offices, lounges, and the Four Seasons bar in its
Grill Room. Ms. Lambert had the idea to collect
pieces of artwork that the average person, not
involved in the art world, could appreciate. The
photography collection held works by over 130
artists, including Walker Evans, Garry Winogrand,
Berenice Abbott, Weegee, and Robert Frank. The
theme of American urban life was apparent in the
collection. The complete collection had a total of
2,500 works, of which there were over 700 photo-
graphs. When the Seagram Company was acquired
by the Vivendi Company in 2000, the entire collec-
tion went to auction in 2003, and 100% of the
photographs were sold. The total sale price of the
photography collection came to over $2.8 million.
PenelopeDixonSeealso:Archives; Polaroid Corporation
Further Reading
Apraxine, Pierre.Photographs from the Collection of the
Gilman Paper Company. New York: White Oaks Press,
1985.
Apraxine, Pierre.The Waking Dream: Photography’s First
Century: Selections from the Gilman Paper Company
Collection. New York: Abrams, 1993.
Davis, Keith F.An American Century of Photography: From
Dry-Plate to Digital: The Hallmark Photographic Collec-
tion. New York: Abrams, 1995.
Hitchcock, Barbara. Emerging Bodies: Nudes from the
Polaroid Collection. Germany: Edition Stemmle, 2000.
Homans, Kathy.Art at Work: Forty Years of the JP Mor-
gan Chase Collection. Mississippi: Meridian Printing,
2000.
Howarth, Shirley Reiff.International Directory of Corpo-
rate Art Collections, 2003–2004. New York: ArtNews
Associates, 2004.
Klein, Michael. ‘‘Microsoft’s Vibrant Pallet.’’ Diversity
Journal, No. 3, Vol. 3 (2001).CREATIVE CAMERA
In Britain, photography was not established as a
distinct artistic medium until the late 1980s. Tech-
nical leanings and camera club alliances still domi-
nated photographic interests in Britain during the
twentieth century that printed magazines struggled
to overcome. Photography was still succumbing to
editorial influences and the social commentary that
a printed photograph could offer.Creative Camera
(London) closed its operation in 2000. Founded in
1966, the magazine was the foremost magazine that
demonstrated concern about photography’s artistic
discourse, which placed Britain in an international
debate about photography’s progression since
World War II.
In 1966, the original magazine Camera Owner
was bought and redeveloped asCreative Camera
Ownerand then asCreative Camera, changing its
title to suit a readership with interests diversified
from the technical magazine’s roots and to estab-
lish a site for artistic innovations in British photo-
graphy. Colin Osman was the second editor after
Bill Jay’s founding, beginning his tenure in 1968
and leading the magazine’s mission until roughly
- Located originally on Charles Dicken’s
Doughty Street Creative Camera established a
three-dimensional presence, offering a gallery site
and bookstore for its book-order company that
mirrored the magazine’s spreads. Coo Press Lim-
ited distributed Creative Camera to an interna-
tional readership and later purchased Mansfield
Books International, enlargingCreative Camera’s
mail-order business to one of the largest book
holdings in photography during the late 1960s
and early 1970s.
In addition to the mail-order section, the maga-
zine also functioned as a gallery guide and open
forum. The front page was Osman’s editorial voice,
which addressed issues raised about the production
of the magazine or responded to letters to the
editor. In crisis and reconstruction since the end
of the Churchill era, Britain searched for an iden-
tity that the legacy of World War II provided,
which was mainly through photographic war com-
munication. A public consciousness aware that the
war era was the beginning of an unknown start was
reflected in public projects such as the Mass Obser-
vation project beginning in 1937. The7Upfilm
series (1962), andThe Family(1974) were media-CREATIVE CAMERA