The fair organisers
24.39 Classic Photography Fair
Interview with Barnabé Moinard
By Michael Diemar
Interview with Barnabé Moinard
By Michael Diemar
The French dealer Barnabé Moinard started his dealership, Barnabé Moinard Photographies, in 2022. “As far as stock is concerned, I start in the 19th century and go up to the 1960s/1970s. Architecture, sculpture and travel on albumen paper are my favourite areas in the 19th century. In film, I’m interested in all those photographs that had no artistic pretence when they were taken: archives, documentation, scientific or press images. I track down names that are under the radar or strong individual images. By following these two tracks, I try to reconstitute coherent and relevant sets.”
In 2024, Moinard took over the fair that Bruno Tartarin started in 2017, Photo Discovery – Fair. And renamed the fair 24.39. I asked him what other changes he made?
– The main change was the name, which marked the beginning of a new chapter. After that, a real communication strategy was implemented, with a strong identity. The goal was to be recognized not only by the press but also by a younger audience that we are targeting on social media. We kept the fair’s DNA — fundamentally, nothing was taken away. Instead, we focused on improving what could be improved, particularly by reaching out to a broader audience and trying to move beyond the circle of insiders.
The fair coincides with Paris Photo. What impact does that have in terms of visitors?
– We're fortunate to have the Grand Palais, the venue for Paris Photo, just 10 minutes away. The public is curious, provided they’re properly informed. And they’re responsive. Last year, nearly 30% of our visitors were new. We need to keep going, and we aim to surpass the 1,000-visitor mark. Not just to pile up statistics, but to create real momentum.
In the mornings, we always see a significant number of professionals who then head over to the Grand Palais. The fair brings a powerful vintage dimension to this intense week — a dimension that’s becoming increasingly rare.
How many exhibitors participate in the 24.39 fair, and where do they come from?
– For the 2025 edition, there will be fifty exhibitors, which is the ideal number. The breakdown is as follows: the exhibitors come from France (20), from Europe (15) — including Germany, Italy, and Belgium — and from the United States and Canada.
Can you tell me about the range of material that is offered at the fair?
– The first floor is dedicated to snapshots, anonymous, and vernacular photography. It’s a space that draws a lot of interest. The main hall and the mezzanine feature more historical photography — from rare, high-quality 19th-century works to major names of the 20th century. The full diversity of photographic production since its invention in 1839 is represented. The fair showcases prints from the 1840s to the late 20th century: daguerreotypes, salted paper prints, albumen prints, silver gelatin prints, and more. Each exhibitor brings a unique perspective and their own areas of interest — travel photography, documentary, anonymous works, or fine art photography. Prices range from just a few dozen euros to several thousand, with a wide selection between €300 and €3,000, making the fair just as welcoming to collectors as to curious visitors and young photography enthusiasts.
In February 2025, you did a pop-up fair outside Bruno Tartarin’s gallery in Galerie Vivienne. Have you done other pop-up fairs? Are you planning to?
– The pop-up fair was conceived as a kind of ricochet — a way to keep the momentum from November going. With Bruno’s support, we launched 24.39 One Box!: one morning, one breakfast, one box of photographs. A simple, light, and spontaneous format that breaks away from the usual routine. Nearly thirty dealers showed up! We’re very likely to do it again, with two planned dates: one in February 2026 and another in the spring.
You are part of a new generation of dealers and fair promoters coming into classic photography. What suggestions do you have for expanding the market?
– There are dynamic and accessible fairs across Europe — it’s important to make it clear that while they are independent, they’re part of the same broader network. But that message needs to be communicated, and the photographs need to be made visible. What matters is opening new doors, taking the public, new clients, and potential collectors by the hand, and giving them regular touchpoints. It’s about telling a story.
Take this example: no one really enjoys watching a rugby match if they don’t know the rules. But watch a great game with someone who explains what’s happening, and suddenly you want to get on the field yourself.
We need to inject new ideas and new methods. It’s not about a younger audience — it’s about more young people in the audience. Yes, buyers are essential, but so is sparking interest to cultivate the collectors and connoisseurs of tomorrow. We need students! A fair without students is a dead end.
Photography is everywhere, all the time — for vintage to remain relevant, it has to be current, assertive, and organized enough to claim its space — and quite literally, to appear on screens.
Vintage must be made desirable.