Null "André Kertész", multiple authors, Ed. The Manchester collection, 1984

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"André Kertész", multiple authors, Ed. the Manchester collection, 1984

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"André Kertész", multiple authors, Ed. the Manchester collection, 1984

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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.

Estim. 20 - 30 EUR

[PHOTOGRAPHY] ANONYMOUS, circa 1960, in the style of André KERTESZ Benches in the Latin Quarter of Paris Silver print mounted on cardboard. Framed under glass. Sight: 17 x 23 cm

Starting price 10 EUR

THE CLOISTERS, Studies in Honor of the Fiftieth Anniversary, The metropolitan Museum of Art, Parker, Elizabeth C., ed., with the assistance of Mary B. Shepard (1992)

Starting price 10 EUR

QUATRE AFFICHES "Les photographes de France" dont : - Eddie Kuligowski, Le baiser, Montargis, 1978 - Philippe Salaün, Ty-Cam, 1977 - Jeanloup Sieff, Caroline Carlson, 1974 - André Kertész, Danseuse satyrique, 1926 60 x 79 cm. (usures) On y joint une affiche une affiche de la galerie Christine Colas annonçant une exposition sur l'avant-garde soviétique. 1989 44 x 57 cm.

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