Jean Moral | Piscine Molitor | 1932 | Gitterman Gallery Web Site

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Jean Moral, Le Double, 1927

Vintage gelatin silver print, 10 1/16 x 8 in. (25.6 x 20.3 cm)

6831

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2 / 28

Yvonne Chevalier, Nu, 1929

Vintage gelatin silver print, 15 3/8 x 10 in. (39 x 25.4 cm)

6866

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3 / 28

Yvonne Chevalier, Nu, 1929

Vintage gelatin silver print, 15 1/16 x 10 1/2 in. (38.3 x 26.7 cm)

6865

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Jean Moral, Piscine Molitor, 1932

Vintage gelatin silver print, 11 1/8 x 7 9/16 in. (28.3 x 19.2 cm)

6833

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Jean Moral, Bubi, 1927

Vintage gelatin silver print, 4 1/4 x 3 3/8 in. (10.8 x 8.6 cm)

6834

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Francois Kollar, Le bain de soleil, 1931

Vintage gelatin silver print, 10 3/4 x 8 1/2 in. (27.3 x 21.6 cm)

6804

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7 / 28

Laure Albin-Guillot, Nu, c. 1934

Vintage gelatin silver print, 6 1/4 x 4 1/8 in. (15.9 x 10.5 cm)

6858

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8 / 28

Andre Steiner, Portrait d'homme, 1934

Vintage gelatin silver print, 9 5/8 x 6 5/8 in. (24.4 x 16.8 cm)

6773

$4,500

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Andre Steiner, Sportif, 1933

Vintage gelatin silver print, 9 3/8 x 7 1/8 in. (23.8 x 18.1 cm)

6774

$4,500

10 / 28

Andre Steiner, Untitled, 1930

Vintage gelatin silver print, 9 9/16 x 7 1/16 in. (24.3 x 17.9 cm)

6771

$4,500

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Andre Steiner, Composition, 1930

Vintage gelatin silver print, 9 1/2 x 7 3/16 in. (24.1 x 18.3 cm)

6769

Roger Parry, Untitled, 1933
Vintage gelatin silver print with hand coloring, 7 1/4 x 7 in. (18.4 x 17.8 cm)
6864
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12 / 28

Roger Parry, Untitled, 1933

Vintage gelatin silver print with hand coloring, 7 1/4 x 7 in. (18.4 x 17.8 cm)

6864

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Mounted. Signed in ink on mount recto lower left corner. "Prisons de velours" (Velvet Prisons) and "Roubaud" in colored pencil on mount recto.
Design for book cover: Roubaud, Louis. La prison de velours. Paris: Gallimard, 1934.
Illustrated: Roger Parry: Photographies, dessins, mises en pages. Paris: Gallimard/Jeu de Paume, 2007 p. 104.

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Roger Catherineau, Photogramme, 1957

Vintage gelatin silver print, 15 9/16 x 11 3/4 in. (39.5 x 29.9 cm)

2854

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Roger Catherineau, Plume, c. 1954

Vintage gelatin silver print, 15 3/4 x 11 15/16 in. (40 x 30.3 cm)

2828

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Roger Catherineau, Éclat, 1954

Vintage gelatin silver print, 13 7/8 x 11 3/4 in. (35.4 x 29.8 cm)

translation: Glare (possibly a "straight" photograph of broken glass but we are not sure)

1073

$9,000

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Daniel Masclet, Coin de Rue, 1927

Vintage gelatin silver print, 8 1/2 x 6 3/8 in. (21.6 x 16.2 cm)

6837

$5,500

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Francois Kollar, Untitled, 1928

Vintage gelatin silver print, 8 3/4 x 6 9/16 in. (22.2 x 16.7 cm)

6802

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Maurice Tabard, Fabian Loris et Roger Parry, 1928

Vintage gelatin silver print, 9 x 6 1/2 in. (22.9 x 16.5 cm)

6863

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Francois Kollar, Paquebot Normandie, 1932

Vintage gelatin silver print, 9 x 6 1/2 in. (22.9 x 16.5 cm)

6803

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Aurel Bauh, Untitled, c. 1930

Gelatin silver print, 15 5/8 x 11 5/8 in. (39.7 x 29.5 cm)

6867

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Roger Parry, Untitled, 1929

Vintage gelatin silver print, 9 5/16 x 7 in. (23.6 x 17.8 cm)

6862

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Raoul Ubac, Untitled, 1933

Vintage gelatin silver print, 9 3/16 x 6 7/8 in. (23.3 x 17.5 cm)

7157

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Jean Moral, Untitled, 1927

Vintage gelatin silver print, 11 3/8 x 8 3/4 in. (28.9 x 22.2 cm)

6830

$9,000

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Andre Steiner, Untitled, 1934

Vintage gelatin silver print, 11 3/4 x 9 1/2 in. (29.9 x 24.1 cm)

6767

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Daniel Masclet, Portrait aux mains, 1935

Vintage gelatin silver print, 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm)

6840

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Daniel Masclet, Les yeux ouverts, 1929
Vintage gelatin silver print, 8 3/4 x 11 1/4 in. (22.2 x 28.6 cm)
6845
$7,500

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Daniel Masclet, Les yeux ouverts, 1929

Vintage gelatin silver print, 8 3/4 x 11 1/4 in. (22.2 x 28.6 cm)

6845

$7,500

Mounted. Signed in pencil on mount recto.
Illustrated: Bouqueret, Christian. Daniel Masclet: Photographe Critique Theoricien. Paris: Marval, 2001, p. 69, pl. 54 (variant).

These photographs by Masclet are believed to be of the French actress, playwright, and novelist, Odette Joyeaux, made very early in her career, most likely while she was still studying dance at the Paris Opera Ballet. It is remarkable how she looks more alive with her eyes closed. With her eyes open she resembles a mannequin, and the photograph becomes surreal. The two together allude to the Surrealists’ dedication to unleashing the expression of the subconscious, for them, a state of being beyond merely awake or asleep.