Posts Tagged ‘Hôtel Drouot’

Photography | Steichen & Chevallier

Friday, December 6th, 2013

Marlene Dietrich, Edward Steichen, 1931
Courtesy of The Whitney Museum of American Art, New York
Gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.234
Steichen/Vanity Fair ©Condé Nast

Marlène Dietrich
, Anthony Armstrong Jones, London, c 1955
Signed with the dedication ‘J’ai toujours su que tu es le plus grand mais
depuis que j’ai envahi ton métier je suis à genoux, Marlènou’
Auction estimate €200-300




Collection Maurice Chevalier
Hôtel Drouot Richelieu – Salle 5
Paris, France
Exhibition: 7th & 8th December, 2013
Sale: 9th December, 2013

Edward Steichen in the 1920s and 1930s:
A Recent Acquisition

Witney Museum of American Art
New York City, USA
Exhibition: 6th December, 2013
– 23rd February, 2014

Two very different portraits (above) of the same woman, Marlène Dietrich – the first taken in 1931 by pioneering American photographer Edward Steichen (1879-1973) – the second about twenty-four years later, c 1955, by Anthony Armstrong Jones (later, Lord Snowdon) – feature in two very different events, the first starting at the end of this week, the other taking place at the beginning of next.


Paul Robeson as the Emperor Jones, Edward Steichen, 1933
Courtesy of Whitney Museum of American Art, New York
Gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.234
Steichen/Vanity Fair ©Condé Nast


Steichen shot the beguiling and beautiful, young German-born actress/singer Dietrich, ten years into her career, exclusively for Vanity Fair magazine. It is one of approximately forty-five works, including celebrity portraits, of among others, Winston Churchill, Paul Robeson, Eugene O’Neill, and fashion photographs he created during his 1923 to 1937 stint as chief photographer for Condé Nast Publications Vanity Fair and Vogue. Together with photographs he shot for advertising campaigns, and a selection of images that illustrate Steichen’s obsession with flowers, they comprise The Witney’s exhibition Edward Steichen in the 1920s and 1930s: A Recent Acquisition.


Photographs above from top
Portrait of Maurice Chevalier, New York, Irving Penn, 1948
Auction estimate €3,000-5,000

Audrey Hepburn in religious costume
Dedicated ‘To Maurice and ‘Papa’ with love and great admiration, Audrey’
Auction estimate €150-200

The Duke and Duchess of Windsor, 1946, Dorothy Welding
Signed ‘Wallis Windsor et Edward Duke of Windsor’
Auction estimate €100-150



The Snowdon picture is one of eight portraits of Dietrich, each signed with a variety of sometimes cryptic dedications, for example: ‘Pour Maurice, de sa viel(le) ami(e) Marlène’ – scrawled over a picture of her in rather masculine attire – that over the course of both their careers, she presented to French entertainer Maurice Chevalier (1888-1972). And these are just a small sample of the 547 items, including many more signed and dedicated celebrity photographs – from the likes of Charlie Chaplin, and the Duke and Duchess of Windsor, to Brigitte Bardot, and Elvis Presley – as well as signed and collectible books, keepsakes, his signature hats and canes, furniture, wines, rugs, pianos, and even Chevalier’s 1967 Mercedes Benz 250 S, that will go under the hammer at one of Paris’s premier auction houses, in the Collection Maurice Chevalier sale at Hôtel Drouot, on Monday.


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

Share this post
Facebook Twitter Linkedin

Auction | Playing with the Female Form

Friday, October 25th, 2013

Modern & Contemporary Photographs
Hotel Drouot, Paris, France
Auction: 30th October, 2013
Private previews: by appointment until 25th October, 2013
Exhibition: Hotel Drouot
29th October & 30 October, 2013


Above, Purple Nude. Erwin Blumenfeld, New York, 1940
€1,500–2,000


Distorsion #159. Andre Kertesz, Paris, 1933
€8,000–10,000


The works about to go on show in Centre Pompidou’s Surrealism & the Object (30th October 2013 – 3rd March 2014) demonstrate that objects were the main preoccupation of the surrealist movement. The human body was another, but often, as in Man Ray’s photograph The coat-stand (1920) – one of the exhibits – the body, almost invariably female, was itself objectified.

Ray’s image of Jean Cocteau, showing the artist with his sculpture Débourre-pipes (1928, not shown), the floating, decapitated head of a woman sculpted in wire, is one of almost 300 lots in a varied sale of Modern & Contemporary Photographs at Hotel Drout in Paris, in which an array of early travel photography, modernist interiors, Parisian and American street life, glamour portraits, and portraits of a good number of other famous artists, will be auctioned.

A total of 44 photographs by André Kertesz, from a Swiss collection, exude a strong presence amongst the list of lots. In 1930, Carlo Rim, the editor of the magazine VU, asked Kertész to take his portrait. Kertész, who was already experimenting with distortion, persuaded Rim to do it at the hall of distorting mirrors at Luna Park fun fair in the Bois de Boulogne. Shortly after, a pair of portraits of Rim – one with an overly tapered body, the other making him appear dwarfed – appeared together in VU.

The idea of using distortion in art probably had its genesis in the African and Polynesian wood carvings that had begun to appear in Europe in the late 19th century, the influence of which was absorbed and first exploited by Picasso and later by, among others, Henry Moore, as well as the surrealist sculptor, Giacometti. For many artists, exploring distortion was also a way of dealing with the atrocious mutilations that were the legacy of the Great War.

During the early years of the new century, women had begun to demand, and had won, greater freedom for themselves. Parisian women, during the 1920s, were the first to be released from the corset by Coco Chanel and, in the same decade two-piece bathing costumes, which were little more than a bra and skimpy shorts set, began to appear on the French Riviera. Nudes, as the subjects of ‘tasteful’, artistic photography were becoming less taboo, which led to magazine editors in France becoming more daring. And, impressed by the distorted portraits he saw in VU, the editor of the rather racy Le Sourire (Smile) magazine asked Kertész to make a series of distorted nude images of two female models. However, the editor didn’t – or was not allowed – to publish them, and it wasn’t until 1976, when they appeared in the book André Kertész Distortion (Editions du Chêne Paris), that they became one of the photographer’s most famous series. A number of images from this series, including the bizarre and disturbing Distortion #159, (above), and some of Kertész’s earlier, experimental prints are also included in the sale.


Les Jeux de la Poupée. Hans Bellmer, 1935
€1,000–1,500



Nu blanc. Jeanloup Sieff, Paris, 1967
€2,000–3,000


Gog et Magog. Pierre Molinier, c 1965
€2,500-3,000


As a child, in Germany, Hans Bellmer, (1902-1975) found refuge from an oppressive family atmosphere in a secret garden decorated with toys and visited by young girls, who joined in sexual games. In the 1920s he became involved with the Dada movement, and in 1933, built his life-sized Puppe (Doll) sculpture, a representation of his yearning to escape from the reality of Nazi Germany. In 1934, he published ten photographs of this work accompanied by a prose poem in which he demonstrated how the seemingly innocent pastimes of his childhood had developed into the sexual fantasies of an adult. Acclaimed and adopted by the Parisian surrealists in 1935, he published a French translation of Die Puppe – La Poupé. That summer he altered the sculpture giving it ball-joints to allow for increased mobility – the stomach became a large sphere around which two pelvises could be articulated, each with its own legs and feet – pushing it into the area of distortion. The auction includes a hand-tinted print, made in 1970, entitled Les Jeux de la Poupée (1935, above), and dedicated to Man Ray.

Meanwhile, in a theatrical form of distortion, former landscape painter, who quickly turned to fetishistic/erotic photography, Pierre Molinier’s (1900-1976) Gog et Magog photomontage (1965, above) typically, placing her in a sexy stage set, removes his model’s body, reducing her to a head at the crux of four stockinged legs, each terminating in patent and pointed stilletto-heeled shoes. With something akin to Molinier’s staging, for Jean Paul-Goude’s Grace Jones Revised and updated (1978, not shown, a print is included in this sale), each of the black singer’s limbs, as well as her neck, are slimmed down, stretched and given a highly-polished finish, so that she resembles a life-size, semi-naked, art-deco-inspired, carved mahogany figure.


Nude. Weegee (aka Arthur H Fellig) New York, c 1940
€1,200–1,500


One of the surprises in the Hotel Drout event is a sensitive nude study (above), shot in the studio around 1940, by Weegee (aka Arthur H Fellig) – better known for his stark black and white New York street scene photojournalism. In the 1950s Weegee experimented with distortion, producing nudes, including Nude (easel trick and plastic lens) c 1953-6, which appeared in the book Weegee’s Women, (Showplace, first published, July 1956), in which the model appears to have extremely long, giraffe-like legs, and Marilyn Monroe (plastic lens) c 1960, where a beautiful initial image of MM pursing her lips, eyes closed, as if waiting for the camera to kiss her, is altered in a succession of distortions, rendering her unrecognisable.

Rare examples of male distortion, two of Philippe Halsman’s (1906-1979) famous images of Salvador Dali (not shown), from the photographer and artist’s 1954 collaboration ‘Dali’s Mustache’, will also go under the hammer.

Lot #175, Jeanloup Sieff’s (1933-2000) thin, twisted and angular Nu blanc (1967, above) might be a template for the figure of the modern woman that has proliferated via women’s fashion magazines since the 60s, whereas Erwin Blumenfeld (1897-1969) who is represented in the sale by Purple Nude (1940, top) proves that the visual dismemberment of a female model need not invoke feelings of revulsion, but rather that by careful and sympathetic reconstruction, a sphisticated image of subtle and elegant female beauty can be created.


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

Share this post
Facebook Twitter Linkedin

Photography | Big Nudes

Friday, June 24th, 2011

Le Imaginaire du Nu
Hotel Drouot, Paris. Exhibition 27th & 28th June 2011. Sale 28th June

Nudes, especially as a subject for books, exhibitions and auctions, are big right now, especially in France. Not that the nudes themselves are huge in proportions, you understand, with the possible exception of the amazons in high stilettos in Helmut Newton’s classic, Big Nudes (1990) that is among a list of 10 books on this particular génre of photography selected for La Lettre de la Photographie by photographer and collector, Bruno Mouron, prompted, almost certainly, by the huge up coming auction and exhibition L’imaginaire du Nu at Hôtel Drouot in Paris.

Early daguerreotypes and prints will be sold back to back with photographs from the beginning and middle of the 20th century: Bill Brandt, Robert Doisneau, Horst, Krull, Man Ray, Willy Ronis and contemporary works by, among others, Araki, Bourdin, Ralph Gibson, David Hamilton, Sam Haskins, Horvat, Lindbergh, George Platt-Lynes, Jeanloup Sieff, Bert Stern and Joel Peter Witkin. The majority, as might be expected, are images of women but male nudity is also represented in pictures by, for example, Bruce of Los Angeles and Robert Mapplethorpe.

Interesting to note, though, that despite the current vogue, we’re already halfway through the year and Mapplethorpe’s Nudes 2011 calender, which includes graphic black and white images of both males and females of our species is still available from Te Neues.

Pamela Hanson, Carla Bruni, Vogue Hommes, 1994, top
Man Ray, Meret Oppenheim, 1935, below


Share this post
Facebook Twitter Linkedin