1. How and when did you begin collecting? What was the first photograph you bought?
My parents would bring me to MOMA when I was a kid and I would always head straight to the photography collection. I would get lost in the images by Arbus, Eggleston, Penn and Avedon. First photograph was actually a series of small photogravures by Edward S. Curtis. They were Native American costume studies. I was a teenager at the 26th Street Flea Market trailing Andy Warhol. They are printed on tissue and their very stylized tribal costumes definitely influenced me to pursue studying fashion design at Parsons.
2. What do you consider your first real success in collecting? Your biggest failure? What is your prize?
I believe that photographs are more than images on sheets of paper, they are three dimensional objects with texture and soul.
My prize is a collection of photographs that had once belonged to Diana Vreeland. These prints by Avedon, Dahl-Wolfe, Horst, Platt-Lynes, Penn etc., are from her personal collection, some used in her book ALLURE. I like to imagine why she kept these prints and what they could have possibly meant to her. Aside from the fact that she was a legendary fashion editor at Harper’s Bazaar and Editor in Chief of Vogue and that she was responsible for the content and spirit of these images, I still wonder what her visceral connection was to these prints?
They are beautiful and fascinating images of great American Fashion.
3. What is your concentration or theme in collecting now, if any?
Vintage Fashion photographs by the masters.
4. What is your approach? Do you go on instinct? Do you buy from galleries, dealers, auctions, and/or directly from artists?
I buy from dealers, auctions, estate sales, from other collectors is my favorite.
5. Is there any other photography collector you especially admire?
The late John McWhinnie inspired me a lot. He encouraged me to go beyond my comfort zone with collecting. I was always inspired by what he had in his own library and of course what was in the back of his shop, not on the selling floor. The latest treasures he reserved for special customers. He had a knack for spoiling his clients and at the same time teaching us something new. Mike Gallagher on East 12th Street was an Alladin’s Cave. Mike’s energy was always exciting and it was amazing what would turn up: Avedon, Beaton, Penn, and Warhol would frequently appear on his walls and in his flat files. Mike had a sizable collection from the estate of M. F. Agha the late, great art director. It was always fun to check out his cave.
6. Is the idea of collecting vintage work important to you?
Yes, I love vintage prints. I love the intimate experience of handling a vintage print. One can really sense something of the time when the photo was taken and printed. The texture of the paper, the handwriting or stamps on the verso. I can feel the pulse, the energy these prints give.
7. How important is investment potential versus esthetic pleasure in choosing what to buy?
Never bought anything with the goal of turning around and selling.
8. If there is one picture you would like to buy but haven’t been able to, what would that be?
Irving Penn, Two Guedras, 1974, platinum print. I would be very happy to add this to my collection.
