THE CENTER FOR PHOTOGRAPHY AT WOODSTOCK
CPW AWARDS & BENEFIT AUCTION
Staff Hannah Frieser Executive Director Lawrence P. Lewis Operations Manager Jan Nagle Program Manager Katherine Clausen Executive Assistant Miriam Romais Marketing & Strategic Development Advisor Juan Madrid Digital Lab Manager Sean Hovendick Web Developer Board of Directors Jesse Blatt Clinton Cargill Alex Davis Howard Greenberg, Founder Michael Knauth Barry Mayo Susan Quillin Jed Root Stanley Sagner Tevis Trower Andy Young Advisory Board Koan-Jeff Baysa Philip Cavanaugh Darren Ching Brian Clamp Julie Galant William Hannigan W.M. Hunt Doug James David Karp Susana Torruella Leval Ellen K. Levy Carlos Loret de Mola David Maloney Babs Mansfield Yossi Milo Jeff Milstein Doug Menuez Sarah Mor thland Rober t Peacock Roger Ricco Miriam Romais Ernestine Ruben Kathleen Ruiz Ariel Shanberg Gerald Slota Neil Trager Rick Wester Director Emerita Colleen Kenyon
About Founded in 1977, the Center for Photography at Woodstock is a not-for-profit 501(c)3 artist-centered organization dedicated to supporting artists working in photography and related media and engaging audiences through opportunities in which creation, discovery, and learning are made possible. To learn more about the yearround programs at the Center for Photography at Woodstock, please visit www.cpw.org. Supporters The Center for Photography at Woodstock’s 2017 programs are made possible in par t with great suppor t from Adobe Inc., Archival Methods, Ar ts Mid-Hudson, B&H Photo/Video, Canson, the Gunk Foundation, Innova Ar ts, the Edith & Phillip Leonian Foundation, MAC Group, the Milton & Sally Avery Foundation, Museo Fine Ar t, the National Endowment for the Ar ts, and the New York State Council on the Ar ts, Ulster County, the Andy Warhol Foundation for the Visual Ar ts, the Town of Woodstock, Woodstock Framing Gallery, members and individuals like you! Catalog Design Template Greg Simpson emphemra-designs.com Cover Image © Jamel Shabazz, Rude Boy Style, East Flatbush, Brooklyn, NYC, 1980, printed 2003, c-print, ar tist proof 1/3, signed verso, 13 7/8 x 8 5/8” on 14 x 11” paper.
The Andy Warhol Foundation for the Visual Ar ts The Edith & Phillip Leonian Foundation The Thompson Family Foundation
2017 CPW Awards & Benefit Auction
The Center for Photography at Woodstock 2017 CPW Awards & Benefit Auction Honoring Deborah Willis, PhD Featuring CPW’s 39th Annual Benefit Auction of Early, Modern and Contemporary Photographs Thursday, October 12, 2017 Affirmation Ar ts, 523 West 37th Street, New York, NY
Benefitting the Center for Photography at Woodstock’s mission to support artists working in photography and related media, and to engage audiences through opportunities in which creation, discovery, and learning are made possible.
2017 Benefit Committee
Honorary Benefit Chairs Howard Greenberg Stan Sagner Gold Jed & George Root Silver Clinton Cargill and Thanakorn Jirasevijinda Sue Hartshorn Lynne and Harold Honickman Michael Knauth and Henry Ford Barry Mayo Susan Quillin Stewart Rahtz and Bill Farmer Stan Sagner and Paul Washington Bronze Alex Davis Alison and StĂŠphane Gerson Jane and Bill Pearson Marcuse Pfeifer
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Introduction
Much to our own astonishment, CPW turned forty this year. What started with happy enthusiasm guided by a strong sense of purpose soon blossomed into a full-fledged art center that has launched countless art careers and inspired ardent engagement with photography. CPW is proud to celebrate its track record of showcasing artists in hundreds of carefully curated exhibitions, nurturing artists and their careers through residencies, mentoring and inspiring work spaces, and offering workshops in which leading image makers teach techniques and vision. We have celebrated our anniversary year with a string of activities, including a three-day portfolio review weekend, a reintroduction of a major Woodstock event that included the sale of over 150 framed photographs, a tintype photo booth, the Bare Walls Birthday Bash with dance party, and more. Behind the scenes, we have also reviewed, streamlined and re-energized programs, revisited our own history, made new friends, rekindled existing relationships, and purchased an artist house. Four decades speak loudest in numbers. Since our beginnings in 1977, CPW has presented 655 exhibitions, are about to host our 120th artist-in-residence, published 99 issues of our publication Photography Quarterly (1979-2010), offered hundreds of workshops and lectures, supported thousands of artists through our programs and work spaces, and opened our doors to hundreds of thousands of visitors, including 10,000 visitors just last year. We are where we are, and we were able to accomplish all that we have accomplished, because of people like you. Over the years, we have enjoyed the support of thousands of members, donors, artists, art collectors, and organizations at every level, regional, state and federal, private and public. Earlier this year, we were able to purchase an artist house with live and work space. This was made possible by two foundations, a long-term private supporter, a very special family, and over 100 individual donors who gave anywhere from $5 to $5,000. The house has been in use all summer,and any of our artists-in-residence will tell you just how crucial its large studio area was to their art making while in Woodstock. We are extremely grateful to all of those who have supported us from our earliest endeavors to our most recent adventures. We exist to provide meaningful support to artists and to enhance the dialogue about the arts. That has been made possible through you. And it is your support that inspires us roll up our sleeves every day to do our work. We thank you. Warmest wishes,
Hannah Frieser Executive Director
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Acknowledgments
Thank You CPW would like to acknowledge the suppor t of all the incredible photographers and individuals whose donations make this fundraising event possible and the following (list at time of publication): Affirmation Ar ts and its staff Lauri Andretta Jesse Blatt – Planning Committee J. Blatt Agency Gay Block Clinton Cargill – Planning Committee Alicia Colen – Planning Committee Alex Davis Kelly Flynn/ Hen Laying Egg Dennis Gatto and his children Greg & Katha Stéphane Gerson Howard Greenberg and the staff at the Howard Greenberg Gallery Charles Guice Ann Harrison William T. Hillman W.M. Hunt/Dancing Bear Sneha Kapadia/Woodstock Framing Gallery Michael Knauth Sarah Lewis Barry Mayo Susan Quillin – Planning Committee Jed Root Stan Sagner – Planning Committee Tevis Trower Rick Wester/Rick Wester Fine Ar ts Gail Wilty/Benchemark Printing, Inc. Andy Young CPW Interns: Lea Asbrock, Emily Esty, Christian Gallo, Alyson LeCroy and Michael Yalamas Sponsors Affirmation Ar ts Aperture Magazine Archival Methods Empire Merchants Nor th Howard Greenberg Gallery La Palapa Cocina Mexicana Paddle8 Photograph Magazine Woodstock Framing Gallery …and you
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Event Information
2017 CPW Awards & Benefit Auction Thursday, October 12, 2017 Affirmation Ar ts, 523 West 37th Street, New York, NY Honoring Deborah Willis, PhD Schedule of Events 6:00pm VIP reception and private ar t viewing silent auction opens 7:00pm general admission 7:45pm award presentation 8:15pm live auction bidding begins 9:00pm silent auction closes Auctioneer Rick Wester, Rick Wester Fine Arts Auction Preview Auction lots are viewable online at www.paddle8.com/auction/cpw Absentee Bids Absentee bids will be accepted until Wednesday, October 11 at 5pm EST. Bids may be submitted in person or online. Prospective buyers are encouraged to view work for sale at Paddle8.com or in person by appointment. They may contact CPW to request a condition repor t for lots up until 5pm on Monday, October 9. See Conditions of Sale on page 53 for details.
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2017 Vision Award Honoree
Photograph by Hank Willis Sr.
2017 VISION AWARD HONOREE: DEBORAH WILLIS Each year, the Center for Photography at Woodstock recognizes an outstanding figure in the photography community with the Vision Award. Established in 2004, past honorees have included Vince Aletti, Kathy Ryan, Sandra S. Phillips, Willis E. Hartshorn, Fred Baldwin & Wendy Watriss, the photo agency VII, W.M. Hunt, Lilo Raymond, Neil C. Trager, Kenro Izu, Howard Greenberg, John Dugdale, and Colleen & Kathleen Kenyon. It is CPW's extreme pleasure to present Dr. Deborah Willis with the 2017 Vision Award in recognition of her outstanding dedication and service to the field as an advocate, artist, writer, curator and educator. Her research and perseverance single-handedly changed the discourse about race and identity in the photographic arts and brought the rich cultural and creative contributions of African American photographers from obscurity to international attention. Her scholarship, leadership, as well as mentorship have paved the way for generations of artists, curators and researchers. So it is with great admiration that we acknowledge her considerable contributions to the field with the highest award CPW has to offer.
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Deborah Willis, Ph.D, is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the College of Arts and Sciences, Department of Social & Cultural, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers, and beauty.
Dr. Willis is the author of Posing Beauty: African American Images from the 1890s to the Present; Out [o] Fashion Photography: Embracing Beauty; Reflections in Black: A History of Black Photographers – 1840 to the Present; Let Your Motto be Resistance – African American Portraits; Family History Memory: Photographs by Deborah Willis; VAN DER ZEE: The Portraits of James Van Der Zee; co-author of The Black Female Body: A Photographic History with Carla Williams; Envisioning Emancipation: Black Americans and the End of Slavery with Barbara Krauthamer; and Michelle Obama: The First Lady in Photographs (both titles a NAACP Image Award Winner).
She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University, a John Simon Guggenheim Fellow, and an Alphonse Fletcher, Jr. Fellow. She has pursued a dual professional career as an art photographer and as one of the nation’s leading historians of African American photography and curator of African American culture.
She lectures widely and has authored many papers and articles on a range of subjects including The Image of the Black in Western Art, Gordon Parks Life Works, Steidl, Volume II; America’s Lens in Double Exposure: Through the African American Lens; “Photographing Between the Lines: Beauty, Politics and the Poetic Vision of Carrie Mae Weems,” in Carrie Mae Weems: Three Decades of Photography & Video, and “Malick Sidibé: The Front of the Back View” in Self: Portraiture and Social Identity. Dr. Willis
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Opposite: Dr. Deborah Willis and Carrie Mae Weems at the Posing Beauty exhibition, October 8, 2009. Exhibition view, bottom right. Photos courtesy of NYU Tisch School of the Arts, Department of Photography & Imaging. This page, top: Dr. Willis at NMAAHC opening.jpg: National Museum of African American History and Culture, Washington, D.C., September 24, 2016. Photo by Hank Thomas. Bottom left: Dr. Cheryl Finley, Dr. Deborah Willis and Hank Willis Thomas at the "Black Portraiture[s]: The Black Body in the West" conference at the Musée du quai Branly in 2013. Photo courtesy of Deborah Willis.
is editor of Picturing Us: African American Identity in Photography; and Black Venus 2010: They Called Her “Hottentot,” which received the Susan Koppelman Award for the Best Edited Volume in Women’s Studies by the Popular Culture/American Culture Association in 2011. Exhibitions of her art work include: A Sense of Place, Frick, University of Pittsburgh; Regarding Beauty, University of Wisconsin, Interventions in Printmaking: Three Generations of African-American Women, Allentown Museum of Art; A Family Affair, University of South Florida; I am Going to Eatonville, Zora Neale Hurston Museum; Afrique: See you, see me; Progeny: Deborah Willis + Hank Willis Thomas. Gantt Center. Dr. Willis’ curated exhibitions include: “Convergence,” Joan Mitchell Center, New Orleans; “Out [o] Fashion Photography: Embracing Beauty,” Henry Art Gallery, University of Washington, “Visualizing Emancipation,” Schomburg Center for Research in Black Culture, “Gordon Parks: 100 Moments,” Schomburg Center ; “Posing Beauty Let Your Motto Be Resistance: African American Por traits” at the
International Center of Photography and “Social in Practice: The Ar t of Collaboration,” Nathan Cummings Foundation. In addition to making art, writing, and teaching, she has served as a consultant to museums, archives, and educational centers. She has appeared and consulted on media projects including the documentary films such as Through A Lens Darkly, Question Bridge: Black Males, a transmedia project which received the ICP Infinity Award 2015, and American Photography, a PBS Documentary. Since 2006 she has co-organized thematic conferences exploring imaging the black body in the West. Dr. Willis has been elected to the board of the Society for Photographic Education, where she was Chair of the Board and received the Honored Educator Award in 2012 and the College Art Association. She holds honorary degrees from Pratt Institute and the Maryland Institute College of Art. She is currently researching a book on an early 20th century portraitist and educator. Source: New York University, Tisch School of the Arts 2 0 1 7 C P W AWA R D S & B E N E F I T AU C T I O N
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39th Annual Benefit Auction Silent Auction Lots
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Nydia Blas Nydia with Blanket, June 2016, printed 2017, pigmented inkjet print, ar tist proof, signature label, 16 x 20” on 17 x 22” paper. Estimated value: $1,000 Courtesy of the ar tist
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David Emitt Adams Celestial Rendering 06, 2010, gelatin silver print, numbered edition 5/25, signed verso, image size 5” in diameter on 10 x 8” paper. Estimated value: $825 Donated by the ar tist and Ether ton Gallery, Phoenix, AZ
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Sergey Kozhemyakin Untitled (girl), from the Childish Album, 1990, sepia toned gelatin silver print, unnumbered edition, signed recto, 20 x 16�. Estimated value: $1,500 Donated by Alan and Sandy Siegel
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Sergey Kozhemyakin Untitled (boy), from the Childish Album, 1990, sepia toned gelatin silver print, unnumbered edition, signed recto, 20 x 16�. Estimated value: $1,500 Donated by Alan and Sandy Siegel
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Tomiko Jones Offering, 2017, gelatin silver print, numbered edition 1/10, signed verso, 13 1/2 x 10 1/2” on 14 x 11” paper. Estimated value: $800 Donated by the ar tist
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Tama Hochbaum Partial: Eclipse, 8/21/2017, dye sublimation print on aluminum, unique, signed verso, 16 x 16”. Estimated value: $2,100 Donated by the ar tist and George Lawson Gallery, San Francisco, CA
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Priya Suresh Kambli Buttons for Eyes, 2017, pigmented inkjet print, unnumbered edition, signed verso with inscription, 10 x 8 1/4” on 13 x 19” paper. Estimated value: $600 Donated by the artist
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Aaron Rezny Monopoly, from the series Game Show, 2014, printed 2017, pigmented inkjet print, artist proof, signed recto, 22 1/2 x 30” on 26 1/2 x 34” paper, mounted to sintra. Estimated value: $1,500 Donated by the artist
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Fredrik Marsh Abandoned Apartment, near Koblenzer Strasse, Dresden, Germany, 2005, printed 2017, pigmented inkjet print, ar tist proof, signed verso, 16 1/4 x 20” on 20 x 24” paper. Estimated value: $1,600 Donated by the ar tist
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Sharon Rousseau Woodstock Peony, 2017, pigmented inkjet print, ar tist proof, signed verso, 11 x 11” on 13 x 13” paper. Estimated value: $350 Donated by the ar tist
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Jaime Permuth Untitled, from the series The Street Becomes, 2017, pigmented inkjet print on hand-made Japanese paper, numbered edition 1/10, signed verso, 10 3/4 x 15” on 22 x 17” paper. Estimated value: $1,700 Donated by the artist
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Claire A. Warden No. 11 (Hierarchy), from the Mimesis series, 2016, pigmented inkjet print, numbered edition 1/12, signed verso, image size 20 x 16” on 21 x 17” paper. Estimated value: $800 Donated by the artist
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John Francis Peters Falling, 2015 (diptych), printed 2017, fiber-based pigment print, numbered edition 1/7, signed verso, each image 18 x 14 2/5” on 24 x 20” paper. Estimated value: $1,700 Donated by the ar tist
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Orestes Gonzalez Dark Shadows from Trump Towers Invade the Beach, 2012, printed 2017, pigmented inkjet print, numbered edition 5/10, signed verso, 19 x 23” on 20 x 24” paper. Estimated value: $950 Donated by the ar tist
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Tom DeLooza Card Board The Plane, 2013, Ambrotype, unique, signed verso, 11 x 14�. Estimated value $1,100 Donated by the artist
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David Armstrong Jarrod, Brooklyn, 2011, pigmented inkjet print, numbered edition 1/15, signed verso on signature label, 20 x 29�. Estimated value: $2,500 Donated by Jed and George Root
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Meryl Meisler Two Boys Crossing Gates Avenue, Bushwick, Brooklyn, October 1982, from the series A Tale of Two Cities Disco Era Bushwick, 1982, printed 2015, archival inkjet print, ar tist proof 4/7, signed verso, 12 1/4 x 8 1/2” on 18 x 14” paper. Estimated value: $600 Donated by the ar tist
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Raymond Jacobs Boardwalk Photographer, Coney Island, New York, 1953, printed 2017, gelatin silver print, numbered edition 3/25, signed verso by estate, 16 x 20” paper size. Estimated value: $2,500 Donated by the estate of Raymond Jacobs and the J. Blatt Agency
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Daido Moriyama Untitled, date unknown, printed c. 2005, gelatin silver print, edition 23/51, signed verso, 8 x 11.6” on 10 x 12” paper. Estimated value: $1,200 Donated by Gallery Fifty One, Antwerp, Belgium
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Jeremy Dennis The Stolen Wife, 2016, printed 2017, pigmented inkjet print, numbered edition 2/10, signed verso, 9 2/3 x 14 1/2”. Estimated value: $750 Donated by the artist
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Allen Bryan A Deer and a Raccoon Walk into a Bar, 2012, pigmented inkjet print, artist proof 2/5, signed recto, 11 x 25” on 14 x 26 1/2” paper. Estimated value: $1,500 Donated by the ar tist
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Myra Greene T.S., Rochester, New York, from the series My White Friends, 2008, inkjet print, ar tist proof 1/2, unsigned, 20 x 20”. Estimated value: $1,300 Donated by the ar tist and PATRON
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Gay Block Lynn Appleyard, H-E-B San Antonio, TX, 1985, printed 2017, archival inkjet print, numbered edition 3/10, signed verso, diptych, each image 13 x 16 1/3”, 20 x 36 1/4” paper Estimated value: $2,400 Donated by the artist
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Elliott Landy Bob Dylan, outside his Byrdcliffe home, infrared color film, Woodstock, NY 1968, printed c. 2010s, pigmented inkjet print, open edition, signed recto, 14 x 20 1/4” on 17 x 22” paper. Estimated value: $1,500 Donated by the artist
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Doug Menuez Jangadeiros. Ceará, Brasil, 2011, printed 2017, pigmented inkjet print, open edition, signed verso, 8 1/2 x 12 3/4” on 10 1/2 x 14 1/4” paper. Estimated value: $500 Cour tesy of the ar tist
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George McClintock Quatre Martiniquaises, 1979, printed 2013, gelatin silver print, artist proof in an unnumbered edition, signed verso, 14 x 14” on 20 x 16” paper. Estimated value: $600 Donated by the ar tist
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Anne Arden McDonald Growing Planet, 2015, cameraless gelatin silver print, numbered edition 1/20, signed verso, 20 x 16”. Estimated value: $1,600 Donated by the artist
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Rebecca Martinez Carrie Fisher with Emmy on Phone, 2008, printed 2017, pigmented inkjet print, artist proof 1/3, signed verso, 18 x 12” on 20 x 14” paper. Estimated value: $1,500 Donated by the artist and Jayne Baum Gallery
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39th Annual Benefit Auction Live Auction Lots
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Arthur Leipzig Chalk Games, 1959, printed later, gelatin silver print, unnumbered edition, ar tist stamp verso, 10 x 12 7/16” on 10 15/16 x 13 15/16” paper, condition repor t available. Estimated value: $3,500 Donated by the Leipzig Family and Howard Greenberg Gallery, NYC
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Allan Tannenbaum John Lennon and Yoko Ono in front of the Dakota, NYC, Nov. 21, 1980, pigmented inkjet print, numbered edition 5/25, signed recto, 13 9/16 x 19 15/16” on 24 x 20” paper. Estimated value: $2,200 Donated by the ar tist and the J. Blatt Agency
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Julie Blackmon Take Off, 2009, archival pigment print, numbered edition 9/25, signed recto, 22 x 29” on 24 x 31” paper. Estimated value: $3,100 Donated by Orly Cogan and Robert Mann
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Dawoud Bey James Baldwin at City College of New York, 1978, printed 2017, pigmented inkjet print, unnumbered edition, signed verso, 6 3/4 x 10” on 8 1/2 x 11” paper. Estimated value: $1,500 Donated by the artist and Stephen Daiter Gallery, Chicago, IL
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Aaron Siskind Harlem Document, c. 1932-1940, printed c. 1980, gelatin silver print, unnumbered edition, authentication stamp verso, 12 1/16 x 8 15/16” on 13 7/8 x 10 7/8” paper. Estimated value: $3,500 Donated by the Aaron Siskind Foundation
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Carla Shapiro Looking for a Quiet Corner, 2017, pigmented inkjet print, artist proof 1/2, signed verso, 22 x 22”, mounted on archival foam core. Estimated value: $1,800 Donated by the ar tist
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John Dugdale If You Love Me, Morton Street, NYC, 2013, cyanotype, numbered edition 1/6, signed cer tificate label, 18 1/2 x 15”, custom frame with rolled glass. Estimated value: $10,000 Donated by the artist
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Alan Siegel Heaven’s Light (todi Umbria), 1995, printed later, gelatin silver print, open edition, signature label, 13 1/2 x 10 3/8” on 14 x 11” paper, condition repor t available. Estimated value: $1,000 Donated by the artist
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Ruben Natal-San Miguel Priceless (Anthony), Astoria, Queens NYC, 2015, printed 2017, artist proof, signed cer tificate label, 20 x 24”. Estimated value: $2,500 Donated by the ar tist
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Laurie Lambrecht Hangzhou Pond, 2009, printed 2017, pigmented inkjet print, numbered edition 5/12, signed verso, 21 x 31 1/2” on 24 x 35” paper. Estimated value: $3,600 Donated by the ar tist
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Gabriel Garcia Roman Sidra, from the series Queer Icons, 2014, photogravure with Chine-collé, handmade frame by the ar tist, unique, signed verso, 10 x 8” on 14 x 11” paper. Estimated value: $800 Donated by the artist
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Elsa Mora Untitled, from the series Natalie, 2016, digital print on canvas with hand-stitched thread, unique, signed recto, 13 x 13”. Estimated value: $5,000 Donated by the artist
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Garry Winogrand Untitled, from the series Women are beautiful, 1969, printed c. 1980, gelatin silver print, ar tist proof, signed verso, 8 3/4 x 13 1/8” on 11 x 14” paper. Estimated value: $3,500 Donated by Howard Greenberg Gallery, NYC
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Dave Heath George Krause’s Son, Philadelphia, 1964, printed 1965, gelatin silver print, unnumbered edition, signed recto with inscription verso, 7 11/16 x 5 1/8” on 10 x 8” paper, condition repor t available. Estimated value: $6,500 Donated by Howard Greenberg Gallery, NYC and Stephen Bulger Gallery, Toronto, Canada
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Joel Meyerowitz Cold Storage Beach, Truro, 1977, c-print, unnumbered edition, signed verso, 7 9/16 x 9 7/16” on 14 x 11” paper. Estimated value: $15,000 Donated by Howard Greenberg Gallery, NYC
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Danny Lyon Hattiesburg, Mississippi, 1964, printed 1994, gelatin silver print, unnumbered edition, signed verso with printer stamp, 12 15/16 x 8 11/16” on 13 15/16 x 10 15/16” paper, condition repor t available. Estimated value: $4,000 Donated by Howard Greenberg Gallery, NYC
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Jeffrey Milstein Newark 8 Terminal B, 2016, printed 2017, archival inkjet print, numbered edition 1/10, signature card, 40 x 30” on 41 x 31” paper, mounted on archival foam core. Estimated value: $4,000 Donated by Kopeikin Gallery, NYC and Benrubi Gallery, NYC
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Kris Graves Amani, 2015, printed 2017, pigmented inkjet print, numbered edition 1/5, signed verso, 20 x 16” on 22 x 17” paper. Estimated value: $2,000 Donated by the ar tist and Sasha Wolf Projects
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Lilo Raymond Curtain with Vase, 1977, gelatin silver print, open edition, signed recto, 12 1/2 x 18 1/2”. Estimated value: $2,000 Courtesy of George Allen and Elena Zang Gallery
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Mary Ellen Mark Mother Theresa, Shishu Bhawan, Calcutta, 1980, gelatin silver print, unnumbered edition, signed verso with printer notes, 12 x 8” on 13 15/16 x 10 3/4” paper, condition repor t available. Estimated value: $8,000 Donated by Jed and George Root
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Louise Dahl-Wolfe Lisa Fonssagrives In Nefertiti Hat, 1945, printed c. 1985, gelatin silver print, unnumbered edition, signed verso, 9.5 x 11” on 11 x 14” paper, condition repor t available. Estimated value: $5,000 Donated by Staley-Wise Gallery, NYC
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Claire Rosen Gyrfalcon No. 4602, from the series Birds of Prey, 2016, printed 2017, pigmented inkjet print, numbered edition 1/7, signed recto, 36 x 24” on 38 x 26” paper. Estimated value: $3,000 Donated by the ar tist
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Nathan Lyons Untitled (diptych, pp 56-57), from the series After 9/11, date unknown, gelatin silver prints, unnumbered edition (p 56 – edition of 4, p 57 – edition of 7), estate stamp verso, each print 4 5/8 x 6 3/4”. Estimated value: $8,000 Courtesy of Joan Lyons
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Philippe Halsman Lovers Kissing, c. 1950s, gelatin silver print, unnumbered edition, stamped verso, 13 3/4 x 10 13/16” on 13 15/16 x 11” paper, condition repor t available. Estimated value: $6,500 Donated by Howard Greenberg Gallery, NYC
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José Picayo Gerri, 1992, gelatin silver print, edition 1/25, signed verso, 9 1/4 x 7 1/4”. Estimated value: $1,500 Donated by the ar tist
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Alejandro Cartagena Carpoolers #55, 2012, printed 2017, pigmented inkjet print, numbered edition 2/10, signed cer tificate label, 12 1/3 x 20” on 14 1/3 x 22” paper. Estimated value: $2,500 Donated by the ar tist and Kopeikin Gallery, Los Angeles
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Rocio De Alba The Hoarder - Mother of Five with High School Sweetheart, 2016, archival inkjet print, numbered edition II of XX, 20 x 16”. Estimated value: $750 Donated by the artist
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Doug Menuez Hacienda de San José del Refugio, Amatitán, Mexico, 2001, printed c. 2006, gelatin silver print, numbered edition 1/8, signed verso, 16 x 20”. Estimated value: $1,500 Courtesy of the ar tist
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Gordon Parks Muhammad Ali, Miami, Florida, 1966, printed later, gelatin silver print, Gordon Parks Foundation stamp print verso (signed by Foundation Director Peter W. Kunhardt, Jr), 13 x 10”. Estimated value: $12,000 Donated by the Gordon Parks Foundation and Howard Greenberg Gallery, NYC
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Andre Kertesz Vertes, Paris, 1948, gelatin silver print, unnumbered edition, artist stamp verso, 9 7/8 x 7 5/8” on 10 3/16 x 8” paper, condition repor t available. Estimated value: $6,000 Donated by Howard Greenberg Gallery, NYC
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Leon Levinstein New York City, 1954, printed later, gelatin silver print, unnumbered edition, signed recto, 17 1/2 x 15”, dry mounted on 25 x 20” rag board. Estimated value: $8,500 Donated by Howard Greenberg Gallery, NYC
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Lillian Bassman Lauren Bacall, Harper’s Bazaar, 1963, printed 1992, gelatin silver print, ar tist proof, signed verso, 14 3/8 x 11 1/4” on 20 x 16” paper. Estimated value: $12,000 Donated by Howard Greenberg Gallery, NYC
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Jamel Shabazz Rude Boy Style, East Flatbush, Brooklyn, NYC, 1980, printed 2003, c-print, ar tist proof 1/3, signed verso, 13 5/8 x 8 7/8" on 14 x 11” paper. Estimated value: $6,000 Donated by the ar tist
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Paul Mpagi Sepuya Study (_1980993), 2016, printed 2017, numbered edition 3/5, signed label, 13 x 10” on 24 x 20” paper. Estimated value: $2,400 Donated by the ar tist and Yancey Richardson Gallery, NYC
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James Van Der Zee Wedding Couple, 1935, gelatin silver print, signature printed recto via negative, inscription verso in pencil "Certified: D. Mussenden 5/93", 10 x 8�, condition repor t available. Estimated value: $4,000 Donated by Howard Greenberg Gallery, NYC
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Margaret Bourke-White Czechoslovakia, 1937 (press image used in LIFE Magazine, May 30, 1980), gelatin silver print, unnumbered edition, unsigned with notations in pencil on verso, 10 x 13 3/8�, condition repor t available. Estimated value: $8,000 Donated by Howard Greenberg Gallery, NYC
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Index of Ar tists
David Emitt Adams, 16, 2 David Armstrong, 23, 16 Lillian Bassman, 47, 60 Dawoud Bey, 33, 32 Julie Blackmon, 33, 31 Nydia Blas, 16, 1 Gay Block, 27, 23 Margaret Bourke-White, 49, 64 Allen Bryan, 26, 21 Alejandro Car tagena, 44, 54 Louise Dahl-Wolfe, 42, 49 Rocio De Alba, 45, 55 Tom DeLooza, 23, 15 Jeremy Dennis, 25, 20 John Dugdale, 35, 35 Orestes Gonzalez, 22, 14 Kris Graves, 40, 46 Myra Greene, 26, 22 Philippe Halsman, 43, 52 Dave Heath, 38, 42 Tama Hochbaum, 18, 6 Raymond Jacobs, 24, 18 Tomiko Jones, 18, 5 Priya Suresh Kambli, 19, 7 Andre Ker tesz, 46, 58 Sergey Kozhemyakin, 17, 3, 17, 4 Laurie Lambrecht, 36, 38 Elliott Landy, 27, 24 Ar thur Leipzig, 32, 29 Leon Levinstein, 47, 59 Danny Lyon, 39, 44
Nathan Lyons, 43, 51 Mary Ellen Mark, 41, 48 Fredrik Marsh, 20, 9 Rebecca Martinez, 29, 28 George McClintock, 28, 26 Anne Arden McDonald, 29, 27 Meryl Meisler, 24, 17 Doug Menuez, 28, 25, 45, 56 Joel Meyerowitz, 39, 43 Jeffrey Milstein, 40, 45 Elsa Mora, 37, 40 Daido Moriyama, 25, 19 Ruben Natal-San Miguel, 36, 37 Gordon Parks, 46 , 57 Jaime Permuth, 21, 11 John Francis Peters, 22, 13 Jose Picayo, 44, 53 Lilo Raymond, 41, 47 Aaron Rezny, 19, 8 Gabriel GarcĂa RĂłman, 37, 39 Claire Rosen, 42, 50 Sharon Rousseau, 20, 10 Paul Mpagi Sepuya, 48, 62 Jamel Shabazz, 48, 61 Carla Shapiro, 34, 34 Alan Siegel, 35, 36 Aaron Siskind, 34, 33 Allan Tannenbaum, 32, 30 James Van Der Zee, 49, 63 Claire Warden, 21, 12 Garry Winogrand, 38, 41
Please note listings include: page number, lot number
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Conditions of Sale
Thank you for your support of the Center for Photography at Woodstock, whether you are attending our annual benefit event on October 12, 2017 in person or are placing an absentee bid. Please take a moment to read the conditions of sale below that will assist you in par ticipating in CPW’s 39th Annual Benefit Auction. The auctioneer will accept bids from bidders present at the Auction who raise their paddles to signify bidding interest and from absentee bidders who make bids with CPW in advance of the Auction. The highest bidder acknowledged by the auctioneer will be the purchaser ; in the event of any dispute between bidders, the auctioneer will have final discretion. The auctioneer may act either by placing consecutive bids up to the amount of the reserve, open bidding at the reserve, enter bids in response to salesroom, and order bids. CPW staff, board members, and volunteers may bid at the Auction for themselves, and/or they may execute bids for absentee buyers. If the auctioneer decides that any opening bid is below the value of the ar ticle offered, s/he may reject the bid and withdraw the article from sale. CPW will record the name or paddle number of the successful bidder upon the fall of the hammer. Each lot is sold “as is” and all purchases are final. CPW does not make any expression or implied warranty or representation as to the condition of any lot offered for sale, and no statement made at any time, whether oral or written, shall constitute such a warranty or representation. Descriptions of condition are not warranties. The descriptions of the conditions of ar ticles in this catalog, including all references to damage or repairs, are provided as a service to interested persons. Accordingly, all lots should be viewed personally by prospective buyers or an authorized representative to evaluate the condition of the property offered for sale. Unless a lot is identified as part of a limited edition, no edition limit should be assumed. Unless a lot is identified as having been printed in a certain year, no date of printing can be warranted. All prints are sold unframed, unless noted otherwise. Payment is due at the evening of sale unless otherwise agreed with CPW staff. Accepted methods of payment are credit card (American Express, Mastercard, Visa), check, money order, cash, or Paypal. New York City sales tax (8%) is charged on any purchases picked up or delivered in New York State, unless the purchaser has given CPW a valid resale exemption. Tax-exempt numbers should be registered the night of the sale or placed on absentee bid forms. Purchases shipped outside New York State may be subject to the sales tax of those states. The cost for shipping is not included in the auction bids. Upon request, art work can be mailed by US Mail or FedEx. The buyer agrees to pay the cost of shipping and handling of no less than $125, depending on weight and shipping address. Please contact the CPW staff to determine the exact cost or if you would like to make alternative shipping arrangements. If you have any questions, please call CPW at (845) 679-9957. Most impor tantly, all proceeds from the Benefit Auction sale will go to fund CPW’s year-round ar tist-centered programs!
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How to Place an Absentee Bid
THE DEADLINE FOR ALL MANNERS OF ABSENTEE BIDS IS 5:00PM EST ON WEDNESDAY, OCTOBER 11, 2017.
Absentee Bidding CPW’s auction will be posted online and viewers will be able to place absentee bids electronically. The service is secure and no charges will be placed to your credit card until you have be notified by CPW of your successful bids. We encourage you to use this service. You may access it by visiting www.paddle8.com/auction/cpw All rules per taining to online absentee bidding remain the same as for absentee bids submitted via mail, fax, or via telephone. Order bids may be submitted online, telephoned in, or by special request, via proxy at the live sale. Such bids will be executed at the lowest possible price taking into account the reserve price—if any— and Auction floor bids. This may mean that you will purchase the item for less than the top bid you leave. If matching bids have been entered by two or more par ties, the first bid received by CPW will take preference. The photographs for sale and additional information can be viewed online via Paddle8. The ar t may be viewed in person by appointment. Prospective buyers are encouraged to request a condition repor t for any lot up until Monday, October 9 at 5:00pm. Notification of successful bids will be made within ten business days of the auction. The cost for shipping is not included in the auction bids. Upon request, ar t work can be mailed by US Mail or FedEx. The buyer agrees to pay the cost of shipping and handling of no less than $125, depending on weight and shipping address. Please contact the CPW staff to determine the exact cost or if you would like to make alternative shipping arrangements. If you have any questions, please call CPW at (845) 679-9957. Payment must be made within ten business days of notification or your purchase will be cancelled.
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Underwriters 2 0 1 7 C P W AWA R D S & B E N E F I T AU C T I O N
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Erica Deeman, Untitled #24, 2014, from the series Silhouettes. Courtesy Laurence Miller Gallery
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The Bronx Documentary Center salutes The Center for Photography at Woodstock on the occasion of their 40th Anniversary.
www.bronxdoc.org
Acknowledgements
W
e celebrate CPW and its support of artists
Our thanks and gratitude to
Dr. Deborah Willis whose insight, wisdom and vision is shaping the field of photography. Lynne and Harold Honickman
Congratulations to Dr. Deborah Willis on her well deserved award and for her many contributions to the understanding and appreciation of photography. STAN SAGNER + PAUL WASHINGTON
Our thanks to Deborah Willis for her unparalleled contributions to the field as curator and author, educator and photographer. FROM EVERYONE AT THE HOWARD GREENBERG GALLERY
CONGRATULATIONS, DEBORAH for this honor and for all you have done to expand and enrich the world of photography. CLINTON CARGILL AND THANAKORN JIRASEVIJINDA
A well deserved award for the woman who rewrote history. BARRY MAYO
Thank you, Deborah, for giving us the framework to understand and for unveiling a bigger picture of photography's history. THE STAFF AT CPW
Congratulations, CPW. Forty years young and still pushing boundaries! May the newly acquired artist house serve as creative home base to artists-in-residence and visiting artists for years to come. SQ-TRAVEL BY DESIGN, LLC. SUSAN QUILLIN
Congratulations and thanks to CPW for its 40 years of supporting artists and for being such vibrant part of the Woodstock community. MICHAEL KNAUTH AND HENRY FORD
CPW at 40! Congratulations to your rich history of supporting artists. Time to celebrate. JED & GEORGE ROOT
WITH THANKS AND APPRECIATION TO OUR 2017 BENEFIT SPONSORS:
Affirmation Arts
EMPIRE MERCHANTS NORTH
at time of publication
The Center for Photography at Woodstock 59 Tinker Street, Woodstock, New York 12498 www.cpw.org | info@cpw.org
2017 CPW Awards & Benefit Auction of Early, Modern and Contemporary Photographs Thursday, October 12, 2017