Auction Results: The Delighted Eye, Modernist Masterworks from a Private Collection @Christie's New York

Led by a new world record price for Man Ray (at $1203750), the proceeds from Christie's single owner Carlos Cruz sale last week easily covered the aggregate High estimate. While the Buy-In rate was likely a bit higher than expected given the quality and rarity of the material on offer, it would be hard not to be satisfied with such a robust overall outcome.

The summary statistics are below (all results include the buyer’s premium):

Total Lots: 71
Pre Sale Low Total Estimate: $5069000
Pre Sale High Total Estimate: $7564000
Total Lots Sold: 54
Total Lots Bought In: 17
Buy In %: 23.94%
Total Sale Proceeds: $7654125

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 2
Low Sold: 2
Low Bought In: 0
Buy In %: 0.00%
Total Low Estimate: $16000
Total Low Sold: $18750

Mid Total Lots: 32
Mid Sold: 22
Mid Bought In: 10
Buy In %: 31.25%
Total Mid Estimate: $868000
Total Mid Sold: $723125

High Total Lots: 37
High Sold: 30
High Bought In: 7
Buy In %: 18.92%
Total High Estimate: $6680000
Total High Sold: $6912250

The top lot by High estimate was lot 7, Edward Weston, Nude, 1925, estimated at $400000-600000; it sold for $483750. The top outcome of the sale was lot 17, Man Ray, Untitled Rayograph, 1922, estimated at $250000-350000, sold at $1203750 (image at right, top, via Christie's).

88.89% of the lots that sold had proceeds in or above the estimate range. There were a total of 6 surprises in the sale (defined as having proceeds of at least double the high estimate):
Lot 17, Man Ray, Untitled Rayograph, 1922, estimated at $250000-350000, sold at $1203750
Lot 35, Man Ray, Untitled, Cannes, 1924, estimated at $80000-120000, sold at $387750 (image at right, bottom, via Christie's)
Lot 36, Fortunato Depero, Message with Self Portraits, 1915, estimated at $50000-70000, sold at $159750
Lot 52, Georg Muche, Reflections in a Sphere, 1924, estimated at $15000-25000, sold at $75000
Lot 54, Paul Strand, Akeley Motion Picture Camera, New York, 1922, estimated at $250000-350000, sold at $783750 (image at right, middle, via Christie's)
Lot 58, Ludwig Hirschfeld-Mack, Reflected Light Composition, 1923, estimated at $10000-15000, sold at $46250

Complete lot by lot results can be found here.

Christie's
20 Rockefeller Plaza
New York, NY 10020

Auction: Important Photographs from the Collection of Dr. Anthony Terrana, April 2 and 3, 2013 @Phillips New York

Phillips begins the 2013 Spring auction season for photography with a two session, single owner sale drawn from the collection of Dr. Anthony Terrana. It's a broad selection, covering both well known names and more recent contemporary work, with a strong group of 20th century icons from the likes of Stieglitz, Kertesz, Frank, Arbus, Weston, and Moholy-Nagy at its core. All in, there are a total of 165 photographs on offer, with a total High estimate of $5400000. As a side note, while flipping through the catalog, I noticed a repeated pattern - an impressive 76 of the available lots came into Terrana's collection via the Robert Klein Gallery.

Here's the statistical breakdown:

Total Low Lots (high estimate up to and including $10000): 78
Total Low Estimate (sum of high estimates of Low lots): $533000

Total Mid Lots (high estimate between $10000 and $50000): 64
Total Mid Estimate: $1452000

Total High Lots (high estimate above $50000): 23
Total High Estimate: $3415000

The top lot by High estimate is tied between lot 12, Alfred Stieglitz, Georgia O'Keeffe, 1919 (image at right, top, via Phillips), and lot 19, Irving Penn, Harlequin Dress (Lisa Fonssagrives-Penn), 1950, both estimated at $300000-500000.

Here's the list of photographers represented by three or more lots in the sale (with the number of lots in parentheses):

Robert Frank (4)
Sally Mann (4)
Henri Cartier-Bresson (3)
Pieter Hugo (3)
Abelardo Morell (3)
Vik Muniz (3)
Edward Steichen (3)
Alfred Stieglitz (3)

Other works of interest include lot 22, Paul Strand, Venice, Italy, 1911, estimated at $180000-220000 (image at right middle, via Phillips), and lot 21, Charles Sheeler, Chartres-Flying Buttresses at the Crossing, 1929, estimated at $50000-70000 (image at right, bottom, via Phillips).

The complete lot by lot catalog can be found here.

Important Photographs from the Collection of Dr. Anthony Terrana
April 2nd and 3rd

Phillips
450 Park Avenue
New York, NY 10022

Photography at the 2011 ADAA Art Show

As always, this year's ADAA Art Show was characterized by its consistent quality from booth to booth and its extraordinarily high production values. Even though there is a wide spread of work on display in this show, the ratio of wheat to chaff is generally much higher than the other fairs. Once again, many of the exhibitors opted for solo shows or tightly edited groups of work, meticulously hung against colored walls or linen wallpaper. It's a thoroughly sophisticated approach to an art fair; the challenge is that without a few jolts of roughness or energy, this hushed environment can lull you to sleep.

This post is organized by my path through the fair, starting to the left from the entrance, and winding back and forth before returning to the front to exit. Like our Armory posts, for each booth, a list of photographers has been provided, with the number of works on display in parentheses. Additional commentary, prices, and pictures of the installation are also included where specific images stood out.

Marian Goodman Gallery (here): Gabriel Orozco (2)

McKee Gallery (here): Richard Learoyd (1). Learoyd's portraits are growing on me as I see them more. This one was priced at $35000.

Robert Miller Gallery (here): Diane Arbus (11)

Jill Newhouse (here): Anonymous (13). This booth was filled with Rodin sculptures and drawings, as well as quite a few photographs of his sculptures. It wasn't clear who the photographer of record was for these images, as many were signed by Rodin himself. I particularly liked this set of three variant images. In general, the prints were reasonably priced, between $800 and $4500 each.

Zabriskie Gallery (here): Paul Strand (16). This booth was devoted to Strand, and aside from one industrial image and one Taos church, all of the works were from his garden in Orgeval, France. I very much enjoyed these two florals (look for the bees in the second one), both of which were priced at $24000.

Cheim & Read (here): Diane Arbus (1), William Eggleston (2), Walker Evans (1). The contrasts in this Evans were spectacular; however, it wasn't for sale.

CRG Gallery (here): Lyle Ashton Harris (1), Joel-Peter Witkin (1)

Hans P. Kraus Jr. Fine Photographs (here): Bisson Freres (1), Jean Laurent (2), Felix Teynard (1), Auguste Salzmann (1), Louis-Remy Robert (2), Louis-Emile Durandelle (2), William Henry Fox Talbot (7), James Nasmyth (2), Anna Atkins (2), Louis Pierre Rousseau (1), Dr. Alfred Donne (1), Unknown (2), Edward Steichen (1), JB Greene (2), Andre Adolphe Eugene Disderi (2), James Ross and John Thomson (1), Nevil Story-Maskelyne (1), Duchenne de Boulogne and Adrien Tournachon (1), Circle of Charles Simart (1), Julia Margaret Cameron (1), Charles Marville (2). As usual, Kraus' booth was a smorgasbord of 19th century photographic treasures. I had seen the two Atkins cyanotypes previously, so I was more intrigued by the Robert negative image, with its intersecting lines made by the cart and tools. It was priced at $60000.

Skarstedt Gallery (here): Cindy Sherman (2), Richard Prince (group of 4)

Fraenkel Gallery (here): Carleton Watkins (7), Robert Adams (10). This booth featured a smart pairing of Watkins and Adams, where echoes of land forms (rivers, masses of boulders, horizon lines, etc.) were matched together. I liked the Adams on the top left below, with its jagged shadow contrast and the hidden train track running below. The Adams images were priced between $12000 and $18000; the Watkins images were between $45000 and $190000.

Donald Young Gallery (here): Jeanne Dunning (2), James Welling (5), Rodney Graham (1 + 1 diptych), Mark Wallinger (stills on video screen)

Howard Greenberg Gallery (here): William Klein (20 + 1 video + 4 books). A brash booth full of Klein photographs was a bit of a surprise from Greenberg, which has often opted for a selection of iconic highlights in this kind of fair setting. I thought it was fresh and fantastic.

James Cohan Gallery (here): Katie Patterson (4)

Leslie Tonkonow Artworks + Projects (here): Laurel Nakadate (12)

Pace/MacGill Gallery (here): Irving Penn (20). This booth contained a selection of Penn's innovative corner portraits, where his famous subjects have been pushed into a narrow confining space. I enjoyed the two portraits of Georgia O'Keeffe on the inside wall of the booth, but perhaps my favorite was the Truman Capote on the front wall; I liked the way the space is taken up by the chair and Capote's large coat, and I think the introduction of the vertical line of the wall opens up the strict formula of the composition. The Capote portrait was priced at $95000.

Nicole Klagsbrun Gallery (here): Mika Rottenberg (2), Barney Kulok (1). I liked the jumble of spaces and volumes in this large Kulok image; it was priced at $6000.

Regen Projects (here): Catherine Opie (3). There is certainly an echo of Hiroshi Sugimoto or Renate Aller in these Opie seascapes and sunsets, but there's no denying the serene lushness of the pure blue images. These were priced at $30000 each.

Stieglitz, Steichen, Strand @Met

JTF (just the facts): A total of 115 photographs, all drawn from the permanent collection, variously framed and matted, and hung in a series of three connected rooms on the second floor of the museum. A handful of images are exhibited on the exterior walls, showing work from each photographer plus additional detail on several photographic processes. In the main exhibit area, each photographer is given his own room. In the Stieglitz room on the left, there are a total of 42 individual photographs by Stieglitz (either framed or in cases), plus two cases of Camera Work and other books/plates and 4 portraits of Stieglitz - 1 by Steichen and 3 by Strand. The Steichen room in the center contains 36 photographs by Steichen, either framed and hung on the grey walls or laid out on tables. The Strand room on the right contains 24 works by Strand, with 1 portrait of Strand by Stieglitz and a case containing 3 Camera Work gravures. Overall, the works in the exhibit span the period from the early 1890s to the mid 1930s, and cover a wide range of processes, including gelatin silver, platinum, platinum-palladium, palladium, direct carbon, gum bichromate and autochrome. A catalog of the exhibition has been published by Yale (here) and is available for $35. A supporting group exhibit of 1910s photography entitled Our Future is in the Air continues in adjacent rooms. (Blurry, crowded installation shots of the main show at right.)

Comments/Context: The Stieglitz, Steichen, Strand show at the Met is exactly what its title suggests: three silos of star-power vintage work by contemporaneous master photographers, the connecting backstory provided by snippets of explanatory wall text. Given the Met's truly world class holdings in the work of these three influential artists, the show is a budget-friendly way for the museum to bring some of its treasures out of storage.

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The Stieglitz room is basically a mini-retrospective, with representative images from most of his major themes and subjects: late 1800s Pictorialist New York, Modernist nudes of Georgia O'Keeffe, cloud study Equivalents, views near Lake George, and later 1930s New York cityscapes. It's a solid, greatest hits summary of Stieglitz' career, with everything from Spring Showers and The Steerage to Spiritual America. While this room is densely packed with famous imagery, Stieglitz' nudes of O'Keeffe never fail to outshine everything else for me. There is a full wall of elegant fragmented body parts on display, pared down and thrillingly alive; few have done it better in the century since.

The Steichen room focuses on his turn of the century Pictorialist work, leaving out virtually all of his later career. Clustered at one end of the room are some of the gems of this era: moonlit landscapes, ethereal nudes, and haunting images of Rodin's Balzac. But shockingly, even these masterpieces fade into the background when hung near the set of three large exhibition prints of the Flatiron Building. Seen alternately in soft green, rich blue, and dark brown, the building's personality changes, looming out of the twilight. Together, they are a staggering example of tour-de-force printing.

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The Strand room centers on the first two decades of the photographer's career, and it is Strand's images from before 1920 that are the most relevant to the discussion of the interactions with Stieglitz and Steichen. His sparse, geometric abstractions from 1915-1917 really broke with the past and ushered in Modernism. The black rectangles of Wall Street, the arcs of bowls, the patterned shadows on a table, even laundry strung across city backyards are all transformed into pure lines and shapes, breaking with the fussiness of Pictorialism and leading the move to straight photography.

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With such an embarrassment of riches on display, it seems downright ridiculous to find fault with this show, and yet, I think it suffers from trying to do too many things, and ultimately fails to tell us anything particularly new about these three photographers. If the goal was to parse the intricate connections between these three (both artistically and as people), then a chronological ordering and timeline would have been much more effective in teasing out the influences; the current structure creates three distinct buckets, and the connections and overlaps between them aren't made particularly clear (the supporting exhibit of 1910s photography doesn't add much to the narrative either). And while the Stieglitz room has a retrospective feel, the other two are edited in ways that add more random and tangential elements into the conversation (Steichen's autochromes, Strand's Mexican portfolio). There is also an overlay of process instruction, begun on an exterior wall, but left unfinished and uncorrelated in the three gallery spaces.

In the end though, these quibbles are drowned out by the power of some of the iconic prints on view. While the scholarship ball may not have been moved forward much with this show, what I'll remember about this exhibit five or ten years from now is getting the rare opportunity to stand up close to those three Steichen Flatirons, and to see for myself just how spectacular they truly are.

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Collector's POV: I'm going to forgo the usual discussion of prices for this show, not only because this is a museum exhibition, but because trying to accurately pin down prices for the rarities on display here is simply a fool's exercise. While the work of all three photographers is generally available in the secondary markets, if we focus on the "best of the best" prints (especially the large exhibition prints), there are few if any market equivalents. Undeniably, if some of these masterworks were to inexplicably come into the market now, they would easily fetch well into the millions. This isn't true for everything on display, but this exhibit has a stronger concentration of exceptionally valuable/expensive vintage photography than any other show in New York this year.

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Rating: ** (two stars) VERY GOOD (rating system described here)
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Transit Hub:

• Reviews: NY Times (here), New Yorker (here), Financial Times (here), Haber Arts (here)

Stieglitz, Steichen, Strand

Through April 10th

Metropolitan Museum of Art

1000 Fifth Avenue

New York, NY 10028

Auctions: Photography, with Contemporary Art, December 2 and 4, 2010 @Lempertz

Kunsthaus Lempertz has both a various owner Photography sale and a Contemporary Art sale that includes photography coming up in Cologne later this week. It's the usual assortment of generally lower end European material, with a selection of works by Polke and the Bechers in the contemporary mix. Overall, there are a total of 217 lots of photography across the two sales, with a Total High Estimate of 541600€.
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Here's the breakdown:

Total Low Lots (high estimate up to and including 7500€): 205
Total Low Estimate (sum of high estimates of Low lots): 354600€

Total Mid Lots (high estimate between 7500€ and 35000€): 12
Total Mid Estimate: 187000€

Total High Lots (high estimate above 35000€): 0
Total High Estimate: NA

The top lot by High estimate is tied between three lots. Each is a group of 4 winding tower prints by Bernd and Hilla Becher (each individual image titled by location): lot 308 from 1966-1973, lot 309 from 1967-1975, and lot 310 from 1966-1973. Each of the lots is estimated at 20000-25000€.

Here's the list of photographers who are represented by four or more lots in the two sales (with the number of lots in parentheses):

Harry Callahan (4)
Sigmar Polke (4)
Albert Renger-Patzsch (4)
Jan Saudek (4)
Umbo (4)

(Lot 765, Paul Strand, The Barn, Quebec, 1936/1960s, 7500€, at right, top, Lot 844, János Szász, Schulbal - Tanz Im Einklang, 1965, 1500€, at right, middle, and Lot 756, Man Ray, Domaine De Sade II, 1976, 3000-4000€, at right, bottom, all via Lempertz.)

The complete lot by lot online catalogs can be found here (Photography) and here (Contemporary Art).
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Photography
December 2nd

Contemporary Art
December 4th
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Kunsthaus Lempertz
Neumarkt 3
D-50667 Köln

Paul Strand in Mexico @Aperture

JTF (just the facts): A total of 120 black and white photographs, framed in black and matted and hung throughout the gallery space (which is divided by several interior walls). 99 of the images are by Paul Strand (a mix of vintage and later prints), 22 are film stills by Ned Scott, and there is 1 image by Weegee (of a movie marquee advertising Strand's film). A central room has been created by three internal walls, and it contains a screen displaying Strand's 1936 film Redes, as well as variety of letters and other ephemera. This yellow-walled room also contains examples of Strand's back-to-back mounting technique and paired prints showing different processes and the evolution of his printing style over many decades. A map of Strand's travels in Mexico is near the entrance to the exhibit. Aperture has also recently published a lavish scholarly monograph of this body of work; it can be found (here). (Installation shots at right.)

Comments/Context: Master photographer Paul Strand spent the period between 1932 and 1934 in Mexico, and many collectors will be familiar with The Mexican Portfolio, the tightly edited 20 image output from his extended journey there. In this museum quality exhibition, Aperture has extended the academic study of this period in Strand's career and unearthed a treasure trove of published and unpublished images from his time in Mexico. Taken together, they provide a much broader context for understanding both the evolution of his artistic approach and the larger social and political forces that were at work during those years.

Strand's images from Mexico can be roughly grouped into four subject matter genres: portraits of people, landscapes, architectural details, and images of religious folk sculptures and icons. Many of the essays in the accompanying monograph see these images coming together to provide a portrait of the country's character, or as a visual document of a specific place and time, and I think that analysis has some validity; as a whole, when seen in sequence, Strand's photographs have clearly captured an interplay of cultural and natural forces that coalesces into a common environmental mood. What I found most striking was the mixing of documentary and artistic sensibilities, where Strand's rigorous aesthetic control has been combined with the emotional suffering of the religious artifacts, the severity of the land and its buildings, and a subtle patina of nationalist fervor.

To my eye, the portraits of the people (whether we call them local, indigenous, native, or just the rural poor) are the standout pictures in this project. Men, women and children stand against pock marked brick walls and wooden doors or sit on the ground holding baskets. They wear everyday clothes: hats, capes, ponchos, cotton wraps, covered in dust and full of holes, bare feet sticking out. The images mix textures rich in tonality, and find contrasts of dark and light, with shadows slashing across backgrounds. But is the harsh power in the faces that makes them memorable; there is heroism, grace, patience, and dignity in these portraits, with an undercurrent of steely strength. The consistent dynamic quality and intensity of these photographs is truly astounding.

I am very pleased to see Aperture really pushing the scholarship ball forward here. The monograph is really a catalogue raisonné of Strand's Mexican work, documenting every single image in the Archive and providing further historical context for his relationships, influences, and activities. It is an invaluable reference tool for this specific Mexican work, and provides a surprisingly extensible framework for thinking about Strand's work in other locations around the world. So come for the show and see the unknown back story to The Mexican Portfolio, and then take home the wrist breaking book for further study.

Collector's POV: Aperture represents the Paul Strand Archive, but this show is more like a museum exhibition than a gallery show; none of the works is readily for sale and no price list is available. Limited edition posthumous prints of some of the images are available directly from Aperture for $450 each (here). Strand's The Mexican Portfolio of photogravures was originally issued in two different edition sizes: the first in an edition of 250, and the second in an edition of 1000. These portfolios can be found in the secondary markets relatively regularly, with prices for the first edition ranging from $10000 to $45000, and prices for the second edition ranging from $2000 to $10000. Individual prints from his time in Mexico are more scarce, with prices ranging from $3000 to $65000 in recent auction sales.

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Rating: ** (two stars) VERY GOOD (rating system described here)

Transit Hub:

• Reviews: New Yorker (here), Wall Street Journal (here), Artinfo (here)
• Exhibition: Bronx Museum (here)

Paul Strand in Mexico

Through November 13th

Aperture Gallery
547 West 27th Street
New York, NY 10001

Photography at the 2010 ADAA Art Show

In contrast to the bustling chaotic supermarket of the Armory, the ADAA Art Show was a decidedly more serene affair. Most of the exhibitors opted for solo shows or tightly edited groups of work, meticulously hung against colored walls or linen wallpaper (no hand scrawled wall labels here). The overall mood was much more urbane and serious, the hushed voices appropriately reverent.

The photography displayed in this controlled environment was generally of very high quality; lots of big prices and top names, with a minimum of secondary clutter and distraction. Like our Armory posts, for each booth, a list of photographers has been provided, with the number of works on display in parentheses. Additional commentary, prices, editions, and pictures of the installation are also included where specific images stood out.

Fraenkel Gallery (here): Hiroshi Sugimoto (12). This booth was a sophisticated solo show of Sugimoto's work, with a selection of images from a variety of different projects. There were 5 seascapes (4 small in a grid and 1 large), 2 lightning fields (1 small and 1 large), 2 theaters, 1 mechanical still life, 1 blurry building, and 1 Fox Talbot floral. This was the first time I had seen the lightning fields in person; up close the electricity branches out like the wash of a river, or feathers into delicate traceries. The large lightning field image (see below) was $80000 (and already sold); the small lightning field was $18000.

Weinstein Gallery (here): Alec Soth (14). This booth was a solo show, displaying Soth's Fashion Magazine work from 2007. I have to say it was a totally unexpected and yet thoroughly pleasant (and appropriate) surprise to find Soth's work in this rarefied environment. The work held its own with the rest of the art world elite arrayed nearby, and I imagine there were plenty of well heeled collectors in this crowd who had never heard of Soth but came away suitably impressed. All of the prints were pigmented ink prints, in editions of 7. There were three sizes on display (36x30, 40x48, and 58x48) with three sets of prices ($9000 or $10000, $13000, and $17500 respectively, helpfully printed right on the wall labels). In addition to the fashion project (which included the Chanel runway, Yves Saint Laurent's dog, Sophia Loren, lavish meals and interiors, backstage fussing, and up close portraits), I was also able to see some of Soth's mini-projects and recent commissions in a soft portfolio on the table. These included Goth women from the South, the Most Beautiful Woman in Georgia (the country), and the Loneliest Man in Missouri - there is a particularly poignant/sad image from this last project where the man sits in front of a birthday cake, flanked by a woman straight out of a strip club.

Howard Greenberg Gallery (here): Edward Weston (3), Charles Sheeler (1), Jacques-Henri Lartigue (1), Man Ray (2 rayographs), Laszlo Moholy-Nagy (1 photogram), Frantisek Drtikol (1 nude), Edward Steichen (1), Robert Frank (2), Saul Leiter (3 color images, 1 painted diptych), Miroslav Tichy (5), William Klein (1). This booth was a carefully selected group of vintage rarities. The stand out image for me among these astonishing treasures was the Sheeler stairway (priced at $600000, see below); I could have stood and looked at it all day. The elegant Weston still lifes were priced at $475000, $450000, and $190000. The 2 Man Ray rayographs were $390000 and $250000 respectively; the Moholy-Nagy was also $250000. The Drtikol nude was $90000.

Metro Pictures Gallery (here): Cindy Sherman (2), Olaf Breuning (1), Louise Lawler (1). The Sherman history portrait below was priced at $300000.

Skarstedt Gallery (here): Barbara Kruger (1), Richard Prince (1), Cindy Sherman (1). Both the Kruger and the Sherman were priced at $275000 (see below).

Barbara Mathes Gallery (here): Hiroshi Sugimoto (1). This was the single most expensive photograph I saw for sale during the entire week of fairs; it was priced at $650000.

Zabriskie Gallery (here): Alfred Stieglitz (3), Constantin Brancusi (1), Edward Steichen (1), Paul Strand (2). This booth was a tribute to 291, Alfred Stieglitz' famous gallery. Drawings, prints and pages from the various gallery magazines were displayed, along with a selection of photographs. My favorite image was the platinum print of Taos by Strand (priced at $100000, see below).

Hans P. Kraus Jr. Fine Photographs (here): Edouard-Denis Baldus (1), Frederick Evans (2), Roger Fenton (2), Joseph Vicomte Vigieur (2), Felix Teynard (2), Gustave Le Gray (1), Alvin Langdon Coburn (1), Humphrey Lloyd Hime (2), Louis-Constant De Clercq (1), Carleton Watkins/Eadward Muybridge (1), Charles Negre (1), Erneste Benecke (1), William Henry Fox Talbot (2), Eugene Cuvelier (1), Dr. John Murray (2). This booth was an edited group show called The Horizon in 19th Century Photographs, and included a selection of images bisected by the line of the horizon. The most startling of these works was the print by Humphrey Lloyd Hime, where the land and horizon became solid areas of black and white, the black land decorated by a small skull and bones (priced at $95000 and already sold, see below).

Pace/MacGill Gallery (here): Brassai (1), Diane Arbus (1), Philip-Lorca DiCorcia (1), Paul Graham (1 series), Garry Winogrand (1), Weegee (1), Henri Cartier-Bresson (1), Robert Frank (1), Harry Callahan (1), Lucas Samaras (1). This booth was a collection of top tier images. I enjoyed seeing the large Brassai exhibition print out front (priced at $70000, see below) and the Callahan head from the 1950s.

McKee Gallery (here): Richard Learoyd (1)

David Zwirner Gallery (here): Christopher Williams (8). This was a solo booth, filled with Williams' recent conceptual works (2007-2009). There were cut away cameras and lenses, upside down shoes on a large format camera, and socks being put on feet. Each of the prints was priced at $32000, in editions of 10+4.