BEETLES+HUXLEY
Boy in Mid-Flight, Jodhpur, India, 2007 Steve McCurry
Chinstrap Penguins On An Iceberg Between Zavodovski And Visokoi Islands, South Sandwich Islands, 2009 Sebasti達o Salgado
Welcome to
BEETLES+HUXLEY
Classic+contemporary photography. Beetles+Huxley is one of Europe’s leading and most innovative photography galleries. Founded in London in 2010, the gallery was established to celebrate the medium in all its myriad forms, from nineteenth-century documentary photography to cutting edge contemporary work. Based in a recently expanded Mayfair gallery space, Beetles+Huxley hosts upwards of ten exhibitions per year. The galler y represents many of the world’s most sought after and market – stocking work by masters from Edward Weston to Irving Penn. Beetles+Huxley is known for its cheerful welcome, but also for it’s engaging, academic approach to promoting photography. From the erudite catalogues that accompany each exhibition to regular curator-led museum tours and artist interviews, the gallery is devoted to encouraging the wider appreciation of the history. of photography.
One crucial part of this commitment to education is our ever-developing Collectors Programme, designed to create an extended family of people who share a common love of photography. We delight in offering a broad and varied range of events, from six-week history of art courses to darkroom printing workshops. We consider this a vital part of our role as a gallery. In Januar y 2015 Beetles+Huxley was named a ‘Brand of Tomorrow’ by the prestigious Walpole group in recognition of the gallery’s ongoing promotion of photography in London.
Architecture Of Density #105, 2008 Michael Wolf
Nina + Simone, Piazza Di Spagna, Rome (Vogue), 1960 William Klein
BEETLES+HUXLEY MEET THE TEAM
Giles Huxley-Parlour
Olivia Prentis
After working for years alongside Chris Beetles at his Ryder Street galler y, Giles teamed up with Chris to open Beetles+Huxley in 2011 (formerly known as Chris Beetles Fine Photographs). Giles studied History of Art at UCL, and has spent the past ten years specialising in photography.
Olivia has been at Beetles+Huxley since the very beginning. She has helped to build up the gallery to what it is today and has worked with an endless roster of photographers. After studying photography at Speos Photography School in Paris, Olivia became a practicing photographer before joining the gallery.
Alex Moore
Flora La Thangue
Alex joined the team in 2012 and enjoyed many different roles in the gallery before becoming Digital Marketing and Sales Manager. After studying photography, Alex went on to win several awards for his own photographic practice and has since gained years of experience as a freelance photographer. Alex has a marketing diploma from Google and produces all of the gallery’s marketing material, including video interviews, mailings and adverts.
Flora is responsible for the coordination of all artwork that comes into and goes out of the gallery. She makes sure that all the needs of our clients and artists - including shipping, framing, installation or print care regularly coordinates exhibitions in our classic photography programme and came to Beetles and Huxley after degrees in the history of art at the University of St Andrews and the Courtauld Institute of Art.
Rebecca Steinitz
Thea Gregory
As corporate consultant, Rebecca supports companies wishing to develop their art collections or place ar t in their client projects. She joined Beetles + Huxley after several years working in the Middle East and UK. Graduating with MA Aesthetics, she has ten years of experience providing artwork solutions to a range of industries in the corporate world.
As gallery coordinator, Thea develops our yearly events and education programmes. Thea came to Beetles+Huxley after working with the events team at the Royal Academy of Art. She has a Masters in Art History, gained at the Courtauld Institute of Art, where she specialised in twentieth-century Modernism in Europe.
Helen Hayman Helen came to Beetles and Huxley after working in various administration and accounting roles in the ar t world. She has extensive experience after working at two photography galleries and in the photography department of Phillips auction house. Helen handles all the accounting needs at Beetles and Huxley.
photography collecting in the UK and the expanding market. Jimmy Choo and Harrods amongst its membership, revealed the twelve up-and-coming luxury brands selected for its 2015 Brands of Tomorrow programme in January 2015. Now in its eighth year, the programme provides a year-long series of workshops and one-onone mentoring from some of the UK’s most experienced luxury industry leaders and entrepreneurs. amongst the selection. Since its inception in 2007, over 70 emerging luxury brands, including Astley Clarke, Shaun Leane, Miller Harris, Bremont Watch Company, Rococo Chocolates, Nyetimber, Charlotte Olympia, the Business of Fashion and Mr Hare, have successfully completed the Walpole Working with the Walpole network, Beetles+Huxley will continue to provide the best possible service for both established photography collectors and anyone considering starting a collection.
The Circumference Of The Cumanan Cactus 1, 2010 Justine Blau
PRESTIGIOUS SALES
AFGHAN GIRL, PESHAWAR, PAKISTAN, 1984 by Steve McCurry
BEHIND THE GARE SAINT-LAZARE, PARIS, 1932 by Henri Cartier-Bresson
CHEZ MONDRIAN, PARIS, 1926 by Andre Kertesz
MIGRANT MOTHER, NIPOMO, CALIFORNIA, 1936 by Dorothea Lange
GIRLS IN WINDOWS, NEW YORK, 1960 by Ormond Gigli
DAVID BOWIE AS ‘ALADDIN SANE’, 1973 by Brian Duffy (signed by David Bowie)
NELSON MANDELA IN HIS CELL ON ROBBEN ISLAND (REVISIT), 1994 by Jurgen Schadeberg (Signed by Nelson Mandela)
STEPHANIE, CINDY, CHRISTIE,TATIJANA, NAOMI, HOLLYWOOD, 1989 by Herb Ritts
RUE MOUFFETARD, PARIS, 1954 by Henri Cartier-Bresson
PEONY IN BLUE VASE, 1986 by Horst P. Horst
Desert Overlay, Kingman North, Arizona, USA, 2009 Alex MacLean
BEETLES+HUXLEY EVENTS PROGRAMME
Education+Events A focus on education is at the heart of our gallery. We are devoted to sharing our wealth of expertise and cultivating not only a love, but also a deeper appreciation for photography. With this in mind we formulate a programme of special events that endeavours to cater for all levels of photography enthusiasts. In the past we have collaborated with major national institutions securing intimate tours with leading curators. We have offered private tours of blockbuster exhibitions such as Horst: Photographer of Style at the V&A and Tate Modern’s landmark photographic survey In 2014 we broadened our special events programme to include screenings such as a showing of the Oscar nominated documentary at BAFTA. To cater for clients with diverse interests we equally organise events outside the realm of photography. In 2014 we held a very successful private tour of the Print Room at the British Museum as well as an in-depth tour of Leighton House, a breath-taking nineteenth-centur y architectural treasure.
Alongside one-off events we equally enrol our clients on short educational courses. In an on-going collaboration with Sotheby’s Institute of Art, we have now organised places for over thirty of our clients on a six-week course entitled The prestigious programme offers a comprehensive overview of the history of photography as well as an introduction to the growing market. Finally, we are passionate about organising ar tist talks. In the past we have welcomed such artists as Sebastião Salgado, Steve McCurry, Elliott Erwitt and Michael Kenna to talk about their world-famous bodies of work.
Leica Camera UK February 2015 saw the beginnings of an ongoing collaboration with Leica Camera UK. One of the galleries most important exhibitions to date was sponsored and promoted by Leica.The collaboration included a unique display of vintage Leica cameras in the gallery, along with tailored workshops for our clients which took place at the famous Leica Akademie.
Sotheby’s Institute of Art Evolving from a small connoisseurship programme created by Sotheby’s Auction House in 1969, Sotheby’s Institute is now the foremost leader in art business education and objectbased learning.Their global faculty represents the best of almost every facet of the art world, helping students decipher and master the unique forces at play at the intersection of art and commerce. We are very proud to work with the institute to provide complimentary places on courses for our clients as well as special events in the gallery, held in association with Sotheby’s.
Art History UK Art History UK is a boutique cultural tours company offering distinctive art and architecture tours across London. They deliver a large range of public and private tours and create bespoke events for corporate clients. Their small, intimate tours are led by expert art historians. We work with director, Rose Balston, to tailor exciting events, from museum tours to art history walks.
Settlement Gradient, Fort Saskatchewan, Alberta, CA 2014 Alex MacLean
ADVICE ON COLLECTING PHOTOGRAPHY
Learn+Collect photography collecting to be a fascinating, rewarding pursuit. We pride ourselves on being at the forefront of this market, and regularly offer professional advice to both established and new collectors. As part of the gallery’s commitment to education we are par ticularly interested in working to help new collectors understand and navigate the various intricacies of buying and owning photography. Here are some of the frequently asked questions we hear from new collectors. We hope that this information will help you to
market and build your dream collection. If at any point you would like some more information about the world of photography, or feel that we would be delighted to make an appointment for you at the gallery to sit down with one of our specialists and discuss it all.
New York, 1955 Elliott Erwitt
Marion Cottilard, New York, 2009 Mark Seliger
Why are photographic prints valuable? For two reasons: appreciation of photography is growing, and collectable, authenticated prints are rare What determines the price of a photograph? An artist’s standing against the international photographic market, which is broad and very established. What is an edition? An edition is a photographer’s commitment number of prints. When it is sold out then the image will no longer be available for sale. Photographers will often choose a few different paper-sizes to offer the work in, each with its own separate edition. How do I know that a photographer will not just produce another edition, devaluing the print that I am interested in buying? Trust is required between an artist, their gallery and their collectors for the system to work. Reputation counts for everything, and artists and galleries work hard to protect it.
Photographs are inherently reproducible. What stops somebody running off unauthorised copies of my photograph and therefore devaluing the one I own? Photographic images are reproducible, but authenticated collectable prints are not. Their value is unassailable by any sort of poster or run off that might be produced, even if the image is the same. If the photographer is dead, will any future posthumous reproductions affect the value of my life-time print? Much of the value in a print is in the fact that it was printed by, or under the control of the artist – this is not reproducible posthumously, and so posthumous prints will not affect the value of a lifetime print. Is there such thing as an ‘original’ photograph? No, the ‘original’ is really the negative, transparency or, in the modern age, the at various points in time. There is not an ‘original’, although older prints may be more collectable.
Mainbocher Corset, 1939 Horst P. Horst
How do I know that the print that I am interested in is genuine? Collectable photographs come with many different types of authentication, like a signature. For old prints provenance can also further help to establish authenticity. Are older prints more valuable than newer prints? The basic answer is yes, but the extent varies from photographer to photographer. Is photography a good investment? photography specialist, before committing. Can Beetles+Huxley source photographs by artists that you don’t represent? Yes, we have a large and established network of artists, galleries, dealers and collectors from whom we can source a huge range of material.
Nu Zebre, New York, 2013 [I] Lucien Clergue
A BRIEF BREAKDOWN OF PRINT TYPES
Dinghies Clustered Around Dock, Duxbury, Massachusetts, USA, 1993 Alex MacLean
Iceberg Between Paulet Island And The Shetland Islands, Antarctica, 2005 – Sebastiao Salgado
SILVER GELATIN PRINT First used in the late 1880s, the silver gelatin print is a traditional method of producing black-and-white photographic prints from negatives, which is still widely used. Paper, which has been coated in a layer of gelatine and light-sensitive silver salts, known as an emulsion, is exposed to light allowing a ‘latent’ (invisible) image to form on the paper. Prints are then silver salts.The negative is then ‘washed’ in clean water.This leaves an image in which metallic silver is embedded in a gelatine coating.
Bernard Day On His Return From The Barrier, 21 December 1911 – Herbert Ponting
PLATINUM PRINT Invented at the end of the nineteenth century, the platinum print uses light-sensitive iron and platinum salts applied to paper that is then contact-printed in daylight and then developed in potassium oxalate. Platinum prints are often valued for the wide tonal range they offer. Although a less commonly used print type than silver gelatin, the platinum printing process has regained popularity in recent years.
Untitled (Boy And Girl Eating Ice Cream), 1983-85 - Martin Parr
CHROMOGENIC PRINT mainstream photographic printing practices in the 1960s. Made using colour negatives, c-types are produced through the use of at least three emulsion layers of light-sensitive silver salts, each sensitised to red, blue or green. The exposed paper is then processed through several developing baths that contain dye couplers activated by the silver salts. The silver is then bleached out to leave a colour image.
Pink Square, 2011 - Paul Kenny
DIGITAL INKJET PRINTS Digital inkjet prints are made with multi-nozzled print heads that release minute drops of ink onto paper to allow for an image to form. Unlike consumer inkjet printers, professional inkjets use pigmented inks that have archival properties.
Woman At A Horse Festival, Tagong, Tibet, 1999 - Steve McCurry
DIGITAL C-TYPE Digital c-type prints are one of the most commonly used practices for producing colour prints today.This hybrid process combines new digital methods with the materials used in the traditional chromogenic process.The digital image is projected onto light sensitive paper using
Wordie and Clark Fishing, 1915 – Frank Hurley (printed 1920s)
VINTAGE The term ‘vintage’ refers to an old print, which was made soon after the photograph was taken. Although wide use has led to some ambiguity surrounding its exact meaning, for a print to be ‘vintage’ in the most stringent use of the term, it must have been produced no more than a year after the photograph was taken. In the case of nineteenth-century and early the exact year of printing. If the year is unknown, then the print may be referred to as ‘early’.
Seville, Spain, 1933 – Henri Cartier-Bresson (printed 1980s)
PRINTED LATER When a print has been made a prolonged time after the photograph was taken but still during the photographer’s lifetime and under his or her control, it may be referred to as ‘printed later’. This often occurs when a photographer gains recognition later in his of her career and decides to print earlier work for display and sale purposes.
Lemons And Pomegranates, After J.V.H., 2010 – Paulette Tavormina
MODERN PRINTS Similarly to those that have been ‘printed later’, modern prints are printed during the artist’s are more likely to be produced in editions. Prints made by contemporary photographers printing their work now are also referred to as modern.
POSTHUMOUS PRINTS Posthumous prints are produced after the photographer’s death, from the original negative or transparency. They are more frequently produced by a photographer’s estate, or an archive which has come to own them.
SERVICES WE OFFER
Desert Hell, Kuwait, 1991 Sebasti達o Salgado
Framing – Our frames are constructed using only the highest quality archival materials. Durable timber is shaped into elegant mouldings and coupled with protective anti-UV glass to ensure the enjoyment of your picture for years to come. We are more than happy to give personalised framing advice for each and every photograph we sell.
Delivery – We offer free worldwide shipping on all unframed purchases and free delivery within London for both framed and unframed pictures. Our delivery service is fast and reliable. We use our own highly protective packaging and carefully inspect deliver your picture to you quickly and safely.
Hanging – We are one of the only galleries in London to offer a free installation service for our clients upon request. Once your artwork is ready to be displayed, gallery team members will personally deliver your picture(s) to your home. After a consultation to decide the best place for your pictures to be displayed, the team will professionally install your artwork for you. Bespoke Art Finder Service your collection. With our extensive network of artists, collectors and dealers, we are very well equipped to scour the market for any particular photographs that you may want. Simply let us know your criteria and the Beetles+Huxley team will get to work.
Mailing List – By becoming a Beetles+Huxley collector, you are also becoming a member of our mailing list for photography collectors. As a valued collector you will receive advice on collecting photography and key pieces, catalogues for each of our exhibitions, exclusive collector’s opportunities not available to the general public, our regular artist interviews.
Flowers And Fish Iv, After G.V.S., 2012 Paulette Tavormina
Paris, 1989 Elliott Erwitt
BEETLES+HUXLEY 3-5 SWALLOW STREET LONDON W1B 4DE
0207 434 4319 GALLERY@BEETLESANDHUXLEY.COM WWW.BEETLESANDHUXLEY.COM