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Guere mask. Height: 34 cm

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Guere mask. Height: 34 cm

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HELEN LEVITT (New York, 1913-2009). "NYC. Masked children on stop", New York, 1940. Gelatin silver, later print. Signed, dated and inscribed "N.Y.C." in pencil (on reverse). Provenance: From the private collection of Schroeder New Jersey. Measurements: 19.4 x 27.7 cm (image); 28 x 34.8 cm (paper). Helen Levitt is considered one of the most relevant photographers of the 20th century and one of the forerunners of today's independent cinema. She belongs to the so-called New York school, which defended a direct and aseptic street photography. She was a student of Walker Evans and Cartier-Bresson, Ben Shanhn and the circle of the Photo League of New York, from whom she learned that search for the instant. Her way of capturing gestures, bodies in movement, the language of the street, have turned her work almost into an anthropological study. In 1939 Helen Levitt's photos were already published in magazines such as Fortune, US Camera, Minicam and PM. Her best known work is in black and white and in the documentary genre, putting her lens on the streets and the inhabitants of the city, especially the children. Proof of this is the exhibition "Helen Lewitt: Photographs of Children" that MoMA in New York dedicated to her in 1943. During her trip to Mexico in 1941 she also portrayed street children. In the 1970s, Levitt photographed the streets of New York with color slides and implemented it into her own language as another resource. It should be noted that he always had a vocation for filmmaking: it was in the 1940s when he made his first documentary film projects, under the orders of the Spanish film director Luis Buñuel, who was exiled in the United States because of the Spanish Civil War. In 1948 he directed the film "In the Street" and "The Quiet One".

Fritz Lattke, Niederlausitzer Moorlandschaft Sunset over an autumnal Lower Lusatian moor landscape, the ruts on the dirt track have become puddles, while isolated birch trees rise as pioneers from the flat landscape, atmospheric oil study in a post-Impressionist style, the motif is typical of Lattke's oeuvre, on the occasion of an exhibition in honour of the artist's 125th birthday at the Brandenburg Gallery in Großenhain station. On the occasion of an exhibition in honour of the artist's 125th birthday at the Brandenburg Gallery in the Großenhain train station, the Märkische Bote reviewed: "At the beginning of the 1940s, Fritz Lattke found his true style: landscape paintings from his Lower Lusatian homeland, melancholy, sad pond, moor and meadow landscapes, gnarled, bare trees, a high sky, sometimes decorated with a few figures [....].", quoted from, Heimat - dem Maler F. Lattke zum 125. Geburtstag, in: Der Märkische Bote, 24.1.2020, oil on cardboard, signed lower right "F. Lattke", on the reverse probably signed again by the artist "F. Lattke Weimar" and dated "1968", somewhat in need of cleaning and slight craquelure, minor abrasion to the lower right edge of the image due to the frame, this can be concealed by the framing, framed, folded dimensions approx. 17.5 x 24 cm. Artist information: actually Friedrich Karl Lattke or Fryco Latk in Lower Sorbian, Sorbian-German painter, graphic artist, illustrator. Sorbian-German painter, graphic artist, illustrator, caricaturist and comic artist (1895 Neuendorf/Gemeinde Teichland near Cottbus to 1980 Weimar), from 1895 childhood in Sandow (today Cottbus), on the intercession of his teacher Gottfried Herzog from 1910 studies with a scholarship from the city of Cottbus at the Kunstgewerbeschule Berlin, 1910-18 military and war service as well as 1918-20 member of Freikorps in Westphalia and Weimar, At the same time, he created drawings and illustrations for newspapers in Cottbus, Duisburg and Nuremberg, 1921-29 studied at the Weimar Art Academy, where he was a master student of Walther Klemm and Alexander Olbricht from 1925, 1923 co-founder of the Association of Sorbian Visual Artists, 1923 stay in Prague, invented one of the first German comics in the early 1930s with the "Hanni, Fritz and Putzi Stories", based in Weimar from 1940, travelled to Yugoslavia and Italy, regular stays in Lower Lusatia, cultivated contacts with Bogumił Šwjela, Mina Witkojc and Měrćin Nowak-Njechorński, 1939-45 stay in the Spreewald, 1945 destruction of his Weimar flat and studio, 1948-54 member of the Working Group of Sorbian Visual Artists, 1950-52 lecturer at the Buxtehude Vocational School for Painting, 1965 expelled from the Association of Visual Artists (VBK) of the GDR due to lack of socialist attitude, 1980 honoured with the Domowina Art Prize, active in Ober-Weimar, source: Vollmer, Eisold "Artists in the GDR" and Internet.

[CIRIER (Nicolas)]. L'Apprentif Administrateur, pamphlet pittoresque (!), littérario-typographico-bureaucratique, pouvant (nam tua res agitur paries cùm proximus ardet) pouvant intéresser toute personne employée, employable, exemployée. Par quelqu'un de cette dernière catégorie. Paris, Chez l'auteur, 1840. In-8 (227 x 144 mm) de [1] f. pour le Mémoire à l'appui d'une pétition, IV pp. pour la Dédiquasse, 72 pp., (2) ff. pour I [entre les pages 18 et 19], (1) f., 17 pp. et 1 portrait lithographié replié pour III [entre les pages 24 et 25], 1 grand tableau lithographié replié. Broché sous couverture de papier vert imprimée avec au premier plat restes de cachet de cire rouge et de billet manuscrit contrecollé, plusieurs petits morceaux de papier vierge contrecollés au second plat pour masquer des dessins gravés dans les angles. Édition originale tirée à 100 exemplaires (dont moins d'une dizaine ont survécu) de cette incroyable publication dûe à Nicolas Cirier (1792-1869), correcteur et prote à l'Imprimerie royale de 1826 à 1836, date à laquelle il démissionna suite à un refus d'avancement. "Ce pamphlet «bariolé d'observations» (Cirier dixit), c'est-à-dire de vignettes lithographiques collées, de gravures sur bois et sur cuivre, fatras de récriminations, de considérations sur le métier de l'auteur, nous intéresse avant tout par le délire typographique mis en œuvre, par ce que Cirier appelait son horror vacui. […] La plus extravagante des productions de Cirier est aussi la plus rare : à peine publiée, son auteur annonça qu'il allait la détruire sauf “cinq ou six” exemplaires. On n'en connaît guère plus." (Antoine Coron). Selon Raymond Queneau (qui oeuvra pour faire sortir Cirier de l'oubli) : "Aucun fou littéraire n'a jamais fait usage d'une façon aussi profonde des ressources de l'imprimerie, ni aussi consciente pour exprimer son délire." (in Bâtons, chiffres et lettres.) Exemplaire enrichi de 19 lithographies supplémentaires découpées et collées (sans compter le portrait et le tableau dépliants) et de 13 textes imprimés collés, un feuillet volant imprimé sur papier rose avant la p. 5 (avec la suite du texte de la page imprimée également sur papier rose contrecollé en bas de la page 5). Couverture très usagée, manques à l'angle inf. du premier plat, déchirures avec petits manques dans l'angle sup. du premier plat (avec petit morceau de papier contrecollé au verso, pour renforcement ?), manque important au second plat. Rousseurs. (Des livres rares depuis l’invention de l’imprimerie, BnF, 1998, n° 241 : notice d’Antoine Coron ; Blavier, Les Fous littéraires, 2000, pp. 595-604.)