Null Étienne BEÖTHY (1897-1961)
Rhythms IV and VI. Circa 1950/1955
Pair of oils …
Description

Étienne BEÖTHY (1897-1961) Rhythms IV and VI. circa 1950/1955 Pair of oils on wood 25 x 24 cm each Certificate of Ayin BEOTHY

39 

Étienne BEÖTHY (1897-1961) Rhythms IV and VI. circa 1950/1955 Pair of oils on wood 25 x 24 cm each Certificate of Ayin BEOTHY

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Lot of 4 18th century works on Jean-Jacques Rousseau in 3 volumes: 1. ROUSSEL (Claude): La loi naturelle. Paris, Humblot, 1769. One volume. 9 by 15.5 cm. [III] to XXIV-288 pages (misch. 228). Contemporary full basane, smooth ornate spine, roulette on edges. Boards slightly stained. -Very light staining throughout the margins, stamp of a former owner. False title missing. First edition. Conlon 69: 1193. Claude Roussel taught philosophy in Chalons (Champagne). His work is a response to J.-J. Rousseau's theses on natural law. With 2. 1) SERVAN (Joseph-Michel-Antoine): Réflexions sur les Confessions de J. J. Rousseau, sur le caractère & le génie de cet écrivain, sur les causes & l'étendue de son influence sur l'opinion publique, enfin sur quelques principes de ses opinions. Paris [i.e. Lausanne, H.E. Vincent], 1783, 225 pp. ; followed by 2) CHAS (François): J. J. Rousseau justifié, ou réponse à M. Servan. Neuchatel, Favre et Comp. 1784, 259 pp. + IV pp. (Publisher's notice, bound between pp. 250-251). 9.5 by 16 cm. Contemporary full basane, smooth ornate spine, red title page. Small corner defect, otherwise very good condition. Very good condition inside. 1) Edition published the same year as the original. Conlon, Ouvrages français relatifs à J.-J. Rousseau, 675. "Fictitious address: edition printed in Lausanne by Henri-Emmanuel Vincent, identifiable with his typographical material." (RERO). Highly critical of Rousseau and his Confessions, whose "consequences on morals will be disastrous" ... 2) First edition. Conlon 84: 910; V. M. Marchand, Rousseau, les 7 vies d'un visionnaire. "In his Rousseau justifié, François Chas denounces "the rage of his persecutors" and is astonished that "he who was concerned with the happiness of men" should be declared "the enemy of the human race" (V.M. Marchand). With 3. CORANCEZ (Olivier de): From J.J. Rousseau. Extract from the Journal de Paris (...) de l'an VI. S.l., Imprimerie du Journal de Paris, s.d. (circa 1798). One volume. 12 by 19 cm. 75 pages. Modern bradel boards in perfect condition. Small browning on last leaf, otherwise very good condition of text. First edition. Conlon 1049. A great music lover, it was Corancez who introduced GLUCK to Rousseau. He was also one of the propagators of the rumor of Rousseau's suicide...

Jean Savant, "Louise la mystérieuse, ou l'essentiel de la vie de Balzac". Cahiers de l'Académie d'Histoire, numbers 25 to 30, 1972. 6 fascicles in blue hardback folder, all in blue hardback slipcase - 41 + 85 + 50 + 84 + 77 + 88 pages. A good copy. Madame Honoré de Balzac, Lettres inédites à Champfleury (185&-1854). Letters from the Lovenjoul collection. Paris, Genève, Champion-Slatkine, 1989. In-8, 193p. Publisher's full red ski, mint condition. Jérôme Godeau, Splendeurs et misères de l'écrivain. Paris, Horay, 1999. In-8, 91p. Paperback, mint condition. Stefan Zweig, Balzac Dickens. Paris, Grasset, 1927. In-8, 147p, paperback. Simenon, Lettres sur Balzac. Correspondence with André Jeannot. Brussels, Les amis de Georges Simenon, 1994. In-16, 27p, 400 copies. Joris Clerté, Vivre avec Balzac. [Saint Etienne], Warum, 2012. In-8 oblong, unpaginated. First edition of this curiosity. Paperback, filled cover. Rare and aside. Christian Galantaris, Balzac, Qui êtes-vous? The novelist's physique and portraits. Paris, Ipagine, 2018. In-8, 329p. Preface by Jean-Marie Rouart, numerous illustrations. Paperback, mint condition. Reunion of 14 articles on Balzac, from 1836 to 1981, in amateur hardback: Jouvin, "Honoré de Balzac" in: "Le" Conseiller des Dames", October 1850. Juin d'Allas, "Le Livre mystique" in: "L'Époque", January 1836. Marcel Bouteron, "Balzac et Mme de Berny" in: "Revue des Deux Mondes", VI-1921. Roger Pierrot, "Balzac et l'Amour", in: "Revue de Paris", August 1960. Marcel Bouteron, "Balzac au Marais", in: "Revue des Deux Mondes", January 15, 1936. Antoine Adam, "Balzac au travail", in: "Revue de Paris", July 1981. G. Jean-Aubry, "Balzac à Genève", in: "Revue de Paris", April 1, 1935. P. Vernière, "La Genèse de Vautrin "i, in: "Revue d'Histoire littéraire", 1-1948. E. Cluzel, "David Séchard", in: "Bulletin du Bibliophile", N° 5 1947. Jules Marsan, "César Birotteau Centenaire" in: "L'Archer", N° 8-1938. Marcel Bouteron, "Balzac et l'Institut de France", in: "Revue des Deux Mondes", March 1, 1949. Séché and Jules Bertaut, "Balzac critique littéraire", in: "Revue latine", September 25, 1906. H. de Balzac, "Lettres à l'Étrangère - La révolution de 1848", in: "Revue de Paris", August 1950. Ramon Fernandez, "La Comédie humaine", in: "Les Cahiers français", N° 7-1943

ROBERT FRANK (Zurich 1924 - Nova Scotia 2019) "Rainy day", c. 1955. Gelatin silver on Agfa paper. Signed in ink in lower left corner. Provenance: Christie's Paris, Photographies 10/11/2020, Lot 107. Measurements: 41 x 30 cm; 66,5 x 58 cm (frame). Robert Frank was a Swiss photographer and documentary filmmaker, who also became an American citizen. His most notable work is the 1958 book The Americans, which earned Frank comparisons to De Tocqueville because his photography provided a fresh and nuanced view of American society from the outside. Critic Sean O'Hagan, wrote in The Guardian in 2014, that The Americans "changed the nature of photography, what it could say and how it could say it. It remains perhaps the most influential photography book of the 20th century." Frank later explored other fields such as film and video and experimented with photo manipulation and photomontage. Robert Frank was born in Zurich, Switzerland, into a Jewish family. Frank and his family remained safe in Switzerland during World War II. He trained with several photographers and graphic designers before creating his first handmade photography book, 40 Photos, in 1946. Frank emigrated to the United States in 1947 and got a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, Camera magazine's new editor, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener's photographs taken at high-class shows and in factories, along with the work of the 25-year-old Frank, who had just returned to his native Switzerland after two years abroad. He soon left for South America and Europe and created another book of handmade photographs he took in Peru. He returned to the United States in 1950 where he met Edward Steichen, and participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA). Although initially optimistic about American society and culture, Frank's perspective quickly changed when confronted with the fast pace of American life, which he saw as an overemphasis on money. It was then that his images began to show America as an often desolate and lonely place. Frank's own dissatisfaction with the control that editors exerted over his work also undoubtedly influenced his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines such as McCall's, Vogue and Fortune. By associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has called the New York School of photographers during the 1940s and 1950s. In 1955, Frank achieved further recognition with Edward Steichen's inclusion of seven of his photographs in the Museum of Modern Art exhibition. In 1955 Frank was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation to travel the United States and photograph society. The cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family with him for part of his series of road trips over the next two years, during which time he took 28,000 photos of which only 83 were selected by him for publication in The Americans. He had his first solo show at the Art Institute of Chicago, and a year later exhibited a second time at MoMA. In 1972 the Kunsthaus Zürich held a major retrospective of his work.