Photography

The Drunkard’s
Grimace
The Drunkard’s
Grimace

Robert Doisneau
COCO

 

Estimated price:
€ 5.500 – € 6.500
Result:
€ 9.000

Doisneau’s Coco is one of the photographer’s most renowned and striking portraits: the steadfast gaze of the drunkard at the bar captivates the viewer just as much as his grotesque physiognomy or the detail of the back of his tattered coat, which has been carefully observed by the photographer. The photograph was taken during one of Doisneau’s night-time forays through Paris, which he undertook from 1947 in the company of his friend and companion, the journalist Robert Giraud.

 

It was Giraud who drew the photographer’s attention to the world of the clochards and drinkers, the eccentrics and the down-and-outs, and thus had a lasting influence on the photographer’s gaze.

Vintage, gelatine silver print, high-gloss,
24 x 18.1 cm, 1952

Robert Doisneau
COCO

 

Estimated price:
€ 5.500 – € 6.500
Result:
€ 9.000

Doisneau’s Coco is one of the photographer’s most renowned and striking portraits: the steadfast gaze of the drunkard at the bar captivates the viewer just as much as his grotesque physiognomy or the detail of the back of his tattered coat, which has been carefully observed by the photographer. The photograph was taken during one of Doisneau’s night-time forays through Paris, which he undertook from 1947 in the company of his friend and companion, the journalist Robert Giraud.

 

It was Giraud who drew the photographer’s attention to the world of the clochards and drinkers, the eccentrics and the down-and-outs, and thus had a lasting influence on the photographer’s gaze.

Vintage, gelatine silver print, high-gloss,
24 x 18.1 cm, 1952

Without him, I would have never met them, the thieves, the tattooed, the ladies of the night and a colourful populace in various guises.

Robert Doisneau on the Rive Gauche, in: Jean-Claude Gautrand, Robert Doisneau 1912 – 1994, Cologne 2014, p. 145

Without him, I would have never met them, the thieves, the tattooed, the ladies of the night and a colourful populace in various guises.

Robert Doisneau on the Rive Gauche, in: Jean-Claude Gautrand, Robert Doisneau 1912 – 1994, Cologne 2014, p. 145

The Madding
Crowd
The Madding
Crowd

Sebastião Salgado
DINKA CATTLE CAMP OF AMAK, SOUTHERN SUDAN

 

Estimated price:
€ 9.000 – € 12.000
Result:
€ 9.000
Gelatine silver print,
37 x 51 cm (50 x 60.5 cm), 2006
Tangible and
Palpable
Tangible and
Palpable

Hugo Erfurth
OTTO DIX

 

Estimated price:
€ 8.000 – € 10.000
Result:
€ 25.000

In this portrait of Otto Dix, which Hugo Erfurth presumably created around 1933/34, the painter’s striking face appears in razor sharpness and almost tangible plasticity. We look into eyes that literally penetrate their vis-à-vis. The unusually intensive relationship between Erfurth and Dix persisted between 1920 and 1937. During this period, Erfurth also created numerous commissioned portraits of the artist, his wife Martha and their children. Conversely, Dix recorded the photographer’s physiognomy in two of his important modernist paintings.

Vintage, gelatine silver print,
28.2 x 22.8 cm, 1933/34
Jan Dix about his
father Otto Dix
Was Dix a political person?

How do you remember your father?

How do you remember his studio?

(c) Kunstmuseum Stuttgart

Lost
Neoplastics
Lost
Neoplastics
3 vintages, gelatine silver prints,
approx. 8.9 x 11.9 cm each, 1926

THREE STAGE SETS DESIGNED BY PIET MONDRIAN FOR ‘L’ÉPHÉMÈRE EST ÉTERNEL

 

Estimated price:
€ 12.000 – € 15.000
Result:
€ 21.000

A piece of lost art history and its retrieval: in 1926, Piet Mondrian designed three neoplastic stage designs for the play L’Éphémère est éternel by his friend, the art critic and artist Michel Seuphor, who later became his biographer. The wood models themselves are considered lost since 1934. In 1964, the Stedelijk van Abbemuseum in Eindhoven had them extensively reconstructed, based on the notes/sketches of Michel Seuphor – and the photographs shown here by André Kertész, who had documented the models in 1926.

3 vintages, gelatine silver prints,
approx. 8.9 x 11.9 cm each, 1926

THREE STAGE SETS DESIGNED BY PIET MONDRIAN FOR ‘L’ÉPHÉMÈRE EST ÉTERNEL

 

Estimated price:
€ 12.000 – € 15.000
Result:
€ 21.000

A piece of lost art history and its retrieval: in 1926, Piet Mondrian designed three neoplastic stage designs for the play L’Éphémère est éternel by his friend, the art critic and artist Michel Seuphor, who later became his biographer. The wood models themselves are considered lost since 1934. In 1964, the Stedelijk van Abbemuseum in Eindhoven had them extensively reconstructed, based on the notes/sketches of Michel Seuphor – and the photographs shown here by André Kertész, who had documented the models in 1926.

 

A fluctuation between reality and personal aesthetics.

Maren Klinge on

Albert Renger-Patzsch
THEATER IN VERONA

 

Estimated price:
€ 3.000 – € 4.000
Result:
€ 5.000

Maren Klinge, Photography expert
T +49 (0) 221 925729-28 | klinge@lempertz.com

Vintage, gelatine silver print,
22.8 x 16.6 cm (22.9 x 16.6 cm),
around 1935

“For me, this shot of Verona’s amphitheatre was one of the best discoveries of the last season. Comparatively unknown, it impresses the viewer with a clarity, precision and balance of composition typical of Renger-Patzsch. Due to the narrowly defined field of view and the strong contrasts between light and dark, the image has a high degree of abstraction. Nevertheless, it concurrently conveys to us viewers the tectonic characteristics of the building. For me, the fascination of New Photography lies in this fluctuation between a documentation committed to reality and personal aesthetics detached from the motif.”

A fluctuation between reality and personal aesthetics.

Maren Klinge on

Albert Renger-Patzsch
THEATER IN VERONA

 

Estimated price:
€ 3.000 – € 4.000
Result:
€ 5.000

Maren Klinge, Photography expert
T +49 (0) 221 925729-28
klinge@lempertz.com

Vintage, gelatine silver print,
22.8 x 16.6 cm (22.9 x 16.6 cm),
around 1935

“For me, this shot of Verona’s amphitheatre was one of the best discoveries of the last season. Comparatively unknown, it impresses the viewer with a clarity, precision and balance of composition typical of Renger-Patzsch. Due to the narrowly defined field of view and the strong contrasts between light and dark, the image has a high degree of abstraction. Nevertheless, it concurrently conveys to us viewers the tectonic characteristics of the building. For me, the fascination of New Photography lies in this fluctuation between a documentation committed to reality and personal aesthetics detached from the motif.”

Was ich mir vor Beginn einer Spray-Arbeit vorstelle, sieht ganz anders aus als das, was ich dann wirklich mache. Ich mag vorher schlaue Ideen haben, aber wenn ich es dann tue, führe ich nicht einfach meine geistigen Vorstellungen aus. Alles, was ich in meinem Bild tue, beruht auf einem bestimmten Gedanken, dem sich der nächste anschließt und so weiter – deshalb ist es so ganz anders als Fotografie.

Katharina Grosse im Gespräch mit Jonathan Watkins, Wie man mit dem Malen anfängt und aufhört, in: Susanne Böller (Hg.), Cool Puppen, Der weisse Saal trifft sich im Wald, Ich wüsste jetzt nichts, Ausst.Kat., Ikon Gallery, Birmingham u.a., Wolfratshausen 2002, S.27