HANS BELLMER
HANS BELLMER La Poupée . Paris: G.L.M, 1936. Octavo (163 x 125 mm). 10 gelatin silver prints mounted and bound-in as issued, EXTRA-ILLUSTRATED with an additional gelatin silver print. Tan morocco by Devauchelle and gilt by De Rouvre WITH THE ORIGINAL DUST JACKET PANELS AND SPINE bound-in, covers with pink and purple leather onlays, spine lettered in gilt, top edge gilt, paper-covered slipcase; cloth folding box. FIRST EDITION OF THIS SURREALIST LANDMARK. THE TIRAGE DE TêTE: NUMBER 4 OF ONLY 5 COPIES PRINTED ON JAPAN PAPER AND WITH AN ADDITIONAL PHOTOGRAPH BOUND-IN AS FRONTISPIECE. Bellmer's "photobook magnum opus" is "undoubtedly a major achievement of the pornographic imagination, arguably an honest, authentic, even moral art" ( The Photobook ). Bellmer found direct inspiration for his work in Weimar and post-Weimar Berlin, where dolls and mannequins proliferated in the visual and performance arts. He collaborated, for example, with Max Reinhardt in his 1933 theater production of E.T.A. Hoffman's The Sandman , which featured a female automaton. Bellmer also rearticulated the Surrealist motif of the mannequin, present in the work of De Chirico and Max Ernst and later, in turn, inspired a number of artists: the 1938 Surrealist exhibition in Paris included a number of dolls made by various artists such as Salvador Dali, André Masson and Meret Oppenheim "Bellmer's influence on later image-makers, from Frederick Sommer and Ralph Eugene Meatyard to Cindy Sherman is considerable" ( 101 Books ). 101 Books , pp.88-9; The Open Book , 120-21; The Photobook , vol. I, p.106.
HANS BELLMER
HANS BELLMER La Poupée . Paris: G.L.M, 1936. Octavo (163 x 125 mm). 10 gelatin silver prints mounted and bound-in as issued, EXTRA-ILLUSTRATED with an additional gelatin silver print. Tan morocco by Devauchelle and gilt by De Rouvre WITH THE ORIGINAL DUST JACKET PANELS AND SPINE bound-in, covers with pink and purple leather onlays, spine lettered in gilt, top edge gilt, paper-covered slipcase; cloth folding box. FIRST EDITION OF THIS SURREALIST LANDMARK. THE TIRAGE DE TêTE: NUMBER 4 OF ONLY 5 COPIES PRINTED ON JAPAN PAPER AND WITH AN ADDITIONAL PHOTOGRAPH BOUND-IN AS FRONTISPIECE. Bellmer's "photobook magnum opus" is "undoubtedly a major achievement of the pornographic imagination, arguably an honest, authentic, even moral art" ( The Photobook ). Bellmer found direct inspiration for his work in Weimar and post-Weimar Berlin, where dolls and mannequins proliferated in the visual and performance arts. He collaborated, for example, with Max Reinhardt in his 1933 theater production of E.T.A. Hoffman's The Sandman , which featured a female automaton. Bellmer also rearticulated the Surrealist motif of the mannequin, present in the work of De Chirico and Max Ernst and later, in turn, inspired a number of artists: the 1938 Surrealist exhibition in Paris included a number of dolls made by various artists such as Salvador Dali, André Masson and Meret Oppenheim "Bellmer's influence on later image-makers, from Frederick Sommer and Ralph Eugene Meatyard to Cindy Sherman is considerable" ( 101 Books ). 101 Books , pp.88-9; The Open Book , 120-21; The Photobook , vol. I, p.106.
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