117
117
Rudolf Koppitz (1884-1936)
BEWEGUNGSSTUDIE (ETUDE DE MOUVEMENT), 1925
VINTAGE PIGMENT PRINT. SIGNED IN PENCIL ON THE ORIGINAL MOUNT AND WITH THE PHOTOGRAPHER'S STAMP ON THE REVERSE.
Estimate
80,000120,000
LOT SOLD. 84,750 EUR
JUMP TO LOT
117
Rudolf Koppitz (1884-1936)
BEWEGUNGSSTUDIE (ETUDE DE MOUVEMENT), 1925
VINTAGE PIGMENT PRINT. SIGNED IN PENCIL ON THE ORIGINAL MOUNT AND WITH THE PHOTOGRAPHER'S STAMP ON THE REVERSE.
Estimate
80,000120,000
LOT SOLD. 84,750 EUR
JUMP TO LOT

Details & Cataloguing

Rudolf Koppitz (1884-1936)
BEWEGUNGSSTUDIE (ETUDE DE MOUVEMENT), 1925
VINTAGE PIGMENT PRINT. SIGNED IN PENCIL ON THE ORIGINAL MOUNT AND WITH THE PHOTOGRAPHER'S STAMP ON THE REVERSE.
Tirage pigmentaire d'époque, monté sous passe-partout d'époque. Signé Prof. R. Koppitz au crayon sur le passe-partout  vers la droite en bas de l'image. Au verso du carton, avec tampon du photographe 'Prof. Rudolf Koppitz Photo-Werkstätte Wien, V. Zeinlhoferg. 8' et tampon 'Vervielfältigung vorbehalten' et annoté au crayon en français plus tardivement d'une main inconnue. Avec son cadre ancien.
Partie visible/ sight area 29,8 x 22,2 cm (11 ¾ x 8 ¾ in.), carton/ card 44 x 44 cm (17 3/8 x 17 3/8 in.)
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Provenance

Collection privée française

Literature

Monika Faber (éd.), Rudolf Koppitz, 1884 - 1936, Vienne, Ed. Christian Brandstätter, 1995, ill. couverture, p. 71 et 83 (autres tirages);
Annette et Rudolf Kicken/ Simone Förster, Points of View. Masterpieces of Photography and their Stories, Göttingen, Steidl, 2007, ill. p. 127.

Catalogue Note

"The three women in black abducting the nude dancer can be understood as representing death [...]. In the eyes of many of [Koppitz's] contemporaries [...] this image was more likely to be interpreted as representing Vanitas. This reading did not stop anyone from purchasing this photograph [...] nor did it prevent the picture from writing photo history when it was used as the sole photographic image to illustrate the entry "art photography" in a 1920s edition of the Enyclopedia Britannica." (Points of View, pp. 124 et 125.)

Photographies

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