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October 6 and 7, 2010

Sale 2395

"Saipan" by W. Eugene Smith

Lot 210, "Saipan," by W. Eugene Smith, gelatin silver print, 1944, printed circa 1960-1969, 13.3 by 10.6 inches, signed

By Carter B. Horsley

The October 6-7, 2010 auction of Photographs at Sotheby's has many of the most famous images in the history of the media.

Lot 210, "Saipan," is not a world-famous image, but it ought to be.  The tightly cropped image is a classic war photograph that combines the grime of the foreground figure and his canteen with the tense alertness of the background figure who has his back to the camera, perhaps on look-out and protecting his fellow solider. Taken by W. Eugene Smith (1918-1978) in 1944, and printed circa 1960-1969, it is a gelatin silver print that measures 13.3 by 10.6 inches.  It has a modest estimate of $5,000 to $7,000.  It was bought in.

After working for local newspapers as a photographer in Wichita, his hometown, Smith got a job at Newsweek magazine but developed a reputation as "a thorny personality" and was fired for not using medium format cameras.  He then joined Life magazine but he soon resigned from it and in 1942 he was wounded "while simulating battle conditions for Parade magazine," according to Wikipedia entry, and, after working for Ziff-Davis Publishing and then Life magazine again and in World War II was hit by mortar fire on Okinawa and then went back to Life magazine from 1947 to 1954 when he objected to how the magazine used his pictures of Albert Schweitzer.  He then joined the Magnum photo agency.

He took photographs and made recordings of jazz musicians for several years and in 1972 was attacked in Japan by factory workers at a plant whose pollution led to what became known as the Minamata disease.

"Madrid" by Cartier-Bresson

Lot 167, "Madrid," by Henri Cartier-Bresson, gelatin silver print, 1933, printed circa 1990-1999, 11.7 by 17.6 inches

Lot 167 is a wonderful picture entitled "Madrid" by Henri Cartier-Bresson (1908-2004).  A gelatin silver print made in 1933 and printed circa 1990-1999, it measures 11.7 by 17.6 inches and is a great composition that makes expansive use of white space and is slightly off angle and has a fat man walking by in the lower center as children play in the foreground.  It has an estimate of $10,000 to $15,000.  It sold for $10,625.

At the age of 19, Bresson started attending the Lhote Academy of André Lhote, a well-known painter who sought to combine Cubism with classical art forms.  Cartier-Bresson would soon meet with Surrealists some of whom liked photography for its often unintended meanings.  Cartier-Bresson became frustrated however with his efforts and destroyed many of his early works. He went on to attend Cambridge and then to serve in the French Army where his air squadron commander had him arrested for hunting without a license but was persuaded by Harry Crosby, an American expatriate, to have him released in his custody.  Cartier-Bresson soon began an affair with Crosby's wife, Caresse, and then he went to Africa where he got "blackwater fever" in Cote d'Ivoire and recuperated in Marseille and became inspired by a photograph of naked African boys taken by Martin Munkacsi that made him stop painting and take up photography more seriously.  He painted his shiny Leica black to be more discrete and his first exhibition was the Julien Levy Gallery in New York in 1932.  Two years later, he had an exhibition in Mexico with Manuel Alvarez Bravo and the same year he met David Szymin, a Polish photographer who was called "Chim" because his name was hard to pronounce and who later changed his name to David Seymour.  Through Chim, Cartier-Bresson met a Hungarian photographer named Endrée Friedmann who would change his name later to Robert Capa and the three would share a studio.

"Hyčres, 1932" by Cartier-Bresson

Lot 164, "Hyčres," by Henri Cartier-Bresson, gelatin silver print, printed later, 9 5/8 by 14 1/8 inches, signed

Lot 164 is a marvelous composition that abounds in curves.  It is entitled "Hyčres" and was taken in 1932 and printed later.  A gelatin silver print, it measures 9 5/8 by 14/ 18 inches.  It has an estimate of  $7,000 to $9,000.  It sold for $12,500.

After visiting the United States where he met Paul Strand, Cartier-Bresson returned to France and got a job acting with Jean Renoir and appeared in "The Rules of the Game" and supposedly Renoir emphasized the importance of becoming an actor so he could know how it felt to be "on the other side of the camera.  Cartier-Bresson helped Renoir make a film for the Communist Party and during the Spanish Civil War he co-directed an anti-fascist film with Herbert Kline.

In 1937 he covered the coronation of King George VI for Regards, a French weekly, but he took no photographs of the king and his photo credit was simply "Cartier" as he did not want to use his full name.  That year, he also married a Javanese dance, Ratna Mohini and began working as a photographer for Ce Soir, the French Communists' evening newspaper.

He joined the French Army in 1939 as a Corporal in the Film and Photo unit but the next year was captured by the Germans and spent 35 months in prison camps doing forced labor. His third attempt to escape was successful and he started working for the underground and eventually covered the Liberation of France.

At the end of the war he was asked by the American Office of War Information to make a documentary about returning French prisoners and displaced persons, which was released in the United States in 1947 and led to his getting a retrospective show at the Museum of Modern Art timed with the publication of his first book that was written by Lincoln Kirstein and Beaumont Newhall.

In 1947 he became one of the founders of Magum, Capa's brainchild and a cooperative picture agency owned by its members and he was assigned to cover China and India.  His coverage of Gandhi's funeral in 1948 received wide notice as did his coverage of the end of the Chinese Civil War.

In 1952, he published a book of his photographs entitled "The Decisive Moment" and the cover was a drawing by Henri Matisse.  Three years later, he had a show at the Louvre. He would become the first Western photographer to photograph "freely" in the Soviet Union but he left Magnum in 1966 to concentrate on portraiture and landscapes and the next year he divorced his wife.  He admitted soon that perhaps he had accomplished all he could in photography and in 1970 married Martine Franck, a Magnum photographer who was 30 years his junior.

For many years, he was on assigment for Life magazine and was noted for composing his pictures in the viewfinder and not in the darkroom.

"Main Street, Saratoga Springs" by Evans

Lot 283, "Main Street, Saratoga Springs, New York," by Walker Evans, 1931, printed 1980s, gelatin silver print, 21 3/8 by 16 7/8 inches

Lot 283 is a fine photograph of "Main Street, Saratoga Springs, New York" taken in 1931 by Walker Evans (1903-1975).  A gelatin silver print, it was printed in the 1980s and measures 21 3/8 by 16 7/8 inches.  It has an estimate of $12,000 to $18,000.  It sold for $16,250.

Evans was best known for his work for the Farm Security Administration during the Great Depression when he worked with an 8-by-10-inch camera.

Born in St. Louis, he graduated from Phillips Academy and studied at Williams College for a year before traveling to Paris.  He returned to New York where he became friends with Lincoln Kirstein, John Cheeer and Hart Crane.  In 1933, he 
photographed in Cuba on assignment for the publisher of Carleton Beals's book, The Crime of Cuba, photographing the revolt against the dictator Gerardo Machado.
In the summer of 1936, while still working for the FSA, he and writer James Agee were assigned by Fortune magazine to go to Alabama for a story the magazine decided later not to run.  In 1941, his photographs and Agee's text detailing the duo's stay with three white tenant families in southern Alabama during the Great Depression were published as the groundbreaking book "Let Us Now Praise Famous Men."

In 1938, The Museum of Modern Art in New York held a Walker Evans exhibition, the first it gave to the work of an individual photographer. Evans joined the staff of Time magazine in 1945 as a writer and then became an editor at Fortune.  In 1965, he became a professor of photography at Yale University School of Art and six years later was honored by The Museum of Modern Art with another show.

"Chez Mondrian" by Kertész

Lot 189, "Chez Mondrian," by André Kertész, gelatin silver print, 1926, printed before 1967, 9.8 by 7.5 inches

Lot 189 is a classic interior study by André Kertész (1894-1985) entitled "Chez Mondrian."  A gelatin silver print, it was taken in 1926 and printed before 1967.  It measures 9.8 by 7.5 inches.  It has an estimate of $5,000 to $7,000.  It sold for $6,000.

André Kertész was born Andor Kertész in Budapest and bought his first camera and made his first photograph while working as a clerk at the Budapest stock exchange in 1912. After years of amateur snapshot photography in his native Hungary, he moved to Paris in 1925 and began a career as a freelance photographer meeting other artists such as Brassai and Marc Chagall and members of the Dada Movement.  He would publish three books of photographs before immigrating to the United States in 1936 where he did work for House and Garden magazine.

From 1933 to 1936, Kertész published three books of his own photographs. Immigrating to the United States in 1936 with his wife to escape the increasing tension n Europe that was leading to World War II, he settled in New York, where he earned his living photographing architecture and interiors for magazines such as House and Garden.  He fell out of fashion for a while until he was given an exhibition in 1964 at The Museum of Modern Art.

Kertész emigrated to Paris in September 1925, In Paris he found critical and commercial success. In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery".

"Untitled, caniveau" by Kertesz

Lot 284, "Untitled, caniveau," by André Kertész. gelatin silver print, 1929, printed later 9.7 by 7.7 inches, signed

Lot 284 is a interesting untitled 1929 print by Kertész that measures 9.7 by 7.7 inches.  It was printed later.  It has an estimate of $6,000 to $8,000.  It sold for $6,250.

Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at $20, a large sum of money during the Great Depression.

Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created portraits of painters Piet Mondrian, and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica.

Kertész was published in French magazines such as Vu and Art et Medecine, for which his work was used for numerous covers.  His greatest journalistic collaboration was with Lucien Vogel, the French editor and publisher of Vu. Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

In 1933 Kertész was commissioned for the series, Distortion, about 200 photographs of Najinskaya Verackhatz and Nadia Kasine, two models portrayed nude and in various poses, with their reflections caught in a combination of distortion mirrors, similar to a carnival's house of mirrors. In some photographs, only certain limbs or features were visible in the reflection. Some images also appeared in the 2 March issue of the "girly magazine" Le Sourire and in the 15 September 1933 issue of Arts et métiers graphique. Later that year, Kertész published the book Distortions, a collection of the work.

The couple arrived in New York on 15 October 1936, with Kertész intent on finding fame in Americ. Kertész found life in America more difficult than he had imagined, beginning a period which he later referred to as the "absolute tragedy" Deprived of his artist friends, he found that Americans rejected having their photos taken on the street. Soon after his arrival, Kertész approached Beaumont Newhall, director of the photographic department at the Museum of Modern Art, who was preparing a show entitled Photography 1839–1937. Offering Newhall some of his Distortions photographs, Kertesz bristled at his criticism, but Newhall did exhibit the photographs. In December 1937 Kertész had his first solo show in New York at the PM Gallery.

The Keystone agency, who had offered him offsite work, instead required him to stay in the company's studio. Kertész tried to return to France to visit, but had no money. By the time he had saved enough, World War II had begun and travel to France was nearly impossible. His struggles with English only compounded his problems. Years after learning to speak French in Paris, it was difficult for him to confronted another new language. The lack of fluent language added to his feeling like an outsider.

Frustrated, Kertész left Keystone after Prince left the company in 1937. He was commissioned by the magazine Harper's Bazaar for an article on the Saks Fifth Avenue department store in their April 1937 issue. The magazine continued to use him in further issues, and he also took commissions from Town and Country to supplement his income. Vogue invited the photographer to work for the magazine, but he declined, believing it was not appropriate work for him. He instead chose to work for Life magazine, starting with a piece called The Tugboat. Despite orders, he photographed more than just tugboats, including works on the entire harbor and its activities. Life refused to publish the unauthorized photographs. Kertész resented the constraints on his curiosity.

In 25 October 1938, Look printed a series of Kertesz photographs, entitled A Fireman Goes to School; but credited them mistakenly to Ernie Prince, his former boss. Infuriated, Kertész considered never working with photo magazines again. His work was published in the magazine Coronet in 1937, but in 1939 he was excluded when the magazine published a special issue featuring its "Most memorable photographs". He later severed all ties to the magazine and its editor  Arnold Gingrich. After being excluded from the June 1941 issue of Vogue, dedicated to photography, Kertesz broke off relations with them. He had contributed to more than 30 commissioned photo essays and articles in both Vogue and House and Garden, but was omitted from the list of featured photographers.

In 1941, the Kertesz couple were each designated as enemy aliens because of WWII (Hungary was fighting on the side of the Axis powers). Kertész was not permitted to photograph outdoors or to have any project related to national security. Trying to avoid trouble because Elizabeth had started a cosmetics company (Cosmia Laboratories), Kertész ceased to do commissioned work and essentially disappeared from the photographic world for three years.

On 20 January 1944, Elizabeth became a US citizen; with her husband's being naturalized on 3 February. Despite competition from photographers such as Irving Penn, Kertész regained commissioned work. He was omitted from the list of 63 photographers Vogue's identified as significant in its "photographic genealogical tree". But, House and Garden commissioned him to do photographs for a Christmas issue. In addition, in June 1944 Laszlo Moholy-Nagy, director of the New Bauhaus - American School of Design offered him a position teaching photography. Despite the honour, he turned the offer down.

In 1945, Kertesz released a new book, Day of Paris, made up of photographs taken just before his emigration from France. It gained critical success. With his wife's cosmetic business booming, Kertész agreed in 1946 to a long-term, exclusive contract with House and Garden. Although it restricted his editorial freedom and required many hours in the studio, the pay of at least US$10,000 per annum was satisfactory. All photographic negatives were returned to him within six months for his own use.]

Kertész worked in the settings of many famous homes and notable places, as well as overseas, where he traveled again in England, Budapest and Paris. During the 1945 to 1962 period at House and Garden, more than 3,000 of his photographs were published in the magazine, and he created a high reputation in the industry. With little time for his personal work, Kertész felt starved of being able to exercise more artistic creativity.

In 1946, Kertész had a solo exhibition at the Art Institute of Chicago, featuring photographs from his Day of Paris series. Kertész said this was one of his greatest times in the United States. In 1952, he and his wife moved to a 12th-floor apartment near Washington Square Park, the setting for some of his best photographs since having immigrated to the US. Using a telephoto lens, he took a series of snow-covered Washington Square, showing numerous silhouettes and tracks. In 1955 he was insulted to have his work excluded when  Edward Steichen's The Family of Man show was featured at MOMA. Despite the success of the Chicago show, Kertesz did not gain another exhibit until 1962, when his photographs were shown at Long Island University.

Toward the end of 1961, Kertesz broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again. This later period of his life is often referred to as the "International period",  when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry. 

In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show.

1984, purchase of 100 prints by the Metropolitan Museum of Art, its largest acquisition of work from a living artist.

"Sand fence, near Keeler, California" by Adams

Lot 261, "Sand Fence, Near Keeler, California," by Ansel Adams, gelatin silver print, 19.7 by 14 inches, circa 1948, printed circa 1970-1979, signed

Lot 261 is a sophisticated and abstract composition by Ansel Adams (1902-1984) entitled "Sand Fence, Near Keeler, California."  Taken circa 1948, it was printed cira 1970-1979.  It has an estimate of $8,000 to $12,000.  It sold for $11,250.

"San Dunes, Oceano, California" by Adams

Lot 263, "Sand Dunes, Oceano, California," by Ansel Adams, gelatin silver print, 19.2 by 14.8 inches, circa 1950, printed 1978, signed

Lot 263 is a dramatic print from around 1950 by Adams that is entitled "Sand Dune, Oceano, California.  Printed in 1978, it measures 192 by 14.8 inches.  It has an estimate of $10,000 to $15,000.  It sold for $21,250.

Adams is best known for his photographs of the American West but his early career was focused on music as he had taught himself piano at the age of 12.  With Fred Archer, Adams developed the Zone System as a way to determine proper exposure and adjust the contrast of the final print. The resulting clarity and depth characterized his photographs and the work of those to whom he taught the system. Adams founded the Group f/64 along with fellow photographers Edward Weston and Imogen Cunningham, which in turn created the Museum of Modern Art's department of photography. 

In the mid-1920s, Adams experimented with soft-focus, etching, and other techniques of the pictorial photographers who strove to put photography on an equal artistic plane with painting by trying to mimic it. However, Adams steered clear of hand-coloring which was also popular at the time. Adams used a variety of lenses to get different effects, but eventually rejected pictorialism for a more realistic approach which relied more heavily on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.

In 1927, Adams contracted for his first portfolio, Parmelian Prints of the High Sierras, in his new style, which included his famous image Monolith, the Face of Half Dome, taken with a view camera using glass plates and a dark red filter to heighten the tonal contrasts.

According to his entry at Wikipedia, "On that excursion, he had only one plate left and he "visualized" the effect of the blackened sky before risking the last shot. As he stated, "I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print".

"In New Mexico," the entry continued, "he was introduced to notables from Stieglitz's circle, including painter Georgia O'Keeffe, artist John Marin, and photographer Paul Strand, all of whom created famous works during their stays in the Southwest. Adams's talkative, high-spirited nature combined with his excellent piano playing made him a hit within his enlarging circle of elite artist friends. Strand especially proved influential, sharing secrets of his technique with Adams, and finally convincing Adams to pursue photography with all his talent and energy. One of Strand's suggestions which Adams immediately adopted was to use glossy paper rather than matte to intensify tonal values. Through a friend with Washington connections, most likely Francis P. Farquhar, Adams was able to put on his first solo museum exhibition at the Smithsonian Institution in 1931, featuring 60 prints taken in the High Sierra....In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston and they soon formed Group f/64, which espoused 'pure or straight photography' over pictorialism (f/64 being a very small aperture setting that gives great depth of field). The group's manifesto stated that 'Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form.' Following Stieglitz's example, in 1933 Adams opened his own art and photography gallery in San Francisco which eventually became the Danysh Gallery after Adams's commitments grew too burdensome....In 1935, Adams created many new photos of the Sierra and one of his most famous photographs, Clearing Winter Storm, captured the entire valley just as a winter storm relented, leaving a fresh coat of snow. After courting Stieglitz for three years, Adams gathered his recent work and had a solo show at the Stieglitz gallery "An American Place" in New York in 1936....In 1939, he was named an editor of U. S. Camera, the most popular photography magazine at that time. In 1940, Ansel put together A Pageant of Photography, the most important and largest photography show in the West to date, attended by millions of visitors....In September 1941, Adams contracted[ with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department's new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the Moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941, a day for which he had not billed the Department, so the image belonged to Adams. The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the property of the U.S. Government. Adams was distressed by the Japanese American internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit....In 1945, Adams was asked to form the first fine art photography department at the California School of Fine Arts....In 1952 Adams was one of the founders of the magazine Aperture....In 1974, Adams had a major retrospective exhibition at the Metropolitan Museum of Art."

"Two barns, Dansville, New York" by Minor White

Lot 345, "Two Barns, Dansville, New York," by Minor White, gelatin silver print, 1955, printed later, 9.4 by 11.9 inches, signed

Lot 345 is a rather haunting image of "Two Barns, Dansville, New York," taken in 1955 by Minor White (1908-1976). A gelatin silver print that was printed later, it measures 9.4 by 11.9 inches.  It has an estimate of $2,500 to $3,500.  It sold for $7,500.

After serving in mililtary intelligence during World War II, White moved to New York City in 1945 and studied art history under Meyer Shapiro at Columbia University and became involved with such photographers as Alfred Stieglitz, Edward Weston and Ansel Adams, who invited him to join him, Dorothea Lange and Imogen Cunningham in the first American fine art photography department that was then forming at the California School of Fine Arts in San Francisco.  His first major exhibition was in 1948 at the San Francisco Museum of Art and four years later he co-founded Aperture with Adams, Lange, Barbara Morgan, Nancy Newhall and her husband Beaumont Newhall.  White edited the magazine until 1975.  In the 1950s, he was a curator for four years at the George Eastman House in Rochester, New York.  The last ten years of his life were spent teaching at the Massachusetts Institute of Technology.

"Grand Pri de l"A.C.F., automobile Delage" by Lartigue

Lot 338, "Grand Prix de l'A.C.F., automobile Delage," by Jacques Henri Lartigue, gelatin silver print, 1912, printed circa 1970-1979, 8.6 by 12.6 inches

Lot 338 is a marvelous photograph of a car race by Jacques Henri Lartique (1894-1986).  Entitled "Grand Prix de l'A.C.F., automobile Delage," it is a gelatin silver print shot in 1912 and printed circa 1970-1979.  It measures 8.6 by 12.6 inches.  It has an estimate of $5,000 to $7,000.  It sold for $10,000.

The website,, provides the following biographic information:

"Jacques Lartigue was born in Courbevoie on June 13, 1894. He took his first photographs at the age of six, using his father’s camera, and started keeping what would become a lifelong diary. In 1904 he began making photographs and drawings of family games and childhood experiences, also capturing the beginnings of aviation and cars and the smart women of the Bois de Boulogne as well as society and sporting events. An unfailingly curious amateur, he tried out all the available techniques, tirelessly recording the fleeting moments and meticulously arranging his several thousand images in large albums. However, it would seem that photography was not his true vocation. In 1915 he attended the Académie Jullian: painting was to remain his professional activity and from 1922 onwards he exhibited in the salons of Paris and southern France. His acquaintances in the world of the arts included Sacha Guitry and Yvonne Printemps, Kees van Dongen, Pablo Picasso and Jean Cocteau, while his passion for movies saw him work as still photographer with Jacques Feyder, Abel Gance, Robert Bresson, François Truffaut and Federico Fellini. Although Lartigue occasionally sold his pictures to the press and exhibited at the Galerie d’Orsay alongside Brassaď, Man Ray and Doisneau, his reputation as a photographer was not truly established until he was 69, with a retrospective at the Museum of Modern Art in New York and the publication of a portfolio in Life....Worldwide fame came three years later with his first book, The Family Album, followed in 1970, by Diary of a Century, conceived by Richard Avedon. In 1975 he had his first French retrospective at the Musée des Arts Décoratifs in Paris. For the rest of his life, Lartigue was busy answering commissions from fashion and decoration magazines."

"Mouth (New York" by Penn

Lot 46, "Mouth (New York)," by Irving Penn, dye-transfer print, 1986, printed 1992, 18 3/4 by 18 3/8 inches, signed

Lot 46 is a stunning dye-transfer  print by Irving Penn (1917-2009) that is entitled "Mouth (New York)."  It was taken in 1986 and printed in 1992 and measures 18 3/4 by 18 3/8inches.  It has an estimate of $100,000 to $150,000.  It sold for $176,500.

Penn worked for many years doing fashion photography for Vogue magazine and was among the first photographers to pose subjects against a simple grey or white backdrop and used this simplicity more effectively than other photographers. His subjects include Pablo Picasso, Marlene Dietrich, Martha Graham and Georgia O'Keeffe.

In 1950, Penn married his favorite model, Lisa Fossagrives.  His younger brother was Arthur Penn, the movie director of "Mickey One" and "Bonnie and Clyde" who died September 30, 2010.  In 2002, the Metropolitan Museum of Art gave an exhibition of more than 50 of his works and three years later he was given a major show at the National Gallery of Art in Washington.

See The City Review article on the Fall 2010 Photography auction at Phillips de Pury in New York

See The City Review article on the Fall 2010 Photography auction at Sotheby's

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