By Alex Novak
Christie's multi-owner auction did relatively well this time around. It managed to sell 74.5% of the lots for a total of $3,439,225, including Christie's rather steep buyers' premiums. Of course, those totals included the after-sale of the Edward S. Curtis North American Indian portfolio (lot 719), which represented 22.5% of Christie's total. The auction's total take was well more than double that of last Spring's multi-owner sale, showing a market recovery of sorts. Of course, the Curtis after-sale, the highest priced lot of this autumn's auctions by far and away, made up a big chunk of this, representing 22.5% of Christie's total here.
I will generally only report on those lots over $30,000 here, including, of course, Christie's buyers' premiums.
While Hiroshi Sugimoto's images might not be climbing still, they still hold their own in the auctions. Lot 702, Sea of Japan, Rebun Island, sold to a phone bidder for about its midpoint in the estimate range at $36,250.
Walker Evan's Saratoga (lot 708), which is not the famous image but a variant, sold to a "private" phone bidder over several bidders in the room for a whopping $68,500, which was well over the high estimate and put the lot into a tie for eighth place in this auction.
The recently deceased Irving Penn did better here at Christie's than later at Sotheby's. Penn's platinum-palladium print of Father, Son and Grandfather, New Guinea (lot 710) sold to an order bid (that's a written bid that someone leaves with the auction house) at the high estimate for $37,500. Penn's "Guedras in the Wind (Morocco) (lot 713) sold to the same order bidder for $43,750. The internet provided the under-bidder.
As I noted above, lot 719, Edward S. Curtis' "The North American Indian" photogravure portfolio failed to sell in the actual auction. The auctioneer stopped at $600,000 and the lot was bought in (unsold). A "private" buyer (Christie's cryptic description) purchased the lot after the auction for $775,000. I have yet to understand how the total could make it to this round amount if Christie's buyer's premium was adhered to here. The lot was the top lot in this auction and in the entire Fall round of auctions, although not a record-breaker for this publication.
A printed-later Ansel Adams' Moonrise Hernandez, Northern NM (lot 720), sold to a commission bid for $37,500, its midpoint in its estimate range. Then lot 723, Portfolio Three: Yosemite Valley became a battle between the internet and a man in the room. The latter "private" bidder won out at $116,500--a third more than the high estimate, which put the lot into fifth place overall.
A 1970s print of Robert Frank's Covered Car--Long Beach, CA (lot 727) sold to the phone for $43,750, just under the low estimate.
An early silver print of Irving Penn's Cuzco Newsboy sold for $72,100 to an "anonymous" phone bidder as opposed to a "private" phone bidder. I suspect it was a dealer. The winning bid was well over the admittedly low estimate range of $15,000-25,000, but it reflected the erratic impact of Penn's recent death on his market. The total also put the lot into seventh place in this auction.
New York dealer Robert Mann bid to the low estimate to take Robert Frank's iconic Political Rally, Chicago (lot 734) for $86,500. Christie's called this one "private" too, so maybe Mann was bidding for a client. The price though was good enough for sixth place in this sale. The next lot, Frank's Barcelona, sold to New York dealer Peter MacGill, who represents Frank, for $43,750.
William Eggleston's Untitled, from 14 Pictures (Car with Red Brick Wall) (lot 741) has been a favorite of mine. It went to a phone bidder for just over the estimate at $68,500 over the bids of a female art consultant in the room. The amount was enough to tie this lot with Evan's Saratoga print for eighth place.
Irving Penn's Running Children, Morocco, Rabat (lot 746) sold into the midpoint of the estimate range at $35,000 to an order bidder, but it was a clear bargain at that price and a surprise compared to other Penn's here at Christie's that did much better than expected. Penn's pricing during this Fall series of auctions was, as I've said, clearly erratic.
The next lot, Robert Frank's Mary and Pablo, N.Y.C., got up to $52,500 on an order bid, well above its high estimate.
Lot 748, the cover lot of the Manuel Bravo of El Ensueno, was a bit of a mystery. It was actually withdrawn from the sale after having been at the Christie's London auction and failing to go there.
Another Ansel Adams Moonrise Hernandez (lot 761) came up in this sale, but this one was quite early and also quite small at 9-5/8 x 12-7/8 inches. The winning bidder collector Michael Mattis told me: "The print is from the early 1940s, certainly pre-dating Adams's re-intensification of the negative in 1948. It's so much more open and lighter than the later prints, especially in the foreground, and of course all those extra clouds in the sky. During the preview, Christie's had it hanging next to a standard 1970s print of Moonrise; the comparison was literally night and day!" Mattis did steal it for an incredibly low price of only $62,500, which--while being $20,000 below the low estimate--was still good enough to put the lot into tenth place here. Mattis indicated to me that he was ready to bid well into six figures for the piece, but was very pleased with the lack of competition.
Mattis then picked up lot 765, Edward Weston's Pepper #35 for its midpoint in the estimate range at $50,000.
Two Edward Curtis orotones then sold for multiples of their high estimates. Lot 767, Before the Storm, Apache, sold to a commission bidder for $43,750. Then lot 768, The Vanishing Race, sold to the Internet for $47,500.
Adam Fuss' poor rabbit (lot 770, untitled), which was the back cover of the catalogue, drew a commission bid of $37,500 and not much else, going for well under the low estimate.
Peter Beard's Salaam and Kwahevi, Orphaned Cheetah Cubs, (lot 772) sold for a silly $52,500 to the Internet. The estimate was $12,000-18,000. You wonder if some of these internet people will actually pay up.
One of the big lots in this sale was lot 781, Robert Frank's oversized Fish Kill, NY, estimated at $60,000-90,000. The 16-5/8 x 13-5/8 inch print became a battle between two phone bidders. One reeled in this lot for an astounding $170,500. That put the print in a tie for second place in the sale (actually first, if you don't count the Curtis portfolio that sold AFTER the sale).
Still a number of buy-ins in this sale, notably lot 785, an unsigned but vintage Diane Arbus "A Family One Evening in a Nudist Camp, which was estimated at $100,000-150,000. The auctioneer stopped at $60,000 with no bids. It was one of several Arbus prints that bought in. Paul Strand's Rebecca (lot 811), estimated at $90,000-120,000, also bought in at $55,000.
A Robert Frank blown-up contact sheet from the Americans (lot 793) sold to a woman with a phone in her ear (art consultant) for just under the high estimate at $40,000.
On the next lot New York dealer Janet Lehr picked up the David Hockney color photo collage of Christopher Isherwood talking to Bob Holman, Los Angeles for $37,500, triple the midpoint of the estimate.
The woman with her phone in her ear was back for lot 799, the William Eggleston of Greenwood, MS (or better known as "The Red Ceiling"). It was reportedly damaged (scratches), but sold just under its lower estimate at $158,500. It too was listed as a "private" buyer by Christie's. The price put the lot into fourth overall.
Irving Penn's Vionnet Dress with Fan (lot 813) sold to a phone bidder just over its high estimate at $46,250.
One of the last big lots in the sale and one of the most anticipated lots was number 819, water lilies by Baron Adolph De Meyer, the same image that sold in the Miller-Plummer sale reported in the last issue of this newsletter. Only this time it was in a beautiful vintage platinum print, which made all the difference. It only sold for just under its low estimate, but still made $170,500. A man in the back of the room was the winning bidder. Again, Christie's called this a "private" sale. The amount set a new world auction record for the artist and tied the Frank of Fish Kill, NY for second place in the sale.
Lot 828 featured a color image by Erwin Olaf, a contemporary artist whose been hot lately, that was published as the cover of his 2008 Aperture monograph. It managed to just eke a bid over the low estimate at $40,000.
Combined, the sales at the four Christie's auctions racked up just a shade under $7.5 million, at the middle of the auction house's estimate range of $6 to $9 million. The 14 Irving Penn prints brought in a total of $492,850, which was more than double the auction house's total lower estimate of $235,000.
By Alex Novak
Over at Sotheby's they had only put together one multi-owner auction, but it was a good one. This time around the house managed to sell 74.3% of its lots and totaled $3,751,754 with its rather steep buyer's premiums. That compares to last Spring's total of $2,384,690 with a 36.6% buy-in rate. But things have definitely changed when your top lot in a sale is the Master Collection by 21st Editions (31 books, 115 prints) instead of some individual masterwork (more on that below). But then the Edward Curtis photogravure set has often been the top lot in many auctions, including at Christie's this time.
In any case, I will cover mostly those prints that are about $30,000 or more, including the buyer's premium.
That old auction war horse Ansel Adams helped get the auction off to a good start. His Moonrise, Hernandez, NM (later 16 x 20 in. print, lot 7), sold to a phone bidder for $40,000 over a man on the aisle, who had a bit of bad luck considering he underbid the next two Adams lots as well--all to the phone. Winter Sunrise, Sierra Nevada, from Lone Pine, CA, sold to a new phone for the same amount--$40,000. Then that same phone took Mount Williamson, Sierra Nevada, from Manzanar, CA, for $37,500.
Adams's The Tetons and the Snake River (lot 13) was lucky lot for a commission bid that got the prize for $35,000. Clearing Winter Storm, Yosemite, went for $37,500 to a man in the room, who then promptly left. A very large (33-1/4 x 38-1/2 inches) 1958 print of Leaves, Mills College, Oakland, CA, sold to Princeton, NJ antique book dealer Joseph J. Felcone for nearly double the high estimate at $80,500. That bid was strong enough to place the lot into a tie for sixth place overall.
Pierre Dubreuil's Eléphantaisie sold to the Fine Arts Museums of San Francisco's James Gantz on the phone for just over its top estimate and the underbidding of Ute Hartjen of Berlin's Camerawork AG at $92,500. It put the lot into a tie for fourth place for highest priced lot in this sale. It was still a bargain because the image had sold twice before at auction for considerably more ($134,500 and $132,000 respectively, although clearly another print in the oil process in these previous auctions).
Lot 72, Yousuf Karsh's portfolio of Fifteen Portraits, sold for $40,625.
The daguerreotypes here also did well. Lot 74, The Gaucho, a half-plate daguerreotype, had been offered by Connecticut dealer William Schaeffer for $35,000, about twice the midpoint of the estimate range here. But an anonymous phone bidder had to go to $62,500 to keep it away from art consultant Jill Quasha. Was it picked up by the new French collector Francoise-Marie Banier, who had purchased the two top daguerreian lots at Christie's Miller-Plummer sale (see the last newsletter for details), or perhaps Keith Davis at the Hallmark Collection? Then the next lot, Maungwudaus, a quarter-plate of an Indian chief, sold to another phone bidder for just over the reserve at $56,250. They wound up in eighth and tied for ninth place respectively in here in Sotheby's top ten lots.
Later on lots 79A and 79B, the same phone bidder on the Gaucho image was back to scoop up more prizes. They got 79A, a half-plate daguerreotype of Charles Henry Lewis, Seaman, for $25,000 and then stole 79B, a quarter-plate daguerreotype of the Surveyor, for half its low estimate at $7,500. I will have to check with Keith Davis at the Daguerreian Society Symposium later this week.
There was a nice group of Paul Outerbridge material that generally went in their estimate range. Most of the lots went to a single phone bidder (L0031). Lot 94 was a large--for Outerbridge at least--print of an Egg in Spotlight. It was a nice print, but it seemed a bit hokey to me, although many people were attracted to it. It sold to a phone bidder for $40,625--one of only two Outerbridge lots to exceed their high estimate. Lot 99, a color carbro of Nude with Sculpture Head, sold to a phone bidder for its estimated midpoint of $50,000.
A number of viewers admired the Man Ray of Lee Miller and Friend (Kissing) (lot 116), but the two went home with collector Michael Mattis (I wonder if his wife Judy knows), who outbid the tough commission bid and the phones. The ultimate price was exactly at the high estimate and sold for $98,500. The price made the lot the third highest in the auction. It had sold about 20 years before at a Spring Sotheby's London auction for a mere $21,489. Mattis emailed me his quip about the purchase, "I'm told that the other known print is in Madonna's collection -- and she ain't selling!"
Another Man Ray, lot 123, a Rayograph made for his tapestry project, sold to New York dealer Edwynn Houk for $31,250, well over the top estimate. I underbid Houk for a client.
A phone bidder picked up Laszlo Moholy-Nagy's Fotoplastik (The Benevolent Gentlemen) (lot 139) for the midpoint in its range at $50,000.
There was a nice run of Robert Franks that did well here. His London (Street Musician) (lot 142) sold to Pace/MacGill Gallery for $28,125. The gallery picked up several important Franks at this sale; the gallery represents the photographer. The next lot, the iconic London (Hearse), failed to go at $65,000 (estimated at $80,000-120,000), which was a bit of a surprise. Lot 143A, Wellfleet, MA (Marilyn Dead) sold to a phone bidder for a reasonable $37,500.
Another Frank, lot 145, Premier, "Man with the Golden Arm", Hollywood, was indeed golden, as it sold for over estimate at $43,750 to Pace/MacGill Gallery. A slightly surreal McClellanville, SC (Barber Show through a Screen Door) again sold to Pace/MacGill Gallery for a whopping $182,500 over an estimate of only $30,000-50,000. Lots of dealers in the room and phones were busy on this one.
Robert Mapplethorpe's portrait of his muse Patti Smith (Horses) (lot 173) sold to a commission bidder at the low estimate of $37,500. His Calla Lilly broke over the low estimate and went to a woman at the back of the room, who overbid the commission bidders to get this important image for $80,500, which put the lot in a tie for sixth in the sales top ten.
Oddly enough the Irving Penn's in this sale didn't do very well, especially compared to some of those at Christie's. As I noted in the Christie's coverage, the Penn's were a bit erratic, as if most people did not get the word of his death only a few days before or couldn't react quickly enough. Lot 179, Cuzco Father and Son (With Five Eggs) sold to a phone bidder just below its estimate at $25,000. Lot 181, Two Guedras, Morocco, sold to a man in T-shirt for over the low estimate at $34,375.
Lot 182, Penn's New York Still Life, was estimated at an extremely low range of $25,000-35,000, especially given that Maggie Weston's copy of this same image was bought in at $60,000. It actually sold to a phone bidder for well under the low estimate at $25,000 including buyer's premium. The same bargain-hunting phone picked up another great buy on lot 183, Girl in Bed, for just $40,625. That's about a third the price Pace/MacGill is asking for it, and $14,000 less than the last one that sold in auction.
One Penn did sell well above its estimate: lot 188, "Nadja Auermann B", sold to our bargain-hunting phone bidder for $25,000, well above the ridiculously low $6,000 to $9,000 estimate. You have to wonder if these didn't actually go back to Pace/MacGill.
Then we come to our top lot in this sale: lot 196, the Master Collection by 21st Editions (31 books, 115 prints). It received a single commission bid (that is when a bidder leaves an order to buy a lot) of $218,500, which was a hammer bid $20,000 below the estimate range of $200,000-300,000. An American collector placed the winning bid.
There was a little odd drama that was played out on lot 200, Francesca Woodman's Polka Dots, which sold nearly at the high estimate for $28,125. A Sotheby's employee clearly went from the phone bank to the back of the room to execute the bid. I used to see this kind of nonsense done at Phillips all the time, but it is bizarre to see it at Sotheby's.
A phone bidder picked up both lots of Cindy Sherman images. Lot 202, Untitled #75, a washed out chromogenic print from 1980 when the print's dyes were neither staple nor UV-protected, sold just above its low estimate at $40,625. Lot 203, Untitled #95, a somewhat better and bigger print from 1981, sold for 25% under its low estimate at $92,500. Sotheby's didn't provide any information on the winning bidder.
Hiroshi Sugimoto's Ohio Theater, OH (lot 204) sold to a commission bid of $37,500, just at the high estimate.
Chuck Close's six 13-1/2 x 10 inch ink jet prints of Kate Moss in an edition of 25 (lot 208) mercifully bought in at a ridiculously high $75,000. The estimate had been a very reaching $100,000-150,000. I like Close's work and the daguerreotypes by Jerry Spagnoli were astounding, but ink jet prints in such a high edition for such an insane price?
Richard Avedon's image of Natassja Kinski, Los Angeles (with snake) (lot 213) went just under the low estimate at $46,875 to a phone bidder. The next lot, Avedon's sexy Stephanie Seymour, Model, sold for the identical price to a man in the room.
Peter Beard's Maureen Gallagher and a Night Feeder at Hog Ranch (supposedly a "unique", oversized object) was bought in at $95,000. How many prints has Beard made of these? You see them now at virtually every other auction.
Finally a group of three unique large-format Polaroids of Barbie dolls (lot 228) sold to a man in the room for five times the high estimate at $56,250! The phones bid him up, but this could be considered a record at auction for the artist even if you divided by three. The lot crept into the last slot in this sale's top ten. We still have some silly things going on out there. Mercifully, this was the last major lot of this sale.
By Alex Novak
Swann scheduled its auction a couple of weeks later than Bloomsbury, Christie's and Sotheby's. The house has been off-setting its auctions for a while now, and it seems to have worked well for them. Like the other houses, Swann recovered a bit from its Spring sale totals (then $1,032,748 and 64% sold). The current $1,303,148 and 75% sold rate compares favorably with other recent past Swann sales, especially because there were no really big blockbuster images to boost the total take. The prices below include Swann's more reasonable buyer's premium (only 20% vs. 25% for some of the other houses). I have limited the coverage to $12,000 and up for most of my coverage here.
Lot 21, a mixed group of 115 tintypes from the1860s-1880s, sold just over its high estimate to a collector who left an order bid for $15,600. The phones actively underbid this one.
The Alexander Gardner Indians (lot 27, a group of 29 cabinet cards) weren't in the best condition that I've seen, but still managed to sell for $26,400 to a photography dealer on the phone, which was well under the low estimate.
Likewise, lot 28, Eadweard Muybridge's 125 collotype plates from Animal Locomotion, sold to another dealer on the phone for $81,000, which was nearly double the low estimate. Condition was again a bit mixed on the group, but this lot was Swann's highest priced lot in this auction.
Lot 31, a 230-picture rare, early mug shot album including Black Bart and Martin Foy (plus additional 117-photo mug shot album), sold to a dealer in the room for $12,000--more than double the high estimate. Two men were bidding on it, but I didn't know either.
Julia M. Cameron's portrait of Lord Alfred Tennyson with Tennyson's clipped signature (lot 34) sold to a dealer on the phone for $13,200, which was just below the low estimate. In my opinion the catalogue illustration (fading and yellowing) made it look a lot better than it was in person.
A very nice (Swann called it "spectacular") album containing 62 photographs of China including a decent panorama of Canton sold for more than double the low estimate at $15,600 to a dealer on the phone over a commission bidder. I thought it was worth more than double that price frankly--a good bargain.
The Wilson A. Bentley snow and frost studies went very well. Lot 64, a group of seven snow crystals, sold to a collector on the phone for $18,000, which was double the high estimate! The next lot, a group of windowpane frost studies, also sold above its high estimate at $10,800 to man at the front of the room versus the phone bidder.
Only about half of the Lewis Hine photographs sold here, which, considering how rare they were, was a shame. A few did get picked up, although below or just in the estimate range. Some did have some condition problems, but still presented very well. Lot 117, "Powerhouse Mechanic" (a variant) sold for the highest price among these Hines. A dealer on the phone bought it for $15,600. There was a minor corner crease. I also thought it was a later than circa 1926, unless you were really expansive on the circa definition. More like at least 1930s to me.
The Man Ray Untitled (re-photographed rayograph with a screen) sold to a collector on the phone for well under its low estimate at $15,600. It was probably an extra print made outside of the Champs Delicieux portfolio, and it was decidedly pinkish, which may have been caused by exhausted fixer (you'd be exhausted too if you worked in Man Ray's darkroom).
Another crime related lot, an album entitled "Mysteries of Life" (lot 125), did very well here. The material, which included photos of the Leo Franks lynching in Georgia (the sad story was recently on PBS) and of important crime scenes, such as the Black Dahlia murder case, Paul Bern's (Jean Harlow's husband) suicide and the James P. "Bluebeard" Watson serial murder case, soared well above its $2,000-3,000 estimate. It finally sold to a man at the front of the room for $11,400. New York dealers Tom Harris, Keith de Lellis and several phone bidders were all in on the action. De Lellis did manage to get a few of the other crime lots later though, including the very rare vintage photo by Tom Howard of the execution of Ruth Snyder being executed by electric chair. The New York Daily News had the entire front page devoted to it under the simple banner headline of "DEAD!"
Lot 136, a group of ten F.S.A. photographs printed by Arthur Rothstein in the 1970s including images by Lange, Shahn, Rothstein and Evans, sold to a collector at the back of the room for $12,000, which was double the low estimate.
Horst P. Horst's Mainbocher Corset (lot 152) in an 18 x 13-1/2-inch silver print printed 1990s sold to a collector for the high estimate at $21,600.
Lot 189, an archive of more than 125 photographs documenting Vladimir Kozmich Zworykin's early experiments with television transmission from the 1930s-1940s, sold to a collector in the room for $15,600, despite the bidding by dealer Keith de Lellis, who pushed the ultimate winner to more than double the lower estimate.
Yousuf Karsh's Ernest Hemingway (lot 196) in a 19-1/2 x 15-1/4-inch silver print sold tp a collector on the phone for $13,200, nearly double the low estimate.
A dealer bought lot 211, Bert Stern, Marilyn (Crucifix II), chromogenic print, 1962, printed 1990, for $24,000, which was the midpoint in the range.
A collector left an order bid of $18,000, which was the low estimate, for lot 227, a later print of Harry Callahan's Chicago (trees). Another collector left a winning order bid of $12,000 on lot 242, Richard Avedon's Charles Chaplin.
Eddie Adams, iconic-but-tough-to-look-at "Saigon (General Nguyen Ngoc Loan executing a Viet Cong prisoner Nguyen Van Lém)" (lot 255) was a 1980s printed-later 14 x 19 in. silver print, made as a gift to Adams's son and with a letter of provenance. Estimated at only $4,000-6,000, the print soared from bids from the phone and a man in the back of the room. It sold to a collector on the phone for $43,200--six times it's high estimate!
David Bailey's Jean Shrimpton drew attention from several bidders in the room and on the phone. Estimate at $8,000-12,000, it quickly topped it's high estimate and finally sold to a collector, a man in the front of the room for $16,800.
Richard Avedon's nude of Rudolf Nureyev (lot 284) got some phone action with a collector picking it up for $26,400--well below the low estimate.
Horst's Round the Clock I (lot 292) in a 17-1/2 x 14-1/4 inch silver print got some more phone action. But this time the bids got nearly to the high estimate at $16,800.
The group of vintage Diane Arbus portraits of artists were all bought in at the auction, but one (lot 297, Agnes Martin) sold to a collector after the auction for $18,000.
For a limited time, Newsletter readers can shop our Annual End-of-the-Year Holiday sale on I Photo Central, which is brought to you by all of the website's photography dealers. These items are available at special sale prices (all at least 40% off the regular list price) only until December 18th. Many of the items' regular list prices were reduced earlier, so the actual net reductions may be well over 40% to 80% in many instances. These are all final prices, so no other discounts apply, and the discounts will not be available after December 18th. Shipping/insurance will also be added, plus you will be responsible for any applicable taxes or customs fees.
There are some great deals, so check them out soon at: http://www.iphotocentral.com/sale/sale.php .
If you want to do further sorts on the sale list, you can go to the Search Images page at http://www.iphotocentral.com/search/search.php and put HolidaySale1 into the key word field. Then you can also use the other search fields, such as price range, country, date range, etc. When you have all your choices made, simply hit the Search button (not the Show All Images button). When you put in the key word, you must have the capital letters in properly and no space between the words or the number "1". Also make sure you do not have any extra space after the key word. This way if you are bargain hunting, you can put in a range from $1 to $500, or if you want to focus on the top end, just put in a range from $1000 (or $5000) to No Limit.
Just another reminder that the Daguerreian Society will hold it 21st Symposium this week from November 12-15, 2009 in Philadelphia. The Society will officially open the 21st Symposium with a celebration Thursday evening, November 12th, at the I Photo Central and Vintage Works, Ltd. Gala Reception courtesy of Alex Novak, in the historically significant Library Company of Philadelphia.
Alex Novak, will moderate a lively panel discussion on "Issues in the Conservation of Daguerreotypes" with panelists, Adrienne Lundgren, Grant Romer, and Jiuan-Jiuan Chen. Cliff Krainik will be presenting "John Plumbe in Philadelphia", and Jeffrey I. Richman, historian at Green-Wood Cemetery, Brooklyn, will discuss "Green-Wood's Great Daguerreians". Jean-Pierre Spilbauer, mayor of Bry sur Marne, France, will provide an update on the "Discoveries in the Restoration of Daguerre's Diorama".
Curator Sarah Weatherwax will speak on her exhibit at the Library Company, "Catching a Shadow: Daguerreotypes in Philadelphia, 1839-1860". Additionally, Elena Simonova-Bulat, a photograph conservator at Harvard's Weissman Preservation Center will lecture on "Preservation of Daguerreotypes at Harvard", and Matthew Isenburg will finish the day with "The Many Faces of Daguerre".
The Daguerreian Society has pulled off a coup in that the Chester County Historical Society will have a major exhibit actually in the headquarters hotel, the Crowne Plaza Philadelphia Main Line during the Symposium. Pamela C. Powell, photo archivist at CCHS, is bringing "The Daguerreotype: Portraiture at the Dawn of Photography" for display throughout the Symposium.
The photography trade fair will be open to the general public Saturday, November 14, from 10 am to 4 pm, with a $5 entrance fee. An early bird admission is available at 9 am. Vintage Works will be exhibiting with three tables of hard images (daguerreotypes, ambrotypes and tintypes). A special sale price will be offered to show attendees only.
For further information on joining the Society and attending the Symposium or trade show, go to http://daguerre.org/symposia/symposium2009.php .
On January 21, 2010, Diemar/Noble Photography will open its doors to the critically acclaimed, prize-winning 'Crazy God' by Yvonne De Rosa. The project resulted from the photographer's work as a volunteer during the 1990s in an old psychiatric hospital in Southern Italy, whose name and location remain anonymous.
Six years after the asylum closed down, De Rosa returned to photograph the building and the already decaying rooms and corridors, in order to document the void left by the patients. This had been a place where people were often forgotten about, where orphans, the poor and young single mothers were amongst its patients. Some had no mental health problems before they entered the hospital, but developed them inside. The result is a sensitive, touching study consisting of portraits of the objects abandoned by the patients and their wall writings in sentences that are often astonishingly lucid. This moving series displays her understanding of the space and the people who once resided there.
Despite its past history De Rosa captures a dilapidated beauty in her photographs which haunt and trigger the imagination.
Born in Naples in 1975, Yvonne De Rosa was trained at the Central Saint Martins College for Art and Design in London. In 2006 she was awarded the Women in Photography International prize and her works are part of the Arco Madrid collection. She lives in London where she works as a freelance photographer.
Yvonne De Rosa is currently in collaboration with Hope and Homes for Children, an international NGO, which works across Europe and Africa. In her images, she depicts the crisis of identity that can face those in abject poverty and the hardships they have to endure on daily basis.
The exhibition runs from January21-March 6, 2010. The gallery hours are 11 am-6 pm, Tuesday through Saturday. Diemar/Noble Photography is located at 66/67 Wells
Street, London W1P 3PY; telephone +44 (0)207 636 5375. Deimar/Noble is an I Photo Central dealer.
In keeping with this year's focus on Arab and Iranian photography, Paris Photo has dedicated the fair's central exhibition space to the Arab Image Foundation's collection, inviting curator Catherine David to select images from the archive. The exhibition of 55 photographs, by both professional and amateur photographers presents a rare vision of the modernizing Arab world and of the development of photographic practices in the region.
The Arab Image Foundation (AIF) will launch the first of a series of limited edition portfolios at Paris Photo. The AIF Guest Portfolio is a series of ten-image portfolios, each selected by a guest curator and issued in a limited edition of one hundred. Every guest reflects upon the Foundation's collection and provides a personal and distinct selection. The portfolios offer collectors, donors and friends of the foundation the chance to acquire prints from its collection and support its mission and programs. Having been a supporter of the Foundation for many years, Martin Parr is the first curator for the portfolios.
Parr said: "If you were to inquire about the specific history of Arab photography about 20 years ago, you would have hit a blank wall. There was virtually nothing to report…But then in 1997 the Arab Image Foundation was founded and started an ongoing campaign to locate and save photographic archives of the Arab world…Despite the fantastic start they have made, there is much more to be done. With the advent of digital cameras, analogue photography archives are disappearing at an alarming rate…Without the work of the Arab Image Foundation, a whole cultural history from the Arab world could have been entirely lost."
The exhibit will be on display at the Central Exhibition space of Paris Photo during the fair.
There will be a presentation of the Arab Image Foundation Guest Portfolio I in the presence of Martin Parr and the members of the Foundation on Friday, November 20th at 5 pm and a book signing of "Mapping Sitting: On Portraiture and Photography", edited by Karl Bassil, Zeina Maasri and Akram Zaatari, in collaboration with Walid Raad Hashem el Madani; "Studio Practices", edited by Karl Bassil, Lisa Le Feuvre and Akram Zaatari Hashem el Madani; and "Promenades", edited by Karl Bassil and Akram Zaatari on Saturday, November 21 at 6 pm. The Arab Image Foundation exhibition at Paris Photo is supported by Dupon Labs and the Lebanese Tourism Office in Paris.
The exhibition dates, which coincide with Paris Photo itself are from Thursday, November 19, 2009 to Sunday, November 22, 2009. The show is also open by invitation only on Wednesday, November 18 from 7-10 pm. Paris Photo and the AIF exhibition is located in the Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris, France.
Martin Hubert Forscher, camera repairman extraordinaire, died on September 30 in Pittsfield, MA. He was 87 and lived in Pittsfield. The cause was heart failure.
For over 40 years, Marty Forscher ran Professional Camera Repair Service in Midtown Manhattan. Founded in 1946, the shop drew every type of photographer. Reportedly, the shop's clients included photographers Richard Avedon, Joel Meyerowitz, Annie Leibovitz and Mary Ellen Mark.
But Forscher never neglected you no matter who you were, as New York photographer Susan McCartney told me, "I remember going to his always crowded camera repair shop when I was young and green and shooting with an old Pentax, and he paid me just as much attention as he did to the famous guy who was trying to push in front of me with a bag full of Nikons.
His best-known invention, patented in 1982, was the Pro-Back, a Polaroid attachment for a 35-millimeter camera that gave photographers an immediate proof print, letting them test a shot without having to wait for the film to be developed. He also created an early compact motor drive for still cameras and was well known for "armoring" cameras for dangerous work, including for war photojournalists.
In World War II, Forscher worked in Washington as a repairman for the Navy photographic unit run by Edward Steichen. After the war, he opened Professional Camera Repair Service.
Beginning in 1990, the Marty Forscher Fellowship has been awarded to students and young professionals specializing in humanistic documentary photography. The fellowship is given annually by Photo District News and Parsons New School for Design.