SPECIAL I PHOTO CENTRAL HOLIDAY SALE; SOTHEBY'S NYC FALL AUCTION SEES BIG INCREASE IN SALES TOTAL TO $3.3 MILLION; MAKE YOUR PLANS NOW FOR UPCOMING PHOTO SHOWS IN NYC AND LA: APHS TABLE-TOP SHOW THIS COMING SUNDAY IN NYC; PHOTO LA COMING UP JANUARY 15-18; AIPAD ADDS A DAY TO ITS FEBRUARY SHOW; NEW PHOTOGRAPHY DEALERS ADDED TO I PHOTO CENTRAL; NEW SPECIAL EXHIBITS ON ABSTRACT PHOTOGRAPHY AND MODERN CURTIS ORATONES ON I PHOTO CENTRAL; PHOTO REVIEW EXTENDS AUCTION OF UNSOLD IMAGES; MUSEE PICASSO SEEKS DORA MAAR IMAGES
SPECIAL I PHOTO CENTRAL HOLIDAY SALE
Newsletter readers can now see a special End-of-the-Year Holiday sale on I Photo Central brought to you by all five of the website's photography dealers. These items are available at special sale prices (from 20 to over 60% off the regular list price) for only a limited time, from now until December 31st. Many of the items regular list prices were reduced earlier by over 20%, so the actual net reductions may be well over 40% to 80% in many instances. These are all final prices, so no other discounts apply. Shipping/insurance may also be added.
There are some great deals, so check them out soon at: http://www.iphotocentral.com/sale/sale.php
If you want to do further sorts on the sale list, you can go to the Search Images page at http://www.iphotocentral.com/search/search.php
and put HolidaySale12 into the key word field. Then you can also use the other search fields, such as price range, country, etc. When you have all your choices made, simply hit the Search button (not the Show All Images button). When you put in the key word, you must have the capital letters in properly and no space between the words or the number "1". Also make sure you do not have any extra space after the key word. This way if you are bargain hunting, you can put in a range from $1 to $500, or if you want to focus on the top end, just put in a range from $1000 (or $5000) to No Limit.
You can also find hundreds of new images up on the web site if you haven't visited in the last month or so. Just go to http://www.iphotocentral.com/search/search.php
and go to the drop down menu on "Time Frame of Posting" and click on "Past Month". You will see all of the great images posted up within the last 30 days, some just this week. Some of these items have even been added to the Holiday Sale.
SOTHEBY'S SEES BIG INCREASE IN SALES TOTAL TO $3.3 MILLION
Sotheby's New York's October 17th multi-owner sale brought in over $3.3 million and the percent-sold was an impressive 78%. The sales results were comfortably within the pre-sale estimates.
Edward Weston was the big draw. Just three prints by Weston brought nearly ¾ of a million dollars, setting a new world record for the artist in the process.
The prices below will include the Sotheby's 20% buyer's fee. Many of the lots did not hit a level high enough for coverage, but I have noted the many highlights.
The action started early here. Lot 3 an Imogen Cunningham late-printed Magnolia Blossom sold for $18,000 to an order bidder.
Next it was Ansel Adams' turn to bring in the money. Lot 5 was Adams' late-printed Aspens, which brought $15,600 from a phone bidder with West Coast book and photo dealer Michael Dawson underbidding.
Adams' late-printed Clearing Storm (lot 7) cleared a cool $31,200 from a bidder in the room. A group of five (out of 10) images from Portfolio VI (lot 9) then brought $15,600 from a phone bidder.
Another phone bidder then picked up lot 11, Adams' late-printed The Tetons and the Snake River for a whopping $36,000, which was way over the estimate of $18,000-22,000.
Lot 15, a nice 15 x 19-3/8 inch Moonrise by Adams, was stolen by a collector who sat next to me at the auction. At $26,400 including premium the price for this quite decent Moonrise was the lowest of the last few auctions. Moonrise did not do as well this Fall as it did in the Spring auctions, hence the drop in the overall photo basket value as reported by Artprice.com (discussed in the last newsletter). But certainly this lot was a great buy.
Adams' Sand Dunes, Sunrise, Death Valley (lot 17) sold to the phone for $15,600.
Then LA photo dealer Jan Kesner picked up Portfolio Three, Yosemite Valley, for $56,400, which made this lot the seventh highest priced one in this sale.
Then lot 21, a vintage print of Rose and Driftwood sold for an astounding $84,000 to the phone in very active bidding. My prediction 2-1/2 years ago about Adams vintage prints seems to be coming true in spades. The buyer was a private collector. The price was good enough for fifth place in Sotheby's top ten highest priced lots.
Another vintage Adams of Meyer's Ranch (lot 24) was scooped up by New York dealer Rick Wester for a client on his phone for $22,800, very close to the top of its estimate range, but still very reasonable.
The next group of images to get bidder attention was the Robert and Kathryn Schwemley collection of daguerreotypes. The Schwemleys were long-time collectors. After Bob Schwemley died in an auto accident in 1986, Kitty, who was seriously injured in the accident, was urged by fellow collectors and dealers to continue to build the collection. A gifted pianist, Kitty added interesting images of musicians with their instruments. She also added a number of daguerreotypes of children and religious subjects.
The difficulty with the collection, as with so many other collections, was that the condition of the images was not uniform. Many images had been scratched, cleaned badly or otherwise damaged. The best were quite wonderful, and most of the images had an artistic quality that showed the Schwemleys' keen eyes.
How they were lotted up together was a bit strange. There were some wonderful single images put together with some less than wonderful pieces only because there was some similarity in content. Oddly enough some of the better images were in the large groups rather than the individual piece lots. I have always thought this was a poor way to sell a collection at auction.
Keith Davis of Hallmark Cards was one of the biggest buyers of the Schwemleys' material, taking 14 out of the 75 lots, including lots 31, 32, 35, 37, 50, 56, 57, 58, 65, 75, 79, 81, 87 and 97. He either took or underbid most of what I felt were some of the best lots in this section of the sale. Other winning bidders not mentioned below included Graham Nash (on the phone), Bruce Lundberg, Charles Schwartz, Michael Lehr, Jo Tartt, Harvey Zucker, William Schaeffer and David Chow.
Most of the lots did not hit over my minimum ($15,000, including premium) for reporting, but I will try to make some comments where appropriate. Most of the material fell under or in the estimate range, and a number of lots went unsold. Some lots that had been bought by Kitty Schwemley at auction here at Sotheby's sold well under their previous auction records. This would certainly not be a daguerreotype sale that would set new records for the market, but would provide dealers and collectors with some reasonably priced dags. The collection sold for a total of $312,120 including premium.
The first dag lot of some significance was lot 39, a young woman at a melodeon (misspelled in the catalogue). It was the cover lot of Larry Gottheim's November, 2000 Be-Hold auction, where it sold for a hammer price of $9,900 (Larry has no premium on his sale). Here it sold three years later to a commission bidder for an $11,000 hammer price and a total price, including premium, of $13,200. Just about what one might expect in price appreciation for the three years. Keith Davis underbid.
Lot 41, a group that contained an interesting quarter-plate composite of 14 daguerreotypes of a brass band, sold to the phone for $7,200 over the underbid of New Jersey dag dealer Mark Koenigsberg. The same phone bidder then picked up the next musical group (lot 42) for $9,600.
Lot 43, a 1/6-plate daguerreotype and a 1/9-plate ambrotype of banjo players, did very well, considering the less than perfect condition of the dag. It sold to a commission bidder for $6,600.
Another phone bidder picked up the next two lots of guitar players for $3,000 (lot 44, a single 1/6-plate daguerreotype) and $7,200 (lot 45, a group of seven dags of men and women playing or posing with guitars).
Lot 46, a daguerreotype of a wedding portrait of singer Jenny Lind and Otto Goldschmidt, was incorrectly described in the catalogue (Sotheby's did note this in an addendum issued at the sale itself) as being a half-plate. It was a quarter-plate and most of the dag dealers I talked to agreed that it was a period copy, which was not noted in the description. It sold to the phone for $4,200.
The next lot (50, a male pianist) was clearly the one with the most pedigree. It had sold at Sotheby's in the October 1995 sale of the collection of Stanley Yalkowsky for $27,600, when Sotheby's buyers' premiums were a more reasonable 15% (those were the days). Keith Davis snuck this one out of the room this time for a mere $18,000, including the higher premium. Definitely a disappointment for the sale.
And how about lots 51, 52 and 53 of gold miners? If this had been the Anaya sale, they might have sold for five to ten times these amounts ($14,400, $3,600 and $4,800 respectively). While the first two did go over their rather meager estimates, they certainly reflected more accurately the state of the market for gold mining hard images. Just a note: the half plate of the group of four gold miners with sluice (lot 53) was in extremely poor condition.
The next lot of note was an interesting group of 13 dags of religious subjects, which was bought by West Coast dealer John Boring for $10,800. He also bought lot 103, a very fine group of ten European portraits.
Lot 96, a dag of a two-masted ship, got a lot of attention. Estimated at $4,000-6,000, it hoisted anchor and took off for the high seas in a battle between the successful phone bidder and Hallmark's Keith Davis. The final price was $10,800.
Davis than stole the next lot, a 1/6-plate dag of Mercantile Buildings with Freight Cars, for a very reasonable $10,200.
Davis and Connecticut dealer William Schaeffer both tried hard on lot 99, two 1/6-plate dags featuring painted backdrops. Of the two images, the chess set was the clear winner though. And so was dag dealer Joe Dasta, who won out in the end by paying an astounding $16,800 for this lot. It must have driven all three bidders a little crazy to have seen Sotheby's Denise Bethel have to restart the lot again when some bidding got tangled up around the $4,500 mark.
The sale went back to its paper prints with a vengeance on lot 108, a copy of the Gardner Photographic Sketch Book of the Civil War. Dealer Charles Isaacs bought it for $79,200 over spirited bidding. His bid was good enough to place the lot into sixth place in Sotheby's top ten.
Edward Curtis dealer and I Photo Central member Christopher Cardozo picked up lot 114, a Hopi Man, for $19,200.
After the lunch break, Sotheby's got back on track with the James J. Rochlis sale and Ansel Adams. A 17 x 23 inch Winter Sunrise, Sierra Nevada from Lone Pine (lot 121) sold to the phone for $39,600. Then lot 124, Moon and Half Dome, Yosemite Valley, sold to another phone bidder for $37,200. Steve Perloff reported that this second phone bidder was NYC dealer Robert Mann. Both bids were over their high estimates.
A commission bidder took home lot 127, Yosuf Karsh's Fifteen Portraits portfolio, for $40,800. Then Atlanta dealer Jane Jackson picked up another portfolio, Walker Evans, lot 130, for $33,600.
A damaged (repaired stain at top of image and board repairs) Edward Weston of Tina Modotti (lot 134) flew right over its estimate of $30,000-50,000. The phone won the battle over NYC dealer Spencer Throckmorton, knocking down the photograph finally at a surprising $100,800--only good enough for fourth place in this sale.
Edward Weston was the big seller in the afternoon. Lot 138 (Stone Crop and Cypress, Point Lobos) went to a private collector for $18,000. The same order bidder then picked up the next lot, a Weston of a nude on the sand, Oceano, for a whopping $176,000. That placed the lot at number two in the top priced images of the day. Early on it was San Francisco dealer Paul Hertzmann who carried the battle, and then it was the phones. In the end it was still L108 that picked up their second Weston of the day.
But the highly anticipated lot 145, Weston's Two Shells, a highlight of the Rochlis collection, did not disappoint. Estimated at $200,000-300,000, I had predicted before the auction that it would easily break $350,000. It did. Soaring up and up, the price driven by frantic phone bidders after the room gave up early, the beautiful and iconic print set a new world auction record for the artist at $467,200. The former record was Weston's Hands against Kimono (Tina Mondotti) at $313,750 set at Sotheby's NY in April 2000. Of course, the Two Shells was the top priced lot in this Sotheby's sale, as well as the top priced lot for the auction week, although at least one lot at the Phillips sale would threaten its supremacy. The last such print that sold was in Sotheby's London's infamous Helene Andersen sale in May 1997. A comparable print of Shells sold for the equivalent of $181,000 then. That is a lot of appreciation in six and a half years.
In the What-Happened-Here category: lot 147, reportedly a 1942 Rayograph, which was estimated at $30,000-50,000, was bought in for a mere $12,000.
LA dealer Rose Shoshana gave chase on lot 151, a very nice Paul Outerbridge, Jr. Seated Nude color carbro print. But the phone got it in the end at $45,600. It was reportedly a unique print.
In the Best-Low-Priced-Lot-of-the-Sale category: William Schaeffer bought the wonderful lot 152, Doris Ulmann's Boats in Harbor. Sotheby's had a hard time figuring out what kind of print it really was ("warm-toned platinum or mixed process print, possibly gum bichromate"). It looked like a gum to me. In the right market, this should be a $20,000+ print, not the amazing bargain that Schaeffer bought it for.
All in all, the 54-image collection of the late James J. Rochlis, who was the former CEO of Chris-Craft Corp., sold for a total of $1,147,440, nearly double the low estimate of $614,300. Only three lots failed to sell.
While it may seem like it was all down hill after the Rochlis material, there were still some good images sold here. For instance, NYC photo dealer Spencer Throckmorton came out on top on two Tina Modotti prints (lots 173, portrait of William Spratling and 174, Edward Weston with Camera) at $24,000 and $31,200 respectively. He had to best Weston collector Michael Mattis for these prizes.
A very large and lovely early print (not identified by Sotheby's as to what KIND of print, but probably a matt silver gelatin) of a Woman, 1916 by Edward Steichen hit into its upper range at $16,800, but was still exceptionally reasonable. San Francisco dealer Paul Hertzmann was the underbidder to the phone.
After a cute, but not inspiring portrait of Cole Weston by his father Edward (lot 185), failed to find a bidder at $10,000, the next lot (186, a large format--but unsigned--photogravure of Spring Showers by Alfred Stieglitz) sold to dealer Jill Quasha for $20,400.
Then NYC photo dealer Deborah Bell bought lot 192, Edward Drummond Young's Portrait of Walter Sickert, who, besides being a talented British impressionist artist, has been named as Jack the Ripper's alter ego by at least one Ripper researcher, Patricia Cornwell. Bell cut to the quick on this one, slashing her way past the high estimate and then nearly to double that estimate. At $37,200 (over an estimate of only $12,000-18,000) her client became the owner of this piece of history.
For me the most interesting of the Berenice Abbotts in this sale was lot 207, a vintage image of the El, Second and Third Avenue Lines, Hanover Square and Pearl Street. Oversized at 18 x 14-1/18 inches, the image had real presence. Dealer William Schaeffer came on strong and took it for $24,000. He had to fend off Abbott dealer Ronald Kurtz.
Walker Evans' Country Store and Gas Station (lot 211) went just over estimate to San Francisco dealer Jeffrey Fraenkel at $37,200.
Man Ray's Nuesch Eluard with Mirror (lot 218) sold to a commission bidder at $21,600. Then NYC dealer Edwynn Houk picked up the next Man Ray (lot 219, La Priere) for $31,200, outbidding Jill Quasha in the process.
German photo dealer Hendrik Berenson reversed positions on Houk, beating him and fellow dealer Stephen Daiter, to take a pair of portraits, one by Lotte Jacobi and the other by Grit Kallin-Fischer. The final price was a steep $19,200, which was double the high estimate.
Irving Penn's Girl behind the Bottle (lot 241) drew the attention of a phone buyer who bought it at the reserve of $24,000, including the premium. A collector in the room bought the next lot, another Irving Penn (Cocoa-colored Balenciaga Dress), for nearly double the low estimate (estimate $8,000-$12,000) at $18,000. Irving Penn's 2 Guedras (lot 245) sold for $24,000 to a phone bidder.
Richard Avedon's always popular Dovima with Elephants (lot 246) in a small print sold to a collector in the room for $22,800--well over the estimate of $12,000-18,000.
Harry Callahan is popular these days--at least some of his prints. An oversized, but late-printed Eleanor in an edition of 8 sold to the phones for an astounding $102,000. Baltimore, MD dealer Thomas Segal bought it for his wife, who reportedly has one of the largest collections of vintage Eleanor and Barbara photographs by Callahan. Although it is not vintage, there may not be a vintage print of this image. The price put the print in third place for the day.
Callahan's Chicago (Trees in Snow, lot 253) brought about double the high estimate at $34,800 from a commission bidder--the same one who bought the Edward Weston Nude on Sand.
In the Why-Did-This-Get-Bought-In category: Lot 255, a huge print of Ruth Orkin's American Girl in Italy directly from the woman photographed in this picture, was bought in at a measly $8,000.
Robert Frank's Tulip/Paris sold to the room for $48,000, which was good enough for number nine on the Sotheby's top ten. While it had several condition problems, it still had good presence. Frank's Charleston in a large print sold to Jackson Fine Art for $50,400. It was a bigger and better print than the one at Phillips.
The Diane Arbus prints had a string of strong bids. Lot 266, A Family on Their Lawn, was mowed down by dealer Rose Shoshana for $32,400, against a miserly estimate of $10,000-15,000. Likewise Child with Toy Grenade (lot 268) sold just under its high estimate at $37,200 to dealer Jeffrey Fraenkel. Fraenkel also bought the next lot, The King and Queen of a Senior Citizens Dance, for $19,200--double the high estimate. I was the underbidder. Rose Shoshana came back on lot 270, Xmas Tree in a Living Room in Levittown, L.I., which she bought at $22,800--again nearly double high estimate. Finally a phone bidder took the last major Arbus, The Junior Interstate Ballroom Dance Champions, for $25,200, more than double the low estimate. Shoshana and Fraenkel also smartly picked up some of the lesser Arbus prints.
Francesca Woodman, who did not have a particularly strong outing at this sale, did manage to get a bidder in the room on lot 276, Jill's Mask, for $18,000.
Robert Mapplethorpe's color dye transfer print of a Calla Lily soared over its estimate of $15,000-25,000 to bring $43,200 from a phone bidder. A self-portrait by Mapplethorpe also was bought by a phone bidder for $25,200--well within the estimate range.
NEXT NEWSLETTER: The rest of the Fall NYC auction schedule.
MAKE PLANS NOW FOR UPCOMING PHOTO SHOWS IN NYC AND LA
APHS TABLE-TOP SHOW THIS COMING SUNDAY IN NYC
On Sunday, December 7, the American Photographic Historical Society will host its one-day photography show from 10 am-3 pm at the Holiday Inn/Martinique, 32nd & Broadway, New York, NY. Besides US dealers from around the country, several European photo dealers have told me that they will be exhibiting at this tabletop show. There will be a wide variety of photographic images including daguerreotypes, ambrotypes, tintypes, stereo views and photo albums, as well as important large format photographs. In addition there will be several tables of collectable and useable cameras. There will also be a good selection of new and used books, ephemera and other collectable photographica. Free appraisals will be offered.
The ticket price is normally $6, but newsletter readers will get a $1 off by showing this page at the ticket table. Early entry is available from 8:30 am for $45.
Vintage Works will again be exhibiting. Please let us know if you would like to see something special.
PHOTO LA COMING UP JANUARY 15-18
Next up is Photo LA, which will be held January 15-18, 2004 at the Santa Monica Civic Auditorium, 1855 Main St, Santa Monica, CA. This is the 13th anniversary of the photography exposition, which has become a world-class event. Over 75 galleries and private dealers from over 20 cities, as well as galleries from Europe, will exhibit thousands of images. Vintage Works, Ltd., our company, will be exhibiting at the show and we will be bringing numerous masterworks. This year we will share the booth with Galerie Hypnos of Paris, which is a new member of the I Photo Central website (see story below).
Public hours for the exposition are Thursday, January 15th, 6-9 pm (special charity reception), Friday and Saturday, January 17th and 18th, 12-7 pm, and Sunday, January 19th, 12-6 pm. Tickets for the event are $15 for one day and $25 for three days and can be purchased at the door. Readers of this newsletter can take $5 off of the one-day ticket or $8 off of the three-day ticket by showing this page at the ticket booth.
AIPAD ADDS A DAY TO ITS FEBRUARY SHOW
Last, but certainly not least, is the granddaddy show of them all: AIPAD (Association of International Photography Art Dealers), which will be held once again at the Hilton Hotel in New York City. This is the 24th year that the show has been put on. The show has added a day to its schedule, so you will have even more time to see everything.
This year the show opens on Wednesday, February 11th and runs through Sunday February 15th. There is a benefit preview on Wednesday night from 6-10 pm at a special charge to be announced. The regular hours for the show are Thursday, Friday and Saturday, 12-8 pm and Sunday, 12-6 pm. Tickets are $20 for a one-day pass and $30 for a four-day pass. Both tickets include a very fine catalogue of the show with a great cross-reference of photographers and photo dealers. This is a MUST show, and I urge everyone to try to attend. I Photo Central members Charles Schwartz Ltd., Lee Gallery and Vintage Works, Ltd. will all be exhibiting at the show.
PHOTO REVIEW EXTENDS AUCTION OF UNSOLD IMAGES
The non-profit Photo Review Benefit Auction did well this year, especially considering the economy is just starting a recovery. Still, a few lots did not meet their minimum reserves and were bought in. So once again the Photo Review is having a sealed bid auction of unsold lots from this year's auction.
If you would like to participate, you can view the auction and bid online at http://www.photoreview.org/auction.htm
. Only the available lots are now posted. Bidding closes at 5 pm EST on December 13, 2003, in order for your purchases to reach you in time for holiday gift giving.
Alternatively, you can email Stephen Perloff of the Photo Review at firstname.lastname@example.org
and request a list of the remaining lots and their minimum prices.
The "End This Auction" feature will be available through the closing date: bid the high estimate and the auction ends immediately and the lot is yours.
NEW PHOTOGRAPHY DEALERS ADDED TO I PHOTO CENTRAL
Three new photography dealers have recently joined I Photo Central: Christopher Cardozo Fine Art, Galerie Hypnos and Lee Gallery. The three photo dealers have already added another 1,750 new images to the website. They join dealers Charles Schwartz, Ltd. and Vintage Works, Ltd.
Christopher Cardozo Fine Art, for three decades, has been a leading source for fine art photography and has specialized in original works by Edward S. Curtis. Formed by Christopher Cardozo, the company owns the world's largest inventory of original Curtis photographs. Cardozo is the author of six books on Edward Curtis including the award winning Sacred Legacy and Native Nations. The first of two books of a new six book series on Curtis will also be released in 2004. He is regarded as one of the world's leading authorities on Edward S. Curtis and his internationally-exhibited personal collection is considered to be the world's largest and most broad ranging. Cardozo is also the founder of the Edward S. Curtis Foundation, which is working on the creation of an Edward S. Curtis Museum. Cardozo Fine Art also owns the world's largest archive of vintage photochroms or photolithographs available to the public. This rare archive was originally owned, over a hundred years ago, by the Detroit Photographic Co. The archive contains over a thousand different images of North America and approximately 7,000 European images. For vintage pieces contact Julie Trombetta, 2419 Lake Place, Minneapolis, MN 55405. The phone is 1-612-377-2252 and fax is 1-612-377-3083. Her email is email@example.com
. For Contemporary Works and Reproductions, contact Sean Seele, 308 Prince St., Ste.180, St. Paul, MN 55101. The phone is 1-651-312-0162 and fax is 651-312-0163. His email is firstname.lastname@example.org
. You can view the nearly one thousand images from Christopher Cardozo Fine Art by going to http://www.iphotocentral.com/search/search.php
and putting in CardozoChome
and CardozoCurtis (without any space and capitalizing the C and C) separately in the keyword space and hitting the Search button.
Located in the cultural heart of Paris, on the "Rive gauche", between the Orsay Museum and Saint-Germain-des-Près, Galerie Hypnos, run by Arnaud Delas, specializes in 19th and early 20th-century photographs. The gallery offers a wide range of themes, prices and photographers--some very famous, such as Le Gray, Baldus and Atget, and some anonymous. Hypnos offers a large range of themes, but rare and exotic travel and ethnographic photography is the main concentration of the gallery. Hypnos also offers a wide choice of fashion, flower, and architectural images, as well as other subjects in all media, including salt and albumen prints, daguerreotypes, cyanotypes and silver prints. Galerie Hypnos is located at 52, rue de l'Université, 75007 Paris, France. The phone is 011+33 1 45 44 99 71 and fax is 011+33 1 45 44 99 71. The email is email@example.com
and the direct website is at http://www.hypnos-photo.com
. Gallery hours are Tuesday through Friday from 2:30 pm-7 pm, and Saturday, from 3 pm-7 pm. You can view images from Galerie Hypnos by going to http://www.iphotocentral.com/search/search.php
and putting in GalerieHypnos (without any space and capitalizing the G and H) in the keyword space and hitting the Search button.
Mack Lee of Lee Gallery has been buying and selling fine photographs since 1981 and has been a member of the Association of International Photography Art Dealers (AIPAD) since 1984. The gallery's specialties include 20th-century American photographs made before 1970, photographs from the Photo-Secession and the circle of Stieglitz, and 19th-century American, British and French photographs. Lee Gallery is eight miles north of Boston off I-93. The address is 9 Mount Vernon St, 2nd Floor, Winchester, MA 01890. The phone is 1-781-729-7445 and fax is 1-781-729-4592. The email is firstname.lastname@example.org
and the direct website is at http://www.leegallery.com
. Gallery hours are Monday through Friday from 10-5:30 pm and by appointment. You can view the 675-plus images from Lee Gallery by going to http://www.iphotocentral.com/search/search.php
and putting in LeeGallery (without any space and capitalizing the L and G) in the keyword space and hitting the Search button.
NEW SPECIAL EXHIBITS ON ABSTRACT PHOTOGRAPHY AND CURTIS
ORATONES ON I PHOTO CENTRAL
You will find two new Special Exhibits up on I Photo Central, added to the other 21 exhibits that were already on display. We have also continued to change images and add to our essays for all our Special Exhibits, so they are all worth another peek, especially if you have not looked lately. I know that I have personally changed over 60 items in these Special Exhibits, just in the last week.
Here are our newest additions:
To Abstract a View. Vintage Works' Maria Di Elsi Connolly's accompanying essay notes, " In one sense all photographs are abstractions. A photograph frames a specific portion of reality. The final image is abstracted from the whole. This is a completely unique approach to making art and is endemic to the medium." The images range from microscopic views to photograms to x-rays to just a photographer's viewpoint that abstracts reality. The subjects may be distorted shadows, specific designs or slices of reality.
Edward S. Curtis Contemporary Original Goldtones. This exhibit offered by Christopher Cardozo Fine Art details the process used to reproduce the original gold orotone process using the original negatives by Edward Curtis. These contemporary limited editions replicate the old process, including Curtis-styled frames. The images are some of the most popular made by Curtis, but a much lower cost than the vintage images.
You can see these fine exhibits, along with 21 others at: http://www.iphotocentral.com/showcase/showcase.php
. We are constantly changing and updating these exhibits as we get in new items, so if you have not looked at them in the last few days, you probably have not seen a lot of the material on display even in the older Special Exhibits.
MUSEE PICASSO SEEKS DORA MAAR IMAGES FOR UPCOMING EXHIBITS AND CATALOGUE
Curator Anne Baldassari of the Musee Picasso is searching for images by Dora Maar for an upcoming exhibit and catalogue.
The first show specifically devoted to Dora Maar will be presented at the Galerija Klovicevi Dvori in Zagreb, Croatia, fall, 2004.
In 2005-2006, a very important exhibition in Paris, Houston (Museum of Fine Arts) and Melbourne (National Gallery of Victoria), entitled "Picasso/Dora Maar" and exploring their relationship between the years 1935-45, will show about 50 works by Dora Maar (photomontages, reportages, portraits, recherches surréalistes). At the same time, a catalogue raisonné of Dora Maar's work prepared by the Musee Picasso and the National Museum of Modern Art (Georges Pompidou Center) will be published in 2005.
You can contact Anne Baldassari at email@example.com
if you have any Dora Maar images you would like to share for these projects.