Four of the members of I Photo Central will participate in this year's AIPAD Photography Show New York: Contemporary Works/Vintage Works, Paul M. Hertzmann Inc., Lee Gallery and Charles Schwartz, Ltd. You can find their listings on I Photo Central at: http://www.iphotocentral.com/dealer/dealer.php. If you see something on the website that you would like to have one of the dealers bring to the show, please let that dealer know as soon as possible. The show will take place next week from Thursday, April 10 through Sunday, April 13 at the Park Avenue Armory (67th Street and Park), New York City.
CONTEMPORARY WORKS/VINTAGE WORKS, Booth 213
Contemporary Works/Vintage Works, Chalfont, PA, can be reached at +1-215-822-5662, or by email at firstname.lastname@example.org. You can see a selection of images from the company here: http://www.iphotocentral.com/search/result_list.php/128/1/0.
The company, owned and managed by Alex Novak, will devote its booth to a single but complex theme: "Juxtaposition: History and Continuity in Photography, 1850-2000". The walls of the exhibition will mix photographs from the 19th, 20th, and 21st centuries to show some of the similarities in vision and process by subject areas and approaches, and how many generations of photographers copy, appropriate and build on previous historical work. Topics will include: Abstraction, Surrealism, Street Photography, Fashion, Photo Collage, Multiple Exposure, Daguerreotypes and more.
Some of the important rarities that will be available for sale include:
--A large, possibly unique--in this size--vintage 1930s uncolored print by Hans Bellmer of "La Poupée (on the Stairs), Berlin".
--Two important Southworth & Hawes daguerreotypes.
--A rare untitled positive photogram from 1925 by Lazslo Moholy-Nagy.
--A group of Gustave Le Gray prints, including seascapes and an early Le Gray-Mestral image, a very rare and important untrimmed print from Le Gray's summer 1851 expedition for the Mission Heliographique.
--Raoul Ubac's Le Combat des Penthesilees (Battle of the Amazons). Christian Bouqueret, who produced the Catalogue Raisonne for Ubac, once told me that this image was the very best in the estate.
--Large floral still lifes from Tom Baril.
--Lazslo Moholy-Nagy's 1925 Untitled Positive Photogram.
--Etienne-Jules Marey's whimsical "Flight of the Pelican", a three-print panorama of this enlargement by Paul Nadar. Several other Marey images will also be available for sale.
--A large print of Martin Parr's long sold-out "Fashion Magazine: Fashion Shoot, New York".
--Large groups of vintage and early 20th-century prints by André Kertész, Brassai, Eugene Atget, Henri Cartier-Bresson, Robert Doisneau, Édouard Boubat, Tom Baril, Arthur Tress, Dorothy Norman, Max Waldman and Marcel Mariën. These will mostly be in boxes, so be sure to ask to see these.
--Large groups of early 19th-century work by Henri Le Secq, Charles Nègre, Gustave Le Gray, Auguste Salzmann, Bisson Frères (includiing four large mountain scenes), Pierre-Louis Pierson, and many more. These will mostly be in boxes or in our well-stocked closet, so be sure to ask to see these.
PAUL M. HERTZMANN, INC., BOOTH 217
Paul M. Hertzmann, Inc., San Francisco, CA, can be reached at +1-415-626-2677, or by email at email@example.com. You can see a selection of images from the company here: http://www.iphotocentral.com/search/result_list.php/64/24/0.
The company's booth will feature:
-- A 1960 Man Ray Rayogram from the collection of George Hugnet.
--A second unknown 1930 Man Ray taken at the Paris flea market, signed with a note to Carl Van Vechten.
--A vintage 1930 Edward Weston of his Halved Onion and other vintage Westons.
--A large, mounted exhibition print with printed label by Weegee of New York firemen battling a fire entitled: “Snow Storm".
--Two Tina Modotti photographs.
--Two early modernist images by the Japanese master Osamu Shiihara
--As well as uncommon vintage images by Dorothea Lange, Ansel Adams, Harold Edgerton, Sherrill Schell [Roof of Penn Station], Charles Sheeler, Richard Misrach and others.
LEE GALLERY, BOOTH 314
Lee Gallery, Winchester, MA, can be reached at +1-781-729-7445, or by email at firstname.lastname@example.org. You can see a selection of images from the company here: http://www.iphotocentral.com/search/result_list.php/64/23/0.
Lee Gallery will present a collection of 23 vintage prints by Karl Struss--an accomplished and inventive force in early 20th-century photography.
Struss began making photographs in 1896, at the age of ten. It was in 1908, however, that he took up photography in earnest. From that year until 1912 he studied with Clarence White at Teachers College of Columbia University in New York. Alfred Stieglitz discovered Struss's work and published eight of his photogravures in the April 1912 issue of Camera Work. Around the same time, Struss became a member of Stieglitz's Photo-Secession. In the period that followed, Struss exhibited his work in major
galleries throughout the United States and took over Clarence White's studio. He set up a commercial business making photographs, which appeared in publications like Vogue and Vanity Fair. In 1916, he co-founded the Pictorial Photographers of America with White.
Though he was, in many respects, a Pictorialist photographer in style and association, Struss was also a pioneer in the use of a more modernist aesthetic. With a novel approach to subject and composition, Struss's images of New York City from this period often combine the romantic, soft-focused style generally associated with Pictorialist work, with a fresh interest in form and urbanity that anticipates the later work of Alfred Stieglitz and Paul Strand. Struss's oeuvre from these years--a body of images predominantly presented as exceptional platinum prints--stands as a valuable link in the development of early 20th-century photography.
In 1919, Struss traveled west to Hollywood. There, he set his focus on motion pictures and made a name for himself as a cinematographer. His long list of credits included work on the films
Sunrise, for which he won the first ever Academy Award for cinematography, and Ben Hur.
Today we remember Struss as an innovative photographer and accomplished craftsman, both in photography and film. The largest holdings of his photographic work can be found at the
Amon Carter Museum in Fort Worth, TX. His work is also represented in the collections of the Metropolitan Museum of Art, Museum of Modern Art, and IMP/GEH, among many others.
CHARLES SCHWARTZ LTD., BOOTH 409
Charles Schwartz Ltd., New York, NY, can be reached at +1-212-534-4496, or by email at email@example.com. You can see a selection of images from the company here: http://www.iphotocentral.com/search/result_list.php/128/3/0.
The company's booth will feature portraits of photographers, with and without their cameras, including images of Frederick Evans, Alfred Stieglitz, Brett Weston, Karl Struss, Paul Outerbridge and Edward Curtis.
Also featured in the booth will be Robert Howlett's renowned 1857 portrait of Isambard Kingdom Brunel, standing in front of one of the largest steamships of the 19th century, The Great Eastern. Brunel, the ship's builder, was one of the most celebrated civil engineers of his time. Howlett was commissioned to document the construction of this massive vessel, and the portrait he made of Brunel posed before the ship's immense launching chains became one of the century's most famous photographs.
The company will also be showing several 3-D printed books including ODDYSSEY, a book of photos from Bill Westheimer's two-week trip around the world--without leaving Ohio. The book is bound in a 3-D printed translucent PLA resin book-shaped vessel. You can see the contents of the book but it cannot be opened. It contains 45 pages of archival inkjet prints and comes with a custom made 3-D printed box lined with gold lamé fabric, all in an edition of ten.
As in past years, Schwartz will have a collection of 19th-century cased images on view, including a few very rare 19th-century ambrotype portraits of Japanese samurai.
Alan Klotz Gallery will also be showing Charles Schwartz's own appropriated work from pieces from the 19th-century on one of the walls in his booth (413). Schwartz scans the work and reworks it to make it his own in these beautiful blow-ups of daguerreotypes, tintypes and ambrotypes.