Items are listed in alphabetical order by artist name. Click on the image to see a larger version. On a desktop, click on the magnifying glass to zoom in even more. To view the image at an even higher resolution or make an appointment for a preview, contact us at 215/891-0214 or auction@photoreview.org.
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PhotoLounge: A $150 gift certifcate to PhotoLounge
Retail Value: $150; Starting Bid: $50
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Retail Value: $150; Starting Bid: $50
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Mariette Pathy Allen: Teenage girls learning to walk in high heels, Havana
2012 / 2024, archival pigment print, signed, titled, and dated verso. Image size: 12″ x 18″, sheet size: 16″ x 20″ ($900–$1,500)
Reproduced in TransCuba, Daylight Books, 2014
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2012 / 2024, archival pigment print, signed, titled, and dated verso. Image size: 12″ x 18″, sheet size: 16″ x 20″ ($900–$1,500)
Reproduced in TransCuba, Daylight Books, 2014
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Renate Aller: You’ve Red Between the Lines
2003, archival pigment print, AP, signed recto. Image size: 10.5″x14″, sheet size: 17.5″x21.5″ ($2,400–$3,200)
Renate Aller’s photographs explore the relationship of desire and reality. In You’ve RED Between the Lines, the artist plays with the nature of sensuality, and requires the viewer consider multiple readings of the same image. Initially part of an installation in collaboration with curator Vittoria Ciolini, Dryphoto Arte Contemporanea, and the city of Prato, Italy, this body of work also confronts the general perception of the color red, in a time of “high alert”. It continues to inform the artist’s practice as she keeps marking the distance between our need to draw meaning from a frozen instant and the eternity within which that instant is inscribed. Aller’s work is in the collections of corporate institutions, private collectors and museums, including Lannan Foundation, Santa Fe, NM; National Gallery of Art, Washington, DC; Yale University Art Gallery, CT; George Eastman House, Rochester, NY; New Britain Museum of American Art, CT; Hamburger Kunsthalle, Hamburg, Germany; Chazen Museum of Art, Madison, WI; and Parrish Art Museum, Water Mill, NY.
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2003, archival pigment print, AP, signed recto. Image size: 10.5″x14″, sheet size: 17.5″x21.5″ ($2,400–$3,200)
Renate Aller’s photographs explore the relationship of desire and reality. In You’ve RED Between the Lines, the artist plays with the nature of sensuality, and requires the viewer consider multiple readings of the same image. Initially part of an installation in collaboration with curator Vittoria Ciolini, Dryphoto Arte Contemporanea, and the city of Prato, Italy, this body of work also confronts the general perception of the color red, in a time of “high alert”. It continues to inform the artist’s practice as she keeps marking the distance between our need to draw meaning from a frozen instant and the eternity within which that instant is inscribed. Aller’s work is in the collections of corporate institutions, private collectors and museums, including Lannan Foundation, Santa Fe, NM; National Gallery of Art, Washington, DC; Yale University Art Gallery, CT; George Eastman House, Rochester, NY; New Britain Museum of American Art, CT; Hamburger Kunsthalle, Hamburg, Germany; Chazen Museum of Art, Madison, WI; and Parrish Art Museum, Water Mill, NY.
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Theo Anderson: (untitled) 20231107-344
2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13.345″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
From the unbound book (cracks in the road).
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2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13.345″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
From the unbound book (cracks in the road).
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Theo Anderson: (untitled) 20231109-1132
2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13.345″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
From the unbound book (cracks in the road).
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2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13.345″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
From the unbound book (cracks in the road).
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Theo Anderson: (untitled) A20200702-0147
2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
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2023/2024, archival pigment print, ed. 1/5, signed, dated, and numbered verso. Image size: 13″ x 20″, sheet size: 17″ x 22″ ($1,400–$2,800)
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Bill Armstrong: After Atget Male Mannequins from After: Dreaming in Color
2016, archival pigment print, A/P, signed, titled, and dated verso. Image size: 20″ x 14″, sheet size: 22″ x 16″ ($1,000–$2,000)
The Photo Review published Bill Armstrong’s book Quarantine: Artists and Writers on Isolation in 2020.
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2016, archival pigment print, A/P, signed, titled, and dated verso. Image size: 20″ x 14″, sheet size: 22″ x 16″ ($1,000–$2,000)
The Photo Review published Bill Armstrong’s book Quarantine: Artists and Writers on Isolation in 2020.
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Abe Aronow: Modern Equivalents IX, SF, CA
1996/2022, archival pigment print, signed recto; signed, titled, and dated on verso. Image size: 4″ x 8.625″, sheet size: 8.5″ x 11″ ($350–$700)
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1996/2022, archival pigment print, signed recto; signed, titled, and dated on verso. Image size: 4″ x 8.625″, sheet size: 8.5″ x 11″ ($350–$700)
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Abe Aronow: Shellflower, Edgehill Studio, SF, CA
1998/2022, archival pigment print, signed recto; signed, titled, and dated on verso. Image size: 6.25″ x 7″, sheet size: 8.5″ x 11″ ($350–$700)
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1998/2022, archival pigment print, signed recto; signed, titled, and dated on verso. Image size: 6.25″ x 7″, sheet size: 8.5″ x 11″ ($350–$700)
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Robert Asman: 8th & Fitzwater
2001 / 2002, silver print with selenium, bleach, and tea toning, ed. 2/10, signed, titled, dated, and numbered verso. Image size: 19.5″ x 15.5″, sheet size: 20″ x 16″ ($600–$1,000)
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2001 / 2002, silver print with selenium, bleach, and tea toning, ed. 2/10, signed, titled, dated, and numbered verso. Image size: 19.5″ x 15.5″, sheet size: 20″ x 16″ ($600–$1,000)
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Gene Badger: Maryland (Esso Station on Maryland Route 130)
c. 1949, silver print, stamped: “Please credit Standard Oil Co. (N.J.)”. Image size: 7.375″x7.5″, sheet size: 7.375″x7.5″ ($300–$600)
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c. 1949, silver print, stamped: “Please credit Standard Oil Co. (N.J.)”. Image size: 7.375″x7.5″, sheet size: 7.375″x7.5″ ($300–$600)
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Roger Ballen: Pielie, from the series “I Fink U Freeky”
2012/ 2023, archival pigment print, ed. 17/50, signed, titled, dated, and numbered verso. Image size: 12.25″ x 8.25″, sheet size: 14.5″ x 9.875″ ($3,000–$3,600)
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2012/ 2023, archival pigment print, ed. 17/50, signed, titled, dated, and numbered verso. Image size: 12.25″ x 8.25″, sheet size: 14.5″ x 9.875″ ($3,000–$3,600)
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Ricardo Barros: Marisol with General Bronze
1997, vintage silver print, ed. 4, signed, titled, and dated verso. Image size: 18.75″ x 18.75″, sheet size: 30″ x 24″ ($1,200–$2,400)
Facing Sculpture: A Portfolio of Portraits, Sculpture and Related Ideas, 2004, Image Spring Press
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1997, vintage silver print, ed. 4, signed, titled, and dated verso. Image size: 18.75″ x 18.75″, sheet size: 30″ x 24″ ($1,200–$2,400)
Facing Sculpture: A Portfolio of Portraits, Sculpture and Related Ideas, 2004, Image Spring Press
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Steven Benson: Orange Mound, Orlando, FL
2019/2024, archival pigment print, ed. 2/7, signed, titled, dated, and numbered verso. Image size: 11″ x 17″, sheet size: 13″ x 19″ ($700–$1,400)
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2019/2024, archival pigment print, ed. 2/7, signed, titled, dated, and numbered verso. Image size: 11″ x 17″, sheet size: 13″ x 19″ ($700–$1,400)
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Frederic Boissonas (Geneve): Tree
c. 1915, vintage silver chloride print, Boissonna’s Geneve bling stamp on mount recto. Image size: 6.75″ x 9″, sheet size: 10.5″ x 13.9375″ ($350–$500)
A beautiful chloride print of this remarkable specimen tree.
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c. 1915, vintage silver chloride print, Boissonna’s Geneve bling stamp on mount recto. Image size: 6.75″ x 9″, sheet size: 10.5″ x 13.9375″ ($350–$500)
A beautiful chloride print of this remarkable specimen tree.
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Swede Brown: Snow Fence
nd, chromogenic print, signed and titled on mat recto. Image size: 13.5″ x 10.5″, sheet size: matted 20″ x 16″ ($200–$400)
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nd, chromogenic print, signed and titled on mat recto. Image size: 13.5″ x 10.5″, sheet size: matted 20″ x 16″ ($200–$400)
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Paula Chamlee: Pear in Tsubota bowl
2012, gelatin silver chloride contact print, ed. 3/8, signed, titled, dated, and numbered on mat verso. Image size: 8″ x 10″, sheet size: 8″ x 10″, matted to 13″ x 15″ ($800–$1,600)
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2012, gelatin silver chloride contact print, ed. 3/8, signed, titled, dated, and numbered on mat verso. Image size: 8″ x 10″, sheet size: 8″ x 10″, matted to 13″ x 15″ ($800–$1,600)
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Chan Chao: “Melissa” Country of Origin: Peru
2006/2024, archival pigment print, ed. 1/1, signed. Image size: 15.5″ x 11″, sheet size: 17.75″ x 13″ ($1,200–$1,500)
Published in Two Places on Earth, Nazraeli Press 2022.
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2006/2024, archival pigment print, ed. 1/1, signed. Image size: 15.5″ x 11″, sheet size: 17.75″ x 13″ ($1,200–$1,500)
Published in Two Places on Earth, Nazraeli Press 2022.
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Vincent Cianni: Mr. Faggot to You, NYC Pride March, NYC
1993/2021, selenium-tined silver print, AP 1, signed, titled, dated, and numbered verso. Image size: 12.5″ x 8.25″, sheet size: 14″ x 11″ ($1,500–$2,000)
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1993/2021, selenium-tined silver print, AP 1, signed, titled, dated, and numbered verso. Image size: 12.5″ x 8.25″, sheet size: 14″ x 11″ ($1,500–$2,000)
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Lucien Clergue: Footprints of the Gods, Fertility
1982, chromogenic print, signed recto, on original mount. Image size: 19″ x 13″, sheet size: matted 24″ x 20″ ($1,200–$2,400)
French photographer Lucien Clergue’s work is deeply rooted in his home city of Arles, where he was born on August 14, 1934. Picking up a camera as a young man in post-war Provence, he took a different route than other artists of his generation, turning his lens on the rubble and destruction of France after the war, often shooting in low-lit, decimated homes.
In addition to his scenes of the city, Clergue’s oeuvre includes incisive images of peers such as Pablo Picasso, Jean Cocteau, and other iconic figures in the south of France. It is his faceless female nudes, however—from the subtle eroticism of his beachside scenes to the chic geometries of his black-and-white “Nu Zebre” series—that are the artist’s signature work.
He died on November 15, 2014, Nîmes, France.
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1982, chromogenic print, signed recto, on original mount. Image size: 19″ x 13″, sheet size: matted 24″ x 20″ ($1,200–$2,400)
French photographer Lucien Clergue’s work is deeply rooted in his home city of Arles, where he was born on August 14, 1934. Picking up a camera as a young man in post-war Provence, he took a different route than other artists of his generation, turning his lens on the rubble and destruction of France after the war, often shooting in low-lit, decimated homes.
In addition to his scenes of the city, Clergue’s oeuvre includes incisive images of peers such as Pablo Picasso, Jean Cocteau, and other iconic figures in the south of France. It is his faceless female nudes, however—from the subtle eroticism of his beachside scenes to the chic geometries of his black-and-white “Nu Zebre” series—that are the artist’s signature work.
He died on November 15, 2014, Nîmes, France.
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William Clift: Salt Lake County Court House, Salt Lake City, Utah
c. 1974–1977, gelatin silver print. Image size: 10.25″ x 12.75″, sheet size: 18.5″ x 20.75″ framed ($600–$1,200)
From the portfolio County Court Houses. Architects: Proudfoot, Bird & Monheim, 1891–1894. From the Collection of Joseph E. Seagram and Sons, Inc. Provenance: Phillips, New York, The Seagram Collection of Photographs, April 26, 2003; to the Present Owner. For the celebration of the U.S. Bicentennial, Joseph E. Seagram & Sons Inc. commissioned two dozen photographers to record county court houses across the country. This project was developed and executed between 1975 and 1981, and these prints were made for the Seagram Collection.
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c. 1974–1977, gelatin silver print. Image size: 10.25″ x 12.75″, sheet size: 18.5″ x 20.75″ framed ($600–$1,200)
From the portfolio County Court Houses. Architects: Proudfoot, Bird & Monheim, 1891–1894. From the Collection of Joseph E. Seagram and Sons, Inc. Provenance: Phillips, New York, The Seagram Collection of Photographs, April 26, 2003; to the Present Owner. For the celebration of the U.S. Bicentennial, Joseph E. Seagram & Sons Inc. commissioned two dozen photographers to record county court houses across the country. This project was developed and executed between 1975 and 1981, and these prints were made for the Seagram Collection.
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