Publié le

27.04.2017 PHOTO WEEK IN RUSSIA: A DIFFERENT PROGRAM for JUNE 2017

PWT 17-2017 Kolomna

Useful informations, inquiries and contacts

General travel organisation and logistic:
Serge Plantureux, 80 rue Taitbout, +33650856074
serge@plantureux.fr

Coordinated plane tickets from Paris or London, and visas:
Maria Calvez, Privileges Voyages, +331 47 20 82 10
mcalvez@privileges-voyages.com

Moscow (visits and accomodations)
Alexandre Rodionov, +7 (916) 344-12-18
a.rodionov@hotmail.com

Saint-Petersbourg (Art of Foto Gallery)
Anton Ivanov, +7 (921) 411-33-14
anton@artoffoto.com

Publié le

16.03.2017 Copies, Copies, Multiples : Comprendre la législation française de la numérotation des tirages des multiples

(adapté de l’article récemment publié d’ Alexis Fournol, paru dans le Journal des Arts – n° 476 – 31 mars 2017)

1. Le nombre d’exemplaires définis comme originaux en France est fixé par le code des Impots

Le code général des impôts, pour l’application de la TVA à taux réduit, et le code de la propriété intellectuelle, (CPI) pour l’application du droit de suite, imposent une limite légale au nombre de tirages en bronze qu’il conviendrait de qualifier d’« originaux ». La réalisation de tirages dépassant cette limite maximale impose alors l’apposition de la mention « reproduction » sur les exemplaires surnuméraires. Le 12e tirage peut donc encore bénéficier de la qualité recherchée d’« original », tandis que le 13e sera marqué du sceau peu glorieux de « reproduction ». Pour la photographie le nombre est de 30.

« Cet arbitraire légalement consacré participe à la fiction d’unicité et de singularité des exemplaires d’une œuvre relevant d’un art du multiple.  »

Autrefois justifiée par des considérations techniques, cette limitation est aujourd’hui théorique. Les exemplaires commerciaux sont numérotés en chiffres arabes de 1/8 à 8/8, alors que les chiffres romains sont réservés aux quatre épreuves d’artistes par exemple.
Continuer la lecture de 16.03.2017 Copies, Copies, Multiples : Comprendre la législation française de la numérotation des tirages des multiples

Publié le

13.03.2017 PWT 15-2017 Copy, Copy, Copyright: First Trials between Photographers, Mayer versus Franck

Copyright is a legal right created by the law of a country that grants the creator of an original work exclusive rights for its use and distribution. This is usually only for a limited time. The exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright is that copyright protects only the original expression of ideas, and not the underlying ideas themselves.

In France in 1863, in United States in 1883, in Italy in 1886, the court set precedent for photography to be legally included as a means of artistic and original expression.

 

PWT 15-2017 Copy Copy Copyright

Publié le

06.04.2017 PWT 14-2017 Black Is Black (The discontinuous tones and discrete values problem in photogravure since Poitevin till Baldus, I)

PWT 14-2017 Black is Black

 

 

The words « sewage » and « sewer » came from Old French essouier = « to drain », which came from Latinexaquāre. Their formal Latin antecedents are exaquāticum and exaquārium.

PWT 14-2017 Black is Black

Publié le

30.03.2017 PWT 13-2017 Alfred, Eugène, Olympe, Émile, Gustave, Édouard, Désiré, Séraphin : Just Unearthed, the Pellechet Collection at Auction 24 April 2017

 

 

Chayette & Cheval will auction next 24 April the intact documentation library and photo collection of the French Architect Jules Pellechet (1829-1903).

Jules was the son of the architect Auguste Pellechet (1789-1871), and a former student of the École polytechnique and the École des Beaux-Arts (promotion of 1850, prof: Abel Blouet). Architect at large of the Artillery technical division in the French Ministry of War,  Jules Pellechet became a member of the French Society of Architects in 1869, and a Knight of the Legion of Honor in 1899.

« I have an atrocious hunger, and I finish my letter, kissing you all and you (her sister Marie Pellechet) in particular. Tell grandma that her 300 francs have been spent to buy photographs, which combined with my sketches, will provide me famous memories. Farewell then, I hope it is called mail reply by mail!” Rome, 30 January 1857.

 

PWT 13-2017 The Pellechet Collection

 

 

 

Liste complete de vente


Liste de vente 24042017


 

 

Publié le

A Photographic Journey To Russia: 25 June – 2 July in Kolomna

A Rare Occasion to visit Moscow, attend a Four-Days Photographic Symposium in Kolomna, Travel on a Famous Night Train and Spend Two Days Without Dark in Saint Petersburg.

Programm :

Arrival in Moscow Sunday 25 or Monday 26 June

Accomodation in Boris Godunov Hotel

Visits and meeting with collectors

Tuesday 27 transfer to Kolomna and Evening reception

Wednesday, Thursday, Friday, Saturday

Exhibitions, conferences and workshops

Sunday 2nd July transfer to Moscow and night train for SPB

Visit of the Daguerre plates in Saint Petersburg

Monday 3 and Tuesday 4 July departures

 

Mentioned for the first time in 1177, Kolomna was founded in 1140–1160 according to the latest archaeological surveys. Kolomna’s name may originate from the Old Russian term for « on the bend (in the river) », especially as the old city is located on a sharp bend in the Moscow River. In 1301, Kolomna was incorporated into the Moscow Principality.

Like some other ancient Russian cities, it has a kremlin, which is a citadel similar to the more famous one in Moscow and also built of red brick. The stone Kolomna Kremlin was built from 1525–1531 under the Russian Tsar Vasily III. The Kolomna citadel was a part of the Great Abatis Border  and, although much of the surrounding wall was removed in the eighteenth century and materials used to construct other public buildings, the remaining stretch of wall, several towers, and some interior buildings have been preserved and held in a good shape. A museum is located inside. In front of the façade stands a statue of Dmitry Donskoy, celebrating the gathering of his troops in Kolomna prior to the Battle of Kulikovo in 1380.

A Daguerreotype workshop will be conducted by Canadian artist Mike Robinson, a modern master of the medium.  This workshop is for historians, artists, and collectors with a serious interest in the evolution, aesthetics and process of the daguerreotype. Participants will learn traditional techniques of polishing, buffing, sensitizing with iodine and bromine, mercury development and gilding.  Each participant will have the opportunity to make a minimum of two daguerreotypes during the workshop depending on circumstances.  All processing equipment, cameras and materials will be provided.  Limited to six participants, this three-day workshop is for anyone interested in making the very finest modern daguerreotype imagery. No experience necessary.

MIKE ROBINSON is an artist-practioner, teacher, conservator, and historian of the daguerreotype. He has researched and written on the studio practice of Southworth and Hawes for the Young America catalogue and for the Daguerreian Society annual.  Mike teaches graduate and undergraduate courses in 19th Century Photographic Processes at Ryerson University in Toronto and Phd candidate with DeMontfort University in Leicester, UK, and his dissertation is titled, The Techniques and Material Aesthetics of the Daguerreotype.

Museum of Organic Culture (abbreviated as MOC) (Russian: Музей органической культуры) is located in merchant Lvov’s estate, a monument of wooden architecture of the XIX century.

The museum has been organized on the initiative of Alla Povelikhina, Nina Suyetina, Vasily Rakitin, Elena Rakitina, and Irina Alikina. The museum houses a unique collection of works of Russian avant-garde of the early twentieth century.

Continuer la lecture de A Photographic Journey To Russia: 25 June – 2 July in Kolomna

Publié le

23.03.2017 PWT 12-2017 FEAR OF THE DARK ? 1924: MEXICAN AGE OF ENLIGHTENMENT

 

PWT 12-2017 Mexico by Night

 

Mexico in the 1920s, José Vasconcelos, the SEP, and the Seccion de Dibujos

José Vasconcelos returned to Mexico at the end of Revolution, during the interim presidency of Sonoran Adolfo de la Huerta, was named rector the National Autonomous University of Mexico (1920).He began implementing his vision of the function of the university : « I have not come to govern the University but to ask the University to work for the people. »

When Álvaro Obregón became president in 1920, he created the Secretariat of Public Education (SEP) in 1921 and named José Vasconcelos as its head. Under Obregón, the national budget had two key expeditures; the military was first, the second was education.

Creating the Secretariat entailed changing the Constitution of 1917, and in order to do that, Obregón’s government had to muster support from lawmakers. Vasconcelos traveled through Mexico while he was rector of the university seeking that support. The effort succeeded and Vasconcelos was named head of the new cabinet level secretariat in July 1921.

During his tenure at SEP he was in a powerful position to implement the vision of Mexico’s history, especially the Mexican Revolution.

 

PWT 12-2017 Mexico by Night

Publié le

08.03.2017 BLACK LIGHT TEST (UV) (VENTE DOISNEAU)

Épreuve ne présentant aucune fluorescente (Poitiers, Samedi 11 Mars, lot n°16)

Agent Azurant dans le papier

Un agent azurant est une molécule qui absorbe les rayonnements ultraviolets et réémet ensuite cette énergie par fluorescence dans le visible entre le bleu-violet et le bleu-vert. Cette particularité a un intérêt lorsque l’agent est combiné à certains matériaux nécessitant ou recherchant une certaine blancheur. En effet, certaines fibres naturelles telles la cellulose ont tendance à absorber dans le bleu et ont par conséquent un aspect jaunâtre. Un agent azurant peut être ajouté afin de compléter la gamme de lumière visible et de donner ainsi un « éclat de blancheur ».

Épreuve présentant une forte fluorescence, sans ambiguité, tirée vers 1960 (Poitiers, Samedi 11 Mars, lot n°28)

Lire la suite et accéder aux résultats, Continuer la lecture de 08.03.2017 BLACK LIGHT TEST (UV) (VENTE DOISNEAU)

Publié le

02.03.2017 PWT 09-2017 SCAPEGOATS: THINGS HIDDEN SINCE THE FOUNDATION OF THE WORLD

contents:

The Théo Affair, France, February 2017        Weekly Cartoon by Théophile : Lynchage   The Burning of William Brown, Omaha, Nebraska, 1919 Things Hidden Since the Foundation of the World (René Girard)  Publishing images can result in a heavy fine or even imprisonment in France  The victimization process as the origin of cultural forms (René Girard)    The  Scapegoat Supreme by Raphaël  


 

 

 

 

PWT 09-2017 Things Hidden Since the Foundation of the World

Publié le

16.02.2017 PWT 07-2017 MUNICH 1912, WHEN THE PATH BIFURCATES…

MUNICH 1912: KANDINSKY, DUCHAMP, HITLER

 

Der Blaue Reiter Almanach (The Blue Rider Almanac) was published in early 1912, by Piper, Munich, in an edition of 1100 copies. The volume was edited by Kandinsky and Marc…

In 1912, Marcel Duchamp spent three months in Munich, three months that were to radically change his art and turn him into one of the most influential artist of modernism. He is regarded as pioneer of conceptual art influencing numerous artists from Sol LeWitt to Ai Weiwei and still today continuously inspires new generations of artists…

When Guillaume Apollinaire asked for a photograph for his book “Les peintres cubistes”, a flattered Duchamp went round the corner to Heinrich Hoffmann’s photo studio (380 meters)…

Hitler painted his first self-portrait in 1910 at the age of 21. Samuel Morgenstern, an Austrian businessman and a business partner of the young Hitler in his Vienna period, bought many of the young Hitler’s paintings. According to Morgenstern, Hitler came to him for the first time in the beginning of the 1910s, either in 1911 or in 1912. When Hitler came to Morgenstern’s glazier store for the first time, he offered Morgenstern three of his paintings. Morgenstern kept a database of his clientele, through which it had been possible to locate the buyers of young Hitler’s paintings…

Although Goebbels and some others admired the Expressionist works of artists such as Emil Nolde, Ernst Barlach, and Erich Heckel, a faction led by Alfred Rosenberg despised the Expressionists, and the result was a bitter ideological dispute which was settled only in September 1934, when Hitler—who denounced modern art and its practitioners as « incompetents, cheats and madmen »— declared that there would be no place for modernist experimentation in the Reich… Hitler often blamed the Jewish-Bolshevist community for such and that they needed to be eliminated, even though there were only six Jewish artists out of the 112 included in the exhibit…

 

PWT 07-2017 Der Blaue Reiter

 

 

Publié le

09.02.2017 PWT 06-2017. Actuality of 1839 Ideas : The Right to Work (Le Droit au travail

 

1839 AD was not only the year of the proclamation in France of the invention of photography by François Arago but also the proclamation of the Right to Work by Louis Blanc in his Revue du Progrès. Arago and Blanc will become two leaders of the February 1848 Revolution and two Members of the Cabinet, when Blanc brother will become Head of Culture and Art administration.

 

PWT 06-2017 The Right to Work


 

 

Publié le

02.02.2017 Rendez vous avec Doisneau à Poitiers le samedi 11 mars 2017

Les épreuves de Robert Doisneau présentées ici sont toutes des épreuves argentiques de l’après-guerre. Hormis les lots 1 et 2 qui correspondent à des clichés de 1932 et 1934, tous sont tirés à l’époque de leur négatif, ce que les Américains et les collectionneurs désignent comme vintage prints. Les formats des tirages sont ceux usités par Doisneau entre 1946 et 1965, le format “18×24” soit 180×240 mm ou 240×180 mm et le “24×30” c’est-à-dire 240×300 mm. La plupart des épreuves sont tamponnées en rouge ou en violet et numérotées au verso au crayon par l’artiste selon son système très personnel de classement de ses négatifs. Elles proviennent directement de deux personnes qui l’ont cotoyé dans les années 1950.

Un tel ensemble aussi homogène surgit rarement. Les épreuves sont présentées dans l’ordre chronologique des prises de vues.

Catalogue Doisneau Poitiers

Publié le

12.01.2017 PWT 02-2017 Family of Man : Twenty-Four Citizens Under Suspicion

 

PWT 02-2017 Twenty-Four Citizen under Suspicion

 

NBCI to FBI: Roosevelt – Bonaparte – Hoover

The Federal Bureau of Investigation (FBI) is the domestic intelligence and security service of the United States, which simultaneously serves as the nation’s prime federal law enforcement agency. Operating under the jurisdiction of the U.S. Department of Justice, the FBI is concurrently a member of the U.S. Intelligence Community.

Although many of the FBI’s functions are unique, its activities in support of national security are comparable to those of the British MI5 and the Russian FSB. The FBI is primarily a domestic agency, maintaining 56 field offices in major cities throughout the United States, and more than 400 resident agencies in lesser cities and areas across the nation.

Background. In 1896, the National Bureau of Criminal Identification was founded, which provided agencies across the country with information to identify known criminals.

The 1901 assassination of President McKinley created an urgent perception that America was under threat from anarchists. The Department of Justice and the Department of Labor had been keeping records on anarchists for years, but President Theodore Roosevelt wanted more power to monitor them. The Justice Department had been tasked with regulating interstate commerce since 1887. It had made little effort to relieve its staff shortage until the Oregon land fraud scandal erupted around the start of the 20th century. President Roosevelt instructed Attorney General Charles Bonaparte to create an autonomous investigative service that would report only to the Attorney General. Bonaparte reached out to other agencies, including the Secret Service, for personnel, investigators in particular.

On May 27, 1908, Congress forbade this use of Treasury employees by the Justice Department, citing fears that the new agency would serve as a secret police. Again at Roosevelt’s urging, Bonaparte moved to organize a formal Bureau of Investigation with its own staff of special agents. The Bureau Of Investigation was created on July 26, 1908 — after Congress had adjourned for the summer. Attorney General Bonaparte hired thirty-four people, including some veterans of the Secret Service,  to work for a new investigative agency. Its first chief was Stanley Finch. Bonaparte notified Congress of these actions in December 1908. The bureau’s first official task was visiting and making surveys of the houses of prostitution.

In 1932, the BOI was linked to the Bureau of Prohibition and rechristened the Division Of Investigation (DOI) before finally becoming an independent service within the Department of Justice in 1935. In the same year, its name was officially changed from the Division of Investigation to the present-day Federal Bureau of Investigation, or FBI. J. Edgar Hoover served as Director from 1924 to 1972, a combined 48 years with the BOI, DOI, and FBI.

Dorothy P., Charged with Truckdriver Connors of Murder of Brakeman Templeton, July 1926.