9.03.2018 PWT 10-2018 Toulouse Lautrec l’Oripeau

“Un tout petit forgeron à binocle”

“Lautrec, having read Poil de Carotte (Carrot Head), asked Tristan Bernard to let him meet the author, Jules Renard. Their first interview took place November 26, 1894 (Journal of J. Renard): “A very small blacksmith with binocle; a small double compartment bag; thick lips, and hands like those he draws with spreading and bony fingers, inches in a semicircle … It hurts first, by the smallness, then he is very alive, very nice, with grunts that separates his sentences and raises his lips, like the wind raises the bulges of a door. ”

Early in 1895, Lautrec researched a fox’s head to compose an ornate letter for an article of his friend in the Revue Blanche. It was Lautrec who proposed to Renard (1895) to illustrate a dozen of his Histoires naturelles, and to sell 100 copies at 25 francs each; the edition will be made by Floury in 1899, it will not be successful…” (Jean Adhémar, Toulouse-Lautrec 1951 BN exhibition catalogue)

PWT 10-2018 Toulouse-Lautrec l’Oripeau

photomontage supervised by Jean Adhemar, 1951, glass plate, 120×90 mm



Ashes and Bones Stories: Martin Bormann’s copy of Palafox and Mendoza

We may be close to a big burning of books. Not by order of a single decision maker fanatic of the Qin Emperor exemplary orders of 213 BCA or another Great Leader a few centuries later. Just a general indifference with a multiplication of governemental bands listing books as outlaw, lists issued by technocratic bureaucraties, all impatient to get rid of thousands of librarians and optimize thousands of buildings.

Let’s pick one small volume, in a strict and severe binding, probably designed by Reichsleiter Martin Bormann. The text is a rather boring German translation of Palafox and Mendoza 1650s texts against the jesuits, printed in Gothic alphabet in 1773, the year of general bannisment of the Jesuits.

The property stamp deserves our attention as the heir of Hitler could have been interested in the administration of Latin America native people, he is said to have chosen the Paraguaian missions as a post apocalyptic heaven.

This small volume, difficult to read, brings our attention to contemplate three centurie: Spain and Mexico in mid 17th, the World in 1773 and the World abter the Fall oftheReich, 1945. Last point, ironically, Martin Bormann is the decision-maker who banished the use of gothic characters in German countries.

PWT 09-2018 Ashes and Bones




A Young Mexican Around the World in Eighty Days

Departing early February 1913, returning in the first days of May, Alberto Nunes jr was travelling with his father, Alberto Nunes and his portable camera. He recorded decisive moments of the trip, on the Union Pacific train, aboard the trans-Pacific liners SS Mongolia and Tenyo Maru — on 2nd class, with Chineses immigrants on steerage — some impressive night fire in Manila, buying toys in a Japaneses shop and the early sewing machines shops and offices. A member of the Nunes family was working for the growing Singer Company : Uncle Luis had became a Singer representative in Manila when he had visibly a terrible accident.

We can imagine the album open when the travellers were telling magical travel recollections to the young ones. Some pencil notes, verso, and ink captions, recto, supported the failing or rather transforming memories, human transmission is always in progress, opposed to the dry and perfect restitutions of machine brains.

The album contains 89 original photos by Alberto junior, printed on postcard papers, together with some printed views and a Japanese portrait with the curious note: “Geisha que attendo a mi abuelo Alberto J. Nunes en una casa del Yoshi-Wara”. (The Geisha who took care of grandfather Alberto in one of the Yoshi-Wara special houses).

Acces au pdf


The Dog (狗) is one of the 12-year cycle of animals that appear in the Chinese zodiac

Access to full transmission, PWT 07-2018 Calling up the dog days to be

The Great Race called by the Jade Emperor:

“An ancient folk story tells that Cat and Rat were both very bad at swimming.

Although they were poor swimmers, they were both quite intelligent. To get to the meeting called by the Jade Emperor, they had to cross a river to reach the meeting place. The Jade Emperor had also decreed that the years on the calendar would be named for each animal in the order they arrived to the meeting.

Cat and Rat decided that the best and fastest way to cross the river was to hop on the back of Ox.

Continuer la lecture de « 15.02.2018 PWT 07-2018 HAPPY NEW YEAR: CALLING ON THE DOG DAYS TO BE »


PWT 05-2018 Breaking the Wall


ZONAMACO MÉXICO ARTE CONTEMPORÁNE O7-11 FEBRUARY 2018 Fifteenth edition with the presence of Galerie du Palace


“Frontiera hipnótica de la conciencia” (English presentation)

Serge Plantureux presents three young French artists under the age of thirty, who articulate their reflection around hypnosis guiding to the border of consciousness, aiming to modify time and space perception. This is a resolutely contemporary notion. Our post-truth era reveals a multitude of fields in which, trough creation, imaginary and reality are mixed-up. To such a point further than what is “possible” or “improbable”, opening perspectives on bottomless chasms.

Lyes Hammadouche questions the limits and boundaries of time contemplation trough moving mirrors filled with universes, guiding the gaze to an altered state of consciousness.

Théophile Bouchet draws bodies flirting with waves, floating on the surface of awareness. The eyes are invited towards optical boundaries.

Colin Lusinchi realizes Martian surface samples from possible coring for mining and colonization without limits. These Martian cores testify to the impacts of meteorites and invite the passerby to the cosmic journey,

A seismograph records the vibrations of the space trough the living presence of visitors.

Continuer la lecture de « 01.02.2018 PWT 05-2018 BREAKING THE WALL, GALERIE DU PALACE GOES TO MEXICO »

26.01.2018 Washington National Gallery of Art : Healy’s Portrait of President-Elect on Display

Healy’s Portrait of President-Elect on Display

“In November 1860, shortly after Abraham Lincoln was elected president, George Peter Alexander Healy (1813-1894) began the portrait on view in this gallery. Healy’s painting was the first portrait for which Lincoln posed following his election and also the last to show him without a beard. Prior to the election, Lincoln had received a letter from an eleven-year-old girl, who wrote that his appearance — as well as his chances for winning — would be improved if he grew whiskers. Lincoln replied that since he had never worn whiskers, the change might be viewed as an “affectation.” Three months later, however, while traveling from Illinois to Washington for his inauguration, Lincoln made a point of stopping in the young girl’s hometown, where he delighted in showing her his newly grown beard. Healy’s empathetic portrait of the clean-shaven president-elect records Lincoln’s features before the outbreak of the Civil War and the radical change in his appearance that followed, as documented in these photographs.”

Access to the complete pdf in progress :Dossier Lincoln 0418


25.01.2018 PWT 04-2018 “Without friends, without intrigue, without fortune …” Louis Cabat Self-educated Painter and Photographer

Louis (Nicolas) Cabat (1812-1893)

Cabat, a French landscape painter, born at Paris Dec. 24, 1812; studied painting under M. Camille Flers (1802-1868), and visited the most picturesque parts of France. He first exhibited in the “salon” of 1833 some landscapes which the critics pronounced to be too realistic; but he persevered in this style of painting till 1837, and became the founder of a school. From that period till 1848 he only contributed twice to the annual exhibitions (in 1840 and 1841), but since 1848 he has been a regular contributor. M. Cabat was elected a member of the Academy of Fine Arts in 1867, and unanimously chosen Director, in Nov., 1878, of the French School of Painting at Rome.” (Thompson Cooper, Men of the Time, 1884)

When director of the Villa, a young artist, Henri Lucien Doucet (1856-1895), sent a piece considered too bold (scene of Harem) which entailed the non-renewal of Cabat at the head of the Villa.

Cabat is considered a self-educated artist like his friend of early days, Charles Jacque. “Charles Jacque had first been introduced to these Old Masters early in his career (he was 17 years old in 1830) when Louis Cabat, then a young porcelain painter who lived next door to Jacque (passage Saint-Antoine), took him to the Bibliothèque Nationale where they looked at prints by or after the work of Poussin, Lorrain, Dürer, and Rembrandt.” (Rehs Gallery)

PWT 04-2018 Louis Cabat

18.01.2018 PWT 03-2018 Doris Ulmann

Doris Ulmann’s position in history of photography keeps improving.

Born in 1882 in the Upper East side of Manhattan, she received intellectual and artistic formation from Felix Adler and Clarence White.

She was so rich and educated, she wound finally find harmony in her life frequenting the poor and the remote Southern communities with her camera after the mid 1920s, visiting South Carolina swamps in the Great Depression days on some luxurious chevrolet.

An independant character, she build her artistic life in then virgin directions, long before public surveys of the Farm Security Administration (FSA) , but was invited for dinner at the White House in March 1934 to show and report to the President and Mrs Roosevelt her work together with her companion John Jacob Niles.

Before she passed away in August 1934, she wrote her will in favor of institutions, communities and companions, for the great concern of her wealthy family who accepted nevertheless to negociate a fair agreement.

PWT 03-2018 Doris Ulmann

Niles on Youtube : https://www.youtube.com/watch?v=6YIp0h7PIlo&list=PLA8pF1W70izQfW0c8PKJ88CmHVVdi7dj5&index=9

04.01.2018 PWT 1-2018: Last Chance to Square the Circle of the Art Market ?

“Squaring the circle is a problem proposed by ancient geometers. It is the challenge of constructing a square with the same area as a given circle by using only a finite number of steps with compass and straightedge.

In 1882, the task was proven to be impossible, as a consequence of the Lindemann–Weierstrass theorem which proves that pi (π) is a transcendental, rather than an algebraic irrational number; that is, it is not the root of any polynomial with rational coefficients. Approximate squaring to any given non-perfect accuracy, in contrast, is possible in a finite number of steps, since there are rational numbers arbitrarily close to π.

The expression “squaring the circle” is sometimes used as a metaphor for trying to do the impossible.” (Wikipedia)

178 years ago, the invention of photography opened the way to create images and also to reproduce art, giving access to the multitude, promoting the frame of a market. Photography also gave more and more freedom to the artists, allowing pictorial documentation and proof of ephemeral installations.

Now we are engaged in a great technological revolution, testing whether photography and art on paper or any archive so conceived and so dedicated, can long endure… (follow on page 25)

PWT 01-2018 Squaring the Circle

A modest 2018 New Year address (Tribute to the 1863 Gettysburg Address)

Eight scores and eighteen years ago our fathers brought forth on this world, a new invention, patiently conceived on several occasions and in several locations, and dedicated to the proposition that all men can create images.

Now we are engaged in a great technological revolution, testing whether those archives on metal and paper or any archive so conceived and so dedicated, can long endure.

We have reached a great battlefield of that revolution.

We have come to a situation where libraries and museums, many, will soon close or deaccess their collections soon after they have been digitally preserved.

For many in charge, it is altogether fitting and proper that they should do this.

But, in a larger sense, we can not control—we can not organize—we can not understand—the consequences of that dematerialization of our culture.

The brave artists and curators, living and dead, who struggled here, have created this grand legacy, far above our poor power to add or detract.

The world will little note, nor long remember what we say here, but it can never forget what they did here.

It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced.

It is rather for us to be here dedicated to the great task remaining before us — that from these honored creators we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these pictures shall not have been created in vain —that this material baggage, shall have a future — and that the cultural heritage of the people, by the people, for the people, shall not perish from the earth.

28.12.2017 PWT 52-2017 Albumen Metamorphosis: Ink Wash Drawings of Victor Hugo Replicated

Weekly transmission 52-2017 presents:

Toilers of the Sea (Les Travailleurs de la mer), a novel by Victor Hugo

After Napoleon Bonaparte’s coup on 2 December 1851 and his failed attempt to organize the Republican resistance, Hugo escaped on 11 December by train from Paris to Brussels, dressed as a printing house worker with fake ID papers under the name of Lanvin. On 9 January 1852, his name is on the main list of “Procrits”.

On 5 August 1852, Hugo arrived from Brussels to Jersey, after a transit in London.

“Les Travailleurs de la mer”, The Toilers of the Sea is a novel by Victor Hugo published in 1866. The book is dedicated to the island of Guernsey, where Hugo spent 15 years in exile. Hugo uses the setting of a small island community to transmute seemingly mundane events into drama of the highest calibre. Les Travailleurs de la Mer is set just after the Napoleonic Wars and deals with the impact of the Industrial Revolution upon the island.

The story concerns a Guernseyman named Gilliatt, a social outcast who falls in love with Deruchette, the niece of a local shipowner, Mess Lethierry. When Lethierry’s ship is wrecked on the Roches Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship’s steam engine. Gilliatt eagerly volunteers, and the story follows his physical trials and tribulations (which include a battle with a Pieuvre, an octopus), as well as the undeserved opprobrium of his neighbours.”

This unpublished group of ink wash drawings replicas in albumen prints were made by Charles Michelez during Hugo’s life time, after his return to Paris, and after the celebrated illustrated edition of the Toilers of the Sea by François-Nicolas Chifflart (1869), with Deluxe copies where the drawings are reproduced in albumen prints.

More studies will precise what was the purpose of this “edition of one” of Hugo personal illustrations for his work, a few years before the gift of all his manuscripts and drawings to the BNF (1881) and the publication of the engravings by Fortuné Méaulle (1882).



Barbara Hutton was dubbed the “Poor Little Rich Girl”“Barbara Woolworth Hutton (November 14, 1912 – May 11, 1979) was an American debutante, socialite, heiress and philanthropist. She was dubbed the “Poor Little Rich Girl,” first when she was given a lavish and expensive debutante ball in 1930, amid the Great Depression, and later due to a notoriously troubled private life.Heiress to the retail tycoon Frank Winfield Woolworth, Hutton was one of the wealthiest women in the world.

PWT 51-2017 HUTTON. Les riches pleurent aussi

19.12.2017 Troisième exposition de la Galerie du Palace : Les Scaphandriers — I Palombari, dessins et céramiques de Luca Caimmi

INAUGURATION MARDI SOIR au Théâtre du Palace 8 rue du Faubourg-Montmartre le 19 DECEMBRE DE 19 a 21 heures, en présence de l’artiste.

Concert de la contrebassiste-interprète albanaise Linda Rrukaj.

Luca Caimmi est un un artiste marchigiano, natif de la province italienne des Marches. Il est né en 1978 à Fano, près de Senigallia, patrie de Mario Giacomelli. Il obtient ses premiers prix en 1998 à Urbino.

Quant aux céramiques, il bénéficie des initiatives exceptionnelles et du renouveau créatif animé par Gian Carlo Bojani, directeur passionné des Musei Civici de Pesaro.

Sono in spiaggia attirato da un getto d’ acqua verticale che ho intravisto dalla mia finestra.
Continuer la lecture de « 19.12.2017 Troisième exposition de la Galerie du Palace : Les Scaphandriers — I Palombari, dessins et céramiques de Luca Caimmi »


Ce vendredi est le dernier jour de l’exporistion “Mes Ethiopiques”, Théâtre du Palace, 8 rue du Faubourd Montmartre (metro Grands Boulevards)

Les videos du vernissage sont en ligne (il suffit de cliquer)

Jean Dominique Penel : Parler autrement de Rimbaud (Présentation du film de Jean-Marc Boutonnet, 4 décembre 2017, extrait)

Fin de soirée : Vil Gilatte chante les voyages, les aventures des marins et en particulier Henri de Monfreid (Rock, guitare sèche).



Dans la galerie du théatre du Palace seront exposées pendant toute la semaine du 4 au 8 décembre (14-18 heures) les planches originales et les crafts inédits d’Agnès Geminet. « Mes Éthiopiques » et Rimbaud photographe.

Agnes aime pour se présenter reprendre la formule de T E.Lawrence : rêveuse diurne….

« Tous les hommes rêvent, mais inégalement. Ceux qui rêvent la nuit dans les recoins poussiéreux de leur esprit s’éveillent au jour pour découvrir que ce n’était que vanité ; mais les rêveurs diurnes sont des hommes dangereux, car ils peuvent jouer leur rêve les yeux ouverts, pour le rendre possible. C’est ce que j’ai fait. »

Lundi 4 décembre sera projeté en avant-première un film de Jean-Marc Boutonnet. (à 18.00 et 20.00).

Jean-Marc habite entre Paris, l’Aveyron et Addis-Abeba. Son épouse ethiopienne tient une boutique parisienne, leur fils tient un étonnant hotel-restatrant-cinema centre culturel à Adis Abeba : le Louvre Grand Hotel. Son premier film est consacré aux aventures éthiopiennes d’Arthur Rimbaud racontés par les descendants même de ses amis du Harrar et d’Abyssinie (durée 54 minutes).


“Descended from a noble Spanish banking family, Count Olympio-Clémente Aguado de las Marismas began to photograph about 1849. As one of the early practitioners who “welcome[d] the new art and who devoted to it not a little energy and money, but their fortunes and their lifetimes,” Aguado made both daguerreotypes and calotypes and may even have exhibited his paper negatives. Eventually turning to collodion-on-glass negatives, he made enlargements by projection, which was highly unusual in the 1850s. As a testament to his technical skills, Aguado once successfully printed 20,000 francs in counterfeit money for a friend’s single night of high living. In addition to making nature studies and landscapes, he also indulged in theatrical tableaux vivants involving friends and family.” (Getty Museum)

Weekly drawing by Theophile Bouchet : Le Comte Facétieux

José de San Martin was Olympe Aguado’s mentor.


PWT 48-2017 Aguado


Degas recourt à un autre usage de la photographie en 1910.

Cet ensemble de huit grands tirages argentiques d’époque présente un indice tout à fait officiel sous la forme d’une taxation à 3frs 75 par l’administration française au titre du droit d’affichage, matérialisé par deux “timbres mobiles de dimension” et un tampon. La date du 8 avril 1910 précède de quelques jours l’inauguration du 20eme Salon de la Société Nationale des Beaux-Arts au Grand Palais.

La biographie d’Edgar Degas indique l’année 1910 comme une année de retour d’activité que la modèle Alice Michel décrira comme activité plus commerciale qu’artistique (voir son texte étonnant pages 9 et suivantes). Degas, âgé de 76 ans et presque aveugle conçoit de savantes mises en scène dans son atelier poussiéreux pour vendre à de riches banquiers des variantes colorées de toiles plus anciennes. L’appel à la photographie en noir et blanc peut être un usage assumé de ce processus de commercialisation de multiples.

Continuer la lecture de « 23.11.2017 PWT 47-2017 DEGAS RESORTS TO ANOTHER USE OF PHOTOGRAPHY »

16.11.2017 PWT 46-2017 Le Bœuf à la mode des Incroyables. Une enseigne de restaurant du Directoire

Le restaurant « Le Boeuf à la mode » fut fondé peu avant la Terreur, en 1792, 6 rue de Valois, par deux marseillais, les frères Meot. Les historiens de la gastronomie le considère comme le premier restaurant « à la carte » de Paris. Il connut plusieurs décennies de gloire par sa cuisine provençale et colorée autant que par son enseigne représentant un boeuf habillé d’une robe, d’un châle et coiffé d’une toque à plumes. La Revue de Paris le moque ainsi en 1835 : “Le Boeuf à la Mode justifie son nom vulgaire et de mauvais goût par une peinture qui lui sert d’enseigne Les Méridionaux (…) qui d’ailleurs sont fort entichés par leur cuisine odorante viennent en foule au Boeuf à la mode, qui a fait fortune depuis que Paris est envahi par le département des Bouches-du-Rhône.”

PWT 46-2017 Boeuf a la mode


Modern researchers have interpreted the parable as permitting tax resistance.

These researchers claim Jesus was referring to Caesar as Mammon, god of money, because it was Caesar who claimed to be a god on his tax coin — the god of money.

PWT 44-2017 Caesar

The fragmentary Egerton Papyrus reads:

“ They come to him and interrogate him as a way of putting him to the test.

They ask — Teacher Jesus, we know that you have come from God, for what you do testifies beyond all the prophets. Therefore tell us, is it lawful to pay to kings the things which benefit their rule? Shall we pay them or not?

Jesus knew what they were up to, and became indignant.
Continuer la lecture de « 02.11.2017 PWT 44-2017. ART COLLECTORS FACING TAXES: RENDER UNTO CAESAR »


We know very little about Agustin – Auguste or Augustin – Peraire, we do not know if he winessed the events or even went to Queretaro. More likely, he acted as a studio photographer and an editor, who could access and reproduce the photographs of François Aubert. We know his address in the year of the dramatic events: 1, San Jose el real and the name of his partner, Manuel Murghía y Romero (1807-1860), with whom he published an important iconographic source for the historians, the Album Maximiliano.
The albumen prints reproduced here belong to the personal album of Philippe de Massa (1831-1910) who arrived in Mexico in the Summer 1866 as the young “aide-de-camp” of general Bazaine, already on the move to leave Maximilien.

PWT 43-2017 Agustin Peraire 1867


On 27 October 2017, an Oger-Blanchet auction in Paris will present a single-owner collection of 200 paintings related to the “Ecole de Paris” and a group of unusual and fragile works on paper from Henry Berlewi’s studio. With some potential discoveries !

Exhibition with a noturne, cocktail on Thursday 26 October 2017 at 6.30 pm, presentation of the collection by the Paris-based galerist Raphael Chicheportiche, 2015 student of the “Ecole de Drouot” .

Direct access to Auction catalogue : www.drouot.com

PWT 42-2017 Berlewi

Invitation au cocktail et à la Conference de Raphael Chicheportiche

“Au début du 20e siècle et Paris connait un printemps de l’art, une sorte de renaissance. Les codes de l’art ont déjà été brisés avec les impressionniste et se poursuit. En France règne un climat particulier tenant du régime de libertés publiques créé par la Troisième République dans les années 1880.

Entre 1900 et 1950 la capitale française ne comptait pas moins de 130 galeries d’art tandis que s’y tenaient une vingtaine de salons annuels où un bon millier de 60.000 peintres et sculpteurs réputés y vivait (dont un tiers d’étrangers). Ces chiffres suffisent à eux seuls à qualifier d’exceptionnelle la position de Paris en matière artistique à cette époque. Et c’est bien évidement ce qui attire des artistes du monde entier et de toutes disciplines. Ces artistes recherchent également un art moderne et vivant et Paris était considéré comme le foyer de l’art actif et progressiste.

C’est en 1925 qu’André Warnod utilise l’expression « École de Paris » pour la première fois en France, Continuer la lecture de « PWT 42-2017 “À LA GARSON” A TRIBUTE TO HENRYK BERLEWI (INVITATION TO 26 OCTOBER COCKTAIL AND PRESENTATION) »