'TIS THE SEASON: PHOTOGRAPHS OF THE WINTER SEASON

Alfred Eisenstaedt: Evergreen Trees at -51 Degrees Mt. Tremblant, Canada, 1944

Please join us Friday, November 26, from 5-7 as we celebrate the opening of "'Tis The Season", an exhibition of 50 photograph with a winter theme or setting. The annual tree lighting on the Plaza, which kicks of the holiday season, will begin at 4 PM Friday with the arrival of Santa and Mrs. Clause in the Fire Department;s antique truck. A choir will take the stage at 4:30, followed by local Girl Scouts singing favorite holiday songs from 5:15 to 5:45. Mayor David Coss will flip the switch on the Plaza holiday lights at 6. Santa Fe's Sol Fire closes out the evening with a concert ending at 7; and Girl Scouts will be selling cookies, hot chocolate, and hot cider. Monroe Gallery will be hosting a public reception and preview of the exhibition from 5 - 7 PM.

Verner Reed: Christmas Reflections, Boston, 1955

Santa Fe has receives a few recent dusting of snow, and this week the temperatures have plummeted, a perfect prelude to this exhibition. As winter approaches in the northern hemisphere and the days grow short, this exhibition looks to the beauty of ice and snow. Winter photography, especially in the colder parts of the world, is a specialized niche. Photographers have to take care of their cameras and guard against frostbite and hypothermia. They often venture into remote wilderness searching for the perfect winter landscape. Their reward is stunning imagery.

Stephen Wilkes: Central Park, February, 2010

"Another great show opens Fri 5-7PM @ Monroe Gallery Santa Fe - 50 photographs with a winter theme"

-- Santa Fe Arts 

"'Tis The Seasnon is an aptly named exhibituion of more than 50 photographs, all with a winter theme." -- Santa Fe Reporter

Weegee: Incident in a Snow Storm, New York, 1948



"Tis The season continues through January 30, 2011.

View the exhibit on-line here.

THANKSGIVING 2010

Alfred Eisenstaedt: Old African American sharecropper Dave Alexander saying his evening prayers as he kneels at bedside at home, Mississippi, 1937

From Sarah Josepha Hale, "Editor's Table," Godey's Lady's Book, 1858

OUR NATIONAL THANKSGIVING

"All the blessings of the fields,

All the stores the garden yields

All the plenty summer pours,

Autumn's rich, o'erflowing stores,

Peace, prosperity and health,

Private bliss and public wealth,

Knowledge with its gladdening streams,

Pure religion's holier beams --

Lord, for these our souls shall raise

Grateful vows and solemn praise."


Alfred Eisenstaedt: Delta and Pine Company African American sharecropper Lonnie Fair and his family praying before having their meal. From an assignment for a test issue of Life magazine, 1936.




"We are most happy to agree with the large majority of the governors of the different States -- as shown in their unanimity of action for several past years, and which, we hope, will this year be adopted by all -- that the LAST THURSDAY IN NOVEMBER shall be the DAY OF NATIONAL THANKSGIVING for the American people. Let this day, from this time forth, as long as our Banner of Stars floats on the breeze, be the grand THANKSGIVING HOLIDAY of our nation, when the noise and tumult of wordliness may be exchanged for the laugh of happy children, the glad greetings of family reunion, and the humble gratitude of the Christian heart. This truly American Festival falls, this year on the twenty fifth day of this month.

Let us consecrate the day to benevolence of action, by sending good gifts to the poor, and doing those deeds of charity that will, for one day, make every American home the place of plenty and of rejoicing. These seasons of refreshing are of inestimable advantage to the popular heart; and if rightly managed, will greatly aid and strengthen public harmony of feeling. Let the people of all the States and Territories sit down together to the "feast of fat things," and drink, in the sweet draught of joy and gratitude to the Divine giver of all our blessings, the pledge of renewed love to the Union, and to each other; and of peace and good-will to all men. Then the last Thursday in November will soon become the day of AMERICAN THANKSGIVING throughout the world."

Sarah J. Hale (1788-1879)

"THE TRIUMPH OF PHOTOGRAPHY"

There is a great FREE daily Photography newsletter that we highly recommend. Below is one excerpted article from La  Lettre de la Photographie.

Sign up for free here. 

 

 18.588 € Viviane Esders, Paris: Andréas Feininger, The Photojournalist (Denis Stock), New York, 1955


Viviane Esders opens the Photography Auction Season in Paris. Viviane Esders’ modern and contemporary photo auctions held at the Hotel Drouot on November 9 included 245 lots. Nearly half found buyers for a total of €310,047 (fees included) and more than 40 lots surpassed the high estimated price. The highest bidding took place for lot 91, Andréas Feininger’s Icone “The Photojournalist (Denis Stock)”, New York, 1955, which sold for €18,588. Lot 137, “Sifnos”, Greece, 1960, by Henri Cartier-Bresson, a vintage print estimated at €4,000 sold for €11,153. Lot 176, “Yves Saint Laurent’s Dress”, Vogue, Paris, 1970, by Jean-Loup Sieff, sold for €7,807 or Lot 179 “East 100th Street”, 1966, by Bruce Davidson, estimated at €2,000 – 3,000 sold for €9,294. Among the contemporary prints, was Lot 214, a 2005 self portrait by Kimiko Yoshida that sold for €15,490 or lot 226 “Naomi Campbell”, Vogue, USA, Los Angeles, 1990 by Peter Lindhberg, sold for €15,490. Catalogue www.viviane-esders.com or www.yannlemouel.com Viviane Esders’ next auction: " Picasso et ses amis" Étude Blanchet et Associés Hôtel Drouot Thursday December 9th at 2pm. Catalogue http://www.blanchet.auction.fr/

Several sales took place at “Paris Photo”, poor timing given the major exhibition openings taking place throughout Paris for the Photography Month. Among the most remarkable sales, that of Millon 1 Associés that took place on November 18 at 3pm in the hall of 3 Rossini Street. Several photographic collections from the XIXth and XXth centuries were on sale. Lot 19, “Cranes and Drills”, two hard-mounted albumin prints measuring 34.5 × 24.5 cm dated ca. 1870 and estimated at €600 – 800 sold for €5,000.

Two albumin prints by Eugène Atget “Paris, Place du Caire” and “Angle du boulevard de la Madeleine et de la rue Caumartin” was purchased for €13,500 (not including fees).

Furthermore, Christophe Goeury remarked that buyers were particularly interested in complete albums including “Indes et Ceylan” with 173 albumin prints by several photographers including Bourne that sold for €4,500 or that of Emile Gzell with 200 albumin prints from different countries in Asie that sold for €37,000. Or that by Guillaume Benjamin Duchenne (de Boulogne) on “Mechanism and Appearance of Human Passions” sold for €16,500 (fees excluded). Full results on http://www.millon-associes.com/

Following that of Million, the sale organized at Drouot Montaigne by Serge Plantureux, Binoche and Giquello on Thursday, 18 November, was themed “Chinese Prints, Looking East”. There was a remarkable interest for Alfred Laurens’ Saint Petersbourg album (lot 80) ca. 1870 comprised of 50 albumin prints. Estimated at €6,000 – 8,000, it sold for €62,000. Lot 98, an album by Konstantin Shapiro comprised of 30 albumin prints illustrating Gogol’s “Memoirs of a Madman” estimated at €3,000 – 3,500 sold for €20,000 fees excluded. Lot 146, “Study of a Nude, II”, Moscow, 1930, by Alexandre Grinberg, estimated at €3,000 – 3,500 sold for €22,000. Lot 204, Man Ray, “Mr. Seabrook’s Fantasies”, Paris, 1930, sold for €3,500. Lot 133, “Nude Study”, 1925, by Vladimir V. Lebedev, a vintage silver print estimated at €800 sold for €3,200. Results: http://www.binoche-renaud-giquello.com/

At its Parisian headquarters in the Charpentier Gallery, Sotheby’s Auction House reached a record-breaking figure for a photography sale totaling 2.704 million Euros ($3,671,722). There were also two record-breaking sales for photos by Joseph Sudelka and Manuel Alvarez Bravo. Lot 89, Joseph Sudelka, Still Life (no title) ca. 1952, vintage print, estimated at €18,000-23,000, sold for €300,750 ($400,295) (fees included). Lot 88, another untitled vintage print by Joseph Sudek (vase and dead rose), also from 1952 sold for €228,750 ($310,549) (fees included). Lot 55, “Portrait of the Eternal” ca. 1935 by Manuel Alvarez Bravo, a silver vintage print estimated at €70,000 – 90,000, sold for €228,750 ($$310,549) (fees included). Lot 11, “Notre Dame de Paris, 1923” by Eugène Atget, a vintage albumin print estimated at €40,000 – 60,000 sold for €168,750 ($229,093) (fees included). Edward Weston’s series of nudes, some previously unseen, did not find a buyer at the estimated €50,000 – 68,5000 (without fees). Furthermore, Simone Klein, Director of the Photographic Department for Europe, emphasized the emergence of German photographer Heinz Hajek-Halke’s work of which 11 of the 12 works sold. The vintage print “Monumental Erotica” from 1928-1932 sold for three times its estimated value at €34,350 (fees included). Full Results on www.sothebys.com

The next day, the Christie’s auction at its Parisian base at 9 avenue Matignon offered 65 photographic items and a portfolio from the Richard Avedon Foundation. 65 were sold, generating a total of €5,467,250 fees included. With the highest price being attributed to lot 16, “Dovina with Elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955”. This signed exhibition print from 1978 (216.8cm x 166.7cm) originally estimated at €400,000 – 600,000 ($547,908 – 821,862) sold for €841,000 ($1,151,976) (fees included). The next major sale was “Andy Warhol and Group” from October 1969. Three unique signed, dated, and noted prints mounted on isorel estimated at €80,000 – 120,000 sold for €301,000 ($412,301). Then “Andy Warhold, artist, New York City, 20 August 1969”, silver print (150cm x 121.5cm) from 1993 estimated at €80,000 – 120,000 sold for €169,000 ($231,491) (fees included). Or “Stephanie Seymour, model, New York City”, a signed and numbered print from 1992 (155.2cm x 122cm) estimated at €120,000 – 180,000 sold for €265,000 ($362,989). There were also a few notable sales of Richard Avedon’s portfolio and album works during his career. “The Beatles Portfolio” from 1967 sold for €445,000, “Avedon Paris” for €169,000. The “Minneapolis Portfolio” (11 silver prints) edited in 1970 sold for €169,000 while “Family”, 1976, 69 prints made with Rolling Stone Magazine sold for €205,000 (fees included).

Finally on Sunday, November 21 at 2pm, Ader Nordmann auctioned off 338 lots of vintage, modern, and contemporary prints totaling €332,000 fees excluded. One sale confirming the enthusiasm for albums combining lots 57 and 58 in one album of 121 nudes on albumin paper dated 1890 and an album with prints and Japanese photographs reached €35,000 fees excluded. A sale that revived post-war humanistic photography with €6,500 (fees excluded) for a later print of Henri Cartier Bresson’s 1932 “Derrière la Gare St Lazare”. €1,900 for “Les Premières Neiges du Luxembourg” ca. 1955, an unsigned vintage print by Edouard Boubat (lot 201). Lot 230, “Regards d’acier”, a signed and dated vintage print by Josef Koudelka reached €5,000. Man Ray’s photogramme, lot 149, a photographic print from the movie “Fernand Leger, le ballet mecanique”, 1924, auctioned for €27,000. Or €5,700 for François Kollar’s “Fernande Kollar in the Mirror” (lot 148), a vintage color slide on a silver leaf background. A unique item measuring 25 × 20 cm dating back to 1955. And €12,000 for a 1975 silver print (30 × 40) “Silvana Mangano” by François-Marie Banier. Catalogue on http://www.ader-paris.fr/

For memory, the Piasa sale on Friday 19 November at 3pm in the hall 5 at the Hotel Drouot. Little interest was manifested for the 331 lots on auction, explaining why only 1/3 found buyers. Results on http://www.piasa.fr/

One more thing, Helmut Newton, “Domestic nude V: In my livingroom, Chateau Marmont, Hollywood, Los Angeles, 1992” has been sold for 225,850 € at Bukowskis, the swedish auction house in Stockholm on the 17th of november 2010.

Bernard Perrine, correspondant de l’Institut de France

Related: Thoughts On The Record Fall Auctions

November 22, 1963: Death of the President

Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963

By the fall of 1963, President Kennedy and his political advisers were preparing for the next presidential campaign.

Carl Mydans: Senator John F. Kennedy Campaigning with his Wife in Boston , 1958

Although he had not formally announced his candidacy, it was clear that JFK was going to run and he seemed confident—though not over-confident— about his chances for re-election.

At the end of September, the President traveled west speaking in nine different states in less than a week. While the trip was meant to put a spotlight on natural resources and conservation efforts, JFK also used it to sound out themes -- such as education, national security, and world peace -- for his run in 1964. In particular, he cited the achievement of a limited nuclear test ban, which the Senate had just approved and which was a potential issue in the upcoming election. The public’s enthusiastic response was encouraging.


A month later, the President addressed Democratic gatherings in Boston and Philadelphia. Then, on November 12, he held the first important political planning session for the upcoming election year. At the meeting, JFK stressed the importance of winning Florida and Texas and talked about his plans to visit both states in the next two weeks. Mrs. Kennedy would be accompanying him on the swing through Texas, which would be her first extended public appearance since the loss of their baby, Patrick, in August.

On November 21, the President and First Lady departed on Air Force One for the two-day, five-city tour of Texas. JFK was aware that a feud among party leaders in Texas could jeopardize his chances of carrying the state in 1964, and one of his aims for the trip was to bring Democrats together. He also knew that a relatively small but vocal group of extremists was contributing to the political tensions in Texas and would likely make its presence felt—particularly in Dallas, where UN Ambassador Adlai Stevenson had been physically attacked a month earlier after making a speech there. Nonetheless, JFK seemed to relish the prospect of leaving Washington, getting out among the people and into the political fray.

The first stop was San Antonio. Vice President Lyndon B. Johnson, Governor John B. Connally and Senator Ralph W. Yarborough led the welcoming party and accompanied the President to Brooks Air Force Base for the dedication of the Aerospace Medical Health Center. Continuing on to Houston, he addressed a Latin American citizens’ organization and spoke at a testimonial dinner for Congressman Albert Thomas before ending the day in Fort Worth.

A light rain was falling on Friday morning, November 22, but a crowd of several thousand stood in the parking lot outside the Texas Hotel where the Kennedys had spent the night. A platform had been set up and the President, wearing no protection against the weather, came out to make some brief remarks. “There are no faint hearts in Fort Worth,” he began, “and I appreciate your being here this morning. Mrs. Kennedy is organizing herself. It takes longer, but, of course, she looks better than we do when she does it.” He went on to talk about the nation’s need for being “second to none” in defense and in space, for continued growth in the economy and “the willingness of citizens of the United States to assume the burdens of leadership.” The warmth of the audience response was palpable as the President reached out to shake hands amidst a sea of smiling faces.

Back inside the hotel the President spoke at a breakfast of the Fort Worth Chamber of Commerce, focusing on military preparedness. “We are still the keystone in the arch of freedom,” he said. “We will continue to do…our duty, and the people of Texas will be in the lead.”

The presidential party left the hotel and went by motorcade to Carswell Air Force Base for the thirteen-minute flight to Dallas. Arriving at Love Field, President and Mrs. Kennedy disembarked and immediately walked toward a fence where a crowd of well-wishers had gathered, and they spent several minutes shaking hands. The First Lady was presented with a bouquet of red roses, which she brought with her to the waiting limousine. Governor John Connally and his wife, Nellie, were already seated in the open convertible as the Kennedys entered and sat behind them. Since it was no longer raining, the plastic bubble top had been left off. Vice President and Mrs. Johnson occupied another car in the motorcade.

The procession left the airport and traveled along a ten-mile route that wound through downtown Dallas on the way to the Trade Mart where the President was scheduled to speak at a luncheon. Crowds of excited people lined the streets waving to the Kennedys as they waved back. The car turned off Main Street at Dealey Plaza around 12:30 p.m. As it was passing the Texas School Book Depository, gunfire suddenly reverberated in the plaza. Bullets struck the President’s neck and head and he slumped over toward Mrs. Kennedy. The Governor was also hit in the chest.

The car sped off to Parkland Memorial Hospital just a few minutes away. But there was little that could be done for the President. A Catholic priest was summoned to administer the last rites and at 1:00 p.m. John F. Kennedy was pronounced dead. Governor Connolly, though seriously wounded, would recover.

The President’s body was brought to Love Field and placed on Air Force One. Before the plane took off, a grim-faced Lyndon B. Johnson stood in the tight, crowded compartment and took the oath of office, administered by U.S. District Court Judge Sarah Hughes. The brief ceremony took place at 2:38 p.m. Less than an hour earlier, police had arrested Lee Harvey Oswald, a recently-hired employee at the Texas School Book Depository. He was being held for the assassination of President Kennedy as well as the fatal shooting, shortly afterward, of Patrolman J.D. Tippit on a Dallas street.

On Sunday morning, the 24th, Oswald was scheduled to be transferred from police headquarters to the county jail. Viewers across America watching the live TV coverage suddenly saw a man aim a pistol and fire at point blank range. The assailant was identified as Jack Ruby, a local nightclub owner. Oswald died two hours later at Parkland Hospital.

That same day, President Kennedy’s flag-draped casket was moved from the White House to the Capitol on a caisson drawn by six grey horses, accompanied by one riderless black horse. The cortege and other ceremonial details were modeled on the funeral of Abraham Lincoln at Mrs. Kennedy’s request. Crowds lined Pennsylvania Avenue and many wept openly as the caisson passed. During the 21 hours that the President’s body lay in state in the Capitol Rotunda, about 250,000 people filed by to pay their respects.

Stan Stearns: John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background

On Monday, November 25, 1963 President Kennedy was laid to rest in Arlington National Cemetery. The funeral was attended by heads of state and representatives from more than 100 countries, with untold millions more watching on television. Afterward, an eternal flame was lit at the grave site by Mrs. Kennedy and her husband’s brothers, Robert and Edward. Perhaps the most indelible images of the day were the salute to his father given by little John F. Kennedy, Jr. (whose third birthday it was), daughter Caroline kneeling next to her mother at the President’s bier, and the extraordinary grace and dignity shown by Jacqueline Kennedy.

Bob Gomel: John  F. Kennedy Laid to Rest, Arlington National Cemetery, November 25, 1963

As people throughout the nation and the world struggled to make sense of a senseless act and to articulate their feelings about President Kennedy’s life and legacy, many recalled these words from his inaugural address which had now acquired new meaning:

"All this will not be finished in the first one hundred days, nor in the first one thousand days, nor in the life of this administration. Nor even perhaps in our lifetime on this planet. But let us begin."

Source: The John F. Kennedy Library and Museum

 

Related: John F. Kennedy: November, and Photography

Art Price Index 1: Photography 1985-2010

From the Financial Times:

"The mainstream of the photography market [central 80%] peaked in September 2008 then fell by 21% in the 18 months to March 2010. The top 10% of the market, where prices routinely climb steeply in good times, also peaked in September 2008, but by March 2010 this top sector had almost halved. All sectors of the market are now recovering fast and the long-term growth of 7% - 8% once again seems like a good bet."

More with charts here.

Related: Thoughts on the record fall auctions 

BORN ON NOVEMBER 20, 1925: ROBERT F. KENNEDY

Eighty-Five years ago, on November 20, 1925, Robert F. Kennedy was born.

Bill Eppridge: The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968

"Each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current which can sweep down the mightiest walls of oppression and resistance.”

Robert F. Kennedy, Capetown, June 6th 1966

Steve Schapiro: Robert F. Kennedy Campaign, California, 1966

 "On this generation of Americans falls the full burden of providing the world that we really mean it when we say all men are created free and equal before the law. All of us might wish at times that we lived in a more tranquil world, but we don't. And if our times are difficult and perplexing, so are they challenging and filled with opportunity." (Speech, Law Day Exercises of the University of Georgetown Law School, May 6, 1961).

Bill Eppridge: Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones

 

 

 

 

The Robert F. Kennedy Center

Louis-Jacques-Mandé Daguerre (1787–1851) and the Invention of Photography

On November 18, 1787 Louis-Jacques-Mandé Daguerre was born, and he would later create a process that would revolutionize the art world.

©Malcolm Daniel

Department of Photographs, The Metropolitan Museum of Art


On January 7, 1839, members of the French Académie des Sciences were shown products of an invention that would forever change the nature of visual representation: photography. The astonishingly precise pictures they saw were the work of Louis-Jacques-Mandé Daguerre (1787–1851), a Romantic painter and printmaker most famous until then as the proprietor of the Diorama, a popular Parisian spectacle featuring theatrical painting and lighting effects. Each daguerreotype (as Daguerre dubbed his invention) was a one-of-a-kind image on a highly polished, silver-plated sheet of copper.


Daguerre's invention did not spring to life fully grown, although in 1839 it may have seemed that way. In fact, Daguerre had been searching since the mid-1820s for a means to capture the fleeting images he saw in his camera obscura, a draftsman's aid consisting of a wood box with a lens at one end that threw an image onto a frosted sheet of glass at the other. In 1829, he had formed a partnership with Nicéphore Niépce, who had been working on the same problem—how to make a permanent image using light and chemistry—and who had achieved primitive but real results as early as 1826. By the time Niépce died in 1833, the partners had yet to come up with a practical, reliable process.


Not until 1838 had Daguerre's continued experiments progressed to the point where he felt comfortable showing examples of the new medium to selected artists and scientists in the hope of lining up investors. François Arago, a noted astronomer and member of the French legislature, was among the new art's most enthusiastic admirers. He became Daguerre's champion in both the Académie des Sciences and the Chambre des Députés, securing the inventor a lifetime pension in exchange for the rights to his process. Only on August 19, 1839, was the revolutionary process explained, step by step, before a joint session of the Académie des Sciences and the Académie des Beaux-Arts, with an eager crowd of spectators spilling over into the courtyard outside.

The process revealed on that day seemed magical. Each daguerreotype is a remarkably detailed, one-of-a-kind photographic image on a highly polished, silver-plated sheet of copper, sensitized with iodine vapors, exposed in a large box camera, developed in mercury fumes, and stabilized (or fixed) with salt water or "hypo" (sodium thiosulphate). Although Daguerre was required to reveal, demonstrate, and publish detailed instructions for the process, he wisely retained the patent on the equipment necessary to practice the new art.

From the moment of its birth, photography had a dual character—as a medium of artistic expression and as a powerful scientific tool—and Daguerre promoted his invention on both fronts. Several of his earliest plates were still-life compositions of plaster casts after antique sculpture—an ideal subject since the white casts reflected light well, were immobile during long exposures, and lent, by association, the aura of "art" to pictures made by mechanical means. But he also photographed an arrangement of shells and fossils with the same deliberation, and used the medium for other scientific purposes as well. The journalist Hippolyte Gaucheraud, in a scoop that appeared the day before daguerreotypes were first shown to the Académie des Sciences, wrote of having been shown the image of a dead spider photographed through a solar microscope: "You could study its anatomy with or without a magnifying glass, as in nature; [there is] not a filament, not a duct, as tenuous as might be, that you cannot follow and examine." Even Arago, director of the Observatoire de Paris, was reportedly surprised by a daguerreian image of the moon.

Neither Daguerre's microscopic nor his telescopic daguerreotypes survive, for on March 8, 1839, the Diorama—and with it Daguerre's laboratory—burned to the ground, destroying the inventor's written records and the bulk of his early experimental works. In fact, fewer than twenty-five securely attributed photographs by Daguerre survive—a mere handful of still lifes, Parisian views, and portraits from the dawn of photography.

Source: Daguerre (1787–1851) and the Invention of Photography
Thematic Essay
Heilbrunn Timeline of Art History
The Metropolitan Museum of Art

Related: The Daguerreian Society

THOUGHTS ON THE RECORD FALL ART AUCTIONS

We reported on the numerous record-setting and exuberant sales in this Fall's art auctions on our Twitter feed, which scrolls on the right side of this page. Now that the dust has settled, the "experts" are trying to make sense of the extraordinary results.

The just-completed Contemporary sales totaled over $1 BILLION dollars in sales (with Andy Warhol accounting for over $200 million alone); the Impressionist/Modern sales about another half - BILLION; and almost as an afterthought a Qianlong-dynasty vase sold for $85.9 MILLION dollars.


The Fall photo auctions in New York brought in $16 million.



We are often asked, "what does the broader art market have to do with the photography market?". In our judgement, a lot. It wasn't long ago that the argument existed whether photography was "art" or not. At least we are beyond that phase!


Two observations:

Richard Prince’s “Marlboro Man" (Untitled, Cowboy), below, set a record for a photograph when it sold for $3,401,000 at Sotheby’s in New York in 2007. Prince’s “Cowboy” series consisted of old Marlboro cigarette print ads that he re-photographed. And the Marlboro man was based on a LIFE magazine cover of a photograph by Leonard McCombe of a real cowboy.

The $63.36 million realized on last Monday at Phillips, de Pury by Andy Warhol's “Men in Her Life?” was done in silk-screen technique: the dark black and white picture endlessly repeats a photographic image published in LIFE magazine on April 13, 1962.

The prices for the "masters" of photography are a fraction of the prices for the masters of art. 

Photography's impact, relevance, influence, and relationship to the broader fine art field is still in its infancy.

The Wall Street Journal: The New Gold Standard: Will Pop's Current Dominance of the Art World Last?

Related: The Financial Times: This Bonhams sale shows that a six- or seven-figure budget is not necessary to secure a first-class image by a known name.

Related: LOEWS MAGAZINE: COLLECTING PHOTOGRAPHY

BORN NOVEMBER 15, 1887: GEORGIA O'KEEFFE

John Loengard: Abiquiu, New Mexico, 1967

Georgia O'Keeffe
Born on November 15, 1887


Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. Born near Sun Prairie, Wisconsin, O'Keeffe was a major figure in American art from the 1920s.

Georgia O'Keeffe visited Northern New Mexico in 1917 and fell in love with it then. But it was not until 1934 that she decided to make Ghost Ranch her summer home. She would spend her summers hiking, exploring and painting the area and in the winter go to New York. One summer she convinced the owner to sell her a small part of Ghost Ranch, which was a house and 7 acres. After her husband, Alfred Stieglitz, died, Georgia made Abiquiu (about an hour and a half north of Santa Fe) her permanent home.

Georgia O'Keeffe may be the most photographed artist in history, given the artistic ardor of her photographer husband, Alfred Stieglitz. Beautiful at every age and serene in the camera's gaze, on the occasion of Georgia O'Keeffe's 80th birthday in 1967 Life magazine dispatched photographer John Loengard to her home in New Mexico to document a day in the life of the pioneering American artist.

Georgia O'Keeffe died on March 6, 1986



Related: The Georgia O'Keeffe Museum

               Image and Imagination: Georgia O'Keeffe by John Loengard

"THE MAN WHO SHOT THE SEVENTIES"

Mick Rock Exposed: The Faces of Rock 'n' Roll


Mick Rock's photo career began with him sneaking his camera into rock shows; it ignited when he started shooting a practically unknown David Bowie in 1972 and then went on to document the rise and fall of Ziggy Stardust. Since then Mick's become a legend himself, shooting a who's who of rock, punk, and pop icons and capturing the images of stars right as they became part of the pop firmament. Exposed collects 200 of his best photos across nearly 40 years, including unforgettable images of Syd Barrett, Lou Reed, Blondie, Queen, Iggy Pop, the Sex Pistols, the Yeah Yeah Yeahs, the Killers, Lady Gaga, U2, and many more. Featuring a revealing introduction, narrative captions, and an illuminating foreword by playwright Tom Stoppard, Exposed is a gorgeous visual celebration for music fans.

Michael David Rock was born in west London and earned a scholarship to Cambridge where he studied modern languages, graduating in the late sixties. It was the expressive seduction of subversive poets of yore rather than finite imagery that encouraged Rock to explore his own creative expression. "I discovered the lives and works of the great Bohemian poets, like Baudelaire, Rimbaud, and Nerval. They were my heroes".


"London in the late sixties and early seventies was a hotbed of creative interchange. The prevalent hippie philosophy united all manner of artists, musicians, film makers, models, designers, actors, writers, and photographers into a unique and fertile community. My timing was excellent. Curiosity and circumstance drew me into the flame of rock ‘n’ roll." -- Mick Rock

Rock became intensely interested in the artists and performers at the cutting edge of their time who were not afraid to cross the line. This was the atmosphere in which Mick Rock began his collaborations with the artists of the new decade. The first band Rock photographed was the Pretty Things in 1969; soon he was photographing the likes of Syd Barrett, David Bowie, Lou Reed, Queen, Roxy Music and Iggy Pop, emerging artists who would rapidly become international stars. “They were all special people to me. They weren’t “stars” when I first met them. To me, they were free spirited visionaries. I was in the right place at the right time, you can't plan that. That's just something you can't prescribe in life.”

He was soon traveling back and forth between London and New York, on tour with emerging artists such as David Bowie and Iggy Pop and capturing the music scene in all its decadent glory. Rock was instrumental in creating many key rock 'n' roll images of the time, such as Lou Reed's Transformer, Iggy Pop's Raw Power and Queen's Queen II, leading to his being called “The Man Who Shot The Seventies”.

In 1977, Rock moved permanently to New York, and quickly immersed himself in the burgeoning underground new wave scene, capturing the nihilistic spirit of the music of the Ramones, Blondie and the Talking Heads. As rock and roll has evolved, Rock has continued to capture the essence of the fresh and new. Mick Rock has been instrumental in creating many key visual images of the last three decades. His photographs have been called as significant as Andy Warhol’s paintings in constructing the images we hold in our minds of the larger-than-life figures of our popular culture. Rock’s accomplishments extend beyond photography and include art direction, music video production and three Grammy nominations.

In recent years, Rock also has published several books, including A Photographic Record. Recently released is his retrospective of the Glam Rock scene titled Blood & Glitter; a retrospective of Syd Barrett photographs titled Psychedelic Renegades; Moonage Daydream, a co-collaboration with David Bowie of the Ziggy Stardust era; and Killer Queen, with a foreword written by Queen guitarist Brian May.

“Many years ago, I noted in my diary: ‘I am not in the business of documenting or revealing personalities. I am in the business of freezing shadows and bottling auras.’ I still like the sound of that” -- Mick Rock

Mick Rock's photographs have helped define the image of rock 'n' roll, and have been featured on numerous album covers and in solo exhibitions around the world. Monroe Gallery is pleased to represent Mick Rock's iconic photography, and was instrumental in his re-emergence in the late 1990's - organizing his first gallery exhibition in New York in 1997.