APAA Client Spotlight: In Conversation with Christopher Perry

The APAA talks to San Francisco based collector Christopher Perry about his evolving collection of fashion photography and the role of his art advisor Diana Poole in guiding him through this journey.

*Tim Walker, ‘Devon Cream, The Haldon Hills, Devon, England’, 2007. © Tim Walker. Courtesy Michael Hoppen Gallery*

Tell us about your collection and its focus. Has the focus changed over time?

The vision of the collection is to tell the story of the history of fashion photography from the early 20th Century through to the new, innovative voices working today. From Edward Steichen’s early fashion studies of the 1930s; through the great mid-century rivals, Avedon and Penn, who established fashion photography as art; the most prominent fashion photographers of the 70s, 80s and 90s, such as Newton, Ritts, Demarchelier and others; to contemporary photographers such as Paolo Roversi and Erik Madigan Heck.

The focus has certainly evolved since we started the collection. At the beginning we hadn’t defined a vision and the goal was simply to explore the medium. The earliest works I acquired included portraits, landscapes, and photo-journalism. I had toyed with the idea of being a war correspondent when I was a teenager, and I was very drawn to the work of action men such as Don McCullin. But many of those images can be hard to live with on your living room wall. I explored landscapes, particularly those involving innovative processes – Abe Morrel, Edward Burtynsky, Nadav Kander, Sohei Nishino and others – and I enjoyed their calm and overwhelming scale. But there are only so many 2-meter-square works you can hang outside a museum.

Fairly early on, Diana introduced me to the work of a British artist called Tim Walker, on a visit to the Michael Hoppen Gallery in London. I loved his whimsical and fantastical images. They were primarily fashion works but were set in the most wonderful landscapes and backdrops – often with set design that would have done Broadway proud. And this sparked an interest in the use of images in fashion and advertising. How had the genre evolved to sell dreams in this way? Who had made the leaps to get here? Was it art or commerce and where was the dividing line? I could see the potential for a narrative. And that’s how the fashion journey started.

*Work by Irving Penn, ‘Black + White Vogue Cover (Jean Patchett), New York’, 1950 in Christopher Perry’s San Francisco home. Image by © Chris Grunder*

Do you have a favorite work in the collection?

My favorite is undoubtedly an Irving Penn, ‘Black and White Vogue Cover,’ 1950. It is so striking. It holds your attention with its bold simplicity. It hangs in my dining room, and it often stops me in my tracks as I walk past.

Is there an interesting collecting story you’d like to share?

When the major auction houses launched online bidding, particularly from mobile apps, they tapped into a goldmine. Now you can be anywhere in the world, doing anything else you happen to be doing that day, and still participate in a sale. Well, almost. I remember waiting for a Lot I was particularly interested to come up while boarding a flight in Dallas. The sale was going slowly, and it didn’t go live until we were taxiing out. I started bidding (‘swiping right…’) and got into a minor battle with someone or other. I placed my final bid as we were rolling down the runway and the hammer went down on my bid when the aircraft wheels were about 200 feet in the air and just before my cell service went dead. Don’t tell the FAA (Federal Aviation Administration), please…

*Works by Lukas Hoffmann, ‘Strassenbild XI’, 2019 & Corinne Day, ‘Kate Moss, The Face, 3rd Summer of Love’, 1990 in Christopher Perry’s San Francisco home. Image by © Chris Grunder*

Why did you first start working with Diana Poole?

I had very little idea what I was doing at the start of this journey. I knew I loved the medium. I knew it had the power to move people, tell stories and ask you to see the world differently. I could name a dozen famous photographs and tell you the impact they had had on me. And I had even tried to re-create some of the feelings they evoked in my own work.

But what counted as art photography? What made a photographer influential? Why were some of their works considered important and others not? How could one Diane Arbus work cost $10,000 and another $500,000 and what was the difference? What were the various printing processes and how did they impact the look and value of a work? What was editioning? What did ‘vintage’ mean? How important was it that a work was signed? I really had no idea. And while I had thought about starting to collect art photography for years, I had no clue where to begin.

One of my colleagues in New York was also interested in photography and mentioned that his sister-in-law was an art photography advisor. I didn’t know such a thing existed, but I jumped at the chance to talk to her. From the very first conversation with Diana I knew I wanted to share this journey with her. She was thoughtful, patient, and honest about what she knew and what she’d have to do some work on to answer. Most importantly I could tell she was passionate about what she did, and I loved her energy from the start.

*Paolo Roversi, ‘Roos, Paris (Vogue)’, 2017. © Paolo Roversi*

How has Diana helped you as a collector?

How hasn’t she? As I said, I had no idea where to start before I met her, and I probably would have ended up paying exorbitant amounts for a random collection of rubbish without her guidance.

More specifically, she has provided access to a wide range of trusted sources – galleries, artist studios, private collections, archives, and curators. Many of the works in the collection have come courtesy of Diana’s sleuthing and long-standing relationships with the right people. I’d never find my way to ninety percent of them without her, and it would take me far longer even if I could. She also helps me with framing, logistics, storage, and installation. Even import taxes. None of that stuff is easy or much fun…

Diana is also my teacher – sharing her expertise and guiding my journey. She will indulge my frequent detours – running with them if they have merit, and patiently guiding me back to reality if they don’t. She pushes me out of my comfort zone, broadens my creative horizons and helps me see things I otherwise would have missed. After seven years of working together I think we understand each other well and our conversations are now more of a two-way sounding board – which I really enjoy.

Is there a financial benefit to working with an advisor vs. buying on your own?

The art world is, in a word, “opaque.” Honestly, without a trusted guide I don’t really know how you navigate it with confidence. And the financial aspects of this are meaningful.

Firstly, if I buy anything on the primary market, Diana can usually negotiate a discount which is 1.5x and 2x her commission. So there is value right there. Plus she does all the work.

Secondly, if I am interested in anything at an upcoming auction, I will always discuss it with Diana. She will talk to the auction house specialist and get a more detailed condition report than is often available to the average bidder – frequently they will take the picture out of the frame for her, let her look at the corners, and show it in a raking light to identify any blemishes, scratches, sun damage or cockling. And, finally, we’ll have a discussion about the price. She will often say something like “If you can get that for the mid-estimate I would, but please don’t go much higher”. Or “that estimate seems really high, I am not sure this is the moment for that work because another will come up at some point”. Very occasionally she will get very excited and tell me that a work is “a little gem!!” and I should move heaven and earth to get it. There are a few of these hanging in my living room.

Diana’s network and finger on the pulse also brings a lot of value. I recently got the last print in an edition I had had my eye on some time but had demurred on in favor of other priorities. She emailed me and said: “Now’s the time or you will lose it and you won’t see one at auction for years”. I bought it the next day. She also emails me and says things like “I just heard so and so is having a retrospective at such and such (highly-respected museum), I think we should move them up the priority list before interest spikes”. She has also identified at least one fake. I won’t mention the artist or the institution that was selling it.

*Deborah Turbeville, ‘Untitled, (Valentino), Venice, Italy’, 1977. © Deborah Turbeville / MUUS Collection*

Are there artists that Diana helped you discover?

Most of them, frankly. I would highlight Sarah Moon and Paulo Roversi as amongst my favorites. Both of them create wonderful, rich textures in their work.

Beyond advice on artists/artworks, what other services do advisors provide?

Most collectors are time-poor, and art advisors do a lot of the legwork for you. Diana has found every shipper and installer I have ever used. She introduced me to my framer, with whom I also now have a highly trusted relationship. And she is tireless in hunting down the right work at the right price at the right time.

Diana also provides access to a broad ecosystem of industry experts and specialists. She sends me relevant articles and publications and invites me to more events than I could hope to attend. I am going to make time for more of them one day. Les Rencontres d’Arles is high on my list…

What is your ultimate dream for your collection / collecting journey long-term?

I am not sure I have worked that out just yet. At this point I want to curate a collection of images I love, which also describes the evolution of fashion photography and the important figures who guided it. If I get anywhere close to that, I’d love to bring that story to a wider audience. But one step at a time.

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