- 375
Gary Schneider
Estimate
10,000 - 15,000 USD
Log in to view results
bidding is closed
Description
- Gary Schneider
- 'AFTER MIRRIAM'
- Four toned gelatin silver prints
a unique composition of 4 toned prints, signed, titled, and dated in ink in the margin, each flush-mounted, Buhl Collection, Harvard University Art Museum exhibition, and P. P. O. W. labels on the reverse, framed, 1994 (4)
Provenance
P. P. O. W., New York, 1995
Exhibited
New York, Thread Waxing Space, Collection in Context: Selected Contemporary Photographs of Hands from the Collection of Henry M. Buhl, September - October 1996, and 8 other national and international venues through 1999 (see Appendix 1)
Cambridge, Harvard University Art Museum, Gary Schneider: Portraits, February - June 2004, and Honolulu, The Contemporary Museum, August - October 2004
Palm Beach Photographic Centre, In Good Hands: Selected Works from the Buhl Collection, March 2011
Middletown, Delaware, Warner Gallery at St. Andrew's School, In Good Hands: Selected Works from the Buhl Collection, October - November 2011
Cambridge, Harvard University Art Museum, Gary Schneider: Portraits, February - June 2004, and Honolulu, The Contemporary Museum, August - October 2004
Palm Beach Photographic Centre, In Good Hands: Selected Works from the Buhl Collection, March 2011
Middletown, Delaware, Warner Gallery at St. Andrew's School, In Good Hands: Selected Works from the Buhl Collection, October - November 2011
Literature
Marianne Courville, Collection in Context: Selected Contemporary Photographs of Hands from the Collection of Henry M. Buhl (New York, 1996), pl. 64 (this composition)
Deborah Martin Kao, Gary Schneider: Portraits (Harvard Art Museums, 2004), pl. 29 (this composition)
Deborah Martin Kao, Gary Schneider: Portraits (Harvard Art Museums, 2004), pl. 29 (this composition)
Condition
Although only one of the large photographs has been examined out of its frame, these toned gelatin silver prints appear to be in generally excellent condition. The lower right photograph in the composition was examined unframed, and it is signed, titled, and dated in ink in the margin.
This unique composition is one of only 7 such 4-part works by the photographer.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
This four-panel, mural-sized print entitled After Mirriam is from a series of works by Gary Schneider that he has termed his Memorial Portraits. These images, seven in all, are made from the imprint of Schneider’s left hand onto film emulsion. As Schneider has written, ‘These are works to remind me of people that I have lost, that I so regretted not having photographed. They are tone poems that become memorial portraits, a glove for each person to inhabit.’
Schneider’s handprints, begun in 1993, are done by placing a hand onto film emulsion in the darkroom: the sweat and heat transform the film, which is later enlarged by Schneider to make the print, each of which he interprets in a unique way. The print entitled Henry, offered as Lot 100 in the present catalogue, was made using Henry Buhl’s hand. After Mirriam, however, named for Schneider’s late mother, was made with one of Schneider’s own hands, as are all of the ones in the Memorial series. Schneider writes, ‘After Mirriam remains very important to me. It is unique and a self-portrait, as much as a memorial portrait to my mother. I borrow the imprint technique from the caves of Lascaux (the earliest examples of self-identification), the “Shroud of Turin,” Marcel Duchamp’s Female Fig Leaf, Yves Klein’s body prints, and Jasper Johns’s Studies for Skin.’
Like the photograms by Moholy-Nagy (Lot 20), Adam Fuss (Lot 167), and James Welling (Lot 326) in the Buhl Collection, Schneider’s handprints are part of a long tradition of artists’ using their own bodies—in this instance, the hand—to produce art.
Schneider’s handprints, begun in 1993, are done by placing a hand onto film emulsion in the darkroom: the sweat and heat transform the film, which is later enlarged by Schneider to make the print, each of which he interprets in a unique way. The print entitled Henry, offered as Lot 100 in the present catalogue, was made using Henry Buhl’s hand. After Mirriam, however, named for Schneider’s late mother, was made with one of Schneider’s own hands, as are all of the ones in the Memorial series. Schneider writes, ‘After Mirriam remains very important to me. It is unique and a self-portrait, as much as a memorial portrait to my mother. I borrow the imprint technique from the caves of Lascaux (the earliest examples of self-identification), the “Shroud of Turin,” Marcel Duchamp’s Female Fig Leaf, Yves Klein’s body prints, and Jasper Johns’s Studies for Skin.’
Like the photograms by Moholy-Nagy (Lot 20), Adam Fuss (Lot 167), and James Welling (Lot 326) in the Buhl Collection, Schneider’s handprints are part of a long tradition of artists’ using their own bodies—in this instance, the hand—to produce art.