16.06.2016 Vente Baldus Drouot salle 11

Catalogue Vente Baldus Copage en planches

Dès leur apparition en 1839, les images photographiques ont tout de suite séduit le monde de la presse. Impossible de les reproduire en même nombre d’exemplaires que le texte imprimé, elles doivent d’abord être redessinées puis gravées.

Les images photographiques restent alors en décalage par rapport aux événements qu’elles relatent à cause du délai important entre prises de vue et publications.

La photographie change de statut vers 1890, date de l’invention de la similigravure, qui permet à la presse illustrée son développement dans le monde entier. La société occidentale de la fin du XIXe siècle va connaître la première la consommation de masse des images fixes dans les journaux et magazines, animées dans les cinématographes.

Une étape importante vers 1860 a été le perfectionnement de l’héliogravure par Charles Nègre et Edouard Baldus (… suite page 4)

Continuer la lecture de « 16.06.2016 Vente Baldus Drouot salle 11 »

08.06.2017 PWT 23-2017: Young Nichols was sent to Dakota Territories to draw sketches « en plein air « 


Artists have long painted outdoors, but in the mid-19th century, working in natural light became particularly important to the Barbizon school, Hudson River School, and Impressionists.
The popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes (like those for toothpaste).
Young Nichols was sent on trip to Dakota Territories by Century Magazine during Fall of 1886 to draw sketches en plein air of the Sioux tribes.

Harley DeWitt Nichols (1859-1939)

Born in the small rural Wisconsin town of Barton, Harley lived a peripatetic life. As a young child, he accompanied his family to Lincoln, Nebraska where he found great excitement in the roaming herds of buffalo and Native Americans. It was in these years that a talent for drawing was discovered.
In 1870, after several years of hardship, his father moved the family back to Wisconsin and at the age of 11 Harley became a water boy for the railroad line being built from Milwaukee to his birthplace of Barton.  When his family moved next to the First Ward in Milwaukee, he remained with his grandparents in Barton paying board despite his meager earnings.
Eventually he moved to join his family and began school at the First Ward schoolhouse. At this time he was employed by a “third class” wood engraver. That led to an apprenticeship with the Milwaukee firm Marr & Richards, where he worked for three years drawing on wood. This would have led to a position as an engraver, but during his apprenticeship Nichols realized that drawing, rather than engraving, was where his true talent lay…


PWT 23-2017 Dakota Sketchbook


Mirjam and Willi were two young Swiss students from Basel Neighborhood who traveled Europe just after the end of the war, studying architecture, listening to Le Corbusier in Paris and participating to the Reconstruction Era. After the tragic death of Willi Menzi, circa 1954, Mirjam Schwarz interupted her drawing diaries. She married later architect Gorges Kinzel (1916-2000), the generous and altruist couple gave most of their collections and assets to Basel Kunstmuseum.

PWT 22-2017 Gray on Gray. Un Nuage s’est pendu


25.05.2017 PWT 21-2017 CHANGING PLACES: SAN FRANCISCO 1877

1876, Three Mexican candidates run for presidency in the elections without gaining majority. In the turmoil which succeeds, Porfirio Diaz takes the power, and the two unfortunate competitors, Lerdo de Tejada and José María Iglesias, sail in exile to the United States

After a few weeks in power in November 1876, José Maria Iglesias went to San Francisco in January 1877with a group of Mexican Politicians who where members of his “shadow” cabinet, including Guillermo Prieto who published a relation of the USA trip. Thanks to this lively travel book, no less than 1500 pages of anecdots on hotel, food, women, theaters, we have an evocation of the United States in the very first years of the Cantral Pacific railroad making easy to travel from San Francisco to Cincinnati, New Orleans, New York, Philadelphy, Baltimore, Washington and San Antonio.

PWT 21-2017 San Francisco 1877

07.06.2017 Vente de Photographies Oger-Blanchet 20 rue Drouot

Vous allez trouver dans ce catalogue des photographies fort variés ; elles ont en commun d’être des petites images comme aime le rappeler Maître Blanchet, c’est-à-dire plutôt que des grandes œuvres numérotées, signées par des artistes célèbres, il s’agit d’épreuves peut-être plus modestes, de dimensions plus réduites, mais qui ont fait partie de toute cette histoire visuelle récente typique de notre époque, et qui intéressent de plus en plus de collectionneurs.

On trouvera aussi bien quelques photographies anciennes et pictorialistes de l’époque où les photographes pensaient qu’ils allaient avoir le monopole des expressions artistiques, que des recherches abstraites, des photogrammes, de belles photographies nocturnes, des études de nus, des reportages de gens célèbres, quinze portraits de Serge Gainsbourg, autant d’images de mode, des compositions surréalistes du studio Lorelle, des photographies venues d’autres régions et d’autres cultures, américaines bien sur, mais aussi russes, chinoises, italiennes, vietnamiennes, japonaises. Et la vente se terminera avec quelques photographies amusantes ou représentatives des dernières frontières de notre vision, c’est-à-dire du cosmos.


Catalogue complet pdf à télécharger


Accès direct au site Oger-Blanchet et Drouot-live


Remarque: 20 rue Drouot est une petite salle de vente indépendante


Catalogue photographies Oger-Blanchet 0617 en pdf

18.05.2017 PWT 20-2017 Gray on Gray … Reappearance of an Artist

Who can be this Missing Post-Impressionist and Pointillist French Painter ? ii
Weekly Cartoon by Théophile: Ghost of Louis Hayet iii
A Clue in Two Letters from Theo to Vincent Van Gogh 1-2
Is it “the dream of any art lover, like a gold seeker facing an unknown mine” ? 3-9
Epilogue, 1894: “Arrestation de l’Anarchiste du Ministère“ Félix Fénéon (French text) 10-13
Epilogue, 1918: White on White or Thirty years later, Kazimir Malevich 14-15


Who can be this post-impressionist and pointillist French painter, born in 1864 in a poor French family, who happened to meet the Pissarros, father and son when painting along a river?
Who grew up and developed his theory in the rising shadow of the Eiffel Tower?
Who could have been so upset by the quarrels of Bernard and Signac that he decided, after the disappearance of Seurat and the exile of Gauguin in the Pacific, to leave all the vanguards?
Who has had his best friend and art critic in prison for anarchism?

PWT 20-2017 Grey on Grey


Bertram Charles Percival Park (1883-1972)

Bertram Park was a portrait photographer whose work included British and European royalty. His photographs were widely used on British postage stamps, currency, and other official documents in the 1930s, and the source for two paintings by Walter Sickert. For example, Park provided the photograph of George VI on which the 4d Southern Rhodesian stamp was based.
In 1910, Bertram Park was one of the founders of the London Salon of Photography. In 1916, Park married the photographer Yvonne Gregory (1889-1970) at Hampstead and she became one of his principal models. They produced together a number of photographic books of the female nude.


PWT 19-2017 Royal Audace

Music ? Please click on link :


 (Gabriel Fauré: La Rose - Massimo Crispi, tenor & Antonio Ballista, piano)

04.05.2017 PWT 18-2017 Suspect, Suspicion of Counterfeiting: The Baldus Case


Edouard Baldus is known as a major photographer of the 19th century, one of the Famous Five who participated in the 1851 Mission héliographique in France. In 1994, Malcolm Daniel edited an impressive Baldus catalogue and biography, and Edouard became one of the very first photographers to have a scientific monography dedicated to his complete works.
Malcolm Daniel received a very curious message ten years later as he told in an article published in the blog of the Metropolitan Museum, New York :

PWT 18-2017 Baldus


PWT 17-2017 Kolomna

Useful informations, inquiries and contacts

Kolomna, Museum of the Russian Photo,
Irina Alikina, Director MRF, Curator Exhibitions, Daguerrian Workshop, +7 985 762-22-33

General travel organisation and logistic:
Serge Plantureux, 80 rue Taitbout, +33650856074

Coordinated plane tickets from Paris or London, and visas:
Maria Calvez, Privileges Voyages, +331 47 20 82 10

Moscow (visits and accomodations)
Alexandre Rodionov, +7 (916) 344-12-18

Saint-Petersbourg (Art of Foto Gallery)
Anton Ivanov, +7 (921) 411-33-14

PWT 17-2017 Kolomna

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 »

13.04.2017 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

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



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 »



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