Hans P. Kraus, Jr. (here): Hans Kraus had his usual assortment of top quality 19th century material on display, with a few images leaking over into the early 20th century. There were excellent portraits by Julia Margaret Cameron, Clarence White, and Gertrude Kasebier, as well as a pair by Edward Steichen. There was also an amazing Fox Talbot ladder scene. For our collection, the two Fox Talbot floral photoengravings from 1858 (Compound Leaf and Truncated Fern below, priced at $40000 and $25000 respectively) were the best fit. You had to really get up close to see the extreme detail captured in the prints.
Stephen Daiter Gallery (here): Daiter had mix of artists, with multiple works by Andre Kertesz, Barbara Crane, Ken Josephson, Ralph Eugene Meatyard, Aaron Siskind, and Paul D'Amato on display. We continue to look for superior New York abstracted images by Kertesz for our collection, and this image below is a fine early one (Rooftop, New York, October 31, 1943, priced at $18000).
Stepher Bulger Gallery (here): Bulger had a solid mix of Kertesz work among other items in a varied display: a distortion, some color Polaroids, and an interesting portrait of collector Andre Jammes on the table stand. Most memorable however were the works by Allison Rossiter (Untitled Lament, Kodak Velox f4, expires October 1940, 2008, below, priced at $2800 and already sold). Rossiter takes old, expired photographic papers (some as old as 1915 or so), and then uses developer in a painterly way to create unique abstract forms, including any random chance artifacts resulting from the aging of the medium.
Vintage Works (here): Vintage Works always has its signature room of bins for browsing, and this show was no different, with a small anteroom in the booth dedicated to bins; there were also some excellent Southworth & Hawes daguerreotypes hiding in this room. On the exterior walls, there was a dense mix of images, including work by Dorothy Norman, Josef Sudek, Ilse Bing, Andre Kertesz, Aaron Siskind, and Francois Kollar (among many others). Our favorite, which we have seen several times over the years, was the vintage Steichen Maypole, from 1932, a multiple image (below, with "price on request").
Galerie Johannes Faber (here): Johannes Faber had a tightly edited group of well selected pictures on display. Josef Sudek, Rudolph Koppitz (portraits), Frantisek Drtikol (nudes), Edward Steichen (fashion) and Drahomir Ruzicka were all represented by strong images. There were also three excellent Paul Wolff still lifes. The best image in the booth was the small, crisp Karl Struss flower from 1930 (below, $8500). Struss didn't make many flowers, so this print also has the advantage of being a scarce commodity.
Rick Wester Fine Art (here): Rick Wester went with a booth dominated by 5 big beautiful Irving Penn images, in a mix of platinum and silver. There were also two Meghan Boody color works on one exterior wall, and a large black and white Mapplethorpe calla lily on another. The other walls held a mix of work; the small Callahan multiple image dye transfer from Provincetown, 1979 (below, priced at $18000) caught our eye the most.
Deborah Bell Photographs (here): Deborah Bell's booth was a mix of her gallery artists, with Marcia Resnick, Mariana Cook, and Susan Paulsen getting much of the wall space. There was also a selection of terrific works by Louis Faurer, and a Blumenfeld and Kertesz or two thrown into the mix for good measure. The most memorable however were the Gerard Petrus Fieret 1960s images mounted together on one page (there were two sets of four, each set priced at $7500).
Hemphill Fine Arts (here): I never seem to tire of Hiroshi Sugimoto's long exposure movie screen images; they always seem fresh and exciting. Hemphill had 5 of these strong images (3 drive ins and 2 interior theaters; one of the drive-ins below) and they held their own well against a barrage of colorful floor to ceiling dots by Colby Caldwell on an adjacent wall. Other booth highlights included some William Christenberry images in a box, and works by Tanya Marcuse.
Serge Plantureux (here): Serge Plantureux had an eclectic mix of mainly 19th century material on view, with Marville, O'Sullivan and Renard all represented. There were also a group of Karl Struss images, as well as some Rodchenko portraits and crowd scenes. I like the small Wright Morris contact prints hanging on an outside wall best (one of the images below, sold as a group).
Sepia International (here): Sepia had a dense wall of work, with a mix of artists including Linda Connor, Koichiro Kurita, and some contemporary tintypes by Michelle Kloehn. I continue to be interested by the work of Raghubir Singh, and there was a busy image displayed on the exterior booth wall that I enjoyed (a posthumous estate print, below, priced at $9500).
With 20 booths covered in Part 1, and another 25 reviewed here in Part 2, I think we canvassed the fair in enough depth to give other collectors who couldn't make it to the show a feel for what was on display. As always, if you think we missed something important, that's what the Comments section is for.