JTF (just the facts): A total of 67 works, variously framed and matted, and hung against light grey walls in the main gallery space, the entry area, and the book alcove. The following works are included in the show: 5 chromogenic prints, c1955/later, 1958/later, c1960/later, 20×16 inches (or the reverse), in editions of 10+3AP 42 gelatin silver prints, c1946, c1947/c1970, c1948/c1970, c1950, c1950/c1970, c1951/c1970, 1950s/c1970, c1952, c1952/c1970, c1953, early 1950s, 1954/c1970, c1954/c1970, 1954/later, 1970s/c1970, n.d./c1970, sized roughly 2×2, 4×3, 4×5, 4×6, 5×7, 6×9, 7×5, 7×9, 7×10, 8×10, 9×6, 10×8, 11×14, 12×8, 13×8, 14×11 inches 7 gouache and watercolor over gelatin ... Read more at Collector Daily.

The results from the recent Photographies sale at Paris (online), including selections from the collection of Lothar Schirmer, solidly met expectations. The top lot Helmut Newton set of portfolios found a buyer at the low end of its estimate range, the overall Buy-In rate came in at just above a respectable 21%, and there were a dozen positive surprises to help accelerate the momentum, so when the dust settled, the Total Sale Proceeds (of roughly €2.51M) fell near the top end of the aggregate pre-sale estimate range.... Read more at Collector Daily.

As I walked in yesterday to attend this year’s AIPAD Photography Show, I was reminded of a small personal anniversary. I first visited this fair 15 years ago now, and aside from the interruptions of the pandemic years, I have consistently reported on what I have found at the fair over that entire period. At roughly 45 booths this year, hosted in a Midtown space on 5th Avenue (for the second year in a row), the AIPAD fair seems to be in an ebbing, transitional moment, where the tumults of the pandemic years and ongoing changes in tastes and interests ... Read more at Collector Daily.

This is Part 2 of our summary report on the highlights of Paris Photo 2022. Part 1 of the report (here) explains the format used in the detailed slideshow below, provides some background for the discussion, and covers earlier sections of the fair. So while it is certainly possible to jump directly into any one of these individual reports, if you want or need a bit more context, return to Part 1 as a starting point.... Read more at Collector Daily.

JTF (just the facts): A total of 110 black and white and color photographs from various photographers, hung against light grey walls in a large, divided gallery space and the entry area on the third floor of the museum. All of the works in the main gallery space were recently donated to the museum by the JGS Foundation; the works in the entry area are other recent acquisitions and donations. The following works are included in the show: Entry Bruce Cratsley: 1 enlarged vinyl, 1983/2022 Máximo Colón: 1 gelatin silver print, 1975/later Annie Ling: 1 archival pigment print, 2011 Jaime ... Read more at Collector Daily.

When in checked into my hotel room after arriving from New York on the overnight flight to Paris earlier this week, the usually standard note from the general manager welcoming me had a surprisingly relevant and appropriate message. It read: “I’m looking for the unexpected. I’m looking for things I’ve never seen before.” And the speaker of this quote was apparently Robert Mapplethorpe. Was this just a strange coincidence, or did my hotel actually prepare for the photo people coming to town for Paris Photo? Whatever the case, that inspirational words provided a seemingly straightforward way to think about (and ... Read more at Collector Daily.

The results of the recent combination fine/vernacular photographs sale at Swann were largely uneventful. While the top lot Irving Penn print did sell and there were plenty of positive surprises, with an overall Buy-In rate of just higher than a third, the Total Sale Proceeds fell below the low end of the aggregate pre-sale estimate range.... Read more at Collector Daily.

JTF (just the facts): A total of 39 black and white photographs, framed in white and matted, and hung against olive colored walls in the second gallery space. All of the works are gelatin silver prints, made between c1946 and c1960, some printed at the time and others printed c1970s or more generally later. Physical sizes range from roughly 5×4 to 11×16 inches (or the reverse), and no edition information was provided on the checklist. 10 of the prints have been overpainted with gouache, casein, and watercolor, modifying the dates to range from the 1970s to the 1990s. (Installation shots ... Read more at Collector Daily.

The unhurried elegance of the annual ADAA Art Show has always seemed like an outlier when staged within the distracting bustle of the cacophonous Armory Week art fairs. With out-of-town collectors running around from fair to fair, trying to jam in as many venues as possible into a handful of days, its quiet discussions have always felt a bit stilted, like we somehow needed to be moving more quickly so as not to miss something important somewhere else. But by pushing the fair ahead a week this year, and thereby away from the jangling competition of the others, the patient, ... Read more at Collector Daily.

There was just enough softness in the high priced lots at Swann Galleries’ recent photography and photobook sale to dampen the overall results. With an overall Buy-In rate of roughly 30% and plenty of positive surprises, the sale had a chance to hit its marks, but when the numbers were tallied up, the Total Sale Proceeds fell just a touch below the low end of the aggregate pre-sale range.... Read more at Collector Daily.