Null Press photographs mainly on the Pacific War, Asia, Japan, China and miscell…

Description

Press photographs mainly on the Pacific War, Asia, Japan, China and miscellaneous. Set of some fifty prints, mostly silver, prints and reproductions. Circa 1940-50. On verso of some prints, captions (eg: the end of Japanese artillery, the Japanese return home, first original photograph of the Pacific War, on the Burma front, the war in the Far East, the Sino-Japanese conflict worsens, Japanese marines have landed in Malaya, the Japanese army advances towards Singapore, for the protection of Indochina, Japanese aviation and tanks, the Japanese will no longer carry out atomic research, a military team from Free India, Japanese military parade near Hong Kong, ....) and/or cachet. Various states and formats.

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Press photographs mainly on the Pacific War, Asia, Japan, China and miscellaneous. Set of some fifty prints, mostly silver, prints and reproductions. Circa 1940-50. On verso of some prints, captions (eg: the end of Japanese artillery, the Japanese return home, first original photograph of the Pacific War, on the Burma front, the war in the Far East, the Sino-Japanese conflict worsens, Japanese marines have landed in Malaya, the Japanese army advances towards Singapore, for the protection of Indochina, Japanese aviation and tanks, the Japanese will no longer carry out atomic research, a military team from Free India, Japanese military parade near Hong Kong, ....) and/or cachet. Various states and formats.

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Estim. 3 500 - 6 000 EUR

Group of ephemera and archive of photographs and letters relating to conflict between China and Japan during WWII, ca. late 1930s. Housed in a navy blue album, the collection contains approximately 110 total items. This includes twenty-one front-and-back pages of penned or typed original letters and manuscripts written by government officials and medical personnel in addition to roughly 90 gelatin silver print documentary photographs. All photos are with typed or written annotation and depict scenes of war during the Second Sino-Japanese War. Major battles that are potentially depicted include the Marco Polo Bridge Incident and the Nanjing Massacre. Approximately half of the photos are of schools and hospitals, but also shell-ravaged structures, bombed buildings, and shrapnel. These prints are pencil and pen annotated by hand with numbers and descriptions along the backs of the photographs, likely captured and captioned by Walter H. Judd and possibly intended for publication in a periodical or newspaper such as Reader's Digest. There is also one small envelope without contents bearing the United States House of Representatives, Washington D.C. letterhead. All twenty-one pages of the correspondence are war dated. Twelve sheets are handwritten and nine are typewritten by Americans who were stationed in central and northern China. Roughly half of these pages are authored by Walter H. Judd (American, 1898-1994) and relate to his service, experience, and opinion of political tensions in the region. Walter Henry Judd was an American politician and physician who practiced at the renowned Mayo Clinic in Minnesota. Following his time as a doctor during the conflict in China, he became a representative in the United States House of Representatives. Once there, he established his outspoken reputation by lobbying for a conservative position on China, advocating for all-out support of the Nationalists under Chiang Kai-shek and opposition to the Communists under Mao Zedong. One excerpt from a typewritten from a letter by Judd, dated October 21st, 1937, reads: "This morning I went in the car to Hsiao [...] First time I had been out of town since my return (from Hankow). The fall weather is so gorgeous, trees just beginning to turn, the countryside so peaceful and tranquil. It seems hard to think of men bent on covering it with blood, killing and laying waste for things they speak of as 'honor', 'power', 'prestige', etc. Sheer insanity --- but the kind that MUST BE SHACKLED or there is no peace anywhere in the world. I hope and pray America will awaken to see that. But at the same time she must be kept from thinking that shackling such insanity means going to war with it." (Album) height: 11 1/2 in x width: 14 1/2 in x depth: 1 3/4 in.

Estim. 4 500 - 5 000 EUR

ANDRÉ KERTÉSZ (Budapest, 1894-New York, 1985). "Satiric dancer". Paris, 1926. Gelatin silver, later printing. Signed, titled and dated in pencil (on verso). Provenance: From the private collection of Schroeder New Jersey. Measurements: 20.6 x 25.5 cm (image); 21 x 26 cm (paper). André Kertész had a superb appreciation for the camera's ability to capture dance and people in motion. The one lying on the sofa in this photograph in a completely anti-archetypal pose is the dancer and cabaret performer Magda Förstner, whom Kertész had invited to the studio specifically for the shoot. The image was taken in the workshop of sculptor István Beöthy, as indicated by the sculptural bust next to the armchair, which serves as the model's inspiration. Kertész himself narrates the situation as, "I said to her, 'Do something in the spirit of the studio corner,' and she began to move on the couch. She just made a movement. I took only two photographs... It's wonderful to photograph people in motion. You don't need to shoot hundreds of rolls of film like you do today. It's about capturing the right moment. The moment when something transforms into something else." Photographer André Kertész was known for his innovative approaches to composition and camera angles, although his unique style initially hindered his recognition in the early stages of his career. Self-taught, his early work was published primarily in magazines, which served as an important platform during that time. After fighting in World War I, he moved to Paris, where he worked for VU, France's first illustrated magazine. He became involved with young immigrant artists and the Dada movement, winning critical acclaim and commercial success. In 1936 he emigrated to the United States where he had his solo exhibition in New York at the PM Gallery and worked briefly for the Keystone agency. There he turned down an offer to work for Vogue, feeling it was not right for him. Instead, he chose to work for Life magazine. His New York period was distinguished by his taking photographs from the window of his apartment, immortalizing moments of everyday life always under the conviction that "Everything is a subject. Every subject has a rhythm. To feel it is the raison d'être. Photography is a fixed moment of such a raison d'être, which lives in itself." In 1963, he returned to Paris and took more than 2,000 black and white photographs and nearly 500 slides that capture the essence of the city of Montmartre, the banks of the Seine, its gardens and parks.

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