Saint Clair Cemin

Dream Catcher, Surrealist Etching and Aquatint by Saint Clair Cemin

1978

Artist: Saint Clair Cemin, Brazilian (1951 - ) Title: Untitled - Sword Fight Year: Circa 1979 Medium: Aquatint Etching, signed and numbered in pencil Edi...

Saint Clair Cemin, Brazilian (1951 - ) - Within You IV, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 2/30, Image Size: 5.75 x ...

Artist: Saint Clair Cemin, Brazilian (1951 - ) Title: Student Year: 1980 Medium: Etching, signed and numbered in pencil Edition: 75 Image Size: 9 x 11.5 inches Size: 15 in. x ...

Saint Clair Cemin, Brazilian (1951 - ) - Seabed, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 6/30, Image Size: 7.25 x 5.75 inc...

Etching realized by Fifo Stricker in 1980s. Image dimension: 21.5x17 Edition of 14/25 Excellent condition.

Fred Deux - Grey V - Signed Original Etching Signed and Numbered Edition of 100 Dimensions: 24 x 14 cm Fred Deux Fred Deux, illustrator, oral poet, writer, and, under the pseudonym Jean Douassot, author of a cult book, La Gana, was a singular artist who cannot be categorised in terms of art fashions and trends. This autodidact, born in the basement of a large house in Boulogne-Billancourt to a working-class family, constantly had to overcome, as he would say. “He had to overcome”: overcome the basement walls to access the life which called him and burnt inside him. Overcome the barriers between the arts, moving from drawing to the written word, and from the page to the tape recorder, in the face of which he recounted stories to himself in a sort of endless reverie, constantly exploring the unknown in him. Overcoming and being overcome: gradually immersing himself in drawing, so that it was life itself which overcame him and surrendered to him. Timeline 1924 Born in Boulogne-Billancourt, Paris. The Deux family lived in the basement of a building close to the Seine that was often flooded. These living conditions formed the biographical core around in which the artist would develop his work as a future writer and artist. 1942 Deux worked in a factory as an electrician and night guard. 1943 Deux becomes part of the FTP group to resist against the factory. And then joined the Maquis du Doubs. 1945 At the liberation, Deux joined the Moroccan Goumier, and took part of the campaigns of Vosges, Alsace and Germany. 1947 Returned to France. Installation in Marseille. Worked in an important library that belonged to the family of his wife. 1948 Discovered Breton, Bataille, Cendrars, Peret, Sade... and founded the sub-group of Surrealists in Marseille and formed a link with the literary magazine of Marseille, Cahiers du Sud Encounters the works of Paul Klee. He begins creating his first stains with paint for bicycle and impressions (fabric and ink). At the same time, he begins to take notes for what would become "Les Rats", first version of "La Gana". 1951 Meets Cecile Reims...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Etching realized by Fifo Stricker in 1980s. Image dimension: 21.5x17 Edition of 19/25 Excellent condition.