Jeanloup Sieff

Jeanloup Sieff - Intimode - Les Dessous de la mode

1983

From a Portfolio with 26 exclusive works of Jeanloup Sieff, limited to 200 copies. The photograph of Jeanloup Sieff has been produced as Collotype under the direct commandment of the...

From a Portfolio with 26 exclusive works of Jeanloup Sieff, limited to 200 copies. The photograph of Jeanloup Sieff has been produced as Collotype under the direct commandment of the...

From a Portfolio with 26 exclusive works of Jeanloup Sieff, limited to 200 copies. The photograph of Jeanloup Sieff has been produced as Collotype under the direct commandment of the...

From a Portfolio with 26 exclusive works of Jeanloup Sieff, limited to 200 copies. The photograph of Jeanloup Sieff has been produced as Collotype under the direct commandment of the...

"I was intrigued to find what I supposed was the world's largest ice cream vendor in the world's smallest ice cream van, The rear suspension plays testament to this." - David George Beadnell, England, "Ice Cream Van", from the 'East of Eden' series, 2020 Photogravure; Charbonnel Ink on Archival Somerset Satin Paper Photogravure, 14.85 x 21 cm plus frame, (custom made with antireflective art glass) Edition of 2/5 + 2APs, Signed and numbered David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

BRASSAI (Hungarian–French, 1899-1984) Street Fair on the Place d'Italie, 1931 Medium: Sheet-fed Gravure Printing Date: 1970's Printed in the USA Image: 10 1/2 x 8 inches Framed: 14 1/2 x 12 inches Although his real nameis Gyula Halasz, he took the name Brassai from his birthplace, and it means someone who comes from Brasov. He used the name all his adult life and is known throughout the world as Brassai. He was of Hungarian ethnic origins. Brasov in Transylvania has been a part of Romania since the end of the First World War, and that region is still largely populated by ‘Romanain-Hungarians.’ Two of these became well known in the film industry: Bela Lugosi and Gabriel Pascal. When the Austro-Hungarian Empire was dismantled after the War, most of its territories were distributed amongst a number of nations. It was at this time that Transylvania returned to its earlier identity as part of Romania. Brassai had served in the Austro-Hungarian cavalry for the last year of the War, 1917-1918. After he settled in Paris in 1924, Brassai never returned to his homeland, remaining in exile for the rest of his life. His parents continued to live in Brasov but joined him for long visits in Paris. In 1949 Brassai became a French citizen, having been a stateless person since 1947. He fell in love with a French woman, Gilberte Boyer, and they married in 1948. Gilberte worked closely with her husband as he pursued his photographic career, helping him develop prints in his dark-room, and often writing descriptions of the subjects and personalities. It was also in 1949 that a book with 207 photographs of Picasso’s sculptures was published, with photographs by Brassai. He and Picasso became friends and the latter asked him to photograph his work for this volume. Brassai was a frequent visitor to Picasso’s studio and there he took several portraits of the artist. Brassai has become one of the leading photographers of the twentieth century with collectors all over the world seeking his work. In an era which produced several brilliant and inspired photographers, not least Brassai’s friend Man Ray, he was able to capture a quality of magic in the atmosphere, bordering on the supernatural. Many of his pictures were taken at night or in fog, a frequent condition in Paris in the early part of the twentieth century. Even his day time photographs capture a moment of eerie transition between the mundane and the surreal. He is on the doorstep of another world where time stands still. Light becomes spectral as if it is the breath of an invisible power. Figures seem set in amber. Wet cobbles seem to slither and flow. A Master of capturing the ordinary, Brassai saw things as they were but transmuted the scene through his use of the lens into something outside the ordinary. Brassai was a familiar figure prowling round Paris after dark with his camera and tripod and heavy bag of glass photographic plates. He was sometimes accompanied by Ernest Hemingway, Henry Miller, or Leon Paul...

Signed Single photogravure from the Mexican Portfolio, 1932-33. Published by Da Capo Press, New York, 1967 Edition of 1,000 Printed 1967

Single photogravure from the Mexican Portfolio, 1932-33. Published by Da Capo Press, New York, 1967 Edition of 1,000 Printed 1967