Lot 87
  • 87

Alfred Eisenstaedt

Estimate
15,000 - 25,000 USD
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Description

  • Alfred Eisenstaedt
  • SELECTED 'PUPPET THEATRE, PARIS,' IMAGES
  • 1 contact sheet and 2 gelatin silver prints
2 photographs and a contact sheet, each with credit, print dates, and numbers in pencil, mimeographed, or stamped, one with title and one with Famous Photographers School lesson information, in ink, on the reverse, each framed, 1963 (LIFE International Edition, 12 August 1963; Eisenstaedt on Eisenstaedt, p. 105; LIFE Faces, pp. 12-13) (3)  

Condition

Puppet Theatre (iconic image) - This early print, on double-weight paper with a surface sheen, is in generally very good condition. There are reduction notations in the lower margin and crop marks in the margins corners that, in part, have been covered with correction fluid. When examined in raking light, there is a diagional impression that does not break the emulsion. On the reverse of the print, which has overall light adhesive staining from a prior mounting, are the following: 'Credit' stamp with 'Alfred Eisenstaedt' following in an unidentified hand in pencil; LIFE Photo Lab print date stamp 'Nov 1 1963'; LIFE assignment/roll/frame numbers in pencil, '67981 INT/C28/34'; and FPS 'Lesson 13, pages 24-25, pic C, OK' in ink. Puppet Theatre (variant) - This early print, on double-weight paper with a surface sheen, is in generally excellent condition. There is slight edge wear, the corners are bumped, and the lower left margin corner is creased. There are red ink crop marks in the corners that do not intrude into the print. When examined in raking light, the following are visible: several soft impressions not breaking the emulsion; tiny deposits of original retouching; handling creases in the lower margin; and faint silvering in the darkest areas of the print. On the reverse of the print, which has overall light adhesive staining from a prior mounting, are the following: 'Credit=A. Eisenstaedt' and '8/25/1963' are in purple mimeograph; LIFE assignment/roll/frame information (67981 INT/C56/27) in pencil; the FPS Lesson stamp with the following information in pencil: '13,' pp. '24-25,' 'A (circled),' and 'OK - S T C (all circled).' Contact sheet - This is in generally excellent condition. On the reverse are the following: 'Paris Story, E-28' in ink, '981/C28' in china marker, and 'C: A. Eisenstaedt 67981, 5-22-64' in mimeograph. The two prints were used in Famous Photographers School course, Volume II, Lesson 13 (Photojournalism), pp. 24 and 40, and the technical information is Leica with a 35mm lens; Tri-X film; 1/250 second at f/5.6 (the variant at 1/125 second); daylight.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The 1963 and 1964 LIFE Photo Lab print date stamps on the reverse of the present photographs are proof that they are among the very earliest prints from this famous series to be offered at auction.  The individual images, above, were used by the Famous Photographers School to illustrate a lesson in photojournalism.  

In an interview with LIFE Faces editor John Loengard, Eisenstaedt remembered discovering this outdoor puppet show in the Parc de Montsouris, where he especially enjoyed the children’s faces at the moment the dragon was slain.  The scarce contact sheet offered in this lot shows Eisenstaedt at work that day, as both a photojournalist and as an editor.  As he told Loengard, ‘I . . . never made a better picture of expressions on the human face’ (pp. 12-13).