This year's in-gallery and online Art Sale Fundraiser will run for two-months: Sept. 10th through Nov. 7th. All images will be available for viewing both in the gallery as well as online. However, the images may only be purchased online through the specially create Art Sale Store which opens on Sept. 10th. The purchase process will be easy and streamlined for your convenience. And rather than offering an auction (so 2019), the images will be sold in three stages:
1.) Sept. 10 at noon - Sept 30--Art Sale prints will be offered at the full retail price
This early stage is for the collector who knows what they want and doesn't want to take the chance that it might not be available later in the exhibit. It is also the most beneficial fundraising period for Viewpoint.
2.) Oct. 1 at noon - Oct. 24--Any remaining Art Sale prints will all be reduced by 15% in the online gallery store
3.) Oct. 25 at noon - Nov. 7--The final selection of remaining prints will be reduced by 30%--this is the final price
Please plan to support Viewpoint with the purchase of a print during our new online Art Sale Fundraiser.
Image Credit: (Top) Judy Yemma, Shrimp Plant; (Bottom) Ansel Adams, Yosemite Valley, Summer, C. 1935
Your print(s) will be waiting for you at Viewpoint starting Thursday Nov. 12. Gallery hours are noon to 5 p.m. Simply stop by the gallery during regular hours and let our docents know you are there to pick up your Art Sale print(s). If you paid for shipping at check-out (online through the web site), your prints(s) will be sent out Ground UPS/FedEx for delivery within 2 weeks of the sale closing.
Ansel Adams, Yosemite Valley, Summer, C. 1935, Printed 1975
This print was one of the first eight selected by Adams for his Yosemite Special Edition Prints. This print is in excellent condition, matted and framed. An assistant likely made this Special Edition print in the 1970’s under Ansel’s supervision, and it has his bearing pencil initials "AA" signed by Mr. Adams. This was a common practice during this period of time. The price was set by the Ansel Adams Gallery located in Yosemite Natl. Park.
Brassai (Gyula Halasz), l’Hospice de Beaune, 1951
This print is from a portfolio of 10 images from Hospice de Beaune. It is a silver gelatin print signed, numbered 7/40 and annotated Co.561.z+38 in black marker with copyright credit and reproduction stamps on the verso. A copy of this image is in the collection of the MoMA, New York. Brassai described his photography by saying; ”Basically, my work has been one long reportage on human life.” Brassai is best known for his night work in Paris documenting the people who worked in the shadows of society. He mingled with and photographed artists, including Picasso and Matisse, and for many years worked assignments for Harper’s Bazaar.
Cole Westin, Surf and Headlands, 1958
This C print is dry mounted, signed and dated by Weston in pencil on mount recto (l.r.). mount verso with Cole Weston stamp, title and annotations in pencil (in Weston's hand). Some diminution of color intensity (inevitable with a C print of this vintage). This image is part of a limited edition set and was included in Cole Weston’s portfolio book, Eighteen Photographs.
The price for this print was set through an internet research of the Weston Gallery.
Greg MacGregor, Anza Borrego Object.
MacGregor is Professor Emeritus of Photography at California State University, East Bay where he originated the program in 1979. For more than twenty years MacGregor has photographed in the Great Basin desert, which spans from Utah to California. He has work in over 30 museums throughout the country, including the San Francisco Museum of Modern Art, Houston Museum of Fine Arts, George Eastman house, Museum of Modern Art, New York, and the Crocker Art Museum.
Jerry Takigawa U-060
Takigawa is an independent photographer, designer and writer, located in the Monterey area. His work is in the permanent collections of the San Francisco Museum of Modern Art, the Brooklyn Museum, the Crocker Art Museum, the Santa Barbara Museum of Art, the Library of Congress and the Monterey Museum of Art. U-060 from his Landscapes of Presence Series. Jerry states that he has been committed to creating work that combines Eastern and Western attributes, giving rise to an unfamiliar wholeness. He used pattern on pattern to express the background as subject, making subject and background inseparable and equal.
Jim Galvin, Untitled Landscape 1984
This silver gelatin print is signed by the late Mr. Galvin. Jim was a renowned view camera designer and manufacturer. He was also a prolific photographer and a meticulous printer as is evident in the tones and contrast of this print. Jim was in the core group who influenced the Sacramento Valley photo scene. In the 1980’s, he and Jeff Redman opened Lightwork camera store, adding a small gallery shortly thereafter, which would become Sacramento Valley Photographic Art Center and later Viewpoint Photographic Art Center.
Nicholas Pavloff, Tree Line and Clouds, Las Positas
Pavloff was born in San Francisco and grew up in Northern California exposed to the western landscape. He was a commercial photographer for 20 years and then began to focus on producing black and white gelatin silver art prints. He says “I look for special moments in familiar environments when light and form convene, at the right instant, giving the black and white image a special magic.” His work has been described as “fresh, crisp, with a charismatic point of view”* and “unforgettable”.
* Dawn Bonner, photograper in Boomer Style Magazine
This image appeared in Fortune magazine in 1930. Today the image might be interpreted as nostalgic or romantic, even peaceful. Though Steiner made the negative using an 8x10 camera on a tripod, he presents the scene almost like a quick snapshot signifying the pace of modern life. Trained at Dartmouth and the Clarence H. White School of Photography in New York, Steiner was a filmmaker and commercial photographer. His work is collected at the Art Institute of Chicago, Getty, N.Y. MOMA, Cleveland Museum of Art, and others. This image appears in numerous books on the history of photography.
Richard Murai, Steps Luang Prabang, Laos, 2015
This image was made during Mr. Murai’s led and Viewpoint sponsored Three Kingdoms workshop in 2015 in the French colonial city and the UNESCO site of Luang Prabang, Laos (located on the banks of the Mekong River). Richard’s ongoing fascination with documenting sacred sites has taken his travels worldwide. He actively exhibits, is widely collected, and has work published in the U.S. and abroad.
Richard Newman, Kaleidoscope, #4 (#4 of 25)
This image is four negatives laid-out together and printed in an 8”x10” enlarger. Limited Edition: #4 of 25. Mr. Newman has worked in media production, music, photography, videography, and motion pictures since the early 1970s. Over the past 10 years he has been an international speaker on photography and video in the United States, Great Britain, Germany and Australia.Ted Orland, Forest, San Francisco
This gelatin silver print shows Orland’s sense of humor that characterizes a large segment of his work. Its title, Forest, San Francisco, is a tongue-in-cheek gentle jab at the urban landscape of contained and controlled trees. Having been Ansel Adams assistant, Orland is a traditional darkroom master as well as an early adopter of digital when printing was crudely grayscale from a dot matrix printer. His early career focused on large format landscape photography but moved toward more expressive work with his favorite soft focus Holga. Currently he works in both digital color and black and white film. Orland teaches digital photography at Cabrillo College.
Van Deren Coke, Paris 1978
This graphic detail of a mannequin was made in Paris. The colors remain bold and dramatic because of the stability of the Cibachrome process. The curving lines of the hat counter the strong lines of the drawn curls. Coke’s early work was in the style of Adams and Weston, but his background in art led him to experimental darkroom techniques and color. He was a prime mover in establishing photography history and criticism as a field of study in higher education. His scholarly writing and curation were instrumental in building the museum collections under his direction at the George Eastman House, the University of New Mexico and San Francisco Museum of Modern Art.
Art Sale Print Condition:
Any condition statement given is done so as a courtesy and is only an opinion and should not be treated as a statement of fact. Viewpoint Photographic Art Center accepts no responsibility for any error or omission of selected prints in the 2020 Art Sale Fundraiser. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Should a buyer be interested in any print--Collector or Portfolio--it is suggested that an in-person review take place.
Gallery hours: Thurs. - Sat. noon to 5 p.m.