A new book features the personal photography collection of Judy Glickman Lauder – and tells the story of over a century of beautiful images

  • Norman Seeff: Robert Mapplethorpe and Patti Smith, New York, 1969

    Presence is a new book detailing the personal collection of photographer and humanitarian Judy Glickman Lauder. Spanning from pictorialism, portraiture and fashion to documentary and photojournalism, it features iconic figures from the fields of art, politics, entertainment and social justice. Presence: The Photography Collection of Judy Glickman Lauder is published by Aperture. The book accompanies an exhibition at the Portland Museum of Art, Maine, on view until 15 January 2023. All images: courtesy Judy Glickman Lauder Collection

    Norman Seeff: Robert Mapplethorpe and Patti Smith, New York, 1969. Presence: The Photography Collection of Judy Glickman Lauder celebrates photography’s ability to capture the human experience.Published by Aperture https://www.waterstones.com/book/presence-the-photography-collection-of-judy-glickman-lauder/judy-glickman-lauder/mark-bessire/9781597115407The book accompanies an exhibition at the Portland Museum of Art, Maine on view through January 15, 2023. https://www.portlandmuseum.org/All images: courtesy Judy Glickman Lauder Collection

  • Melonie Bennett: Suzie, Bahama Beach Club, Portland, Maine, 1996

    Glickman Lauder developed a significant personal collection featuring works by famous and emerging photographers, as well as local and regional photographers

    Melonie Bennett: Suzie, Bahama Beach Club, Portland, Maine, 1996. Glickman Lauder developed a significant personal collection featuring works by famous and emerging photographers, as well as local and regional photographers

  • Mario Giacomelli: Io Non Ho Mani Mi Accarezzino Il Volto (There Are No Hands to Caress My Face), 1961–1963

    You can read more about this image in the Observer’s big picture feature here

    Mario Giacomelli: Io Non Ho Mani Mi Accarezzino Il Volto (There Are No Hands to Caress My Face), 1961–1963. You can read more about this image in the Observer’s big picture feature here

  • Max Yavno: Cable Car, San Francisco, 1947

    Mark Bessire, director of the Portland Museum of Art, Maine, writes in the foreword to Presence: ‘The essence of Judy’s life’s work and passion – a presence, and great generosity of spirit – immediately resonates with anyone who has experienced her collection, her own artistic practice or her commitment to culture, community and people everywhere. Judy leans into humanity, offering thoughtful and nuanced perspectives on the world: one that she sees through her camera, and another through the images she collects’

    Max Yavno: Cable Car, San Francisco, 1947. Mark Bessire, director of the Portland Museum of Art, Maine, writes in the foreword to Presence: ‘The essence of Judy’s life’s work and passion – a presence, and great generosity of spirit – immediately resonates with anyone who has experienced her collection, her own artistic practice or her commitment to culture, community and people everywhere. Judy leans into humanity, offering thoughtful and nuanced perspectives on the world: one that she sees through her camera, and another through the images she collects’

  • James Van Der Zee: Kate and Rachel Van Der Zee, Lenox, Massachusetts, 1909

    Spanning photography’s development throughout the 20th and into the 21st century, Glickman Lauder’s collection dates back over 100 years. She highlighted the power, potential and responsibility of photography, recognising the vital role the camera has in our everyday lives

    James Van Der Zee: Kate and Rachel Van Der Zee, Lenox, Massachusetts, 1909. Spanning photography’s development throughout the 20th and into the 21st century, Glickman Lauder’s collection dates back over 100 years. She highlighted the power, potential and responsibility of photography, recognising the vital role the camera has in our everyday lives

  • Gordon Parks: American Gothic (Portrait of Ella Watson), Washington DC, 1942

    Presence is anchored by works from some of the best-known and most influential photographers of the past century. This year, Glickman Lauder donated her entire collection to the Portland Museum of Art, a gift of more than 600 works of art

    Gordon Parks: American Gothic (Portrait of Ella Watson), Washington DC, 1942. Presence is anchored by works from some of the best-known and most influential photographers of the past century. This year, Glickman Lauder donated her entire collection to the Portland Museum of Art, a gift of more than 600 works of art

  • Richard Avedon: Audrey Hepburn and Art Buchwald, with Simone D’Aillencourt, Frederick Eberstadt, Barbara Mullen and Dr Reginald Kernan, August 1959

    Glickman Lauder has been immersed in photography for more than 80 years. ‘I remember an ever-changing exhibition of beautiful black-and-white photography hanging on our walls, and paging through each new issue of Life magazine, Camera Craft and US Camera. I was connected to a photography community early on’

    Richard Avedon: Audrey Hepburn and Art Buchwald, with Simone D’Aillencourt, Frederick Eberstadt, Barbara Mullen and Dr Reginald Kernan, August 1959. Glickman Lauder has been immersed in photography for more than 80 years. ‘I remember an ever-changing exhibition of beautiful black-and-white photography hanging on our walls, and paging through each new issue of Life magazine, Camera Craft and US Camera. I was connected to a photography community early on’

  • Imogen Cunningham: Edward Weston and Margrethe Mather, 1922

    Glickman Lauder writes: ‘My father took me on field trips with his photography friends. I was seven years old when I watched Edward Weston set up his tripod among the rocks and trees of Point Lobos, near Carmel on the Pacific coast. Ansel Adams was also a friend, leading numerous discussions at the Camera Club that my father introduced. Looking back, it is not surprising that I would become a photographer’

    Imogen Cunningham: Edward Weston and Margrethe Mather, 1922. Glickman Lauder writes: ‘My father took me on field trips with his photography friends. I was seven years old when I watched Edward Weston set up his tripod among the rocks and trees of Point Lobos, near Carmel on the Pacific coast. Ansel Adams was also a friend, leading numerous discussions at the Camera Club that my father introduced. Looking back, it is not surprising that I would become a photographer’

  • Ogle Winston Link: Hot Shot Eastbound, Iaeger, West Virginia, 1957

    ‘I came to understand that photography, for me, was about being in the moment. So I kept my equipment simple to better focus on what was around me. I only photographed what I was drawn to, and only printed the images on my contact sheets that spoke to me. I adopted a similar approach when I began collecting photographs: being open to them and following my instincts. Making photographs and collecting photographs seemed to dovetail. As a collector, I only bought what I responded to emotionally,’ says Glickman Lauder

    Ogle Winston Link: Hot Shot Eastbound, Iaeger, West Virginia, 1957. ‘I came to understand that photography, for me, was about being in the moment. So I kept my equipment simple to better focus on what was around me. I only photographed what I was drawn to, and only printed the images on my contact sheets that spoke to me. I adopted a similar approach when I began collecting photographs: being open to them and following my instincts. Making photographs and collecting photographs seemed to dovetail. As a collector, I only bought what I responded to emotionally,’ says Glickman Lauder

  • Sally Mann: Emmett, Jessie and Virginia, 1989

    ‘Photography soon became a way to discover and express myself, while honouring a family tradition’

    Sally Mann: Emmett, Jessie and Virginia, 1989. ‘Photography soon became a way to discover and express myself, while honouring a family tradition’

  • Leon Levinstein: Coney Island, 1966

    ‘Photography brings the unseen to light, and urges us to consider life in all its complexity, beyond the frame’

    Leon Levinstein: Coney Island, 1966. ‘Photography brings the unseen to light, and urges us to consider life in all its complexity, beyond the frame’

  • Jerry N Uelsmann: Small Woods Where I Met Myself, 1967

    ‘The first photograph I bought was Jerry Uelsmann’s Small Woods Where I Met Myself. There was a mysterious, almost mystical quality to it, with multiple layers and reflections, and both positive and negative imagery – something that drew me right in. That’s true of many of the photographs I acquired. I found myself responding to photographs I felt had some kind of inner presence, whether through the storytelling, or the personality of the subject’

    Jerry N Uelsmann: Small Woods Where I Met Myself, 1967. ‘The first photograph I bought was Jerry Uelsmann’s Small Woods Where I Met Myself. There was a mysterious, almost mystical quality to it, with multiple layers and reflections, and both positive and negative imagery – something that drew me right in. That’s true of many of the photographs I acquired. I found myself responding to photographs I felt had some kind of inner presence, whether through the storytelling, or the personality of the subject’

  • Joyce Tenneson: Self-Portrait with Bird Cage, 1975

    ‘The common thread among these works is presence – of the photographer, of the photographs, of the photographs’ subjects, of the viewer, and of the past’

    Joyce Tenneson: Self-Portrait with Bird Cage, 1975. ‘The common thread among these works is presence – of the photographer, of the photographs, of the photographs’ subjects, of the viewer, and of the past’