Photography in the 2013 Armory Show, Part 1 of 2

In what might sound like a contradiction, this year’s Armory Show has both more and less photography than in previous years. “More”, in that by my count, there were 97 booths showing something that might be called photography (out of a possible 214 not including the publishers). That’s over 45% of the galleries, which must be some kind of record and is certainly an increase from what was on offer last year. But a glass half empty kind of person might characterize this show as quite a bit “less”, in that eclectic mid-tier randomness seems to have replaced the parade of boldfaced names and highly saleable, contemporary material that we’ve come to expect at this kind of gathering. If you are looking for Sherman, Gursky, Prince, Gilbert & George, Ruff, Struth, Tillmans, and the like, you will wear out your shoe leather and generally come up empty handed.

This portion of my notes covers the Focus area and the long extending arm of Pier 94; the second part will cover the remainder of Pier 94 and all of Pier 92. The booths/galleries are arranged by my path through the fair, roughly up and back along the aisles. For each booth, a list of photographers has been provided, with the number of works on display in parentheses. Additional commentary, prices, and pictures of the installation are also included as appropriate.

Galleria Continua (here): Carlos Garaicoa (2)

Higher Pictures (here): This booth contained three new works by Artie Vierkant. They’re physically thinner than his last works (now on Dibond instead of thick Sintra) and more compositionally complex and multilayered ($17000 each). I think they’re getting better.

Aisho Miura Arts (here): Shuhei Yamada (9)

Various Small Fires (here): Liz Magic Laser (2)

moniquemeloche (here): Joel Ross and Jason Kreps (4)

CONNERSMITH (here): Lincoln Schatz (1 set of 30, 1)

Anthony Meier Fine Arts (here): Roy McMakin (1 set of 6, 1 set of 4)

Francis M. Nauman Fine Art (here): Sherrie Levine (1 set of 18 postcards)

Pilar Corrias Gallery (here): Leigh Ledare (1)

Pekin Fine Arts (here): Kata Legrady (1), John Clang (2), Martin Parr (1), WassinkLundgren (4 diptychs). The photography duo of WassinkLundgren have taken to the streets of Tokyo, simultaneously taking two images of the same scenes from slightly different vantage points. The effect is Paul Graham’s The Present meets Barbara Probst, highlighting the particular unmistakable flow of Tokyo ($2000 for each diptych). While discussing the fine Martin Parr auto show image on the outside wall, I heard that Parr is at work on a book of Chinese photobooks.

Kalfayan Galleries (here): Hrair Sarkissian (12)

Spaces Corners (here): Ed Panar (2), Andrea Galvani (1), Tim Hyde (5). These four photo collages by Tim Hyde were shown at the Philadelphia Museum of Art a few years ago. I like the way they break up the parking lot view into Cubist shards that are reassembled into abstract interruptions ($5000 each).

Andy Warhol Museum (here): Andy Warhol (5 modern enlargements)

Ullens Center for Contemporary Art (here): Cui Xiuwen (1)

Aperture (here): James Welling (1), Andrea Galvani (1), Enrique Metinides (1), Bill Armstrong (1), Doug Rickard (1), Michel Campeau (1), Sarah Moon (1), Richard Mosse (1), Silvio Wolf (1), Lars Tunbjork (1), Hank Willis Thomas (1), David Levinthal (1), Abelardo Morell (1), Rinko Kawauchi (1), Bruce Davidson (1), Michal Chelbin (1), Denis Darzacq

Whitechapel Gallery (here): John Baldessari (1), Roy Voss (1), Thomas Ruff (1), Zarina Bhimji (1), Rodney Graham (1), Peter Abrahams (1), Gerard Byrne (1)

Upstream Gallery (here): Frank Ammerlaan (1)

Baró Galleria (here): Ricardo Alcaide (2)

Bruce Silverstein Gallery (here): André Kertész (3 Polaroids), Max Neumann (6), Man Ray (1), Silvio Wolf (1 set of 30, 1), Trine Søndergaard (4), Bill Brandt (1), Shinichi Maruyama (3), Keith Smith (2), Constantin Brancusi (2), Michael Wolf (1), Todd Hido (2), Mark Cohen (1), Nicolai Howalt and Trine Søndergaard (1), Walker Evans (1), Aaron Siskind (1), Nicolai Howalt (1), Laszlo Moholy-Nagy (1). This booth was a solid mix of both contemporary work and vintage gems. This 1930s Brandt nude was a particular surprise, as I hadn’t previously seen one from earlier than the mid 1940s ($35000).

espaivisor – Galeria Visor (here): Nil Yalter (1 set of 10, 1 triptych, 1 set of 16), Sanja Ivekovic (1 set of 100)

ONE AND J. Gallery (here): Jung Lee (5). I suppose it was inevitable that the “pithy phrase in neon” so prevalent in contemporary art would finally make the jump to staged photography ($15000 each).

Galeria SENDA (here): Oleg Dov (2), Anna Malagrida (2)

Galerie Crone (here): Daniel Megerle (10), Adrien Missika (4)

Galerie Ron Mandos (here): Hans Op De Beeck (1)

Rhona Hoffman Gallery (here): Luis Gispert (1), Xaviera Simmons (1), Karthik Pandian (2), Vito Acconci (1), Robert Heinecken (3)

Ingleby Gallery (here): Garry Fabian Miller (1 set of 4)

Sies + Höke (here): Joao Maria Gusmao and Pedro Paiva (1), Daniel Gustav Cramer (1 set of 7)

Sprüth Magers (here): John Baldessari (1), David Lamelas (8), Cindy Sherman (5), Louise Lawler (1)

Goodman Gallery (here): Mikhael Subotzky (2), Alfredo Jaar (1), Hank Willis Thomas (1 set of 6), David Goldblatt (3)

Luciana Brito Galeria (here): Caio Reisewitz (1). Marina Abramović (2), Fyodor Pavlov-Andreevich (1), Regina Silveira (1 installation). This is a new work by Marina Abramović; I liked the tiny cracks climbing up the expanse of green and the unsettling blackened finger ($90000).

Cardi Black Box (here): Shirana Shahbazi (4). These are new works by Shahbazi, more active and overlapped than other abstractions I have seen by her.

Corkin Gallery (here): arbara Astman (5), Thaddeus Holownia (1 set of 100), André Kertész (3), Constantin Brancusi (1), Marion Post Wolcott (1), Frank Mädler (1)

Tang Contemporary Art (here): Wang Gongxin (2 videos), Ji Zhou (1), Yang Yong (1 diptych)

Galerie EIGEN + ART (here): Ricarda Roggan (3)

PPOW (here): Adam Putman (10)

Howard Greenberg Gallery (here): Joel Meyerowitz (2), Gordon Parks (1), Edward Burtynsky (1 diptych, 2), Imogen Cunningham (1), William Klein (4), Bruce Davidson (2), Robert Frank (2), Vivian Maier (4), Saul Leiter (4), Ted Croner (1), Caleb Cain Marcus (2). This lively diamond mural abstraction isn’t what you might expect from William Klein ($19000).

Angles Gallery (here): Ori Gersht (5, 1 lightbox, 1 diptych) Soo Kim (5). This handcut inkjet print by Soo Kim is elegantly interwoven and delicate ($10000). Another example of a contemporary photographer playing with the surface/physicality of the print.

Haines Gallery (here): David Maisel (1)

Galerie van Gelder (here): Steven Parrino (1)

Leila Heller Gallery (here): Reza Aramesh (1 triptych)

Hales Gallery (here): Sebastiaan Bremer (1)

Vistamare (here): Mimmo Jodice (1)

Pierogi (here): Nadia Bournonville (1), Kevin Cooley (2)

Susan Inglett Gallery (here): Sarah Charlesworth (2)

Yossi Milo Gallery (here): Alison Rossiter (3), Simen Johan (1), Myoung Ho Lee (3), Mark Ruwedel (1 set of 15), Matthew Brandt (3), Doug Rickard (1), JD Okhai Ojeikere (2), Julie Cockburn (3). This new Matthew Brandt is more swirly and abstract than other works from this same series ($19000); the underlying lake drenched image is hardly recognizable.

Ignacio Liprandi Arte Contemporaneo (here): Jorge Pedro Nuñez (4). Square format Artforum ads projected into Albers-like layers of color ($4000 each).

Loevenbruck (here): Morgane Tschiember (1 set of 6)

Jack Shainman Gallery (here): Richard Mosse (1), Hank Willis Thomas (1), Barkley Hendricks (1). I was blown away by the electric contrast between the blue and the red/pink in this new Richard Mosse ($24000).

Corvi-Mora (here): Anne Collier (2)

Kukje Gallery (here)/Tina Kim Gallery (here): Kimsooja (1), Haegue Yang (2 sets of 4, 1 set of 3, 1 set of 2), Candida Höfer (1), Jenny Holtzer (1)

Part 2 of this post can be found here.

Photography in the 2013 ADAA Art Show

This year’s ADAA Art Show wandered the stylistic line that it always does: somewhere between classy and snoozy. Only 12 booths out of a possible 72 had any photography in them, so photo collectors and enthusiasts can expect to travel along decent stretches of real estate without anything to tempt you. That said, each photography find is worthy of a closer look, so treat the whole thing like a treasure hunt and you won’t be disappointed.

My notes from the fair are below, organized alphabetically by gallery name. For each booth, a list of photographers has been provided, along with the number of works on display, a highlight image or two, and the prices where appropriate.

Brooke Alexander, Inc. (here): John Baldessari (1 photogravure, $8500)
Alexander and Bonin (here); This entire booth was devoted to the work of Mona Hatoum, with a mix of photographs and sculptural objects. After expressing my interest in the flattened perspective severed fish head image ($6000), I was given a peek at the lovely cheese grater photograph tucked away in the very tiny closet ($12000).
Fraenkel Gallery (here): This booth was a solo showing of Robert Adams images from The New West. A total of 27 prints are on display.
Marian Goodman Gallery (here): This booth was filled with works by Tacita Dean (15 works, plus 1 glass box of overpainted postcards and 1 set of 3 sculptures). Most were gouaches over various 19th century photographic landscapes, where slivers of paint added a tree, a glacier, or a man perched on a rock outcropping. The work below is a Carleton Watkins Grizzly Giant image overpainted in misty white ($35000).
Sean Kelly Gallery (here): This booth contained a fine selection of Robbert Mapplethorpe’s portraits of artists (20 in all). I enjoyed his image of De Kooning best, which of course was NFS (as was the portrait of Louise Bourgeois).
Barbara Krakow Gallery (here): This single work by Liliana Porter was the only photographic work in this booth ($10000). Notice the clever conceptual line that extends from the finger, travels across the photograph, jumps up on the mat, and eventually continues along the wall.
McKee Gallery (here): Two new Richard Learoyd prints were featured in this booth, one a portrait and the other this sculptural, fishing-lined pink flamingo ($65000). A show of Learoyd’s new work is scheduled for this coming May.
Metro Pictures (here): This triptych of Louise Lawler images of a Degas sculpture was the focal point of this booth (there was one smaller Lawler on the outside wall, but that’s all that was on display). The three versions have been alternately tinted in RGB (each $150000) and were surprisingly elegant close up. There were also 4 smaller Cindy Shermans hiding in the storage closet.
Laurence Miller Gallery (here): This booth was filled with Eadweard Muybridge collotypes from Animal Locomotion (a total of 33, individually priced between $3000 and $10000, plus 1 video, the leather case, cover plate, and supporting letter). I have to say that these seemed like an odd choice for this fair; perfectly fine to be sure, but I wonder whether a more contemporary choice might have been more powerful. There was also 1 Ray Metzker composite tucked away on a side wall.
Yossi Milo Gallery (here):  This booth contained a mix of gallery artists: Matthew Brandt (1), Chris McCaw (5), Sze Tsung Leong (5), and Alison Rossiter (12). These more angular Rossiters were fabulous and likely my favorites in the fair ($6500 each, these four all already sold!).
Pace/MacGill Gallery (here): This booth was smart mix of large and small prints: Paul Graham (1), William Eggleston (1 of the recent big prints), Richard Misrach (1), Vito Acconci (2 tiny prints), Irving Penn (1 small portrait), Hai Bo (2 huge full length portraits, apparently of his uncle), Andreas Gursky (1), Robert Rauschenberg (1), Harry Callahan (2 small light drawings). The image below is an up-close detail of the tiny colored spots in the Graham work from his Films series ($30000).
Skarstedt Gallery (here): Fitting that this summary should end with a blockbuster Cindy Sherman centerfold ($1300000), as what is an art fair without a bunch of Cindy Shermans? The booth also contained a Richard Prince cowboy and a large Cindy Sherman film still.

Bill Armstrong, Film Noir @ClampArt

JTF (just the facts): A total of 16 large scale color photographs, framed in white and unmatted, and hung in single room gallery space. All of the works are c-prints, made in 2011 and 2012. The images come in three sizes: 20×24 or reverse (in editions of 10), 30×36 or reverse (in editions of 5) and 40×48 or reverse (in editions of 3). There are 9 prints in the small size, 6 prints in the medium size, and 1 print in the large size on display. (Installation shots at right.).

Comments/Context: In a contemporary photography world dominated by sharpness, Bill Armstrong is a contrarian. Since the late 1990s, he has been making pictures defined by their extreme blurriness, letting his appropriated and collaged compositions dissolve into exercises in visual perception. His newest project begins with the shadowy visual motifs of film noir and turns them into indistinct silhouettes swimming in seas of vibrant, lavish, saturated color. The effect is a sense of heightened moodiness and mystery, well matched to the hard boiled Chandleresque subject matter of men in dark coats.

Armstrong’s blurred approach deftly strips away any specific narrative or distracting details, paring the compositions back to amorphous forms and painterly swaths of color. The most recognizable scenes find lonely men posed against rich yellow and orange sunsets, or hunkered down in drab hues against the encroaching trees or falling rain. Others have an almost futuristic feel, with dark figures faced with long, receding hallways. And many defy any kind of imposed story at all, breaking down into ethereal component parts and bold abstractions of electric yellow, bright purple, royal blue, and fire engine red.

Armstrong clearly has a well developed sense for color, both in harmony and in dissonance. What I find interesting here is that his unconventional methods take him down a different but adjacent road to the photographic color studies we’re generally accustomed to. In his hands, the camera no longer has any connection to normal documentation – its role is more of a distorting filter that upends our ability to discern and categorize. His color experiments are wholly constructed, but still have a whisper of faint recognizability, leaving the viewer in a shimmering, undefined middle ground.

Collector’s POV: The works in this show are priced as follows: the 20×24 prints are $2200, the 30×36 prints are $4500, and the 40×48 prints are $8000. Armstrong’s work has very little secondary market history, so gallery retail is likely the best/only option for those collectors interested in following up.

 

 

 

 

 

Auction Preview: First Open, March 8, 2013 @Christie’s New York

Christie’s has the final chance for the auction houses to separate Armory week collectors from their savings with its First Open sale coming up on Friday. Led by six works from Cindy Sherman, it’s a mid range assortment with plenty of well known names. Overall, there are a total of 48 lots of photography available in the sale, with a total High estimate for photography of $1438500.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including $10000): 15
Total Low Estimate (sum of high estimates of Low lots): $103500

Total Mid Lots (high estimate between $10000 and $50000): 26
Total Mid Estimate: $595000

Total High Lots (high estimate above $50000): 7
Total High Estimate: $740000

The top photography lot by High estimate is lot 90, Andreas Gursky, Atlanta, 1996, estimated at $250000-350000 (image at right, top.)

Here’s the complete list of photographers represented by two or more lots in the sale (with the number of lots in parentheses):

Cindy Sherman (6)
Vik Muniz (5)
Nan Goldin (4)
Hiroshi Sugimoto (3)
Laurie Simmons (2)
Thomas Struth (2)
Sturtevant (2)
Zhang Huan (2)

Other lots of interest include lot 169, Cindy Sherman, Untitled, 2010-2012, estimated at $50000-70000 (image at right, middle) and lot 79, Laurie Simmons, Red Library II, 1983, estimated at $5000-7000 (image at right, bottom, all via Christie’s.)

The complete lot by lot catalog can be found here.

First Open
March 8th

Christie’s
20 Rockefeller Plaza
New York, NY 10020

Christopher Bucklow @Danziger

JTF (just the facts): A total of 19 color photographs, framed in white and unmatted, and hung against white walls in the two room divided gallery space. Aside from one fujiflex print, all of the works are unique cibachrome prints made between 2004 and 2012. 12 of the works are from the Tetrarch series and are each sized 60×40 (or reverse). The rest of the works are sized either 19×15 or 38×29. The show also includes a small sample of Bucklow’s paintings and watercolors, shown in a side room. (Installation shots at right.)

Comments/Context: Christopher Bucklow’s second show at Danziger Gallery combines a large selection of his now well-known radiant silhouettes with a new group of abstract works that leverage the same underlying technique but abandon the human form as a subject. It gives us a plentiful dose of what we already know and like, while also offering some new extensions to his signature aesthetic.

Bucklow has been making images in his Tetrarch series for the better part of a decade at this point, so there isn’t much to say about these works (and their process) that hasn’t already been said. To my eye, a few of the details have gotten a bit crisper in this bunch, with the curve of a breast or a wisp of hair providing a stronger sense of femininity. Pairs of figures have also been explored in more depth, with embracing male and female forms doubling the light output where they overlap. Tight hugs become largely indistinguishable blobs, while looser connections work like the intersection of a Venn diagram. In general, the best of these works remain graceful and elegant, glowing in fields of diffused color.

The other works on view take us down a decidedly different path. In these images, Bucklow’s pinhole sunlight photogram technique becomes something more akin to the visual effect of a Lite Brite toy or an ancient green screen computer monitor (albeit in different colors). Delicate lines of abstract geometric patterns cover the surface, their rigid repeating forms shining like bright Islamic window screen arabesques. In a few cases, the intricate pattern begins to break down, allowing jagged lines to unravel down the page like loose threads of otherworldly technology or glitched code running amok. These forms seem strangely alive, thin tentacles of lines extending beyond the edges of the frame.

I think these new pictures open up some artistic doors for Bucklow, allowing him to draw with light in unexpected and original ways. As much as the ghostly silhouettes continue to be lovely (and saleable I imagine), it’s probably time to move on and follow this new path wherever it might lead.

Collector’s POV: The works in this show are priced as follows. The prints from the Tetrarch series are priced at either $19000 or $21000 (up from $15000 in Bucklow’s 2010 show). The 19×15 works are $8000 each and the 38×29 work is $12000. Bucklow’s prints are intermittently available in the secondary markets, with prices generally ranging between $5000 and $14000.

 

 

 

 

Auction Previews: Contemporary Art and Design Evening and Under the Influence, March 7 and 8, 2013 @Phillips New York

For its Armory week offerings, Phillips has paired an Evening sale with its broader, more eclectic Under the Influence sale. The vast majority of the photography available can be found in the Under the Influence auction on Friday, with a liberal sprinkling of mid range works by both bold faced and lesser known names to be uncovered there. All in, there are a total of 86 lots of photography available across the two sessions, with a total High estimate for photography of $2002000.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including $10000): 31
Total Low Estimate (sum of high estimates of Low lots): $232000

Total Mid Lots (high estimate between $10000 and $50000): 46
Total Mid Estimate: $1040000

Total High Lots (high estimate above $50000): 9
Total High Estimate: $730000

The top photography lot by High estimate is lot 21, Richard Prince, Untitled (Massage), 1980-1981, estimated at $100000-150000 (image at right, top, via Phillips).

Here’s the list of photographers represented by two or more lots in the sales (with the number of lots in parentheses):

Andy Warhol (4)
Slater Bradley (3)
Nan Goldin (3)
Marilyn Minter (3)
Vik Muniz (3)
Doug Aitken (2)
Sophie Calle (2)
Roland Fischer (2)
Anthony Goicolea (2)
Andreas Gursky (2)
Paul McCarthy (2)
Shirin Neshat (2 )
Eleonore Nitzschke (2)
Richard Prince (2)
Thomas Ruff (2)
Cindy Sherman (2)
Stephen Shore (2)
Spencer Tunick (2)

Other works of interest include lot 184, Doug Aitken, Cul de Sac, 2004, estimated at $60000-80000 (image at right, middle) and lot 25, Louise Lawler, Going, 2001/2002, estimated at $50000-70000 (image at right, bottom, all via Phillips.)

The complete lot by lot catalogs can be found here (Contemporary Art and Design) and here (Under the Influence).

Contemporary Art and Design Evening
March 7th

Under the Influence
March 8th

Phillips
450 Park Avenue
New York, NY 10022

Auction Preview: Contemporary Art, March 7, 2013 @Sotheby’s New York

Sotheby’s is up first in this week’s Armory friendly sales, with its Contemporary Art sale on Thursday. Photography-wise, the sale is light on headliner images, but there are a handful of solid images that could potentially siphon off some fair-directed cash. All in, there are a total of 32 lots of photography on offer, with a total High estimate for photography of $704000.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including $10000): 8
Total Low Estimate (sum of high estimates of Low lots): $59000

Total Mid Lots (high estimate between $10000 and $50000): 22
Total Mid Estimate: $505000

Total High Lots (high estimate above $50000): 2
Total High Estimate: $140000

The top photography lot by High estimate is lot 137, Mike Kelley and Bob Flanagan, More Love Than Can Ever Be Repaid, 1990, estimated at $60000-80000.

Here’s the list of photographers represented by two or more lots in the sale (with the number of lots in parentheses):

Gregory Crewdson (4)
Philip-Lorca DiCorcia (2)
David LaChapelle (2)
Julian Opie (2)
Richard Prince (2)

Other photographs of interest include lot 101, Walead Beshty, Three Sided Picture, 2007, estimated at $25000-35000 (image at right, top), lot 207, Pieter Hugo, Jatto with Mainasara, Ogere-Remo, Nigeria, 2007, estimated at $25000-35000 (image at right, middle), and lot 219, Philip-Lorca DiCorcia, Hong Kong, 1996, estimated at $12000-18000 (image at right, bottom, all via Sotheby’s.)

The complete lot by lot catalogs can be found here.

Contemporary Art
March 7th

Sotheby’s
1334 York Avenue
New York, NY 10021

Kenneth Josephson @Gitterman

JTF (just the facts): A total of 37 black and white photographs, framed in black and matted, and hung against white walls in the jagged single room gallery space. Nearly all of the works on view are vintage gelatin silver prints, made between 1959 and 2001. No specific size or edition information was available on the checklist, but most of the prints were no larger than 11×14. (Installation shots at right.)

Comments/Context: Kenneth Josephson’s second show at Gitterman Gallery goes beyond the photographer’s best known work and digs into the lesser known corners of his long image making career. Aside from a few recognizable gems (the car silhouette in snow, the spots of light on  pedestrians, and a handful of conceptual photographs of photographs), the works on view will be unfamiliar to most. It’s a smart edit, balancing Josephson’s high contrast Chicago city abstractions with more nuanced experimentation with light in nature.

The earliest nature pictures Josephson made come from the late 1950s and use changing focus in multiple exposures to create ghostly glows and auras around trees in the forest. The ethereal light seems to emanate from the trees themselves, like highlights or wispy motion. These ideas quickly evolved into pictures within pictures of sawn tree trunks or rocks on the beach, and leaves arranged as interventions against brick walls and paper backgrounds. Fast forward a decade or two, and Josephson’s interest in nature has moved back into the wild, toward the light that dapples the forest, picking out groups of plants that are spotlit against the enveloping darkness. He took this idea one step further a few years later by actually painting a selection of leaves bright white to make them stand out with more force, bringing a layer of rich conceptual thinking (a little like John Pfahl’s altered landscapes) back into his approach. His later landscape compositions alternate between soft subtleties of light and texture in mixed greenery and the stark lines of billowing white birch trunks against dark evergreen backgrounds.

The few city scenes in this show offer more examples of Josephson’s investigations of light, albeit with the rigid geometries and patterns of built forms as subject matter. A cropped upward view of the repetitions of stone windows becomes an array of gridded dots, while the traceries of a patchwork chain link fence stand like filaments against flat whiteness offset by lush (well printed) detail in the dark area underneath. Even a shopping cart can be the fodder for a light experiment, the metal frame becoming a pattern of interlocking white lines.

The value of this show comes in its ability to make us think more broadly about Josephson’s talents. We already know the Chicago ID Josephson and the witty conceptual Josephson, and this show adds the nature Josephson but in a context that allows us to see the connections and common motifs that run through all three. It proves the nature pictures have been there all along, and that they are as complex and intellectually thoughtful as his more familiar work.

Collector’s POV: The prints in this show are priced between $3500 and $10000, with most of the works set either at $5000 or $6000. Josephson’s work has been only intermittently available in the secondary markets in recent years, withs coming up for sale in any given year. Prices have ranged from $1000 to $12000, with a few higher priced lots going unsold.

 

 

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