Pierre Dubreuil 1872-1944

oil print, the photographer's monogram on the image, mounted to heavy paper, titled by the photographer in pencil on the mount, signed 'P. Dubreuil, M. S. L. P.' by the photographer in pencil, numbered and titled '21. First Round' by him in ink, and with his red 'DB/69' stamp on the reverse, matted, framed, circa 1932

Collection of Tom Jacobson, San Diego, California

Christie's New York, 8 April 1998, Sale 8884, Lot 250

Acquired by Nancy Richardson from the above

London, Royal Photographic Society, Pierre Dubreuil Retrospective, 1935

Paris, Musée d'Art Moderne, Centre Georges Pompidou, Pierre Dubreuil, Photographs 1896 - 1935, 1987

San Diego, The Museum of Photographic Arts, Pierre Dubreuil Rediscovered, 1988; and thereafter to Alliance Française, New York, 1989; and The Detroit Institute of Arts, 1990

Tom Jacobson, Pierre Dubreuil, Photographs 1896 -- 1935 (San Diego, 1987, in conjunction with the exhibition at the Musée d'Art Moderne, Centre Georges Pompidou), pl. 26 (this print)

This richly-toned oil print is on heavy double-weight paper with a matte surface. The print, which delivers a great deal of crisp detail and texture, is essentially in excellent condition. There is some minor old wear on the print's lower right corner which is visible only upon close examination. There are traces of old adhesive along the right portion of the print's top edge. None of these issues is immediately apparent, and they do not detract in a measurable way from the overwhelmingly fine appearance of this beautiful print. The print is mounted to thick textured paper. There is some light, inconsequential soiling on the front of the mount, as well as a pin-hole in the center of the mount's top edge. Glue remains along the top edge of the reverse of the mount suggest that it was at one point attached to a secondary mount.
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.

As of this writing, it is believed that the photograph offered here is one of only two prints of the image extant.  This print was included in Dubreuil's 1935 retrospective exhibition at the Royal Photographic Salon in London, the definitive exhibition of the photographer's work during his lifetime.  Since Dubreuil's death, it has been included in the two major exhibitions of his photographs: Pierre Dubreuil, Photographs 1896 - 1935, at the Centre Pompidou in 1987; and the traveling exhibition, Pierre Dubreuil Rediscovered, originating at San Diego's Museum of Photographic Arts in 1988.  The other known print of this image, originally in the collection of the Museum of Science and Industry, Chicago, was sold in these rooms on 11 October 2005 (Sale 8115, Lot 110).    

Like most photographers working in the early decades of the 20^th century, Dubreuil experimented with the full range of photographic processes then available, including platinum, carbon, and gum bichromate.  In 1904, he discovered the Rawlins oil process, which allowed him a great deal of control over the final appearance of his photographs.  The resulting prints had the added benefit of being archivally permanent.  Dubreuil quickly mastered the intricacies of this difficult process, and used it throughout his career.   

In a career typified by novel imagery, Le Premier Round is one of Dubreuil's most surprising images.  The unlikely juxtaposition of a pair of boxing gloves with the delicate, youthful, and almost feminine face of the would-be pugilist is an arresting one.  The cleverly balanced composition is anchored by the subject's piercing gaze.  Typical of Dubreuil's best work, Le Premier Round deftly combines the seemingly disparate conventions of camera-club Pictorialism -- with its emphasis on narrative and sentimentality -- and Modernist ideas of composition.    

While Dubreuil exhibited widely during his lifetime, there are exceedingly few surviving examples of his work.  On the eve of the second World War, experiencing financial difficulties and concerned for the safety of his life's work, Dubreuil sold his negatives and many of his prints to the Gevaert photographic company in Belgium.  The Gevaert factory was subsequently bombed during the war, and its holdings of Dubreuil's work were completely destroyed.