03.02.2019 Bearded, Beardless and Growing a Beard Lincoln and Look-alikes

A look-alike, double,or doppelgänger is a person, real or fictitious, who closely resembles another person — respectively, real or fictitious — in appearance:

Abraham Lincoln is one of the most popular political figures of all time and many men have adopted a general appearance similar to their model, since his inauguration in 1861 and even more so after the 1865 attack.

When looking for Lincoln portraits, many collectors meet look-alikes.

Lincoln bearded look-alikes are numerous. They are all posterior to 1861, as Lincoln grew his beard for the first time in his life after his election and on the way to his inauguration.

Collectors have searched also for beardless Lincoln portraits, meaning pre-1860. Only two beardless look-alikes have been publicly suggested in a century ofavid investigation.

Lincoln growing whiskers portraits, November 1860-February 1861

Continuer la lecture de « 03.02.2019 Bearded, Beardless and Growing a Beard Lincoln and Look-alikes »

2019-01-152019-01-17

L’INVITATION AU VOYAGE : SENIGALLIA 2-3-4 MAI 2019

Vous êtes invités à participez à la première édition du Salon de photographies anciennes de Senigallia (Fiera di Senigallia) dans la province italienne des Marches les 2-3-4 Mai prochains.

Les 150 premières années de la photographie 1839-1989 sont mises à l’honneur dans le Palazzo Baviera. Les exposants s’engagent à fournir des descriptions précises sur la datation des épreuves, anciennes, authentiques, de l’ère pré-numérique.

Le Salon se déroule sur deux jours, un programme léger d’expositions, de conférences et de concerts complètent le séjour.

Les inscriptions pour les exposants, professionnels ou collectionneurs sont ouvertes, d’une simple table à un stand de 12 mètres dans l’élégant palazzetto Baviera, Petit Palais de Senigallia.

Le samedi 4 mai, ouverture de la section contemporaine.

Le Foro Annonario accueille pour un jour la section contemporaine, interactive et créative, et toutes les formes d’art, qui sont autant filles de la photographie : film, peinture, plastigraphie, bande dessinée, installations, performances, éditions commémoratives, explicitement et respectueusement liées à l’histoire de la photographie, et à la transmission du passé.

Mercredi soir 1er mai et jeudi 2 mai, projection et concert de la version augmentée de War Work de Michael Nyman.

Renseignements et inscriptions :

Senigallia, Services Centraux : sc@biennaledisenigallia.it
Rome, Margherita Sarli : margherita.sarli@gmail.com,
Tel Aviv, Raphaël Chicheportiche : raphael.chich@gmail.com
Rio de Janeiro, Zaven Paré : zavenpare@gmail.com

Paris, Serge Plantureux : serge@plantureux.fr

2019-01-142019-01-17

14.01.2019 Le Président Lincoln serait passé à la télévision française

Et si Abraham Lincoln était le Président préféré des Français ?

https://www.lci.fr/replay/le-20h-le-mag-du-14-janvier-2019-2110389.html

2019-01-092019-02-18

Application FIERA DI SENIGALLIA Italian New International Fair Dedicated to the History of Photography 2-3-4 May 2019

Application
FIERA DI SENIGALLIA
Italian new international fair
dedicated to the history of photography

We would like to kindly give you details about the application for Senigallia photo fair of May 2019.

If your gallery or institution would like to join the very first venue of that fair dedicated to the first 150 years of photography 1839-1989, please apply within the deadline of March 31st, 2019 by sending us an email to sc@biennaledisenigallia.it

With a run during the first week of may, Fiera di Senigallia ensures to attract important and modest collectors, curators and enthusiasts from around the world to attend our prelude edition.

We will be available to field your questions and providing advice regarding all artistic and curatorial aspects of your respective proposals and booth layouts.

At our 1st edition in 2019, we are excited to host only vintage works in a 15th century historical Palazzetto. Additionally, we will also present a special exhibition featuring the early prints of Senigallia photographers Mario Giacomelli, Giuseppe Cavalli and Ferrucio Ferroni, all sourced in the artits’ families archives. Michael Nyman will present his film War Work at Teatro Fenice in two evening concerts on 1st and 2nd May.

The fair aims to provide its visitors and collectors with the ultimate chance to access to only vintage material, all in luxe, calme and volupté.

A separate contemporary section will host artists and galleries with contemporary initiatives to preserve the legacy of the first 150 years, on the saturday 4th May.

Please get in touch with us at application@biennaledisenigallia.it We are more than happy to assist you with the entire application process, including shipping, Italian customs, gastronomy, swimming, boating and lodging.

Fiera di Senigallia 2019
Date: May 3-4, 2019
private view: May 2, 2019

Venue: Palazzetto Baviera, Piazza del Duca, Senigallia Italy

Booths : 900/1800 euros

Tables : 250 euros

PayPal : sc@biennaledisenigallia.it

Bank transfer IBAN : IT10N0306921302100000004408

BIC BCITITMM (Banca Intesa SanPaolo)

S.C.B.S. di Serge Plantureux

Servizi Centrali della Biennale di Senigallia

Piazza Roma 12, 60019 Senigallia

P. IVA IT02804640429

FIERA DI SENIGALLIA

Nouvelle foire internationale italienne

dédié à l’histoire de la photographie

Voici quelques détails sur l’inscription au salon photo qui se tiendra à Senigallia en mai 2019.

Si votre galerie ou institution souhaite participer à la toute première édition de ce salon consacré aux 150 premières années de la photographie 1839-1989, veuillez nous faire parvenir votre candidature avant le 31 mars 2019 en nous envoyant un courriel à sc@biennaledisenigallia.it

Pendant la première semaine de mai, la Fiera di Senigallia rassemblera des collectionneurs, petits et grands, des conservateurs et des amateurs du monde entier pour assister à notre répétition générale de la Biennale.

Nous serons à votre disposition pour répondre à vos questions et vous conseiller sur tous les aspects artistiques et curatoriaux de vos propositions et de l’aménagement de vos stands.

Lors de notre première édition en 2019, nous sommes ravis d’accueillir uniquement des œuvres anciennes, dans un Palais historique du 15ème siècle. De plus, la ville présentera une exposition présentant les premières photographies des photographes de Senigallia Mario Giacomelli, Giuseppe Cavalli et Ferrucio Ferroni, toutes issues des archives des familles des artistes. Michael Nyman présentera son film War Work au Teatro Fenice lors de deux concerts les 1er et 2 mai.

L’objectif de la foire est d’offrir à ses visiteurs et collectionneurs une opportunité de se rencontrer et d’accéder à des épreuves anciennes, dans un cadre agréable, paisible et détendu.

Une section contemporaine distincte accueillera le samedi 4 mai des artistes et des galeries présentant leurs initiatives actuelles pour préserver l’héritage des 150 premières années de la photographie.

N’hésitez pas à nous contacter à l’adresse application@biennaledisenigallia.it Nous serons ravis de vous assister tout au long du processus de demande, y compris l’expédition, les douanes italiennes, la gastronomie, la natation, la navigation de plaisance et l’hébergement.

Fiera di Senigallia 2019

Date : Les 3 et 4 mai 2019

Soirée privée : Le 2 mai 2019

Lieu : Palazzetto Baviera,

Piazza del Duca, Senigallia, Italie

Stands : 900/1800 euros

Tables : 250 euros

PayPal : sc@biennaledisenigallia.it

Virement bancaire IBAN : IT10N03069213021000000000004408

BIC BCITITITMMM (Banca Intesa SanPaolo)

S.C.B.B.S. di Serge Plantureux

Services centraux de la Biennale de Senigallia

Piazza Roma 12, 60019 Senigallia

P. IVA IT02804640429

Application-Senigallia-2019

2019-01-012019-01-01

01.01.2019 Il existe des objets singuliers

Il existe des objets singuliers de différentes natures.

Cette reliure daguerrienne est une création des ateliers de reliure Mame à Tours, célèbre maison d’édition complétée d’une imprimerie lithographique et d’un atelier de reliure.

L’ouvrage imprimé par Mame àTours en l’année 1850 est un in-16 de 540 pages de papier fin, illustrée de fines gravures. Un rituel, un missel ou paroissien romain en français et en latin.

Le petit volume mesure en tout 127x90x23 mm. Le daguerréotype est serti au centre du premier plat de velours noir, les charnières sont d’argent.

Le portrait sur la plaque en ovale mesure 70×57 mm et on peut envisager qu’il répresente la jeune fille qui, à l’issue de sa communion solennelle, recevra ce présent.

L’année 1850 est exactement au centre de la période de diffusion des daguerréotypes 1839-1861. Mais les plaques et les portraits de 1839 et 1861 sont si rares que l’on peut dire que l’âge du daguerréotype couvre essentiellement la période 1840-1860.

La reliure n’est pas signée mais on connait d’autres exemples de reliures pleines de velours bleu ou noir avec les mêmes charnières d’argent sorties de l’atelier de Mame.

Ce qui intrigue le plus en regardant cet objet singulier, c’est que l’on réalise que l’on ne trouve aucune mention d’autres exemples de reliures ornées d’un daguerréotype.

En vous souhaitant de belles découvertes pour 2019 !

2018-12-012018-12-01

30.11.2018 Dutch museum can recognize mistakes: Photo of Vincent van Gogh turns out to be his brother Theo – Van Gogh Museum

The Van Gogh Museum, Amsterdam, just published the result of a several-years long thought about photographic portraits of the Van Gogh brothers.

Above: The portrait on the left is now accepted by all authorities as a portrait of young Theo van Gogh.

A direct witness of the van Gogh brothers different physionomies is certainly Johanna Bunger who described her brother in law after his return from Arles:

“Vincent returned from the South on May 17, 1890. First he was going to spend a few days with us in Paris… I had expected a sick man, but here was a sturdy, broad-shouldered man, with a healthy colour, a smile on his face, and a very resolute appearance; of all the self-portraits, the one before the easel is most like him at that period. Apparently there had again come the sudden puzzling change in his condition that the Reverend Mr. Salles had already observed to his great surprise at Arles. — He seems perfectly well; he looks much stronger than Theo — was my first thought…”. (Johannah Van Gogh-Bonger, december 1913).

Link to the museum article: https://www.vangoghmuseum.nl/en/news-and-press/press-releases/photo-of-vincent-van-gogh-turns-out-to-be-his-brother-theo?v=1

Encouraging news.

2018-11-252019-01-19

02.05.2019 DESTINATION SENIGALLIA 2-3-4 MAY 2019

JOIN US FOR THE PRELUDE OF THE SENIGALLIA BIENNALE, DEDICATED TO THE FIRST 150 YEARS OF PHOTOGRAPHY, 1839-1989, WITH MICHAEL NYMAN AND HIS MUSICIANS. 2-3-4 MAY 2019

Returning in May every even year, the Bienniale celebrates the first 150 years of photography, 1839-1989.

Exhibitions dedicated to history of photography

Conference and Meetings, in English, French, Italian Fairs (galleries, collectors)

Workshops, expert evaluation sessions, A Prize.

The I Biennale, early May 2020, will outline the role of photography in the service of the Arts (Charles Baudelaire), painting, sculpture, dance, pantomime, poetry (Giacomelli).

The prelude, 2-3-4 May 2019 will help precise the directions and create the publications, discuss the research.

During one complete year, from the Prelude till the actual Biennale, May 2019 till May 2020, the general public and visitors will be invited to vote online in order to decide a theme for the next Biennale between a dozen of proposals, exemples :

– Photography records Nature, history of gardens and parks.

– Photography, Urban planning and geography. Memory of the megalopoles, National Geographic. Documentary photography.

– Photography and Police, identification of criminals, crime scenes or missing persons.

– Photography and Science: from the infinitely large till the infinitely small, astronomy.

– Photography and Pleasure, eroticism, gastronomy, Pavlov.

– Photography and Philosophy, in the service of Morality and religion, images can provoke feelings of compassion.

– Photography in the service of Political power or struggle, propaganda, censor, manipulation of emotions, satirical photographs.

– Photography and the Transmission of knowledge, a vaccine against the ravages of conspiracy), photography in the service of curiosity and critical thinking.

– Photography at the service of the Individual, photography within families, carte-de-visite, selfies.

– Photography and War, photographers in the war, registration of war history.

– Photography and the Art Market, history of Art, fakes, documentation, investigations, archeology.

– Photography and Fashion, advertising photographs.

The Senigallia railroad station has been situated since 1861 in front of the medieval palace, Rocca Roveresca, which is 250 meters from the beach and from the Biennale. Partner hotels can be reached by foot.

There are direct trains from Milan, Venice, Bologna and Munich. There are twenty trains each day to Bologna and two to Rome. Bologna has year round air service to most European capitals, and seasonally (Summer) to Philadelphia.

In addition, Situated half way between Senigallia and Ancona (16 and 12 kms), Marche Airport has daily flights from Munich (Lufthansa), Charleroi (Ryanair) and London Stansted (Ryanair). Information for exhibitors, dealers and visitors : SCBS srl

Rome, Margherita Sarli : +39 320 1104711 margherita.sarli@gmail.com,
Paris, Serge Plantureux : +33 6 50856074 serge@plantureux.fr
Tel Aviv, Raphaël Chicheportiche : raphael.chich@gmail.com

EN Senigallia Biennale 2019

2018-11-172018-11-21

21.11.2018 Vente de livres, photos et manuscrits (etude Chayette et Cheval), Rimbaud, Soutine, Morand, Toulet …

Tout ce qui est or ne brille pas,
Ne sont pas perdus tous ceux qui vagabondent ;
Ce qui est vieux mais fort ne se flétrit pas,
Le gel n’atteint pas les racines profondes.
(Tolkien, Poème d’Aragorn, La Fraternité de l’Anneau)

Le premier vers de la chanson d’Aragorn par Tolkien est presque une contraposée du célèbre vers repris par Shakespeare: Tout ce qui brille n’est pas d’or. On peut remplacer Or par Art, et constater que le marché de l’art s’envole sans prendre gare aux deux locutions proverbiales. La vente du 21 Novembre disperse une partie de bibliothèque qui ne paye pas de mine — avec quelques ajouts d’autres collections.

Etude Chayette et Cheval, 33 Faubourg Montmartre
Vente à La Salle, 20 rue Drouot, mercredi 21 novembre à 14 heures
Le catalogue est en ligne :

http://www.chayette-cheval.com/html/index.jsp?id=95110&lng=&npp=150

Les ouvrages sont d’allure modeste et les reliures souvent fatiguées mais les exemplaires sont truffés.

Une lettre est déchirée sur cinq centimètres et ce défaut probablement écartera quelques acheteurs à la recherche de la perfection calibrée, et laissera une chance à d’autres, aux budgets plus modestes qui apprécieront le contenu de ce reçu rédigé par Arthur Rimbaud en Éthiopie. Mais ces rares reçus signés portent tous la même déchirure, souvenir lointain d’une furtive impatience.

Continuer la lecture de « 21.11.2018 Vente de livres, photos et manuscrits (etude Chayette et Cheval), Rimbaud, Soutine, Morand, Toulet … »

2018-11-162018-11-17

16.11.2018 PWT 38-2018 Samuel Bourne Returns to Lucknow

Samuel Bourne returns to Lucknow

“Samuel Bourne was a British photographer who spent seven extremely productive years in India, and by the time he returned to England in January 1871, he had made approximately 2,200 fine images of the landscape and architecture of India and the Himalayas. Working primarily with a 10×12 inch plate camera, and using the complicated and laborious Wet Plate Collodion process, the impressive body of work he produced was always of superb technical quality and often of artistic brilliance.[citation needed] His ability to create superb photographs whilst travelling in the remotest areas of the Himalayas… with a retinue of some 30 porters to carry his equipment, and working under the most exacting physical conditions, places him firmly amongst the very finest of nineteenth century travel photographers.” (Wikipedia).

Exhibition at the Indian Institute of Management Lucknow, Uttar Pradesh

IIM Lucknow main campus spans 200 acres (81 ha) and is in Prabandh Nagar on the outskirts of Lucknow, Uttar Pradesh, India. It is at 21 kilometres from Lucknow railway station and 31 kilometres from Lucknow Airport. IIM Lucknow also has a city office at Aliganj.

The academic buildings are constructed in medieval Indian architectural style with red brick wall texture.

As a part of student exchange programs, students spend a three-month term in a foreign university in October to December in their second year. Every year around 50 students of IIM Lucknow are selected for the exchange programs based on merit, while around 30 foreign students come to IIM Lucknow, for example from EM Lyon, as the curator of the present Bourne exhibition, Adrienne Plantureux.

Access to pdf and catalogue :

PWT 38-2018 Samuel Bourne Returns to Lucknow

2018-11-142018-11-18

14.11 2018. Good Old Days Story of a Recent Paris Auction : Le Gray’s Photographic Expedition along the Nile

Good Old Days Story of a Recent Paris Auction : Gustave Le Gray’s Photographic Expedition along the Nile (illustration: lot 34)

« La Gazette Drouot » is the weekly publication dedicated to auction activity at Paris Drouot, with some interesting general articles as well. Online subscribers get the issues on Thursday evening, one day before the distribution of paper numbers. That’s how on Thursday late afternoon 27 September 2018 spread the buzz in the passionate community of Le Gray afficionados : a treasure had been found, a full page anouncement reproduced 4 of the 71 Egypt albumen prints by Le Gray. The auction would be organized on November 14, after Paris Photo week, in Drouot, salle 6, the auction house being Delon-Hoebanx – Who are they ? The expert Mario Mordente – Who is he ?

Continuer la lecture de « 14.11 2018. Good Old Days Story of a Recent Paris Auction : Le Gray’s Photographic Expedition along the Nile »

2018-11-072018-11-08

8.11.2018 Exposition des Épreuves retrouvées d’Otto Wegener salle 7, Hôtel des ventes, 9 rue Drouot

La distribution du catalogue et l’exposition des épreuves ont permis de compléter, de corriger et de préciser plusieurs identifications.

20. Otto Wegener

Ida Rubinstein et son bébé léopard Paris, juin 1913

Les contemporains parlent plus volontiers de la panthère d’Ida Rubinstein qui effraya tant certains visiteurs célèbres. Un léopard est aussi une panthère, à robe tachetée. Selon plusieurs biographes, Ida Rubinstein avait chez elle une panthère noire et un bébé léopard.

25. Otto Wegener

Marguerite Schneider, Marquise de Brantes et Bernard d’Hendecourt en costumes orientaux – Préparatifs du bal costumé chez madame de Chabrillan, rue Christophe-Colomb

Paris, Mai 1912

À la suite des représentations de “Shéhérazade” à l’Opéra, par les Ballets russes, en 1910, un véritable engouement pour l’Orient s’empara de la société parisienne. Après la “Mille et deuxième nuit” organisée par le couturier Paul Poiret le 24 juin 1911, la comtesse de Chabrillan organisa, le 29 mai 1912, dans son hôtel de la rue Christophe Colomb, un fastueux “bal persan” qui eut un grand retentissement.

26. Otto Wegener

Marguerite Schneider, Marquise de Brantes en costume oriental

Paris, 1912

5 – Otto Wegener
Comtesse Greffulhe avec un éventail en compagnie de sa fille Elaine
Paris, 1908

On nous a signalé que le visage de la jeune femme est peu ressemblant avec les portraits plus jeunes d’Elaine, que la mère et la fille ne sont pas connues pour figurer ensemble dans une composition aussi maternelle. Nous remarquons que les visages sont effectivement très retouchés, tant au niveau des visage que des tailles.

Le procédé photographique utilisé crée de considérables transformations, à travers une succession d’étapes, d’agrandissement et de retouches. Nous prenons en considération les doutes exprimés, tout en conservant l’identification proposée.

49- OttoWegener
Le Fennec et la Mort, photomontage, allégorie Paris, vers 1914

La couronne est anglaise, la croix allemande, l’aigle français, l’allégorie semble concernant un univers européen qui disparaît.

51- ArnoldWegener (1871-1948)
Trois essais au Splendicolor

Le procédé primitif est un procédé aux colorants, les couleurs sont fragiles et craignent la lumière naturelle.

2018-11-042018-11-04

PWT 37-2018 All that is Gold does not Glitter – Tout ce qui est Or ne brille pas

All that is gold does not glitter;
All that is long does not last;
All that is old does not wither;
Not all that is over is past.

Tout ce qui est or ne brille pas,
Ne sont pas perdus tous ceux qui vagabondent ;
Ce qui est vieux mais fort ne se flétrit pas,
Le gel n’atteint pas les racines profondes.
(Poème d’Aragorn, Le Seigneur des anneaux, La Fraternité de l’Anneau)

Le premier vers de la chanson d’Aragorn par Tolkien est presque une contraposée du célèbre vers repris par Shakespeare: Tout ce qui brille n’est pas d’or.

On peut remplacer Or par Art. Et le marché de l’art s’envole sans prendre gare aux deux locutions proverbiales.

La vente du 21 Novembre dispersera une partie de bibliothèque qui ne paye pas de mine — avec quelques ajouts d’autres collections.

Les ouvrages sont d’allure modeste et les reliures souvent fatiguées mais les exemplaires sont truffés.

Une brochure а l’allure fatiguée contient deux cartes postales d’une écriture fine, fixées avec un épouvantable adhésif. Chaim Soutine y détaille ses souffrances au verso d’une estampille illustrée du portrait du Maréchal Pétain.

Un étui déchiré contient un ouvrage illustré par Picasso, illustré dans tous les sens du terme.

Un livre fondateur de l’impressionnisme est dédicacé au peintre Maximilien Luce.

Certains volumes ne payent pas de mine, en particulier les placards ou les jeux d’épreuves corrigées et il faut du temps pour explorer les corrections manuscrites et les billets autographes de Paul-Jean Toulet et de Guillaume Apollinaire, d’Anna de Noailles ou de Paul Morand.

La vente sera précédée d’une seule journée de visite en Salle 20, 20 rue Drouot, le 20 Novembre mais pendant les deux semaines précédentes il est possible de prendre rendez-vous avec l’étude Chayette et Cheval qui a mis а disposition des amateurs une salle а l’étage du 33 Faubourg Montmartre pour consulter paisiblement les 185 lots de la vente.

PWT 37-2018 All that is gold does not glitter

Acces au catalogue online :

http://www.chayette-cheval.com/html/index

2018-10-252018-10-25

25.10.2018 Cosmic Pluralism and the Rise of Astrophotography

Ferdinand Quenisset (1872–1951), French astrophotographer

Quénisset was born on 8 August 1872 in Paris, the son of Gatien Jules Quénisset, an assistant director of Monnaies et Médailles in Paris, and Juliette Antonia Mallard, a dressmaker.Ferdinand became interested in astronomy by reading Camille Flammarion‘s books. In 1891, Quénisset, 19 years old, joined Flamamrion’s Society Astronomique de France as assistant librarian. At the time, the SAF was located at 28 rue Serpente in Paris. Soon, Quenisset worked also as an observer at Flammarion’s observatory in Juvisy-sur-Orge, where he discovered a comet in 1893.He was forced to abandon astronomy for several years while he performed his military service, but then returned to Juvisy to resume his post at the observatory until 1947.

Flammarion’s Observatory in Juvisy

The observatory was established in Juvisy-sur-Orge in 1883 by the French astronomer and author Camille Flammarion, with the support of the Emperor of Brasil, Don Pedro II, who became curious to know about aliens by reading Camille Flammarion‘s books.Flammarion published his first book, The Plurality of Inhabited Worlds, in 1862 and was dismissed from his position at the Paris Observatory later the same year. In Real and Imaginary Worlds (1864) and Lumen (1887), Flammarion describes a range of exotic species and extraterrestrial life, with a religious conviction derived from the writings of Saint-Simonian apostle Jean Reynaud and their emphasis upon the transmigration of souls.

PWT 36-2018 Cosmic Pluralism

“What intelligent being, what being capable of responding emotionally to a beautiful sight, can look at the jagged, silvery lunar crescent trembling in the azure sky, even through the weakest of telescopes, and not be struck by it in an intensely pleasurable way, not feel cut off from everyday life here on earth and transported toward that first stop on the celestial journeys?…” (Camille Flammarion).

2018-10-052018-10-08

05.10.2018 Le Catalogue OTTO-PORTRAITS est en ligne et la vente fait la Une de la Gazette !

Un fonds d’atelier photographique est retrouvé intact après cent ans d’oubli. Le studio du portraitiste Otto, place de la Madeleine, accueillait le Tout-Paris de la Belle Époque. Otto et ses fils y menaient grand train.

Autoportrait 1
Paul Verlaine 3
Comtesse Greffulhe 4-5
Edward Steichen 6
Gommes bichromatées 7-8
Artiste au chapeau 12
Isadora Duncan 13-18
Guerrier africain 19
Ida Rubinstein 20-24
Ballets russes 25-30
Autoportrait 31
Fonds d’atelier 32-50

Le catalogue est accessible en ligne en cliquant sur n’importante quelle image ou en se rendant directement sur le site de Daguerre :

http://daguerre.fr/prochaines-ventes/

La gazette Drouot a fait l’honneur de sa Une à la découverte de ce fonds d’atelier photographique, avec un article en page 8, accessible sur le site pour les abonnés.

Cinq épreuves seront visibles dès la semaine prochaine, à l’exposition Collégiale Œuvres Choisies qui se tiendra du 12 au 21 octobre en salle 9.

Le catalogue imprimé sera disponible en avant première en salle 9, le Jeudi 18 Octobre en fin d’après-midi, début de la nocturne de Drouot (18h).

Une affiche 40×60 cm sera également disponible sur simple demande pour les personnes qui souhaiteraient la présenter dans leur vitrine, ou simplement décorer leurs murs :

OTTO-Portraits-catalogue-leger

Estimations

2018-09-27

27.09.2018 PWT 35-2018. VIRTUAL MUSEUM OF COUNT MINUTOLI

Alexander was the founder of the world’s first arts and crafts museum

Baron Alexander von Minutoli (1806-1887) was the creator of one of the very first decorative arts museums in Europe, the first of the nineteenth century, a precursor of the Victoria and Albert Museum in London and the Musée des Arts Décoratifs in Paris, and made extensive use of photography to spread taste and knowledge.

In 1839, the same year that photography was invented, the Prussian ministry sent him to Liegnitz (now Legnica, Poland) to develop local crafts in a period of economic crisis. Having inherited from his father a passion for art history and collecting, Minutoli had brought back many decorative art objects from his travels. In order to stimulate industry by example and restore the lost unity of art and crafts, he created a new kind of museum; no art museum or curiosity cabinet, but a collection of models of the best in decorative arts since antiquity, organized by materials and periods. In 1845, the King of Prussia granted him the use of about ten rooms in Liegnitz Castle to display the objects.

Minutoli wanted to address a national, even international audience. He therefore developed a system for lending the original works and antiques to Prussian schools of applied arts. This caused some damage. Minutoli then imagined a loan of watercolours; then, of daguerreotypes (the photographer Louis Birk produced a few dozen plates for him). The Crystal Palace Exhibition, held in London in 1851, gave him the opportunity to present them to the world.

But these were fragile, and as soon as the collodion process was invented, Minutoli took up this major innovation. In 1853, he hired a 23-year-old young man from Liegnitz’s school of applied arts, Ludwig Belitski.

Using an ingenious splash system and a 9-foot (2.74-metre) Dollond telescope, Minutoli and Belitski made up a corpus of more than 150 photographs on salted paper.

Presented at the 1855 Paris Universal Exhibition, it opened with a lithographed title page: “Models for craftsmen and manufacturers from the collection of the Minutoli Institute for the Improvement of Trade and the Promotion of the Arts in Liegnitz”.

PWT 35-2018 Count Minutoli

2018-09-062018-12-20

06.09.2018 PWT N°34-2018 Et si c’etait ainsi que naissait le premier poète ?

Et si c’etait ainsi que naissait le premier poète ?Quelle mystérieuse nécessité intérieure a poussé le jeune Francisco a noircir des milliers de pages de poèmes ? Et à devenir l’auteur du livre le plus rare et le plus mystérieux de Nouvelle Grenade.Comment la poésie s’est-elle imposée à un homme de vingt ans, né en 1647 dans une capitale du Nouveau Monde comptant 3000 cachupines pour une altitude de 3000 mètres. Est-ce l’éducation reçue chaque jour dès 5.45 du matin dans le collège des Jésuites ?

(Theophile Bouchet, Hommage à Alvarez de Velasco)

Est-ce le fait de se retrouver Gouverneur d’une foret vierge, avec pour seuls compagnons quelques milliers de travailleurs autochtones et de bien plus encore d’animaux sauvages ?

Francisco Álvarez de Velasco y Zorrilla (1647-1708). Rhytmica sacra, moral, y laudatoria, impresso por distintos impressores, en diferentes lugares y tiempos [Burgos-Madrid, 1700-1703]

No one would have ever heard of Alvarez de Velasco if he had not fallen benevolently in love with a distant poetess from the North, Juana-Ines, who had become a nun to protect her independence, by taking refuge in a convent in the gigantic Mexico City area 3000 km away. If, by being appointed ambassador of the colony of New Granada in Spain, Francisco had not secretly organized a possible and furtive meeting in 1702 during the necessary Mexican stage before the dangerous crossing of an ocean at the mercy of enemy privateers, he might never have known that his love had already died seven years earlier.

Despair filled his heart and arrived in Spain on a long convoy loaded with gold, amidst naval battles and burning ships, he set out in search of those who had known or edited the poems of Sor Juana Ines de la Cruz. He agreed with Clemente Puche or Puich who had engraved the beautiful portrait as the titlepage of the Works of the Phoenix of Mexico two years earlier.

PWT 34-2018 Alvarez de Velasco

2018-08-202018-09-07

30.08.2018 PWT “Le Photographe Retrouvé” Otto Wegener

Otto Wegener was born in the southern Swedish town of Helsingborgs in 1849. The Swedish photographer Hanna Forthmeijer (1827-1914) established the city’s first permanent studio in Otto’s parents’ home in the mid-1860s. (Cf. a local advertisement for this first studio of Helsingborgs published in 1867, the same year the young man left for Paris reproduced in Helsingborgs stadslexikon).

Because he had joined the Commune under the Garde Nationale uniform, Otto went in exile to London where his three sons were born]. He came back after 1875.

Nothing is known about his introduction to photography; all we know is that he opened his magnificient studio at the fashionable address 3, Place de la Madeleine in 1883, successfully competing with Nadar and Reutlinger for the elite audience.

Marcel Proust frequented Otto’s studio.

He also brought his favourite ladies from the nobility to Otto’s studio. Celebrated as the supreme beauty of her day, Countess Elisabeth Greffulhe (1860-1952) was the triumph of Parisian society when Marcel Proust made her acquaintance in 1892.

Proust pursued her with requests for a photograph, which she staunchly refused. Nonetheless, the countess would inspire Proust’s fiction, becoming a prototype for the glamorous Duchesse de Guermantes in A la recherche du temps perd (1913-27).

Acces au pdf : PWT 33-2018 Le Photographe Retrouvé (Otto Wegener)

Wegener had then already simplified his name to OTTO, a signature that shined in gold above the sixth floor on the building. He maintained contacts with the Swedish colony of artists and the writer August Strindberg dined in his house in 1894. The writers Bjørnstjerne Bjørnson and Victoria Benedictsson as well as the painter Albert Edelfelt are among the Scandinavians who had their photographs taken by Otto.

Continuer la lecture de « 30.08.2018 PWT “Le Photographe Retrouvé” Otto Wegener »

2018-08-202018-08-20

Zonamaco Foto 2018: Turn on your lights!

The Copernican Revolution was the paradigm shift from the Ptolemaic model of the heavens, formulated by Nicolaus Copernic some time before 1514 and refined until the publishing of De Revolutionibus Orbium Coelestium in 1543.

Fifteen scores later, the Daguerreian Revolution was the paradigm shift from the classical representation of Nature and Human faces, formulated by Niépce some time before 1827 and refined by several gentlemen until the public announcement of 19 August 1839.

When the first photographic processes were invented and developped by Niépce and his followers in Europe, the photographic portrait was really born in America circa 1840. Robert Cornelius in Philadelphia and John Draper are the central figures.

We will present 17 early daguerrian portraits and an armil during Zonamaco Foto on stand B-316.