40
40
Eugène Atget
'CORSETS' (BOULEVARD DE STRASBOURG)
Estimate
100,000150,000
LOT SOLD. 509,000 USD
JUMP TO LOT
40
Eugène Atget
'CORSETS' (BOULEVARD DE STRASBOURG)
Estimate
100,000150,000
LOT SOLD. 509,000 USD
JUMP TO LOT

Details & Cataloguing

175 Masterworks To Celebrate 175 Years Of Photography: Property from Joy of Giving Something Foundation

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New York

Eugène Atget
1857-1927
'CORSETS' (BOULEVARD DE STRASBOURG)
printing-out-paper print, numbered '379' in the negative, titled and numbered '379' in pencil and with the photographer's 'Rue Campagne-Première, 17 bis' studio stamp, annotated '17 bis' in pencil, on the reverse, 1912
9 by 7 1/8  in. (22.9 by 18.1 cm.)
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Provenance

The photographer to Tristan Tzara, Paris

By descent to Marie-Therese Tzara

Christie's New York, 29 April 1999, Sale 9150, Lot 168

Literature

La Révolution Surréaliste 7, 15 June 1926, p. 6

The Work of Atget, Volume IV: Modern Times (The Museum of Modern Art, 1985), p. 128, pl. 92

Molly Nesbit, Atget's Seven Albums (New Haven, 1992), p. 132

Laure Beaumont-Maillet, Atget: Paris (Santa Rosa, 1992), p. 586

Gerry Badger, Eugene Atget 55 (London, 2001), unpaginated

Peter Barberie, Looking at Atget (Philadelphia Museum of Art, 2005), pp. 55 and 94

Franz Roh and Jan Tschichold, FotoAuge (London: Thames and Hudson facsimile reprint of the 1929 original edition, 1977), pl. 1

Edward Lucie-Smith, The Invented Eye: Masterpieces of Photography, 1839-1914 (New York, 1975), pl. 152

Happy Birthday Photography: Bokelberg Sammlung (Kunsthaus Zürich, 1989), pl. 94

Catalogue Note

This photograph comes originally from the collection of Tristan Tzara (1895-1963), poet, writer, and a founding father of the Dada movement in Zurich.  Tzara likely encountered Atget’s work in the 1920s, while living near the photographer’s studio on rue Campagne-Première.  Tzara would also undoubtedly have seen the Atget photographs reproduced in a famous 1926 issue of La Révolution Surréaliste, André Breton’s definitive Surrealist journal of the era.

Atget’s photographs, promoted by him as ‘Documents pour Artistes,’ were re-contextualized by the Parisian avant-garde, who saw in his images of Paris’s changing landscape, architecture, and street vendors, an unselfconscious, ‘automatic’ vision.   Man Ray, for instance, who also maintained a studio on rue Campagne-Première, met Atget in the mid-1920s and acquired a number of his photographs, images that Man Ray later described as having ‘a Dada or Surrealist quality about them’ (Looking At Atget, p. 54).  Among the Atget photographs that Man Ray and his fellow Surrealists favored were images of shop fronts, window reflections, and headless mannequins, as in the image offered here.  Three of Atget’s photographs were published without credit in the above-mentioned 1926 issue of La Révolution Surréaliste, including Corsets (Boulevard de Strasbourg), which illustrated Marcel Noll’s account of an erotically-charged dream.   

The Corsets image continued to be seen in a Surrealist context after Atget’s death.  A print was exhibited in 1929 in the avant-garde Film und Foto exhibition in Stuttgart and appeared as the first plate in the accompanying book Foto-Auge.  In 1936, New York gallerist Julien Levy included Corsets in his seminal volume Surrealism.  

175 Masterworks To Celebrate 175 Years Of Photography: Property from Joy of Giving Something Foundation

|
New York