Ms. Davis has been appraising the work of European and American photographers since 1984. Her experience in the technical, historical and cultural aspects of photography has made her a connoisseur of the media. She has worked with The Museum of Fine Arts Boston, San Francisco Museum of Art, The Museum of Fine Arts, Houston, the Kunsthaus Zürich, Christie's, Zürich, The Palm Springs Art Museum, The Library of Congress, The Smithsonian, The Museum of Art at the University of New Mexico, the J. Paul Getty Museum, Yale, RISD, The Center for Creative Photography at the University of Arizona and many other public and private photography collections world-wide.
Database design, Getty object ID, storage solutions and all aspects of setting up and maintaining a collection, no matter how small or large for private collections or for major institutions. Proper, long-term, archival storage and user-friendly databases are necessary and will be tailored to meet the collector’s needs and keep collections in good order for accessing objects and making sure they are safe and accounted for.
Ms. Davis has acted as an expert witness for multiple major insurance companies in damage and loss cases and litigation.
As a leading connoisseur in the field, Ms. Davis conducts seminars, workshops and lectures on the identification of photographic psrocesses and appraising photographs. She has created The Taos Photography Collectors and Appraisers Guild: an intensive 5-day seminar on collecting with guests such as Paul Messier, Conservator; Andrew Hale, Daile Kaplan, Sarah Morthland, Monika Half, and many others – held annually in the autumn at the Mable Dodge Luhan Ranch, Taos, New Mexico beginning in September 2011.
Ms. Davis and her colleague, the photographer, Lyle Allan created the “Name That Process” set of identical 8x10 images, printed in a variety of processes: silver-gelatine, van dyke, cyanotype, ink-jet, laser, Azo, etc…which are regularly loaned to museums internationally to teach identification of photographic processes.
Ms. Davis writes two regular columns on appraising photographs titled “What’s it Worth?” in the bi-monthly, international magazines; Black and White Magazine for Collectors of Fine Photography and COLOR Magazine for Collectors of Fine Photography. She is updating Lee Witkin’s seminal The Photograph Collector’s Guide and is writing A Guide to Appraising Photographs for Appraisers, Dealers, Collectors, Insurers and Lenders.
Her writings have been published in The Encyclopaedia of 20th Century Photography, Routledge, 2005; the History of Photography, Oxford, England, Autumn 1998, Photographie, Germany, all catalogues issued by Galerie Stockeregg between 1987-1991, Pioneers of American Photography, Masterworks of the Pfeifer Collection, 2001 and various other publications and the Academic Journal for the American Academy in Munich, Economics of Culture / Culture of Economics.
Working with several important private collections, Ms. Davis has organized exhibitions, lectures, and workshops of private collections and actively promotes the work of contemporary artists, especially the work of Jean-Pascal Imsand (1964-1994). She is organizing the travelling exhibition and accompanying catalogue for The Famous, The Infamous, The Anonymous: A History of Portraiture in Photography.
Ms. Davis is an enthusiastic lecturer, regularly giving talks at museums, universities, photography institutions, schools and galleries.
Member of the Board:
In 2000, The Jean-Pascal Imsand Foundation was formed in Switzerland to promote and protect the photographic legacy left by the photographer Jean Pascal Imsand who died in 1994. The board meets twice a year. Ms. Davis assists in the promotion the Jean- Pascal’s work in North America.
Berenice Abbott, Abbot Village, Maine
Independent Study Semesters, 1980-81
Successfully completed and examined for all levels of Appraisal Studies at George Washington University.
George Washington University: Personal Property Valuation Studies
PP 201 Introduction to Personal Property Valuation / Nov 2002
PP 202 Valuation - Methodology-Research and Analysis / Dec 2002
PP 203 Valuation - Report Writing / April 2003
PP 204 Valuation - The Legal and Commercial Environment May 2003
Uniform Standards of Professional Appraisal Practice: 2003-2008 / 2008-2013
AAA / ASA Code of Ethics Examination: July 2003
The Famous, The Infamous, The Anonymous:
A History of Portraiture in Photography
University of Texas, Dallas, 2008,2010
Santa Fe PhotoArts Conference, 2006
Fotographie Forum International, Frankfurt, 2005
Amerika Haus, Munchen, Germany, 2005
Cameracraftsmen of America-Keynote Speaker, NYC, 2005
Marion Center for Photography, Santa Fe, 2005
Connoisseurship for Collectors and Appraisers and the Identification of Photographic Processes: see ‘Name That Process’
Heritage Auction Galleries, Dallas, 2008, 2009
Association of America, 2-day workshop, 2007
Symposium – Santa Fe Workshops, 2006
Swann Auction House, Appraisers Association of America, 2004
Santa Fe Community College, Santa Fe, NM, 2004
The Awakenings Museum, Santa Fe, NM, 2003
The Pfeifer Collection of Classical American Photography Exhibition,
Stadt Galerie Tütlingen, Germany, 2001
AmerikaHaus,Verein, Munich, Germany, 2001
Kommunale Galerie, Frankfurt, 2001
Kultureverein Zehnscheuer Rottenberg, 2002
German-American Institute Tübingen, Germany, 2002
Curator of the Pfeifer Collection of American Classical Photography:
As Curator for the Pfeifer Collection Ms. Davis sought acquisitions, fully documented each piece and oversaw the archival preservation and presentation of the collection. The Collection of Masterworks of American Classical Photography toured Germany to excellent reviews and high attendance. She authored the catalogue that accompanied the exhibition, entitled Pioneers of American Photography. Each venue was curated and hung by her and an accompanying lecture was given.
Consultant, The Hirsh Collection:
Lorraine Davis was the exclusive consultant for the Hirsh Collection, a small but fine collection of contemporary American and European Photographs owned by the Hirsh Family in Los Angeles, California from 1995 – 2004.
Kuratorin, Galerie Zur Stockeregg:
As Kuratorin at Galerie zur Stockeregg, Ms. Davis’s responsibilities included all aspects of exhibition preparation from concept to final print preparation. After print selection, she ordered supplies, matted, framed, sequenced, hung and lit the exhibitions. She wrote all press releases and introductions as well as designed the invitations and over-saw the printing and production of press packets. She was solely responsible for the contemporary section of the gallery, selecting exhibitions, procuring the work, matting, framing, sequencing, hanging and lighting. She worked with the artists to promote their work during and after their exhibitions and actively supported emerging photographers, keeping them informed of opportunities with other galleries and showing their work outside the gallery.
- the archival storage and maintenance of the photographs in the gallery; proper and accurate cataloguing, provenance information and historical and technical background records, up-to-date stock inventories and insurance and catalogue information, answering all historical and technical questions and conducting the necessary research.
- maintenance of the large inventory of books in the gallery, keeping up with new titles as well as keeping a selection of contemporary publications in the gallery as reference sources, assisting research projects, showing prints or books and offering recommendations of other sources.
- formulating paper work for print loans and preparing the work for shipping, keeping informed of the status of the prints on loan.
- initiation of major "events" in the gallery, particularly the ‘Avedon’ Project 1990, the ‘Paul Strand Symposium’ 1989 and the placement of The Marc Rich Collection in the Kunsthaus Zürich, 1988, originating the ideas, making the initial contacts and working fully on all projects in all aspects.
Assistant Director: Paul Strand Archive:
At the Paul Strand Archive Ms. Davis was responsible for the functioning of the archive in the Director's absence, archival maintenance of the Strand Collection including proper storage, restoration and conservation. She co-curated with the director all travelling exhibitions, overseeing the matting, framing, designing of crates and organizing transport. She up-dated the condition reports and follow-through on all venues.
As administrator in the Director's absence Ms. Davis conducted the daily business and took responsibility for the on-going projects. She was responsible for ordering all supplies and solely responsible for training work-scholars. With the Director she kept up-dated inventories and values for the insurance policies, worked out the yearly budgets and was solely responsible for the rights and permissions department which included furnishing research and press materials for scholars and journalists. Ms. Davis worked closely with the Aperture Foundation and the Burden Gallery preparing exhibitions and doing technical camera work for publications, in particular making the 4” x 5” transparencies for The Shakers - Hands to Work, Hearts to God, Aperture 1987. In addition, she initiated and maintained a complete slide library for the archive.
Master Printer, Chicago Albumen Works:
During her apprenticeship and subsequent employment with the Chicago Albumen Works Ms. Davis worked with most of the major photographic processes of the 19th century including albumen and other latent image salt print processes. She printed the work of Eugene Atget from his original negatives for the Museum of Modern Art in New York and made albumen prints from the original negatives of Matthew Brady, Francis Frith, Timothy O'Sullivan and Edward Muybridge. In order to preserve the deteriorating 8" x 10" nitrate negatives of Francis Benjamin Johnson with a minimum of information loss for the Library of Congress in Washington, D.C., the Albumen works developed a system of making both 8" x 10" film positives and from them, printable negatives. She oversaw much of the work for the Library of Congress.
Printer/Achivist, Berenice Abbott:
In the summer of 1980, under her own volition, she travelled to Abbott Village, Maine to meet Berenice Abbott and to show her the contemporary albumen prints of Atget’s photographs that she had been printing from his original negatives at the Chicago Albumen Works. From this auspicious meeting she asked Lorraine to return as her printer and to help her to organize her print archive. Lorraine lived in Berenice Abbott’s second home in Maine where her darkroom was, and printed her work and documented her archive for seven months. While there, she wrote a paper on Women in Photography for the Women’s Studies Department at the University of Wisconsin.
Master of Fine Arts: Typography and Graphic Design:
Incorporating my work in photography into both the fine art and commercial aspects of graphic design, I produced nine limited edition books, a series of one-of-a-kind books, posters, invitations, catalogues and letterheads. I possess a thorough knowledge of graphic production and design with a working background in the operation of letter-press presses including the Vandercook SP series, the Washington and Platin presses and manual off-set lithography presses. In 1979 received a City of Madison Grant to produce a series of posters depicting the history of Madison for the City Transport System.
Master of Arts: Photography:
My graduate work in photography prepared me to teach the historic, commercial and fine art aspects of the medium. The history of photography was emphasized thoroughly augmented in my studio work in the Photography Department, in my work with Berenice Abbott, at the Chicago Albumen Works, and during the intensive workshops at the University of New Mexico, the Paul Strand Archive, my work at Galerie Zur Stockeregg and my free-lance consulting. I am well versed in the technical aspects of the medium having worked in color, black and white, non-silver and 19th century processes. My commercial work has included studio and location, product and portrait photography. My technical expertise includes the use of small and large format cameras, lighting procedures and maintenance of darkroom equipment.