Elsa Dorfman Sold at Auction Prices

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      • Elsa Dorfman C-Print, Portrait of Bill And Bjorn
        Apr. 11, 2021

        Elsa Dorfman C-Print, Portrait of Bill And Bjorn

        Est: $200 - $400

        Elsa Dorfman (American, 1937-2020), Untitled (Portrait of dancer and choreographer Bill T. Jones and Bjorn Amnelan), C-print photograph, 2003, from the series "IT'S 2003!!!!," inscribed "Bill and Bjorn" and dated "March 14, 2003" along bottom; artist's label and Polaroid affixed to frame reverse. Image: 14.5" H x 11.5" W; frame: 14.25" H x 11.5" W x 1.5" D. Provenance: From the artist, donated to New York Live Arts.

        Auctions at Showplace
      • Elsa Dorfman, “Allen Ginsberg” [Polaroid, Photograph, Photography]
        Nov. 15, 2020

        Elsa Dorfman, “Allen Ginsberg” [Polaroid, Photograph, Photography]

        Est: $1,000 - $1,500

        “Allen Ginsberg”; 20x24”image in acrylic box; hand signed recto; Polaroid, unique object. 1980. It was hard to take a bad photograph of Allen. Nobody did. Maybe it was because Allen was a photographer from way back. He loved to take pictures. Unrestrained, he could snap, snap and take rolls of film. His images of Kerouac, Cassidy, and Bourroughs are the ones we have in our memory of those days. For the last decade or so he always had a camera with him. He went from a Rollei to lighter and lighter and smaller and smaller cameras. And he used whatever was his camera du jour all the time, even at my house in the last month of his life (though no darkroom experiences for him, ever). Allen always had a sense of what makes a picture work. As a subject he instinctively helped photographers get what they wanted. He could concentrate and relax at the same time. he could be THERE in front of the lens. Loss of consciousness. No self-consciousness. No reticense. Vanity reined in by a sense of, yes, STYLE. He could pull together tiny details--a Buddha, a flower, a book, a postcard, a microphone, the right tie (and in the old days, the right political button on his overalls and the right beads) that would anchor the photograph in its hour. The gesture Allen came up with was always very specific and it was always the right one. I felt Allen did my job for me. Maybe Allen absorbed the essentials of photography from hanging around photographers and artists. He was proud of being a friend of Berenice Abbott, Robert Frank and Richard Avedon. He was proud that I picked up the camera, especially the Polaroid 20x24. Maybe Allen was such a good subject because he spent a lot of time looking. Maybe it was because being the subject of a photograph is partly performance and Allen was a great performer. Maybe it was because Allen was so absolutely essentially courteous that he couldn't have a psychic struggle with a photographer. he was that generous and patient, even with jerks. Maybe it was because being the subject of a photograph is the giving part of the equation and Allen liked to be the giver. Maybe it was because being the subject of a photograph is intimate communication. Maybe it was because Allen was JUST SO SMART.

        Griffin Museum of Photography
      • Dorfman, Elsa: Peter and Allen
        Jun. 01, 2011

        Dorfman, Elsa: Peter and Allen

        Est: €600 - €800

        "Peter and Allen, February 8, 1980". Gelatin silver print on RC paper. 35,5 x 27,7 cm. Signed, titled, dated and dedicated for MK by the photographer in blue ink below the image in the margin. Elsa Dorfman is a Jewish-American portrait photographer who approaches her subjects with great humor. She has photographed famous writers, poets and musicians including Allen Ginsburg and Bob Dylan in the 1960s and 1970s and was involved with the movers and shakers of the Beat culture. She now photographs her portraits using a very heavy and large Polaroid 20 x 24 camera. This double portrait is of Peter Orlovsky and Allen Ginsberg. It is a photographic reproduction of the original color polaroid. - A few light handling creases, bumped corners, otherwise in very good condition. Lit.: Michael Köhler/Gisela Barche (eds.) Das Aktfoto. Ansichten vom Körper im fotografischen Zeitalter. Munich 1997.

        Galerie Bassenge
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