud peeking out from behind the Empire State Building. Heidentifies himself as the cloud lost behind what was the most identifiable symbol of United States.

Arm and Ventilator, also created in 193 7, is a more brutal depiction of his feelings. This image, of an arm reaching out from behind a fan blade, is quite unsettling. Someone is reaching through the fan from the inside, to adjust or repair it. We see only the person's arm, as the rest of the body is obscured by the fan blade. Kertesz constructs a surreal image in which the arm geometrically integrates into the fan blade quite naturally.The arm appears to be part of the machine, an extension of it; however, one can also imagine that at any moment the arm could be torn off. It is simple to make the connection between Kertesz's sense of alienation and resentment toward the American scene and his creation of jarring images such as this one.

Melancholic Tulip, New York, 1939, was created with a small distortion mirror. Kertesz used the mirror for commercial jobs, creating distorted images of utensils and products for corporate report covers and advertisements. The tulip was a

personal photograph. This was a departure for him, as in Paris his art and his photojournalistic reportage were intertwined or more closely aligned. As time moved on,he would increasingly find himself separating his commercial work from his personal work.

The tulip was also de-fine:das a self-por 0 trait. When referring to· this photograph he would say,"This tulip was me, ... young and full of life, but wilting before its time ... very sac! very sad.'The elegant geometry and composition make it somewhat more playful, allowing us to circumvent its sadness.When we compare it with other self-portraits in his archive from the same year, we can see clearly his sense of defeat and despair.

Southport (c. 1942-1949) was taken during the period when Kertesz was warned not to photograph on the street. In this photograph, his tense shadow is superimposed on the doorway of an antique shop. Inside, a carousel lion silently roars as it faces the window. It is almost a satire of his predicament. The dichotomy between the tension in his shadow and the caricature of the angry lion behind the window is quite remarkable. Is Andre the lion, held silent, trapped behind the window, attempting to roar? Is he attempting to demonstrate his frustration with America? Or is it An1erica that is the lion, irrationally roaring as it eludes him from behind the window?

Kertesz continued throughout his long career to play with windows and doors. He is always on the cusp; we never know if he is inside or out. Consequently, he al-

lows viewers to play with their own position in the photograph as well. In fact, individual viewers find themselves shifting their identity with different subjects in his photographs, altering their position depending on their current state of mind. Only great works of art grow and change with the viewer. Southport was also one of many shadow self-portraits that he created throughout his lifetime, relating to his first shadow self-portrait, made in 1927 in Paris. There is much to explore in this compelling body of work.

It wasn't until 1952 that Andre and Elizabeth found their first real home in New York. He had first pick of an apartment in the building at 2 Fifth Avenue. After much deliberation he chose an apartment on the twelfth floor.The height provided a vantage point similar to the hills of Hungary and the streets of Paris. Weathervane, New York, 1952 was his first photograph in this apartment. It is one of many images created from this window, overlooking Washington Square Park to the south. We see the silhouette of a weathervane, a rooster, as it sits on the inside of a window.The glass is rain-swept, and the buildings in the background are softly defined as a result of the camera aperture, which renders a shallow depth of field. Here, Kertesz consciously represents himself by the rooster, which he relates to his adopted identity as a Frenchmen. There is a quiet calm to the photograph, as the storm is now outside. The lack of depth of field gives New York a gentle, distant look.This was a new beginning for Kertesz, a point at which he began to find himself and redefine who he was.

He was now situated in Greenwich Village, which was somewhat reminiscent of Paris.A number of his apartment building's maintenance crew and elevator operators were Hungarian, and Kertesz was now starting his morning greeting people in his native tongue.As he began to find his equilibrium, there was a distinct increase in the volume of personal work. His ability to compose a still-life, perfected through years of repetition at House and Carden, evolved as a powerful means of expression. He also photographed the Village and Manhattan from above and below. His street photographs from this period show that, remarkably, his bitter experiences had not destroyed his insight, wit, and unique understanding of human nature. He also had not lost his sense of timing during his long period of exile (see Incident, May 1, 1952.) Perhaps these qualities are what kept him emotionally alive during his difficult years.

The sixties brought about many changes. In 1962 Kertesz was hospitalized for what he called routine surgery, presumably a hernia open1tion. It was here that he decided to end his tenure with House and Carden to pursue his "amateur" career again.Amazingly, at age sixtyeight, he was emotionally capable of giving it another shot. Thomas Jefferson, Utica , 1961 can be seen as a parody of his situation. It is a photograph of a statue of Thomas Jefferson. The statue is in transport, lying flat on its back.A dolly underneath the statue is obscured by shadow. Off to the upper right we see a man and woman's legs. The statue comically appears to be straining to right itself as the couple looks on. Does the pair of legs represent Andre and Elizabeth watching Andre attempting to get up? Do they represent Elizabeth with her colleague and close friend Frank Tomas, watchingAnclre flouncier? Or had Andre just found some humor in a kindred spirit? It was no coincidence that Andre created this image at the time he was on the verge of staging his comeback. Once again Andre offers a set of choices and characters for the viewer to identify with. His work always assumes the intelligence of his audience, offering us something to play with, rather than completely dictating the terms.

Luck was now on his side. His 1963 exhibit at the Bibliotheque Nationale in Paris reunited him with the friend to whom he had entrusted his negatives, prints, and correspondence many years ago. She had saved them from destruction by moving the crates from Paris to her villa in the south of France.They were buried in a bomb shelter, where they remained for close to thirty years. Andre documented the momentous occasion as they were pulled from the ground.

Cornell Capa introduced Kertesz to Igor Bakht, who became Andre's printer for the remainder of Andre's life. Igor understooc!Andre's sensibilities and aesthetics. They appeared to be in synch from the start, and Andre's stability was strengthened by their shared understanding of his work. Kertesz no longer had to move from lab to lab to find the print qualities he needed. From this point on Kertesz would shoot photographs anticipating Igor's printing style. The significance of this union in Kertesz's resurgence cannot be overstated.

In 1964 a one-man show at the Museum of Modern Art was organized by John Szarkowski. Books, exhibits, and honors began to flow in a steady stream. To Kertesz 's surprise, he found a loyal follow-

ing in Japan when he traveled with the Concerned Photographer show in 1968. In 1972 a Guggenheim provided the funds to restore badly oxidized negatives. This bolstered his confidence even further. He was now busy printing and interpreting his old negatives and photographing extensively, producing volumes of work.

Throughout his life Kertesz was constantly building onto themes that he had started working on in 1912. He created different bodies of work on various subjects, such as rooftops, chimneys, chairs, park benches, birds, and animals. He was capable of projecting anthropomorphic images with ease. In his other bodies of work people are reading, working, and carrying out their everyday tasks as Kertesz looks on from the sidelines. He examined the core of existence in these simple images.

Within each theme his point of reference was changing, as his perceptions were altered by age and time. Consequently, each photograph within each theme earmarks different periods of his life. It is fascinating to trace the course of these different bodies of work throughout his lifetime. For instance, Kertesz created a lively image of animated mannequins in 1925.They almost come to life in the photograph. In the fifties the mannequins are either stuffed upside-down into garbage pails or suffocating in darkness as they stand shrouded in plastic. While they pop up in humorous images from the

seventies, by the eighties his mannequins are lifeless, black, truncated torsos, standing abandoned alongside a park.

Kertesz's lighthearted but insightful imagery has great appeal; he also continued to create deeply introspective and contemplative images, such as Martinique, Jam1ary 1, 1972.Yiewer reaction to this image is always strong; however, there seems to be a duality to it. Many find it to be calming and meditative. Others perceive it as dark and disturbing. This image of a shadow like figure, seen through a frosted partition on a balcony, was created while Andre and Elizabeth were vacationing in Martinique. On the left side of the photograph, a person is seen through frosted glass, leaning on a banister, looking out at the horizon. To the right the gray and cloudy sky is foreboding. The water is a dark, impermeable mass.

Kertesz always identified with the lonely, solitary figure, so this was not a departure. However, his figures were gene,Jlly captured walking down rainy streets or snow-covered parks. He usually gave us beautiful repetitive patterns to play with, using rows of lamp posts or cobblestone streets.As viewers, we could often get lost in the beauty of the image, while the loneliness evaded us. Here, we are forced to confront a solitary shadowlike figure, without the patterns and visual games. In fact, the tight geometry draws us back to the solitary figure as we attempt to wander through the photograph.

Martinique is a very somber photograph for the first day of a new year, especially for a man who was in the middle of a major comeback. The image lacks the atmosphere of celebration one would associate with New Year's Day, or vacations, for that matter. Andre was seventy-six years old. His health was beginning to become problematic. He had had many recent gains and success, but was still a long way from feeling fulfilled. Success had come too late. Kertesz's dark and brooding side had surfaced in his imagery before but never quite so directly as this. From this point on, as he attempted to cope with the drama of aging, the frequency of strong dramatic images, such as this one, increased greatly.

The art photography market had begun to grow in the seventies, and Ke'rtesz had success marketing his photographs. However, as his career was just beginning to soar, Elizabeth was diagnosed with lung cancer, a result of her years of chain smoking. In 1977 as exhibits, books, distinguished awards and most irpportantly, money flowed in, Elizabeth died after a

long and painful battle. Grief-stricken and ·- embittered,Andre was now alone for the first time since his early days in Paris. In deep mourning, he continued to photograph. Although he continued to work with 35 mm black-and-white film, he turned to the Polaroid SX-70 to work through his mourning process. Interestingly, this camera produced images about the same size as the carte postales that he had created in his early clays in Paris. He purchased a small glass bust that reminded him of Elizabeth and obsessively photographed it in his apartment window, with the skyline in the background. He continued to photograph the bust among the artifacts he and Elizabeth collected over the years. He explored his guilt and anguish. His anger and frustration were quite evident. His whole life with Elizabeth was open to evaluation. He played with artifacts as symbols of time, loss, life, and death. He even dabbled with religious objects, most notably the cross. He was searching all avenues for relief from his suffering. He even took new photographs with his old photographs as backdrops to his still-lives. Note the startling image in which he places a crown of thorns over the photograph of his hand in the 1933 image Elizabeth and I. The images from this period were often charged with conflicting emotions, his own mortality, and eventually renewal. They were a source of immediate gratification for him. He was creating very personal work and was able to move quickly with the Polaroid, as he did not have to wait for clays to see contacts and finished prints from his printer. He created a voluminous and powerful body of work.

Apparently Elizabeth had created an atmosphere that was prohibitive to visitors. After her death Kertesz was either globetrotting to openings and award ceremonies or entertaining a steady stream of visitors at home. Scholars and museum curators were constantly visiting, working on major exhibits and essays. Photography dealers were clamoring to get at him. Reverent and loyal photographers flowed in, one after the other, to pay him homage. He pretended to be annoyed by all the fanfare, but it was clear that he was enjoying his time in the limelight. I remember arriving one morning to find Andre in his livingroom among seventy-five Boy Scouts. He sheepishly shrugged his shoulders, saying, "What could I do 1 They wanted to meet me:· His hospitality and charm would overwhelm anyone in his presence. Kertesz would find himself seeing people to his door at 2 a.m., even if

he was expecting a new set of visitors at 6 the next morning. Despite his aging body and failing health, he approached each day with energetic youth. He had an intimate audience once .again, and this energized him.

This is not to say that Kertesz ever recovered from his years-of 1:1eglect.Given the chance, he would re.peat his now-patented saga of what had h_appenecl to him in the Untied States. His trustful European style also set him up to be taken advantage ofby unscrupulous people, who stole his work. He had a new mantra to acid to the story: "Too little too late ... and now they are stealing my life's work."

While some were bewildered and annoyed by Kertesz's angry posture, it served many purposes for him.After many long years he learned how to work with his bitter and negative feelings. He created his art autonomously, for himself, without an audience.Although he welcomed the new attention, there was no way he was going to allow anything to interrupt his flow of energy again. The anger was his fuel at times. He was capable of switching from seemingly insurmountable anger to wildly creative moments. He had learned to convert his negative feelings into a very positive means to an encl.

He also had conflicting feelings about the hundreds of people who were knocking on his door. While he was flattered, it kept him from his work. Perhaps the negative stories acted as a screening device. The stories would effectively weed out whoever couldn't accept them. It was only after one accepted his bitterness that Kertesz would allow a relationship to mature, revealing the insightful character who created the masterful body of work once again. It was a test.

It was clear that Kertesz was reveling in the satisfaction of working again in a supportive environment. He was in con-

trot of his·life again. In one of his last selfportraits in Untitled,August 17, 1984, o. 25A,Andre is standing in an image that is distorted by stretched Mylar. He was attempting to recreate the look of his 1933 distortions, where he used funhouse mirrors with female nudes. The camera has been directed into the reflection in the Mylar. He is photographing with the youthful confidence and sense of power he exhibited in his early 1936 self-portrait at the hotel window. Brilliantly, Andre looks younger, as he is elegantly elongated by the distorted Mylar. When Andre first showed me this picture, he said, "Look, I am a young man again."Ancl he was.

What has always amazed me was Kertesz's chameleonlike ability to adapt to his changing environment and restructure himself so that he could continue to work and keep his vision intact. Much of his life is like an 0. Henry story, with a lesson at every twist and turn. His existence inAn1erica exemplifies the persistent dilemma an artist in this country must face to survive. Andre's resilience kept him alive through some very dark periods. His perseverance to hold on is a testament to us all. While we all like to think that we are masters of our own destiny, Andre's life teaches us that we can affect our destiny only if we are able to understand and respond to outside forces.

Among the many factors that contributed to his rebirth and sense of inner calm, the most significant piece of the puzzle was his ability to photograph. Photography was his life and his main means of expression. He meant it when he said, "I photograph what I feel." It was not just a catchy phrase he coined. He worked for over seventy years, creating beautiful, insightful images that often bypass the brain and are delivered directly to the soul.

<D1997, Robert Gurbo

ROBERT GURBO, curator of the Estate of Andre Kertesz, began working with Kertesz in 1978 and has spent the last nineteen years studying and examining his work. Gurbo, an artist/photographer himself, was employed in the CETA Artist Project and was director and cofounder of the now defunct Eleventh Street Photo Gallery. I le is currently working on a major essay and book on Kertesz·s New York years. The funding for his research in the preparation of this essay was provided hy the Andre and Elizabeth Kertesz foundation.

All rights to text are resl-r\·ed lw the author Photographs:") Estate of Amir~ Kert6z

iiiiNYSCA

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