{"id":33628,"date":"2025-10-16T21:51:58","date_gmt":"2025-10-16T19:51:58","guid":{"rendered":"https:\/\/kwartalnikfotografia.pl\/?p=33628"},"modified":"2025-10-23T23:28:26","modified_gmt":"2025-10-23T21:28:26","slug":"o-kolekcjonowaniu-fotografii-rozmawiamy-z-peterem-wallimannem-z-wbb-galery","status":"publish","type":"post","link":"https:\/\/kwartalnikfotografia.pl\/en\/o-kolekcjonowaniu-fotografii-rozmawiamy-z-peterem-wallimannem-z-wbb-galery\/","title":{"rendered":"We talk about collecting photographs with Peter Wallimann of WBB GALLERY"},"content":{"rendered":"

Jerzy Wierzbicki: you own an art and photography gallery. What are the biggest challenges of running a gallery? What has changed in recent years? Do you notice any trends or changes?<\/strong><\/p>\n\n\n\n

Peter Wallimann<\/strong>: - We took over the gallery in 2015, after half a century of operation in Zurich. To date, we have held more than 30 exhibitions featuring a wide range of artists from different fields, not just photography. The art market has changed dramatically over the past decade, especially since the coronavirus pandemic, but also under the influence of social media and, more recently, artificial intelligence. Gallery owners today face numerous challenges. Sales are stagnant, especially in the mid-price segment, and the art market is undergoing a transformation. In the past twelve months alone, global sales have fallen by as much as 40%. A generational shift is also evident. Young people see less value in collecting and owning art. In the digital world, everything has become a rapidly evolving consumer good, but one devoid of an authentic experience. This affects the perception of art in general. In addition, the art scene has become much more diverse and intricate. Therefore, as gallery owners, we need to find our niche, build networks and prove our expertise.<\/p>\n\n\n\n

When you started collecting photography, what was the key to acquiring the work of a particular artist or specific photographs?<\/strong><\/p>\n\n\n\n

- I have always been an aesthete and a nature lover. The turning point, however, was when I came across the work of Brett Weston. Black and white photography Century Plant<\/em> from 1967 was my first acquisition as a collector. The play of light, tonality and aesthetics captivated me. I then began to explore American West Coast photography from an aesthetic, cultural and historical perspective.<\/p>\n\n\n\n

Is collecting photography an investment? Does photography become more expensive over the years?<\/strong><\/p>\n\n\n\n

- I am not one of those collectors who buy art for financial and speculative reasons. Making high profits from photography is more difficult than from paintings and installations, because the prices of originals are higher and more volatile than for editions. I wouldn't say that photography prices in general have increased. Photographs in the upper five- or even six-figure price ranges are an exception, but that's still ten to a hundred times less than what you pay for works by well-known artists, especially painters. Nevertheless, photography has established itself as a distinct field of art and continues to evolve. However, we live in an era of mass reproduction. Most digital photographs are therefore short-lived, easy to reproduce and therefore of lower value. In contrast, timeless photographs, whether analog or digital, can gain significantly in value over time. However, the high-end segment that fetches the highest prices is small. It only works for famous photographers such as Richard Avedon, Robert Frank or Helmut Newton. It also works for prints of historical significance, such as Man Ray, Edward Steichen and Paul Strand, to name a few.<\/p>\n\n\n\n

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Wynn Bullock, Child on Forest Road, 1958 \u00a9 Bullock Family Photography LLC. All rights reserved. Collection Peter Wellimann<\/em><\/figcaption><\/figure>\n\n\n\n

- Which photographs (or photographers) have gained the most in value in recent years, and which have lost significantly?<\/strong><\/p>\n\n\n\n

- It's hard to say. It depends largely on the genre. Fashion photography, nudes or street photography are hard to compare with nature photography. In general, the best works of well-known photographers tend to sell well, which does not necessarily mean that prices go up. Large-format vintage prints by Ansel Adams, for example, are currently in high demand, especially if their provenance and state of preservation are known. Nevertheless, historically speaking, average prices, with few exceptions, have hardly increased. This is often a matter of marketing and the political situation. For example, Nan Goldin's works have also sold very well recently, especially in the US. This also has to do with the queer movement and the artist's controversial role in the media. However, fame does not automatically translate into money, as can be seen in the case of Italian fashion photographer Oliviero Toscani, who died this year. None of his work has ever sold for a five-figure price.<\/p>\n\n\n\n

- Do you buy prints directly from photographers, or do you use auction houses or specialized dealers?<\/strong><\/p>\n\n\n\n

- From both channels, depending on availability and budget. Public auctions offer better insight into the market, but this also comes with a fee in the form of a substantial commission. Private purchases through dealers or photographers are usually only as good as your contacts, which means it's all about trust and mutual respect.<\/p>\n\n\n\n

- Where do you usually make contact with potential customers? In a gallery or at an art fair, for example?<\/strong><\/p>\n\n\n\n

- You meet a lot more people at art fairs than at galleries, and you can make contacts quickly. However, fairs are expensive, and lasting contacts require running a gallery, unless you are a marshal, which is a completely different story. Therefore, you should do both, and think long-term. The turn to the issue: large photography events such as Photo Paris, Photo London and Photo Basel are increasingly becoming public fairs. This means that there are many more viewers than collectors. To avoid a decline in visitors, galleries need at least one well-known artist, a good network of contacts and preferably a location on a busy street in a major city's cultural district - and, of course, a well-balanced marketing concept.<\/p>\n\n\n\n

How would you describe a photography collector? Who is the typical customer of your gallery?<\/strong><\/p>\n\n\n\n

- Most collectors know exactly what they want and are well informed. They collect either by genre or by artist. Vintage photographs are more readily purchased by collectors with a historical, pre-digital understanding of art. Younger collectors and novices tend to be more interested in contemporary art and photography, and prestige and personal taste often play a role.<\/p>\n\n\n\n

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WBB GALLERY at night seen from Neustadtgasse_photo by Ursula Hersperger<\/figcaption><\/figure>\n\n\n\n

Why do you only collect vintage photography?<\/strong><\/p>\n\n\n\n

- It's a matter of taste and commitment. In today's busy world, it is important for me to go back to my roots. I want to understand how photography evolved and what artistic achievements were achieved in the analog era. The classic photographers of the 20th century (such as Edward Weston, Paul Caponigro and Don Worth, for example) had up to six or seven decades of experience, both outdoors and in the darkroom, which is reflected in their work.<\/p>\n\n\n\n

How can contemporary artists approach serious collectors?<\/strong><\/p>\n\n\n\n

- It is difficult to find collectors on your own, with so much competition. Anyone can take technically perfect digital photos today, but that doesn't mean that such works have artistic value or are marketable. The field has become very wide. Without representation by a reputable gallery, young artists have virtually zero chance of gaining recognition. Instagram and other socialmedia help only to a certain extent, as a higher number of followers does not necessarily translate into increased sales.<\/p>\n\n\n\n

You have an impressive collection of classic 20th century American photography. Could you tell us a little more about it?<\/strong><\/p>\n\n\n\n

- The collection currently contains 185 prints by 48 photographers (including nine women), covering a period of about 100 years of history. It focuses on landscapes and flowers in the tradition of direct photography. The works of Ansel Adams, Brett Weston and Don Worth stand out in particular. Some of the works are extremely rare, such as the print of the Delphinium<\/em> Edward Steichen's 1920 print - the only one of its kind in the world, from a family legacy. Other notable artists include Paul Strand, Edward Weston, Imogen Cunningham, Wynn Bullock, Ruth Bernhard, Minor White and Robert Mapplethorpe.<\/p>\n\n\n\n

Would you ever sell your collection? For example, to a museum or another organization?<\/strong><\/p>\n\n\n\n

- It will happen eventually. The collection has grown considerably over time, both in terms of the number of prints and historical significance. Its professional maintenance is a major undertaking, especially for one person. In addition, I want the collection to remain accessible to the public. A museum with a photography department would therefore be the best option in the future.<\/p>\n\n\n\n

September 2025 marks the opening of a major Ansel Adams exhibition at the WBB GALLERY. However, many of Adams' photographs have been exhibited many times before. Some art critics and photographers are skeptical about continuing to exhibit well-known but old photographs. I personally know people who even claim that Adams' photographs are anachronistic, and that showing them negates the long way photography has come since modernism. What do you think about this?<\/strong><\/p>\n\n\n\n

- The vast majority of Ansel Adams' exhibitions have taken place in the US, not in Europe. Moreover, as far as I know, there has never been a solo exhibition of his work in Switzerland, let alone a museum exhibition. In my opinion, Ansel Adams rightly enjoys the reputation of a master, even if this may arouse jealousy among some contemporary artists. Regardless of opinion, Adams was and remains a pioneer of modernism and should be given due respect. I believe that the problem lies not so much with the artist himself, but with the speculators who exploit his name and get rich. Ansel Adams has a lot to answer for, even posthumously, and he is gaining more and more popularity every year: not only for his aesthetics of nature and extraordinary technique, but also as one of the first environmentalist photographers and political activists - a topic that could not be more timely. What's more, interest in analog photography and darkroom prints has grown significantly in recent years among the younger generation. Our exhibitions of iconic prints therefore contribute to a better understanding and appreciation of analog black-and-white photography and its long journey.<\/p>\n\n\n\n

Some technical questions. Which prints do serious collectors prefer these days? Traditional darkroom prints or popular digital prints?<\/strong><\/p>\n\n\n\n

- It depends largely on what you collect. Analog prints, especially gelatin-silver prints, do not last forever and are much more light sensitive than inkjet prints or gicl\u00e9e<\/em>. However, they have historical significance and are popular among collectors of classic photography. Nevertheless, modern printing methods are gaining popularity. Some photographers, including Steve McCurry, are working hybrids. They digitize their negatives and use the files to create C-prints on high-quality photographic paper. But for long-lasting work, especially large-format work, limited-edition inkjet prints are the future, including for collectors.<\/p>\n\n\n\n

How to confirm that the offered photo is original and authorized by the photographer? Have you encountered a situation where the prints were fake or of unclear origin?<\/strong><\/p>\n\n\n\n

- So far I have not encountered any suspicious cases. But as in painting, there are forgers in photography as well (though much less frequently). So far, several unauthorized prints or prints of unclear provenance have been documented, especially in the case of works by Helmut Newton, Robert Mapplethorpe and Ansel Adams. At international auctions, high-quality prints are usually pre-screened by experts to avoid image damage. You should also check that the prints are hand-signed and have known provenance and provenance, including the photographers' stamps, which are usually found on the back of the frame. However, getting an absolute guarantee of authenticity is not always easy, especially for laypeople.<\/p>\n\n\n\n

As an experienced collector, what advice would you give to a young collector who wants to start collecting photography?<\/strong><\/p>\n\n\n\n

- First, the motivation for collecting should be passion, not money. If it's only about money, it's better to invest in the stock market or cryptocurrencies. Second, it's a good idea to read a lot about artists and use databases to compare results at auctions. For this purpose, I strongly recommend online tools such as Artnet, MutualArt or similar platforms, available by subscription.<\/p>\n\n\n\n

How do you store your traditional prints given their sensitivity to light?<\/strong><\/p>\n\n\n\n

- Gelatin-silver prints should not be exposed to direct sunlight for long periods of time. Not only the gelatin layer itself, but also the pencil signatures are sensitive to light, especially ultraviolet (UV) radiation. Most of the vintage prints in the collection are therefore framed in museum glass with a UV filter (UV92 or UV99) and stored in the dark. The unframed prints are stored in cardboard boxes under controlled conditions such as temperature and humidity. Platinum prints, on the other hand, are much more resistant to light, posing no problems in this regard.<\/p>\n\n\n\n

Are you a photographer or artist?<\/strong><\/p>\n\n\n\n

- Well, only at a semi-professional level. I took macro photos of insects and plants, and then combined them digitally with astrophotos. The resulting art project titled Natura Poetica<\/em> was presented to several
to thousands of people in a traveling exhibition. I also created analog and digital graphics as part of the project Sensigns<\/em>.<\/p>\n\n\n\n

Do you collect other types of art, or do you focus exclusively on photography?<\/strong><\/p>\n\n\n\n

- I also have some paintings and prints, but I definitely focus on photography.<\/p>\n\n\n\n

Thank you very much for the interview<\/strong>.<\/p>\n\n\n\n

- My pleasure. I hope to see you at the Zurich show!<\/p>\n\n\n\n

This interview was conducted on July 28, 2025 To learn more about Peter Wallimann, WBB GALLERY and the upcoming Ansel Adams exhibition, please visit<\/em> www.wbb.gallery (available in German and English) and www.sensigns.ch.<\/em><\/p>\n\n\n\n

Jerzy Wierzbicki <\/strong>- D. in the art of photography, winner of many photography awards in Poland and abroad. Associated with the Middle East for many years, currently a teacher of photography at the Scientific College of Design in Oman. Plenipotentiary of the editorial board of \"Kwartalnik Fotografia\" for the Middle East. He has published in \"BBC News\", \"Middle East Eye\", \"ArtDoc\" and \"Lens Magazine\", among others.
<\/p>\n\n\n\n

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WBB GALLERY Entrance<\/figcaption><\/figure>","protected":false},"excerpt":{"rendered":"

Jerzy Wierzbicki: you own an art and photography gallery. What are the biggest challenges of running a gallery? What has changed in recent years? Do you notice any trends or changes? Peter Wallimann: - We took over the gallery in 2015, after half a century of operation in Zurich. To date, we have organized more than 30 exhibitions with a wide range of artists from different fields, not only...<\/p>","protected":false},"author":38,"featured_media":33622,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[1],"tags":[268,1048,248,267,1047,249],"class_list":["post-33628","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-analogowa","tag-austria","tag-czarno-biala","tag-klasyczna","tag-kolekcjonerstwo","tag-kolorowa"],"_links":{"self":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/33628","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/comments?post=33628"}],"version-history":[{"count":3,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/33628\/revisions"}],"predecessor-version":[{"id":33640,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/33628\/revisions\/33640"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media\/33622"}],"wp:attachment":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media?parent=33628"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/categories?post=33628"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/tags?post=33628"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}