ALBIN-GUILLOT, LaureMareMagnum
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Un des 700 exemplaires numérotés (n° 312 imprimé pour Henri de S...), préface de Maurice Garçon, 1 vol. in-folio en feuilles sous emboîtage éditeur rigide, Ateliers d'Impressions et de Cartonnages d'Art, s.d. [ 1945 ], 3 ff. et 20 planches en héliogravure Remarquable exemplaire, dans un étui certes très usagé, mais enrichi d'un bel envoi de la photographe Laure Albin-Guillot ("avec les sentiments admiratifs et infiniment reconnaissants de Laure Albin-Guillot, 26 janvier 1946") et surtout dont chacune des 20 héliogravures a été signée au crayon par la photographe (et numérotée, de 1 à 20) ! Nos recherches ne nous ont pas permis de découvrir d'exemplaire comparable, les planches n'étant habituellement pas signées par l'artiste. Etui fort. usagé avec manques, rouss. au premier ff., les héliogravures sont en très bon état. - A very scarce copy, enriched with a beautiful handwritten dedication by the famous photographer Laure Albin-Guillot ("avec les sentiments admiratifs et infiniment reconnaissants de Laure Albin-Guillot, 26 janvier 1946" [ "with the admiring and infinitely grateful feelings of Laure Albin-Guillot, January 26th, 1946" ] ) ; Most importantly, it must be pointed out that each of the 20 heliogravures was signed with a pencil by the photographer (and numbered, from 1 to 20) ! Despite a thorough research, we could not find any record of another copy with such features, i.e.with all the plates that are signed by the artist. Slipcase of this copy is very damaged and with lacks). Foxings can be seen on first sheet, as well. Nevertheless, the prints are in very good condition. Français
- Paris 1917, 6,3x8,6cm, une photographie. - Original photograph, likely unique and unpublished, of Pablo Picasso at the Casa di Marco Lucrezio, Pompeii spring 1917 Paris 1917 | 6,3 x 8,6 cm | one photograph Original photograph depicting Pablo Picasso in the spring of 1917 at the Casa di Marco Lucrezio in Pompeii, holding a twig, in front of a wall on which there is a Pompeian fresco. Contemporary silver print, perhaps unique, from Jean Cocteau's personal archives then the Maurice Sachs collection. Exceptional almost undiscovered and probably unpublished photograph taken by Jean Cocteau during the stay. On 16 April 1917, Picasso visits Pompeii accompanied by Jean Cocteau and Léonide Massine to prepare the ballet Parade, the first work described as "surrealist" by Guillaume Apollinaire, for the new season of Serge de Diaghilev's Ballets Russes. On his return, this initiatory journey inspired his monumental painting: the Parade stage curtain, a real visual signature of the ballet, marking the beginnings of Picasso's neo-classical period, and today preserved at the Musée national d'Art Moderne Georges Pompidou. Pierre Daix, in his bibliography dedicated to the painter, recounts the aesthetic shock caused by the discovery of the Pompeian frescoes: "Giovanni Carandente, to whom we owe the best studies on this trip, highlights that Picasso "was strongly struck by the animation and the sensuality that the cataclysm of the year 79 AD had brutally destroyed. If it is true, as he wrote to Gertrude Stein, that he immediately drew "many Pompeian fantasies which are a little daring", attracted as he was by the erotic elation that emerges from these licentious paintings, [...] these memories settled in him to emerge with force thereafter. [...] Everything that had made up the Pompeian universe was preserved on the site as well as in the National Archaeological Museum of Naples [...]. In its singularity, this universe contributed to enriching Picasso's cultural heritage with something more alive, more trembling than he had gained from his museum visits until then. He particularly loved the conciseness of the paintings: two or three years later, the impressions felt in Pompeii were to translate into a real creative explosion, a series of paintings which all bore traces of these never buried memories. This source was to remain alive until La Danse of 1925." (Pierre Daix, Picasso). Unique and early original photograph of Picasso, taken and printed by his friend Jean Cocteau, in a mythical place that will influence his aesthetic for the long-term. Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte. [FRENCH VERSION FOLLOWS] Photographie originale, représentant Pablo Picasso au printemps 1917 à la Casa di Marco Lucrezio à Pompéi, une brindille à la main, devant un mur sur lequel apparaît une fresque pompéïenne. Tirage argentique d'époque, peut-être unique, provenant des archives personnelles de Jean Cocteau puis du fonds Maurice Sachs. Exceptionnelle photographie inédite prise par Jean Cocteau lors de son séjour pompéien avec Picasso. Le 16 avril 1917, Picasso visite Pompéi en compagnie de Jean Cocteau et Léonide Massine afin de préparer le ballet Parade, première uvre qualifiée de sur-réaliste par Guillaume Apollinaire, pour la nouvelle saison des Ballets russes de Serge de Diaghilev. Ce voyage initiatique lui inspire, dès son retour, une peinture monumentale?: le rideau de scène de Parade, véritable signature visuelle du ballet, marquant les débuts de la période néo-classique de Picasso, et aujourd'hui conservé au Musée national d'Art Moderne Georges Pompidou. Pierre Daix, dans sa biographie consacrée au peintre, relate le choc esthétique engendré par la découverte des fresques pompéiennes?: «?Giovanni Carandente, à qui l'on doit les meilleures études sur ce voyage, souligne que Picasso "fut fortement frappé par l'animation et la sensualité que le cataclysme de l'an 79
- Paris 12 août 1916, 6,3x8,6cm, une feuille. - Original photograph likely unique taken by Jean Cocteau showing Pablo Picasso and Co in Montparnasse in front of the café La Rotonde, the 12 August 1916 Paris 12 august 1916 | 6,3 x 8,6 cm | one photograph Original photograph by Jean Cocteau taken on 12 August 1916, showing Manuel Ortiz de Zárate, Moïse Kisling, Max Jacob, Pablo Picasso and the model Pâquerette, his girlfriend at the time, posing in front of the famous café La Rotonde on Boulevard du Montparnasse in Paris. Contemporary silver print, probably unique, from Jean Cocteau's personal archives then the Maurice Sachs collection. This image was published in Billy Klüver's book entitled A day with Picasso: twenty-four photographs by Jean Cocteau (1997). However, Klüver states that he didn't know the original photograph and used a modern reprint from the negative in the Cocteau archives for his work. We have not found any other copy of our original photograph in international public collections. Billy Klüver has assembled and commented on the twenty-one photographs taken by Jean Cocteau on 12 August 1916 in Montparnasse, close to this intersection of the Boulevard Raspail and the Boulevard du Montparnasse, which was named Place Pablo-Picasso in 1994. They take us to the café La Rotonde, before which a beaming Picasso in a cap speaks with Max Jacob whose baldness shines in the sun, behind them Henri-Pierre Roché in uniform and Manuel Ortiz de Zarate, sit at a table on the terrace of the same café where Pablo is next to the glowing Pâquerette and the young Polish painter Moïse Kisling. Pâquerette, with her hair in a headband, a chic dress, is the queen of the encounter. [...] It's the relaxed life at the back. Pâquerette, or rather Émilienne Pâquerette Geslot, was then a star model of the fashion designer Poiret who was all the rage at the time. A real one-day film of Picasso outside of his studio." (Pierre Daix, Picasso) In his book, Klüver questions the presence of all these artistic authorities in the making in a Paris that is deserted by war. The answer is, according to him, to search in the direction of the Salon d'Antin, an exhibition organized by André Salmon in July 1916, in which all the protagonists of our photograph took part, with the exception of Pâquerette. It is also on this occasion that Picasso reveals his Demoiselles d'Avignon to the public. This extremely rare image, taken by Jean Cocteau with his mother's Kodak camera, immortalizes a moment of joy that depicts the artistic all-Montparnasse of the early 20th century. Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte. [FRENCH VERSION FOLLOWS] Photographie originale prise par Jean Cocteau le 12 août 1916, représentant Manuel Ortiz de Zarate, Moïse Kisling, Max Jacob, Pablo Picasso et sa petite amie de l'époque, le mannequin Pâquerette, posant devant l'iconique café La Rotonde, boulevard du Montparnasse à Paris. Tirage argentique d'époque, sans doute unique, provenant des archives personnelles de Jean Cocteau puis du fonds Maurice Sachs. Cette image a été publiée dans l'ouvrage de Billy Klüver intitulé A day with Picasso?: twenty-four photographs by Jean Cocteau (1997). Klüver précise cependant qu'il n'a pas eu connaissance de la photographie originale et que le cliché illustrant son ouvrage est un tirage moderne d'après le négatif des archives Jean Cocteau. Nous n'avons trouvé aucun autre tirage original d'époque de cette photographie dans les collections publiques internationales. «?Billy Klüver a rassemblé et commenté les vingt et une photographies prises par Jean Cocteau le 12 août 1916 à Montparnasse, tout près de cette intersection du boulevard Raspail et du boulevard du Montparnasse qui a été baptisée en 1994 place Pablo-Picasso. Elles nous conduisent du café La Rotonde, devant quoi un Picasso radieux en casquette parle avec Max Jacob dont la calvitie luit au soleil, derrière eux He
Fotografia originale timbrata e autenticata al verso, con firma di garanzia di Simone Giacomelli. Pubblicata in Enzo Carli, ''Giacomelli. La forma dentro. Fotografie 1952-1995'', catalogo della mostra di Senigallia, Rocca Roveresca 1995 Stampa alla gelatina sali d'argento. Cm 40,3x30. . . Ottimo (Fine). . . .
- s.d. (1938), Carton : 31,8x39,5cm / photographie : 27,4x35,2cm, une photographie contrecollée sur carton. - Photographic portrait of Sigmund Freud, signed by the photographer Engelman Shot May 1938 print ca 1980 | Cardboard: 31,8 x 39,5 cm / photo: 27,4 x 35,2 cm | one photo mounted on board Original photographic portrait of Sigmund Freud, in silver print made later by Engelman from the original negative. After the Night of Broken Glass, the young Jewish photographer Edmund Engelman (1907-2000) fled to the United States leaving behind his precious but compromising negatives of his clandestine photography. He did not recover them until after the Second World War, in 1952, from the psychoanalyst's daughter Anna Freud. Handwritten inscription signed by photographer Edmund Engelman in the lower margin of the photograph: "à Nadine Nimier Cordialement Edmund Engelman" ("To Nadine Nimier Sincerely Edmund Engelman"). Nadine Nimier was the wife of the writer Roger Nimier. She hosted "Les après-midi de France Culture", a show in which she received some well-known and highly respected psychoanalysts, namely Jacques Lacan and Françoise Dolto. It was on 20 January 1980 that she interviewed Edmund Engelman, then on a visit to Paris for the exhibition of his photographs at the Erval Gallery. A beautiful portrait of the founder of psychoanalysis taken in May 1938, shortly before his departure from Vienna to London. One hundred and six photographs were taken during Engelman's clandestine visit to Freud at 19 Berggasse in Vienna. Many of these photographs depicting the psychoanalyst's practice and art collection are known, but the artist only took a few portraits of the master. This photographic session was carried out at the request of August Aichhorn and bears witness to the last moments of the birthplace of psychoanalysis, a discipline from this point forward banned by the Nazi regime: "On Sunday 13 March, a meeting of the management committee of the Viennese Psychoanalytical Society took place and two decisions were taken: all members of the Society must leave the country as quickly as possible and the headquarters of the Society must be at the place where Freud will settle." ("August Aichhorn et la figure paternelle: fragments biographiques et cliniques" in Recherches en psychanalyse n° 1, 2004) Edmund Engelman in his book entitled La Maison de Freud Berggasse 19 Vienne published in 1979 recounts: "I remember both my excitement and my fear, that rainy morning of May 1938, as I walked through the deserted streets of Vienna towards 19, Berggasse. I carried my cameras, tripod, lenses and film in a small suitcase that seemed to get heavier with each step. I was convinced that anyone who saw me would know that I was going to see Dr Sigmund Freud, to accomplish a mission that the Nazis would not have appreciated. [...] I was afraid that there was not enough light to photograph the interior of Freud's house. Using flash or spotlights was out of the question as the Gestapo kept the house under constant surveillance. This unique document on the place where Freud had lived and worked over the past forty years, would have to be executed without arousing the slightest suspicion. I feared for my own safety as for the lives of the Freuds, and did not want to compromise myself by a misstep when they were so close to leaving Vienna safe and sound. [...] One weekend in 1933, at the summer residence of a friend, outside of the city, I had the pleasure of meeting a certain August Aichhorn who was closely interested in the highly controversial field of psychoanalysis and was, to my keen curiosity, a close friend of the famous professor Freud. [...] We quickly became good friends. [...] He confided to me that Freud, after a terrible harassment (raid of his house by the Nazis, detention of his daughter Anna), had finally received permission to leave for London, thanks to the intervention of senior figures and foreign diplomats. The Freuds, he t
album in-8 (mm 140 x 208), pp. 71, (3), legatura dell'epoca in raffinata tela marrone con titolo in oro su due linee arcuate al piatto anteriore (piccolo restauro alla cuffia superiore), decorazione fogliacea impressa a secco, identica a quella della prova di stampa realizzata su velluto con al centro del piatto aggiunta la dedica "A sua Maestà il Re" (esemplare ex Pregliasco 2010). L'album si compone di occhietto, titolo, 5 pagine di Notions préliminaires, 2 pagine di indice in fine, 31 tavole in cartoncino con applicate 30 fotografie originali ed ed una carta topografica. 29 fotografie misurano 8x12 cm mentre la panoramica di Aosta con angoli arrotondati misura 10,5x16,5 cm. Le vedute sono di Pont-St.Martin, Donnaz, Bard, Arnad, Verrez, Mont-Jovet, Chatillon, Ussel, Chambave, Fénis, Nus, Quart, La-Salle, Avise, Liverogne, Chateau de Montmajeur, Arvier, Villeneuve, St.Pierre, Aymavilles, Aqueduc de Pont d'Ael; seguono 8 particolari di Aosta e la veduta generale della città. Straordinaria pubblicazione, di grande importanza per la precisione documentale che le fotografie forniscono, rispetto ad esempio alle fantasiose incisioni su acciaio o legno dell'Aubert, pubblicate soltanto 9 anni prima. E' la prima serie fotografica della Val d'Aosta, eccezionalmente precoce per la la nuova tecnica e trattandosi di una valle all'epoca chiusa e non turistica. E' praticamente contemporanea al primo album fotografico di Torino, capitale e città internazionaleche 4 anni dopo sarebbe diventata capitale d'Italia."Turin ancien et moderne", già considerato di ottima data per la fotografia nel nostro paese e gli autori italiani, fu pubblicata intorno al 1867 dal francese Le Lieure . La Vallée d'Aoste monumentale, stampato in un limitatissimo numero di copie, ed è di eccezionale rarità, in un secolo apparso sul mercato in pochissime occasioni, è conservato alla Biblioteca d'Aosta e censito anche presso la Biblioteca Angelo Mai di Bergamo e la Biblioteca romana e emeroteca di Roma. Il testo preliminare di Meuta e Riva sottolinea il loro intento – per la prima volta nella storia della Valle – non pittoresco ma stretta-mente documentario, che inizia così: "Lorsque, il y a quelques années, nous parcourûmes la Vallée d'Aoste, en simple tourists, nous la trouvames sì imposante par ses restes d'antiquité, que nous resolûmes d'y retourner pour en rapporter quelques souvenirs, reproduisant par la photographie la pluspart de ses Monuments" e dopo un breve testo storico, termina con "la reproduction des principaux Monuments anciens, unique but de cet Album". . .
Außergewöhnliche Sammlung bestehend aus den 22 ersten Jahrgängen (1864-1885) der »Photographischen Correspondenz«, ein Korpus, der bis auf die wenigen fehlenden Beilagen die Blütezeit dieser bis 1971 erscheinenden, inauguralen Zeitschrift für Fotografie abbildet; dazu die Jge. 25 (1888) und 35 (1898). - Seit den frühen 1850er-Jahren war die Entwicklung der Fotografie in Fachperiodika umfänglich dokumentiert und befördert worden. In Frankreich (ab 1851), England und Österreich (ab 1854), den USA (1858) und Deutschland (ab 1860) waren Zeitschriften erschienen, doch keine wurde so früh so maßgeblich wie die Wiener »Photographische Correspondenz« für den deutschsprachigen Raum. Auch international ragte die Zeitschrift heraus. So hielt etwa der belgische Pionier der Fotoforschung Désiré van Monckhoven schon 1870 in einem Brief an Hg. Ludwig Schwank fest: „(…) wir haben im Französischen kein Journal, welches so getreu und complet die allenthalben gewonnenen Resultate der photographischen Forschungen reassumiert wie die photographische Correspondenz und ich glaube, dass in England selbst keines dieselbe übertrifft.“ (Starl, S. 85). - Die reichhaltigen Bildbeigaben, mehrheitlich Porträts, Genrebilder und Stilleben, aber auch einige Landschaften und Stadtszenerien (u.a. 2 Aufnahmen von Hermann Hochfeldt der Wiener Aspern-Brücke, 1865), bestanden zunächst v.a. aus Originalabzügen (deren 41 wurden in die Jge. 1-10 aufgenommen), die auf rückseitig oft mit Anzeigen bedruckten, starken Kartons aufgeklebt wurden. Sie stammten hauptsächlich aus Wiener Ateliers, z.B. von Ludwig Angerer, Fritz Luckhardt und Josef Székely. In der Folge wurden gedruckte Wiedergaben von Fotos dominant, wobei bereits etablierte Vervielfältigungsverfahren mit ökonomischen Nutzen für Ateliers und den Handel vorrangig Berücksichtigung fanden, z.B. Aubeldruck, Heliogravüre, Lichtdruck (u.a. die Albertotypie), Lithographie, Kupferätzung, Pigmentdruck, Reliefdruck, Silberdruck, Similigravüre, Woodburydruck und Zinkographie. Das Gros der Edeldrucke lieferten, neben den Wiener Ateliers, Werkstätten mit internationalem Renommee, wie Joseph Albert, Carl Aubel, Karl Klietsch, Charles Reutlinger, Lewis Rutherfurd und Walter Woodbury. - Die Texte der Zeitschrift verhandeln fototechnische und fotochemische Neuerungen, geben Anleitungen für Berufsfotografen, behandeln Drucktechniken, sowie wissenschaftliche, wirtschaftliche und ästhetische Aspekte der Fotografie. „Fixed to ideals of craftmenship, the magazine focused on composition, lightning, posing, and the different genres of photography. Fine Art was discussed in its practical aspects, from the discussion of printing processes to questions of the copyright for photographs.“ (Sachsse) Beiträger waren die Herausgeber, allesamt führende Exponenten der »Photographischen Gesellschaft in Wien«, heimische Fotografen wie Ludwig Angerer oder J. Löwy, oder Wissenschafter wie Ernst Mach, aber auch ausländische Fachleute, wie Friedrich Bruckmann, Louis-Alphones Davanne, Emilie Vogelsang, oder die Genannten. - Zustand: Jg. 4 (aus der Bibl. d. DÖAV) mit Stempel auf Titelbl.) ist nur als Textbd. vorhanden, die 12 Beil., wovon 4 Or.-Fotos, fehlen. Bindung aufgrund der Verwendung starker Montagekartons stellenweise gelockert, Vordergelenk von Jg. [?] gebrochen, Einbände teils etwas berieben und an den Kanten teils bestoßen, einige Tafeln im Zuge des Bindens beschnitten und mit leichtem Textverlust der Bildlegenden, einige Jahrgänge teils etwas stockfleckig, ansonsten kompakter Satz dieser fotohistorisch ausnehmend bedeutenden Zeitschrift. - Seltenheit: Die »Photographische Correspondenz« wurde nur für Mitglieder der Wiener Phonographischen Gesellschaft hergestellt (142 im Jahr 1864, ca. 500 um 1900), darüber hinaus wurden für verwandte Institutionen bzw. Inserenten einige wenige Tausch- und Belegexemplare gefertigt. Da die aufwändigen „artistischen Beilagen“ teuer waren, wird die Auflage wohl nur wenige hundert Exemplare betragen haben (vgl. Starl, S. 87). Gemäß JAP (1950ff.) und Auktionspreise online (ca. 1988ff.) sind größere Konvolute von Jahrgängen noch nie zur Auktion gelangt. - Literatur: Tim Starl: »Diese Zeitschrift ist für historische Studien sehr aufschlußreich.« Die Photographische Korrespondenz von 1864-1922. In: Michael Ponstingl, Hg.: Die Explosion der Bilderwelt. Die Photographische Gesellschaft in Wien 1861-1945. Publikation anlässlich der gleichnamigen Ausstellung in der Albertina, Wien (17. Juni bis 2. Oktober 2011). Wien: Brandstätter 2011, Ss. 80-93. - Otto Hochreiter/Tim Starl: Der zweite Durchblick. Bildbeigaben der »Photographischen Correspondenz« (1864-1971). Ausstellungskatalog Museum moderner Kunst, Wien, Juli/August 1984. Wien: 1984 (mit zahlr. Abb. v. Bildbeigaben; nennt im Vorwort vorliegenden Satz als Leihgabe). - Rolf Sachsse: Photographische Correspondenz. In: John Hannavy, Ed.: Encyclopedia of Nineteenth Century Photography. New York: 2007, p. 1095.
- Nadar, Paris 1862, Photographie : 5,1x8,5cm / Carton : 6,3x10,3cm, une photographie. - Photographic portrait of Charles Baudelaire with his hands in his pockets Nadar | Paris 1862 | Photograph: 5.1 x 8.5 cm / Cardboard: 6.3 x 10.3 cm | one photograph Extremely rare original photograph showing Charles Baudelaire on albumen paper, contemporary print in carte de visite format, mounted on a board from the Nadar workshop, 35 boulevart (sic) des Capucines; "Photographic portrait for us taken by Nadar. Taken the same day as the previous one, same dimensions, same clothes. The waistcoat is still unbuttoned but Baudelaire hides his hands in the pockets of his trousers. Seen face on, he seems more troubled and sadder than in the previous attempt." (Ourousof, 1896) "Another carte de visite from the same day as the previous no. 41 [...] a contemporary albumen print found in the Musée d'Orsay collections (Provenance: from the Braive collection, then the Marie-Thérèse and André Jammes collection, 1991, acquired by the Musées Nationaux with the support of the Heritage fund [...] Musée d'Orsay, fiche 39389) (S. Plantureux, Charles Baudelaire ou le rêve d'un curieux). This photo, taken in 1862, was sold between 1862 and 1871, as evidenced by the photographer's address on the back of the board. Only two of Baudelaire's poses seem to have been retained from this session. "If photography is allowed to replace art in some of its functions, it will soon have replaced or corrupted it altogether, thanks to the natural alliance it will find with the multitude of nonsense" wrote Charles Baudelaire in the Salon de 1859. We know of only fifteen different photographic portraits of Baudelaire, taken between 1855 and 1866 (three sessions at Nadar, three at Carjat and one at Neyt), for some of which there remains only one copy. Baudelaire and Nadar met in 1843 and their friendship endured until the poet's death in 1867. The photographer shot a total of seven portraits of his friend between 1855 and 1862. The two men, full of admiration for one another, paid each other moving tributes in their respective works: Baudelaire dedicated "Le rêve d'un curieux" "The dream of a curious man" (in Les Fleurs du Mal) to the photographer, who dedicated to him, in addition to the photographic caricatures and portraits, an unvarnished work titled Charles Baudelaire intime: le poète vierge (1911). Extremely rare and beautiful copy of this little-known photograph of Baudelaire by the most important French photographer of the 19th century. [FRENCH VERSION FOLLOWS] Rarissime photographie originale représentant Charles Baudelaire sur papier albuminé, tirage d'époque au format carte de visite, contrecollée sur un carton de l'atelier Nadar 35 boulevart (sic) des Capucines?: «?Portrait photographique à nous communiqué par Nadar. Fait le même jour que le précédent, mêmes dimensions avec même costume. Le gilet est toujours déboutonné, mais Baudelaire cache ses mains dans les poches de son pantalon. Vu de face, il paraît plus souffrant et plus triste qu'à la précédente épreuve.?» (Ourousof, 1896) «?Autre carte de visite du même jour que le n°4.1 précédent [...] un tirage d'époque albuminé se trouve dans les collections du Musée d'Orsay (Provenance?: collection Braive puis collection Marie-Thérèse et André Jammes, 1991, acquis par les Musées Nationaux avec le concours du fonds du Patrimoine [...] musée d'Orsay, fiche 39389)?» (S. Plantureux, Charles Baudelaire ou le Rêve d'un curieux). Ce cliché, réalisé en 1862, a été commercialisé entre 1862 et 1871, comme en témoigne l'adresse du photographe au dos du carton. Seules deux poses de Baudelaire semblent avoir été retenues lors de cette séance. «?S'il est permis à la photographie de suppléer l'art dans quelques-unes de ses fonctions, elle l'aura bientôt supplanté ou corrompu tout à fait, grâce à l'alliance naturelle qu'elle trouvera dans la sottise de la multitude?» écrivait Charles Baudelaire dans le Salon de 1859. On ne
- s.l. (Paris) s.d. (1907), 28,7x20,4cm, une photographie contrecollée sur carton. - Photographic portrait of Colette stretched out on a lion's skin [Paris 1907] | 28,7 x 20,4 cm | one photograph mounted on a board Rare and superb original photograph in contemporary albumen print mounted on a board showing Colette languidly stretched out on a lion skin and covered with a leopard skin. We have not been able to find any other copy of this photograph in international public collections including in the albums of the Bibliothèque Nationale de France (French national library). One similar photograph with a late dedication to Maurice Chevalier, went up for sale in 2008. A very beautiful and scandalous photograph of Colette, just separated from Willy, who performed a mime show in the Parisian music-halls creating scandal with her nudity. [FRENCH VERSION FOLLOWS] Rare et grande photographie originale en tirage albuminé d'époque, contrecollée sur carton, représentant Colette languissamment allongée sur une peau de lion et recouverte d'une peau de léopard. Nous n'avons pu trouver aucun autre exemplaire de cette photographie dans les collections publiques y compris dans les albums de la Bibliothèque nationale de France. Une photographie similaire, dédicacée tardivement à Maurice Chevalier, est passée en vente en 2008. Très beau et sulfureux cliché de Colette, tout juste séparée de Willy, qui se produisait comme pantomime dans les music-halls parisiens, créant le scandale par sa nudité.
In-4°; pp. (12), 85, (3), frontespizio stampato in rosso e nero. Legatura in cartonato coevo. Esemplare di dedica, inviato al chimico Giovan Battista Mazzacurati. Prima edizione rara. Opera di notevole importanza per la scoperta dei sali d'argento come sostanze fotosensibili, studio scientifico che aprì la strada alla nascita della fotografia. In questo studio, fondamentale per la storia della luminescenza, Beccari prende in rassegna una quantità straordinaria di sostanze luminescenti, organiche e inorganiche, che fu il primo a sottoporre a osservazione al fine di classificarli, fornendo un moderno metodo di classificazione della luminescenza secondo il sistema dell'eccitazione. I suoi esperimenti che approfondirono la conoscenza circa i fosfori, che godono della facoltà di diventare luminosi dopo l'esposizione al sole, e i loro effetti sul cloruro d'argento, contribuirono in maniera sostanziale allo sviluppo della tecnica dell'impressione fotografica. I materiali fosforescenti vengono infine considerati corpi elettrici, secondo un'associazione derivante dal nascente interesse per l'elettricità. Jacopo Bartolomeo Beccari (1682-1766) fu il primo professore ad avere una cattedra di chimica in Italia, a Bologna, ed è considerato a tutt’oggi il fondatore della moderna chimica italiana. È anche noto per la sua scoperta del glutine nei cereali. (JACOPO BARTOLOMEO BECCARI), De quamplurimis phosphoris nunc primum detectis commentarius, Bologna, Laelius a Vulpe, 1744 In-4 °; pp. (12), 85, (3), title page printed in red and black. Contemporary hardcover binding. Copy with dedication sent to the chemist Giovan Battista Mazzacurati. Rare first edition. Work of considerable importance for the discovery of silver salts as photosensitive substances, a scientific study that paved the way for the birth of photography. In this study, fundamental for the history of luminescence, Beccari reviews an extraordinary quantity of luminescent substances, organic and inorganic, which he was the first to put under observation in order to classify them, providing a modern method of classification of luminescence according to the excited state of a system. His experiments which deepened the knowledge about phosphors, which have the ability to become luminous after exposure to the sun, and their effects on silver chloride, contributed substantially to the development of the photographic impression technique. Finally, phosphorescent materials are considered electrical bodies, according to an association deriving from the rising interest in electricity. Jacopo Bartolomeo Beccari (1682-1766) was the first professor to have a chair of chemistry in Italy, in Bologna, and is still considered the founder of modern Italian chemistry. He is also known for his discovery of gluten in corn. Only 500 copies printed. Canterzani, p. 123, n. 14:"Di questa non comune edizione furono impressi 500 esemplari". E. Bequerel, La lumiére, ses causes et ses effects, 1868, I, p. 26; Harvey, History of Luminescence, pp. 156-158, 324-327; Partignon, III.339, Provenzal, Bio bibliografia di Chimici Italiani, pp. 27-29; Weeks, Discovery of the elements, p. 514; cf Beach, E. F., "Beccari of Bologna", in Journ. His. Med. 16 (1961), pp. 354-373; Quagliarello, Chimica biologica in "Un secolo di progresso scientifico italiano", Roma, 1939.
- S.n. , Paris [à la prison de la Conciergerie] s.d. [6 mai 1892], Cliché : 11,7x16,9 cm / Carton : 16,1x21,9 cm, une photographie. - [PHOTOGRAPH] Unique photographic portrait dated and signed by Ravachol as known to this day s. n. | Paris [at the Conciergerie prison] s. d. [6 May 1892] | photo: 11.7 x 16.9 cm / board: 16.1 x 21.9 cm |a photograph "Jugez-moi, messieurs les jurés, mais si vous m'avez compris, en me jugeant jugez tous les malheureux dont la misère, alliée à la fierté naturelle, a fait des criminels, et dont la richesse, dont l'aisance même aurait fait des honnêtes gens?!" "Judge me, gentlemen of the jury, but if you have understood me, in judging me, judge all the unfortunate people whose misery, united with natural pride, have made criminals, and for whom wealth, for whom affluence would have made honest people!" Superb original photographic portrait of Ravachol taken by Alphonse Bertillon, contemporary print on albumen mounted on bristol board. Extremely rare handwritten caption signed by the most famous of the French anarchists, written in his hesitant and naive handwriting, at the bottom of the photo: "1er mai 1892 Koningstein [sic] Ravachol" "1st May 1892 Koningstein [sic] Ravachol". The spelling Koningstein chosen by Ravachol differs from his father's surname (Königstein). This variation confirmed by the Maintron (Biographical dictionary of the social and labour movement) is found in particular in a piece of his writing by hand dated 13 April 1892 and kept at the Conciergerie. "?Un certain Varinard des Cotes a tracé son portrait graphologique. Il crut pouvoir noter l'absence d'orgueil et de vanité, la droiture et la loyauté des convictions" "A certain Varinard des Cotes drew his graphological portrait. He believed he could note the absence of pride and vanity, the righteousness and loyalty of convictions". (Ramonet et Chao, Guide du Paris rebelle, 2008). We have not been able to find any other copy of this photograph in international public collections or on sale at auction. Autographs of the "Christ de l'anarchie" "Christ of anarchy" are extremely rare. We know only of this unique, signed photograph of Ravachol with the exception of the one mentioned in the Conciergerie surveillance reports: "Le nommé Ravachol nous a fait voir sa photographie sur le recto de laquelle il a inscrit ces mots?: «?à tous ceux que j'ai aimé. Mon cur sera toujours près de vous, ma dernière pensée sera pour vous. Tous mes baisers" "The named Ravachol showed us his photograph on the front of which he wrote these words: "To all those whom I have loved. My heart will always be near you, my last thought will be for you. All my love". Signed Ravachol. He intended to send this photograph to his brother, along with a letter summarised as follows: "Comme vous le voyez, je suis souriant sur ma photographie, vous pourrez donc en déduire que mon sort n'est pas si triste que vous le pensez. Il ne me manque qu'une chose?: la liberté. Du reste je ne fais aucune différence entre ma vie en prison et celle que je menais auparavant. Toutes les deux ne sont que souffrance. Le vrai bonheur n'existera pour moi que lorsque je verrai la réalisation de mes projets, si cela ne se peut, je préfère la mort. J'envisage ces deux points le sourire aux lèvres?." "As you can see, I am smiling in my photograph, so you can assume that my fate is not as sad as you might think. I miss only one thing: freedom. Otherwise, I notice no difference between my life in prison and the one I led before. Both know only suffering. True happiness will only exist for me when I see my projects realised, if that is not possible, I prefer death. I consider these two points with a smile on my lips". (8 May 1892). We were un able to identify this photo and have found no other trace of it since this report. For that matter, we are not certain that this photograph still exists. Like ours, it was taken during a sitting at the Conciergerie prison on 6 May 1892 during which several po
Set numero 4 della serie in edizione limitata ''Six by Six'' che comprende: Robert and Kerstin Adams, Sally; Edward Burtynsky, Monegros (Dryland Farming); Kenro Izu, Blue; Catherine Opie, The Middle of Somewhere; Doug Rickard, A New American Picture; Issei Suda, Sparrow Island. Ogni libro contiene una fotografia originale sciolta, firmata e numerata dall'Artista (cm 34x27). 6 volumi Esemplare 74/100. 4to (cm 37x29). pp. 32/per volume. . Perfetto (Mint). . Prima edizione di 100 esemplari numerati (First edition of 100 numbered copies). .
Importante raccolta di 400 fotografie ca. riguardanti la Valle D'Aosta realizzate tra il 1930 e il 1950 da anonimo ma abilissimo fotografo. Tutte sono montate in modo omogeneo e ordinato su cartoncini d'epoca con relativa didascalia, nella maggior parte dei casi dattiloscritta, riportante con precisione localita' e data. Misurano da cm 12 x 17 a 24 x 18 (cui si aggiunge la dimensione del supporto in cartone) e sono contenute in cartelle. Interessante il fatto che il nostro anonimo fotografo abbia ripreso scorci e localita' assolutamente poco usuali e decisamente poco frequentate dal turismo montano dell'epoca che possono rendere evidenti cambiamenti geomorfologici di notevole importanza, oltre ovviamente a descrivere la trasformazioni di luoghi gia' antropizzati. A seguire forniamo una sommaria elencazione delle localita', rispettando la divisione con cui sono ordinate nella raccolta. Valle di Champorcher (15 fotografie): Costone Miserin - Lago Miserin - Catena divisoria con la Val Soana - Dondena - Champocher - Frazione Chatreau. Fondo valle (32 fotografie): Colle Hec Horn - Col de Joux - Pre S. Didier - Chatillon - Bard - Frazione di Aosta - Vallone di Laures - Sommarese - Valdigna - S. Nicolas -Avise - Castello di Monjovet - Arnaz - Chatillon. Castelli (12 fotografie): Fenis - Ussel - Cly - Verres - Villeneuve - Sptumian - Hone. Valpelline (68 fotografie): Oyace - Valpelline - Bionez - Lago lecher - Ghiacciaio Tsa de Tson - Frana di Chamin - Valle D'Ollomont - Rifugio Farinet - Bg. Vaud. Valle D'Ayas (8 fotografie): Ghiacciaio Verra e Bethorn - Lago Blu - Castore - Verso il Mezzalama. Valle di Challant (4 fotografie). Valle Del Lys (135 fotografie): Colle del Lupo - Ghiacciaio Lys - Cappella S. Anna - Vallone Pacoulla - Lago Vergna - Vallone Torrison - Vallone del Loo - Colle Macagno - Vallone Niel - Col D'Oleu -- Fontana Q. Sella - Gressoney Fraz. Staffal - La Trinite - Fontainemore - Vallone Netscio - Lago Torretta - Colle Gragliasco - Lago Balme - Niel. Val Grisanche (20 fotografie): Beauregard - Ghiacciaio del Ruitor - Fraz. Fornet - Fraz. La Bethaz - Valgrisanche - Fr. Laveg - Lago Harion. Valtournanche (26 fotografie): Conca del Breuil - Lago Blu - Fr. Crepin - Albergo Cervino - Finestra D'Erso - Torgnon - Mean e Vatournanche - Vallone di Petite Monde - N. S. Della Guarigione - Cappella S. Pantaleon - Antey. Val Savaranche (19 fotografie): Fr. Tignet - Gran Paradiso - Ghiacciaio Etret - Cianforon - Fraz. Creton - Fraz. Bien - La Grivola - Lago Djouan - Casa D'Orvieille - Point - Rifugio Citta' di Chivasso. Vallone di Champ De Praz (11 fotografie): Lago Valletta - Lago Nero - Cascata Pisoneti - Fraz. Gettaz. Val Clavalite' (12 fotografie): Val di Savoney - Il Piano - C. Fussi - Val Tervisina. Valle di Cogne (8 fotografie): Fr. Epina - Rifugio Sella - Valnontey - Fraz. Gimillian. Valle di Rheme (19 fotografie): Rifugio Benevolo - Fraz. Breuil - Introd - Grande Rousse - Vallone Entrelor - Val di Fos - Ghiacciaio Centelina - Fraz. Melignon. Valle Piccolo S. Bernardo e Gran S. Bernardo (10 fotografie): S. Rhemy - S. Oyen - L. S. Bernardo - Val di Thora - Fraz. Balma. Valle delle Laures (2 fotografie).
Set numero 6 della serie in edizione limitata ''Six by Six'' che comprende: Roger Ballen: Appearances, Disappearances, Reappearances; Mike Brodie: August 29th–September 8th 2012, Oakland, Ca–Oakland Ca, United States; Jim Goldberg: Ruby Every Fall; Katy Grannan/Hannah Hughes: The Glint of Light on Broken Glass; Idris Khan: Church Walk; Marilyn Minter, Florida 1969. Ogni libro contiene una fotografia originale sciolta, firmata e numerata dall'Artista (cm 34x27). 6 volumi Esemplare 74/100. 4to (cm 37x29). pp. 32/per volume. . Perfetto (Mint). . Prima edizione di 100 copie numerate (First edition of 100 numbered copies). .
Set numero 5 della serie in edizione limitata ''Six by Six'' che comprende: Jo Ann Callis, Performance; Thomas Demand, The Stove; Kikuji Kawada, Japan 1951-1960; Michael Kenna, Confessionali; Richard Misrach, Misrach; Andrea Modica, L'amico del cuore. Ogni libro contiene una fotografia originale sciolta, firmata e numerata dall'Artista (cm 34x27). 6 volumi Esemplare 74/100. 4to (cm 37x29). pp. 32/per volume. . Perfetto (Mint). . Prima edizione di 100 esemplari numerati (First edition of 100 numbered copies). .
Set numero 3 della serie in edizione limitata ''Six by Six'' che comprende: William Christenberry, House Near Akron; Eduardo del Valle e Mirta Gómez, On View; John Divola, LAX NAZ: Los Angeles International Airport Noise Abatement Zone (Exterior Views), 1975; Daido Moriyama, Fishnet; Karin Apollonia Müller, Timber Cove; Carrie Mae Weems, Slow Fade to Black. Ogni libro contiene una fotografia originale sciolta, firmata e numerata dall'Artista (cm 34x27). 6 volumi Esemplare 74/100. 4to (cm 37x29). pp. 32/per volume. . Perfetto (Mint). . Prima edizione di 100 esemplari numerati (First edition of 100 numbered copies). .
Set numero 2 della serie in edizione limitata ''Six by Six'' che comprende: Joe Deal, Karst / Pseudokarst; Tanya Marcuse, Wax Bodies; Joseph Mills, Psycho Path; Stephen Shore, Ashkelon; Alec Soth, Mostly Women; Risaku Suzuki, Atelier of Cezanne. Ogni libro contiene una fotografia originale sciolta, firmata e numerata dall'Artista (cm 34x27). 6 volumi Esemplare 74/100. 4to (cm 37x29). pp. 32/per volume. . Perfetto (Mint). . Prima edizione di 100 esemplari numerati (First edition of 100 numbered copies). .
Insieme composto da 12 fotografie originali, silver print, cm 27 x 39,5 ca. Stampa vintage. 1969. Al verso annotazioni manoscritte (Pier Paolo Pasolini, Medea, luglio 1969), ritagli di stampa. Su alcune foto compare il timbro del fotografo: Photographed by Mimmo Cattarinich. Pasolini giro' "Medea" ambientando le scene tra Turchia, Siria e Grado e chiamando Maria Callas a interpretare la protagonista. Questi dodici scatti di Mimmo Cattarinich raccontano alcuni momenti della lavorazione del film fermando quel rapporto di complicita' e di affetto che si creo' tra Pasolini e la cantante. Proprio il regista, parlando in seguito di questa produzione, ebbe modo di dire: "Ho pensato subito a Medea sapendo che il personaggio sarebbe stato lei. Delle volte scrivo la sceneggiatura senza sapere chi sara' l'attore. In questo caso sapevo che sarebbe stata lei, e quindi ho sempre calibrato la mia sceneggiatura in funzione della Callas. [...] Cioe', questa barbarie che e' sprofondata dentro di lei, che viene fuori nei suoi occhi, nei suoi lineamenti, ma non si manifesta direttamente, anzi, la superficie e' quasi levigata, insomma i dieci anni passati a Corinto sarebbero un po' la vita della Callas. Lei viene fuori da un mondo contadino, greco agrario, e poi si e' educata per una civilta' borghese. Quindi in un certo senso ho cercato di concentrare nel suo personaggio quello che e' lei, nella sua totalita' complessa". Mimmo Cattarinich, importante fotografo di scena, incrocio' Pasolini sul set di due film: 'Medea' e 'I racconti di Canterbury' superando ampiamente i limiti del mero lavoro di documentazione delle fasi del film. Come e' stato scritto in occasione della mostra 'La magia della luce. Mimmo Cattarinich fotografo di Pasolini', tenutasi nel 2011 presso il Centro Studi P.P. Pasolini di Casarsa, "le foto di Cattarinich restituiscono frammenti straordinari che vanno ben oltre i limiti ristretti del dossier fotografico, connaturato al mestiere e funzionale alla promozione post-produttiva del film, e invece sanno catturare e fissare momenti di verita' umana, corpi e volti di espressiva plasticita', squarci di paesaggi decantati da sensibilita' pittorica, atmosfere di set in pausa chiassosa e festosa...".
Splendido Volume in folio massimo (cm. 56) in mezza pelle coeva a sei nervi con titolo e data in oro al piatto anteriore. Roma - Ponte Cestio prima della Riforma 15 Agosto 1886. Raccoglie sei straordinarie foto originali all’albumina su doppia pagina (cm. 40x55 su cartoncino con didascalia di cm. 54x74) + 2 su una sola pagina, che mostrano il ponte prima della demolizione di 2 arcate. Rarissima ed unica documentazione su Ponte Cestio precedente alla parziale demolizione. Antonio D’Alessandri (L’Aquila 1818 - Roma 1893) insieme al fratello Paolo Francesco (L’Aquila 1824 - Roma 1889) fu titolare di uno studio fotografico a Roma. Lo studio, intestato “Fratelli D’Alessandri”, ebbe sede prima in Via del Babuino, poi in via del Corso e, infine, in Via Condotti. Fu tra i più affermati nell’Italia dell’Ottocento e per molti aspetti segnò in modo significativo la storia della fotografia italiana. Annota Silvio Negro, in uno dei suoi scritti sulla storia della fotografia a Roma, che il laboratorio dei fratelli D’Alessandri fu certamente il primo studio professionistico aperto nella Capitale; in tale circostanza don Antonio, come sacerdote cattolico, fu costretto a chiedere una specifica dispensa per esercitare liberamente il mestiere di fotografo, dispensa che l’autorità ecclesiastica gli concesse a patto di non ostentare sul lavoro l’abito ecclesiastico. L’appartenenza di don Antonio al clero, insieme all’indiscusso talento tecnico e artistico, favorirono il successo dell’impresa. I due fratelli ottennero infatti per primi i permessi per entrare in Vaticano e ritrarre il Pontefice Pio IX con la sua corte. Fu la grande Mostra della fotografia romana, tenuta nel 1952, a cura di Silvio Negro, a mettere in luce il ruolo centrale svolto dai D’Alessandri per la conservazione della memoria storica romana e a far conoscere a un grande pubblico il loro lavoro. Axs
2 années en 21 livraisons (sans la dernière livraison de l'année 1872) : troisième année en 10 fascicules de 319-[1] pp, quatrième année en 11 (sur 12) fascicules de 384 pp (sur 420), 37 (sur 38) + 31 (sur 36) tirages photographiques contrecollés en feuilles, sous couvertures de papier vert pâle de l'éditeur, boîte demi-toile brique moderne, pièce de titre noire en long. AVEC : 2 planches photographiques sous cadres janvier 1871 - novembre 1872, janvier 1871 - novembre 1872, in-8, 2 années en 21 livraisons (sans la dernière livraison de l'année 1872) : troisième année en 10 fascicules de 319-[1] pp, quatrième année en 11 (sur 12) fascicules de 384 pp (sur 420), 37 (sur 38) + 31 (sur 36) tirages photographiques contrecollés, en feuilles, sous couvertures de papier vert pâle de l'éditeur, boîte demi-toile brique moderne, pièce de titre noire en long. AVEC : 2 planches photographiques sous cadres, Troisième et quatrième années de cette revue médicale précieuse et rare, illustrée de photographies originales : plus rare encore, les livraisons sont ici TELLES QUE PARUES, non coupées et conservées sous les couvertures imprimées de l'éditeur. Notre ensemble est incomplet de la livraison de décembre 1872 (n° 12 de la quatrième année) et de la planche XXXI de la troisième année. Les planches XXIV et XXXI de la quatrième année sont présentées ici séparément, dans des cadres sous verre. La publication de la Revue photographique des hôpitaux de Paris commence en 1869. Elle change de titre à partir de 1873 pour prendre celui de Revue micro-photographique... et continuera ses livraisons jusqu'en 1876. Cette publication est le prolongement de la Clinique photographique créée en 1868 par Montméja et l'éminent dermatologue Alfred Hardy ; Arthur de Montméja, chef du service photographique de l'hôpital Saint-Louis, réussit pour sa Revue à convaincre le directeur de l'Assistance publique d'installer à Saint-Louis le premier atelier photographique des hôpitaux de Paris. Son dessein est de confier à des spécialistes des articles décrivant des cas pathologiques remarquables qui seraient illustrés chacun d'une photographie : celles-ci montrent ainsi les figures du corps, de ses maux et de sa pathologie dans ce qu'elle a de plus intéressant et de plus rare. La revue, qui parait en livraisons, est d'abord publiée en collaboration avec Jules Rengade (1841-1915), autrement connu sous son nom de romancier Aristide Roger, rejoint dès 1870 par Désirée-Magloire Bourneville, qui sera plus tard à la rédaction d'une autre fameuse revue illustrée de photographies, l'Iconographie photographique de la Salpêtrière. Pujade Sicard & Wallach, pp. 16 et 106 ; Canguilhem, Le merveilleux scientifique, p. 46
- Alger 1898, 26x19,5cm, relié. - Photograph album - Algiers 1898, photographs taken during the Anti-Semitic Riots. [Photographer's personal album with handwritten captions] Algiers 1898 | 26 x 19.5 cm | half shagreen Unique album containing 47 original photographs printed at the time on albumen paper, in various sizes (15 x 11 cm, 15.5 x 11 cm, 11 x 7.5 cm). The majority of the photographs have the information "Phot. Leroux Alger" on the plate. Each shot, with the exception of the last thirteen, is captioned in French in pencil on the lower right corner of the album. These captions, very precise since they are dated and even show the time of each event, make us think that it could be the photographer's personal copy. Contemporary binding in half burgundy shagreen, spine evenly sunned except a small area, double gilt fillets on the old pink boards lightly discoloured and foxed, gilt title and date on the first board, marbled endpapers. Some rubbing on the corners and grooves. Rare photographic report showing the anti-Semitic riots that took place in Algiers between 20 and 25 January 1898, following the Dreyfus Affair, the appointment of the former Prefect Lépine as Governor and the Crémieux Decree. "From 20 to 25 January, the mob rules the city's streets, roads and squares. The momentum of the police allows the Anti-Semites, sometimes helped by the Muslims, to undertake a war on the Jewish (the "youpinades"), plundering shops, vandalising homes, lighting fires and caning or stoning any passer-by thought to be Jewish. While the tension is at its height, there are many confrontations between the Jewish and anti-Jewish, resulting in injuries and one death, a Spaniard, Félix Cayrol who was stabbed by a Jew." (Catherine Bruant, La Valise en carton ou Les Deux Exils du père, 2016) The album that we have to offer shows precisely the plundering of the Jewish business, Cayrol's funeral procession and the military control of the demonstrations (cavalry, infantrymen, etc.). Several photographs in this album were used to illustrate the article dedicated to the riots published in Le Monde illustré n°2132 on 5 February 1898. The photographer, Alexandre Leroux, sent them to the newspaper who had them reproduced by the artist Louis Tinayre. It is a completely surprising album, Leroux mostly being known for his panoramas and portraits of natives; from here on he becomes a real journalist-reporter, using his photographic skills as part of his journalism. We have only found one other copy of this type of album in the Museum of the Art and History of Judaism (ahJ, Paris) which contains slightly different photographs. [FRENCH VERSION FOLLOWS] Très rare album contenant 47 photographies en tirage d'époque sur papier albuminé, de formats divers (15 x 11 cm, 15,5 x 11 cm et 11x7,5cm). La plupart des photographies présentent l'indication «?Phot. Leroux Alger?» dans la plaque. Chaque cliché, à l'exception des treize derniers, est légendé en français au crayon de papier dans le coin inférieur droit de l'album. Ces légendes, très précises car datées et précisant même l'heure de chaque évènement, permettent de supposer qu'il s'agit de l'exemplaire personnel du photographe. Reliure de l'époque en demi chagrin bordeaux à coins, dos lisse uniformément insolé hormis une petite zone où se trouvait une étiquette, doubles filets dorés sur les plats de cartonnage vieux rose légèrement décolorés et piqués, titre et date dorés sur le premier plat, gardes et contreplats de papier peigné. Quelques frottements au niveau des coins et des mors. Rare reportage photographique témoignant des émeutes antisémites, ayant eu lieu à Alger du 20 au 25 janvier 1898, à la suite notamment de l'Affaire Dreyfus, de la nomination de l'ancien préfet Lépine en tant que gouverneur et du décret Crémieux. «?Du 20 au 25 janvier, la foule est maîtresse des rues, artères et places de la ville. L'inertie de la police permet aux antisémites, parfois aidés des musulmans, de procéder à une vé
- Par l'auteur, s.l. 1981-1982, 22x22cm sur papier Ilford 30x40cm, une planche photographique. - Portrait of Andy Warhol. Original photograph printed by the artist Marc Trivier | 1981-1982, 22 x 22 cm | on Ilford paper 30 x 40 cm Large original photograph portrait in black and white, made and printed by Marc Trivier. Unsigned silver print, as most of Trivier's works. Unique print from the artist. Small stain on the upper margin. Artists, madmen, abattoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "Thirty-five years of photographic practice, obsessions, this is maybe what remains; a singular recording mode of light burning, from one picture to the other, in a series of proposals looking alike, though each one as singular as the fraction of time it refers to" (Marc Trivier). Marc Trivier takes facial photographs of figures from the eighties. The subject looks right into the lens. These are not portrait star photographs, but they are the result of a will of desacralisation: "Instead of being a writer's or artists' portraitist among many others, he marginalises himself with his device: under the pretext of settings, he keeps his models waiting, he makes them pose several minutes, which gives them a worn look. Maybe he expects a more natural attitude. Here is Francis Bacon in a delicate balance, Samuel Beckett, Jean Dubuffet or even Michel Foucault, more or less sagged back in their chairs. Intimate pictures." ("Picture of tiredness at Marc Trivier's", S. Rousselle-Tellier, in Marges, 2004). Most of the time photographed in their personal space, the subjects loosen up, no longer mastering their image. The resulting unbalance reveals these figures' frailties and allows Trivier to render the unity of the intimate body and the public artworks. "I was reading Genet; to me, Genet was letters in a book. And then one day I saw his portrait, and there was like a rupture. How could it be possible that these signs were also somebody? Making a portrait is reuniting the name and the face" (Marc Trivier). Many items seem to oppose Warhol and Trivier. Andy Warhol is the artist of the multiple. His art was born from the metamorphosis of the consumerist artificial and mocks the proliferation of the identical. Marc Trivier is an adept of rarity, and each one of his photographs comes down to some rare prints, all differing in time and the artist's prints. Andy Warhol knows the importance of image, which even ends up replacing the individual. He knows people play roles and this is the image he captures. His various series on Elvis Presley, Marilyn Monroe or Mao show the transition to the icon status which makes these human beings immortal, and destroys their humanity to change them into pieces of art. On the other hand, Trivier's photographs strengthen the presence of an unwieldy body the artist cannot get rid of, an obstacle to sacralisation. Warhol's known photographic clichés, faithful to his spirit, represent him either as a rock star, proudly wearing his perfecto and sunglasses as his protégé Lou Reed, or as an eccentric artist with his tousled hair, or simulating a boxing match against Basquiat. Each one of his photographs is a clever exposure of his character, pushed to excess, image of his own image, which the modern icon master fully controls. Warhol's photography made by Marc Trivier shows a complete different person. Unbalanced by a slight low-angle view, projected on a black canvas behind him, cutting out the scene in a triptych, Andy Warhol's body seems to emerge from this dark background, whereas his legs and heavy boots, slightly oversized by the shooting, take pride of place in the foreground. Surprised by the lengthy wait Trivier imposes t
60 photos inédites de Brassaï publiées dans la Collection "Réalités", sous la direction de J. Bernier, 1 vol. in-8 cartonnage illustré à reliure spirale éditeur, Editions "Arts et Métiers Graphiques", Paris, s.d. [ 1933 ], 6 ff. et 62 pp. Exceptionnel exemplaire de l'édition originale, enrichi d'un magnifique envoi autographe signé de Paul Morand : "à Henri de Régnier, ce livre, qui commence comme la Cité des Eaux et qui finit comme un roman naturaliste. En le remerciant de son livre, véritable comprimé de poésie ; livre d'autant plus précieux qu'on ne peut lire les poètes qu'on aime qu'en voyage ; sans aucun excédent de bagages, j'emporterai désormais partout une oeuvre admirable. Son ami respectueux Paul Morand". Paul Morand évoque sans doute ici "Airs pour l'écho", petit recueil de poésie publié par Henri de Régnier en 1933. Bon état (très petit accrocs angulaire sans manque au second plat) pour cet ouvrage fameux, dans lequel Brassaï se révèle comme un grand maître de la photographie nocturne. Français
1 Cartella in cartonato telato blu di 65x50 cm., contenente un frontespizio con la presentazione e 12 fotografie in b/n di vari formati, tutte numerate e firmate a penna dall'Autore, ottime condizioni La cartella contiene 12 fotografie e fotogrammi degli anni 1933-1940, montate in passepartout 50x65 cm.. Tutti i fotogrammi e le fotografie sono stampate sulla carta e nelle dimensioni uguali a quelle delle copie originali. La stampa delle copie ? stata eseguita da J. Von Pape, Monaco. L'edizione, firmata e numerata dall'artista, ? limitata a 35 esemplari di cui 30 numerati 1/30 e 5 numerati I/V (questo ? il nr. III/V).
- s.d. (ca 1952-1960), 20,3x25,4cm, une photographie. - Photographic portrait inscribed by John Fitzgerald Kennedy [ca 1952-1960] | 20.3 x 25.4 cm | a photograph Photographic portrait inscribed by John Fitzgerald Kennedy, contemporary silver print in black and white offered to a teacher and her pupils. Handwritten dedication signed by the future president of the United States, then Senator: "To Miss Annegers and the boys and girls of Horace Mann Junior High School with very good wishes. Senator John Kennedy." A small piece missing at the upper left margin as well as pin holes in the four corners of the photo. [FRENCH VERSION FOLLOWS] Rare et précoce portrait photographique dédicacé de John Fitzgerald Kennedy, tirage argentique d'époque en noir et blanc offert à une professeure et ses élèves. Envoi autographe signé du futur président des Etats-Unis, alors sénateur : "To Miss Annegers and the boys and girls of Horace Mann Junior High School with very good wishes. Senator John Kennedy" Un petit manque en marge haute gauche ainsi que des trous de punaises aux quatre coins du cliché.
