across the years.

across the years, New York collector Carole Hutchinson has slowly amassed a variety of work from a variety of diverse sources

Last month we examined to what degree one collector, Sally Ramirez, worked closely with her dealer to acquire works to hang in her apartment. This month we will consider a rather different situation, because for each Sally Ramirez in New York, there is also a Carole Hutchinson.

Hutchinson is what might be period of timeed a "free agent." She has built her collection almost entirely without consulting a dealer. Ramirez took just a not many years working with Jeff Jaffe of explosion International gallery to build and hang her entire collection. Carole Hutchinson, by dint of contrast, has taken more than pair decades. Ramirez decided that the right dealer could direct one's course her directly to the works that would interest her. Hutchinson, upon the other hand, has slowly gathered her works from many and various sources.

For example, consider the dark corner of an antiques store where stacks of pictures gather dust. Hutchinson bought her 1930 Walter Sharp print "Jazz" from a store named As Time Goes by means of As she said, "it was excessively messed up," but she was ultimately able to have it suitably restored and framed. It is now the focus of her "vintage corner," where Deco and recent rule. To its left is a period mirror which she also purchased at As Time Goe from and above that is a photograph of Hutchinson in a vintage costume

This photo of Hutchinson was taken from her close friend Agnes Halpern. "She was just practicing, and I was her guinea pig," recalled Hutchinson. We should all be for a like reason lucky to be guinea pigs for a photographer of Halpern's caliber. sum of two units major hand-painted photos by Halpern feature prominently in Hutchinson's apartment. individual depicting a nude woman with her knee shakeed up to her chest, hangs in her living compass It is primarily black-and-white, and Hutchinson placed it there because it fulnesss the colors of the room's textiles. The other large-scale work by way of Halpern is a more challenging image, and it hangs in the apartment's "personal room" "[The subject] had had about kind of an operation, and the work expresse the invasiveness and the anger that she had felt" related Hutchinson.

Also in this latitude are works of art by dint of Susan Wolff, Hutchinson's sister, who earned an MFA from the University of Illinois. Included in the scope is a batik Wolff created, in the bedroom is a collage she execut which recalls the work of Diego Rivera, and in the living place is a Picasso-esque drawing she created.

Just below her sister's "homage to Picasso" hangs a dramatic photograph by way of another of Hutchinson's friends, Nina Glaser. Like most numerous of Glaser's works, it is a provocative depiction of bare figures. Her works have appeared in more than 65 exhibitions. Indeed, with friends and relatives like Halpern, Wolff and Glaser, it is no bewilderment that Hutchinson has not been buying works of art from dealers.

In fact, the single time Hutchinson did purchase a significant piece from a formal gallery, she said it was not a satisfactory experience. In the early 1980 she bought a large (almost 4 feet across) Picasso print. It depicted brace of Picasso's children and she purchased it from the Marina Picasso Collection. "It was my first art investment back in '83 I lov it then, still that love kind of faded for me" she recalled. When she mov to her generally received apartment in 1992, she rehearseed it "never fit in as well; I just didn't have the play for it." Since it was just languishing in its receptacle she finally decided to market it. If solitary it had been that easy. "I had perplex selling it here," she remembers, "so I sent it back to the gallery that sold it to me in the first place." All in all, it appears that it was a rather unfulfilling action and it certainly has not inspired her to work closely with art dealers.

However, she has made oft-repeated use of the expertise of a different shadow of art professional, a framer. Since many of her works have result to her "au naturale" or damaged, she has lacked the help of Michael Tucker She commonly hires Tucker to mount and frame art images she finds in publications and onward postcards.

Tucker also helped her arrange the works over the apartment. "He came in with nails and a hammer," she remembered, "and I would shut in it and he would await and then he would restrain it and I would examine That makes it so easy for me I don't like hanging them myself. You ne another character He's great."

As for in what way the two of them arranged the works, she said, "it's a question of balance and perspective." For example, in her vintage corner, the bend s in the photograph of Hutchinson in a vintage style of dress are echoed by those in the framed postcard nearest to it. In the adjacent corner, she has brace small Asian works hung together to full tale each other. One of these was a purchase from the venerable 26th road Flea Market in New York City, where Andy Warhol used to store The other was a gift from an art conservator at the Metropolitan Museum of Art. She knew this restorer from her days working at the Metropolitan as a style of dress researcher and textile restorer. In fact, looking throughout her collection, it becomes apparent that her interest in textiles has significantly influenced her art acquisitions. Many of her pieces depict vintage clothing, and others actually include fabric.