Ralph Eugene Meatyard’s series of photographs featuring his family in unexpected places and costumes are hard to describe but entirely captivating. He found inspiration for a series of photographs from a book published in 1911 by Ambrose Bierce called ‘The Devil’s Dictionary.’ After handling one of Meatyard’s prints at Sotheby’s, Aimee gets to the bottom of what these two things have in common, while discovering what demons were hard at work in old printing workshops.

In this episode, Aimee tells the unbelievable true story of a daring rescue attempt on the Niagara River, a photographer who fought tooth and nail to defend his turf, and the beginning of photojournalism as we know it.

In the second half of my conversation with curator, educator, and photographer Leland Rice, he talks about two major exhibitions that he worked on for two photographers whose work he greatly admired-Frederick Sommer and Herbert Bayer. We also talk about the important connections, or “linkages” that have existed in his life.

Despite a raging head cold, Aimee barrels through to give you want you want: a discussion with Emily Bierman that covers the stellar results of the sale of Ansel Adams, A Legacy: Photographs from the Meredith Collection. This auction smashed records and exceeded expectations overall. We discuss white-glove auctions, the Ansel Adams market, estimates, auction development, research, and I ask Emily to define some of the quirky words we use in the department while cataloguing.

Tune in for some major inside-ball information on how we do what we do!

In this long awaited second interview with former Chairman of Sotheby’s Photographs, Denise Bethel, she and Aimee talk about her long career at Sotheby’s and the many treasures she handled, challenges she faced, and things she learned.

This is the first part of a conversation between Aimee Pflieger and Leland Rice on May 19, 2024. Here, he details his first exposure to photography, his experiences both as a student and as an instructor, and finally the genesis and execution of the first major American exhibition of László Moholy-Nagy’s photographic work. This groundbreaking exhibition and accompanying catalogue of gathers around 75 of the artist’s photographs and photograms and traveled to 21 venues in 4 years, through the summer of 1979.

How important are names? How important are titles of photographs? In this episode Aimee identifies 3 major ways that things become mistitled and how they can make a significant difference in the ways images are viewed using examples by Henri Cartier-Bresson, Josef Koudelka, Robert Capa, and George Hoyningen-Huene.

In this episode, Aimee discusses Roy DeCarava’s lyrical photographs with Saul Robbins, who was DeCarava’s studio assistant during graduate school. We talk about one photograph in particular that encapsulates the photographer’s masterful printing style as well as his efforts to communicate his personal experiences.

Denise Bethel joined Swann Galleries in 1980, soon after photographs auctions were inaugurated in New York.  After a decade at Swann, she moved to Sotheby's in 1990, where she rose from senior specialist to Chairman of the Department in her 25 years there. At Sotheby's, she set records in a host of categories, among them the record for any photographs auction worldwide, at $21.3 million, in December 2014. She orchestrated the sales of no less than eight of the eleven classic photographs that have sold at auction to date for over $1 million or more, and she wielded the gavel for all of them. One of these, Edward Steichen's "The Pond, Moonlight," at $2.93 million in 2006, is still the world record for any classic photograph at auction.

In this episode, Denise and I discuss the first half of her auction career at Swann Galleries, here in New York City.  She transformed what was then known as Photographica sales into Photographs auctions, impacting the way people think about buying and collecting photographs.  This is the Expert Eye.