Guere mask. Height: 34 cm

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Lote 47

Valorac. 7 000 - 7 500 EUR

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".

Lote 4579

Valorac. 260 - 390 EUR

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.

Lote 2288

Valorac. 2 800 - 3 000 EUR

[CIRIER (Nicolas)]. L'Apprentif Administrateur, a picturesque (!), literary-typographical-bureaucratic pamphlet that may (nam tua res agitur paries cùm proximus ardet) be of interest to anyone employed, employable, exemployée. By someone in the latter category. Paris, Chez l'auteur, 1840. In-8 (227 x 144 mm) of [1] f. for the Mémoire à l'appui d'une pétition, IV pp. for the Dédiquasse, 72 pp, (2) ff. for I [between pages 18 and 19], (1) f., 17 pp. and 1 folded lithographed portrait for III [between pages 24 and 25], 1 large folded lithographed table. Paperback in printed green paper cover with remnants of red wax stamp and handwritten bill laminated to first board, several small pieces of blank paper laminated to second board to mask engraved drawings in corners. First edition of 100 copies (of which less than ten have survived) of this incredible publication by Nicolas Cirier (1792-1869), proofreader and protector at the Imprimerie Royale from 1826 to 1836, when he resigned following a refusal of promotion. "This pamphlet, "bariolé d'observations" (Cirier dixit), that is to say, lithographic vignettes pasted on, woodcuts and copper engravings, a jumble of recriminations and considerations on the author's craft, interests us above all for the typographic delirium employed, for what Cirier called his horror vacui [...] The most extravagant of Cirier's productions is also the rarest: as soon as it was published, its author announced that he was going to destroy all but "five or six" copies. Little more is known of it. (Antoine Coron). According to Raymond Queneau (who worked to bring Cirier out of oblivion): "No literary madman has ever made such profound use of the resources of printing, nor so conscious an expression of his delirium." (in Bâtons, chiffres et lettres.) Copy enriched with 19 additional cut and pasted lithographs (not including the fold-out portrait and table) and 13 pasted printed texts, one flyleaf printed on pink paper before p. 5 (with the continuation of the text of the page also printed on pink paper pasted at the bottom of page 5). Cover very worn, missing at lower corner of first cover, tears with small missing pieces at upper corner of first cover (with small piece of paper laminated on verso, for reinforcement?), major missing piece on second cover. Rousseurs. (Des livres rares depuis l'invention de l'imprimerie, BnF, 1998, no. 241: notice by Antoine Coron; Blavier, Les Fous littéraires, 2000, pp. 595-604).

Guere mask. Height: 34 cm

Guere mask. Height: 34 cm

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