It's great that you're doing this. And I agree that it's a bang-up job.
I hope that you get to see more dyes. They all share common elements that make them beautiful, but it's interesting that the quality varies wildly.
A lot of Elliot Porter's dyes are rather mediocre - despite his strong identity with the process. And William Eggleston is all over the place. Some are very nice, while others have all the subtlety of a color Xerox.
I still remember being overwhelmed by Bruce Davidson's Subway show of oversized dyes. And Mappelthorpe's flowers were absolutely, meticulously flawless. These were a pet project of Frank Tartaro's. I made seps on most of these and Frank was rejecting whole sets of seps for a microscopic dust spot.
I bought some Harold Edgerton dyes a few years back (bullets going through apples and cards, etc.) and I'm tortured every time I look at them and see dirty highlights and plugged shadows. I wonder if sound engineers have trouble enjoying music?