What is guaranteed?
1908 - 2004
gelatin silver print, signed in ink and embossed in the margin, 1933, printed later
image: 9 ¼ by 14 in. (23.5 by 35.6 cm.)
Please note the colors and shades in the online catalogue illustration may vary depending on screen settings.
This print, on double-weight paper, is in generally excellent condition. As is typical of Cartier-Bresson's later prints, scattered deposits of original retouching are visible when examining the print in raking light, mostly in the lower portion of the image.
Please note that this work is sold unframed.
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.
Acquired from the photographer
Robert Delpire, ed., Henri Cartier-Bresson: Photographer (Boston, 1979), pl. 27
Peter Galassi, Henri Cartier-Bresson: The Early Work (New York: The Museum of Modern Art, 1987), p. 111
Jean-Pierre Montier, Henri Cartier-Bresson and the Artless Art (Boston, 1996), cover of dust jacket and page 57
Peter Fetterman, ed., Henri Cartier-Bresson: The Master Set (Santa Monica: Peter Fetterman Gallery, 2004), pl. 131
Ann Thomas, Modernist Photograph from the National Gallery of Canada (Ottawa: National Gallery of Canada, 2007), p. 63
Peter Galassi, ed., Henri Cartier-Bresson: The Modern Century (New York: The Museum of Modern Art, 2010), p. 94
Clément Chéroux, Henri Cartier-Bresson, (Paris: Centre Pompidou, 2014), p. 77
Matthieu Humery et al., Henri Cartier-Bresson: Le Grand Jeu (Paris: Bibliothèque nationale de France and Fondation Henri Cartier-Bresson, 2020), pp. 82, 132, 260, and 262
‘There are those who take photographs arranged beforehand and those who go out to discover the image and seize it. For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decided simultaneously.’
-Henri Cartier-Bresson, The Mind’s Eye: Writings on Photography and Photographers (New York: Aperture, 1999), p. 15