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44

Constantin Brancusi

Vue de l'atelier

Property from the Collection of Dr. Joseph D. Lichtenberg

Constantin Brancusi

Constantin Brancusi

Vue de l'atelier

Vue de l'atelier

Constantin Brancusi

1876 - 1957

Vue de l'atelier


gelatin silver print, framed, circa 1924, probably printed in the 1940s

image: 11 ¾ by 9 ⅜ in. (29.8 by 29.8 cm.)

frame: 21 ⅛ by 17 in. (53.7 by 43.2 cm.)

Please note the colors and shades in the online catalogue illustration may vary depending on screen settings.


This early print, on double-weight paper with a nearly matte surface, is in generally excellent condition. The following are visible: age-appropriate silvering, primarily at the perimeter; emulsion loss at the lower right corner that has been retouched; a repaired one-inch tear at the lower left edge; a crease at the upper left corner that appears to have been retouched; and a V-shaped deposit of retouching in the upper center, visible only upon close examination.


When examined under ultraviolet light, this print does not appear to fluoresce.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Robert Mann Gallery, New York, 2011
Hilton Kramer, Brancusi: The Sculptor as Photographer (Lyme, 1979), pl. 1

Constantin Brancusi’s initial foray into photography began as a means to document his sculptural output, with the goal of providing John Quinn, an important New York-based collector, images of new work. While Brancusi was familiar with photography, having made photographs as early as 1905, he called on his friend Man Ray for help to improve his technique and for equipment recommendations. The endeavor evolved quickly into an exploration of a new artistic medium for the famed modernist artist. 


Brancusi’s studio was at the core of his artistic identity. He believed that he was the only person suited to document his sculptural works and wanted them to be viewed only within the studio space where they had been created. Brancusi's placement of the sculptures was deliberate, designed to convey both the autonomy of each work and its harmony as part of the whole. Upon his death, Brancusi bequeathed his studio, its contents, and more than 1,000 photographs to the French government. His studio has since been rebuilt outside the Pompidou Centre in Paris.