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DOCUMENTARY PHOTOGRAPHY TWO-DAY AUCTION: 19-20 JUNE 2015 2 PM

AUCTION N째 56

“Documentary Approach to Photography. The use of the word documentary in connection with photography is comparatively new (...) It is important to bear in mind that documentary is an approach rather than an end. Slavish imitation of the style of other workers is meaningless. Photography has suffered from imitation almost more than the other arts; various movements have been so blindly followed that the force of the original impetus has been lost. Pictorialism had a definite aesthetic place so long as it was not practised as an end. And so it is with documentary. Because the majority of best work has been concerned with the homes and lives of the underprivileged, many pictures have been made as documentaries... the texture of weathered boards and broken window-panes, taken for their picturesqueness, may and often do form photographs of great beauty. But unless they are taken with a seriously sociological purpose, they are not documentary (...) The documentary photographer is not a mere technician. Nor is he an artist for art’s sake. His results are often brilliant technically and highly artistic, but primarily they are picturial reports. First and foremost he is a visualizer... he reads history... for this reason his pictures will have a different, and more vital, quality than those of a mere technician...” (Beaumont Newhall, Documentary Approach to

DOCUMENTARY PHOTOGRAPHY TWO-DAY AUCTION: 19-20 JUNE 2015 2 PM VIEWING: PARIS, 5, RUE DU PERCHE 03.06 / 08.06.2015 BRUSSELS, 40, RUE DE L’AQUEDUC 12.06 / 18.06.2015 ONLINE AUCTION WITH DROUOTLIVE.COM

THE ROMANTIC AGONY, 40 rue de l’Aqueduc +32 25441055 auction@romanticagony.com

Photography, Parnassus, March 1938, p.3).

Detail of Lot 184. Cover illustration: lot 135.

Reference to quote: Auction 56 + lot number Price: 10 euros (20 euros with postal delivery)

“But the documentary approach does not stop with the print... Presentation is a vital part of documentary photography. The photography is not valid as a document until it is placed in relationship to the beholder’s experience. It is paradoxical that, although a photograph may be better than a thousand words, the addition of one or two words make it even more concrete and forceful. Thus when Le Secq signed his negative “Chartres 1852” he immediately gave the photograph an increased value as a document” (Beaumont Newhall, Documentary Approach to Photography, Parnassus, March 1938, p.4).

19 June 2015 at 2 pm Documentary Photography Viewing: Paris, 5, rue du Perche 03.06/ 08.06.2015 Brussels, 40, rue de l’Aqueduc 12.06/ 18.06.2015

Principles of Description and Due Diligence • The cataloguing principles used have been specially established to describe the history and stigma of authentic positive photographic prints, pictures and not images or late editions. When comparable prints were accessible, the lots offered in this auction have been compared in quality and priority. • The identifications have been carefully checked, when a print could not be attributed, there is an indication of the society where its creator lived. • The provenance and legitim origin of every lot have been carefully checked in order to propose to the buyers a peaceful enjoyment of their properties.

AUCTION 56 CONTENTS Before Photography, Mona Lisa, Martens

Lots 1-10

Daguerreotypes

11-21

Calotypes

22-42

Charles Nègre

43-47

Baldus, Bisson, Marville

48-63

Gustave Le Gray

64-65

Golden Age of Photography

68-99

• The following cataloguing order is adopted:

Commune de Paris

100-108

• Name of the photographer or atelier, followed by the dates,

A. Gilles’ Panorama of Paris

119-120

• Title, in italic when given by the photographer, with the geographical location and date of production of the print, the abbreviation “c.” means “circa”,

Galerie contemporaine, Rogues Gallery

121-122

Platinotypes, Hippolyte Blancard

123-134

• Material description, photographic process, dimensions of the print (never the mount) in mm, height before width, signatures, stamps and captions,

Vincent Van Gogh

135-136

Eugène Atget

147-148

• Comments, quotes, history of publications and eventual exhibitions,

Travels to Moscow and Samarkand

156-168

Arthur Grenier’s Deauville

172-178

Arnold Genthe

189-194

Hedwig Arnheim, Bauhaus Avant-Garde

197-205

Robert Capa, Moses Nappelbaum

206-209

Tokyo in the 1930’s

217-229

Henri Cartier-Bresson

255-256

• Estimations, the low and high estimates are separated by one or two bids increases. The reserve corresponds to one bid under the low estimate. For example, when lot 14 has an estimation of 800/1.000 euros, orders and commissions will be accepted from 700 euros, level where the auction will start. Serge Plantureux ROMANTIC AGONY bvba Aquaducstraat 40 rue de l’Aqueduc Brussel B-1060 Bruxelles VAT-TVA BE 462 678 914 tel +32 2544 1055 auction@romanticagony.com

Brassaï for Michel Braive

259

[LEONARDO DA VINCI] Mona Lisa (in reverse), Munich, Eduard Clemens Fechner, 1823 Lithograph printed with grey tone plate, 435x320 mm, captioned : “Leonardo da Vinci pinx, Gedruckt von Jos. Selb, Fechner del.” ( Königlich Baierischer Gemälde-Saal zu München und Schleissheim in Steindruck). € 300/400

[LEONARDO DA VINCI] La Joconde, dessinée et gravée par Mme A. Fauchery, Paris, Goupil, 1842 Engraving, 298x200 mm, grey bordure, large margins, 550x400 mm. “Madame Fauchery a lithographié la Joconde. Que de Jocondes, grands dieux ! que de Jocondes !“ (Beraldi, 1887). La célèbre maison Goupil va en publier d’autres. € 300/400

[LEONARDO DA VINCI] AUBRY-LECOMTE

Mona Lisa (in reverse), lithographié par Aubry-Lecomte, Paris, 1824

Mona Lisa, Paris, 1827 Lithographic print on thin paper, “papier de chine”, 122x85 mm, leaf with margins, 260x200mm, credit : C. Lorichon. € 400/500

Lithographic print, 294x194 mm, large margins, 425x315 mm, printed caption: Imprimerie de C. Constans. € 300/400

[LEONARDO DA VINCI ] AUBRY-LECOMTE

[LEONARDO DA VINCI] LORICHON

[LEONARDO DA VINCI ] EICHENS

Mona Lisa moglie di Francesco del Giocondo, lithographié par Aubry-Lecomte, Berlin, 1824

La Joconde, lithographiée par Hermann Eichens, Paris, 1841

Lithographic print, 294x194 mm, with larges margins, 565x430 mm, “Aubry-Lecomte 1824, Königl. Lith. Institut in Berlin”, pencil inscription in lower margin. € 300/400

Lithographic print, 335x222 mm, with large margins, 448x315 mm, printed captions: Imprimerie Lemercier Benard & Cie. This work was exhibited at the Paris Salon, 1841.

€ 300/400

[LEONARDO DA VINCI] MLLE BÈS, ALLAIS & CONSTANT

Mona Lisa, deux états, 1829-1857 Two (2) engravings, 378x275 mm.

Jocondes, Paris, 1824-1840 Three (3) lithographic prints (in reverse), 262x200 mm (Bès), 195x145 mm (Allais, Durand), 220x190 mm (Belliard, Constant). Three candid interpretations. Miss Bès’ is among the earliest, cf. Bibliographie de la France, ou, Journal général de l'imprimerie, 1824, p.101

(3) € 400/500

[LEONARDO DA VINCI] CALAMATTA

Two interesting states of the lifelong attempt by Italian artist Luigi Calamatta (1801-1868) to engrave the best possible enigmatic Mona Lisa. He received the gold medal in Paris, 1855, for Prix de gravure. (2) € 500/600 9

[LEONARDO DA VINCI], GAILLARD Mona Lisa, gravée par Gaillard, 1887 Steel engraving, 403x320 mm, “état de la planche à la mort de l’artiste”, numbered. Posthumous incompleted print in an edition of 125 copies (n°99). € 300/400

FRÉDÉRIC MARTENS (1806-1885) Panorama von Paris, panoramic view 360°, Paris, c. 1834 Handcoloured aquatint, 510x990 mm, printed caption. A very rare intact complete printed sheet with both panoramic views after Jean-Philippe Schmidt, one from Chaillot (top of the page) and the other from the Notre-Dame bell towers, tête-bêche. (Cf. Georg Kaspar Nagler, Neues allgemeines Künstler-Lexicon: oder Nachrichten von dem Leben, München, 1839, IX, p. 354). € 1.500/2.000

“Sir, A thousand pardons if I take the liberty of addressing the present to you. – At the Great Exhibition of 1851, I had the pleasure & honour of being introduced & at the same time you were kind enough to address a Letter... I am desirous of engraving on Steel by means of the Talbotype... Having consulted & examined with attention all the systems of engraving by light on metals, I have found that your basis of Bichromate of Potasse is without doubt the best... It is a pity that the Mordant which you indicate (platinum) as the only one suitable is so high in price. Your kind advice will be very precious to me & most gratefully acknowledged. Pray accept the assurance of my highest esteem. Martens, Artiste” (letter to W.H.F. Talbot, 05.09.1868).

JOSEPH-PHILIBERT GIRAULT DE PRANGEY (1804-1892) Palais de France, Bas-relief, Louxor, 1844 Half plate daguerrotype, 183x116 mm, original manuscript label at verso “ 164. Louksor, Bas rel. (Palais de France)”. Interesting composition, depending of the incident light, the bas-relief shape disapears in a wall made of blocks of stone. Repr. Luminous Lint. “Esprit fort et indépendant né après la Terreur, Joseph-Philibert est le dernier descendant des seigneurs de Vitry dont le fief de Vitry-lès-Nogent (Haute-Marne) a été entièrement détruit au début du XVIIe siècle. Il naît à Langres, l’antique Andemantunum, ville gallo-romaine dont le nombre d’habitants n’a pas bougé depuis vingt siècles. Girault y étudie les arts avec son ami le futur peintre Jules-Claude Ziegler (1804-1856), puis ensemble ils partent pour Paris parfaire leur formation dans les ateliers de Ingres et Heim... En avril 1842, muni de l’équipement le plus perfectionné du temps, de ses fioles de mercure volatil et d’une grande chambre au châssis de format 24×19 cm, Girault de Prangey s’embarque à Marseille pour un voyage de 24 mois. La première étape est non seulement symbolique mais stratégique c’est la villa Médicis à Rome. Pendant 3 mois, il trouve, complète et rassemble les indices nécessaires à son expédition... Puis Joseph-Philibert parcourt tour à tour Athènes en juillet 1842, Alexandrie en septembre, Le Caire, Constantinople, l’Asie Mineure, la Palestine, La Syrie, le Liban, Baalbeck, Jérusalem pendant toute l’année 1843 avant de retourner au Caire en février 1844 d’où il peut pousser à Assouan et Philae. Girault se permit de signer cette expédition et l’on retrouve son nom dans la pierre des lieux chers à son âme. Baalbeck abrita dans le temple du soleil le dernier refuge des païens, Philae protégea les derniers prêtres des dieux égyptiens. L’artiste daguerréotype selon cinq formats, tous inscrits dans le rectangle de son châssis,déjà très proche de la norme devenue universelle et connue sous le nom de “18x24”. — la pleine plaque, environ 24×18 cm, saisie dans le sens horizontal ou vertical, — la demi-plaque (1/2 plate), 12×18 cm, saisie dans le sens horizontal ou vertical, — la demi-plaque panoramique, 9×24 cm, étonnante audace oubliée par la suite, — le quart de plaque (1/4 plate), 12×9 cm, — le sixième de plaque (1/6 plate), 8×9 cm. Ainsi, de ses 300 plaques initiales de cuivre argentées au format 24x18, il parvient à réaliser près de 850 compositions, la majorité étant de petits formats. Les plus médiocres sont effacées aussitôt puis repolies et réutilisées jusqu’à obtenir un résultat satisfaisant pour l’artiste”. Provenance: Christie’s - NY (Sale: 2396, Lot: 53 - Oct 7, 2010.

€ 8.000/10.000

actual size

HIPPOLYTE FIZEAU (1819–1896) N° 1, lundi 7 août, Paris Rooftop (St Sulpice), 1843 Daguerrian plate subtly engraved by the effect of a complex acid, 40x80 mm, drypoint indications by the artist, verso “lundi 7 août, n°1”. A small gem, Paris Roofstop from a young student’s window, a direct reflection in a golden eye from the very first years of the discovery. A talented student who first calculated the speed of light then improved daguerreotype quality adding gold elements. Fizeau wrote the date of experiment “n°1” with a drypoint, August 7th, 1843 is a Monday indeed. Soon he will bring his new idea to the Paris scientific audience : Armand Hippolyte Fizeau, étudiant en médecine àParis, 17, rue du Cherche-Midi, a déposé le 12 septembre 1843 à2 heures du soir : “Monsieur le Ministre, J'ai l'honneur de vous prier de vouloir bien m'accorder un brevet d'invention de dix années pour un procédéde gravure photographique dont je suis l'inventeur ... Le procédé repose sur les faits suivants que j'ai découverts : 1). Un acide mixte étant versésur une image de Daguerre attaque l'argent pur avec formation de chlorure, mais l'action s'arrête bientôt.” Provenance: Pierre Lambert, Marie-Thérèse et AndréJammes (Vente II, n°41), collection JeanPierre Faur. € 5.000/6.000

FORTUNÉ JOSEPH PETIOT-GROFFIER (1788-1855) Self-portrait in his studio, 7’, Châtenoy-le-Royal near Châlon-sur-Saône, July 1841 Daguerreotype, 1/2 plate, 162x110 mm. One of the earliest documented European photographic self-portraits, July 1841. Provenance: Fortuné Petiot-Groffier, Marie-Thérèse et André Jammes. € 8.000/10.000

FRENCH AMATEUR DAGUERREOTYPIST

ALPHONSE PLUMIER (1819-1877)

Blazing Sun, Balcony Portrait, Paris c. 1845

Studio Portrait of a Young Belgian with Spectacles, Liège or Brussels, c. 1845

1/6 plate daguerreotype, 40x80 mm, original mount and white paper.

1/4 plate daguerreotype, 100x77 mm, original mount with Plumier bros printed label :“Breveté SM Le Roi des Belges, à Liege, à Bruxelles, à Paris”. Alphonse Plumier, after learning the art with Charles Chevalier, first settled in rue Vivienne, Paris. € 1.500/2.000

In the first years of photography, on shiny days, Parisian amateur photographers typically transformed the the upper floors balconies in improvised studios. € 800/1.000

CIRCLE OF JAMES PRADIER (1790-1852) LEMAIRE & S. MARCHI Three Pradier Sculptures to be viewed in 3D, Paris, 1853 Three (3) stereo daguerreotypes, green printed label :“Toutes les épreuves non revêtues de ma signature seront considérées comme contrefaçon, attendu que j’ai seul le droit de reproduire tous les modèles des œuvres de Pradier, Mr S. Marchi est l’éditeur propriétaire“ (All photographs not covered with my signature are considered as counterfeit, whereas only I have the right to reproduce all models of artworks of Pradier, Mr. S. Marchi is editor, owner).. Antoine Louis Lemaire, an Opticien Fabricant, 32 Passage du Saumon, Paris, invented the Polyorama Panoptique. Provenance: Mme Pradier, collection Marie-Thérèse et André Jammes, collection Jean-Pierre Faur. (3) € 2.500/3.000

CIRCLE OF JACQUES AUGUSTIN DIEUDONNÉ (1795-1873) Alexandre le Grand terrassant le lion, Paris, Jardin des Tuileries, Salon de 1843 Half plate daguerreotype, 163x122 mm, mark on the plate : “40 b”. Rare document on the outdoor sculptures exhibition during the Salon de 1843, in the Tuileries Gardens. In 1843, few photographers could realize such an handsome plate. This sculpture won Dieudonné his first award, a third class medal in 1843 for the plaster, and then the Cross of Knight of the Legion of Honor awarded June 29, 1867, and the final bronze Alexander Slaying the Lion finally acquired by the Second Empire (Cf. Wilhelm Tenint, Album du Salon de 1843, et Revue Artistique et Littéraire, 1867). € 4.000/5.000

LUIS GARCIA HEVIA (1819-1877) attr.

Portrait of a Wealthy Man, Bogotá, c. 1845

Portrait of a Young Colombian, Bogotá, c. 1845

Quarter plate daguerreotype, 102x77 mm, original paper mount.

1/6 plate daguerreotype, 80x70 mm, with its original paper mount.

A similar presentation with paper can be found for some Luis Garcia Hevia portraits in Colombian institutional collections. € 1.500/2.000

Similar general aspect and presentation of this portrait and the Luis Garcia Hevia portraits in Colombian institutional collections. € 1.500/2.000

JOHN AMSTRONG BENNET

Portrait of a Colombian Patrician, Bogotá, 1848

Possible portrait of Gaspar Bodmer, Jeweller, Bogotá, 1848

1/6 plate daguerreotype, signed on mount.

1/6 plate daguerreotype, 78x68 mm, signed on the cloth in the case.

Bennet opened the first photographic studio in Colombia in 1848, after some practice in Buenos Aires. He sold his studio in May 1849 to Enrique Price. € 1.500/2.000

The identification of the sitter comes from a piece of silk behind the plate. Maybe Bodmer did provide daguerrian plates. € 1.500/2.000

WILLIAM HENRY FOX TALBOT (1800-1877) Loch Katrine, 19-21 octobre 1844 Calotype, 185x228 mm, watermark “Whatman Turkey Mill, 1840”. One of the nicest Sun Pictures in Scotland.

€ 6.000/8.000

DAVID OCTAVIUS HILL & ROBERT ADAMSON Portrait of a Young Man, possibly Adamson, Edinburgh, c. 1845 Original paper negative, 174x130 mm, waxed after 1851. A paper negative is not always dark, and the image is not as visible on the back of the paper. A digitally print can be compared with a portrait of Adamson similarly dressed (suit, waistcoat, cravat), having his right index finger acting as a book mark. € 5.000/6.000

VICTOR ET CHARLES HUGO, AUGUSTE VACQUERIE

Ernest Lefevre avec bacchantes, face et profil, Jersey, 1854

Général Mészáros dans “sa pelisse donnée par le Sultan” Jersey, spring 1853

Two salt paper prints, face, 127x105 mm, varnished (vernis-cuir) and profile, 140x95 mm, on paper mounts.

Salt paper print, 102x78, unmounted.

Ernest Lefèvre, nephew of Auguste Vacquerie, became one of Hugo’s executors. Hugo wanted to document all visitors. “The use of the word documentary in connection with photography is comparatively new. Paul Gruyer calls the camera record of Hugo’s exile in Jersey “le premier document photographique sur une époque” (Beaumont Newhall, Documentary Approach to Photography, Parnassus, 1938). (2) € 2.000/2.500

A variant portrait in Orsay. “General Lázár Mészáros (1796-1858), was the Minister of War during the 1848 Hungarian Revolution... After the Battle of Temesvár and the ensuing failure of the war of independence, he left Hungary on 14 August 1849 for Turkey. About 1.500 refugees were listed and when Turkey rejected their extradition, the Russians hinted the threat of a war, the English and the French promised to help Turkey in case of a conflict.... Mészáros settled in May 1851 in France, which he left upon Napoleon III's coup d'etat in December 1851. He went to the Isle of Jersey, and meet Victor Hugo who had set up a photographic studio. In the summer of 1853, Mészáros moved to the United States”. € 2.500/3.000

FRENCH PRIMITIVE PHOTOGRAPHER Statuaire grecque au grenier, Paris, c. 1855 Salt paper print, 235x335 mm, original mount. Remarkable lighting from the ceiling before any gas or electric light existed in Paris, hust from a “vasistas”, (etym. : Was ist das ?). € 700/800

CLAUDE-MARIE FERRIER (1811-1889) John Bell’s Andromeda, Chrystal Palace , 1851 Salt paper print from an albumen glass negative, 175x135 mm, varnished and mounted. Ferrier and his glass negatives were welcomed in London Great Exhibition when Talbot asked too much for his calotypes. € 1.800/2.000

ALPHONSE RIOUT DE LODIERE (1834-1910) Portrait of a Sculptor at Work, Vendôme, 1857 Albumen from collodion negative, 222x177 mm, strong tonality, original mount. A comparable portrait in the Société Française de Photographie’s collections, reproduced in the Trésors de la SFP catalogue. € 3.000/4.000

ECOLE DES BEAUX-ARTS In the Studio of Dominique Ingres, École des Beaux-Arts, Paris, 1858 Stereoscopic card, 83x176 mm, captioned: “Atelier du peintre Ingres”.

€ 800/1.000

FÉLIX MOULIN (1802-1879) Amelie dans l’alcôve, Paris, 1853 Albumen print from collodion glass negative, 208x158 mm, trimmed. Iconic French erotic image (cf. L’Art du nu au XIXe siècle, BNF, 1997, p. 53). Another print in Musée d’Orsay. Provenance: collection Jean-Pierre Faur. € 2.000/2.500

Circle of AUGUSTE BELLOC (1800-1867) Female Nude in a Shy Attitude, Paris, 1860’s Albumen print, 140x235 mm, number “5” reversed in negative, original mount. Provenance: collection Jean-Pierre Faur. Another print, Christie’s, sale 5009/ lot 161. € 600/800

LOUIS A. BISSON (1814-1876) Antiques, Paris, 1848 Salt paper print from a paper negative, 160x120 mm, signed “Bisson Fils” in ink. Rare early calotype, bearing the signature of Louis A. Bisson who will signed Bisson the elder when his young brother joined in the activity of photography after 1848 (cf. Les Frères Bisson Photographes, de flèche en cime, 1999). The only examples of calotype by the Bisson family, all from the collection of Honoré d’Albert, Duc de Luynes. € 2.000/2.500

LOUIS ROBERT (1810-1882) Verreries et Céramiques de Sèvres, Exposition Universelle, 1855 Salt paper print from a paper negative, 320x255 mm, mounted and captioned in the negative “L. Robert photoie, Sèvres” “Musée céramique de Sèvres”. Very early example of a documentary photography bearing credit and caption in the negative. Variant prints at the musée Condé, Chantilly. € 2.000/2.500

Attr. to FRÉDÉRIC MARTENS (1806-1885) Pont-Neuf with bastions, reversed view from Lerebours’ window, c. 1852 Heliografic engraving from a glass negative, oval shape, 167x208 mm. Probably the most central window of early French photography, was facing the Pont-Neuf (near the Samaritaine), from the busy studio of Noel Paymal-Lerebours (1807-1873), publisher of the Excursions daguerriennes. In 1842, Hippolyte Fizeau engraved a daguerrian plate of a similar view. Provenance: collection Jean-Pierre Faur. € 1.800/2.000

Attr. to FRÉDÉRIC MARTENS (1806-1885) Pont-Neuf with bastions, Paris, c. 1852 Salt print, 303x240 mm, original mount. Extremely rare view of Parisian oldest in existence and most famous bridge, when the shops, designed by Germain Soufflot were lining the sidewalks. The restauration of the Pont-Neuf started in 1851. Provenance: collection Jean-Pierre Faur. € 8.000/10.000

FRENCH CALOTYPE (BEFORE 1848)

Circle of CHARLES BOSSU DIT MARVILLE

Pont Louis-Philippe between Ile de la Cité and Ile St-Louis, Paris, c. 1847

Épicerie de M. Malaprit, place du Marché aux Veaux, Paris, 1er Mai 1853

Primitive calotype, 113x182 mm, modern mount.

Salt print, 126x152 mm, mounted, captionned : “1er mai 1853, rue Cochin - allant de la rue de Pontoise à celle de Poissy, autour du marché aux veaux, ci-contre angle nort-ouest”.

The Pont Louis-Philippe was built in 1833 among the first suspension bridges. It was given a new name of “Pont de la Réforme” after the 1848 Revolution, during which it underwent serious damage. A strong magnifying glass allows only to guess the name on the bridge tower. Only few photographers worked in Paris before 1848, Bayard, Blanquart-Evrard, Regnauld, and some Talbot disciples. Musée Carnavalet has a Marville’s view dated 1851. Provenance: collection Jean-Pierre Faur.

€ 2.000/2.500

En cette année 1853 fut discuté le projet de création d’un “beau quartier commerçant dans le périmètre compris entre les rues de Rivoli, Saint-Honoré, Saint-Denis, Rambuteau et de la rue Montmartre prolongée jusqu'à la tour Saint-Jacquest, toutes ces rues devant être affranchies de l'encombrement... ces Halles jouiront des magnifiques voies de dégagement fournies par la grande rue Notre-Dame, les quais pourtournant la Cité..., les places de l'Hôtelde-Ville et du Châtelet, le Marché aux Veaux devenant la Halle aux cuirs... le tout desservi par les onze ponts qui relient la cité au nord et au midi de la capitale... Provenance: collection Jean-Pierre Faur.

€ 2.000/2.500

FÉLIX TOURNACHON dit NADAR (1820-1910) Portrait-charge du banquier Jacques Laffitte, c. 1854 Original drawing, (charcoal and stump enhanced with gouache), 240x155 mm. Félix Nadar made this portrait in relation with his Panthéon of 280 famous Parisian characters. He said he became a photographer precisely with this project. Provenance: collection Moise Millaud, vente Nadar et son Panthéon, Tajan, 2004. € 2.500/3.000

AUGUSTE BELLOC (1800-1867) View from the artist window over Boulevard Montmartre, Paris, c. 1851 Salt print from a collodion wet negative, 213x170 mm, original mount. View from the window of the 3rd floor of n°5, Boulevard Montmartre, near the Théâtre des Varietés, where Auguste Belloc had his atelier between 1851 and 1853. Provenance: Atelier Fortuné Petiot-Groffier, collection Jean-Pierre Faur.

€ 4.000/5.000

FREDERIC FLACHERON (1813-1883) Foro Romano, 1849 Early paper negative, 176x218 mm, signed and dated “1849” in ink lower left corner. The Basilica of Maxentius & Constantine was the largest building in the Forum. € 2.000/2.500

FRENCH CALOTYPIST The Cabin in the Woods, No Place, c. 1858 Waxed paper negative, 178x236 mm, signed “CL”. € 1.200/1.500

FORTUNÉ PETIOT-GROFFIER ÉDOUARD BALDUS (1813-1889) Cliffs on the Durolle River, 1854 Paper negative, double weight, 342x445 mm, effect of light reflection through the lens. The first exhibition of French paper negatives in the U.S. occured in 1969 ‘French Primitive Photography’ at the Philadelphia Museum of Art at which seven paper negatives were displayed including “Torrent et Moulins en Auvergne” by Fortuné-Joseph PetriotGroffier and Edouard Baldus, 1854, illustrated in the accompanying catalogue. € 3.000/4.000

The image is not as visible on the back of the paper as in a pre-waxed negative

CHARLES NÈGRE (1820-1880)

VICTOR PLUMIER (1819-1877)

Asile de Vincennes, c. 1858

Portrait of Abel Niépce de Saint-Victor (1805-1870), Paris, 1852

Collodion glass negative, 145x147 mm, emulsion cropped inside a circle.

Experimental collodion positive on glass, 235x178 mm.

“The hospital was established by Emperor Napoléon III to provide those injured on the construction site or in the factory—"the worker's true field of honor," in the words of one of Napoléon's ministers—with care comparable to that given to the nation's military veterans”.

“En 1852 aussi, Victor Plumier est l'un des premiers en France à expérimenter les collodions anglais. Il réalise la photographie d'Abel Niépce de Saint-Victor (inventeur du négatif verre à l’albumine) avec celui de Horne et Cie. La photo, non retouchée, est fort appréciée et l'une des épreuves positives est présentée à l’exposition photographique d’Amsterdam en 1858”.

Provenance: Honoré d’Albert, Duc de Luynes.

€ 2.000/3.000

Provenance: Atelier Charles Nègre, collection André Jammes.

€ 5.000/6.000

CHARLES NÈGRE (1820-1880) Pont Louis-Philippe, c. 1855 Two salt prints from stereo collodion glass negatives, 82x197 mm.

(2) € 1.800/2.000

CHARLES NÈGRE (1820-1880) Banks of the Seine River, c. 1855 Two salt prints from collodion glass negatives, 82x197 mm, one defect in one negative. Charles Nègre documents the progress of the construction works on the enbankment around the Pont LouisPhilippe. He can easily witness from the doorstep of his studio, 21, quai de Bourbon. Provenance: collection Jammes, JeanPierre Faur. (2) € 1.800/2.000

CHARLES NÈGRE (1820-1880) View from his doorstep, Paris, c. 1855 Salt print from a stereo collodion glass negative, 84x194 mm. Charles Nègre lived 21, quai de Bourbon, facing the Pont Louis-Philippe. € 1.800/2.000

EDOUARD BALDUS (1813-1889) Tour Saint-Jacques avant la restauration, Paris, 1852 (left page) Gold toned salt print, 360x243 mm, mounted.

The construction of the new and elegant rue de Rivoli brought the general attention to the Flamboyant Gothic tower. Provenance: collection Jean-Pierre Faur. € 3.000/4.000 49

BISSON Frères (AUGUSTE & ROSALIE) Repairwork on Tour Saint Jacques, 1854 Salt print, 368x255 mm, blind-stamp. “On remarque la Fontaine du Palmier avant son déplacement de 12 mètres et sa réinstallation avec un nouveau bassin orné de quatre sphynges” (Yvan Christ, Métamorphoses de Paris, 1967, p. 179). Coll. Jean-Pierre Faur.

€ 800/1.000 50

EDOUARD BALDUS (1813-1889) Sainte Chapelle, Paris, c. 1857 Salt paper print from a collodion negative, 430x336 mm, signed on the mount, gold toned, strong tonality. “Among the highest achievements of the Rayonnant period of Gothic architecture, the erection of the Sainte Chapelle was decided by King Louis IX of France to house his collection of Passion Relics brought back from the Crusades, including Christ's Crown of Thorns - one of the most important relics in medieval Christendom, which had been in the hands of the Venetians as security for a heavy loan”. € 2.000/2.500

EDOUARD BALDUS Notre-Dame de Paris, 1857 Salt paper print from a collodion negative, 320x444 mm, signed on the mount, gold toned, strong tonality. In 1793, during the French Revolution, the cathedral was rededicated to the Cult of Reason, and then to the Cult of the Supreme Being, intended to become the state religion of the new French Republic. To inaugurate the new state religion, Robespierre declared that 20 Prairial Year II (8 June 1794) would be the first day of national celebration of the Supreme Being, and future republican holidays were to be held every tenth day An extensive restoration super vised by EugĂ¨ne Viollet-le-Duc began in 1845.

â‚Ź 2.000/2.500

EDOUARD BALDUS (1813-1889)

ACHILLE QUINET (1831-1907)

Ponts et Vues de Paris, c. 1859

Grand Hotel, Place Vendôme, Paris, c. 1860

Thirty-six (36) albumen prints, 194x280 mm, stamps and captions, vintage binding, strong tonality.

Thirty (30) albumen prints, 230x190 mm, red stamp on mount "Achille Quinet", vintage binding, a dozen prints with strong tonality.

A celebration of the Second Empire enterprise, documenting the Louvre, the Tuileries and new Paris bridges.

A celebration of the Second Empire urbanistic enterprise, documenting also some “bourgeois” locations.

Provenance: collection Jean-Pierre Faur.

(36) € 7.000/8.000

(30) € 3.000/4.000

BISSON FRERES

CHARLES BOSSU DIT MARVILLE (1813-1879)

Kiosk, Pré-Catelan, Paris, 1855

Entrée du Pré-Catelan, Paris, 1855

Salt print, 244x342 mm

Albuminized salt print, 243x351 mm, original mount, stamp.

“In March 1855 an area in the center of the park, called the Pré-Catelan, was leased to a concessionaire for a garden and amusement park. It was built on the site of a quarry where the gravel and sand for the park's roads and paths had been dug out. It included a large circular lawn surrounded by trees, grottos, rocks, paths and flower beds. Davioud designed a buffet, a marionette theater, a photography pavilion, stables, a dairy, and other structures. The most original feature was the Théâtre des fleurs, an open-air theater in a setting of trees and flowers. Later an ice skating rink and shooting gallery were added. The Pré-Catelan was popular for concerts and dances, but it had continual financial difficulties and eventually went bankrupt”. Provenance: collection Jean-Pierre Faur. € 2.500/3.000

Decorative wooden fence with lamppost holding sign "Pre Catelan", decorative wooden shelters at entrance, kiosk on right with a doorkeeper, trees lining pathway. “Hundred of thousands of photographs of Paris must have been taken in the last hundred years, but to experience aesthetically the face of that great city, fairly to breathe at will its atmosphere, we consult the work of two photographers who would be called documentary today : Charles Marville and Eugène Atget” (Beaumont Newhall, Documentary Approach to Photography, Parnassus, March 1938). Another print (albumen) in Australia, State Library of Victoria, gift of French Government, 1880. Provenance: collection Jean-Pierre Faur. € 2.500/3.000

CAMILLE COROT (1796-1875) Le Songeur, The Dreamer, 1854 Vintage salt paper print from a cliché-verre glass plate, 148x193 mm, strong tonality. Sunlight passes through the plate’s etched lines and leaves a dark impression on the paper, transferring the image. Beautiful print, probably one of the most desirable prints in existence. Provenance: Henri Marie Petiet, avec son cachet. € 5.000/6.000

CHARLES BOSSU DIT MARVILLE (1813-1879) Le Chemin des philosophes, Heidelberg, 1853 Vintage albumen print from a paper negative, 353x247 mm, signed, dated and captioned in the negative, good tonality. Nice print of a rare and decisive photograph, first reproduced by André Jammes et Eugenia Parry-Janis, The Art of French Calotype, 1983 (page 14). € 5.000/6.000

CHARLES NÈGRE (1820-1880)

EUGÈNE CUVELIER (1837-1900)

Sous-bois, Forêt de Fontainebleau, c. 1849

Forêt de Fontainebleau, circa 1860

Oil on canvas, 325x305 mm, “Haro fils, 1849” stamp verso.

Albumen print, 260x200 mm, blind-stamp “EC” on mount.

“Trained as a painter in the same studio as Roger Fenton and Gustave Le Gray, Nègre was one of the era's most skilled photographers“ (Met). Very similar trees and rocks can be observed on one calotype at Orsay. Repr. Galerie De Bayser, catal. p. 22. € 4.000/5.000

“Blessed with talent, early technical training, and the friendly mentoring of the naturalist painters, Cuvelier created some of the most lyrical and sensitive of all nineteenth-century landscape photographs” (Met). € 2.000/2.500

EUGÈNE CUVELIER

Forêt de Fontainebleau during winter, c. 1860 Albumen print, 200x255 mm, “157” in negative, blind-stamp “EC” on mount. € 2.000/2.500 61

GEORGES K. WARREN (1824-1884) The Delta, Crossroads near Harvard, 1863 Varnished salt paper, 155x204 mm, original paper mount, 230x315 mm. € 800/1.000

EUGÈNE CUVELIER Forêt de Fontainebleau, circa 1860 Albumen print, 200x257 mm, “133” in negative, blind-stamp “EC” on mount. “His sylvan views masterfully render the dappled light of the forest interior, the palpable atmosphere of a misty clearing in the wood, the muscular power of leafless oaks rising against a wintry sky, or the delicacy of a sapling in spring” (Met). € 2.000/2.500

ERNEST DE CARANZA (c. 1817-1868) A Tree in Thiais, c.1855 Salt paper print, 260x200 mm, mounted and signed on the print. In 1855 Caranza came back to Paris, he was employed in a gas factory. € 2.000/2.500

EUGÈNE LE DIEN (1817-1865) GUSTAVE LE GRAY (1820-1884, printer)

GUSTAVE LE GRAY (1820-1884)

Olive Grove, Amalfi Coast, Sorrentine Peninsula, 1852- 1853

The Road to Chailly, Cloudy Sky, 1852-1856

Salt print, printed by Le Gray from Le Dien papier negative n°“4”, 245x325 mm.

Albumen print, from both a paper and a glass negative, 258x363 mm, strong tonality.

“Born in Paris, Le Dien studied law and served as a clerk before relocating to Algiers in 1848. He took up photography as an amateur while working as a deputy magistrate for the colonial government. Upon returning to Paris, he befriended a group of artists, writers, and aristocrats with ties to the photographer Gustave Le Gray. Between 1852 and 1853 Le Dien traveled to Italy with the painters Léon Gérard and Alexandre de Vonne. On a journey to Rome, Naples, Pompeii, and the Amalfi Coast, Le Dien produced architectural photographs of monuments and landscapes using the process of waxed paper negatives invented by Le Gray” (MET). The positive prints were produced in Le Gray studio at the Barrière de Clichy, upon return.

In 1856, Gustave Le Gray set up an elegant studio at 35, Bd des Capucines, with the financial support of Barnabé Malbec de Montjoc, Marquis de Briges. The studio then became famous with his sea views. Le Gray also produced spectacular albumen prints, like this one, from early works. The 1852 Fontainebleau paper negatives were improved adding clouds from various glass negatives (Cf. Sylvie Aubenas & alii, Gustave Le Gray, BNF, notices 67-68).

Provenance: Collection Baroness Eva Gebhard-Gougaud (1876-1959), only some of the prints had a "Le Dien et Gustave Le Gray" dry or wet stamp. € 5.000/6.000

On April 17th 1857, Barnabé Malbec de Montjoc passed away, his son Albert cut any financial support, claiming money back from the photographic studio, getting Le Gray in dispear and bankruptcy. The Boulevard des Capucines establishment was auctioned, with only one bidder, called Malbec de Montjoc. € 25.000/30.000

HORATIO ROSS (1801–1886) Hunting Scenery in Scotland, 1857 Three albumen prints from collodion glass negatives, c. 207x152 mm, paper mounts. More portraits of Edward Ross, youngest son of Horatio Ross, Stag Shots and Stag Thopheys by Horatio Ross in Gilman collection (MET).

(3) € 1.800/2.000

ROBERT J. BINGHAM (1825–1870) Grande chasse à Valencay, c. 1860 Seven salt paper prints from collodion glass negatives, 215x175 mm, paper mounts. Although geographically it is part of the province of Berry, Valencay’s architecture invites comparison with the Renaissance châteaux of the Loire Valley, notably the Château de Chambord. The manor was praised as "one of the most beautiful on earth" by George Sand, who also noted that "no king has owned a more picturesque park".

(7) € 3.000/4.000

LOUIS VIGNES (1831-1896)

LOUIS VIGNES

Umbrella Pine Trees, Beyrouth, 1864

Mausolée à l'extrémité ouest de la colonnade, Oasis of Palmyra, 1864

Albumen print, 222x282 mm, strong tonality. € 4.000/5.000

Albumen print with full black margins, 222x278 mm, strong tonality.

LOUIS VIGNES Road to Damascus, Beyrouth, 1864 Albumen print, 222x282 mm The Duc de Luynes's 1864 expedition started at Beirut. € 4.000/5.000

Palmyra was first attested in the early second millennium BC, as a caravan stop for travelers crossing the Syrian Desert. The city is mentioned in the Hebrew Bible and in the annals of the Assyrian kings. The Duc de Luynes's 1864 expedition to the Dead Sea included Vignes, geologist Louis Lartet, naturalist Dr. Combe, and the duke himself, who accompanied the expedition as far as Petra. Louis Vignes was a French naval officer who, had been trained as a photographer by Charles Negre prior to their departure. Vignes's photographs were reproduced as photogravures by Charles Nègre in the duke's account of the expedition published in 1875. € 4.000/5.000

THÉODULE DEVÉRIA (1831-1871) Château de France, Luqsor, 1859 Albumen print from paper negative, 215x280 mm, dated and captioned by the artist on the negative “Château de France à Luqsor, 10 janvier 1859”. Théodule Charles Devéria was a prominent French Egyptologist who lived in the 19th century. He was the son of the painter Achille Devéria and a friend of J.B. Greene. € 3.000/4.000

EGYPTIAN EXPEDITION Thebes to Philæ, Egypt, c. 1860 Six (6) delicate albumen print, 242x196 mm, French captions on the mounts. The Philæ temple complex was dismantled and relocated to nearby Agilkia Island before the 1970 completion of the Aswan High Dam. (6) € 1.800/2.000

FERDINAND BUREAU (1813-1893)

Early constructions of the Railroad from Moscow to Nijni-Novgorod, Russia, 1861-1862. 25 varnished salt print, 168x255 mm, captioned in French “Moscou: Kremlin, Palais de l'Empereur, La Porte Sainte, Jardins d'Alexandre, Monument de Minine et Pojarski, le Théâtre, Église Saint Sauveur ; Nijni Novgorod: ligne de chemin de fer, confluent de l'Oka et de la Volga, Vladimir: vues générales, Cathédrale Saint Démétrios”. Information on Bureau slowly raise: “M. Ferdinand Bureau, artiste de talent, photographe des théâtres impériaux, fortement impressionné par le caractère énergique et solide de M“ St.-Clair, la demanda en mariage...”. (25) € 15.000/20.000

attr. FERDINAND BUREAU Panorama of Moscou, 1862 Limporello of 20 albumen prints, 80x1490 mm, ink inscription: “La plus grande cathédrale du monde”. Panorama from Pashkov house, preparations of the 250 years of the Romanov dynasty, 1863. € 4.000/5.000

PHOTOGRAPHIE RUSSE À MOSCOU Temple de Jésus le Sauveur, Moscou, 1860’s Albumen print, 412x316, printed captions, nice tonality. The cathedral of Christ the Saviour (for saving Russia from the doom, 1812) did not emerge from its scaffolding until 1860. € 1.000/1.200

MARCUS SELMER (1819-1900) En Brud fra Vossevangen. Bergens stift, Bergen, Norway, 1858 Large exhibition salt paper print, 275x215 mm, dry stamp on mount. The portrait will be later reduced to cdv format "Norske Nationaldragter” : "M. Selmer, chimiste distingué, a présenté une collection riche et pittoresque de costumes norvégiens et suédois. La plupart de ces épreuves sont coloriées. Un fait singulier à enregistrer, c'est que M. Selmer n'a jamais reçu de leçons d'un professeur; il est devenu artiste photographe et photographe distingué en n'empruntant de concours qu'aux meilleures brochures et aux journaux photographiques." (Revue photographique, 5 déc. 1858, p. 177). € 2.000/3.000

MARCUS SELMER (1819-1900) Fru fra Hardanger, Norway, 1858 Salt exhibition paper print, 275x215 mm, dry stamp. Selmer became in 1859 member of the Société française de Photographie. € 3.000/4.000

WILHELM VON GLOEDEN (1856-1931)

Circle of CAFFÉ GRECO

Portrait of a Young Sicilian Girl, Taormina, 1885

N°1, South Italy, c. 1860

Albumen print, 159x105 mm, nice tonality.

Albumen print, 163x119 mm, N°1 in the negative.

Cf. Ulrich Pohlmann. Wilhelm von Gloedenn, Sehnsucht nach Arkadien, 1987, p. 23.

This picturesque and smiling fisherman was a model for Caneva and the Caffé Greco circle of photographers. The albumen print suggest Tuminello. € 600/800

€ 600/800

JAMES ANDERSON (1813-1877) Spanish Steps, Trinità dei Monti, Rome, 1855 Salt paper print, 390x290 mm, dry stamp on mount, nice tonality.

€ 1.200/1.500

GUSTAVE DE BEAUCORPS (1825-1906) Maltese Falcon, Duomo of Ravello, 1855 Albumen print from a paper negative, 390x290 mm, black margins. Reminiscence of the first crusades, a maltese falcon was on top of the impressive bronze door by Barisano da Trani (1179). € 2.500/3.000

EDMOND LEBEL (1834-1908) Self-portrait with toys, Paris, c. 1859 Albumen stereoscopic prints, 153x80 mm The artist is surrounded by his favourite studio accessories : hobby horse, ball, drum, horn, tambourine, ewer and stuffed falcon. € 700/800

PIERRE-AMBROISE RICHEBOURG (1810-1873) Villa Medici Alumni, or the Famous Prix de Rome meeting in Paris c. 1862 Albumen print 366x259 mm, mounted, handwritten caption, photographer blind-stamp Achille Martinet, Jean- Baptiste Farochon, Gabriel Prieur, Vauchelles. Antoine Laurent Dantan, Jean-Pierre Dantan, Henri Labrouste, François Augustin Bridoux, Honoré Husson, Simon Constant-Dufeux, Ambroise Thomas, Hippolyte Flandrin, Eugène-André Oudiné, JeanJacques Clerget, François Jouffroy, Paul-Eugène Lequeux, Victor Baltard, Éloi Féron, Paul Flandrin, Jean-Louis Jaley, Sébastien Norblin, Auguste- Hyacinthe Debay, Antoine Elwart, Louis Desprès. € 800/1.000

CIRCLE OF OLYMPE AND ONÉSIPE AGUADO Failed Snapshot : Victorious return of the Imperial Army, Place Vendôme, 14 August 1859 Albumen print, 195x214 mm, strong tonality. The Army is rather ghostly. A tondo signed by Olympe Aguado was shot from the same window, of his elegant premises on 18 Place Vendôme, is now in Rochester GEH collections. “Comment pourrions-nous nous soustraire à l’ardente et éclatante sensation qui, à l’heure où nous écrivons, absorbe la population parisienne, grossie de ces torrents d’excursionnistes que, depuis deux jours, les chemins de fer dégorgent d’heure en heure dans la ville en fête ? Les esprits politiques, même les moins prévenus en faveur des terribles jeux de la guerre, ne méconnaissent point ce que ces spectacles ont d’émouvant, de grandiose et d’utile. Il est touchant de voir ces soldats, enfants du peuple, rentrer fièrement, après le devoir rempli, au milieu de ce peuple qui s’admire en eux. De ces armes qui ont répandu la mort, de ces intrépides visages qui viennent de la regarder en face, il s’échappe une électricité héroïque qui pénètre les foules et les sature du sentiment de la puissance et de la gloire nationales... ” (Eugène Forcade, Revue des deux mondes, août 1859). Provenance: collection Jean-Pierre Faur.

€ 2.500/3.000

AUGUSTE COLLARD Bistrot, Maison Tassain, c. 1864 Albumen print, 320x240 mm. La maison Tassin fondée en 1797 se situait à l’angle de la rue Mouffetard et de l’ancienne rue du Banquier. Belle composition avec les pensionnaires et employés aux fenêtres. Il y avait à Paris un débit de boisson pour 80 habitants et la moyenne était de 200 litres de vin par personne et par an, enfants compris. Provenance: collection Faur.

€ 600/800

Attr. to AUGUSTE COLLARD (1811-1887)

CHARLES SOULIER (1840-1875)

Panorama de Paris vu du port de Bercy, c. 1864

Le Pont-Neuf, Paris, c. 1867

Panoramic view, four large albumen prints, 220x1.210 mm.

Albumen print, oval shape, 310x400 mm, credit and caption on mount

Emplacement de l’actuel BN. Provenance: collection Jean-Pierre Faur.

€ 4.000/5.000

“Les Bains Henri IV, École de natation”. Collection Jean-Pierre Faur.

€ 1.200/1.500

FRANÇOIS GOBINET DE VILLECHOLE dit FRANCK (1816-1906) Journey to the Center of Paris, 1860 Eight large albumen prints cropped in tondos, 190x250 mm, publisher’s binding. A beautiful and complete set, including the top left image which is also at the MET : “Some of Baron Haussmann's alterations to the city are barely visible to the modern pedestrian strolling the streets of Paris. The sewers, the catacombs, and the covering of the Bièvre River all changed the look and feel (and smell) of Paris, though they are largely hidden from view”. Provenance: collection Jean-Pierre Faur. (8) € 3.000/4.000

LOUIS-EMILE DURANDELLE (1839-1917) Lion and Masks for the New Opera, Paris, c. 1866 Two albumen prints, 265x214 mm, mounted, blind-stamped on the mount Spring 1861, Charles Garnier, Grand Prix de Rome in Architecture, won the competition to build the new opera. Invested at the head of the construction site, he chose Delmaet & Durandelle, for documenting the work in progress since 1865. Over one hundred and fifty photographs were made until unfortunately the Prussian attacked. Émile Durandelle and his wife Clémence Jacob-Delmaet eventually published a set of albums in 1876. These prints and the next lots are extremly rare pre-1870 prints given to the architects. (2) € 800/1.000

LOUIS-EMILE DURANDELLE Opera construction, Paris, c. 1866 Albumen print, 390x290 mm, mounted, numbered 160, blind-stamp, foxing. Very rare image. In the variant published in the 1876 set of albums, with the same neg number, the sculptor at work has a white blouse. € 1.200/1.500

LOUIS-EMILE DURANDELLE Opera Garnier in construction, Paris, c. 1867 Albumen prints, 270x352 mm, Delmaet & Durandelle blind-stamp on mount. Of exceptional opulence, the style is monumental and considered “Second-Empire BeauxArts” style with “eclectic Neo-Baroque”ornamentation. (2) € 1.800/2.000

LOUIS-EMILE DURANDELLE Opera Garnier South Facade nearly achieved, Paris, c. 1867 Magnificent albumen print, 270x395 mm, Delmaet & Durandelle blind-stamp on mount. Two gilded figural groups, Harmony and Poetry crown the apexes of the facade's left and right avant-corps, both made of gilt copper electrotype. € 1.800/2.000

LOUIS-EMILE DURANDELLE )

Pavillon des abonnés, Paris, c. 1867

Richard Wagner’s profile, Bayreuth, c.1871

Albumen, 270x390 mm, blind-stamp.

Large vintage carbon print, 270x217 mm, blind stamp : Braun & Cie.

This pavillion was designed to allow subscribers direct access from their carriages to the interior of the building.

In 1871, Wagner decided to move to Bayreuth, which was to be the location of his new opera house. Since King Ludwig had declined to finance the construction, "Wagner societies" were formed in several cities, and Wagner began touring Germany conducting concerts. Only a third of the required funds had been raised and in 1874, only with the project on the verge of collapse, the King relented and provided a loan. € 600/800

€ 800/1.000

ADOLPHE BRAUN (1812-1877)

LOUIS-EMILE DURANDELLE

ADOLPHE BRAUN (1812-1877)

avant-corps of the administration, 1866

Richard Wagner’s portrait, Bayreuth, c.1871

Albumen, 274x394 mm, blind-stamp.

Large vintage carbon print, 270x218 mm, blind stamp : Braun & Cie.

€ 800/1.000

€ 600/800

ATELIER KRUPP 10,7 cm gun on halfside-carriage, Essen, c. 1870 Albumen print, 180x243 mm, mounted and captioned in German on the mount: “photogr. atelier der Gussstahlfabrik von Fried. Krupp”.

€ 600/800

EUGENE DISDERI (1819-1889) Armors, Musée de l’Impératrice, France, c. 1858

GERMAN PHOTOGRAPHER

Six (6) albumen prints, 227x180 mm, unmounted.

Studio portrait with a photographic scenic composition, late 1860’s

Interesting series of prints with marginal effects due to defective glass negatives. (6) € 1.800/2.000

Albumen print, 215x170 mm, watercoloured original mount.

€ 600/800

100

ALPHONSE LIÉBERT & AUGUSTE COLLARD Ruines des environs de Paris, 1870-1871 Twenty-seven (27) albumen prints, 180x250 mm (Liébert), and 210x310 mm (Collard) captioned in French, in a green marocco vintage album. Provenance : collection JeanPierre Faur.

(27) € 3.000/4.000

101

BRUNO BRAQUEHAIS HENRI LANGEROCK & EUGÈNE APPERT Barricades, April-May 1871 Fifty-four (54) albumen prints, 220x305, 95x135 mm, captions, red marocco binding. Exceptional album documenting the Commune, and not the ruins. Provenance : collection Faur.

(54) € 5.000/6.000

â€œAt the end of the war 400 obsolete muzzle-loading bronze cannons, partly paid for by the Paris citizens via a subscription, remained in the city. The new Central Committee of the National Guard, now dominated by radicals, decided to store the cannons in parks in the working-class neighborhoods of Belleville, ButtesChaumont and Montmartre, to keep them away from the regular army and to defend the city against any attack by the national governmentâ€?.

“La Commune de Paris, considérant que la colonne impériale de la place Vendôme est un monument de barbarie, un symbole de force brute et de fausse gloire, une affirmation du militarisme, une négation du droit international, une insulte permanente des vainqueurs aux vaincus, un attentat perpétuel au principe de la fraternité... décrète : Article unique. La colonne Vendôme sera démolie”. 102

103

Hotel de Ville, Paris, 1871 Albumen, 220x310 mm, stamped. Famous image little after the May uprising, repr. in Musée Carnavalet, Histoire de Paris, 2000. Provenance: coll. Jean-Pierre Faur. € 600/800

FRANCK & alii Colonne Vendôme, 16 mai 1871 Four albumen print, 223x170 mm and 180x235 mm. Composite reportage on Place Vendôme, May 16th, 1871, starting with shrouds set on the Colonne. Provenance: collection Jean-Pierre Faur. (4) € 1.200/1.500

AUGUSTE COLLARD

104

LOUIS ÉMILE DURANDELLE Last vision of Tuileries, 1871 Vintage albumen print from a broken glass negative, 325x430 mm, stamp, strong tonality. Provenance: collection Jean-Pierre Faur. € 600/800

105

EUGÈNE APPERT (1830-1891) Louise Michel awaiting her trial, Versailles, Prison des Chantiers, 15 August 1871 Albumen print, photomontage, 150x215 mm, rare publisher’s printed mount with all the prisoner’s names: ”Intérieur de la Prison des Chantiers, où sont les femmes accusées d’avoir pris part à l’Insurrection de la Commune, Pétroleuses, Ambulancières, Cantinières”. Louise Michel is 3rd from right. Collection Jean-Pierre Faur. € 600/800

106

EUGÈNE APPERT (1830-1891) PIERRE PETIT, LEOPOLD DUBOIS & alii Communards and Petroleuses, Hostages and Avengers, Paris-Versailles, 1871 175 albumen prints, cdv format, in a vintage collection album, 25 leaves. A rare collection gathering actors of the dramatic Paris uprising: Louis Rossel, Elisabeth Retiffe, Eulalie Papavoine, Jules Ferry, Henri Rochefort, Napoléon Gaillard, Jules Vallès, Arthur Ranc, Louise Michel, Judith David, Gustave Courbet, Henri Regnault, Edmond Mégy, Maxime Lisbonne and Eugène Pottier, who had already written some famous anthems’ lyrics, "Le Temps des cerises” and “L’Internationale". Collection Jean-Pierre Faur.(175) € 5.000/6.000

107

JEAN BAPTISTE CAMILLE COROT (1796-1875) La Demeure du poète, Arras, 1871 Vintage salt paper print from a cliché-verre, 122x168 mm, collection’s stamp. Corot left insurgent Paris on the last possible day: April 1st, 1871. “La guerre civile éclatait. Malgré la tristesse de ce spectacle, Corot n’était pas disposé à le fuir. L'affectueuse sollicitude de M. Alfred Robaut, venu pour le voir le 18 mars, le décida à partir. Il se mit en route pour le Nord le Ier avril et y séjourna pendant toute la durée de la Commune: à Arras d'abord, dans la maison de son ami Dutilleux, puis à Douai, chez M. et Mme Robaut. Les angoisses de son cœur, affecté par les douloureuses nouvelles qui arrivaient de Paris, n'arrêtèrent pas le travailleur”(Étienne Moreau-Nélaton, 1905). € 1.000/1.500

108

JEAN BAPTISTE CAMILLE COROT Agar et l’ange (Hagar and the Angel in the Wilderness), Arras, 1871 Vintage salt paper print from a cliché-verre, 168x125 mm, collection’s stamp. € 1.000/1.500

Should we see here an allegory of the banishment of the Communards?

109

[FRENCH SPIRIT PHOTOGRAPHY]

110

E.-V. RIVIÈRE DE PRÉCOURT

Recuerdos de mi viaje, Enrique Tellez, Paris, London, Roma, 1876-1877

Homme préhistorique, grottes de Baoussé-Roussé, Menton, 1871

Two (2) albumen prints, in an album with a total of 105 albumen prints, various formats.

Two (2) albumen prints, 235x182 mm, signatures of Anfossi or Bertall and author’s annotation in margins, together with three (3) photolithographs made after the albumen prints.

An elegant Mexican kept a photographic record of his Grand Tour, including a couple of French spirit photographs. “In 1875, a French court sentenced Buguet and Leymarie to a year in prison for fraud after a raid on the Buguet studio uncovered two shrouded dummies (the smaller of the figures was used to represent children) and 299 mounted photographs of heads. Confronted with the evidence, Buguet confessed. But at the next Spiritualist Congress in Brussels (1875), he recanted - claiming that the dummies were only used by his employees...”. (105) € 1.500/2.000

“Starting in 1870, Émile-Valère Rivière de Précourt (1835-1922) explored nine limestone caves of the Baousse-Rousse region in France, from which he excavated over the next five years a number of skeletons which he dated from the from the Pleistocene Era.” (Cf. Charles Olson & Robert Creeley: The Complete Correspondence, p. 234). (5) € 1.500/2.000

111

FÉLIX TOURNACHON dit NADAR (1820-1910) Premières photographies au magnesium, Catacombes de Paris, [1860] Late 1880’s silver-platinum print, 250x180 mm, signed on print by Félix Nadar, “Rue Bassano 48” stamp verso. Similar platinum prints at GRC. € 1.000/1.200

112

FÉLIX TOURNACHON dit NADAR (1820-1910) Premières photographies au magnesium, Égouts de Paris, [1860] Late 1880’s silver-platinum print, 250x180 mm, signed on print by Félix Nadar, “Rue Bassano 48” stamp verso. Nadar pioneered the use of artificial lighting in photography, working in the catacombs of Paris. The exposure time being 20 minutes, he used mannequins. € 1.000/1.200

113

FELIX TOURNACHON dit NADAR (1820-1910) Deathbed Photograph of Gustave Doré, Paris, 1883

114

Grotte de Han, Han-sur-Lesse, c. 1888

Albumen print, 170x240 mm, mounted. “Two years later, Nadar – at the time one of the most famous photographers in Paris – was the only photographer allowed to seize the short time-slot between death and burial of Victor Hugo. Whereas Doré's face is illuminated by light clearly coming from the window next to his bed, in Hugo's case, the light seems to come from the old man himself, although in fact the source of light is carefully hidden”. € 2.000/2.500

PAUL BOYER (1861-1952) Four albumen prints, 285x225 mm, dry stamp “van Bosch-Boyer”, strong tonality. Paul Boyer is the inventor of a magnesium lamp called “la lampe-éclair”. (4) € 1.000/1.200

115

PAUL BOYER (1861-1952) Grotte de Han, Han-sur-Lesse, vers 1888 Four albumen prints, 285x225 mm, dry stamp “van Bosch-Boyer”. Since 1880, Otto van Bosh rented three floors on 35 Boulevard des Capucines (ex- Le Gray and Nadar’s studio), taken over in 1888 by Paul Boyer & partners. (4) € 1.000/1.200

116

117

PHOTOGRAPHER DOCUMENTING ARCHEOLOGY

118

AMATEUR PHOTOGRAPHER Nineteen Quiet Sitters, France, 1880’s

Mysterious Knob, Palermo, 1870’s

Albumen print, 205x260 mm, no name.

Albumen print, 185x243 mm, titled “Knobe du musée de Palerme”. € 500/600

No caption could explicit the unusual intention of the photographer, most children look at the plant in the pot, another at a guinea pig box.

AMATEUR PHOTOGRAPHER Documenting the Tub, France, 1890’s Two (2) vintage stereoscopic citrate prints, 70x144 mm. To hang on the wall next to Pierre Bonnard’s “Marthe in the Bathtub”. (2) € 120/150

“The documentary photographer is not a mere technician. Nor is he an artist for art’s sake. His results are picturial reports... First and foremost he is a visualizer... he reads history... for this reason his pictures will have a different, and more vital quality” (Beaumont Newhall, Documentary Approach to Photography, Parnassus, 1938). € 800/1.000

119

[ALBERT GILLES, (1873-1959) Panorama de Paris, de l’église St Gervais, 1872 Very large panorama in nine sections, albumen prints, 355x 290 mm, total 355 x 2.486 mm. Very rare copy of the “Albert Gilles” Panorama of Paris. Only one other copy is known to be conservated in the BN (former collection Albert Gilles). Émile Zola is said to have used such a panorama to prepare Les Rougon-Macquart: “Zola prend des notes et le Dossier préparatoire comporte même une photo panoramique de la capitale prise du haut de l'église Saint-Gervais. Il traite Paris comme ses amis impressionnistes ont peint certains sujets, la même vue à des saisons différentes” (Une page d’amour, Édition critique 2012). L'hôtel de ville n’est reconstruit qu’entre 1874 et 1882 sur les plans des architectes Théodore Ballu et Édouard Deperthes, à l’identique du batiment détruit. Collection Jean-Pierre Faur. € 4.000/5.000

120

[ALBERT GILLES] Panorama de Paris, 1872 Nine (9) collodion on glass plates, 355x290 mm, in their original wooden box. A mysterious and impressive photographic document, this complete set of negative plates corresponds to the panorama in 9 prints, 355x 2.486 mm described in the previous lot. The same year 1872, from his Le Havre hotel room, Claude Monet begins painting “Impression, soleil levant”, the painting which will give its name to Impressionism. Provenance: collection Gilles, collection Jammes, collection Faur. (9) € 15.000/18.000

121

FÉLIX NADAR, ÉTIENNE CARJAT, ADOLPHE BRAUN, EUGÈNE APPERT & alii Series of 150 positive gelatin relief matrices prepared by Goupil, then Boussod, Valadon & Cie for the Galerie Contemporaine, Paris, 1876-1884 150 photoglyptic gelatin matrices, loose in the two original sampling albums. The Galerie Contemporaine, Littéraire, Artistique, published by Baschet with photoglyptic portraits by Goupil & Cie, was issued between 1876 and 1884 in Paris. Each issue dealt with the life and work of a writer, painter or sculptor, and included a photographic portrait: Victor Hugo, Alexandre Dumas, Gustave Doré, Rossini, François Coppée, George Sand, Gounod, le Duc d'Aumale,Gustave Corot, Edmond About, Puvis de Chavannes, Gustave Droz, Bartholdi, Rouget de l'Isle, Adolphe Thiers, Edmond de Goncourt, Ferdinand de Lesseps, Baron Taylor, Jules Janin, Ernest Renan, Octave Feuillet, Ambroise Thomas, Alexandre Dumas fils, Alphonse Karr, Pierre Loti, Champfleury, Emile Littré, Théodore de Banville, Louis Figuier, Louis Blanc, Alphonse Daudet, Louis Pasteur and many more. During eight years the published portraits were printed in woodburytype, a fully continuoustone photomechanical process using carbon black, superbly stable from light fading. This process required negative lead matrices, filled with hot, gelatin-based, pigmented ink. A goodquality india ink was used to produce black images. Woodburytype images were also printed in dark-brown, brown, or purple-brown colors resembling gold-toned albumen photographs in which black was mixed with red pigments (cf. Stulik& Kaplan, Woodburytype, CCI). The lead mold, the negative matrix needed a positive matrix: a gelatin relief matrix like those. A high-power hydraulic press was used to press the gelatin matrix into some smooth, perfectly leveled plate of lead, forming then one, two, three negative lead matrices (molds). After a solution of gelatin, albumen, sugar, and ammonium dichromate was dried, it was exposed to sunlight under a glass negative of Nadar or Carjat. Any gelatin not fully hardened by light exposure was washed away in a bath of hot water, forming a positive gelatin relief matrix that was thickest in areas exposed under the lightest areas of the negative and thinnest in areas exposed under the darkest areas of the negative. The fully dried gelatin relief matrix was fragile but very hard. It is also an authentic photographic contact print of the portrait. Of the relief matrices, very few examples survived. One gelatin for Baudelaire’s portrait by Carjat was auctioned at Sotheby’s in 2008. Most surviving examples are proposed here in these two albums preserved by Marie-Thérèse and André Jammes. Young Vincent Van Gogh worked at Goupil’s Paris headquarters at the same time the first matrices were being prepared, from May to December 1875. (150) € 60.000/80.000

122

[THOMAS F. BYRNES (1842–1910)] Rogues Gallery, State of New York, c. 1891 Wooden cabinet (75.2x58.2x26 cm), conceived as a large album of wooden pages, the door is ornate with a New York vernacular oil painting, an exotic Jack the Ripper leaving a male victim. It opens on 10 hinged pannels, bearing each 25 locations for cdv mugshots. This system cabinet especially designed contains about 100 Bertillon portraits of American criminals, albumen prints on police cards, with written anthropometric data on verso, 1880’s-1890’s. 34 prints bear the stamp "CW Bigden photographer" and 2 others the stamp "Fay photography". Charles Bigden (1838-1902 was a “vernacular” photographer from Buffalo, New York. Thomas F. Byrnes became NYC Detective Bureau chief in 1880, and instituted the "Mulberry Street Morning Parade" of arrested suspects before the assembled detectives. He built up a famous book of photographs of criminals, which he called the "Rogues Gallery". In 1891, three years after publicly criticizing London police officials on the way they handled the Jack the Ripper investigations, Thomas Byrnes was faced with a similar crime in New York. Amid mammoth publicity, Byrnes accused an Algerian called Ameer Ben Ali (and nicknamed Frenchy) of the crime (a male victim). He was convicted despite the evidence against him being doubtful, but pardoned eleven years later... A very unique piece of wooden furniture, from the time when the New York Detective Bureau adopted Bertillon standardized identification system. Provenance: Gallery Patterson Smith, Bibliothèque Philippe Zoummeroff. € 30.000/40.000

123

PETER HENRY EMERSON (1856-1936)

124

PETER HENRY EMERSON (1856-1936)

Boatyard, Northfolk, 1887

The Poacher, East Anglia, 1888

Vintage platinum print, 227x283 mm, mounted.

Vintage platinum print, 225x310 mm, mounted.

Photography coming from the “Idylls of the Norfolk Broads” publication.

Photography coming from “the pictures of East Anglian life” publication.

“A survey of life in Suffolk and Norfolk, the book combined written accounts of his travels with images of rural scenes. Emerson published a portfolio of photographs from this series in 1890. In an accompanying text he explained how they illustrated his theory that photographers should use selective, or 'differential', focus to record the effects of nature.

Emerson used the platinum process in rare occasions. “William Willis made the first platinum print in 1873 and patented it, but the process was imperfect, attracting little interest. In 1874, the British Journal of Photography announced his Platinum Printing process.

The result... might be considered a photographic equivalent of Impressionist painting. Of another image he remarked 'it is not perfectly "sharp" in any part and the hay-carts in the distance are as sharp as they should be”. (V&A). € 1.500/2.000

By 1879 he had improved the process sufficiently to justify founding the Platinotype Company to market his papers. He began marketing his pre-coated papers in 1880. Taking his cue from Daguerre's marketing practices with his Daguerreotypes, Willis sold licenses to photographers wanting to use his process, and then sold them the materials”. € 1.500/2.000

125

ÉDOUARD DANTAN ( 1848-1897)

126

PEINTRES OCCASIONNELS

Un coin d’atelier de sculpture, Paris, 1880

Vieux pont, Boussy-Saint-Antoine, 1883

Albumen print, 195x243 mm, on mount, signed in the reproduced painting.

Four albumen prints, 140x120 till 130x80 mm, one date and one location, verso.

In 1880, Dantan won a second class medal for this “naturalist” painting: Un coin d'atelier, where he depicted his father working on a bas-relief in his studio, seen from behind. A critic praised the painting for following all the rules of trompe-l'oeil and stereoscopic photography! The actual oil on canvas can be seen at Musée des Avelines, Saint Cloud. For twelve years Dantan's companion was the model Agostina Segatori, who had also posed for artists such as Jean-Baptiste Corot, Jean-Léon Gérôme, Eugène Delacroix and Édouard Manet. She bore a child to Dantan, Jean-Pierre, in 1873. On their separation, Agostina opened Café du Tambourin on Bd de Clichy which became a meeting place for artists. € 200/300

The four painters on the portraits could not be precisely identified. The albumen prints were found together, one verso bear an old inscription: “mars 1883”, and another a place “Boussy”, which correspond to the Boussy-Saint-Antoine, with a medieval bridge on the Yerres, favourite destination of many painters. (4) € 600/800

... reading the Tintamarre in a hammock

127

CERCLE DE PAUL SÉRUSIER (1864-1927) Intérieur d’auberge, Britanny, 1880’s Vintage silver print, 295x216 mm, on mount. Unusual photograph inside a dark room in Brittany. The general atmosphere can be compare with Sérusier’s painting, “Le Tisserand” (musée de Senlis). A photograph from the same author at Musée d’Orsay (“Bretonne en coiffe dans un intérieur”). € 1.200/1.500

128

HIPPOLYTE BLANCARD (1843-1924) Le Tréport, vers 1887 Vintage platinum print, 149x225 mm, titled by the artist: "Le Tréport. Le port à Marée basse, avec la grande falaise de Mers à droite dans le fond", verso. Hippolyte Blancard reserved his delicate platinum prints to his friends. However, research on his rare work should start within three Paris public collections: Carnavalet, BNF, BHVP (Cf. Jacques Poisson, De l'iodure de fer au bromure d'argent : Hippolyte Blancard pharmacien et photographe, Revue d'histoire de la pharmacie, 2007). € 800/.1.000

129

HIPPOLYTE BLANCARD (1843-1924)

130

HIPPOLYTE BLANCARD (1843-1924)

The Feast of Corpus Christi, Meudon, 1887

Constructions neuves et Vie élégante à Meudon, 1887

10 vintage platinum prints, 160x216 mm, titled in ink by the artist: “Meudon. Procession de la Fête-Dieu”.

Sixteen (16) vintage platinum prints, 160x203 mm, title: “Av. Jacqueminot. M. Chanu conduisant sa voiture”.

The Feast of Corpus Christi: “A series of photographs, which when properly presented approach the cinema. This is the richest manner of giving photographs significance, for each picture reinforces the other. It is I believe, the logical method of presentation. Is is more — it is the logical approach to the medium” (Beaumont Newhall, Documentary Approach to Photography, Parnassus, 1938).

Meudon, in the southwestern suburbs of Paris, had a castle, looted in the Revolutionary sales, and finally burned at the close of the Franco-Prussian War, 1871, while occupied by Prussian soldiers. A branch of the Paris Observatory was founded in 1877 on the ruins and an elegant town started to raise.

(10) € 2.500/3.000

Blancard documented with his photographs the life of his fashionable neighbourhood, including Mehedin buiding his Mexican house. (16) € 3.000/4.000

131

HIPPOLYTE BLANCARD (1843-1924)

132

HIPPOLYTE BLANCARD (1843-1924)

St-Cloud, Courbevoie, Suresnes, c. 1887

Un cheval blanc attaché devant le restaurant du Lapin Sauté, Meudon, vers 1887

Ten (10) vintage platinum prints, 160x230 mm, titled in ink by the artist, verso.

Vintage platinum print, 160x230 mm, titled by the artist: “Meudon. Avenue Jacqueminot. Un cheval blanc attaché devant le restaurant du Lapin Sauté”, verso.

Hippolyte Blancard documented the western suburbs of Paris, where the artists, naturalists or impressionnists used to frequent bars and restaurants, on the banks of the Seine.

Hippolyte Blancard's works do not aim at the picturesque. His vocation as a photographer was born, during the Siege and the 1871 Commune, and from this feeling of living an profoundly tragic period, a historic moment which it was essential to capture photographically (cf. Regard d’un parisien sur la Commune, Photographies inédites de Hippolyte Blancard).

Occasionally, he would seize people's silhouettes, crossing the street, their hands in theirs pockets, in this apparently unhasty end of Century.

The composition of the “Lapin sauté” renders the intimate ambiance of suburbian places, sun drenched and poised in readiness for the day's clientele. He managed to suggest the hungry travellers, who came on a white horse. The restaurant, at the corner with avenue Le Corbeiller, closed on April 2009 (cf. Ville de Meudon, Chloroville, n°63). € 1.500/1.800

(10) € 3.000/4.000

133

HIPPOLYTE BLANCARD (1843-1924)

134

HIPPOLYTE BLANCARD (1843-1924)

Fishing in The Seine and others, Suresnes, 1887

Bords de Seine, Suresnes, 1887

Twelve (12) vintage platinum prints, 160x214 mm, titled in ink by the artist: "Bas Meudon. Un pêcheur”, "Suresnes. Le Pont de Suresnes", "Point du jour. Vue générale du viaduc".

Twelve (12) vintage platinum prints, 160x204 mm, titled in ink by the artist: "Bas Meudon. La petite Île", "Sèvres. Station des bateaux à vapeur", Pont de Sèvres, un bateau lavoir à gauche".

Blancard documents the new docks of the Seine, and the new bridges which allow access to the banks of the river and all sorts of activities, industrious or peaceful. (12) € 3.000/4.000

Hippolyte Blancard spent several seasons on the banks of the Seine, focusing meticulously on the river landscape. While Seurat was working on his “Grande jatte” and “Les Pêcheurs à la ligne”, those places were still bucolic retreats far from the urban center.

(12) € 3.000/4.000

135

Circle of ÉMILE BERNARD (1868-1941) "Van Gogh assis, vu de dos”, Asnières, winter 1886-1887 Aristotype, 132x160 mm, later mount, ink caption by Bernard on the print: “asnières, mon portrait en 1886” [Asnières, My Portrait in 1886], another handwriting on the folded mount precised: “Émile Bernard en conversation avec Vincent Van Gogh sur les quais de la Seine à Asnières. En 1887 tous deux firent une toile intitulée “Le Pont d’Asnières” que l’on aperçoit dans le fond de cette photographie [Émile Bernard in conversation with Vincent Van Gogh on the Seine’s banks at Asnières. In 1887 both made a painting titled "Le Pont d’Asnières", bridge which can be seen in the background of this photograph]“. Exceptionnal photographic document, this aristotype — or collodion coated paper print, is the only vintage print known of the famous picture which has been welcoming visitors at the Van Gogh Museum, Amsterdam during several years. Facing Vincent Van Gogh, sitting at a table, we see Émile Bernard, who transmitted this print and wrote the caption. Some objective evidence, like the grey felt hat, the shoulders of the seated man at the front of the picture, can confirm th identification. The trees have no leaves, suggesting cold season. The date in the second caption says 1887. In the Van Gogh correspondence, first mentions of Asnières appear in 1887. Émile Bernard is said to have had only few friends. Who could the author of the picture? Paul Signac is a common friend a both during that period but no evidence of any photographic activity about 1887 could be found. First publication: Tralbaut, Van Gogh le mal-aimé, Lausanne, 1969, p. 210. This print was exhibited in Amsterdam: Émile Bernard exhibition, Van Gogh Museum, August-Nov. 1990. “Son visage est un des plus connus au monde, il n'a cessé de le représenter lui-même. Mais on ne connaît de lui que deux photos en adolescent buté, à 13 et 19 ans, et une seule à l'âge adulte, à 33 ans, celle-ci”. (Le Monde, blog, Sa seule photo (ou presque), 19 juin 2006). Provenance: Émile Bernard family, collection Serge Clin.

€ 80.000/100.000

“C'est une photo prise au bord de la Seine, sans doute à Asnières, en hiver semble-t-il. Elle est grise et tachée, un peu trop brumeuse; un objet trop proche, ou un accident au développement, a rendu flou une zone en bas au centre, mais le reste est net. On lit sur le mur blanc "Vins Restaurant", mais c'est en été qu'on vient ici boire, rire, danser, canoter, maintenant les bords de Seine sont quasi déserts... Au fond, un pont, puis des cheminées d'usine barrent l'horizon. Sur la route boueuse, un passant inconnu, de dos, en manteau et chapeau noir, évite ce qui est sans doute du crottin de cheval. Le photographe s'est soigneusement placé dans l'alignement des arbres maigres et d'un dossier de banc public au premier plan. Il a ainsi créé une ligne verticale qui coupe l'image en deux de manière bien nette; s'il avait pu, on devine qu'il aurait cassé la branchette en haut du premier arbre pour arriver à un alignement encore plus parfait. On en vient aux deux hommes assis qui conversent au bord de la rivière…”(Le Monde, blog).

SIX CHARACTERS

Ă‰B

VVG

FJD

right reading of the reversed collodion

136

JULES ANTOINE (1863-1948) attr. Vincent Van Gogh in conversation with friends, Paris, 96 rue Blanche, December 1887 Melanotype, direct positive and reversed image on blackboard (carton photographique), 86x112 mm, “Gautier Martin” stamp, recto. Vincent Van Gogh in conversation with Paul Gauguin, Emile Bernard, Félix Jobbé-Duval. AndréAntoine is standing between them. Paul Gauguin and Emile Bernard are dressed in a very similar way, wearing spectacular “Bragou Berr”, specific traditional trousers from Pont-Aven region. And the older man bearing a Legion d’honneur is Félix Jobbé-Duval who praised Pont-Aven to his friends. The young man behind Émile Bernard with a dutch casquette could be identified with Arnold Koning. The location, identified as the backyard of Auberge Blanche, 96 rue Blanche, was also the access to the “Salle de répétition du Théâtre-Libre”, an independant space near Place de Clichy which had been proposed by AndréAntoine as a free exhibition hall to young artists, through a call in a libertarian and socialist newspaper: Le Cri du Peuple, 7 September 1887. 96 rue Blanche is the place that hosted the famous but little documented exhibition which combined Seurat Signac and Van Gogh, provoking a dispute between him and Bernard. The collodion bears the stamp of an exclusive distributor “Gautier-Martin” but no signature. We could locate only one more example of such a collodion on waterproof board (see lot n° 137). The inventor could be identified as a swiss-born traveller called Frédéric Merienne who copyrighted his invention in 1861 and signed an exclusive distribution agreement with Gauthier-Martin. Jules Antoine, André's youger brother, was an amateur photographer who practived collodion on tintype. He was also Theo Van Gogh’s friend, and a supportive critic of the Neo-Impressionism movement, writing more than 50 articles in “Art et critique”. This collodion not only shows us for the first time the face of Vincent Van Gogh as an adult, it also captures the moment of 1887, in which a group of artists revolutionised the arts. Provenance: Ronald Davis, supplier of Myriam de Rothschild.

€ 120.000/150.000

137

JULES ANTOINE (1863-1948) attr.

138

Circle of ÉMILE BERNARD (1868-1941)

Possibly Paul Signac in the backyard of Auberge Blanche, Paris, December 1887

Émile Bernard dans un atelier, Paris, 1892

Direct collodion positive on carton photographique, 112x178 mm, “Gautier Martin” stamp

Aristotype, 132x160 mm, vintage mount, caption in ink by Bernard on the print.

Another example of a collodion on blackboard, the “carton photographique” patented by Mérienne. The elegant hat seems very similar to Paul Signac’s, the table corresponds to the table in lot 136, from the same provenance, Ronald Davis. € 4.000/5.000

Unique print of this portrait of Bernard before he left for Cairo. Provenance: S. Clin, collector of Émile Bernard’s paintings and memorabilia, who lent also this print to the Van Gogh Museum in Amsterdam for the Émile Bernard exhibition, 1990. € 5.000/7.000

139

HIPPOLYTE BLANCARD

140

HIPPOLYTE BLANCARD

Rues de Paris, 1887

Musée du Louvre, Paris, 1887

Eight (8) vintage platinum prints, 160x217 mm, titled in ink by the artist: "Petit Lycée Louis le Grand", "Rue Nicole".

Twenty (20) vintage platinum prints, 160x215 mm, titled in ink by the artist: "Square du Carrousel, avec partie du pavillon. Richelieu a droite et le pavillon Turgot dans le fond", "Louvre. Jardins de l'Infante. Deux statues devant la galerie des antiques".

Quiet days in Paris.

(8) € 2.000/3.000

Blancard’s outdoor and indoor vision of the Louvre. (20) € 2.000/3.000

141

HIPPOLYTE BLANCARD Tour Eiffel en construction, 1888 4 vintage platinum prints, 160x210 mm, titled in ink by the artist, verso. (4) â‚Ź 2.000/2.500

142

HIPPOLYTE BLANCARD (1843-1924) Exposition Universelle, Kiosque et Buvettes, 1889 Twelve (12) vintage platinum print, 160x215 mm, titled in ink by the artist “Allée longeant la terrasse des arts libéraux. Kiosque près de l'escalier”, "photographe entre les pavillons”. “The exhibition will be famous for four distinctive features. In the first place, for its buildings, especially the Eiffel tower and the Machinery Hall; then, for its Colonial Exhibition, which for the first time brings vividly to the appreciation of the Frenchmen that they are masters of lands beyond the sea; thirdly, it will be remembered for its great collection of war material, the most absorbing subject now-a-days...” (Engineering, 3 May 1889) (12) € 2.000/3.000

143

HIPPOLYTE BLANCARD (1843-1924) Pilier Sud de la Tour Eiffel, 1889 Vintage platinum print, 215x160 mm, titled in ink by the artist, verso.

€ 800/1.000

144

HIPPOLYTE BLANCARD (1843-1924) Visite de l’Exposition universelle, 1889 Eight (8) vintage platinum prints, 160x208 mm, titled in ink by the artist: “Le jury devant une vitrine de pharmacie”. (8) € 1.500/2.000

145

HIPPOLYTE BLANCARD (1843-1924) Les Cafés et les Bars de l’Exposition, 1889 Eight (8) vintage platinum prints, 210x161 mm, titled by the artist: ”Léon”, “Spiers et Pond”. Gauguin organized the “Volpini” Exhibition in the Café des Arts on the Champ de Mars, near the official art pavilion. (8) € 2.000/2.500

146

ROLAND BONAPARTE (1858-1924) Village Kabyle, Paris, 1889 One hundred (100) aristotypes, collodion on paper, 210x155 mm, mounted in two folio albums, full black leather, some faded. This uncommon publication was produced during the Exposition Universelle, on Prince Bonaparte’s expenses. Near the Village Kabyle, he set up a photographic studio. Five copies could be traced, of which an album with 26 prints at the French Société de Géographie.

(100) € 3.000/4.000

147

EUGÈNE ATGET (1857-1927) Un coin de la rue Monge, 1899 Vintage albumen print, 175x216 mm, numbered in the negative. “By 1891 Atget had found a niche in the Parisian artistic community selling photographs to painters. In 1898 he began also to specialize in documents of Old Paris, to satisfy the popular interest for the historic architecture” (MOMA). Collection Faur. € 2.000/2.500

148

EUGÈNE ATGET (1857-1927) À la Treille d’or, 6 rue de Condé, Paris, 1900 Vintage albumen print, 218x175 mm, numbered in pencil by the artist, verso. On this inn’s doorstep, in 1804, Georges Cadoudal, famous leader of the Chouannerie was arrested, then sentenced to death and guillotined. Collection Faur. € 3.000/4.000

149

THEODORE C. MARCEAU (1859-1922)

150

PIERRE LOUŸS (1870-1925)

Loïe Füller, The Serpentine Dance, Broadway, c. 1892

Marie de Heredia and her son Pierre, alias “Tigre”, Paris, around November 1898

Carbon print, 158x109 mm, stamp.

Arystotype, 110x83 mm.

Fuller held many patents related to stage lighting including chemical compounds for creating colour gel and the use of chemical salts for luminescent lighting and garments (stage costumes US Patent 518347). Col. Theodore C. Marceau pioneered the creation of US national chains of photographic studios in the 1880s. € 600/800

Marie de Heredia married the poet Henri de Regnier, then became the mistress of Louÿs Pierre, father of her son, Peter, said Tiger, born September 8, 1898. Pierre Louÿs sent a variant of this intimate portrait to his brother George. € 1.800/2.000

151

DORNAC (P. MARSAN)

152

DORNAC (PAUL MARSAN)

Marqueste, Paris, 1898

Gabriel Lippmann smoking, 1898

Two (2) citrate prints, 124x175 mm, material.

Citrate print, 124x175 mm.

Laurent Marqueste (18481920) was Prix de Rome in 1871. Provenance: Vente de l’atelier de Paul Marsan dit Dornac (1858-1941).

(2) € 600/800

Gabriel Lippmann added colors to photography € 600/800

153

DORNAC (PAUL MARSAN) Possibly Georges Bottini, c. 1902 Vintage citrate print, 121x175 mm.

€ 400/500

155

DORNAC PAUL MARSAN (1858-1941) Jules Janssen (1824-1907), inventor, France, c. 1890 Vintage citrate print, 125x175 mm “Jules Janssen was an enthusiastic observer of eclipses. In 1870, when Paris was besieged during the Franco-Prussian War, he fled the surrounded city in a balloon so that he could reach the path of totality of a solar eclipse in Africa. With his photographic revolver, Janssen travelled to Japan to record and observe the transit of the planet Venus across the face of the sun, on 8 December 1874.

154

ÉTIENNE JULES MAREY (1830-1904) Self-portrait, Station physiologique du Bois de Boulogne, c. 1895 Gelatin silver bromide glass negative, 177x130 mm, broken. The original negative of the most famous portrait of Marey.

€ 800/1.000

The photograph most needed by astronomers was that showing the precise moment when the outline of the planet first encroached on the sun's disc. As that moment was unpredictable, a clockwork 'revolver' was devised to take a sequence, one of which would be the required image. The revolver took forty-eight exposures in seventy-two seconds on a daguerreotype disc” (Who’s Who in Cinema). This 1874 photo sequence of the rare passage of Venus over the face of the sun is now available on youtube. € 600/800

156

MOSES NAPPELBAUM (1869-1958) Lev Tolstoï outdoor, Iasnaïa Poliana, c. 1900 Original glass negative, 87x60 mm, some loss at bottom. Ida Nappelbaum, daughter of the photographer, published in 1990 an article on the just found negative. € 1.000/1.200

157

UNIVERSITY PHOTOGRAPHER (1834-1907) Dmitri Ivanovitch Mendeleiev, Russia, c. 1905 Large vintage citrate print, 300x230 mm, strong colour. The man who formulated the Periodic Law: “I saw in a dream a table where all elements fell into place as required. Awakening, I immediately wrote it down on a piece of paper, only in one place did a correction later seem necessary". A large lunar impact crater, located on the hidden side of the Moon bears the scientist's name. € 1.000/1.200

159 158

ARTHUR FONTAINE (1860-1931) LOUIS SUQUET (1873-1959) & alii De Saint-Pétersbourg à la Volga, 1899 Eighty (80) albumen and collodion papers (aristotypes), 60x80 mm to 170x220 mm, all captioned in French, on 17 mounts, loose in the original cloth binder. Original iconographic material gathered for the 1st serie of their Voyage en Russie. (Cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, 1er juin - 15 juillet 1899, Beaune, 1900). (80) € 1.500/2.000

ARTHUR FONTAINE & LOUIS SUQUET La Volga, Yaroslav, Nijni-Novgorod, 1899 Fifty (50) albumen and collodion papers (aristotypes), 60x80 mm to 170x220 mm, all captioned in French, on 32 mounts, loose in the original cloth binder. Original iconographic material gathered for the 5th and 6th series of their Voyage en Russie. (cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, 1er juin - 15 juillet 1899, Beaune, 1900). Including some Winter views by Russian local photographers

(50) € 2.000/2.500

160

ARTHUR FONTAINE & LOUIS SUQUET

161

ARTHUR FONTAINE & LOUIS SUQUET

La Volga autour de Nijni-Novgorod, 1899

La Volga, Kazan à Samara, 1899

Twenty-six (26) collodion papers (aristotypes), 60x80 mm to 170x220 mm, all captioned in French on 18 mounts, loose in the original cloth binder.

Twenty-seven (27) collodion on paper prints (aristotypes), 60x80 mm to 170x220 mm, all captioned in French on 16 mounts, loose in the original cloth binder.

Original iconographic material gathered for the 7th series of their Voyage en Russie. (Cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, Beaune, 1900). Including some Nijni Fair views by Russian local photographers.

Original iconographic material gathered for the 8th series of their Voyage en Russie. (Cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, 1er juin - 15 juillet 1899, Beaune, 1900). Including some Samara views by Russian local photographers

(26) € 1.500/2.000

(27) € 1.500/2.000

162

ARTHUR FONTAINE & LOUIS SUQUET

163

ARTHUR FONTAINE & LOUIS SUQUET

La Volga, Syzran à Astrakhan, 1899

Tiflis à Bakou, Mer noire et Crimée, 1899

Thirty (30) collodion papers (aristotypes), 60x80 mm to 170x220 mm, all captioned in French on 16 mounts, loose in the original cloth binder.

One hundred and fourteen (114) collodion papers (aristotypes), 60x80 mm to 170x220 mm, all captioned in French on 24 mounts, loose in the original cloth binder.

Original iconographic material gathered for the 9th series of their Voyage en Russie. (Cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, Beaune, 1900). with two explosions instants photographs: salt extractions by effect of dynamite.

Original iconographic material gathered for the 10th and 11th series of their Voyage en Russie. (Cf. Louis Latour, Voyage en Russie de MM. Fontaine, Suquet et Latour, 1er juin - 15 juillet 1899, Beaune, 1900). Including some views of Moscow.

(30)€ 1.500/2.000

(114) € 2.000/2.500

164

165

SOVIET PHOTOGRAPHER

166

SOVIET PHOTOGRAPHER

Portal of Bibi Khanoum, Samarkand, 1920s

Samarkand, 1920s

Vintage silver print, 405x515 mm. Provenance: archive Bushmarinov. € 800/1.000

Provenance: collection Bushmarinov € 800/1.000

SOVIET PHOTOGRAPHER

Vintage silver print, 408x514 mm.

167

SOVIET PHOTOGRAPHER

Samarkand, early 1920s

Samarkand, 1920s

Vintage silver print, 340x494 mm. € 400/500

Vintage silver print, 415x515 mm. € 600/800

168

SOVIET PHOTOGRAPHER Registan, Samarkand, 1920s Large vintage matte silver print, 394x295 mm. The Registan was the heart of the ancient city of Samarkand of the Timurid dynasty, a public square and a place of public executions. It is framed by three madrasahs (Islamic schools) of distinctive Islamic architecture. Provenance: collection of the Petrograd artist Bushmarinov.

€ 800/1.000

169

SOVIET PHOTOGRAPHER

170

F. HAMMES (DE BORDEAUX)

Travel to Samarkand, early 1920s

Agrandissement aux encres grasses, Bergerac, 1924

Forty-four (44) vintage silver prints, 100x145 mm in two small paper albums, travel diaries with Russian captions. Provenance: Library of Petrograd artist Bushmarinov. (44) € 800/1.000

Épreuve aux encres grasses, 293x182 mm, mounted, signed and dated on the print, label “XIXe Salon International de Photographie, n°179 du catalogue”giving the artist’s address. The 1924 Salon de photographie was organized in Paris by the SFP. € 800/1.000

171

GEORGES DURAND

172

ARTHUR GRENIER (1873-1944)

First Races, Le Mans, 1904-1906

Circuit du Mans, 1913

Twelve (12) vintage silver prints, 170x210 mm, on paper mounts.

Ninety-eight (98) collodion on glass positives, 85x100 mm, dated and captioned.

Deorges Durand (1864-1941), founding member of the Automobile Club de l’Ouest documented with photography the three years preparation of the first La Mans race (1906).

(12) € 2.000/2.500

Elegant excursion to the automobile Le Mans races, produced by Georges Durand (see previous lot).

(98) € 2.000/2.500

173

ARTHUR GRENIER Meeting d’aviation, Le HavreTrouville, August 1910 Forty (40) collodion on glass positives, 85x100 mm, dated and captioned. “In the airs, Morane by spreading his wings, of the most perfect curves makes a marvelous drawing...”

(40) € 800/1000

174

ARTHUR GRENIER Éclipse de soleil, 17 avril 1912 Eleven collodion on glass positives, 85x100 mm for six, 30x45 mm for five, dated and captioned. Elegant excursion to Trappes to observe and photograph the 17 April 1912 eclipse.

(11) € 800/1000

175

ARTHUR GRENIER (1873-1944) Stormy Weather and Twilight, 1904-1907 65 toned monochrom positives, 85x100 mm, cyan, red, green or sepia, annotated. Cloud studies, stormy weather, Normandy scenery, and all kinds of sunsets provided Grenier oportunities to test new filters (1904) and create an interesting group of monochromatic essays including some sepia toned compositions. (65) € 3.000/4.000

“A young aimless but curious man, Arthur Grenier is born a month of August 1873 in a nascent resort, Trouville-sur-Mer. His parents had bought one of the first villas of the Normandy coast”. When, after 1910 local elections results, the entrepreneur Eugéne Cornuché will leave Trouville for Deauville, Arthur will follow him and document the seasons to come.

176

ARTHUR GRENIER (1873-1944) High Life of Trouville-sur-mer, Sem, collage, 1906 Original collage, 650x100 mm, dated and captioned and dedicated to Georges Goursat (1863–1934), known as Sem, famous caricaturist during the Belle Époque. € 1.500/2.000

177

ARTHUR GRENIER High Life of Trouville Deauville, 1892-1925

178 and

Four hundred and ten (410) collodion on glass positives, 85x100 mm, captioned. The complete and untouched work of a dilettante photographer documenting the birth of Deauville.

(410) â‚Ź 4.000/5.000

ARTHUR GRENIER Self-portrait with Red Car. Early Colours of Trouville & Deauville, 1909-1911 One hundred (100) autochromes, 85x100 mm, dated and captioned. Mrs Grenier was needed to obtain the colourful self-portrait of her husband proudly standing by his red car. Deauville became the place to be after Trouville lost its Casino in 1911. All started with a misunderstanding between the casino owner and the town administration, about taxes. (100) â‚Ź 8.000/9.000

179

DUTCH AUTOCHROMIST

RUDOLF STEINER (1861-1925) attr.

Ten children and two Sheep, c.1912

Project for the Goethaneum, Dornach, 1913

Autochrome, 100x150 mm.

Full plate autochrom, 180x240 mm.

€ 400/500

180

181

FRENCH AUTOCHROMIST The Waterpipe, 1910’s Stereoscopic autochrom, 60x130 mm.

€ 400/500

Rudolf Steiner designed himself the building with the ceiling painting, a colourful abstraction, an impressive harmonious symphony. He may have realized the autochrom himself. “The First Goetheanum, a timber and concrete structure designed by Rudolf Steiner, was intended as a Gesamtkunstwerk (the synthesis of diverse artistic media and sensory effects). The building, designed by Steiner, was built to a significant part by volunteers who offered craftsmanship or simply a will to learn new skills. Once World War I started in 1914, the Goetheanum volunteers could hear the sound of cannon fire beyond the Swiss border, but despite the war, people from all over Europe worked peaceably side by side on the building's construction. This building was destroyed by arson on New Year's Eve, December 31, 1922. € 1.000/1.200

182

TAMAMURA KIHEI (1880-1951)

183

TAMAMURA KIHEI (1880-1951)

Japanese Pictorialism, Taishō period

Documenting Japan, Taishō era

Fifty (50) handcoloured silver prints, 245x195 mm, lacquered album, English captions

Seventy (70) handcoloured silver prints, 245x195 mm, in a lacquered album, English captions.

Kihei Tamamura was one of Japan's leading pictorialist from the early days of this movement. He was also the son of Kozaburo Tamamura, the famous Meiji Era commercial photographer who built a photo empire based out of Yokohama. When the pictorialism movement hit Japan around 1910, Kihei became quite active in this genre and became known as one of the leading Japanese art photographers from 1915 to 1930. When the Great Kanto Earthquake struck Japan in 1923, his father's business was destroyed which may have oddly freed up Kihei to devote more time to his passion of art photography. However the family business was in ruin and never recovered. (50) € 3.000/4.000

Taishō era, from July 30, 1912, to December 25, 1926, coincide with the reign of the Emperor Taishō. The influence of western culture experienced in the Meiji period continued. (70) € 5.000/6.000

“La FCA (Fédération communiste anarchiste) était la première organisation anarchiste française d'envergure nationale. Fondée en novembre 1910 sous le nom de FRC (Fédération révolutionnaire communiste, elle se rebaptise en juillet 1912, La FCA et son organe Le Libertaire désapprouvent les actions de la "bande à Bonnot". L'organisation cherche malgré tout à sauver un certain nombre de ses membres inculpés pour "recel de malfaiteur". Elle se dissout en août 1914 lors de la déclaration de guerre de la France à l’Allemagne. Et, alors que nombre de ses responsables partent en prison ou en exil à l'étranger, la plupart de ses militants partent vers le front”.

184

FRENCH PHOTOJOURNALIST Black Flag of Anarchy, Pré SaintGervais, 25 mai 1913 Vintage silver print, 455x595 mm. Striking vision of the demonstration against the Military Draft (3 years of military service French law). Variant view in MoMA, NYC. Provenance: collection Jammes, collection Jean-Pierre Faur.

€ 4.000/5.000

185

[LEONARDO DA VINCI] AND VARIOUS PHOTOREPORTERS Documenting the Theft and the Return of Mona Lisa, Florence-Paris, 1913 Nine (9) vintage silver prints, about 130x180 mm. The painting's fame increased greatly when it was stolen on 21 August 1911. The next day, Louis Béroud, a painter, walked into the Louvre and went to the Salon Carré where the Mona Lisa had been on display for five years, he found four iron pegs.... The Louvre was closed for an entire week to aid in investigation of the theft. The French poet Guillaume Apollinaire as well as Pablo Picasso came under suspicion ... but were later released. It was Vincenzo Peruggia, a Louvre employee, who had thieved it, entering the museum during regular hours, hiding in a broom closet and walking out the building with the painting hidden ... (Cf. L’Illustration, Le Retour de la Joconde). Peruggia was an Italian patriot who believed Leonardo's painting should be returned to Italy for display in an Italian museum. (9) € 1.800/2.000

Mona Lisa was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and served six months in jail for the crime.

186

Circle of ALFONS MUCHA (1860-1939)

187

Circle of ALFONS MUCHA

Konrad Dreher, in front of a Viennese Secession painting, 1910

Jugenstil Prag Portraits, Prag, c. 1910

Vintage collodion on paper print, 120x90 mm.

Two (2) vintage collodion on paper prints, 105x82, 108x82 mm.

The "Royal Bavarian court actor" created with Xaver Terofal the Schlierseer Bauerntheater without professional actor, just simple but talented butchers, carpenters, restaurateurs, seamstresses, chambermaids, peasants, etc. This type of performance was very well received and attracted the urban population in the theater to the “real rural life”. Especially popular were Bauer’s "Der Hergottschnitzer von Ammergau", "die Zuwiderwurzen"". € 500/600

“Art Nouveau, Sezession, Secese, Modern Style or Jugendstil, this international style of art, architecture and decorative arts – that was most popular during 1890–1910, is considered a "total" art style”. € 600/800

188

WILLY HAMEISTER (1889-1938) Das Kabinett des Dr. Caligari, Germany, 1919 Vintage silver print, 215x275 mm, Considered the quintessential work of German Expressionist cinema, this silent movie tells the story of an insane hypnotist (Werner Krauss) who uses a somnambulist (Conrad Veidt) to commit murders. The film features a dark and twisted visual style, with sharp-pointed forms, oblique and curving lines, structures and landscapes that lean and twist in unusual angles, and shadows and streaks of light painted directly onto the sets. Das Kabinett des Dr. Caligari makes use of a "RahmenerzĂ¤hlung", or frame story. Both a prologue and epilogue establish the main body of the film as a flashback, an innovative technique at the time. Provenance: Collection Goldwyn, collection Roger Corbeau.

â‚Ź 3.000/4.000

189

ARNOLD GENTHE (1869-1942) As I Remember, Self-portrait & Life-mask, New York, 1936 Two (2) vintage silver prints, 212x170, 235x174 mm. Genthe’s autobiography As I Remember, published in 1936 was reprinted at least twice. Defining “the concept of “Photographic Mask”, Genthe sought to go beyond the “surface record” or “commonplace record of clothes and a photographic mask”, in an attempt to capture with the camera more of a human being’s essence.

(2) € 1.200/1.500

190

ARNOLD GENTHE (1869-1942) Moskvine, Stanislavski, Chaliapin, Kachaloc, Sorine, Five Russians in New York, 1923 Vintage silver print, 168x240 mm, label "Arnold Genthe, 41 East, 49th str. New York", verso. Portrait photograph of a group of Russian artists in NYC: actor Ivan Moskvine (1874-1946), theatre director Constantin Stanislavski (1863-1938), opera singer Feodor Chaliapine (18731938), actor Vasili Kachalov (1875-1948), and painter Saveli Sorine (1878-1953), in front of one of Sorineâ€™s most famous painting. â‚Ź 1.200/1.500

191

ARNOLD GENTHE (1869-1942)

192

ARNOLD GENTHE

Duncan Group, New York, 1915

Looking at Photographs, New York, 1915

Vintage silver print, 150x233 mm, titled: "Duncan group”.

Vintage silver print, 180x250 mm.

Nicknamed the Isadorables, Anna, Lisa, Theresa and Irma, pupils of Isadora Duncan's first school, and adopted daughters, carried on the aesthetic and pedagogical principles of Isadora's work in different cities.

The Duncan adopted daughters.

Irma Duncan, born Irma Dorette Henriette Ehrich-Grimme (1897-1977) accompagnied Isadora in Moscow (see n°193) and took care of the Duncan School of Moscow until she decided to seek political asylum in the US during a tour in 1929. Arnold Genthe published a complete book on Isadora Duncan soon after her tragic death : Isadora Duncan: Twenty-Four Studies by Arnold Genthe, with a Foreword by Max Eastman, (New York and London: Mitchell Kennerley, 1929). € 1.000/1.200

193

€ 1.000/1.200

ARNOLD GENTHE Irma Duncan, New York, c. 1915 Vintage silver print, 250x174 mm, material. In 1921, her leftist sympathies took Isadora to the USSR where she founded a school in Moscow, directed by Irma until 1929. € 500/600

194

ARNOLD GENTHE (1869-1942) Lucie Rosen and her Son Walter Jr, New York, 1919 Vintage silver print, 180x240 mm, titled by artist in pensil, verso. Lucie was an unconventional woman and was very interested in anything new the art world had to offer, be it fashion, dance, visual arts or music. In the late 1920s the Rosens met a young Soviet scientist named Leon Theremin, who had invented one of the first electronic instruments, called after him the theremin. Lucie Rosen was mesmerized and became an accomplished thereminist in her own right. € 800/1.000

195

GERTRUD KÄSEBIER (1852-1934) Her younger daughter, Hermine Mathilde with her grand-children, New York, 1910 Vintage silver print, 245x190 mm. Two variant portraits in MOMA, NYC collections “Lolly Pops” and “The Visitor”.

€ 1.200/1.500

196

HEDWIG ARNHEIM (1894-1944) Ewald Dülberg sculpure of Hedwig, Hambourg, c.1915 Vintage silver print, 97x149 mm, captioned. “Hedwig was described as a very beautiful woman, versatile and equipped with a rich imagination, ambitious and valontaire. Leaving school at the age of 18, she went to the UK. Artistically talented, she entered before 1914 he Hamburg school of applied arts, where she studied with Friedrich Adler applied arts and design. Her teacher in nude and portrait drawing, the painter and engraver Ewald Dülberg, married her in 1915, the period of the sculpture. A daughter Maria Esther was born in 1918. The marriage ended three years later” (German Wikipedia). € 600/800

197

HERMANN COLLMANN Portrait of Hedwige Arnheim, Darmstadt, 1926 Vintage silver print, 171x120 mm, mounted, signed and stamped. In 1922, Hedwig Arnheim went to the Bauhaus in Weimar, where she attended classes with Johannes Itten and the textile artist Gunta Stölzl. In 1923, she married the lighting and jewelry artist Naum Slutzky and they broke off their education. After Berlin and Vienna, the couple returned in October 1924, for economic reasons, to Hamburg. € 600/800

198

HERMANN COLLMANN Portraits of Hedwige Arnheim, Darmstadt, 1926 Two (2) vintage silver prints, 170x120 mm, blind stamps. See also lots 196-197, 204-205, 233-237.

199

(2) â‚Ź 800/1.000

DORIS ULMANN (1882-1934) Kentucky Poppy, May 1934 Vintage silver print by Lifshey, 204x153 mm, credited on the mount Ulmann was assisted on her rural travels by John Jacob Niles, a musician and folklorist who collected ballads while Ulmann photographed. She suffered a collapse in August 1934 while working near Asheville, North Carolina. A foundation was created between 1934 and 1937, Samuel H. Lifshey, a New York commercial photographer, developed the negatives that Ulmann had exposed during her final trips, for the Foundation. â‚Ź 600/800

[CALDER] MARC VAUX (1895-1961) 200

Le Lion de Calder, La Baleine de Calder, Paris, Galerie Percier, 1931 Vintage silver prints, 165x226 and 220x162 mm, photographer’s stamp. “Marc Vaux documente en 1931 Mobile, Discs, différents mobiles de Calder et réalise un double reportage, dans son atelier, 14 rue de la Colonie et à la galerie Percier où l'artiste expose”.

(2) € 1.000/1.200

201

C. J. YORKE Echo, Nottingham, 1931 Vintage exhibition silver print, 188x248 mm, mounted and signed, "Echo, C. J. Yorke, 30 StBartholomew. Rd., Nottingham" "N° 5", label "Accepted and Hung at the International Exhibition of photography, Bolton, England, 1931", verso. Classical amateur photographer exercise and a true candid “echo” of European photographic modernist trends of the early 1930’s. € 600/800

202

ANTONIO GARDUNO (1885-1948 ?) Nahui Olin, Place, c. 1927 Vintage silver print, 113x150 mm. Provenance: Nahui Ollin.

€ 1.200/1.500

203

ANTONIO GARDUNO Nahui Olin, Place, c. 1927 Vintage silver print, 164x104 mm. Provenance: Nahui Ollin.

€ 1.800/2.000

204

205

PHOTO-ATELIER MAX HIRSCH

Hedwige Arnheim in the 1926 Costume Party in Curio-Haus, Hamburg, 1926

Hedwige Arnheim in the 1927 Costume Party in Curio-Haus, Hamburg, 1927

Vintage silver print, 137x90 mm, date and caption on the back.

Vintage silver print, 138x90 mm

€ 800/1.000