• Portrait of Susan Harder at gallery desk by André Kertész

    Portrait of Susan Harder at gallery desk by André Kertész

  • André Kertész (1894 – 1985) is considered one of the seminal figures of 20thcentury photography. He is regarded as one...
    André Kertész, Paris, 1927

    André Kertész (1894 – 1985) is considered one of the seminal figures of 20thcentury photography. He is regarded as one of the fathers of photojournalism and street photography, but is also known for his groundbreaking contributions to photographic compositions using unorthodox camera angles, distortions, and style. By combining a seemingly artless spontaneity with a sophisticated understanding of composition, André Kertész developed and fostered a unique and intimate style of image making.

     

    Born Kertész Andor in Budapest, he received his first camera in 1912.  At the early age of 18, he began experimenting with the medium by taking portraits of family and friends, as well as studies of the Hungarian countryside and scenes of daily life behind the battle lines of World War I. Intent on becoming a serious photographer and making a living at it, he moved to Paris in 1925. He became a successful photojournalist and ingrained himself in the flourishing artist community in the city, making friends with painters, sculptures, filmmakers and photographers such as Fernand Léger, Alexander Calder, Maurice de Vlaminck, Man Ray, and Brassaï. Some of his most iconic images were created during this period of his career.

     

    In 1936 Kertész and his wife, Elizabeth, relocated to New York. He freelanced for Vogue, Harper’s Bazaar, Life, House & Garden among others. He felt a sense of alienation in his new surroundings.  Despite his acclaim and popularity throughout Europe, André Kertész initially felt a cool reception in the United States until then-newly appointed MOMA Department of Photography head John Szarkowski offered him a solo show in 1964. The retrospective exhibition spanned the entirety of André Kertész's photography career. Throughout his later life, Kertész's work was featured in many exhibitions throughout the world. After his death in 1985, he continued to be honored and collected by major museums and galleries worldwide. 

  • "My English is bad. My French is bad. Photography is my only language."

    - André Kertész

  • The photographs in this exhibition come from the private collection of Susan Harder. Susan worked professionally with André Kertész for... The photographs in this exhibition come from the private collection of Susan Harder. Susan worked professionally with André Kertész for...

     The photographs in this exhibition come from the private collection of Susan Harder. Susan worked professionally with André Kertész for many years at the Light Gallery in New York City. The Light Gallery was one of the first galleries in the 1970s exhibiting and selling fine art photography. Many 20th century photographers showed their work there at the time - Kertész, Callahan, and Siskind, to name a few.

     

    After her time at Light Gallery, Susan went on to open her own gallery under her name, located on 57th Street, where she represented and exhibited Kertész’s work among other photographers. Once she closed her gallery, she continued as his agent for many years before his death and then as agent and curator for the Kertész estate. She has worked on and authored articles and several books on Kertész, one being the beautiful Aperture book titled, André Kertész Diary of Light 1912 – 1985, printed and originally published in Japan. Susan was an influential part of Kertész’s life and career in New York at the height of his popularity, traveling with him and organizing his exhibitions for shows all over the world.

  • The Orminda Corporation was Susan Harder’s company. The shell logo is a registered trademark for Orminda, Ltd and is on...

    The Orminda Corporation was Susan Harder’s company. The shell logo is a registered trademark for Orminda, Ltd and is on file at the Metropolitan Museum of Art for authentication.  

  • AVAILABLE  WORKS

  • HUNGARY

    • André Kertész Sziget Becse, May 11, 1913 $4,500
      André Kertész
      Sziget Becse, May 11, 1913
      $4,500
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    • André Kertész, The Circus, Budapest, 1920
      André Kertész, The Circus, Budapest, 1920
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    • André Kertész, Underwater Swimmer, Esztergom (Hungary) p. 41. Aug 31, 1917
      André Kertész, Underwater Swimmer, Esztergom (Hungary) p. 41. Aug 31, 1917
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  • André Kertész Jenő Kertész as Icarus, May 30, 1919 Titled, and dated with annotations in pencil; Orminda shell stamp verso;...
    André Kertész
    Jenő Kertész as Icarus, May 30, 1919
    Titled, and dated with annotations in pencil; Orminda shell stamp verso; Accompanied by a signed letter of provenance
    Silver gelatin print
    8 x 10 inches
    $5,500
  • PARIS

    • André Kertész Café Extra, 1927 $5,500
      André Kertész
      Café Extra, 1927
      $5,500
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    • André Kertész Paul Arma's Hands, 1928 $10,000
      André Kertész
      Paul Arma's Hands, 1928
      $10,000
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    • André Kertész Fork, Paris, 1928 SOLD
      André Kertész
      Fork, Paris, 1928
      SOLD
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    • André Kertész Glasses and Pipe, 1926 SOLD
      André Kertész
      Glasses and Pipe, 1926
      SOLD
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    • André Kertész Eiffel Tower, Paris, 1929 SOLD
      André Kertész
      Eiffel Tower, Paris, 1929
      SOLD
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    • André Kertész Chairs of Paris, 1927 SOLD
      André Kertész
      Chairs of Paris, 1927
      SOLD
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  • In the late 1970's André Kertész became aware of a renewed interest by museums and collectors in his early contact...
    André Kertész, Chez Mondrian, Paris (from Portfolio of Ten Prints), 1926
    SOLD

    In the late 1970's André Kertész became aware of a renewed interest by museums and collectors in his early contact prints from 4” x 5” glass plate negatives. These early prints were first exhibited in Paris in the 1920’s and very few prints were made of each image. They were primarily printed only when needed for exhibitions, sales, or to give to friends and relatives.  He had kept only a few of these contact prints for his own collection.

  • Motivated by his love of these small format early prints, their scarcity, and an increase in interest, Kertész began exploring...
    André Kertész, Colette, Paris (from A Portfolio of Ten Prints), 1930
    $4,500

    Motivated by his love of these small format early prints, their scarcity, and an increase in interest, Kertész began exploring the possibility of contact printing the glass plate negatives with his master printer, Igor Bakht. Experimenting with dozens of papers and many kinds of toners, he worked to find the best paper (which turned out to be by Illford) and the perfect toner. Toners not only emphasize the blacks, but also enhance the "archival" qualities of photographic prints. Kertész worked directly with Paul Wong at Dieu Donne Press and Paper in New York to develop the handmade paper, selecting color, texture, size, and content.  

    • André Kertész Broken Plate, Paris, 1929 $5,500
      André Kertész
      Broken Plate, Paris, 1929
      $5,500
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    • André Kertész Clock of the Académie, Française, 1929 SOLD
      André Kertész
      Clock of the Académie, Française, 1929
      SOLD
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    • André Kertész No. 18, Oct. 30, 1982 SOLD
      André Kertész
      No. 18, Oct. 30, 1982
      SOLD
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    • André Kertész Elizabeth, Paris, 1931 $6,500
      André Kertész
      Elizabeth, Paris, 1931
      $6,500
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    • André Kertész Paris, 1927 $6,500
      André Kertész
      Paris, 1927
      $6,500
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    • André Kertész Eiffel Tower, Paris, 1933 $6,500
      André Kertész
      Eiffel Tower, Paris, 1933
      $6,500
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    • André Kertész Quartet, 1926 SOLD
      André Kertész
      Quartet, 1926
      SOLD
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    • André Kertész Meudon, France, 1928 SOLD
      André Kertész
      Meudon, France, 1928
      SOLD
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    • André Kertész Stairs of Montmarte, Paris, 1925 SOLD
      André Kertész
      Stairs of Montmarte, Paris, 1925
      SOLD
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    • André Kertész Parc des Sceaux, 1926 $3,000
      André Kertész
      Parc des Sceaux, 1926
      $3,000
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    • André Kertész Distortion #113, 1933 SOLD
      André Kertész
      Distortion #113, 1933
      SOLD
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    • André Kertész Distortion #49, Paris, 1933 SOLD
      André Kertész
      Distortion #49, Paris, 1933
      SOLD
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    • André Kertész Distortion #39, 1933 $6,500
      André Kertész
      Distortion #39, 1933
      $6,500
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    • André Kertész Distortion #128, 1933 $6,000
      André Kertész
      Distortion #128, 1933
      $6,000
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    • André Kertész Glass Distortion, Paris, 1943 $7,500
      André Kertész
      Glass Distortion, Paris, 1943
      $7,500
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    • André Kertész Paris Door, July 29, 1984 $7,500
      André Kertész
      Paris Door, July 29, 1984
      $7,500
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    • André Kertész, Satiric Dancer, Paris, 1926
      André Kertész, Satiric Dancer, Paris, 1926
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  • NEW YORK

    • André Kertész Melancholic Tulip, New York, 1939 SOLD
      André Kertész
      Melancholic Tulip, New York, 1939
      SOLD
    • André Kertész Third Avenue El, New York, 1937 $5,500
      André Kertész
      Third Avenue El, New York, 1937
      $5,500
    • André Kertész Broken Bench, 1962 $5,500
      André Kertész
      Broken Bench, 1962
      $5,500
    • André Kertész Landing pigeon, March 2, New York, 1960 $6,500
      André Kertész
      Landing pigeon, March 2, New York, 1960
      $6,500
    • André Kertész Washington Square Park at Night, 1954 $14,000
      André Kertész
      Washington Square Park at Night, 1954
      $14,000
    • André Kertész, Washington Square, New York, 1954
      André Kertész, Washington Square, New York, 1954
  • André Kertész was invited to join the Polaroid's Artist Support Program in 1979. His inital experimentation with SX-70 film evolved...
    André Kertész, From my Window, New York, c. 1983
    SOLD

    André Kertész was invited to join the Polaroid's Artist Support Program in 1979. His inital experimentation with SX-70 film evolved into a body of work that was carefully and passionately crafted in memory of his wife of more than forty years, Elizabeth. Taken in his apartment in New York City, many of Kertész's Polaroids were shot either from his window or in the windowsill. We see a fertile mind at work, combining personal objects into striking still lifes set against cityscape backgrounds, reflected and transformed in glass surfaces. Kertész chose the Polaroid not so much for the color it offered but because it allowed him to work quickly and autonomously. The smaller scale of Polaroids harks back to Kertész's time in Budapest when he created small and delicate prints, usually no larger than 1 1/2 x 2 inches. The format also echoed his works done in 1926 when he produced rich images on carte postale paper. 

    • André Kertész Nude in Repose, New York, c. 1983 $4,500
      André Kertész
      Nude in Repose, New York, c. 1983
      $4,500
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    • André Kertész Plate B August 13 1979, 1979 SOLD
      André Kertész
      Plate B August 13 1979, 1979
      SOLD
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    • André Kertész Plate 21, December 12, 1979 SOLD
      André Kertész
      Plate 21, December 12, 1979
      SOLD
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  • LATER WORKS

    • André Kertész Rainy Day, Tokyo, 1968 $5,500
      André Kertész
      Rainy Day, Tokyo, 1968
      $5,500
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    • André Kertész Mauna Kea, Kamuela, Honolulu, No. 4, Aug. 4, 1974 $6,000
      André Kertész
      Mauna Kea, Kamuela, Honolulu, No. 4, Aug. 4, 1974
      $6,000
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  • André Kertész Martinique, 1972 Orminda shell stamp verso; Accompanied by a signed letter of provenance Silver gelatin print Image: 15...
    André Kertész
    Martinique, 1972
    Orminda shell stamp verso; Accompanied by a signed letter of provenance
    Silver gelatin print
    Image: 15 1/2 x 19 9/16 inches
    Paper: 16 x 20 inches
    $12,000