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網上拍賣 2023年1月25至2月1日

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美國紐約公園大道432號 10022（地圖）

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預展 2023年1月25至2月1日

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星期一至六上午10:00-下午6:00

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星期日休館

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東部時間

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2022年1月25日下午12:00開始

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2022年2月1日下午12:00結束

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全數拍品皆以無底價出售。

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富藝斯隆重呈獻Peter C. Bunnell的攝影珍藏系列（1937-2021年），將在2022至2023年間的不同現場和網上拍賣呈現。Bunnell先生是著名策展人、教師、歷史學家和作家，曾於紐約現代美術館和普林斯頓大學美術館擔任策展人，也是普林斯頓大學攝影史和現代藝術教授。他將攝影史研究專業化，賦予這一媒介更高程度的嚴謹性和地位，激勵了世代攝影師和策展人。

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\n瀏覽詳情 >

\n","auctionDetailsSmall","網上拍賣 2023年1月25至2月1日","extraInfo","

Christopher Mahoney

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資深國際專家

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cmahoney@phillips.com

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Vanessa Hallett

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美洲區主席暨攝影部全球主管

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vhallett@phillips.com

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Jerry Uelsmann, Room #1, 1963. View lot >

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Building on the success of our October 2022 auction of photographs from The Peter C. Bunnell Collection, Phillips now features an additional selection in “The Eye That Shapes,” running from 25 January to 1 February. This is an online-only auction, with all works offered at NO RESERVE.

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Browse and bid >

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Now on view — see works in person at Phillips New York | 432 Park Avenue
\n25 January – 1 February (Closed Sunday, the 29th)
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JERRY UELSMANN (b. 1934)
\nRoom #1, 1963
\nGelatin silver print, 9 x 13.5″
\nESTIMATE $1,500–2,500
\nView lot >

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Picked by Sarah Krueger in Photographs

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\nWith its evocative layering of imagery, Jerry Uelsmann’s Room #1 is a photograph that I find endlessly fascinating. Beginning in the 1950s, Uelsmann developed a technique for combining multiple negatives into a single photographic print in the darkroom — a labor-intensive process in the decades before Photoshop. While this couldn’t be considered “pure” photography, it is purely photographic. Uelsmann leans into the medium’s ability to capture the details of reality, but he uses these details to create images that transcend the quotidian. His work is the photographic equivalent of Magic Realism, and Room #1 provides a very deep read.
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EMMET GOWIN (b. 1941)
\nToutle River Valley, Mount St. Helens, 1981
\nSelenium-toned gelatin silver print, printed 1982, 9.5 x 7.375″
\nESTIMATE $2,500–3,500
\nView lot >

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Picked by Samantha Siegler in 20^th Century & Contemporary Art

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Emmet Gowin’s Mount St. Helens photographs are amongst the finest examples from the tradition of aerial photography. Though perhaps a lesser-known side of the artist’s oeuvre, Gowin’s photographs of rugged landscapes are a favorite of mine for their delicate treatment of terrain, handled with same sensitivity with which the artist makes his portraits. Captured just a few weeks following the infamous 1980 eruption of Mount St. Helens, the present work documents the dramatically rebirthed landscape in a testament to the sublime power of the earth. Focused on a meandering ripple that cuts diagonally across the composition, it is a striking and humbling perspective that finds beauty in the aftermath of the cataclysmic event.
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BEA NETTLES (b. 1946)
\nPleasant Pasture II, 1969
\nHand-tinted photographic image on linen, stuffed and stitched, 9.5 x 7.75″
\nESTIMATE $700–1,000
\nView lot >

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Picked by Cordelia Lembo in Design

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I love that this is a photographic image printed on linen, which has then been stuffed and stitched. Bea Nettles (born 1946) employs various media and techniques to combine photography and craft. I am reminded of the Indonesian tradition of Lawon — a textile art that employs stitching in the resist dye method to create fields of color in silk cloths. As a design specialist, I also think of the embroidered earthenware vessels of Dutch industrial designer Hella Jongerius — another unexpected coupling of craft forms in a contemporary context.

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The quilted horizon of Nettles’ work from 1969 also captures my imagination as a twiggy landscape rendered in cool tones so familiar to some of us this time of year. It is for me immediately evocative of a Mark Rothko color field painting. It’s beautiful.
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BARBARA MORGAN (1900-1992)
\nMartha Graham - Letter to the World (The Kick), 1940
\nGelatin silver print, printed 1972. 14.5 x 19.625″
\nESTIMATE $3,000–5,000
\nView lot >

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Picked by Sarah Browne in Editions

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What a dynamic image! Only Barbara Morgan could have captured this moment of movement so perfectly!

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This image and two others taken by Barbara Morgan between 1935 and 1941 were used as reference images to create Andy Warhol's Martha Graham portfolio. Warhol and Graham had a deep mutual respect for one another and the portfolio was created to help fund Graham's new school of dance. Just a few days after Warhol died, there was a benefit auction celebrating the 60th Anniversary of the Martha Graham Dance Company, with 92-year-old Graham in attendance.

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There was a huge celebrity turn out; Halston was seated in the front row of the auction, next to Graham and Liza Minnelli. Halston donated his Martha Graham set to the auction and said, "I wanted to donate the set. It's unfortunate our dear friend Andy just left us. It was so gracious and kind of Andy to do them. We only got the edition in November. It turned out to be his last major series. There are 100 portfolios. It was a $600,000 gift from him to Martha Graham to help the school. I bought the first set, Liza bought the second and Jenny Holtzer bought the third. I like the idea of the arts supporting arts."
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Proceeds from this sale will be distributed to six institutions with whom Peter C. Bunnell was associated — Rochester Institute of Technology, Ohio University, Yale University, The George Eastman Museum, The Museum of Modern Art, and Princeton University Art Museum — to establish endowments to support the study of photographic history.
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Auction /
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\n25 January – 1 February
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\nViewing /

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432 Park Avenue, New York, NY, United States, 10022 (map)
\n25 January – 1 February
\nMonday–Saturday 10:00am–6:00pm
\nSunday – Closed
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Discover More from Photographs >
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Recommended Reading

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A Legend Who Changed Photography Forever: Peter C. Bunnell was among the most prescient collectors of his era >

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When I First Met the Queens: Iconic New York author and Warhol protégé Tama Janowitz remembers his royal portraits >

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Eternity in the Present: Whitehot's Noah Becker on Alex Katz >

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\n","publishDate","authorCredit","coverPosX",50,"coverPosY",0,"articleUrl","displayOrder",1,"auctionEditorialID",1734,"editorialID",4102,"flocklerID",113025739,"

Jerry Uelsmann, Portrait of Peter Bunnell, 1972.

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In his curatorial roles at The Museum of Modern Art and Princeton University Art Museum, and as a Professor of the History of Photography and Modern Art at Princeton, Bunnell professionalized the study of photographic history, conferring a higher degree of rigor and status to the medium, and inspiring an entire generation of photographers and curators.

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Building on the success of our October 2022 auction of photographs from The Peter C. Bunnell Collection, Phillips will feature an additional selection in “The Eye That Shapes,” running from 25 January to 1 February.

\n\n

This is an online-only auction, with all works offered at NO RESERVE. Proceeds from the sale will be distributed to six institutions with whom Bunnell was associated — Rochester Institute of Technology, Ohio University, Yale University, The George Eastman Museum, The Museum of Modern Art, and Princeton University Art Museum — to establish endowments to support the study of photographic history.

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Now on view — see works in person at Phillips New York | 432 Park Avenue from 25 January through 1 February (closed on the 29th)

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Browse and bid >

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Left: Minor White, Sun in Rock, 1947. View lot > Right: Brett Weston, New York City, 1946. View lot >

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Here, Phillips’ Senior International Photographs Specialist Chris Mahoney sits down to talk about Bunnell with Malcolm Daniel, part of the current cohort of curators and educators who studied with Bunnell and benefitted from his enormous generosity and enthusiasm for the medium of photography. Daniel is currently the Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston.

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Harry Callahan, Aix-en-Provence, France, 1957. View lot >

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Chris Mahoney: To start, tell us what it was like to be in a class with Peter.

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Malcolm Daniel: Being in one of Peter's classes was so different from other art history seminars at Princeton for a number of reasons. One was that he built a photographic collection at the Princeton University Art Museum designed to serve as a teaching collection. When you had a class with Peter, he came into the room with photographs in hand. You were studying the medium firsthand, not through reproductions, and that was unusual. And the second thing was Peter's personality, which was larger than life, booming, jovial, with a deep connection to the medium, a belief in the photographers that he was talking about, a profound understanding of the work, and a kind of irrepressible enthusiasm that he communicated to his students. That was just seductive — it brought art history alive in a way that I, at least, did not feel when I was looking at reproductions.

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Peter's friendships with photographers made you feel as though you knew you were hearing something that was true, because it was something experienced by Peter. You weren't reading a book that was based on research or secondary sources about something somebody said centuries ago. It was as direct a connection to the artists as you were likely to have.

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CM: I've been reading a lot of Peter's essays on photography, and he's a very engaging writer. He is able to convey some very complex ideas without it feeling like a huge, heavy lift.

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MD: I think that that's because his writing most often came out of experience rather than research. He knew Harry Callahan, they had coffee, they spent time together. Whatever he understood of Callahan came from those conversations. And therefore, Peter, who was always a great storyteller, could put that into his writing. He could teach you about history as if telling a story, because for him, it was. I think it's what infuses his writing with something that doesn't feel like laborious art history, but feels as if you're experiencing something living.

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CM: How much of that do you think is because he was a practicing photographer himself?

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MD: I think a lot of that came from the fact that he was trained as a photographer. He knew what it was like to be in the dark room. He made aesthetic decisions in how to print a particular image or how to frame a picture. So, he understood that creative process. He understood the technical part. And through his connection with Minor White and with other artists, he understood the importance of creative expression and a sense of spirituality, even in photography, beyond its formal and documentary aspects.

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Minor White, Grand Tetons – Wyoming, 1958. Photographs, New York.

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CM: What do you think constituted serious photography for Peter?

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MD: Peter's interest was in photographic art, not just photography. Nowadays, we find meaning and beauty in pictures that were never intended to be art, whether it's the photographic snapshot, scientific photography, police photographs, or aide memoire. For Peter, what was important was an artistic intention, a sensitivity to the aesthetics of the medium, absolutely, but also it had to have content. It had to feel like it was coming out of something deeply held by the artist. That, I think, is something that was really instilled in him by Minor White. When Peter went to Rochester Institute of Technology in 1956, his intention was to be a fashion photographer, but what he ended up with was something so different from that kind of attention to surface beauty.

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And that absolutely came from Minor White. Minor had gone to Rochester in 1953 to work with Beaumont Newhall at Eastman House, began teaching at RIT, and left Eastman House to teach full time at RIT in 1956. It was right at the point when Peter was there. It was Minor's influence and teaching that most profoundly affected Peter's view of the medium, what was important and what constituted art.

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CM: And Peter went on to become the acknowledged authority on Minor White. And certainly, that was how I encountered him, because I called him up to beg for information about some Minor White material I was working on. It's interesting to me that Minor White represented a certain ideal for Peter as a photographer, but then he was also very interested in a very different photographer — what can you tell us about his interest in Clarence White?

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MD: Although Peter inherited a certain idea about photography from Minor White, he was remarkably open to the variety of aesthetic form that artistic photography might take, as long as it was something that still came from a deeply held set of beliefs or identity or intimacy of the artist. And I think that's true with Clarence White, and it's true with pictorialism more generally, which was something that Peter championed, though out of fashion at the time, and still largely out of fashion. I'll say as an aside, that I think it's remarkable that Peter, who was a curator at MoMA in the late 1960s and early 70s, before he moved to Princeton to become the David McAlpin Professor of the History of Photography and Modern Art, that Peter's shows did not follow the kind of orthodoxy that we associate with a MoMA aesthetic.

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Clarence White, Selected Images, 1890s. Photographs, New York.

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His shows were called Photography as Printmaking and Photography into Sculpture. He did shows of Clarence White and Duane Michals. It's so interesting how broad his interests were and how willing he was to champion work that he believed in that maybe fell outside of the canon of what was celebrated at the time. If we look at Clarence White’s biography and work and we think about why Stieglitz celebrated him as one of the great turn-of-the-century photographers, it was an embodiment of traditional American values. It looks somewhat old fashioned, but at the time, it was really the cutting-edge of artistic photography. And I think Peter understood that. I think Peter was open to photography that might take many different outward forms, if in each case, it came out of a sincere desire for expression — that it had its own aesthetics, that things were not accidental or incidental, either in form or in meaning, but that they were expressive works of art.

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Edward Weston, Dunes, Oceano, California, 1936. Photographs, New York.

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CM: That makes me think of Edward Weston, who really lived for his art and was incredibly rigorous in his approach to photography. Of course, Peter edited the book on Edward Weston's writings, and I get the sense that Weston represented for him a very high degree of artistic achievement in photography.

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MD: Absolutely. There's no question that Weston looked at the American landscape documented by 19th century photographers, but looked at it with a modern, highly aesthetic vision, one that had meaning to it. It's important to remember that Weston and Adams were both important influences on Minor White, and so there was a generational appreciation for the artists Peter's mentor held in high esteem. That was all part of the heritage that Peter got from Minor.

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CM: That's an interesting connection to 19th century photographers, because I don't associate Peter with 19th century at all.

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MD: The first seminar I took with him was about 19th century, but that wasn't his thing. I think one of the great strengths of Peter's teaching, his curatorial work and his collection, was his personal connection with so many of the artists that you'll find in the sale. He wrote most frequently about American photography and living artists, many of whom he had a deep personal connection with. And in fact, I think many of the pictures that are in Peter's collection are ones that came to him out of friendship, not things that he went to galleries and auctions to purchase, but works that were given to him, or sometimes that he bought out of shows that he worked on and artists that he knew and admired deeply.

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Ansel Adams, Monolith, The Face of Half Dome, Yosemite National Park, 1927. Photographs, New York.

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CM: The number of lovely inscriptions by photographers on the back of these photographs is remarkable — everything from a postcard sent by Lee Friedlander to the beautiful print of Monolith by Ansel Adams. You really get a sense of the affection that a lot of people had for Peter.

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MD: These were photographers he believed in deeply, whose work he understood, and whose work he often championed. At Peter’s memorial, Emmet Gowin spoke about the exhibition that Peter organized at MoMA of Robert Adams and Emmet Gowin. That was very early in the careers of each, and I'm sure made a huge difference in their reception and their production in subsequent years.

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CM: He purchased his Moonrise, I believe in 1958, from Adams. Peter wrote to him and asked if he could purchase a print from him.

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MD: Yes, I think the Ansel Adams' Moonrise is one of the few pictures that we absolutely know that Peter purchased, that he collected because he wanted to live with that photograph.

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Walker Evans, Subway Portrait (young man in brimmed cap), 1941. Photographs, New York.

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CM: There's a selection of really fine Walker Evans photographs in the sales. I'm curious what your sense is of where Walker Evans fit for Peter, because Evans was a very complex guy and he was doing a lot of aesthetically complex things, but people read him as a documentary photographer, which doesn't seem to be exactly where Peter's interests were.

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MD: Evans doesn’t quite fit into the mold of what we associate with photographers that Peter most frequently collected and championed — highly self-conscious artistic photographers like Harry Callahan, Paul Caponigro or Jerry Uelsmann. But I think there would be no doubt in Peter's mind of the aesthetic mastery that Evans represented, and also, just as a historian, the important place that Evans held in the history of photography — particularly the history of American photography. I think there had to be an enormous respect for the place of Evans in the field that he loved so much.

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CM: When you were going through the collection, were there things that surprised you? I will share that it was a real surprise to me that he had a Mark Morrisroe photograph.

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MD: That was a surprise to me too. Morrisroe was not somebody that I would have expected to be in Peter's collection, though I think he had a personal interest in artists who were exploring identity, and particularly a gay sensibility. A lot of the literature that he had in his home had to do with memoirs or fiction dealing with gay subjects. It was something that Peter was not particularly comfortable with personally, but I think that may have been a reason those photographs interested him, because he wanted to see how other people dealt with something that was difficult, particularly for someone of Peter's generation.

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Mark Morrisroe, Untitled, NYC (Jonathan and Stafanelli), 1985. Photographs, New York.

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Discover More from Photographs, New York >

\n\n

Recommended Reading

\n\n

What in the Wold: Hockney’s English landscape garden, as seen through the eyes of a landscape >

\n\n

When I First Met the Queens: Iconic New York author and Warhol protégé Tama Janowitz remembers his royal portraits >

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MARIO CRAVO NETO Heart of Stone, 1990

\n","version","1670532396","https://dist.phillips.com/auction-assets/NY040423/9_hi.jpg","

HENRI CARTIER-BRESSON Mount Aso, 1965

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EMMET GOWIN Edith, 1987

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NAOMI SAVAGE Selected Variants: Enmeshed Man, 1966

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LEWIS HINE Western Union Messenger #55, 1914

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BARBARA MORGAN Martha Graham - Letter to the World (The Kick), 1940

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The Eye That Shapes: Further Selections from the Peter C. Bunnell Collection

42拍品