Null Two vintage cameras

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Two vintage cameras

408

Two vintage cameras

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Estim. 10 - 20 EUR

LANCEL. KERN. Brass table clock. Presented under globe. Two cameras are included, one of which is PARRANIA Lince 3.

Estim. 12 000 - 15 000 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981). "Space2," Providence, Rhode Island, 1976. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 17 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.5 x 13.5 cm (image); 26.2 x 21.5 cm (paper). Francesca Woodman made this series in Providence, where she was a student, after having spent some time in Rome (on a scholarship). In the "Space2" series, Woodman photographs herself interacting with architectural spaces, often dilapidated or abandoned. She uses these spaces not only as settings, but as active elements of the composition. Walls, doors and windows become an integral part of the images, interacting with her body in symbolic and visual ways. Woodman uses spaces that evoke a sense of abandonment that contrast with her physical presence, adding a layer of tension and vulnerability to the images. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

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. 50 - 80 EUR

Ensemble de bibelots comprenant : deux pendulettes d'officiers accidentées, deux salerons dans le gout de DECK, deux angelots en biscuit dans un nid, boite couverte, petit face à main, ouvre-lettre, appareils photos et divers. Veuillez demander les rapports de condition avant la vente : ils ne sont pas intégrés dans les fiches.

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